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Chips
Chips are compact elements that allow users to enter information, select a choice, filter content, or trigger an action.
References
Import
Design & API Documentation
mdc-chip-set
| Properties |
Description |
| choice: boolean |
Indicates that the chips in the set are choice chips, which allow a single selection from a set of options. |
| filter: boolean |
Indicates that the chips in the set are filter chips, which allow multiple selection from a set of options. |
| Methods |
Description |
| setChoice(choice: boolean) |
Indicates that the chips in the set are choice chips, which allow a single selection from a set of options. |
| setFilter(filter: boolean) |
Indicates that the chips in the set are filter chips, which allow multiple selection from a set of options. |
mdc-chip
| Properties |
Description |
| None yet, coming soon. |
| Events |
Description |
selectionChange:
EventEmitter]]> |
Emitted when the chip is selected or deselected. |
mdc-chip-text
| Indicates the text content of the chip. |
mdc-chip-icon
| Properties |
Description |
| leading: boolean |
Indicates a leading icon in the chip |
| trailing: boolean |
Indicates a trailing icon in the chip |
Sass Mixins
To customize the colors of any part of the chip, use the following mixins.


#include <uwtdma.h>
Class that represents a TDMA Node.
Definition at line 91 of file uwtdma.h.
◆ UWTDMA_STATUS
Enumeration class of UWTDMA status.
| Enumerator |
|---|
| IDLE | |
| TRANSMITTING | |
| RECEIVING | |
Definition at line 206 of file uwtdma.h.
◆ UwTDMA()
Constructor of the TDMA class.
Definition at line 79 of file uwtdma.cpp.
◆ ~UwTDMA()
Destructor of the TDMA class.
Definition at line 140 of file uwtdma.cpp.
◆ changeStatus()
| void UwTDMA::changeStatus |
( |
| ) |
|
|
protectedvirtual |
Alternate TDMA status between MY_STATUS and NOT_MY_STATUS.
Definition at line 350 of file uwtdma.cpp.
◆ command()
| int UwTDMA::command |
( |
int |
argc, |
|
|
const char *const * |
argv |
|
) |
| |
|
protectedvirtual |
TCL command interpreter.
It implements the following OTcl methods:
- Parameters
-
| argc | Number of arguments in argv. |
| argv | Array of strings which are the command parameters (Note that argv[0] is the name of the object). |
- Returns
- TCL_OK or TCL_ERROR whether the command has been dispatched successfully or not.
Definition at line 414 of file uwtdma.cpp.
◆ getEpoch()
| unsigned long int UwTDMA::getEpoch |
( |
| ) |
|
|
inlineprotected |
Calculate the epoch of the event.
Used in sea-trial mode
- Returns
- the epoch of the system
Definition at line 186 of file uwtdma.h.
◆ initPkt()
| void UwTDMA::initPkt |
( |
Packet * |
p | ) |
|
|
protectedvirtual |
Method called to add the MAC header size.
- Parameters
-
| const | Packet* Pointer to an Packet object that rapresent the Packet in transmission |
Definition at line 332 of file uwtdma.cpp.
◆ Mac2PhyStartTx()
| void UwTDMA::Mac2PhyStartTx |
( |
Packet * |
p | ) |
|
|
protectedvirtual |
Method called when the Mac Layer start to transmit a Packet.
- Parameters
-
| const | Packet* Pointer to an Packet object that rapresent the Packet in transmission |
Definition at line 236 of file uwtdma.cpp.
◆ Phy2MacEndRx()
| void UwTDMA::Phy2MacEndRx |
( |
Packet * |
p | ) |
|
|
protectedvirtual |
Method called when the Phy Layer finish to receive a Packet.
- Parameters
-
| const | Packet* Pointer to an Packet object that rapresent the Packet in reception |
Definition at line 276 of file uwtdma.cpp.
◆ Phy2MacEndTx()
| void UwTDMA::Phy2MacEndTx |
( |
const Packet * |
p | ) |
|
|
protectedvirtual |
Method called when the Mac Layer finish to transmit a Packet.
- Parameters
-
| const | Packet* Pointer to an Packet object that rapresent the Packet in transmission |
Definition at line 254 of file uwtdma.cpp.
◆ Phy2MacStartRx()
| void UwTDMA::Phy2MacStartRx |
( |
const Packet * |
p | ) |
|
|
protectedvirtual |
Method called when the Phy Layer start to receive a Packet.
- Parameters
-
| const | Packet* Pointer to an Packet object that rapresent the Packet in reception |
Definition at line 266 of file uwtdma.cpp.
◆ recvFromUpperLayers()
| void UwTDMA::recvFromUpperLayers |
( |
Packet * |
p | ) |
|
|
protectedvirtual |
Receive the packet from the upper layer (e.g.
IP)
- Parameters
-
| Packet* | pointer to the packet received |
Definition at line 145 of file uwtdma.cpp.
◆ recvSyncClMsg()
| int UwTDMA::recvSyncClMsg |
( |
ClMessage * |
m | ) |
|
|
virtual |
Cross-Layer messages synchronous interpreter.
- Parameters
-
| ClMessage* | an instance of ClMessage that represent the message received |
- Returns
- 0 if successful.
Definition at line 498 of file uwtdma.cpp.
◆ rxPacketNotForMe()
| void UwTDMA::rxPacketNotForMe |
( |
Packet * |
p | ) |
|
|
protectedvirtual |
Method called when the Packet received is determined to be not for me.
- Parameters
-
| const | Packet* Pointer to an Packet object that rapresent the Packet in reception |
Definition at line 343 of file uwtdma.cpp.
◆ start()
| void UwTDMA::start |
( |
double |
delay | ) |
|
|
protectedvirtual |
Schedule the beginning of each TDMA cycle, each one after delay
.
- Parameters
-
| delay | to await before starting the TDMA |
Definition at line 380 of file uwtdma.cpp.
◆ stateTxData()
| void UwTDMA::stateTxData |
( |
| ) |
|
|
protectedvirtual |
Change transceiver status and and start to transmit if in my slot Used when there's spare time, useful for transmitting other packtes.
Definition at line 195 of file uwtdma.cpp.
◆ stop()
Terminate a TDMA cycle, essentially cancel the TDMA timer.
Definition at line 403 of file uwtdma.cpp.
◆ txData()
Transmit a data packet if in my slot.
Definition at line 203 of file uwtdma.cpp.
◆ UwTDMATimer
◆ buffer
| std::deque<Packet *> UwTDMA::buffer |
|
protected |
Buffer of the MAC node.
Definition at line 227 of file uwtdma.h.
◆ checkPriority
| int UwTDMA::checkPriority |
|
protected |
flag to set to 1 if UWCBR module uses packets with priority, set to 0 otherwise.
Priority can be used only with UWCBR module
Definition at line 238 of file uwtdma.h.
◆ debug_
Debug variable: 0 for no info, >-5 for small info, <-5 for complete info.
Definition at line 211 of file uwtdma.h.
◆ drop_old_
flag to set the drop packet policy in case of buffer overflow: if 0 (default) drops the new packet, if 1 the oldest
Definition at line 235 of file uwtdma.h.
◆ enable
◆ fair_mode
Fair modality on if 1: then only set tot_slots and common guard_time.
Definition at line 214 of file uwtdma.h.
◆ frame_duration
| double UwTDMA::frame_duration |
|
protected |
Frame duration.
Definition at line 222 of file uwtdma.h.
◆ guard_time
| double UwTDMA::guard_time |
|
protected |
Guard time between slots.
Definition at line 223 of file uwtdma.h.
◆ HDR_size
Size of the HDR if any.
Definition at line 221 of file uwtdma.h.
◆ max_packet_per_slot
| int UwTDMA::max_packet_per_slot |
|
protected |
max numer of packet it can transmit per slot
Definition at line 232 of file uwtdma.h.
◆ max_queue_size
| int UwTDMA::max_queue_size |
|
protected |
Maximum dimension of Queue.
Definition at line 231 of file uwtdma.h.
◆ name_label_
| std::string UwTDMA::name_label_ |
|
protected |
label added in the log file, empty string by default
Definition at line 237 of file uwtdma.h.
◆ out_file_stats
| std::ofstream UwTDMA::out_file_stats |
|
protected |
File stream for the log file.
Definition at line 228 of file uwtdma.h.
◆ packet_sent_curr_slot_
| int UwTDMA::packet_sent_curr_slot_ |
|
protected |
counter of packet has been sent in the current slot
Definition at line 233 of file uwtdma.h.
◆ sea_trial_
Written log variable.
Definition at line 213 of file uwtdma.h.
◆ slot_duration
| double UwTDMA::slot_duration |
|
protected |
Slot duration.
Definition at line 224 of file uwtdma.h.
◆ slot_number
set the position of the node in the frame (fair_mode) (starting from 0 to tot_slots-1)
Definition at line 218 of file uwtdma.h.
◆ slot_status
Is it my turn to transmit data?
Definition at line 210 of file uwtdma.h.
◆ start_time
| double UwTDMA::start_time |
|
protected |
Time to wait before starting the protocol.
Definition at line 225 of file uwtdma.h.
◆ tdma_timer
TDMA timer handler.
Definition at line 226 of file uwtdma.h.
◆ tot_slots
Number of slots in the frame (fair_mode)
Definition at line 217 of file uwtdma.h.
◆ transceiver_status
Variable holding the status enum type.
Definition at line 209 of file uwtdma.h.
The documentation for this class was generated from the following files:


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Frontend Academy
This is a static HTML & CSS playground. You can find the source files under the ./static
directory.
This page should automatically refresh when you edit and save the files!
This is a static HTML & CSS playground. You can find the source files under the ./static
directory.
This page should automatically refresh when you edit and save the files!


