The Contender (2000) Joan Allen, Gary Oldman, Jeff Bridges, Sam Elliott, Christian Slater, William Petersen, Philip Baker Hall, Saul Rubineck. Written and directed by Rod Lurie. 126 minutes Rated R, 3 stars (out of five stars)
Review by Ed Johnson-Ott, NUVO Newsweekly www.nuvo.com Archive reviews at http://us.imdb.com/ReviewsBy?Edward+Johnson-Ott To receive reviews by e-mail at no charge, send subscription requests to<EMAIL_ADDRESS>or e-mail<EMAIL_ADDRESS>with the word "subscribe" in the subject line.
 As Clinton dodged questions, played word games and lied outright, many of us wondered, "Why in the world is he subjecting himself to this? Why doesn't he simply tell them his sex life is none of their business and refuse to answer any questions about his private goings-on?"
According to "The Contender," the approach wouldn't work because once the political wolf pack realized that their quarry was adamant about not commenting on personal questions, they could freely lob even more lurid accusations, secure in the knowledge that no assertion, however outrageous, would be refuted.
Depressing, isn't it? Politics is a nasty business and "The Contender" wallows in the muck. Masquerading as a high-minded ethical drama, the movie is just another trashy melodrama, with a slew of respected actors chewing scenery.
Written and directed by Rod Lurie ("Deterrence"), the story begins a few weeks after the unexpected death of the vice-president. A replacement must be appointed and Virginia Governor Jack Hathaway (William Petersen) looks like a shoo-in for the position. Already a popular figure, his stature rises quickly when, while being interviewed by a reporter during a fishing excursion, a car plummets off a bridge and the governor immediately dives into the icy water to attempt a rescue.
But President Jackson Evans (Jeff Bridges) has other ideas.  The decision enrages a number of imposing figures, including House Judiciary Committee Chairman Sheldon Runyon (Gary Oldman) of Illinois.
Heading the confirmation hearings, Runyon pulls out all the stops in his quest to discredit Hanson. In short order, the soft-spoken nominee is confronted with allegations that, while in college, she participated in a gang-bang with a group of frat boys. Instead of doing the Clinton squirm, Hanson declares that her sexuality is nobody's business, refusing to "dignify this line of questioning with any comments." Even when presented with photographic evidence, she remains mute, firm in her conviction that a line must be drawn between public life and personal matters.
So the political maneuvering escalates, with Runyon and his minions leveling even uglier charges while the president and his staff frantically work on damage control. How will this drama play out?
With lots of speechifying and a juicy contrived ending, of course.
"The Contender" does a number of things right. The film identifies the party affiliations of its characters (a rarity in this type of fiction) and makes direct references to real politicians and events. The verbose storyline maintains a sense of tension all the way to the grand, goofy, finale. Jeff Bridges creates a believable president, coming off like a hunky Lyndon Johnson (although a running joke about his delight in being able to order any food item at any hour wears thin about the fifth time around).  Oldman has a field day with the role, spitting out melodramatic lines like "We're both sticking to our guns, only mine are loaded" with relish.
While the production suffers from one-note supporting characters, chintzy sets and claustrophobic camera work, the film's biggest liability is Laine Hanson. The Republican-turned-Democrat Senator, who voted to impeach President Clinton, is a pro-gun control, pro-choice, anti-death penalty vegetarian atheist who publicly described the Bible as a "fairy tale." She apparently was elected on some parallel Earth, because she certainly would not have won in the Ohio of this planet. Joan Allen basically reprises her role in "The Crucible" here, playing the potential vice-president as a "Goodie" Hanson of prim self-containment. This character should face reporters and declare, "Unless this country wants to scare off any competent persons, we must stop putting politicians' private lives under a microscope. It may cost me the vice-presidency, but I'm standing up for what I believe!" Instead, she merely reiterates her refusal to discuss personal matters, offering herself as a maddeningly passive martyr.
 The moral of the story appears to be that idealism and nobility can succeed in the world of politics, as long as lies, threats and dirty tricks support those qualities. In terms of disposable entertainment, "The Contender" is marginally acceptable junk food. As an intellectual exercise, however, it left me with an upset stomach.
© 2000 Ed Johnson-Ott
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Monospace welcomes Sones as the lanyard sponsor!
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You can try to add a city in this list. Open the console, and type demoApp.addCity('name of the city');


| categories:development
Moving on from postgres_fdw
Revising the things you have done
I sometimes go back and look at old code - it’s a mostly cathartic, as it brings one back down to earth. As software developers we have a certain aptitude for documenting our code in tests (or actual self-documenting API specifications, e.g. using GraphQL), but we omit the power of documenting the decision making behind it.
I am no exception to this - which is why I look at old code like an interesting puzzle and try to reason with my past self about what he has been thinking during that time. It sure makes for a lot of WTF-moments, but it also shows that one has (hopefully) grown a bit.
Listening to others
I wrote the post “The steel industry, file_fdw and the synchronisation of data” in the full self-belief that I had an absolute solution to a very hard problem.
And at the time, it was good.
I wrote the post accompanying a talk I gave at a meet up of the most excellent Elixir Berlin group. I think I might have even apologized for focusing more on databases than on Elixir in this one.
As is customary, I gave the word to the crowd to ask questions - and I had a developer (with magnificently flowing, long hair) stand up amidst the group, pointing out the following:
- I should absolutely partake in the meetings of the local PostgreSQL user group
- Why could I not just execute
COPY
directly instead of keepingfile_fdw
around for creating the foreign tables?
My reaction to the first one: Yes.
My reaction to the second one: Ye…but, erm. Drowning in the rush of endorphines after entertaining a group of people for forty minutes, I think, in retrospect, I might have been dismissive.
I should not have been.
The more experience you have …
As I grow as a developer, I accumulate more knowledge about my work and about relationships to others.  Thankfully, I also become more aware of what little I know about stuff. Impostor syndrome is something I see a lot in myself and I see in a ton of candidates when interviewing, but this post is not about the impostor I might feel like (as there are a plethora of blog posts you can read about that).
I consider myself a technology leader - this post therefore needs to aim at what it means reflecting from a higher position, specifically dismissing points by people you might perceive as less smart or experienced.  This is a common error I also see in some old school managers that straight up refuse feedback or a view too different from their own, but ranting about them might need a post of its own.
.. the harder you fall.
What did I miss completely in just flat out dismissing the opinion of the developer?
Well, for one thing - that they were just straight up right about everything. The argument was for less complexity in a complex system. Consider the things you need do to make my initial setup work:
- setup a database (container)
- that needs access to the CSV files
- that need to run PostgreSQL with the
postgres_fdw
extension
- setup an application (container)
- that needs access to the timestamp lock file, next to the CSVs
Consider what you need to do it with PostgreSQLs COPY
statement:
- a PostgreSQL database
- an application
- that needs access to the file system hosting the CSV and the timestamp file
Can you see the difference?
The main error I made was that I only considered my own position. Had I acted with empathy (and common sense), I might have realized that almost no one in the world hosts their own databases. Since Heroku has been around for a while now and with companies such as Google offering cloud-based versions of PostgreSQL, not even my own team hosts their own database anymore!
Also, less dependencies should be viewed as “less liabilities”, instead of “more freedom” to manage!
Fudge.
The problem
Cloud-based PostgreSQL comes with a ton of goodies, namely that you can skip all the configuration and scaling issues.
It also does not provide any extensions. Extensions you might want, like, let’s say postgres_fdw
. In short, if you want to go with the postgres_fdw
based solution, you cannot make the original solution work on a cloud provider, as you have no option to enable the extension - and you also have no way to make the database aware of the files.
And you better think fast of a solution, as your company wants to make a run for the cloud, as it’s the futuretm!
What to do now?
Well, let’s revisit the suggestion with the COPY
statement:
COPY moves data between PostgreSQL tables and standard file-system files. COPY TO copies the contents of a table to a file, while COPY FROM copies data from a file to a table (appending the data to whatever is in the table already). COPY TO can also copy the results of a SELECT query.
Awesome, but we used that strategy with file_fdw
as well. Consider this migration:
defmodule SynchronizeApp.Repo.Migrations.AddForeignCompaniesTable do
use Ecto.Migration
@up ~s"""
CREATE FOREIGN TABLE external_companies (
company_id text,
-- ...
) SERVER file_server
OPTIONS ( filename '/files/Company.csv', format 'csv', delimiter '|', header 'on', quote E'\x01');
"""
# [...]
We used the foreign table specification to tell PostgreSQL how to form a table based off of a CSV file. That meant that the database itself needed to know about the file and it’s structure, making migrations hard and causing other fun headaches at runtime when another process touches the files.
But we can use all of the magic with PostgreSQLs COPY
statement.
The magic of STDIN
COPY
supports a ... FROM STDIN
syntax that is documented as follows:
Specifies that input comes from the client application.
Cool, so what would that look like?
COPY animals (
species,
name,
chip_id
) FROM STDIN (FORMAT csv, HEADER TRUE, DELIMITER '|', NULL '', quote E'\x01')
Of course, we imagine a data source that is similarly shaped as the example from the original post:
species|name|chip_id
dog|Snuffles|4553-1338
cat|Archibald "The Paw"|999-9993
guinea|Porkchop|1337-9112
As you might now, encountering RFC-compliant CSV in the wild is rare, so we go with a nonstandard example.
Things to look out for:
COPY
is very strict when it comes to order: the column definition in the statement needs to match the columns in the file- Your statement will blow up in your face when it encounters an error
- The statement
HEADER TRUE
will literally just skip the first row STDIN
can be fed from your application code directly
Feeding data into STDIN
So far, this is not really existing as it will not help us sitting on a big ol’ Elixir application, as we have no way of actually feeding the STDIN
here efficiently. And rewriting everything from scratch might not be the thing you feel like doing (unless you find yourself with unlimited resources and time).
The way we can make this work is by combing the SQL statement from above with something called “streams” in Elixir. If you have never heard about streams, it’s time to read up on them. For now, if you don’t have the time, think of Stream
as a lazily operating Enum
.
there is a really nice article over at poeticoding about how one can use streams to process larger CSV files, which is a good read of its own.
Anyway, let’s consider a simple CSV reading module:
defmodule CSVStreamer do
def stream(path) do
path |> File.stream!()
end
end
All this will do is just read a path and open up a stream with the data. We’ll not doing anything with that stream yet, so it has just a small cost attached - and we’re far away from loading a potentially large CSV into memory.
Now, it turns out, Elixirs Ecto
library also supports streaming. It allows us to use a Repo and a statement parametrized statement to be lazily evaluated:
defmodule SQLStreamer do
alias Ecto.Adapters.SQL
alias MainApplication.Repo
def stream(statement) do
Repo |> SQL.stream(statement)
end
end
Nice, but useless for the moment.  What is missing is a good combination of the two. Thankfully, there is Enum.into
, which can combine the two. As the docs say:
Inserts the given enumerable into a collectable.
That means, if we have two streams, we can effectively combine the output of one into the input of the other:
defmodule Combiner do
@path "/files/animals.csv"
@copy_sql """
COPY animals (
species,
name,
chip_id
) FROM STDIN (FORMAT csv, HEADER TRUE, DELIMITER '|', NULL '', quote E'\x01')
"""
def combine do
file_stream = CSVStreamer.stream(@path)
sql_stream = SQLStreamer.stream(@copy_sql)
file_stream |> Enum.into(sql_stream)
end
end
And that’s it! It will spectacularly fail: Ecto wants a transaction for things like this in order to work, so we will oblige here:
defmodule Combiner do
alias MainApplication.Repo
@path "/files/animals.csv"
@copy_sql """
COPY animals (
species,
name,
chip_id
) FROM STDIN (FORMAT csv, HEADER TRUE, DELIMITER '|', NULL '', quote E'\x01')
"""
def combine do
file_stream = CSVStreamer.stream(@path)
sql_stream = SQLStreamer.stream(@copy_sql)
Repo.transaction(fn ->
file_stream |> Enum.into(sql_stream)
end)
end
end
If you check out the animals table
after executing Combiner.combine/0
you will find the data from the CSV in the table!
Success!
Now, you will also find that the data will be appended each time you execute the function, which is probably what you don’t want. the original functionality was designed to actually synchronize the table with the data from the CSV. We can achieve that by adding a truncate before running our copy statement:
# [...]
def combine do
file_stream = CSVStreamer.stream(@path)
sql_stream = SQLStreamer.stream(@copy_sql)
Repo.transaction(fn ->
Repo.query("TRUNCATE animals;")
file_stream |> Enum.into(sql_stream)
end)
end
We can now bind the new function to the original file trigger and it should replace the file_fdw
based approach completely - we have a full table copy of the data in the CSV.
What to take from this example
Well, I am glad somebody pointed out my overcomplicated thinking. However, it took a while to see what the benefits could have been. Thankfully, there was a technical solution to this particular problem, which came at the cost of additional time invested.
I compiled a full repository to see the thing work. I really hope this example demonstrates both an interesting technical detail as well as some insights on what to do as a tech lead in todays software development world.
Lastly, thanks to the unknown developer who called me out.
You da real MVP.