Press enter to activate command box. Type in "takeoff()", "up(0.3)", or "animate('flipLeft', 15)".
View more commands on
ar-drone
or enter
LOGO
commands FTW.
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A TALE OF WINTER A film review by James Berardinelli Copyright 1994 James Berardinelli
Rating (Linear 0 to 10): 8.0
Date Released: varies Running Length: 1:53 Rated: NR (Nudity, sexual situations)
Starring: Charlotte Very, Frederic Van Dren Driessche, Michel Voletti, Herve Furic, Ava Loraschi, Christiane Desbois Director: Eric Rohmer Producer: Margaret Menegoz Screenplay: Eric Rohmer Cinematography: Luc Pages Music: Sebastien Erms Released by MK2 Productions USA In French with subtitles
A TALE OF WINTER is the second installment in French director Eric Rohmer's TALE OF FOUR SEASONS series. The first, A TALE OF SPRINGTIME, was produced in 1989 and released in the United States approximately two years ago. Rohmer's intention with these films is to "focus on attractive, intelligent, self-absorbed if not entirely self-aware young women who present their dilemmas with clarity and elegance and express their feelings in inspired and witty dialogue."
The first picture, A TALE OF SPRINGTIME, tells of the budding friendship between a young woman and a girl ten years her junior. It has a lot to say about the human condition, and does so through a small group of characters that we grow to know and care about. Occasionally, the film slips off-track with pretentious intellectual spiels on philosophy, but in general A TALE OF SPRINGTIME progresses like real life, with superb characterization and deft acting as its hallmarks.
A TALE OF WINTER, which involves very different situations and characters from those presented in Springtime, is even more engrossing than its predecessor. The theme of this film is love, which is something that just about every human can relate to. Whatever form love might take--friendship, companionship, passion, sex--A TALE OF WINTER examines it.
The movie opens with Felicie (Charlotte Very) engaging in a brief- but-intense "vacation affair" in the south of France with Charles (Frederic Van Dren Driessche), an itinerant chef who is on his way to America. As a result of a mistake in the address she gives him, Felicie loses touch with Charles, and is unable to contact him when she gives birth to Elise (Ava Loraschi), their daughter.
Five years later, it's winter in Paris, and even though Felicie is currently involved with two men--Maxence (Michel Voletti) and Loic (Herve Furic)--both of whom are madly in love with her, Felicie is unable to commit to a relationship with either because of a premonition that someday she will again find Charles, her one true love. Nevertheless, reality is a cruel taskmaster, and Felicie is finding it increasingly difficult to define exactly how she feels about Maxence and Loic.
A TALE OF WINTER is gripping and engaging, not only because of the mystery of whether Felicie will ever again encounter Charles, but in its carefully realistic portrayals of her relationships with Maxence (a beautician whom she finds physically attractive) and Loic (an "egghead" whom she finds intellectually stimulating). Each of these men is a different sort of person, and their interactions with Felicie are fascinating to observe. No matter who you are, you're likely to see some element of yourself in one of the three main characters.
There are no villains in this film. In fact, all of the principles are likeable. Conflict, while not shunned, is kept to a minimum, and issues are resolved in a sound, rational manner with no hint of melodrama. And, for those who have never seen an upbeat French film, or one with a "happy ending," A TALE OF WINTER is likely to surprise.
As seems obligatory in any Rohmer movie, there are a number of highly-philosophical discussions, some of which run on a little long (although the excesses present in A TALE OF SPRINGTIME are avoided here). Topics include the nature of intelligence, the relationship between the supernatural and religion, the meaning of love, and the existence of the soul. Some of these are engrossing; others are worthy of a yawn. For those to whom such intellectual interactions do not appeal, there is always the core story.
Charlotte Very is an appealing young actress whose exposure in this movie led to her being cast for a supporting role in BLUE. The bubbly energy she invests Felicie with keeps A TALE OF WINTER upbeat, even when things aren't going right. Very plays as well off her co-stars as they do off of her, and is plainly the centerpiece of attention.
A TALE OF WINTER gets its name from Shakespeare's THE WINTER'S TALE, a scene from which is performed during the course of the movie. Watch this carefully, since it gives more than a clue as to how Felicie's story will be resolved.
With A TALE OF SPRINGTIME and A TALE OF WINTER, Eric Rohmer has given us a pair of wonderful motion pictures. Each deals with the complexities of apparently-simple themes, and utilizes genuine characters and uncontrived situations to work through them. Friendship with Spring and Love with Winter ... I wonder what Summer and Autumn will bring.
- James Berardinelli<EMAIL_ADDRESS>.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


{% extends "lifesaving_rankings/base.html" %} {% load datetime_filter django_bootstrap_breadcrumbs %} {% load to_url_filter %} {% block head_title %}{{ athlete.name }}: {{ event.name }}{% endblock %} {% block meta_description %}All the times of {{ athlete.name }} on the {{ event.name }}, collected on Lifesaving Rankings{% endblock %} {% block breadcrumbs %} {% breadcrumb "Home" "/" %} {% breadcrumb athlete.name "athlete-overview" athlete.slug %} {% breadcrumb event.name "athlete-event" athlete.slug event.name|to_url %} {% render_breadcrumbs "lifesaving_rankings/breadcrumb_template.html" %} {% endblock %} {% block content %}
| Competition | Time | Location | Date |
|---|---|---|---|
| {% if times.competition.name %} {{ times.competition.name }} {% endif %} | {{ times.time|format_time }} {% if forloop.first %}{% endif %} | {{ times.competition.location }} | {{ times.competition__date|date:"Y-m-d" }} {{ times.competition.date }} |


India vs Bangladesh Pink ball Test: Ishant Sharma highlights Indian domination at Eden Gardens
India vs Bangladesh Pink ball Test, Day 1: After Ishant Sharma picked 5 for 22 to destroy Bangladesh, Cheteshwar Pujara and Virat Kohli hit fifties and ensured India finished Day 1 with a lead.
HIGHLIGHTS
- India were 174 for 3, leading Bangladesh by 68 runs at stumps on Day 1
- Ishant Sharma (5 for 22) was India's star with the ball in Kolkata
- Cheteshwar Pujara and Virat Kohli helped India take the lead
Also Read
Also See:


{{ appName }} creates an API client connector when you upload a valid Swagger specification that describes the API you want to connect to.
This will remove all connections for this connector. Deleting this connector does not affect running integrations.
Are you sure you want to delete the "{{ deletableApiConnectorName }}" connector?


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{%- block document %}
{{ super() }}
{%- endblock %}
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{# agogo/layout.html ~~~~~~~~~~~~~~~~~ Sphinx layout template for the agogo theme, originally written by Andi Albrecht. :copyright: Copyright 2007-2013 by the Sphinx team, see AUTHORS. :license: BSD, see LICENSE for details. #} {%- extends "basic/layout.html" %} {% block header %}


Webdot can convert the graph into the contents of an <iframe> with a graph image, pan & zoom controls, and client-side mapping of the graph objects.
For example, graphquest.dot contains:
graph G { node [URL="\N.html" target="new" label="" tooltip="Node \N" width=0.3 height=0.3 style=filled fillcolor=lightblue pencolor=black] a -- b -- c -- d -- e; f -- g -- c -- h -- i; j -- k -- c; } |
<iframe name="gq" src="/cgi-bin/webdot/webdot/graphquest.dot.neato.gq.240,240" width="380" height="360" frameborder="0" scrolling="no" ></iframe> |
The advantages of this mode of WebDot are simple authoring and the responsiveness of client-side mapping. Notice that the URL that would be reached by clicking on a node is flashed into the status bar at the bottom of the browser.
One disadvantage is that there is no guarantee that a graph will fit the frame at the initial zoom setting, possibly requiring the user to zoom to see the whole graph.
The size of the image does not depend on the contents of the graph, but is fixed by the viewport dimensions specified in the URL, 320x320 in this example (320 = 240 * 96/72). This eases page design. The width and height of the <iframe> needs to be 60 wider and 40 higher than the graph image to allow for the pan&zoom controls.
The <iframe> must be named "gq" for the pan&zoom updates to be correctly targeted.


On-the-fly aluminum potential¶
Here we give an example of running OTF (on-the-fly) training with QE (Quantum Espresso) and NVE ensemble. We use our unit test file as illustration (test_OTF_qe.py)
First, let’s set up a GP model with three-body kernel function.
- kernel_grad: set to be the gradient of kernel function used for hyperparameter training.
- hyps: the array of hyperparameters, whose names are shown in hyp_labels.
- cutoffs: consists of two values. The 1st is the cutoff of two-body and the 2nd is for three-body kernel. Usually we will set a larger one for two-body.
- energy_force_kernel: set to calculate local energy for each atom based on the integral of forces.
- maxiter: set to constrain the number of steps in training hyperparameters.
Note: If you are trying multi-component system, please use kernel functions in mc_simple.py instead of kernels.py
# make gp model
kernel = en.three_body
kernel_grad = en.three_body_grad
hyps = np.array([0.1, 1, 0.01])
hyp_labels = ['Signal Std', 'Length Scale', 'Noise Std']
cutoffs = np.array([3.9, 3.9])
energy_force_kernel = en.three_body_force_en
gp = \
GaussianProcess(kernel=kernel,
kernel_grad=kernel_grad,
hyps=hyps,
cutoffs=cutoffs,
hyp_labels=hyp_labels,
energy_force_kernel=energy_force_kernel,
maxiter=50)
The next step is to set up DFT calculator, here we use QE (quantum espresso). Suppose we’ve prepared a QE input file in current directory ./pwscf.in, and have set the environment variable PWSCF_COMMAND to the location of our QE’s executable pw.x. Then we specify the input file and executable by qe_input and dft_loc.
# set up DFT calculator
qe_input = './pwscf.in' # quantum espresso input file
dft_loc = os.environ.get('PWSCF_COMMAND')
Then we can set up our OTF MD engine.
- dt: the time step in unit of ps
- number_of_steps: the number of steps that the MD is run
- std_tolerance_factor: the uncertainty threshold = std_tolerance_factor x hyps[-1]. In OTF training, when GP predicts uncertainty above the uncertainty threshold, it will call DFT
- max_atoms_added: constrain the number of atoms added to the training set after each DFT call
- freeze_hyps: stop training hyperparameters and fix them from the freeze_hyps th step. Usually set to a small number, because for large dataset the training will take long.
- init_atoms: list of atoms to be added in the first DFT call. Because there’s no uncertainty predicted in the initial DFT call, so there’s no selection rule to pick up “maximully uncertain” atoms into the training set, we have to specify which atoms to pick up by this variable.
- calculate_energy: if True, the local energy on each atom will be calculated
- output_name: the name of the logfile
- skip: record/dump the information every skip steps.
# set up OTF parameters
dt = 0.001 # timestep (ps)
number_of_steps = 100 # number of steps
std_tolerance_factor = 1
max_atoms_added = 2
freeze_hyps = 3
otf = OTF(qe_input, dt, number_of_steps, gp, dft_loc,
std_tolerance_factor, init_atoms=[0],
calculate_energy=True, output_name='al_otf_qe',
freeze_hyps=freeze_hyps, skip=5,
max_atoms_added=max_atoms_added)
Finally, let’s run it!
# run OTF MD
otf.run()
After OTF training is finished, we can check log file al_otf_qe.out for all the information dumped. This output file can be parsed using our otf_parser.py module, which we will give an introduction later.