CANCEL
Cancels a database query that is currently running.
The CANCEL command requires the process ID of the running query and displays a confirmation message to verify that the query was cancelled.
Syntax
CANCEL process_id [ 'message' ]
Parameters
- process_id
-
Process ID corresponding to the query that you want to cancel.
- 'message'
-
An optional confirmation message that displays when the query cancellation completes. If you do not specify a message, Amazon Redshift displays the default message as verification. You must enclose the message in single quotes.
Usage Notes
You can't cancel a query by specifying a query ID; you must specify the query's process ID (PID). You can only cancel queries currently being run by your user. Superusers can cancel all queries.
If queries in multiple sessions hold locks on the same table, you can use the PG_TERMINATE_BACKEND function to terminate one of the sessions, which forces any currently running transactions in the terminated session to release all locks and roll back the transaction. Query the STV_LOCKS system table to view currently held locks.
Following certain internal events, Amazon Redshift might restart an active session and assign a new PID. If the PID has changed, you might receive the following error message:
Session <PID> does not exist. The session PID might have changed. Check the stl_restarted_sessions system table for details.
To find the new PID, query the STL_RESTARTED_SESSIONS system table and filter on the
oldpid
column.
select oldpid, newpid from stl_restarted_sessions where oldpid = 1234;
Examples
To cancel a currently running query, first retrieve the process ID for the query that you want to cancel. To determine the process IDs for all currently running queries, type the following command:
select pid, starttime, duration, trim(user_name) as user, trim (query) as querytxt from stv_recents where status = 'Running'; pid | starttime | duration | user | querytxt -----+----------------------------+----------+----------+----------------- 802 | 2008-10-14 09:19:03.550885 | 132 | dwuser | select venuename from venue where venuestate='FL', where venuecity not in ('Miami' , 'Orlando'); 834 | 2008-10-14 08:33:49.473585 | 1250414 | dwuser | select * from listing; 964 | 2008-10-14 08:30:43.290527 | 326179 | dwuser | select sellerid from sales where qtysold in (8, 10);
Check the query text to determine which process id (PID) corresponds to the query that you want to cancel.
Type the following command to use PID 802 to cancel that query:
cancel 802;
The session where the query was running displays the following message:
ERROR: Query (168) cancelled on user's request
where 168
is the query ID (not the process ID used to cancel the
query).
Alternatively, you can specify a custom confirmation message to display instead of the default message. To specify a custom message, include your message in quotes at the end of the CANCEL command:
cancel 802 'Long-running query';
The session where the query was running displays the following message:
ERROR: Long-running query


{% extends 'base.html' %} {% load commonmark %} {% load teams_tags %} {% load static %} {% block title %} People | {{ block.super }} {% endblock %} {% block content %}
The following is a list of the volunteers that have helped make BornHack happen. It goes without saying that an event like BornHack would not be possible to pull off without our volunteers. We are forever grateful, and we leave your names here as a recognition of the work you put in. Thank you! {% for camp in camp_list %} {% if camp.teams.exists %}
| Team Name | Team Responsible | Team Members |
|---|---|---|
| {{ team.name }} Team |
{% for resp in team.responsible_members.all %}
{{ resp.profile.get_public_credit_name }} {% endfor %} |
{% for member in team.regular_members.all %}
{% if member.profile.get_public_credit_name != "Unnamed" %}
{{ member.profile.get_public_credit_name }} {% endif %} {% empty %} No team members {% endfor %} {% if team.unnamed_members %} {% if team.unnamed_members.count < team.regular_members.count %}Plus {% endif %}{{ team.unnamed_members.count }} anonymous member(s). {% endif %} |


Once upon a time, long, long ago, there were two brothers, the one rich and the other poor. When Christmas Eve came, the poor one had not a bite in the house, either of meat or bread; so he went to his brother, and begged him, in God’s name, to give him something for Christmas Day. It was by no means the first time that the brother had been forced to give something to him, and he was not better pleased at being asked now than he generally was.
“If you will do what I ask you, you shall have a whole ham,” said he. The poor one immediately thanked him, and promised this.
“Well, here is the ham, and now you must go straight to Dead Man’s Hall,” said the rich brother, throwing the ham to him.
“Well, I will do what I have promised,” said the other, and he took the ham and set off. He went on and on for the livelong day, and at nightfall he came to a place where there was a bright light.
“I have no doubt this is the place,” thought the man with the ham.
An old man with a long white beard was standing in the outhouse, chopping Yule logs.
“Good-evening,” said the man with the ham.
“Good-evening to you. Where are you going at this late hour?” said the man.
“I am going to Dead Man’s Hall, if only I am on the right track,” answered the poor man.
“Oh! yes, you are right enough, for it is here,” said the old man. “When you get inside they will all want to buy your ham, for they don’t get much meat to eat there; but you must not sell it unless you can get the hand-mill which stands behind the door for it. When you come out again I will teach you how to stop the hand-mill, which is useful for almost everything.”
So the man with the ham thanked the other for his good advice, and rapped at the door.
When he got in, everything happened just as the old man had said it would: all the people, great and small, came round him like ants on an ant-hill, and each tried to outbid the other for the ham.
“By rights my old woman and I ought to have it for our Christmas dinner, but, since you have set your hearts upon it, I must just give it up to you,” said the man. “But, if I sell it, I will have the hand-mill which is standing there behind the door.”
At first they would not hear of this, and haggled and bargained with the man, but he stuck to what he had said, and the people were forced to give him the hand-mill. When the man came out again into the yard, he asked the old wood-cutter how he was to stop the hand-mill, and when he had learned that, he thanked him and set off home with all the speed he could, but did not get there until after the clock had struck twelve on Christmas Eve.
“Where in the world have you been?” said the old woman. “Here I have sat waiting hour after hour, and have not even two sticks to lay across each other under the Christmas porridge-pot.”
“Oh! I could not come before; I had something of importance to see about, and a long way to go, too; but now you shall just see!” said the man, and then he set the hand-mill on the table, and bade it first grind light, then a table-cloth, and then meat, and beer, and everything else that was good for a Christmas Eve’s supper; and the mill ground all that he ordered. “Bless me!” said the old woman as one thing after another appeared; and she wanted to know where her husband had got the mill from, but he would not tell her that.
“Never mind where I got it; you can see that it is a good one, and the water that turns it will never freeze,” said the man. So he ground meat and drink, and all kinds of good things, to last all Christmas-tide, and on the third day he invited all his friends to come to a feast.
Now when the rich brother saw all that there was at the banquet and in the house, he was both vexed and angry, for he grudged everything his brother had. “On Christmas Eve he was so poor that he came to me and begged for a trifle, for God’s sake, and now he gives a feast as if he were both a count and a king!” thought he. “But, for heaven’s sake, tell me where you got your riches from,” said he to his brother.
“From behind the door,” said he who owned the mill, for he did not choose to satisfy his brother on that point; but later in the evening, when he had taken a drop too much, he could not refrain from telling how he had come by the hand-mill. “There you see what has brought me all my wealth!” said he, and brought out the mill, and made it grind first one thing and then another. When the brother saw that, he insisted on having the mill, and after a great deal of persuasion got it; but he had to give three hundred dollars for it, and the poor brother was to keep it till the haymaking was over, for he thought: “If I keep it as long as that, I can make it grind meat and drink that will last many a long year.” During that time you may imagine that the mill did not grow rusty, and when hay-harvest came the rich brother got it, but the other had taken good care not to teach him how to stop it. It was evening when the rich man got the mill home, and in the morning he bade the old woman go out and spread the hay after the mowers, and he would attend to the house himself that day, he said.
So, when dinner-time drew near, he set the mill on the kitchen-table, and said: “Grind herrings and milk pottage, and do it both quickly and well.”
So the mill began to grind herrings and milk pottage, and first all the dishes and tubs were filled, and then it came out all over the kitchen-floor. The man twisted and turned it, and did all he could to make the mill stop, but, howsoever he turned it and screwed it, the mill went on grinding, and in a short time the pottage rose so high that the man was like to be drowned. So he threw open the parlor door, but it was not long before the mill had ground the parlor full too, and it was with difficulty and danger that the man could go through the stream of pottage and get hold of the door-latch. When he got the door open, he did not stay long in the room, but ran out, and the herrings and pottage came after him, and it streamed out over both farm and field. Now the old woman, who was out spreading the hay, began to think dinner was long in coming, and said to the women and the mowers: “Though the master does not call us home, we may as well go. It may be that he finds he is not good at making pottage and I should do well to help him.” So they began to straggle homeward, but when they had got a little way up the hill they met the herrings and pottage and bread, all pouring forth and winding about one over the other, and the man himself in front of the flood. “Would to heaven that each of you had a hundred stomachs! Take care that you are not drowned in the pottage!” he cried as he went by them as if Mischief were at his heels, down to where his brother dwelt. Then he begged him, for God’s sake, to take the mill back again, and that in an instant, for, said he: “If it grind one hour more the whole district will be destroyed by herrings and pottage.” But the brother would not take it until the other paid him three hundred dollars, and that he was obliged to do. Now the poor brother had both the money and the mill again. So it was not long before he had a farmhouse much finer than that in which his brother lived, but the mill ground him so much money that he covered it with plates of gold; and the farmhouse lay close by the sea-shore, so it shone and glittered far out to sea. Everyone who sailed by there now had to be put in to visit the rich man in the gold farmhouse, and everyone wanted to see the wonderful mill, for the report of it spread far and wide, and there was no one who had not heard tell of it.
After a long, long time came also a skipper who wished to see the mill. He asked if it could make salt. “Yes, it could make salt,” said he who owned it, and when the skipper heard that, he wished with all his might and main to have the mill, let it cost what it might, for, he thought, if he had it, he would get off having to sail far away over the perilous sea for freights of salt. At first the man would not hear of parting with it, but the skipper begged and prayed, and at last the man sold it to him, and got many, many thousand dollars for it. When the skipper had got the mill on his back he did not stay there long, for he was so afraid that the man would change his mind, and he had no time to ask how he was to stop it grinding, but got on board his ship as fast as he could.
When he had gone a little way out to sea he took the mill on deck. “Grind salt, and grind both quickly and well,” said the skipper. So the mill began to grind salt, till it spouted out like water, and when the skipper had got the ship filled he wanted to stop the mill, but whichsoever way he turned it, and how much soever he tried, it went on grinding, and the heap of salt grew higher and higher, until at last the ship sank. There lies the mill at the bottom of the sea, and still, day by day, it grinds on; and that is why the sea is salt.(1)
(1) Asbjornsen and Moe.


Guidelines
Rules and guidelines are part of every successful organisation. Please make sure you follow them.
Limit on number of bets on a person and window of betting
Each character you bet on will be available on for a specific window of time. Once that window passes, you are not able to bet on them.
There will also be a fixed count on the number of people who can place bets on one character. Once this number is full, betting on them will not be entertained.
High Demand, Lower Count of bets.
The higher the demand for a specific character, the numer of bets that can be placed on them will be restricted.
Bet for, bet against.
There are two options available to bet on a character. You can either bet on them to win or you can bet against them.


| Created: | 6/27/2020 7:03:31 AM |
| Modified: | 6/27/2020 7:03:31 AM |
| Project: | |
| Advanced: |
| Attribute |
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Public serial id |
|
Details:
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Public integer sco_recon_column_id |
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Details:
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Public integer sco_recon_id |
|
Details:
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Public varchar(255) header |
|
Details:
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Public varchar(255) type |
|
Details:
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Public integer rank |
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Details:
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Public varchar(255) created_by |
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Details:
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Public timestamp with time zone(0) created_at |
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Details:
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Public timestamp with time zone(0) updated_at |
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Details:
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Public varchar(255) updated_by |
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Details:
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Public timestamp with time zone(0) start_date |
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Details:
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| Operation | ||
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Public sco_recon_column_vesions_pkey( id: serial, |
||
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Details:
<<PK>>
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Public sco_recon_column_vesions_sco_recon_column_id_foreign( sco_recon_column_id: integer, |
||
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Details:
<<FK>>
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| Element | Source Role | Target Role |
|
«table» sco_recon_columns Table «FK» |
Name: sco_recon_column_vesions_sco_recon_column_id_fo... |
Name: sco_recon_columns_pkey |
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Details:
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| Tag | Value |
| Owner | public |
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Details:
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| Property | Value |
| isFinalSpecialization: | 0 |


Class Mailer
Class Mailer
Mailer is an Swiftmailer wrapper class to send email messages simple and cleaner way. Mailer::compose(function($mailer, $message) { $message->setPriority($priority) ->setSubject($subject) ->setFrom(array($from_email => $from_name)) ->setTo(array($to_email => $to_name)) ->setReadReceiptTo(SYS_EMAIL) ->setBody('Here is the message itself') ->setAttach() ->addPart('Here is the message itself
', 'text/html') ->getMessage(); $mailer->send($message); });- Cygnite\Common\Mail\Mailer implements Cygnite\Common\Mail\MailerInterface
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setSmtpConfig( mixed $swiftSmtpTransport, mixed $attributes )
Set Email configurations dynamically to SwiftMailer |
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$sendMailTransport |
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$mailMessage |
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$failedRecipients | [] |


{% extends 'layout.html' %} {% block content %}
Billing Address: MCO Admin Mumbai Maharashtra Phone Number:<PHONE_NUMBER>
Space User Details Name: Email<EMAIL_ADDRESS>Payment Method: Online payment
OVERVIEW Space: Affordable deskspace in Charkop Booking Type: Daily Duration: 15/10/2015 to 16/10/2015
Booking Total: $0,000.00


Calendar dashboard
{{ now }}
{% for event in events %}
{{ event['room'] }}
Booked now until {{ event['end'] }}
{% endfor %} {% for event in upcoming %}
{{ event['room'] }}
Booked from {{ event['start'] }} until {{ event['end'] }}
{% endfor %} {% for room in free_rooms %}
{{ room }}
{% endfor %}


BytesToBits API requires an API token. In order to gain one, please create an account [here]({{url_for('register')}}). There is a maximum of __50 requests per minute__. Surpassing this limit will get your token temporarily blocked from the API. Continuous overuse might lead to a permanent account suspension.
{{examples["example.py"]}}
These are the available API Endpoints __as of now__.
- /text/
- /madlibs/
- /lyrics/
- /meme/
- /reddit/
- /word/


Analysis of the remote system error pages
| Description | Risk Level |
|---|---|
| Presence of default Not Found error pages may give clues about the installed server type, version and other software, that can be used to unfold further attacks. The page shows the following problematic information: Apache/2.4.29 (Ubuntu) Server at www.webdeejemplo.es Port 80 | 8.0 |
Analysis of the domain's Http methods
No errors found
Locate directory listing in URLs
| Description | Risk Level |
|---|---|
| Presence of directory listings gives too much information about the web page contents to potential attackers. The following URL shows a directory listing: http://www.webdeejemplo.es/txts/ | 8.0 |
URL Port Scan
| Description |
|---|
| Port :22 |
| Port :80 |
| Port :443 |
| Port :513 |
| Port :514 |
Analysis of the domain's headers
| Description | Risk Level |
|---|---|
| Server: It should be checked that the information in this field does not match the actual one, as it can give clues. Information Found: Apache/2.4.29 (Ubuntu) | 4.0 |
| X-Content-Type-Options: Without this directive, the browser will try to discover the MIME type of the file, which may include malicious files, causing the browser to recognize them | 4.0 |
| Strict-Transport-Security: Content is not showing on Https | 7.0 |
| Referrer-Policy: When not checked, the amount of information in the navigation is not controlled | 6.0 |
| Public-Key-Pins: It should be used, since this way allows the host to send a set of cryptographic prints from the Certification Authority | 4.0 |
| X-Frame-Options: In case of not being controlled, page content is vulnerable to click-jacking attacks | 4.0 |
| X-XSS-Protection: Does not specify the activation of the filter against XSS of the browsers | 7.0 |
URL Mapper
| Description |
|---|
| http://www.webdeejemplo.es |
| http://www.webdeejemplo.es/txts |
| http://www.webdeejemplo.es/ |
Robot.txt's analysis
No errors found