So I am learning JavaScript.. here is what I learnt so far and how I
understand it (From Eloquent JavaScript).
First we will look for the first four basic value types: number, string,
boolean and undefined. They are created by typing in their name (true,
null) or value (13, "abc"). You can combine and transform values with
operators. Like binary operators for arithmetic (+, -, *, /, and %),
string concatenation (+), comparison (==, !=, ===, !==, <, >, <=, >=),
and logic (&&, ||), as well as several unary operators (- to negate a
number, ! to negate logically, and typeof to find a valu's type) and a
tenary operator ( ? : ) to pick one of two values based on a thirs
value.


The Animator component is used to assign animation to a GameObject in your scene. The Animator component requires a reference to an Animator Controller which defines which animation clips to use, and controls when and how to blend and transition between them.
If the GameObject is a humanoid character with an Avatar definition, the Avatar should also be assigned in this component, as seen here:
This diagram shows how the various assets (Animation Clips, an Animator Controller, and an Avatar) are all brought together in an Animator Component on a Game Object:
See Also State Machines, Blend Trees, Avatar, Animator Controller
| Property: | Function: |
|---|---|
| Controller | The animator controller attached to this character. |
| Avatar | The Avatar for this character. (If the Animator is being used to animate a humanoid character) |
| Apply Root Motion | Should we control the character’s position and rotation from the animation itself or from script. |
| Update Mode | This allows you to select when the Animator updates, and which timescale it should use. |
| Normal | The animator is updated in-sync with the Update call, and the animator’s speed matches the current timescale. If the timescale is slowed, animations will slow down to match. |
| Animate Physics | The animator is updated in-sync with the FixedUpdate call (i.e. in lock-step with the physics system). You should use this mode if you are animating the motion of objects with physics interactions, such as characters which can push rigidbody objects around. |
| Unscaled Time | The animator is updated in-sync with the Update call, but the animator’s speed ignores the current timescale and animates at 100% speed regardless. This is useful for animating a GUI system at normal speed while using modified timescales for special effects or to pause gameplay. |
| Culling Mode | Culling mode you can choose for animations. |
| Always Animate | Always animate, don’t do culling even when offscreen. |
| Cull Update Transforms | Retarget, IK and write of Transforms are disabled when renderers are not visible. |
| Cull Completely | Animation is completely disabled when renderers are not visible. |
The information box at the bottom of the Animator component provides you with a breakdown of the data being used in all the clips used by the Animator Controller.
An animation clip contains data in the form of “curves”, which represent how a value changes over time. These curves may describe the position or rotation of an object, the flex of a muscle in the humanoid animation system, or other animated values within the clip such as a changing material colour.
This table explains what each item of data represents:
| Label | Description |
|---|---|
| Clip Count | The total number of animation clips used by the animator controller assigned to this Animator. |
| Curves (Pos, Rot & Scale) | The total number of curves used to animate the position, rotation or scale of objects. These are for animated objects that are not part of a standard humanoid rig. When animating a humanoid avatar, these curves would show up a count for extra non-muscle bones such as a tail, flowing cloth or a dangling pendant. If you have a humanoid animation and you notice unexpected non-muscle animation curves, you mave have unnecessary animation curves in your animation files. |
| Muscles | The number of muscle animation curves used for humanoid animation by this Animator. These are the curves used to animate the standard humanoid avatar muscles. As well as the standard muscle movements for all the humanoid bones in Unity’s standard avatar, this also includes two “muscle curves” which store the root motion position and rotation animation. |
| Generic | The number of numeric (float) curves used by the animator to animate other properties such as material colour. |
| PPtr | The total count of sprite animation curves (used by Unity’s 2d system) |
| Curves Count | The total combined number of animation curves |
| Constant | The number of animation curves that are optimised as constant (unchanging) values. Unity selects this automatically if your animation files contain curves with unchanging values. |
| Dense | The number of animation curves that are optimised using the “dense” method of storing data (discrete values which are interpolated between linearly). This method uses less significantly less memory than the “stream” method. |
| Stream | The number of animation curves using the “stream” method of storing data (values with time and tangent data for curved interpolation). This data occupies significantly more memory than the “dense” method. |
If your animation clips are imported with “Anim Compression” set to “Optimal” in the Animation Import Settings, Unity will use a heuristic algorithm to determine whether it is best to use the dense or stream method to store the data for each curve.


They are most interested in the field of artificial intelligence and have excellent insights. Projects in the field of data science have developed programs to classify images using machine learning, and programs to predict the products that people buy the most in Sopping Mall. He also has experience in developing applications and creating websites. As an application, I created a simple jump game, Role Playing Game game application, and the website researched the game and developed a site that assists E-sports. In other words, I have this rich experience and am running toward my dream as a data scientist.
In the past graduated from the Department of AI Software at Sunmoon University
2018 Mar - 2024 Dec
Experience with all phases of the software life-cycle. Passion for learning new technologies. Capable of working within a team environment and independently. Ability to plan and time schedule, work under strict time pressure and adapt quickly when needed
He is a very intelligent and diligent fellow. To pick one of his strengths, he is perseverance in never giving up. Also, few people know how to analyze data with outstanding insights and will beat him in machine learning. If I were the boss, I would pick this guy right away.
Bebelime / Samsung
彼はとても聡明で勤勉なやつです。 こいつの長所を一つ選ぶとしたら絶対諦めないで進む根気です。 また、優れた洞察力でデータを分析でき、マシンラーニング分野では彼に勝つ人はあまりいないでしょう。 私が社長ならこいつはすぐに採用しました。
Yeob_cirby / Nintendo
2021 Yeobdoll - All rights reserved


--- layout: page title: Works header: Works by Rhys group: listen published: true permalink: works.html ---
He Wishes for the Cloths of Heaven - SATB choir, pno - 3'
He Tells of the Perfect Beauty - SATB choir, pno - 3'
The Ones Who Walk Away From Omelas - 2+picc,2,3+bcl,1+cbn-2ax,tx,bx-4,3,3db,euph,1-db,timp,perc(2)[sus. cym, sd, ss] - 8'30
In The Organ Pipes - pno - 8'45"
The Lone Door - perc - 4'
Contested Land - 1+picc,2,2d1,2-4,3,3,1-timp-str - 2'30
Bright Black - 2 pno, 6'
Epiphonics - 2 C tpt, 2 Bb tpt - 8'
Cepheid Variable - tn recorder, ax - 2'
Key Performance Indicators - 2pno - 5'
Monomyth String Quartet - 2vln, vla, vc - 7'
Dream Suite ('Lullaby for a Drunken Ogre') - cl, pno - 5'
The Wound - sop, pno - 3'
Gazoullis - fl, cl, vln, vc, pno - 5'15
The Old Days - pno - 3'
Reflections - cl. - 1'45
Trumpet Suite - 6'
Bear Hunt - 2vln, vla, vc, cb - 3'
Music for String Performer and Audience - stringed instrument, audience - ???'


To run your tests, enter MATLAB commands separated by semicolons.
Example: cd c:\MATLAB\tests; runtests('IncludingSubfolder','true');
Recommendation:If you require a number of MATLAB commands to execute your build, consider writing a MATLAB script and executing the script file instead.
Note: The build will fail if the execution of any MATLAB command causes an error.


--- layout: default title: Rackspace Developer Center ---
As a part of Rackspace's continued dedication and support to the developer community and open source we want to give you something special. Just to say thank you.
The world is filled with developers, hackers, devops people and more - you are the creators, makers, and sustainers. Each day you get up thinking of new, amazing, awesome things and put your imagination and skills to work.
Rackspace is dedicated to making all developers' lives easier and we're passionate about supporting collaborative open source projects and communities.
When you sign up today, you will get USD $300 in free cloud services - that's up to USD $50 per month credit for six months on your Rackspace Cloud account, powered by OpenStack™.
The discount does apply to new products, such as our Performance Cloud Servers, Cloud Queues, and other products we launch. Additionally, you are eligible for early access to new features and products we may roll out.
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Sigh. Yes, there's fine print - read the terms of service, please - when our legal team isn't fighting the war on patent trolls, and for your rights online, they have to do something!