Javascript Introduction
Scroll Down
Getting Started with Javascript.
What am I learning? This is JavaScript (JS), a programming language. There are many languages, but JS has many uses and is easy to learn.
What can we use JavaScript for?
make websites respond to user interaction build apps and games (e.g. blackjack) access information on the Internet (e.g. find out the top trending words on Twitter by topic) organize and present data (e.g. automate spreadsheet work; data visualization)
confrim method:
1
confirm('This is an example of using JS to create some interaction on a website. Click OK to continue!');
What is programming?
Programming is like writing a list of instructions to the computer so it can do cool stuff with your information.
Programs can’t yet make your bed, but they can do math, keep track of your bank account, or send a message to a friend.
To do any of these actions, the program needs an input. You can ask for input with a prompt.
Examples:
1
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prompt("what is your name?");
prompt("my name is Lucas Gatsas");
Data Types I & II: Numbers & Strings
Data comes in various types. You have used two already!
a. numbers are quantities, just like you’re used to. You can do math with them.
b. strings are sequences of characters, like the letters a-z, spaces, and even numbers. These are all strings: “Ryan”, “4” and “What is your name?” Strings are extremely useful as labels, names, and content for your programs.
To make a number in your code, just write a number as numerals without quotes: 42, 190.12334.
To write a string, surround words with quotes: “What is your name?”
Write a string with at least 3 words. Check out the examples of strings above. Find the length of the string by writing a period (full stop) and the word length, like this:
“string”.length Length counts every character in the string - including spaces!
“lucas are studying”.length = 18 types
3 words
Data Type III: Booleans
Nice job! Next let’s look at booleans. A boolean is either true or false.
For example, comparing two numbers returns a true or false result:
23 > 10 is true 5 < 4 is false
Let’s compare two numbers to return a true result:
First, write the string “I’m coding like a champ” Next, find the length of the string using .length Then, compare the string’s length to see if it is greater than 10 If you want to check your code, click “Stuck? Get a hint!” below.
1
"Lucas is a great coder!".length > 9;
Using console.log
You may have noticed that the interpreter doesn’t print out every single thing it does. So if we want to know what it’s thinking, we sometimes have to ask it to speak to us.
console.log() will take whatever is inside the parentheses and log it to the console below your code—that’s why it’s called console.log()!
This is commonly called printing out.
Comparisons
So far we’ve learned about three data types:
strings (e.g. “dogs go woof!”) numbers (e.g. 4, 10) booleans (e.g. false, 5 > 4) Now let’s learn more about comparison operators.
List of comparison operators:
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> Greater than
< Less than
<= Less than or equal to
>= Greater than or equal to
=== Equal to
!== Not equal to
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// Here is an example of using the greater than (>) operator.
console.log(15 > 4); // 15 > 4 evaluates to true, so true is printed.
// Fill in with >, <, === so that the following print out true:
console.log("Xiao Hui".length < 122);
console.log("Goody Donaldson".length > 8);
console.log(8*2 === 16);
Decisions, decisions
Nice work on comparisons! Now let’s see how we can use comparisons to ask yes or no questions.
Say we want to write a program that asks whether your name is longer than 7 letters. If the answer is yes, we can respond with “You have a long name!” We can do this with an if statement:
1
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if ("my name is lucas gatsas".length >= 7 ) {
console.log("you have a long name");
}
Computers are smart
Great! We used an if statement to do something if the answer to the condition was yes, or true as we say in JavaScript.
In addition to doing something when the condition is true, we can do something else if the condition is false. For example, if your name is shorter than 7 letters, we can respond with “You have a short name!” We can do this using an if / else statement:
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if ("Lucas Gatsas".length >= 7 )
{
console.log("Let's go down the first road!");
}
else
{
console.log("you are the code champion!")
// What should we do if the condition is false? Fill in here:
}
More practice with conditionals
Now let’s practice using if/else statements. Do as much as you can by yourself, but if you need a reminder!
-
Write an if/else statement, just like we did in the last exercise. Here’s what the outline of the code looked like:
-
If your condition is true, use console.log to print “The condition is true”.
-
therwise (else) when it is false, use console.log to print “The condition is false”.
-
Make sure your condition evaluates to false, so that your program prints out “The condition is false”.
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if (10 < 3)
{
//if condition is true
console.log("The condition is true");
// do this code
}
else //"otherwise"
{
console.log("The condition is false");
}
Computers aren't that smart
Well done! Now, computers are very literal. Syntax needs to be in exactly the right place for the computer to understand the code.
As you get started with programming, we will teach you many syntax rules. This is sort of like the grammar of programming languages. Grammar first, then programming poetry!
There are many mistakes in this code. Find them and fix them all.
You are doing what’s called “debugging,” a term popularized by Grace Hopper when she literally removed a moth from her computer.
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if (10 === 10)
{
console.log("You got a true!");
} else {
console.log("You got a false!");
}
Mid-lesson breather
We’ve covered a lot of ground so far! So many new terms, so much syntax. Let’s take a breather and review. We have learned:
- Confirm and prompt
We can make pop-up boxes appear! confirm(“I am ok”); prompt(“Are you ok?”);
- Data types
a. numbers (e.g. 4.3, 134)
b. strings (e.g. “dogs go woof!”, “JavaScript expert”)
c. booleans (e.g. false, 5 > 4)
- Conditionals
If the first condition is met, execute the first code block. If it is not met, execute the code in the else block. See the code on the right for another example.
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// This is an example of an if / else statement.
if (12 / 4 === "Ari".length) {
confirm("Will this run the first block?");
} else {
confirm("Or the second block?");
}
Math
We saw basic math before. The basic math symbols we learned in school work here. Even the order in which the computer understands the math is the same as in school!
Code:
- ( ): control order of operations
-
- and /: multiplication and division
-
- and +: subtraction and addition
Examples:
- 100/10 evaluates to 10
- “Jane”.length + 5 evaluates to 9
- 5*(3+1) evaluates to 20
Complete the missing bits of code to construct the if / else statement. Make the condition evaluate to true. Finish the else statement by printing out the string “Error Error Error” to the console.
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if ("Jon".length * 2 / (2+1) === 2)
{
console.log("The answer makes sense!");
}
else
{
console.log("Error Error Error");
}
Math and the modulo
Let’s meet an interesting symbol called modulo. When % is placed between two numbers, the computer will divide the first number by the second, and then return the remainder of that division.
So if we do 23 % 10, we divide 23 by 10 which equals 2 with 3 left over. So 23 % 10 evaluates to 3.
More examples:
17 % 5 evaluates to 2
13 % 7 evaluates to 6
Use console.log and modulo three times to print the remainder of the following equations:
a. 14 / 3
b. 99 / 8
c. 11 / 3


Simulator launcher
Select files for
Cloud
Select Technology
Select Technology:
Input files:
Select a folder:


Sync everything on this Chromebook
All files (except Play and Linux files) back up to Google Drive.
Sync selected files or folders


Jamie, our mixtape composer, is definitely a rock fan - specifically of several popular rock bands of the 1960s-1980s. Jamie's inclusion of 3 Bob Dylan tracks, 3 Guns N' Roses tracks, 3 Grateful Dead tracks, and 2 Fleetwood Mac tracks shows an obvious dedication to the bands of the era. Nevertheless, the mixtape is not entirely rock: the inclusion of ABC by The Jackson 5 shows an interest in the Billboard #1 soul song as well. The tracks Alone (Blues Traveler) and Copperline (James Taylor) also highlight the changing genre of alternative rock in the early 1990s.
The juxtaposition on this mixtape between ABC (The Jackson 5) and One in A Million (Guns N' Roses) is strange indeed. Michael Jackson (of the Jackson 5) worked tirelessly to perform his music despite overt racism; he also often spoke out against racism publicly in his later years.[1] Yet Jamie also included the unfortunate track "One in a Million", a racist and homophobic song that got Guns N'Roses dumped from an AIDS benefit concert.[2] This track features the lyrics "Police and n****rs / That's right / Get outta my way" and "Immigrants and f****ts / They make no sense to me / They come to our country / And think they'll / Do as they please / Like start some mini Iran / Or spread some / Fucking disease".[3] It's hard to say exactly what is going through Jamie's mind - perhaps our mixtape composer simply enjoys the musicality of the songs and disregards the lyrics.
1: Nega, Lacie. "Michael Jackson’s Experience of Racism." Michael Jackson Info: Rhythm Of The Tide. March 21, 2012. Accessed October 01, 2016. http://rhythmofthetide.com/michael-jacksons-experience-racism/.
2: Love, Katherine, Wallace Morgan, Joseph Hudak, Keith Harris, Maura Johnston, and Dan Epstein. "50 Wildest Guns N' Roses Moments." Rolling Stone. November 24, 2015. Accessed October 2, 2016. http://www.rollingstone.com/music/lists/50-wildest-guns-n-roses-moments-20151124/august-1989-one-in-a-million-shocks-the-world-with-racist-homophobic-slurs-20151119.
3: "One In A Million- Guns N' Roses." Genius. Accessed October 01, 2016. http://genius.com/Guns-n-roses-one-in-a-million-lyrics.
Paradoxically, although this mixtape appears to be hand-recorded from physical albums, the mixtape composer didn't manage to squeeze the last track, Alone, all of the way onto the album. Some sort of miscalculation, perhaps? Laziness?
The rest of the mixtape, however, is meticulously put together, with fine recording techniques and very little wow or flutter from the recording device. The music reproduction quality, overall, is stellar, and there seems to have been little degredation of the mixtape since it was first recorded. This recording date must be after 1991, which was when the most modern song on the compilation, Copperline, by James Taylor, was released.


28th PW NA-MIC 2018
Project presentation for 28 Project Summer Week NA-MIC 2018 ULPGC
28th NA-MIC Project Week
- Date June 25-29, 2017
- Venue Gran Canaria - Canary Islands
-
National Alliance for Medical Imaging Computing
NAMIC 28th Project Week June 2018.
- Universidad de Las Palmas de Gran Canaria Instituto Astrofísico de Canarias
Discover Las Palmas
- Density: 3.755,84/km2
- Population: 377.650
- Website: Las Palmas de Gran Canaria
There are many reasons to visit Las Palmas de Gran Canaria. Las Palmas has a diverse range of people and cultures, located in the Macaronesian is the perfect place to create a professional hub, close to African countries.
What is inspiration?
In Las Palmas, inspiration means biomedical science ;-)
Key Facts about ULPGC
-
Gran Canaria
Canary Islands are main global tourism destinations -
Spain
European Union -
Close to Africa: Outermost Region
Special regime → Fiscal incentives
Universidad de Las Palmas de Gran Canaria
-
Community
23.000 students / 1.600 faculty members 15 schools / 40 degrees / 33 masters / 13 PhD. programs -
Research
11 Research Institutes / Collaboration with European & International Universities and Research Centers -
Cooperation for Development
Africa and Latin America
Macaronesia
- Madrid1.700 Km
- Barcelona: 2.200 Km
- Paris: 2.700 Km
- London: 2.900 Km
- Brussels: 3.000 Km
- Rome: 3.000 Km
- Amsterdam: 3.200 Km
- Berlin: 3.600 Km
- Helsinki: 4.700 Km
- Cayenne: 4.700 Km
- Agadir 600 Km
- Rabat: 1.000 Km
- Nouakchot: 1.100 Km
- Dakar: 1.500 Km
- Praia: 1.700 Km
- Bamako: 1.900 Km
- Conakry: 2.000 Km
- FreeTown: 2.200 Km
- Niamei: 2.400 Km
- Monrovia: 2.500 Km
Looking Forward, Looking Further
An International Hub, model of reference
An international hub for medical technology and training, adapted to the needs of developing countries, which serves as model of reference.
A global network
NA-MIC + Parallel event with our African partners (physicians, engineers and academics) to introduce them to NA-MIC technology and explore synergies.
Canary Islands HubCharming
Vegueta
Fascinating
Antigua
Challenging
City
Attractive
Magic
Close
To everywhere
Relaxing
City beaches
Share Experiences
Join our projects
PW 28 NA-MIC week - Las Palmas de Gran Canaria


This page could show the main features or services that your product or business provides.
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Uses the LESS CSS object-orientated coding method for efficient stylesheets.
Customise the themes we have provided to best match your brand's colour scheme.
Installation & set up is a breeze. Just include the css & js before your <head> tag.
Zion is suitable for many types of businesses & individuals with a great range of templates.
Every pixel & line of code is expertly & beautifully crafted to allow you to create a modern, wonderful website inside & out.