Post-parsing
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Cookie.php
Cript.php
DataBase.php
DataBaseMy.php
Errors.php
Photo.php
RssGenerator.php
SendFile.php
SendMail.php
Session.php
Post-parsing
Warnings:
Warning -
duplicate class element "Connection" in file C:\Web Pages\xC3\classes\ConnectionMy.php will be ignored.
Use an @ignore tag on the original if you want this case to be documented.
Warning -
duplicate class element "DataBase" in file C:\Web Pages\xC3\classes\DataBaseMy.php will be ignored.
Use an @ignore tag on the original if you want this case to be documented.
Config.php
Warnings:
Warning on line 197 - docblock template never terminated with /**#@-*/
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Documentation generated on Thu, 17 Nov 2005 01:05:33 -0200 by phpDocumentor 1.3.0RC3


| 1 | package fr.sii.ogham.email.sendgrid.v4.sender.impl.sendgrid.handler; | |
| 2 | ||
| 3 | import org.slf4j.Logger; | |
| 4 | import org.slf4j.LoggerFactory; | |
| 5 | ||
| 6 | import com.sendgrid.helpers.mail.Mail; | |
| 7 | ||
| 8 | import fr.sii.ogham.core.message.content.Content; | |
| 9 | import fr.sii.ogham.email.attachment.Attachment; | |
| 10 | import fr.sii.ogham.email.exception.sendgrid.ContentHandlerException; | |
| 11 | import fr.sii.ogham.email.message.Email; | |
| 12 | import fr.sii.ogham.email.message.content.ContentWithAttachments; | |
| 13 | ||
| 14 | /** | |
| 15 | * Content handler that extract {@link Attachment} that are associated to the | |
| 16 | * {@link ContentWithAttachments}. | |
| 17 | */ | |
| 18 | public final class ContentWithAttachmentsHandler implements SendGridContentHandler { | |
| 19 | private static final Logger LOG = LoggerFactory.getLogger(ContentWithAttachmentsHandler.class); | |
| 20 | private final SendGridContentHandler delegate; | |
| 21 | ||
| 22 | /** | |
| 23 | * Initialize with the {@link SendGridContentHandler} that is able to handle | |
| 24 | * the underlying content. | |
| 25 | * | |
| 26 | * @param delegate | |
| 27 | * the handler | |
| 28 | */ | |
| 29 | public ContentWithAttachmentsHandler(SendGridContentHandler delegate) { | |
| 30 | super(); | |
| 31 | this.delegate = delegate; | |
| 32 | } | |
| 33 | ||
| 34 | @Override | |
| 35 | public void setContent(Email original, Mail email, Content content) throws ContentHandlerException { | |
| 36 |
1
1. setContent : All method instructions removed → NO_COVERAGE |
ContentWithAttachments cwa = (ContentWithAttachments) content; |
| 37 | for (Attachment attachment : cwa.getAttachments()) { | |
| 38 | LOG.debug("Attaching {} to email", attachment); | |
| 39 | original.attach(attachment); | |
| 40 | } | |
| 41 | delegate.setContent(original, email, cwa.getContent()); | |
| 42 | } | |
| 43 | } | |
Mutations | ||
| 36 |
1.1 |


from clubcpg.ParseBam import BamFileReadParser
import os
import logging
from multiprocessing import Pool
import numpy as np
from collections import defaultdict
import time
from pandas.core.indexes.base import InvalidIndexError
[docs]class CalculateCompleteBins:
"""
Class to calculate the number of reads covering all CpGs
"""
[docs] def __init__(self, bam_file: str, bin_size: int, output_directory: str, number_of_processors=1, mbias_read1_5=None, mbias_read1_3=None,
mbias_read2_5= None, mbias_read2_3=None, no_overlap=True):
"""
This class is initialized with a path to a bam file and a bin size
:param bam_file: One of the BAM files for analysis to be performed
:param bin_size: Size of the bins for the analysis, integer
:number_of_processors: How many CPUs to use for parallel computation, default=1
"""
self.input_bam_file = bam_file
self.bin_size = int(bin_size)
self.number_of_processors = int(number_of_processors)
self.output_directory = output_directory
self.bins_no_reads = 0
self.bins_yes_reads = 0
self.mbias_read1_5 = mbias_read1_5
self.mbias_read1_3 = mbias_read1_3
self.mbias_read2_5 = mbias_read2_5
self.mbias_read2_3 = mbias_read2_3
self.no_overlap = no_overlap
[docs] def calculate_bin_coverage(self, bin):
"""
Take a single bin, return a matrix. This is passed to a multiprocessing Pool.
:param bin: Bin should be passed as "Chr19_4343343"
:return: pd.DataFrame with rows containing NaNs dropped
"""
# Get reads from bam file
parser = BamFileReadParser(self.input_bam_file, 20, self.mbias_read1_5, self.mbias_read1_3,
self.mbias_read2_5, self.mbias_read2_3, self.no_overlap)
# Split bin into parts
chromosome, bin_location = bin.split("_")
bin_location = int(bin_location)
try:
reads = parser.parse_reads(chromosome, bin_location-self.bin_size, bin_location)
matrix = parser.create_matrix(reads)
except ValueError:
# No reads are within this window, do nothing
# logging.info("No reads found for bin {}".format(bin))
self.bins_no_reads += 1
return None
except:
logging.error("Unknown error: {}".format(bin))
return None
# drop rows of ALL NaN
matrix = matrix.dropna(how="all")
# convert to data_frame of 1s and 0s, drop rows with NaN
matrix = matrix.dropna()
# if matrix is empty, attempt to create it with correction before giving up
if len(matrix) == 0:
original_matrix = matrix.copy()
# logging.info("Attempting correction of CpG positions in bin {}".format(bin))
reads = parser.correct_cpg_positions(reads)
try:
matrix = parser.create_matrix(reads)
except InvalidIndexError as e:
logging.error("Invalid Index error when creating matrices at bin {}".format(bin))
logging.debug(str(e))
return bin, original_matrix
except ValueError as e:
logging.error("Matrix concat error ar bin {}".format(bin))
logging.debug(str(e))
matrix = matrix.dropna()
if len(matrix) > 0:
logging.info("Correction attempt at bin {}: SUCCESS".format(bin))
else:
logging.info("Correction attempt at bin {}: FAILED".format(bin))
return bin, matrix
[docs] def get_chromosome_lengths(self):
"""
Get dictionary containing lengths of the chromosomes. Uses bam file for reference
:return: Dictionary of chromosome lengths, ex: {"chrX": 222222}
"""
parser = BamFileReadParser(self.input_bam_file, 20)
return dict(zip(parser.OpenBamFile.references, parser.OpenBamFile.lengths))
[docs] @staticmethod
def remove_scaffolds(chromosome_len_dict):
"""
Return a dict containing only the standard chromosomes starting with "chr"
:param chromosome_len_dict: A dict generated by get_chromosome_lenghts()
:return: a dict containing only chromosomes starting with "chr"
"""
new_dict = dict(chromosome_len_dict)
for key in chromosome_len_dict.keys():
if not key.startswith("chr"):
new_dict.pop(key)
return new_dict
[docs] def generate_bins_list(self, chromosome_len_dict: dict):
"""
Get a dict of lists of all bins according to desired bin size for all chromosomes in the passed dict
:param chromosome_len_dict: A dict of chromosome length sizes from get_chromosome_lenghts, cleaned up by remove_scaffolds() if desired
:return: dict with each key being a chromosome. ex: chr1
"""
all_bins = defaultdict(list)
for key, value in chromosome_len_dict.items():
bins = list(np.arange(self.bin_size, value + self.bin_size, self.bin_size))
bins = ["_".join([key, str(x)]) for x in bins]
all_bins[key].extend(bins)
return all_bins
[docs] def analyze_bins(self, individual_chrom=None):
"""
Main function in class. Run the Complete analysis on the data
:param individual_chrom: Chromosome to analyze: ie "chr7"
:return: filename of the generated report
"""
# Track the progress of the multiprocessing and output
def track_progress(job, update_interval=60):
while job._number_left > 0:
logging.info("Tasks remaining = {0}".format(
job._number_left * job._chunksize))
time.sleep(update_interval)
# Get and clean dict of chromosome lenghts, convert to list of bins
print("Getting Chromosome lengths from bam files...", flush=True)
chromosome_lengths = self.get_chromosome_lengths()
chromosome_lengths = self.remove_scaffolds(chromosome_lengths)
# If one chromosome was specified use only that chromosome
if individual_chrom:
new = dict()
new[individual_chrom] = chromosome_lengths[individual_chrom]
chromosome_lengths = new
print("Generating bins for the entire genome...", flush=True)
bins_to_analyze = self.generate_bins_list(chromosome_lengths)
# Set up for multiprocessing
print("Beginning analysis of bins using {} processors.".format(self.number_of_processors), flush=True)
print("This will take awhile.....", flush=True)
# Loop over bin dict and pool.map them individually
final_results = []
for key in bins_to_analyze.keys():
print("Analyzing chromosome {}".format(key), flush=True)
pool = Pool(processes=self.number_of_processors)
results = pool.map_async(self.calculate_bin_coverage, bins_to_analyze[key])
track_progress(results)
# once done, get results
results = results.get()
final_results.extend(results)
print("Finished chromosome {}".format(key), flush=True)
logging.info("Analysis complete")
print("Complete.", flush=True)
# Write to output file
output_file = os.path.join(self.output_directory, "CompleteBins.{}.{}.csv".format(os.path.basename(self.input_bam_file), individual_chrom))
with open(output_file, "w") as out:
for result in final_results:
if result:
# bin
out.write(result[0] + ",")
# num of reads
out.write(str(result[1].shape[0]) + ",")
# num of CpGs
out.write(str(result[1].shape[1]) + "\n")
logging.info("Full read coverage analysis complete!")
return output_file