Lord Barthanes’s manor crouched like a huge toad in the night, covering as much ground as a fortress, with all its walls and outbuildings. It was no fortress, though, with tall windows everywhere, and lights, and the sounds of music and laughter drifting out, yet Rand saw guards moving on the tower tops and along the roofwalks, and none of the windows were close to the ground. He got down from Red’s back and smoothed his coat, adjusted his sword belt. The others dismounted around him, at the foot of broad, whitestone stairs leading up to the wide, heavily carved doors of the manor.
Ten Shienarans, under Uno, made an escort. The one-eyed man exchanged small nods with Ingtar before taking his men to join the other escorts, where ale had been provided and a whole ox was roasting on a spit by a big fire.
The other ten Shienarans had been left behind, along with Perrin. Every one of them had to be there for a purpose, Verin had said, and Perrin had no purpose to serve this night. An escort was necessary for dignity in Cairhienin eyes, but more than ten would seem suspicious. Rand was there because he had received the invitation. Ingtar had come to lend the prestige of his title, while Loial was there because Ogier were sought after in the upper reaches of the Cairhienin nobility. Hurin pretended to be Ingtar’s bodyservant. His true purpose was to sniff out the Darkfriends and Trollocs if he could; the Horn of Valere should not be far from them. Mat, still grumbling about it, was pretending to be Rand’s servant, since he could feel the dagger when it was close. If Hurin failed, perhaps he could find the Darkfriends.
When Rand had asked Verin why she was there, she had only smiled and said, “To keep the rest of you out of trouble.”
As they mounted the stairs, Mat muttered, “I still don’t see why I have to be a servant.” He and Hurin followed behind the others. “Burn me, if Rand can be a lord, I can put on a fancy coat, too.”
“A servant,” Verin said without looking back at him, “can go many places another man cannot, and many nobles will not even see him.  They were approaching the doors, where half a dozen guards stood with the Tree and Crown of House Damodred on their chests, and an equal number of men in dark green livery with Tree and Crown on the sleeve.
Taking a deep breath, Rand proffered the invitation. “I am Lord Rand of House al’Thor,” he said all in a rush, to get it over with. “And these are my guests. Verin Aes Sedai of the Brown Ajah. Lord Ingtar of House Shinowa, in Shienar.  Loial had asked that his stedding be left out of it, but Verin insisted they needed every bit of formality they could offer.
 In a strangled voice he said, “Be welcome in House Damodred, my lords. Be welcome, Aes Sedai. Be welcome, friend Ogier.” He waved the other servants to open the doors wide, and bowed Rand and the others inside, where he hurriedly passed the invitation to another liveried man and whispered in his ear.
This man had the Tree and Crown large on the chest of his green coat. “Aes Sedai,” he said, using his long staff to make a bow, almost bending his head to his knees, to each of them in turn. “My lords. Friend Ogier. I am called Ashin. Please to follow me.”
The outer hall held only servants, but Ashin led them to a great room filled with nobles, with a juggler performing at one end and tumblers at the other. Voices and music coming from elsewhere said these were not the only guests, or the only entertainments. The nobles stood in twos, and threes and fours, sometimes men and women together, sometimes only one or the other, always with careful space between so no one could overhear what was said. The guests wore the dark Cairhienin colors, each with bright stripes at least halfway down his or her chest, and some had them all the way to their waists. The women had their hair piled high in elaborate towers of curls, every one different, and their dark skirts were so wide they would have had to turn sideways to pass through any doorway narrower than those of the manor. None of the men had the shaved heads of soldiers—they all wore dark velvet hats over long hair, some shaped like bells, others flat—and, as with the women, lace ruffles like dark ivory almost hid their hands.
Ashin rapped his staff and announced them in a loud voice, Verin first.
They drew every eye. Verin wore her brown-fringed shawl, embroidered in grape vines; the announcement of an Aes Sedai sent a murmur through the lords and ladies, and made the juggler drop one of his hoops, though no one was watching him any longer. Loial received almost as many looks, even before Ashin spoke his name. Despite the silver embroidery on collar and sleeves, the otherwise unrelieved black of Rand’s coat made him seem almost stark beside the Cairhienin, and his and Ingtar’s swords drew many glances. None of the lords appeared to be armed. Rand heard the words “heron-mark blade” more than once. Some of the glances he was receiving looked like frowns; he suspected they came from men he had insulted by burning their invitations.
A slim, handsome man approached. He had long, graying hair, and multihued stripes crossed the front of his deep gray coat from his neck almost to the hem just above his knees. He was extremely tall for a Cairhienin, no more than half a head shorter than Rand, and he had a way of standing that made him seem even taller, with his chin up so he seemed to be looking down at everyone else. His eyes were black pebbles. He looked warily at Verin, though.
“Grace honors me with your presence, Aes Sedai.” Barthanes Damodred’s voice was deep and sure. His gaze swept across the others. “I did not expect so distinguished a company. Lord Ingtar. Friend Ogier.” His bow to each was little more than a nod of the head; Barthanes knew exactly how powerful he was. “And you, my young Lord Rand. You excite much comment in the city, and in the Houses. Perhaps we will have a chance to talk this night.” His tone said that he would not miss it if the chance never came, that he had not been excited to any comment, but his eyes slid a fraction before he caught them, to Ingtar and Loial, and to Verin. “Be welcome.” He let himself be drawn away by a handsome woman who laid a beringed hand buried in lace on his arm, but his gaze drifted back to Rand as he walked away.
The murmur of conversation picked up once more, and the juggler spun his hoops again in a narrow loop that almost reached the worked plaster ceiling, a good four spans up. The tumblers had never stopped; a woman leaped into the air from the cupped hands of one of her compatriots, her oiled skin shining in the light of a hundred lamps as she spun, and landed on her feet on the hands of a man who was already standing atop another’s shoulders. He lifted her up on outstretched arms as the man below raised him in the same way, and she spread her arms as if for applause. None of the Cairhienin seemed to notice.
Verin and Ingtar drifted into the crowd. The Shienaran received a few wary looks; some looked at the Aes Sedai with wide eyes, others with the worried frowns of those finding a rabid wolf within arm’s reach. The latter came from men more often than women, and some of the women spoke to her.
Rand realized that Mat and Hurin had already disappeared to the kitchens, where all the servants who had come with the guests would be gathering until sent for. He hoped they would not have trouble sneaking away.
Loial bent down to speak for his ear alone. “Rand, there is a Waygate nearby. I can feel it.”
“You mean this was an Ogier grove?” Rand said softly, and Loial nodded.
“Stedding Tsofu had not been found again when it was planted, or the Ogier who helped build Al’cair’rahienallen would not have needed a grove to remind them of the stedding. This was all forest when I came through Cairhien before, and belonged to the King.”
“Barthanes probably took it away in some plot.” Rand looked around the room nervously. Everyone was still talking, but more than a few were watching the Ogier and him. He could not see Ingtar. Verin stood at the center of a knot of women. “I wish we could stay together.”
“Verin says not, Rand. She says it would make them all suspicious and angry, thinking we were holding ourselves aloof. We have to allay suspicion until Mat and Hurin find whatever they find.”
“I heard what she said as well as you, Loial. But I still say, if Barthanes is a Darkfriend, then he must know why we’re here. Going off by ourselves is just asking to be knocked on the head.”
“Verin says he won’t do anything until he finds out whether he can make use of us. Just do what she told us, Rand. Aes Sedai know what they are about.” Loial walked into the crowd, gathering a circle of lords and ladies before he had gone ten steps.
Others started toward Rand, now that he was alone, but he turned in the other direction and hurried away. Aes Sedai may know what they’re about, but I wish I did. I don’t like this. Light, but I wish I knew if she was telling the truth. Aes Sedai never lie, but the truth you hear may not be the truth you think it is.
He kept moving to avoid talking with the nobles. There were many other rooms, all filled with lords and ladies, all with entertainers: three different gleemen in their cloaks, more jugglers and tumblers, and musicians playing flutes, bitterns, dulcimers, and lutes, plus five different sizes of fiddle, six kinds of horn, straight or curved or curled, and ten sizes of drum from tambour to kettle. He gave some of the horn players a second look, those with curled horns, but the instruments were all plain brass.
They wouldn’t have the Horn of Valere out here fool, he thought. Not unless Barthanes means to have dead heroes come as part of the entertainment.
There was even a bard in silver-worked Tairen boots and a yellow coat, strolling through the rooms plucking his harp and sometimes stopping to declaim in High Chant. He glared contemptuously at the gleemen and did not linger in the rooms where they were, but Rand saw little difference between him and them except for their clothes.
Suddenly Barthanes was walking by Rand’s side. A liveried servant immediately offered his silver tray with a bow. Barthanes took a blown-glass goblet of wine. Walking backwards ahead of them still bowing, the servant held the tray toward Rand until Rand shook his head, then melted into the crowd.
“You seem restless,” Barthanes said, sipping.
“I like to walk.” Rand wondered how to follow Verin’s advice, and remembering what she had said about his visit to the Amyrlin, he settled into Cat Crosses the Courtyard. He knew no more arrogant way to walk than that. Barthanes’s mouth tightened, and Rand thought perhaps the lord found it too arrogant, but Verin’s advice was all he had to go by, so he did not stop. To take some of the edge off, he said pleasantly, “This is a fine party. You have many friends, and I’ve never seen so many entertainers.”
“Many friends,” Barthanes agreed. “You can tell Galldrian how many, and who. Some of the names might surprise him.”
“I have never met the King, Lord Barthanes, and I don’t expect I ever will.”
“Of course. You just happened to be in that flyspeck village. You were not checking on the progress of retrieving that statue. A great undertaking, that.”
“Yes.” He had begun thinking of Verin again, wishing she had given him some advice on how to talk with a man who assumed he was lying. He added without thinking, “It’s dangerous to meddle with things from the Age of Legends if you don’t know what you are doing.”
Barthanes peered into his wine, musing as if Rand had just said something profound. “Are you saying you do not support Galldrian in this?” he asked finally.
“I told you, I’ve never met the King.”
“Yes, of course. I did not know Andormen played at the Great Game so well. We do not see many here in Cairhien.”
Rand took a deep breath to stop from telling the man angrily that he was not playing their Game. “There are many grain barges from Andor in the river.”
“Merchants and traders. Who notices such as they? As well notice the beetles on the leaves.” Barthanes’s voice carried equal contempt for both beetles and merchants, but once again he frowned as if Rand had hinted at something. “Not many men travel in company with Aes Sedai. You seem too young to be a Warder. I suppose Lord Ingtar is Verin Sedai’s Warder?”
“We are who we said we are,” Rand said, and grimaced. Except me.
Barthanes was studying Rand’s face almost openly. “Young. Young to carry a heron-mark blade.”
“I am less than a year old,” Rand said automatically, and immediately wished he had it back. It sounded foolish, to his ear, but Verin had said act as he had with the Amyrlin Seat, and that was the answer Lan had given him. A Borderman considered the day he was given his sword to be his nameday.
“So. An Andorman, and yet Borderland-trained. Or is it Warder-trained?” Barthanes’s eyes narrowed, studying Rand. “I understand Morgase has only one son. Named Gawyn, I have heard. You must be much like him in age.”
“I have met him,” Rand said cautiously.
“Those eyes. That hair. I have heard the Andoran royal line has almost Aiel coloring in their hair and eyes.”
Rand stumbled, though the floor was smooth marble. “I’m not Aiel, Lord Barthanes, and I’m not of the royal line, either.”
“As you say. You have given me much to think on. I believe we may find common ground when we talk again.” Barthanes nodded and raised his glass in a small salute, then turned to speak to a gray-haired man with many stripes of color down his coat.
Rand shook his head and moved on, away from more conversation. It had been bad enough talking to one Cairhienin lord; he did not want to risk two. Barthanes appeared to find deep meanings in the most trivial comments. Rand realized he had just now learned enough of Daes Dae’mar to know he had no idea at all how it was played. Mat, Hurin, find something fast, so we can get out of here. These people are crazy.
And then he entered another room, and the gleeman at the end of it, strumming his harp and reciting a tale from The Great Hunt of the Horn, was Thom Merrilin. Rand stopped dead. Thom did not seem to see him, though the gleeman’s gaze passed over him twice. It seemed that Thom had meant what he said. A clean break.
 Her head did not quite come to his shoulder, but her tall array of curls easily reached as high as his eyes. The high neck of her gown put lace ruffles under her chin, and stripes covered the front of her dark blue dress below her breasts. “I am Alaine Chuliandred, and you are the famous Rand al’Thor. In Barthanes’s own manor, I suppose he has the right to speak to you first, but we are all fascinated by what we hear of you. I even hear that you play the flute. Can it be true?”
“I play the flute.” How did she . . . ? Caldevwin. Light, everybody does hear everything in Cairhien. “If you will excuse—”
“I have heard that some outland lords play music, but I never believed it. I would like very much to hear you play. Perhaps you will talk with me, of this and that. Barthanes seemed to find your conversation fascinating. My husband spends his days sampling his own vineyards, and leaves me quite alone. He is never there to talk with me.”
“You must miss him,” Rand said, trying to edge around her and her wide skirts.
Another woman sidled in beside the first, and another hand was laid on his chest. She wore as many stripes as Alaine, and they were of an age, a good ten years older than he. “Do you think to keep him to yourself, Alaine?” The two women smiled at each other while their eyes threw daggers. The second turned her smile on Rand. “I am Belevaere Osiellin. Are all Andormen so tall? And so handsome?”
He cleared his throat. “Ah . . . some are as tall. Pardon me, but if you will—”
“I saw you talking with Barthanes. They say you know Galldrian, as well. You must come to see me, and talk. My husband is visiting our estates in the south.”
“You have the sublety of a tavern wench,” Alaine hissed at her, and immediately was smiling up at Rand. “She has no polish. No man could like a woman with a manner so rough. Bring your flute to my manor, and we will talk. Perhaps you will teach me to play?”
“What Alaine thinks of as subtlety,” Belevaere said sweetly, “is but lack of courage.  That truly is a heron-mark blade, is it not?”
Rand tried backing away from them. “If you will just excuse me, I—” They followed step for step until his back hit the wall; the width of their skirts together made another wall in front of him.
He jumped as a third woman crowded in beside the other two, her skirts joining theirs to the wall on that side. She was older than they, but just as pretty, with an amused smile that did not lessen the sharpness of her eyes. She wore half again as many stripes as Alaine and Belevaere; they made tiny curtsies and glared at her sullenly.
“Are these two spiders trying to toil you in their webs?” The older woman laughed. “Half the time they tangle themselves more firmly than anyone else. Come with me, my fine young Andoran, and I will tell you some of the troubles they would give you. For one thing, I have no husband to worry about. Husbands always make trouble.”
Over Alaine’s head he could see Thom, straightening from a bow to no applause or notice whatsoever. With a grimace the gleeman snatched a goblet from the tray of a startled servant.
“I see someone I must speak to,” Rand told the women, and squeezed out of the box they had put him in just as the last woman reached for his arm. All three stared after him as he hurried to the gleeman.
Thom eyed him over the lip of the goblet, then took another long swallow.
“Thom, I know you said a clean break, but I had to get away from those women. All they wanted to talk about was their husbands being away, but they were already hinting at other things.” Thom choked on his wine, and Rand slapped his back. “You drink too fast, and something always goes down the wrong way. Thom, they think I am plotting with Barthanes, or maybe Galldrian, and I don’t think they will believe me when I say I’m not. I just needed an excuse to leave them.”
Thom stroked his long mustaches with one knuckle and peered across the room at the three women. They were still standing together, watching Rand and him. “I recognize those three, boy. Breane Taborwin alone would give you an education such as every man should have at least once in his life, if he can live through it. Worried about their husbands. I like that, boy.” Abruptly his eyes sharpened. “You told me you were clear of Aes Sedai. Half the talk here tonight is of the Andoran lord appearing with no warning, and an Aes Sedai at his side. Barthanes and Galldrian. You’ve let the White Tower put you in the cooking pot this time.”
“She only came yesterday, Thom. And as soon as the Horn is safe, I’ll be free of them again. I mean to see to it.”
“You sound as if it isn’t safe now,” Thom said slowly. “You didn’t sound that way before.”
“Darkfriends stole it, Thom. They brought it here. Barthanes is one of them.”
Thom seemed to study his wine, but his eyes darted to make sure no one was close enough to listen. More than the three women were watching them with sideways glances while pretending to talk among themselves, but every knot maintained its distance from every other. Still, Thom spoke softly. “A dangerous thing to say if it isn’t true, and more dangerous if it is. An accusation like that, against the most powerful man in the kingdom . . . You say he has the Horn? I suppose you’re after my help again, now that you’re tangled with the White Tower once more.”
“No.” He had decided Thom had been right, even if the gleeman did not know why. He could not involve anyone else in his troubles. “I just wanted to get away from those women.”
The gleeman blew out his mustaches, taken aback. “Well. Yes. That is well. The last time I helped you, I got a limp out of it, and you seem to have let yourself be tied to Tar Valon strings again. You’ll have to get yourself out of it this time.” He sounded as if he were trying to convince himself.
“I will, Thom. I will.”  Mat, Hurin, where are you?
As if the thought had been a summons, Hurin appeared in the room, eyes searching among the lords and ladies. They looked through him; servants did not exist unless needed. When he found Rand and Thom, he made his way between the small clusters of nobles and bowed to Rand. “My Lord, I was sent to tell you. Your manservant had a fall and twisted his knee. I don’t know how bad, my Lord.”
For a moment Rand stared before he understood. Conscious of all the eyes on him, he spoke loudly enough for the nobles closest to overhear.  What good is he to me if he can’t walk? I suppose I’d better come see how badly he’s hurt himself.”
It seemed to be the right thing to say. Hurin sounded relieved when he bowed again and said, “As my Lord wishes. If my Lord will follow me?”
“You play very well at being a lord,” Thom said softly. “But remember this. Cairhienin may play Daes Dae’mar, but it was the White Tower made the Great Game in the first place. Watch yourself, boy.” With a glare at the nobles, he set his empty goblet on the tray of a passing servant and strolled away, plucking his harp. He began reciting Goodwife Mili and the Silk Merchant.
“Lead on, man,” Rand told Hurin, feeling foolish. As he followed the sniffer out of the room, he could feel the eyes following him.


This library contains components for modelling of electromagnetic devices with lumped magnetic networks. Those models are suited for both rough design of the magnetic subsystem of a device as well as for efficient dynamic simulation at system level together with neighbouring subsystems. At present, components and examples for modelling of translatory electromagnetic and electrodynamic actuators are provided. If needed, these components can be adapted to network modelling of rotational electrical machines.
User's Guide gives a short introduction to the underlying concept of magnetic flux tubes, summarizes the calculation of magnetic reluctance forces from lumped magnetic network models and lists reference literature.
Examples illustrates the usage of magnetic network models with simple models from different fields of application.
Copyright © 2005-2019, Modelica Association and contributors
| Name | Description |
|---|---|
| UsersGuide | User's Guide |
| Examples | Illustration of component usage with simple models of various devices |
| Basic | Basic elements of magnetic network models |
| Shapes | Reluctance and permeance elements respectively based on geometric shapes |
| Material | Magnetisation characteristics of common soft magnetic and hard magnetic materials |
| Interfaces | Interfaces of magnetic network components |
| Sources | Sources of different complexity of magnetomotive force and magnetic flux |
| Sensors | Sensors to measure variables in magnetic networks |
| Utilities | Package with utility functions |
See release notes


+Íñigo González, Etxe-Tar +Ángel Hernández, Etxe-Tar +Fernánde Herranz, Etxe-TAr +José Jaime, Etxe-Tar
MIT License
Copyright (c) <2015>
Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the "Software"), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:
The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.
 IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.
This specification defines the FIROS Config version 1 API. FIROS Config API v1 is intended to manage the whitelists, robots connection/disconnections and robots listings in FIROS.
FIROS is a tool that helps connecting robots to the cloud. For this purpose it uses the Robot Operating System (ROS, http://www.ros.org/) and the FIWARE Context Broker (http://catalogue.fiware.org/enablers/publishsubscribe-context-broker-orion-context-broker) as a way to publish and listen robot's data.
This is a work in progress and is changing on a daily basis. First major release 4 will be released by the end of September 2015
This specification is licensed under the FIWARE Open Specification License.
This API makes FIROS connecting to new robots in case their names and topics match the ones allowed on the whitelist.json
This API forces FIROS to disconnect from the robot specified by the NAME parameter. It will also delete any connection and entity associated to the particular robot on the Context Broker.
This API overwrites or creates entries in the robot whitelist.
This API removes elements from the whitelist.
This API restores the whitelist file to its initial state.
Headers
Content-Type: application/json
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[
{
"name": "turtle1",
"topics": [
{
"type": "turtlesim.msg.Pose",
"name": "pose",
"structure": {
"y": "float32",
"x": "float32",
"linear_velocity": "float32",
"angular_velocity": "float32",
"theta": "float32"
},
"pubsub": "subscriber"
},
{
"type": "geometry_msgs.msg.Twist",
"name": "cmd_vel",
"structure": {
"linear": {
"y": "float64",
"x": "float64",
"z": "float64"
},
"angular": {
"y": "float64",
"x": "float64",
"z": "float64"
}
},
"pubsub": "publisher"
}
],
}
]
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Content-Type: application/json
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[
{
"id": "turtle1",
"type": "ROBOT",
"attributes": [
{
"type": "COMMAND",
"name": "COMMAND",
"value": [
"pose"
]
},
{
"type": "DescriptionData",
"name": "descriptions",
"value": "http://wiki.ros.org/ROS/Tutorials/UsingRxconsoleRoslaunch||http://wiki.ros.org/ROS/Tutorials/UnderstandingNodes"
},
{
"type": "turtlesim.msg.Pose",
"name": "pose",
"value": {
"FIROSstamp":<PHONE_NUMBER>.27683,
"linear_velocity": 0,
"theta": 0,
"y": 5.544444561004639,
"x": 5.885244369506836,
"angular_velocity": 0
}
},
{
"type": "geometry_msgs.msg.Twist",
"name": "cmd_vel",
"value": {
"FIROSstamp":<PHONE_NUMBER>309,
"linear": {
"y": 0,
"x": 0,
"z": 0
},
"angular": {
"y": 0,
"x": 0,
"z": 0
}
}
}
]
}
]
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Content-Type: application/json
Body
{}
Headers
Content-Type: application/json
Body
{}
Headers
Content-Type: application/json
Body
{
"turtle\\w+": {
"publisher": ["cmd_vel"],
"subscriber": ["pose"]
},
"robot\\w+": {
"publisher": ["cmd_vel.*teleop", ".*move_base/goal"],
"subscriber": [".*move_base/result"]
}
}
Headers
Content-Type: application/json
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{}
Headers
Content-Type: application/json
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{
"turtle\\w+": {
"publisher": [],
"subscriber": ["pose"]
},
"robot\\w+": {
"publisher": ["cmd_vel.*teleop", ".*move_base/goal"],
"subscriber": []
}
}
Headers
Content-Type: application/json
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{}
Headers
Content-Type: application/json
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{}


In many cartoons, characters that wear glasses seem to have their whole eyes fused into the lens. Their eyelids are nowhere to be seen, often all that is seen are pupils and the lens. Often the pupils go squinty when the character blinks, and the frames of the glasses have the ability to move around similar to an Expressive Mask.
Presumably, this is simply because drawing eyelids inside the glass frames is rather difficult and would create a less appealing character design.
Examples:
open/close all folders
Anime & Manga
- Nobita from Doraemon plays with this. Due to the animation/art style, his eyes did this in the sense that his eyes are animated within them (you'd see his eyelids).