The Man Who Would Be King (1975)
Grade: 66
"The Man Who Would Be King" is a good film that should have been a great film. It had so much potential: it was well-cast, with Sean Connery and Michael Caine playing the leads. John Huston, a force behind many great films, was the director. The set and costumes are excellent: you feel as if you are actually there in remote Karafistan. It is a very good story, and with an important moral: lust for power and greed can do you in.
Connery and Caine are 19th century British soldiers stationed in India. They are expelled from India due to roguish behavior such as theft, gun-smuggling and blackmail. They decide to visit remote Karafistan, install themselves as rulers there, then confiscate any treasure to be found there. Their plan goes very well, until Connery discovers that he would rather remain as king than flee with treasure.
What bothered me most about "The Man Who Would Be King" is the conceit of the main characters. Caine delivers a line similar to "He's not a God, but an Englishman. The next best thing." The soldiers truly believe that it is their right to slaughter, mislead and plunder Karafistanis if it serves their interests. Early in the film, Caine throws a subservient Indian out the window a moving train. This is supposed to be humorous. The Englishmen consistently are able to fool Indians and Karafistanis, who ought to know better.
Other minor complaints: a Karafistani woman (Shakira Caine, Michael's real-life spouse) has the Western name 'Roxanne'. Upon reaching Karafistani, the British soldiers immediately encounter the only man (Billy, played by Saeed Jaffrey) who speaks English in the entire country. Even more incredibly, at their first meeting Billy offers unconditional loyalty to the Englishmen.
Still, the cast, sets, costumes, story, script and score are all very good. "The Man Who Would Be King" remains a good movie, but it would be properly titled "The Film That Would Be Great".
<EMAIL_ADDRESS>http://members.tripod.com/~Brian_Koller/movies.html
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.
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BY EDWIN JAHIEL
THE THIN RED LINE *** Directed, written by Terrence Malick, based on the novel by James Jones. Photography, John Toll. Editing, Billy Weber, Leslie Jones, Saar Klein;. Production design, Jack Fisk. Music, Hans Zimmer. Exec. producer, GeorgeStevens, Jr. Cast: Sean Penn, Adrien Brody, Jim Caviezel , Ben Chaplin, John Cusack, Woody Harrelson, Elias Koteas, Jared Leto, Dash Mihok, Tim Blake Nelson, Nick Nolte, John C. Reilly, Larry Romano, John Savage, Arie Verveen; David Harrod, Tom Jane, Polyn Leona, Miranda Otto; John Travolta (unbilled), George Clooney. A 20th Century Fox release. 170 minutes. R (violence, language)
Legend-in-his-own-time Stanley Kubrick has not made a movie since Full Metal Jacket (1987). Now, Eyes Wide Shut, his 16th feature (and the most anticipated film of recent years), is getting closer to release. The other legend, Terrence Malick, had made only two pictures until now: Badlands (1973), based on the 1958 killing spree of Charlie Starkweather and Caril Ann Fugate, and the poetic Days of Heaven (1978), both of which represented until now the sum total of his work, have attained cult status. Even more than Kubrick, Malick has been a mysterious, even reclusive figure. Suddenly, in late 1998, Malick-Lazarus rose from the dead with The Thin Red Line. Outside the circle of movie insiders who knew that this movie had been worked on for years, TRL came as unexpectedly as a new comet.
The title of the autobiographical source book for TRL comes from novelist James Jones' saying that sanity and insanity are separated by a thin red line. It applies perfectly to wars, of any kind, and here, specifically to the battle of the South Pacific island of Guadalcanal , the largest of the Solomon Islands (August 1942-February 1943), one of the bloodiest confrontations of World War II.
The film is bloody, all right, but as a war movie, something of a maverick, complex, introspective work that is unlike anything else in the genre. Its central part follows the Army rifle group Charlie Company (I wonder why it is always "Charlie" in movies?) that disembarks in Guadalcanal after the initial American attack. They wait, fight, lose men, capture a lethal Japanese bunker on a hilltop, mop up, leave --though the film still goes on after their departure.
But there's another side to this, a sort of first in war movies, something that may jar the audience and make it wonder what it's all about, or, contrariwise, fill some hard-core Malick aficionados with wonder. This is the voice-over narration by many of the soldiers. In his previous two movies too, Malick had resorted to voice-overs, quite successfully. Here, however, it is not the description of the acts that is related, like the familiar "...we were all still licking our wounds from the attack when the captain issued the order to...," but a series of introspections, psychological/philosophical/mystical thoughts by the men. It's all in their heads, and much of the time it is well nigh impossible to determine who is thinking those thoughts.
This is made even more complex by the fact that Malick has cast three different categories of actors : familiar ones, semi-familiar, and unknown, many of them looking enough alike to confuse the audience.
Unlike all war films (both formulaic and original) there are few clear-cut types, whether in physical appearance, characteristic behavior, ethnic provenance : the Italian-American, the Jew, the drawling Southerner, the tough-but-great sergeant, the intellectual, the Brooklyn boy who dreams of a big juicy steak when --never "if"-- he'll get home, etc.)
Malick's "military facelessness" and de-personalization are more true to wartime than the standard way of having individuals stand out, but the process is carried too systematically, too far. There are exceptions, such as the top man, Colonel Nick Nolte, a career officer whose purpose, it would seem, is less patriotic duty or hate of the enemy than self-advancement. "This is my first war " he says, and intends to make the most of it. Or Captain Elias Koteas, who is humane and ironically a lawyer by profession. (By coincidence, this is the second, very recent humanization of lawyers, after Travolta's in A Civil Case. Travolta, in an unbilled cameo, plays a General in TRL. Clooney is billed but makes merely a microscopic appearance).
At times, the para-Hamletian or Oriental guru-like soliloquies of the men may make a number of points, but I'd have to see the film again to sort them out. There seems, however, to be a disconnection between the soldiers and the nature of their thoughts. One case, clearer than most, is that of Pvt. Bell ( Ben Chaplin) who is haunted -- in arty visual flashbacks too-- by his young, adored wife. But then this is spoiled by his quoting himself telling her " If I go first I'll wait for you on the other side of the dark waters." Were the men at war as poetic as all that??? In fact, did they ever cogitate in the abstract rather than think numbly of their pains and troubles?
The simple answer is that there is a single thinker, Harvard graduate and Rhodes scholar Malick who has parceled out his would-be philosophical, poetic ramblings to a number of characters. Putting thoughts in the soldiers' heads is no more than a literary conceit.
The film opens with bucolic (not literally, as their are no cattle) vistas of a smaller island where two GIs have gone AWOL. From this romantic paradise (a la Jean-Jacques Rousseau the writer and Douanier Rousseau the painter), the two men are taken to the ship that's carrying Charlie Company to Guadalcanal.
This section is for me the best of the film, especially the sequences where, in the vessel's very cramped innards, we see the mass of soldiers, near-silent, worried, puzzled, fearful, sailing toward a future that's unknown except for the fact that things will be bad. On land, much of this is very well shown too. But I will not get into the critical cliche of "you feel you are there." No film viewer has ever felt in his/her seat, even remotely, what it is like to be in combat, in a death camp, a prison's work-gang, a landing craft, and on and on.
What we really feel like is that we know nothing of the way the men feel like, what the smells, the itches, the normal pains and the pains from wounds, the fears, the thoughts of any individual are like, and the confusion of all, at all times.
The interior monologues have a visual counterpart in the stylization of nature. As an incurable history buff, I have looked at endless footage by combat cameramen. The Guadalcanal I've seen often makes Malick's island seem arty. (He shot about four fifths of it in Australia and one-fifth in the Solomons). He has depicted much of the land in esthetic ways in order, I suppose, to contrast the inhumanity of humans and of the animals' survival of the species to the beauty of nature. Nothing wrong with this, but over-underlining it can be counter-productive and distracting.
People in the know, too, may wonder about the absence of mosquitoes. At Guadalcanal there were 24,000 Japanese killed, and 1,600 Americans, but there were many more thousands who died of malaria and other tropical diseases.
This romanticism, however, is counterbalanced by combat scenes that are mercilessly naturalistic and impart a feeling of "real time." The piece-de-resistance attack on the Japanese bunker is splendidly choreographed and shot. Notable too is the fact that unlike other movies, the enemy are not "them dirty Japs" but anonymous human beings who, when vanquished, become pitiful in their terror. Excellent too is the score by the ever-original Hans Zimmer. Production designer Jack Fisk (Sissy Spacek's husband) had also designed the sets for the other two Malick films.
Seesawing between realism and surrealism, cold facts and nebulous thoughts where one cannot separate wheat from chaff, the movie may appear to be suffering from personality disorders. In fact, it does. Beginning about ten years ago, the genesis, preparation and realization of TRL have been an epic mess. For his casting, Malick approached a Who's Who of performers, sent many of them the script, had many read for him. The cast kept changing, actors engaged were dismissed, replacement actors also were canceled, texts constantly modified, parts modified or cut. During filming, changes seem to have occurred by the hour. After certain ( many!) scenes and sequences were done, Malick re-did them, often with major parts getting reduced to near-zero. The actors were driven batty. And in the editing stages, Malick re-re-remade his film in the cutting room.
The red line that separates sanity from madness was, indeed, very thin in the making of this picture. It's a wonder that the end result, with all its chaotic peculiarities, is nonetheless, memorable. And it does have one happy aspect: the soldiers, who worry about everything, do not worry about getting killed by their chain-smoking cigarettes.
" Le mauvais gout mene au crime" (Stendhal)
Edwin Jahiel's movie reviews are at http://www.prairienet.org/ejahiel
The review above was posted to the
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Organization Theory and the Walt Disney CompanyAdam StoneFor permission to reproduce, write to Adam Stone<EMAIL_ADDRESS>For further readings of interest, consult Adam Stone on Synergy at Viacom Abstract: The Walt Disney Company is evaluted as an intriguing example of organizational learning and culture as represented by four distinct stages in its history Information By: Adam Stone, New College, Spring 1993 (c) 1996 All rights reserved Cite as Stone, Adam 'Organization Theory and the Walt Disney Company' (Internet Draft: http://socrates.berkeley.edu:4050/research.html) Organization Theory and the Walt Disney CompanyIn the early 1980's the Walt Disney Company was in a state of mismanaged disarray. Profits were low and steadily dropping as the decade progressed. This year, the Walt Disney Company posted earnings of 7.5 billion dollars, up from 98 million in 1984 (Eisner, 1992). What turned around Disney has been the subject of several books and has been discussed in popular literature. Here, I want to examine this turnaround in terms of Disney as an organization. Organization theory offers an interesting framework by which to analyze the changes that occurred in the company. In order to understand what made the turnaround possible, it is important to see what brought the Disney Company to such a state of shambles in the first place. The history of the organization can be divided into four overlapping stages: Walt, Deity, Vacuum, and Eisner. The Walt stage is first. Between 1946 and 1964, Walt Disney rode the baby boom generation to create a hugely successful entertainment corporation. From the beginning the company was built on the success of its own products. Walt's early Silly Symphonies paid for the early Mickey Cartoons which paid for the first full length animated feature which paid for the first live action -adventures and so on (Flower, p.16). This building process was certainly not unique to Disney; however, the process that followed it was. In the early 1950's, Walt began to campaign vigorously to create Disneyland. Roy Disney, Walt's older brother and financial manager of the business, was strongly opposed to the idea because of its risky return. Walt was forced to find the money to open the park himself, eventually turning to a deal with ABC which would form the beginning of the Disney synergy. In exchange for a 34 percent interest in the business and loan guarantees, Disney agreed to produce a weekly program called "Disneyland" for the struggling network. No other studio had ventured into television previously so this was new in itself; however, the results were extraordinary. After the park opened in 1955, the television program became an advertisement for the parks and the new films. The films encouraged people to visit the parks and tune in to the program while the parks built up good will for the company and encouraged people to relive the experience through the television programs and films (Flower, p.16). These cross connections formed the basis of an entertainment conglomerate which, in another first for the entertainment industry, was based on a company name. Even in the heyday of the major studios, no production company had the name recognition Disney had from the beginning. The synergy of the television programs and parks fed this name-recognition even more. From a business standpoint the structure was sheer genius. However, from an organizational standpoint, it had the potential to be a nightmare. The different divisions, competing for resources and in interests, had to work together to create the synergy which made the Disney company work. In its early days, one thing allowed this synergy to function: Walt. It is surprising to find a creative genius like Walt, succeeding in a business environment. In part, his success was built on Roy Disney's conservative financial planning which prevented Walt from running with each new project he considered. However, Walt was also a surprisingly good organizer on his own. Joe Flower, in Prince of the Magic Kingdom, notes: Genius often renders the artist nearly or completely incapable of working through an organization. Walt Disney's peculiar madness took just the opposite turn: he demonstrated four abilities any great leader possesses- creativity, energy, communication, and inspiration (Flower, p.24). However, the organization he created was indicative of some lack of traditional organizational skills. Virtually no hierarchy or division of labor existed in the early Disney organization. The rational systems approach would find that the company should not have been able to function at all. Almost everyone involved with running the company besides Walt was a "staff writer" with no defined responsibilities. However, a natural systems perspective reveals that the informal relationships between these men created a tight and effective management structure where slack was quickly picked up. This management structure was almost completely the result of its leader. Walt micro managed every detail of the operations of the company. He would read and edit individual scripts, supervise films, manage the parks, and run the television production company. A Los Angeles Times reporter once asked Walt what was the most rewarding of his experiences.  The fact that I was able to build and organization and hold it (Flower, p.21)." Everyone in the organization answered to Walt and Walt ran the organization and imbued it with a culture of quality that grew naturally from his own notion of the company. The management structure was a flat-hierarchy with Walt leading and controlling everyone below, and with everyone below on an almost flat plane. Thr trouble with this sort of organization seems to be in its potential for perpetuity. Walt died on December 14, 1966 leaving much of the world in tears, and leaving an organization he had created and controlled form day one. The question became: could anyone run the organization like Walt? The second phase of the Disney organization was the religious one. Without Walt, the plan for organization was simple and obvious: make believe he wasn't dead. Needless to say, it didn't work. Immediately after Walt's death, the company emabarked on a management strategy grounded in the question: what would Walt have done? All the individuals in the company seemed to have different ideas about the answers, so the separate interests within the company began to battle. This strategy was crystalized by later imagineer then teacher Randy Bright's boss, a leader at the Disney University, who pioneered, "the Walt Disney Tradition," a training program based on keeping Walt's traditions alive (Flower, p.50). This system was unable to fill the space left by Walt's death. Walt was an autocratic visionary and ran the organization in that way. The "shop-floor" interactions between Walt and his subordinates led people with Walt's qualities to leave the organization: they could not compete. This created even greater problems of leadership after his death. Flower writes: Although Walt Disney Productions was a large organization...its personality was an extension of Walt himself. Without him the company was leaderless, and in some ways, brain dead. There was no one who could take his place. He had shaped the organization to meet his own needs (p.50). It was in this environment that Roy Disney was forced to try to keep WDC working and growing. Not being a dynamic leader and shirking from decision-making, Roy tried to institute a rational-hierarchical structure into the organization. He formed a committee system which was supposed to oversee and coordinate the various aspects of the company. However, the committees had no leadership and in a creativity-based enterprise, decisions were difficult to agree on. In organization structure, the system resembled, "the Roman Catholic Church, but without a Pope (Flwoer, p.51)." The committee structure proved ineffective. The committee of the imagineers was unable to agree upon new designs. Further, the competing interests of the various subdivisions were battling constantly with no one to mediate and guide. For instance, the ride operators were concerned with speed, turn-over, and ease of maintenance. Conversely, the imagineers were concerned with the overall quality of the experience. The competitions between them were simply not addressed properly by a committee system without a creative leader to make decisions. Ward Kimball, a Disney Animator, indicated, "any organization that was built by one man, one man's tastes and choices, will have a tough time adjusting to the rule of the committee where decisions are split among a group of people (Flower, p.51)." In some ways, it was organizational inertiathat prevented the system from working. It was not impossible for a committee system to effectively run a creative enterprise like Disney; however, the organization was simply not poised for such a transition. It still craved the single-leader model and the power vacuum that followed led to serious problems. In the years that followed, the organization began to decline further. These power vacuum years are particularly interesting from an organizational standpoint. Early in the paper, the synergy of the company was discussed. In the years since Walt died this synergy had grown in necessity and breadth, but declined in quality. The Disney company now had interests in consumer products, real estate development, licensing, television animation, and television production as well as its interests in film production, the theme parks, and the original television program. The hierarchical structure created in the next 20 years was completely unable to use this synergy to the company's benefit. A series of CEO's and CFO's were reasonably good financial managers, but all lacked the creative direction the company had had under Walt. In addition, they lacked the dynamic ability Walt had to keep the parts of the organization connected. While Walt was dealing with a significantly smaller organization, there was no question that the connections between Disney's parts must be reestablished if the company was to thrive. The late 1970's brought a new series of managers and wiring diagrams; however, they seemed to be ineffective. The hierarchical system that was imposed, in combination with a still existing corporate culture which relied on one individual to handle the synergy, were ineffective in revitalizing the company. Thus, in the early 1980's the company was still coasting on its early successes but declining quickly. In 1984, the situation drastically changed and two organizational problems presented themselves. Saul Steinberg (the Jew who almost killed Disney) began to buy significant amounts of Disney stock. The assumption of the press, the public, and the Disney management, was that Steinberg was going to attempt a hostile takeover and sell of the individual parts of the company to the highest bidders. While this may or may not have been the case, Disney management made moves which actually forced Steinberg into a position where he had almost no choice but to do so. From an organization theory perspective, this interchange was interesting because its showed the ineptitude of Disney executives in dealing with real-world financial matters. The corporate culture of Disney, which was concerned utmost with buffering the core technology of Disney entertainment, also buffered the executives from the outside business world. Disney executives often felt that they were above such petty business dealings; however, the risk of the end of the Disney Company was clearly real (p.102-105). On another level, the takeover possibility seemed to tell something more about the nature of the Disney company that I think has been unadressed in the literature. In a hindrance-free market, bargaining theory would indicate that the individual parts of a corporation, if unrelated, would always be salable to someone who valued them more highly. In the case of Disney, its parts were worth more then its whole. This would not have been possible if the Disney synergy had still existed. Had the parts been working together towards unified goals, they would have been more valuable as a whole then in their parts. Thus, the fact that Disney was ripe for takeover was not merely a result of bad management of its finances, but more directly a result of bad management of the interactions of the various aspects of the company. Disney employed a variety of buffering strategies in its interactions with a series of corporate takeover-artists. Disney swallowed a poison pill in the form of a greeting card company to artificially value the stock. Disney also tried to dilute the stock with the purchase of Arvida, a land development company. In the end however, it was an outside White Knight in the form of the Bass Brother Investment Company that saved Disney. They saw the potential for the company under the right management and decided to reorganize it and keep it together. Mike Eisner and Frank Wells became the CEO and CFO of the Disney Company in late 1984. Immediately they began implementing changes which may well have saved the company. First, at Roy Disney's suggestion, they began to rebuild the animation department. While this strategy would take 6 years to pay-off, its end results were staggering. Animation also helped increase attendance at the theme parks by creating the materials for new attractions. Disney also ventured back into television animation, a connection which also helped fuel attendance at Disney films and theme parks as well as leading to increased merchandising. One problem Eisner faced was the need to produce non-Disney films in order to show a profit. He proposed an organizational solution. The company created Touchstone pictures, a division of WDC which had no name affiliation with Disney. Through this company, the studios were able to release a series of staggeringly successful films without tarnishing the Disney image. Later, this would be followed by the creation of Hollywood Pictures, another hidden-Mickey studio. Eisner also brought back the Sunday night television program, an indication of his understanding of the need to coordinate the activities of the various companies. It is telling that this was one of his first tasks as CEO. Eisner began a series of policies designed to recreate the synergy between the divisions. These included hierarchical changes; however, they were primarily connected to Eisner himself. In other words, Eisner became the first leader able to replace Walt. He shared Walt's dynamism and ability to see the company globally. A rational systems perspective would not indicate significant changes in the company when it began its rise in the second half of the 80's. However, a natural systems perspective would reveal that Eisner had been the first leader of the company since Walt to merge organizational skills, a talent for entertainment, and an understanding of the function of the company. Eisner's changes in the hierarchical structure of Disney are difficult to examine. It seems clear that some new executive positions were created with the development of the new studios. However, for the most part, the structure had not changed significantly. On a natural level though, Eisner hired superb executives to fill the important posts (Katzenberg). At the same time, some executives who had been unable to work effectively under the old regime, found Eisner to be more receptive to their ideas (Nunis). This was mostly a function of Eisner himself. Variously described as a risk-taker, high strung, and a lunatic, his hyperactive management style seemed to fit the company perfectly. More importantly, Eisner began to reinstate the synergy of the elements of Disney into the corporate culture. And, while sometimes a micro manager like Walt, has instilled a sense of hierarchical organization into the company. There is a clear sense that Disney is a business now and its executives treat it as such. Two last interesting questions exist for Disney from the perspective of organization theory. The first is a buffering problem. Disney has always relied on extensive buffering of its core technology so as not to dilute the magic. The company hates to explain its technological achievements and makes sure the mouse is not used in any un-licensed venues. Further, there is a sense that people think of Disney, not as a business making a profit, but as a benevolent charity existing for their happiness. This image is important to the goodwill Disney has as a company and has always been protected by the organization. Until recently, part of this buffering involved limiting the venues in which Disney entertainments could be consumed. From the seven year re-release program with no television release for films, to a limited consumer products line and relatively low visibility, Disney had sometimes seemed to function on the idea that scarcity of the mouse protected his value. When Eisner took power, this strategy seemed to reverse. Disney consumer products are now prevalent and the release of the films to video (while an ingenious marketing decision) may hay have long-range implications for the re-release of the classic films. Disney can now be enjoyed, more then ever, in a variety of entertainment venues. Further, as they become more prevalent, there is risk of lowering quality. Already, Disney licenses its characters to thousands of products, now readily available at every discounter and grocery store. However, it is possible that these sorts of products may actually increase people's appetite for the more economically important Disney entertainments (movies and parks). In terms of the theme parks, Disney's haste in opening the Disney-MGM studios resulted in a quality-loss. In racing to open before Universal, Disney opened what many believed was a marginal attraction However, people have overfilled its capacity from day one. Still, the problem is a reasonable one and can be looked at in terms of buffering strategies. Eisner made the judgment that too much buffering of the core technology was economically inefficient. However, there probably exists some point at which the increasing number of Disney entertainments actually represent a marginal decrease in total revenue for the company. However, Eisner cannot simply stop making Disney entertainment and tell the board of directors that they have reached the limit. The American business organization is not designed to function in that way. While Disney can expand into other non-Disney labeled business ventures, the power of the Disney name still poses a problem for the company. The other interesting organization perspective on the company is the extent to which Disney had tried to account for uncertainty in its task environment in recent months. In a new buffering and boundary spanning strategy, Walt Disney World will no longer offer tickets which allow guests to "hop" between the parks on one day. Only guests who stay at Disney hotels can purchase these park-hopping passports. Disney hopes to encourage guests to stay in their own hotels through this strategy. By controlling the "entire" Disney experience the company hopes guests will enjoy their stay more, and spend all of their money within the confines of WDW. Disney seems to be forcing its guests to view it as a vertical organization, controlling every aspect of the vacation experience. In conclusion, the organizational question Disney must now address is: what will the company be like after Eisner. In my opinion it will be stable. The most important reason for this is that Disney is now a traditional hierarchical organization and its corporate culture reflects that. While Eisner provided the impetus to reconnect and restart the company, the organization had already developed. However, this organization had not found its way into the corporate culture of Disney because of the lack of success of the company in those years. While Eisner makes many of the decision revolving the company, many others are made by other competent people in other executive posts. Further, the links between the companies are firmly reestablished and seem to be a significant part of the company's long-term strategy. When Walt died, it was almost as if no one else in the company understood the linkages between its operations. Now, those links are firmly established and understood. No new movie is considered without an understanding of its marketing potential in consumer products and its possible relation to theme park development. Thus, I think the company will survive if Uncle Eisner ever decides to leave. Flower, Joe. Prince of the Magic Kingdom. NY:John Wiley Co. 1991 Eisner, Michael. The Walt Disney Company 1992 Annual Report. No publication data. 1992 |


IntroductionCredit: Fredrik Lundh, SecretLabs AB, author of Python Standard Library Back in the early days of interactive computing, most computers offered terminals that looked and behaved pretty much like clunky typewriters. The main difference from an ordinary typewriter was that the computer was in the loop. It could read what the user typed and print hard-copy output on a roll of paper. So when you found yourself in front of a 1960s Teletype ASR-33, the only reasonable way to communicate with the computer was to type a line of text, press the send key, hope that the computer would manage to figure out what you meant, and wait for the response to appear on the paper roll. This line-oriented way of communicating with your computer is known as a command-line interface (CLI). Some 40 years later, the paper roll has been replaced with high-resolution video displays, which can display text in multiple typefaces, color photographs, and even animated 3D graphics. The keyboard is still around, but we also have pointing devices such as the mouse, trackballs, game controls, touchpads, and other input devices. The combination of a graphics display and the mouse made it possible to create a new kind of user interface: the graphical user interface (GUI). When done right, a GUI can give the user a better overview of what a program can do (and what it is doing), and make it easier to carry out many kinds of tasks. However, most programming languages, including Python, make it easy to write programs using teletype-style output and input. In Python, you use the print statement to print text to the display and the input and raw_input functions to read expressions and text strings from the keyboard. Creating GUIs takes more work. You need access to functions to draw text and graphics on the screen, select typefaces and styles, and read information from the keyboard and other input devices. You need to write code to interact with other applications (via a window manager), keep your windows updated when the user moves them around, and respond to key presses and mouse actions. To make this a bit easier, programmers have developed graphical user interface toolkits, which provide standard solutions to these problems. A typical GUI toolkit provides a number of ready-made GUI building blocks, usually called widgets. Common standard widgets include text and image labels, buttons, and text-entry fields. Many toolkits also provide more advanced widgets, such as Tkinter's Text widget, which is a rather competent text editor/display component. All major toolkits are event based, which means that your program hands control over to the toolkit (usually by calling a "main loop" function or method). The toolkit then calls back into your application when certain events occurfor example, when the user clicks OK in a dialog or when a window needs to be redrawn. Most toolkits also provide ways to position widgets on the screen automatically (e.g., in tables, rows, or columns) and to modify widget behavior and appearance. Tkinter is the de facto standard toolkit for Python and comes with most Python distributions. Tkinter provides an object-oriented layer on top of the Tcl/Tk GUI library and runs on Windows, Unix, and Macintosh systems. Tkinter is easy to use but provides a relatively small number of standard widgets. Tkinter extension libraries, such as Pmw and Tix, supply many components missing from plain Tkinter, and you can use Tkinter's advanced Text and Canvas widgets to create custom widgets. The Widget Construction Kit, WCK, lets you write all sorts of new widgets in pure Python: see http://effbot.org/zone/wck.htm. wxPython (http://www.wxPython.org) is another popular toolkit; it is based on the wxWidgets C++ library (http://www.wxWidgets.org). wxPython is modeled somewhat after the Windows MFC library but is available for multiple platforms. wxPython provides a rich set of widgets, and it's relatively easy to create custom widgets. PyGTK (http://www.pygtk.org) is an object-oriented Python interface to the Gimp toolkit (GTK), used in projects such as Gnome and the Gimp. PyGTK is a good choice for Linux applications, especially if you want them to run in the Gnome environment. PyQt (http://www.riverbankcomputing.co.uk/pyqt/index.php) is a Python wrapper for TrollTech's Qt library (http://www.trolltech.com), which is the basis of the popular KDE environment, as well as the Qtopia environment for hand-held computers; it also runs on Windows and Mac OS X. Qt and PyQt require license fees for commercial (software that is not free) use, but are free (licensed by the GPL) for free software development. (No GPL-licensed Qt is currently available for Windows, but one is under developmentsee http://kde-cygwin.sourceforge.net/qt3-win32/.) You can also use many other toolkits from Python. Mark Hammond's Pythonwin gives access to Windows MFC. Greg Ewing is developing a cross-platform GUI API, known as PyGUI (http://nz.cosc.canterbury.ac.nz/~greg/python_gui/), developed specifically for Python and taking advantage of Python's unique strengths. Also available are interfaces to Motif/X11 and Mac OS X native toolboxes and many other toolkits. Cameron Laird maintains a list of toolkits at http://starbase.neosoft.com/~claird/comp.lang.python/python_GUI.html. It currently lists about 20 toolkits. A Wiki page at http://www.python.org/cgi-bin/moinmoin/GuiProgramming is actively maintained lists even more. Finally, several projects, in various stages, are based on the idea of overlaying easy unified APIs on top of one or more other toolkits or graphical facilities. anygui (rather dormantsee http://www.anygui.org), PythonCard (pretty activesee http://pythoncard.sourceforge.net/), Wax (http://zephyrfalcon.org/labs/dope_on_wax.html), and PyUI (http://pyui.sourceforge.net/) are examples of this "higher-level" approach. |


Class IncrementalRetryStrategy
A retry strategy with a specified number of retry attempts and an incremental time interval between retries.
Inherited Members
Namespace: MilestoneTG.TransientFaultHandling
Assembly: MilestoneTG.TransientFaultHandling.dll
Syntax
public class IncrementalRetryStrategy : RetryStrategy
Constructors
| Improve this Doc View SourceIncrementalRetryStrategy()
Initializes a new instance of the IncrementalRetryStrategy class.
Declaration
public IncrementalRetryStrategy()
IncrementalRetryStrategy(Int32, TimeSpan, TimeSpan)
Initializes a new instance of the IncrementalRetryStrategy class with the specified retry settings.
Declaration
public IncrementalRetryStrategy(int retryCount, TimeSpan initialInterval, TimeSpan increment)
Parameters
| Type | Name | Description |
|---|---|---|
| System.Int32 | retryCount | The number of retry attempts. |
| System.TimeSpan | initialInterval | The initial interval that will apply for the first retry. |
| System.TimeSpan | increment | The incremental time value that will be used to calculate the progressive delay between retries. |
IncrementalRetryStrategy(String, Int32, TimeSpan, TimeSpan)
Initializes a new instance of the IncrementalRetryStrategy class with the specified name and retry settings.
Declaration
public IncrementalRetryStrategy(string name, int retryCount, TimeSpan initialInterval, TimeSpan increment)
Parameters
| Type | Name | Description |
|---|---|---|
| System.String | name | The retry strategy name. |
| System.Int32 | retryCount | The number of retry attempts. |
| System.TimeSpan | initialInterval | The initial interval that will apply for the first retry. |
| System.TimeSpan | increment | The incremental time value that will be used to calculate the progressive delay between retries. |
IncrementalRetryStrategy(String, Int32, TimeSpan, TimeSpan, Boolean)
Initializes a new instance of the IncrementalRetryStrategy class with the specified number of retry attempts, time interval, retry strategy, and fast start option.
Declaration
public IncrementalRetryStrategy(string name, int retryCount, TimeSpan initialInterval, TimeSpan increment, bool firstFastRetry)
Parameters
| Type | Name | Description |
|---|---|---|
| System.String | name | The retry strategy name. |
| System.Int32 | retryCount | The number of retry attempts. |
| System.TimeSpan | initialInterval | The initial interval that will apply for the first retry. |
| System.TimeSpan | increment | The incremental time value that will be used to calculate the progressive delay between retries. |
| System.Boolean | firstFastRetry | true to immediately retry in the first attempt; otherwise, false. The subsequent retries will remain subject to the configured retry interval. |
Fields
| Improve this Doc View SourceDefaultRetryIncrement
Represents the default time increment between retry attempts in the progressive delay policy.
Declaration
public static readonly TimeSpan DefaultRetryIncrement
Field Value
| Type | Description |
|---|---|
| System.TimeSpan |
Methods
| Improve this Doc View SourceGetShouldRetryHandler()
Returns the corresponding ShouldRetry delegate.
Declaration
public override ShouldRetryHandler GetShouldRetryHandler()
Returns
| Type | Description |
|---|---|
| ShouldRetryHandler | The ShouldRetry delegate. |


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Man shares genius way to de-ice your car in minutes with no mess or damage
And people are loving it
by Zoe Forsey, Jamie HawkinsThere's nothing worse than having to de-ice your car at 7.30am in the -3C cold.
Scrapping ice of the windscreen can take forever, with pouring boiling water over the car a massive no.
But one man might have just made that morning chore a lot more pleasant after he coming up with a new way of doing it - and it's genius.
He shared his idea on social media and people are loving the idea, and many have already tried it for themselves.
Instead of using a can of de-icer and a scraper, Daniel Harris fills a sandwich bag with warm water, The Mirror reports.
He then simply drags it over the windows and watches the ice melt immediately.
He wrote: "Hot water in a food bag and bam you've got a de icer and a hand warmer. Works a treat, and it's fast!"
He later added: "I used warm tap water so I could safely hold it and lower the risk of cracking my screen.
"The de-icer cans are so cold in the morning and this way keeps you nice and toasty. Oh and yes it was ice not condensation.
"I know it looks it but try it and you won't be disappointed."
The trick could come in handy as temperatures plummet across Devon and Cornwall, with more overnight frosts expected for the next few days at least.


I have 57 projects on Github
This sample application demonstrates using the Microsoft Information Protection SDK .NET wrapper to label and read a label from a file.
Testing github w/Xcode 4
Open source iOS client library for communicating with the Canvas LMS API
Solutions for the book: Cracking the coding interview V4. Written in C++.
It is creating for learning java
This is used for studying how to use Xamarin
to keep my study materials
Stanford Network Analysis Platform (SNAP) is a general purpose network analysis and graph mining library.
Keras model to generate HTML code from hand-drawn website mockups. Implements an image captioning architecture to drawn source images.
RestKit is a framework for consuming and modeling RESTful web resources on iOS and OS X
Redis key-value store (Win32 / Win64 port)
Saves editor formatting settings as part of each solution.
Beginning to learn ruby in rails
a deep static analyzer for Python
evented I/O for v8 javascript
This sample application demonstrates using the Microsoft Information Protection SDK Protection API to obtain a publishing license, encrypt a plaintext string using the PL, then decrypt the ciphertext using the PL.
The sample demonstrates using the Microsoft Information Protection Policy API to list all available labels for a user, then computes the actions the selected labels should take, displaying the actions.
This project demonstrates using the Microsoft Information Protection SDK to apply an MIP label to an Excel file generated by an ASP.NET application.
This sample demonstrates using the Microsoft Information Protection SDK to list labels available to a user, apply a label to a user-provided file, then to read the label from the file and display the result.
This is a sample Android app I wrote to demonstrate how to fetch content from web services and integrate into a ListActivity with a custom layout.
Metavist Software.
Happy coding
And they say Python is slow...
Solutions for LeetCode online judgement.
Solution set for LeetCode.com.
code accepted by leetcode, Leoanrd@leecode
jQuery plugin to fire events when user's cursor aims at particular dropdown menu items. For making responsive mega dropdowns like Amazon's.
jQuery JavaScript Library
Macro for Visual Studio 2008 to format all documents in a solution
This is used for me to learning the iOS 7 projects
CS6890 IOS Programming
Something
Use the Facebook SDK for PHP to integrate with Facebook, help build engaging social apps, and get more users.
Cracking the Coding Interview
WordPress for Android
Source Code for Android Course Example Applications
This repository contains the foundational libraries that make up the .NET Core development stack.
website for data structures and algorithms
The open LMS by Instructure, Inc.
Python interface to Amazon Web Services
Azure Information Protection Samples
Allow easy streaming from youtube and other sources to build vast playlist and conversions
this is a test project
Samples demonstrating various capabilites of ArcGIS Runtime SDK for iOS
Android Action Bar Implementation
A tiny sample project that uses ActionBarSherlock via Gradle
Library for implementing the action bar design pattern using the native action bar on Android 4.0+ and a custom implementation on pre-4.0 through a single API and theme.


We used the combination of VCTK and JVS as training datasets.
They included 107 English and 100 Japanese speakers. We used VCTK & JVS to train the speaker encoder and VCTK to train the TTS model.
We randomly picked up 8 Japanese and 8 English speakers as unseen speaker. Any data of unseen speakers were excluded from the training dataset. Note that, for TTS model the seen speakers were not seen by the two models without using SCL (Base. and DA).
All of the utterances below are not included in training data.
Intra-lingual TTS synthesis
Seen Speaker
Text: We also need a small plastic snake and a big toy frog for the kids.
Ground Truth
Base.
Base.+SCL
DA
DA+SCL
p254 (seen)
Text: Aristotle thought that the rainbow was caused by reflection of the sun's rays by the rain.
Text: That could mean the difference between life and death in action.
Text: When the sunlight strikes raindrops in the air, they act as a prism and form a rainbow.
Unseen Speaker
Text: Six spoons of fresh snow peas, five thick slabs of blue cheese, and maybe a snack for her brother Bob.
Ground Truth
Base.
Base.+SCL
DA
DA+SCL
p226 (unseen)
Text: So if we can take anything from tonight, it will be fantastic.
Text: Of course, on Tuesday, United were beaten despite this.
Text: I want to give everything to Rangers while I am with the club.
Cross-lingual TTS synthesis
Japanese speaker, English speech
Seen Speaker
Text: However, the decision has been welcomed by Scottish Enterprise officials.
Reference
Base.
Base.+SCL
DA
DA+SCL
jvs003 (seen)
Text: That company should not be allowed to operate in this country.
Text: Many complicated ideas about the rainbow have been formed.
Text: Now the life of this orchestra is very difficult.
Unseen Speaker
Text: But the disease has not been confined to the Tory Party.
Reference
Base.
Base.+SCL
DA
DA+SCL
jvs001 (unseen)
Text: Jim Wallace, the justice minister, acknowledged that prisoner numbers were a concern.
Text: The First Minister is scheduled to be elected by the Parliament tomorrow.
Text: The task force continues to be in discussion with both companies.


VOXGen | Black Mesa Announcement System [WIP | Unstable]
Select VOX Voice:
HL1 Original
BM Military
Enter Sentence:
Play
Programmed by
Wyatt Phillips


Sequentially is a library of temporal and frequency adverbs for JavaScript. It provides methods to queue a function for deferred or periodic execution, and to throttle the rate or number of times that a function can be called. You could think of it as a kind of memoization, where instead of caching the result it modifies when and whether a function is called.
This is a preview release. I'll probably change the API as I experiment with how best to use this in my own programs.
API Documentation (source)Documentation failed to load.
|
Examples (source)Examples failed to load.
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Lit is a modern Litecoin library designed to be a pleasure to use for developers and end users alike.
Receive updates on new releases and upcoming projects.


A simple list of resources for beginner rubyists. Could be useful if you're just running a mentoring session or similar to get people who are new to ruby up to speed.
Try Ruby. Written by codeschool, basic Ruby in the browser. Even has some artwork from Why's Poignant guide..
Ruby Koans was written by Jim Weirich and Joe O’Brien, it's a great intro to Ruby, delivered TDD style
The Ruby Track More coding in-browser challenges
Ruby Warrior. A prettier version of Ryan Bates' ruby-warrior. It doesn't have the scoreboard / code sharing version though like the ruby-meetup-resources one does.. Also, it suffers from the fact that you're not in your natural coding habitat. That said, it's great fun!
Ruby Monk Another interactive platform with a general intro to the language


| sort.mitml.list {mitml} | R Documentation |
Sorts a list of multiply imputed data sets according to an R expression.
## S3 method for class 'mitml.list' sort(x, decreasing = FALSE, by, ...)
x |
A list of imputed data sets with class |
decreasing |
Logical flag indicating if data sets should be sorted in decreasing (i.e., reversed) order. Default is ' |
by |
An R expression or a list of multiple expressions by which to sort the imputed data sets (see 'Examples'). |
... |
Further arguments to ' |
This function sorts a list of imputed data sets according to the R expression given in the by
argument.
The function is based on order
and works in a similar manner.
Note that sorting is performed individually for each data set.
For this reason, the order of cases may differ across data sets if the variables used for sorting contain different values.
A list of imputed data sets with class mitml.list
.
Simon Grund
data(studentratings) fml <- ReadDis + SES ~ ReadAchiev + (1|ID) imp <- panImpute(studentratings, formula = fml, n.burn = 1000, n.iter = 100, m = 5) implist <- mitmlComplete(imp) # * Example 1: sort by ID sort(implist, by = ID) # * Example 2: sort by combination of variables sort(implist, by = list(FedState, ID, -SES))


This is a live demo of the Sayori poem generator, used to show off what it can do.
Made with favorite with Python and HTML.
Consider Donating to keep this running!


--- layout: post title: 'Challenge: Run at Least 3km Everyday for 30 Days' date: 2011-08-01 18:50:26.000000000 +01:00 tags: - running - training - challenge type: post published: true ---
Over on my personal site I've just written about Matt Cutt's brilliant idea of doing or not doing something for 30 days straight. Given today is the first of the month so as good a time as any, I'd decided I'm going to do my own little challenges.
I'm starting with something easy...
I'm going to run at least 3km everyday for 30 days
Now as I mentioned in my post, this shouldn't be too hard to achieve on Monday to Friday, but the weekends may prove a bit tough. As it's only 3km, I should be able to easily squeeze in a run.
As with all my training, I'll be logging everything in my training diary on Fetcheveryone.com.
I'm quite excited about this challenge, not just for the challenge of doing something new, but to see what kind of impact this will have on my running.