Films — Animation
- Disney's Atlantis: The Lost Empire averts this with Milo (though briefly played straight during the viewing of an old film reel depicting his childhood), but uses it as a brief visual gag about halfway through the film where Kida actually takes off his glasses because of her curiosity and puts them on her face.
- Hotel Transylvania has the Expressive Mask variant with the Invisible Man — which, naturally, is the only way for the audience to see his expression.
- In the My Little Pony: Equestria Girls movie series, the techies wearing Nerd Glasses, notably Scribble Dee and Micro Chips, lean into this, although the glasses don't change shape when they blink (instead the eyelids become visible). Of note, it is entirely averted with the human version of Twilight Sparkle.
 The insides of the lenses are entirely white, even from the back.
- Despicable Me has the goggles-variant with the Minions. But the goggles don't change shape.
Films — Live-Action
- In the 2005 film of The Hitchhiker's Guide to the Galaxy, Hummakavula wears glasses that apparently magnify his eyes many times.  This is the first sign to the protagonists that he is more sinister than he appears.
- The same with Boris the Animal (JUST BORIS!!) in Men in Black 3; his "eyeglasses" sink right into his skull.
Literature
- Melvin Sneedly from the Captain Underpants books, the movie, and the TV show.
Puppet Shows
- Mr. Cook from Allegra's Window is depicted with his pupils on his glasses.
- The Muppet Show:
- Scooter's◊ pupils are attached to the glasses instead of his head.
- Not to mention Bunsen Honeydew, whose only indication that he can see is his glasses.
- Mahna Mahna (from the song of the same name) has no visible eyes, and sunglasses that can blink.
- Sesame Street has Herbert Birdsfoot and Don Music.
Video Games
- Super Mario Bros.:
- Iggy Koopa, starting with Super Mario Bros. 3.
- Dorrie from Super Mario 64 starts wearing a pair of swimming goggles as part of his Yoshi-like redesign in the DS remake.
- Bottles from Banjo-Kazooie has eye glasses that even blink. It is possible to see around his glasses. He does have eyes, however, they don't blink.
- Bentley the Turtle from the Sly Cooper series doesn't even have pupils on his in-game model, let alone eyeballs. Just incredibly thick glasses that grow and shrink to whatever emotion he's feeling.
Web Animation
- The Most Epic Story Ever Told in All of Human History: The Epic Narrator sports these.
- Lazy Purple's narrator Pyro in How it FEELS to play Pyro was given these, due to the stock Pyro's really unexpressive face. Or Eye Goggles or Eye Gas Mask depending on your interpretation of the custom model he used.
Web Comics
- Homestuck
- John Egbert. His glasses go so far as to not even be connected to anything; they don't even have a bridge between the lenses note .
- Bro's Triangle Shades act like this as well, despite not having visible pupils.
- Jade kind of averts it, however, because her eyelashes are visible through the glasses. The same later applies to Jane.
- Lampshaded in the 2012-02-16 animation, where Brobot slaps Jake's glasses off. His pupils go with them.
- Jake later manages to cry through his glasses.
- [S] GAME OVER. subsequently reveals that both John and Jane have the same trait as Jake when their glasses are knocked off. Whether this is also true of Jade remains unseen.
- Several characters in Everyday Heroes have this, most notably Carrie. One good example is seen here.
- Donald Donlan in Gunnerkrigg Court has some quite expressive eyeglasses.
- Both Matchu and his love interest Amber. Matchu's in particular can go from rectangular to round depending on his mood.
- Phil from My Roommate Is an Elf.
- Ronnie from Whomp! has these.
- DumbingOfAge is this at times, particularly Dorothy Keener and Amber OMalley. Billie Billingsworth mostly averts it, other characters vary
- Questionable Content varies considerably. Faye is usually drawn with natural eyes behind realistic frames, but character Tilly/Taffy is much more cartoony in style.
- Averted throughout, all characters having naturally-drawn eyes behind natural-shaped glasses in Frivolesque
Western Animation
- Dr. Fidgel from 3-2-1 Penguins!
- The Adventures of Jimmy Neutron: Carl is an odd case, because the 3-D animation makes it possible to see around his glasses and he still has pupils without eyes.
- Simon from The Alvin Show.
- The Amazing World of Gumball: Principal Brown. Lampshaded once when he took off his glasses briefly and beneath them was another pair of glasses.
- Steve from American Dad! , however, these were most prominent in the earlier episodes (i.e, when he opened his eyes wider, his glasses would get a bit rounder when he did), they're harder to notice in the later ones (his glasses are rectangular).
- Arthur: The titular character had something like this, however, his glasses don't change shape, as his eyes are shown animated within them, though, he did have these in the earlier version of the books.
- Daryl (again) from the Baby Blues animated series.
- Averted on King of the Hill, where all the glass frames are drawn independently of the eyelids.series.
- Ian on Being Ian. His glasses can change shape.
- There's a kind of variation in the Canadian short The Big Snit, where the wife's pupils get stuck in odd positions and she actually removes her eyes as if they were a pince-nez and shakes them rapidly to unstick the pupils. Lampshaded in the following exchange:
Husband: Why are you always shaking your eyes?
Wife: I... I don't shake them like I used to.
Husband: Yes you do! You shake 'em here and shake 'em there!  - Tina from Bob's Burgers plays with this as her eyes are animated/drawn within her glasses.
- Mrs. Bruins from The Berenstain Bears.
- Gramma Alice Green and Remy Remington from Big City Greens.
- Lizzie Devine from Codename: Kids Next Door has it where we see her eyelids through them when she has to be more expressive.
- Inez from Cyberchase.
- Penny Sanchez from ChalkZone.
- Gandhi from Clone High.
- Mung Daal and Truffles from Chowder.
- Scoutmaster Lumpus and Samson from Camp Lazlo.
- Penfold from Danger Mouse.
- Dexter and his dad from Dexter's Laboratory, as well as Mandark. The glasses can change shape depending on expression, as seen above and, in one episode, when Dexter's glasses were knocked off at a Suck E. Cheese's, his glasses had an expression of his being annoyed.
- The Dreamstone: Frizz, at least in the first season (the glasses were fazed out in Season 2). Once he removes his glasses in "The Shrinking Stone" to clean them, his face is blank except for his nose and mouth.
- Duckman. His glasses are his eyes: They have eyebrows.◊ Very odd when he lampshades it by taking the glasses off to clean them: his face is blank. It's also explicitly pointed out in one episode that he has no ears on which to hang the glasses.
- Applied to Mimi and Jeremy on Eliot Kid.
- Averted with Simone from Esme & Roy.
- Denzel Crocker and Tootie from The Fairly OddParents.
- Played with on Family Guy where most characters' glasses just happen to be the same size and shape of their eyeballs, though Peter's glasses do change shape when he frowns. Also lampshaded: In "The King Is Dead," Peter takes off his glasses and his pupils stay attached to the lenses.
- This was mentioned in the DVD commentary for Quagmire's Dad as being the reason it was hard to animate a scene where Peter adjusts his glasses, as, for the most part, they're shown as his eyes.
- This was averted in the episode Peter-assment, where Peter's glasses were broken and he had to wear contacts.
- Meg's large glasses are noticeably bigger than her eyes though and, thus, avert this trope.
- Mr. Slate from The Flintstones.
- Madame Foster from Foster's Home for Imaginary Friends.
- The titular character of FETCH! with Ruff Ruffman.
- Gravity Falls: Grunkle Stan is an interesting case. His eyes are drawn inside the frame; however, they are 'magnified', giving the appearance that his skin appears to be 'fused' to the lens. His glasses also change shape to match his expression, though it's hard to notice, because his eyebrows can be seen over his glasses.
- Irwin from The Grim Adventures of Billy & Mandy.
- Kaz from Hi Hi Puffy AmiYumi.
- Phoebe and Arnold's grandmother from Hey Arnold!.
- Dib from Invader Zim. The lenses even disappear as he closes his eyes. His glasses also have wire-thin frames and no earpieces. Some fans didn't even realize he wore glasses until Zim mentioned it, at which point we suddenly realized what that narrow line connecting Dib's eyes was supposed to be.
- Dannan and Grandpa Piggley on Jakers! The Adventures of Piggley Winks.
- Johnny Test has Susan and Mary Test.
- Lisa Loud and Clyde McBride from The Loud House.
- Leo from Little Einsteins.
- Muppet Babies (1984): Like his adult counterpart, Scooter has these as well as his twin sister, Skeeter. Things get strange in one episode as the kids learn to be more like Gonzo and embrace something weird about themselves. Skeeter takes off her glasses, and shows that her pupils are still in the lenses.
- My Life as a Teenage Robot: Nora Wakeman has the "pupils that blink" variation, but her eyelids also show through her lenses.
- Bessie Higgenbottom from The Mighty B!.
- Averted with Arnold Perlstein from The Magic School Bus.
- The Turbots from PAW Patrol.
- Sherman from Mr. Peabody and Sherman.
- Lawrence Fletcher, Carl Karl and Irving DuBois from Phineas and Ferb.
- There's one episode in which Candace puts on glasses to show how serious and focused she is. And her upper and lower lids show up when she blinks and changes expressions.
- Chuckie Finster, Didi Pickles, Grandpa Lou Pickles, Chas Finster and Drew Pickles from Rugrats. But the glasses don't change shape.
- Otto Rocket and Sam Dullard in Rocket Power both wear eye glasses, though Otto himself is far from a nerd.
- Eileen from Regular Show.
- Filburt Turtle from Rocko's Modern Life.
- Surprisingly averted with Velma in most incarnations of Scooby-Doo. Hanna-Barbara is not normally noted for their painstakingly detailed animation work, but Velma has functioning eyes, eyelids, and eyebrows despite having glasses. It helps a little that her glasses are quite large, so the animators can just draw the whole shebang right onto the lens (nearly everyone else in the series has Skintone Sclerae, so this just makes her look "normal"). Things are played very straight however with her pre-pubescent counterpart in A Pup Named Scooby-Doo.
- Eric Needles from Sidekick.
- Simon in the Land of Chalk Drawings (2002): Simon's eyeglasses would occasionally conform to his mood.
- Millhouse, Ned Flanders and Waylon Smithers Jr. from The Simpsons.
- Andy from Squirrel Boy.
- Bradley from Stickin' Around.
- Mr. Mackey from South Park.
- Mr. Garrison averts this.
- Fu-Fu the Bat from Sagwa, the Chinese Siamese Cat.
- Brainy Smurf from The Smurfs.
- Just like the VeggieTales example down below, The Farmer from Shaun the Sheep wears those glasses with no eyes.
- Angie on Thomas Edisons Secret Lab.
- Otto Osworth from Time Squad.
- Played with in the Total Drama franchise. Of the franchise's bespectacled characters, Beth, Harold, Sam, Mary, Miles, and Tom play it straight while Cameron, Scarlett, and Ellody avert it.
- Teen Titans Go!.
- In the episode, "Hey You, Don't Forget About Me in Your Memory", Beast Boy (in his school uniform) wears them.
- In the Scooby-Doo parody episode, Raven wears them to look like Velma Dinkley.
- Dr. Fox from Unikitty!.
- Hawkodile has an Expressive Mask variant. Despite wearing sunglasses, He doesn't have pupils. His sunglasses can change shape.
- Pa Grape from VeggieTales. Despite wearing glasses, he actually doesn't have eyes.
- W.: William, though the shapes of the lenses don't really change.
- Averted with Brad from Xavier Riddle and the Secret Museum.
- Coop the Chicken from Yin Yang Yo!.


This is a website to implement information from my pre-work projects. The creation will be using the following colors: