pySpice.exhibitor package¶
This module contain the utilities that generate the final output using the information the solver packages provided.
pySpice.exhibitor.formator module¶
-
pySpice.exhibitor.formator.
data_provider
(analysis_type, cmd_list, watch_list, sample)[source]¶ Generating the Data for PRINT/PLOT Commands Using the Raw Data of the Status of the Points/Branches to watch_list
Also it re-arrange the data layout. So in the finally output, the first line is the sweep item. Following lines begins with the PRINT/PLOT item’s name and then it’s values in consecutive sweep points.
Parameters: - analysis_type – either ‘ac’ ‘dc’ or ‘tran’
- cmd_list – a list containing the print/plot items for this analysis
- watch_list – the watch_list, stating which points/branches are of interest
- sample – the output of solve() function
Returns: an list output containing the information for the values of the item appeared in the PRINT/PLOT commands.
-
pySpice.exhibitor.formator.
format
(sample, filename)[source]¶ Generate Text Output
Parameters: - sample – the output of the solve function, a python dictionary containing the status of the point apperaed on watch_list
- filename – a string specify the output filename
Returns: will write a text file containing the result for the analysis. The format illustrate itself best through an example.
pySpice.exhibitor.plotter module¶
-
pySpice.exhibitor.plotter.
analysis_plot
(section)[source]¶ Sub-Routine to Plot() Function, Plot the Graphs for a Single Kind of Analysis
-
pySpice.exhibitor.plotter.
plot
(filename)[source]¶ Top Level Encapsulation of the Plotting Utility
This module takes input from the text output of the format() function. So this can be seen is extension to the program, used to visualize the analysis result.
Parameters: filename – a string of the filename of the text report Output: several windows, each has the plot for a single kind of analysis


:path
{
:command
"cat"
}
:response
{
:stdout
true
}
:stdin
(
42
)
The following is a list of the built-in types and common terms you will run into when writing Bass programs.
Paths are family of types unique to Bass. They represent abstract locations of files or directories.
Bass distinguishes between file and directorie paths by requiring a trailing slash (/
) for directories.
(def file ./some-file)
(def dir ./some-dir/)
dir
Directory paths can be extended to form longer paths:
dir/file-in-dir
./some-dir/file-in-dir
Extending a file path, however, will result in an error.
file/bam
error! call trace (oldest first):1. (docs):1 file/bamcannot extend path ./some-file (bass.FilePath) with bam (bass.FilePath)
Workloads are constructed by applying a path.
Throughout this documentation, workloads will be rendered as space invaders. Workloads are technically just objects - click them to reveal their inner structure.
(.cat 42)
{
:path
{
:command
"cat"
}
:response
{
:stdout
true
}
:stdin
(
42
)
}
The arguments to a path combiner provide values to be passed to the workload on stdin
.
To specify values on argv
instead, use (with-args)
- or use the $
operative for syntactic sugar:
(def val "hello")
[(-> (.echo) (with-args "hi" val))
($ .echo hi $val)]
(
{
:args
(
"hi"
"hello"
)
:path
{
:command
"echo"
}
:response
{
:stdout
true
}
}
{
:args
(
"hi"
"hello"
)
:path
{
:command
"echo"
}
:response
{
:stdout
true
}
}
)
All path combiners set their argument list as Workloads are constructed through a series of builder functions provided by the stdlib. Though there is technically an internal schema, it's best to rely on the builder functions.
The ->
operative comes in especially handy for building bespoke workloads without wanting to claw your eyes out.
To run a workload, pass it to (run)
; it will return a stream from which you can read values using (next)
.
Putting it all together into one big ->
pipeline, you get:
(-> (.cat 42) (in-image "alpine") run next)
debug cached {"workload": "d8fdd318af9a4eab0bb96bbcbd32d437ad7b1f16"}
42
An internal component used for running workloads, configured by the user and associated to a platform.
Currently, only Docker is supported - Kubernetes support may come in the future.
A path paired with the workload that created (or creates) it.
(path (.run) ./some-file)
{
:path
{
:command
"run"
}
:response
{
:stdout
true
}
}
Workload paths can be constructed and passed around to other workloads as first-class values. The runtime will handle the boring mechanical work of mounting it into the container in the right place.
(def touchi-artist
(-> ($ .touch ./artist)
(in-image "alpine")
(path ./artist)))
(-> ($ .ls $touchi-artist)
(response-from :exit)
(in-image "alpine")
run
next)
debug cached {"workload": "80b33345586e43da11e85296cdac59177721151d"}./569e6bc635e886841c760ab4a375581d94248bfe/./artist
0
Workload paths represent reproducible artifacts - when passed from one workload into another, any paths created by the child workload will be inherently downstream of all of its inputs. The workload path may be exported to JSON format and used to re-create the artifact from scratch with bass -e < wlp.json
.
A name, typically associated to a value in an environment.
Symbols are not typically used as values, though they can be constructed with the (quote)
operative.
(quote foo)
foo
A context for evaluation. Basically a scope - it might even be renamed to it someday.
An environment has bindings and a list of parent environments which are queried depth-first when looking for bindings.
(get-current-env)
<env>
A symbol associated to a value in an environment.
(def val 42)
val
An integer value. Floating point values are not supported.
(* 6 7)
42
A UTF-8 immutable string value.
TODO: document escape sequences
"hello, world!"
"hello, world!"
Everyone's old friend. Used to represent the absense of value where one might typically be expected. Everyone's old friend.
null
null
Note: null
is a distinct type from an empty list. The only (null?)
value is null
, and the only (empty?)
value is []
.
true
or false
, but sometimes null
.
Boolean values are pretty straightforward - the only catch is that null
also counts as false
when given to (if)
or (not)
.
Otherwise, all values - including "empty" ones - are truthy.
[(if true :truthy :falsy)
(if false :truthy :falsy)
(if null :truthy :falsy)
(if [] :truthy :falsy)
(if "" :truthy :falsy)
(if _ :truthy :falsy)]
(
:truthy
:falsy
:falsy
:truthy
:truthy
:truthy
)
Lists are the bread and butter of any Lisp, Bass included.
Bass has two "flavors" of lists which ultimately boil down to the same data structure.
An empty list is represented by ()
or []
. In a "proper" list, an empty list is always in the final position of a chain of pairs.
Parens, i.e. (a b c)
, denote a pair - most commonly used as a linked list.
A pair combines a value with another value. When a pair is evaluated, it applies its first value to the second value. With lists, the second value is typically another list, until one finally ends with the empty list.
Square brackets, [a b c]
, denote a cons - a constructor for pairs.
A cons is a list that evaluates to a pair. It is essentially syntax sugar for constructing list values instead of evaluating combiners.
[1 2 3]
(
1
2
3
)
The second value of a pair isn't always another list - any value may be supplied using the &
delimiter. This notation is can be used to call a combiner with a list of arguments:
(def values (list 1 2 3))
(+ & values)
6
It also works for cons:
[1 & 2]
(1 & 2)
_
- that's right, just an underscore - is a special constant value used to discard a value when binding values in an environment.
(def (a & _) [1 2 3])
a ; the only binding in the current environment
1
_
is also used when null
is just not enough to express how absent a value is - for example, to record overarching commentary within a module.
; Hey ma, I'm a technical writer!
_
_
A mapping from keywords to values.
{:a 1 :b 2 :c 3}
{
:a
1
:b
2
:c
3
}
Objects encode to JSON by converting hyphens to underscores in their keys. This may be slightly surprising but overall it helps with interoperability while keeping Bass code looking Lispy.
(dump {:foo-bar "hello!"})
{"foo_bar": "hello!"}
{
:foo-bar
"hello!"
}
Pipes encompass sources and sinks.
A source of values which may be read with (next)
.
All scripts can read values from *stdin*
, which reads JSON encoded values from stdin
.
A source may be constructed from a list of values by calling (stream)
.
(def vals (stream 1 2 3))
[(next vals)
(next vals)
(next vals)]
(
1
2
3
)
A source is also returned by (run)
to pass along values emitted by the workload.
When (next)
hits the end of the stream, an error will be raised. A default value may be supplied as the second argument to prevent erroring.
A destination for values which may be sent with (emit)
.
All scripts can emit values to the *stdout*
sink, which encodes values as JSON to stdout
.
(emit "hello!" *stdout*)
(emit 42 *stdout*)
"hello!"
42
null
A name value, similar to a symbol, only it evaluates to itself instead of fetching a binding from an environment.
Keywords are sometimes used as simple values indicating certain conditions, such as :end
to indicate the end of a stream.
(def vals (stream 1 2))
[(next vals :end)
(next vals :end)
(next vals :end)]
(
1
2
:end
)
Keywords are also applicative - they can fetch a value from an object, or fetch a binding from an environment:
(def foo 123)
[(:b {:a 1 :b 2 :c 3})
(:foo (get-current-env))
]
(
2
123
)
Keywords may also be chained to the end of a symbol to traverse nested structures:
(def foo {:a {:b 42}})
foo:a:b
42
A value which can be applied to another value (typically a list of arguments) to perform some computation and return another value.
A combiner which receives the applied arguments, unevaluated, along with the dynamic environment of the caller.
Operatives are defined with the (defop)
operative or constructed with (op)
.
(defop quote-with-env args env
[args env])
(quote-with-env a b c)
(
(
a
b
c
)
<env>
)
A combiner which wraps an underlying operative and evaluates its arguments before passing them along to it.
Applicatives, typically called functions, are defined with the (defn)
operative or constructed with (fn)
.
(defn inc [x]
(+ x 1))
(inc 41)
42


|
||||||||||
| PREV CLASS NEXT CLASS | FRAMES NO FRAMES | |||||||||
| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |
java.lang.Object net.sourceforge.cilib.Problem.OptimisationProblemAdapter net.sourceforge.cilib.Problem.FunctionOptimisationProblem
This class serves as a base class for function optimisation problems using a Function
| Constructor Summary | |
FunctionOptimisationProblem()
Creates a new instance of FunctionOptimisationProblem with null function. |
| Method Summary | |
DomainComponent |
getDomain()
Returns the component that describes the domain of the function. |
abstract double |
getError(java.lang.Object solution)
Returns the error (as a double for now) that the given solution has with respect to the actual optimum solution. |
Function |
getFunction()
Accessor for the function that is to be optimised. |
void |
setFunction(Function function)
Sets the function that is to be optimised. |
| Methods inherited from class net.sourceforge.cilib.Problem.OptimisationProblemAdapter |
getFitness, getFitnessEvaluations |
| Methods inherited from class java.lang.Object |
equals, getClass, hashCode, notify, notifyAll, toString, wait, wait, wait |
| Constructor Detail |
public FunctionOptimisationProblem()
FunctionOptimisationProblem
with null
function.
Remember to always set a Function
before attempting to apply
an OptimisationAlgorithm
to this problem.
#setFunction(net.sourceforge.cilib.Functions.Function
| Method Detail |
public void setFunction(Function function)
function
- The function.public Function getFunction()
public DomainComponent getDomain()
getDomain
in interface OptimisationProblem
getDomain
in class OptimisationProblemAdapter
public abstract double getError(java.lang.Object solution)
solution
- the solution for which an error should be determined
|
||||||||||
| PREV CLASS NEXT CLASS | FRAMES NO FRAMES | |||||||||
| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |


New Store
WHERE
MINIMUM CUSTOMERS
MAXIUMUM CUSTOMERS
AVERAGE SALE PER CUSTOMER
Submit
Pam's Questionable Confections
Homepage
Secret Data
Order


This page shows automated results of the Quadrantids 2008, based on visual data entered through the IMO electronic report form. Send your feedback regarding this page to Geert Barentsen or visit the project pages. Note that these automated results may not be suitable for scientific use!
Page generated: 2008 March 29 at 15:03 UT.
ZHRmax = 82 based on 2588 Quadrantids in 505 data intervals, assuming fixed population index r = 2.0 and zenith correction 1/sin(hR).
| Time (UT) | Solarlon | nINT | nQUA | ZHR | |
|---|---|---|---|---|---|
| 2007-12-31 03:52 | 278.964 | 7 | 1 | 2 | +-1 |
| 2008-01-02 01:23 | 280.897 | 40 | 21 | 5 | +-1 |
| 2008-01-03 01:19 | 281.913 | 11 | 19 | 11 | +-2 |
| 2008-01-03 09:53 | 282.277 | 23 | 24 | 8 | +-2 |
| 2008-01-03 18:08 | 282.628 | 12 | 24 | 11 | +-2 |
| 2008-01-03 19:35 | 282.689 | 6 | 32 | 29 | +-5 |
| 2008-01-03 20:45 | 282.739 | 5 | 34 | 36 | +-6 |
| 2008-01-03 22:01 | 282.793 | 5 | 28 | 29 | +-5 |
| 2008-01-03 23:11 | 282.842 | 8 | 59 | 39 | +-5 |
| 2008-01-04 00:22 | 282.892 | 15 | 107 | 46 | +-4 |
| 2008-01-04 01:15 | 282.930 | 35 | 180 | 42 | +-3 |
| 2008-01-04 02:21 | 282.977 | 52 | 316 | 56 | +-3 |
| 2008-01-04 03:19 | 283.018 | 55 | 405 | 54 | +-3 |
| 2008-01-04 04:18 | 283.060 | 59 | 452 | 57 | +-3 |
| 2008-01-04 05:14 | 283.099 | 39 | 308 | 58 | +-3 |
| 2008-01-04 06:29 | 283.152 | 15 | 67 | 44 | +-5 |
| 2008-01-04 07:35 | 283.199 | 9 | 37 | 65 | +-11 |
| 2008-01-04 08:38 | 283.244 | 30 | 109 | 77 | +-7 |
| 2008-01-04 09:36 | 283.285 | 28 | 102 | 82 | +-8 |
| 2008-01-04 10:39 | 283.329 | 14 | 104 | 75 | +-7 |
| 2008-01-04 11:48 | 283.378 | 5 | 57 | 52 | +-7 |
| 2008-01-04 12:49 | 283.421 | 5 | 25 | 18 | +-4 |
| 2008-01-04 14:36 | 283.497 | 5 | 22 | 26 | +-5 |
| 2008-01-04 17:18 | 283.612 | 8 | 21 | 24 | +-5 |
| 2008-01-04 23:27 | 283.873 | 11 | 24 | 12 | +-2 |
| 2008-01-05 09:55 | 284.317 | 3 | 10 | 14 | +-4 |
For each estimation interval: time is the middle of the interval, nINT is the number of observing periods and nQUA is the number of Quadrantids involved. ZHR = (1 + sum nQUA) / sum(Teff/C) where Teff is the effective observing time and C is the total correction for limiting magnitude, clouds and zenith correction. The solar longitudes refer to equinox J2000.0.
Data has been received from 65 observers in 19 countries. Thank you for your efforts!
| Observer | Country | Teff | nQUA |
|---|---|---|---|
| Salvador Aguirre | Mexico | 8.00h | 17 |
| Rainer Arlt | Germany | 1.65h | 74 |
| Pierre Bader | Germany | 3.58h | 112 |
| Felix Bettonvil | Netherlands | 2.64h | 52 |
| Simiao Cheng | China | 1.55h | 8 |
| Marcin Chwala | Poland | 4.17h | 73 |
| Mark Davis | United States | 3.15h | 71 |
| Peter Detterline | United States | 1.85h | 13 |
| Sietse Dijkstra | Netherlands | 6.75h | 12 |
| Irena Divisova | Czech Republic | 6.00h | 7 |
| Sergey Dobrowsky | Belarus | 3.67h | 17 |
| Ted Dunphy | Canada | 1.91h | 22 |
| Jaroslaw Dygos | Poland | 2.00h | 2 |
| Shlomi Eini | Israel | 0.25h | 7 |
| Frank Enzlein | Germany | 1.75h | 58 |
| Ling Feng | China | 2.50h | 4 |
| Stela Frencheva | Bulgaria | 1.25h | 63 |
| Arnold Gentz | Romania | 2.16h | 53 |
| William Godley | United States | 2.49h | 39 |
| Paul Gray | Canada | 2.00h | 31 |
| Wayne T. Hally | United States | 4.83h | 47 |
| Vilem Heblik | Czech Republic | 8.41h | 63 |
| Petr Horalek | Czech Republic | 1.31h | 32 |
| Sorin Hotea | Romania | 2.85h | 96 |
| Antal Igaz | Hungary | 2.36h | 45 |
| Andrey Igoshev | Russia | 1.00h | 17 |
| Andre Knofel | Germany | 2.51h | 74 |
| Aleksey Kobets | Israel | 0.41h | 13 |
| Katsuyuki Kobayashi | Japan | 1.00h | 4 |
| Jakub Koukal | Czech Republic | 24.42h | 77 |
| Richard Kramer | United States | 0.68h | 3 |
| Richard Kramer | United States | 0.72h | 1 |
| Peter Van Leuteren | Netherlands | 3.18h | 10 |
| Anna S. Levina | Israel | 0.50h | 19 |
| Alister Ling | Canada | 3.25h | 45 |
| Alister Ling | Canada | 1.25h | 11 |
| Xin Li | China | 1.08h | 7 |
| Pierre Martin | Canada | 1.63h | 60 |
| Bruce Mccurdy | Canada | 6.00h | 92 |
| Sven Nather | Germany | 2.00h | 83 |
| Duc Thien Ngo | Vietnam | 3.50h | 55 |
| Tereza Novotna | Czech Republic | 2.00h | 27 |
| Aleksandr Pobiakha | Belarus | 1.09h | 8 |
| Krzysztof Polakowski | Poland | 11.00h | 167 |
| Jurgen Rendtel | Germany | 4.53h | 142 |
| Maciej Reszelski | Poland | 1.50h | 72 |
| Krisztian Sarneczky | Hungary | 2.36h | 65 |
| Mikiya Sato | Japan | 0.50h | 0 |
| Hideki Seo | Japan | 0.50h | 1 |
| Tadeusz Sobczak | Poland | 3.42h | 10 |
| Ulrich Sperberg | Germany | 2.83h | 68 |
| Martin Stojanovski | Macedonia | 0.82h | 8 |
| Richard Taibi | United States | 3.17h | 37 |
| Istvan Tepliczky | Hungary | 0.50h | 8 |
| Kazumi Terakubo | Japan | 1.00h | 8 |
| Josep Trigo Rodriguez | Spain | 2.86h | 40 |
| Maria Turda | Romania | 1.08h | 34 |
| Shigeo Uchiyama | Japan | 4.00h | 39 |
| Andras Uhrin | Hungary | 2.36h | 71 |
| Michel Vandeputte | Belgium | 3.84h | 50 |
| Robert Wagner | Spain | 0.29h | 7 |
| Roland Winkler | Germany | 2.42h | 53 |
| Lukasz Wozniak | Poland | 0.55h | 9 |
| Kim S. Youmans | United States | 2.00h | 78 |
| Xiang Zhan | China | 1.25h | 3 |
Create your own analysis!
Rate intervals: qua2008_rate.csv (CSV-format).
Magnitude distributions: qua2008_magn.csv (CSV-format).


TIMECODE A film review by David N. Butterworth Copyright 2000 David N. Butterworth
***1/2 (out of ****)
"Timecode" is a brilliantly conceived and executed piece of experimental filmmaking that questions the notions of traditional narrative cinema by challenging the very way in which we view movies.
That's the good news.
The bad news is that it's written and directed (and produced and scored and photographed!) by Mike Figgis, the man who made the overrated drunk drama "Leaving Las Vegas," and the worst thing about it is that it continues his sophomoric preoccupation with sex.
But "Timecode," easily his finest work to date, is so different, so creative a motion picture that even I could put away my anti-Figgis sentiments for an hour and a half and enjoy the film purely on its own considerable merits.
Watching "Timecode" is like no other cinematic experience and you'd be well advised to sit further back than usual, since your eyes will be wandering--sometimes racing--all over the screen. The film is actually four separate yet (as time will tell) linked films presented in four panels, so in the top right-hand corner of the screen, for example, we have a woman talking to her psychiatrist while in the bottom left-hand corner of the screen someone else is auditioning for a part in a Z-grade exploitation flick.
Each sequence is shot in one continuous take with no edits. One uninterrupted 93-minute take, to be precise, since that's exactly how long a digital videocassette runs. But it *feels* like there are edits, because by the time your eye returns to one of the segments the action is closer in, or further out, or in a completely different place.
The actors, among them Salma Hayek, Jeanne Tripplehorn, Stellan Skarsgård, Holly Hunter, Saffron Burrows, Kyle MacLachlan, Julian Sands, Richard Edson, Glenne Headly, Leslie Mann, and Steven Weber, improvise around a loosely-structured narrative that requires them to do certain things and be certain places at specific times--synchronized right down to the millisecond. What we see on the screen, therefore, are four distinct storylines that, over time, come together--overlapping and interacting. It's truly invigorating watching how characters that were once "down there" are now "up here."
Figgis, I hate to admit it, orchestrates the whole thing beautifully, so that from time to time all four sequences "match," or run parallel, while at other times they're completely out of sync. And the experience of watching the film is sensational, since it requires a different *method* of viewing depending upon what's happening on screen at any one time. For example, at points in the film you can leisurely move your head in a slow continuous circle, absorbing each of the disparate stories, yet at other times you have to move your eyes quickly, scanning each different area for clues.
In-jokes abound, and Figgis is not afraid to make fun of himself or his trade (note the surreal scene towards the end in which a diaphanous beauty pitches her own familiar-sounding experimental treatment accompanied by a rapper-keyboardist named Joey Z). Every now and again there's an earthquake, a minor tremor that rumbles through each of the four quadrants sending our actors tumbling and reminding us, as if we needed reminding, that these four stories are not only linked, but happening in real time. But in the end the near-irrelevant "plot" takes second place to the film's structure (and it's just as well, because I'd swear that Figgis came up with the idea of having Hayek and Tripplehorn making out in the back of a limo before he came up with his revolutionary four-camera technique!).
If you're not into film, the medium, and the concept of a highly structural film experience, then the novelty of "Timecode" might grow tiresome very quickly. But if you can allow yourself to put aside all traditional expectations--just as I was able to put aside my tiny problem of this being a Mike Figgis film--then you might just find it absolutely fascinating.
-- David N. Butterworth<EMAIL_ADDRESS>Got beef? Visit "La Movie Boeuf" online at http://members.dca.net/dnb
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


MineSweeper!!
Easy(4x4) with 2 Mines
Normal(8x8) with 12 Mines
Hard(12x12) with 30 Mines
😃
Safe-Click
3
clicks available


{% load icon %}
{% block console_css %}
{% endblock console_css %}
{% block console_body %}
{% include "console/components/links/breadcrumbs.html" with
base_page="Transfers"
base_page_url="/transfers"
current_page=id
%}
{% if id and id != 'new' %}
{% include "console/components/forms/form_tabs.html" with
id=id
model="transfers"
%}
{% endif %}
{% if unit == 'files' %}
{% include "console/pages/settings/files/files.html" with
model='transfers'
model_singular='transfer'
organizations=organizations
section=section
user=user
%}
{% elif unit == 'logs' %}
{% include "console/pages/settings/logs/logs.html" with
model='transfers'
model_singular='transfer'
organizations=organizations
section=section
user=user
%}
{% else %}
{% include "console/components/forms/form_title.html" with
abbreviation=data_model.abbreviation
id=id
model='transfers'
model_singular='transfer'
description="Manage transfers of samples sent for analysis."
options=True
export=id
%}
{% include "console/components/tables/simple_form_table.html" with
model="samples"
model_singular="sample"
description="Manage samples that are part of this transfer."
abbreviation="S"
parent_model="transfers"
parent_model_singular="transfer"
parent_id=section
select=True
%}
{% include "console/components/modals/selection_dialog.html" with
model="samples"
%}
{% if id and id != 'new' %}
{% include "console/components/forms/delete_option.html" with
id=id
model="transfers"
model_singular="transfer"
%}
{% endif %}
{% endif %}
{% endblock console_body %}
{% block console_js %}
{% endblock console_js %}


Home
Menu
Catering
Contact Us
Follow us on Facebook!
We're sorry, something went wrong please try again later!
Message succesfully sent, we'll get back to you as soon as possible!
Contact Us
Write us a message or give us a call at<PHONE_NUMBER>
Name
Email
Subject
Message
Submit


{{ define "main" }} {{ partial "nav2" . }}
{{ .Params.intro | safeHTML | markdownify }}
Starting year:
Final year:
Download crosswalk and documentation:


Deploy a stack to a swarm
読む時間の目安: 7 分When running Docker Engine in swarm mode, you can use docker stack deploy
to
deploy a complete application stack to the swarm. The deploy
command accepts
a stack description in the form of a Compose file.
The docker stack deploy
command supports any Compose file of version “3.0” or
above. If you have an older version, see the upgrade guide.
To run through this tutorial, you need:
-
A Docker Engine of version 1.13.0 or later, running in swarm mode. If you’re not familiar with swarm mode, you might want to read Swarm mode key concepts and How services work.
Note: If you’re trying things out on a local development environment, you can put your engine into swarm mode with
docker swarm init
.If you’ve already got a multi-node swarm running, keep in mind that all
docker stack
anddocker service
commands must be run from a manager node. -
Docker Compose version 1.10 or later.
Set up a Docker registry
Because a swarm consists of multiple Docker Engines, a registry is required to distribute images to all of them. You can use the Docker Hub or maintain your own. Here’s how to create a throwaway registry, which you can discard afterward.
-
Start the registry as a service on your swarm:
$ docker service create --name registry --publish published=5000,target=5000 registry:2
-
Check its status with
docker service ls
:$ docker service ls ID NAME REPLICAS IMAGE COMMAND l7791tpuwkco registry 1/1 registry:2@sha256:1152291c7f93a4ea2ddc95e46d142c31e743b6dd70e194af9e6ebe530f782c17
Once it reads
1/1
underREPLICAS
, it’s running. If it reads0/1
, it’s probably still pulling the image. -
Check that it’s working with
curl
:$ curl http://localhost:5000/v2/ {}
Create the example application
The app used in this guide is based on the hit counter app in the Get started with Docker Compose guide. It consists of a Python app which maintains a counter in a Redis instance and increments the counter whenever you visit it.
-
Create a directory for the project:
$ mkdir stackdemo $ cd stackdemo
-
Create a file called
app.py
in the project directory and paste this in:from flask import Flask from redis import Redis app = Flask(__name__) redis = Redis(host='redis', port=6379) @app.route('/') def hello(): count = redis.incr('hits') return 'Hello World! I have been seen {} times.\n'.format(count) if __name__ == "__main__": app.run(host="<IP_ADDRESS>", port=8000, debug=True)
-
Create a file called
requirements.txt
and paste these two lines in:flask redis
-
Create a file called
Dockerfile
and paste this in:FROM python:3.4-alpine ADD . /code WORKDIR /code RUN pip install -r requirements.txt CMD ["python", "app.py"]
-
Create a file called
docker-compose.yml
and paste this in:version: '3' services: web: image: <IP_ADDRESS>:5000/stackdemo build: . ports: - "8000:8000" redis: image: redis:alpine
The image for the web app is built using the Dockerfile defined above. It’s also tagged with
<IP_ADDRESS>:5000
- the address of the registry created earlier. This is important when distributing the app to the swarm.
Test the app with Compose
-
Start the app with
docker-compose up
. This builds the web app image, pulls the Redis image if you don’t already have it, and creates two containers.You see a warning about the Engine being in swarm mode. This is because Compose doesn’t take advantage of swarm mode, and deploys everything to a single node. You can safely ignore this.
$ docker-compose up -d WARNING: The Docker Engine you're using is running in swarm mode. Compose does not use swarm mode to deploy services to multiple nodes in a swarm. All containers are scheduled on the current node. To deploy your application across the swarm, use `docker stack deploy`. Creating network "stackdemo_default" with the default driver Building web ...(build output)... Creating stackdemo_redis_1 Creating stackdemo_web_1
-
Check that the app is running with
docker-compose ps
:$ docker-compose ps Name Command State Ports ----------------------------------------------------------------------------------- stackdemo_redis_1 docker-entrypoint.sh redis ... Up 6379/tcp stackdemo_web_1 python app.py Up <IP_ADDRESS>:8000->8000/tcp
You can test the app with
curl
:$ curl http://localhost:8000 Hello World! I have been seen 1 times. $ curl http://localhost:8000 Hello World! I have been seen 2 times. $ curl http://localhost:8000 Hello World! I have been seen 3 times.
-
Bring the app down:
$ docker-compose down --volumes Stopping stackdemo_web_1 ... done Stopping stackdemo_redis_1 ... done Removing stackdemo_web_1 ... done Removing stackdemo_redis_1 ... done Removing network stackdemo_default
Push the generated image to the registry
To distribute the web app’s image across the swarm, it needs to be pushed to the registry you set up earlier. With Compose, this is very simple:
$ docker-compose push
Pushing web (<IP_ADDRESS>:5000/stackdemo:latest)...
The push refers to a repository [<IP_ADDRESS>:5000/stackdemo]
5b5a49501a76: Pushed
be44185ce609: Pushed
bd7330a79bcf: Pushed
c9fc143a069a: Pushed
011b303988d2: Pushed
latest: digest: sha256:a81840ebf5ac24b42c1c676cbda3b2cb144580ee347c07e1bc80e35e5ca76507 size: 1372
The stack is now ready to be deployed.
Deploy the stack to the swarm
-
Create the stack with
docker stack deploy
:$ docker stack deploy --compose-file docker-compose.yml stackdemo Ignoring unsupported options: build Creating network stackdemo_default Creating service stackdemo_web Creating service stackdemo_redis
The last argument is a name for the stack. Each network, volume and service name is prefixed with the stack name.
-
Check that it’s running with
docker stack services stackdemo
:$ docker stack services stackdemo ID NAME MODE REPLICAS IMAGE orvjk2263y1p stackdemo_redis replicated 1/1 redis:3.2-alpine@sha256:f1ed3708f538b537eb9c2a7dd50dc90a706f7debd7e1196c9264edeea521a86d s1nf0xy8t1un stackdemo_web replicated 1/1 <IP_ADDRESS>:5000/stackdemo@sha256:adb070e0805d04ba2f92c724298370b7a4eb19860222120d43e0f6351ddbc26f
Once it’s running, you should see
1/1
underREPLICAS
for both services. This might take some time if you have a multi-node swarm, as images need to be pulled.As before, you can test the app with
curl
:$ curl http://localhost:8000 Hello World! I have been seen 1 times. $ curl http://localhost:8000 Hello World! I have been seen 2 times. $ curl http://localhost:8000 Hello World! I have been seen 3 times.
Thanks to Docker’s built-in routing mesh, you can access any node in the swarm on port 8000 and get routed to the app:
$ curl http://address-of-other-node:8000 Hello World! I have been seen 4 times.
-
Bring the stack down with
docker stack rm
:$ docker stack rm stackdemo Removing service stackdemo_web Removing service stackdemo_redis Removing network stackdemo_default
-
Bring the registry down with
docker service rm
:$ docker service rm registry
-
If you’re just testing things out on a local machine and want to bring your Docker Engine out of swarm mode, use
docker swarm leave
:$ docker swarm leave --force Node left the swarm.


Brick's Website
Personal Information
- Brick Green
- Yes, this is my real name.
Working Knowledge and Interests
- HTML5/CSS3
- C#.NET
- PHP
- SQL
- Business Systems Analysis
Writing
- Grant writing
- Technical Writing
- Social Science
Education
- B.S.B.A. Computer Information Systems
- B.A. Cultural Anthropology
Experience
- UofL School of Medicine
- CHAMPS!
- Green's Silo House Nursery


The celebrated folk singer Bob Brown only released two LPs during his short career in the 1970s. The Wall I Built Myself (1970) and Willoughby’s Lament (1971) have become increasingly rare LPs to find in used record shops, but pretty soon eager fans won’t have to dig through dusty crates anymore to procure a copy. […]
The celebrated folk singer Bob Brown only released two LPs during his short career in the 1970s. The Wall I Built Myself (1970) and Willoughby’s Lament (1971) have become increasingly rare LPs to find in used record shops, but pretty soon eager fans won’t have to dig through dusty crates anymore to procure a copy. […]
The celebrated folk singer Bob Brown only released two LPs during his short career in the 1970s. The Wall I Built Myself (1970) and Willoughby’s Lament (1971) have become increasingly rare LPs to find in used record shops, but pretty soon eager fans won’t have to dig through dusty crates anymore to procure a copy. […]
The celebrated folk singer Bob Brown only released two LPs during his short career in the 1970s. The Wall I Built Myself (1970) and Willoughby’s Lament (1971) have become increasingly rare LPs to find in used record shops, but pretty soon eager fans won’t have to dig through dusty crates anymore to procure a copy. […]
The celebrated folk singer Bob Brown only released two LPs during his short career in the 1970s. The Wall I Built Myself (1970) and Willoughby’s Lament (1971) have become increasingly rare LPs to find in used record shops, but pretty soon eager fans won’t have to dig through dusty crates anymore to procure a copy. […]
The celebrated folk singer Bob Brown only released two LPs during his short career in the 1970s. The Wall I Built Myself (1970) and Willoughby’s Lament (1971) have become increasingly rare LPs to find in used record shops, but pretty soon eager fans won’t have to dig through dusty crates anymore to procure a copy. […]


THE CENTER OF THE WORLD ------------------------
Dot com millionaire Richard (Peter Sarsgaard, "Boy's Don't Cry") thinks the center of the world is his computer while stripper Flo (Molly Parker, "The Five Senses") thinks it's between her legs. These two both go on a journey of self-discovery and self-delusion when Richard hires Flo to spend a weekend in Las Vegas in director Wayne Wang's "The Center of the World."
LAURA:
Director Wang's ("Anywhere But Here") attempt to show man's inability to make a personal connection as he ironically gets increasingly connected via the internet is a topical idea, yet Wang alienates his audience with the shallow characterization Ellen Benjamin Wong's script provides his two leads.
When Richard meets Flo, she gives her career as a rock band drummer but admits that her income comes from stripping. Richard chooses to see her making money, and, beguiled by her professional come-on, soon begs her to accompany him on a three day trip to Las Vegas, offering $10,000. Against her better judgement, but attracted by the cash, Flo insists on rules. She'll be at his beck and call from 10 p.m. to 2 a.m. with no kissing on the mouth, no penetration and no talk about feelings. Richard prepares to leave, even as he promises his boss to be present for an important client meeting prior to their IPO kickoff.
Perhaps the ultimate city of illusion, Las Vegas proves a perfect backdrop for this artificial relationship, but things quickly get out of hand as Richard is charmed by Flo's openness and Flo is forced to assess her own part in the play when her friend Jerri (Carla Gugino, "Spy Kids") too aggressively inserts herself between the twosome.
While the sex may be hot (the film is unrated), the spark between Richard and Flo is not. We're given no idea why a rich, handsome nice guy like Richard would need to pay a woman for company. He initially tells Flo that his father recently died and that they were very close, but quickly insists 'It's okay.' It's also inexplicable why he would bring his laptop with him and continue to work on the game designing he's made his fortune with, yet do everything in his power to scuttle an IPO that would cement his career and wealth.
Flo's character is even more problematic. Whenever we glimpse her involved with her music, all she projects is boredom. Her only other known human connection, Jerri, is admittedly the whore Flo resists being labelled as.  The only time these two characters seem to be enjoying themselves together is when Flo plays Richard's video game.
Digital video cinematography by Mauro Fiore features color drained scenes when outside of Vegas or Flo's strip club, and flat, dingy looking color on the streets of Vegas. Vegas itself is presented in an original way, recalling the artificial world of "Babe: Pig in the City" with its Statues of Liberty and Venetian gondolas. The connecting hotel rooms, where the bulk of the action takes place, however, don't convince as accommodations chosen by a millionaire.
Wang nicely ends his film with a bit of intriguing ambiguity, but it's too little too late - "The Center of the World" can't sustain interest in its own central characters.
C
For more Reeling reviews visit www.reelingreviews.com
<EMAIL_ADDRESS><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


--- layout: page title: "Book" ---
书籍资源
https://github.com/0voice/expert_readed_books
{{ book.content }}


The following cases are reported:
Configure the inspection:
Use the Report redundant initializers option to report redundant initializers:
int getI() {
int i = 0; // redundant initialization
i = 2;
return i;
}
Use the Report ++i when may be replaced with (i + 1) option to report the cases when ++i
expression
may be replaced with i + 1
:
int preInc(int i) {
int res = i;
return ++res;
}
Use the Report i++ when changed value is not used afterwards option to report the cases when the result of i++
expression
is not used later:
int postInc(int i) {
int res = i;
return res++;
}


Get coffee??
Look at art??
Grab some food??
Chargeaze is a website that helps electric vehicle drivers find charge stations in the New Westminster area. While charging it also helps drivers pass the time by helping them find coffee shops, places to look at art, and restauraunts.
Email<EMAIL_ADDRESS>Eletric charging station Traffic volumes


Dynamic Time Warping based Hierarchical Agglomerative Clustering¶
Codes to perform Dynamic Time Warping Based Hierarchical Agglomerative Clustering of GPS data
- author
Utpal Kumar
- date
2021/08
- copyright
2021, Institute of Earth Sciences, Academia Sinica.


THE JACKAL A film review by Steve Rhodes Copyright 1997 Steve Rhodes
RATING (0 TO ****): ***
Posing as a handsome, gay professional that master of disguises, the Jackal, hits on a young government official. After some boozy flirting, the Jackal plants a pair of big kisses on him, gets the guy's business card and leaves, promising to call him sometime. The card and the contact are part of the Jackal's elaborate assassination scheme. He's collecting all the necessary materials for the big day.
Bruce Willis, one of our most uneven actors, gives a terrific performance this time as that shadowy figure known as the Jackal. At first even the FBI is not sure whether the Jackal is a real person or just a myth. With a new identity and look every five minutes in the picture, it is no wonder that the Jackal has remained so elusive.
Although the new movie THE JACKAL by ROB ROY's director Michael Caton-Jones acknowledges Kenneth Roth's screenplay for THE DAY OF THE JACKAL in the credits, it shares little of the story. Both movies are about assassinations of a political figural by a terrorist known as the Jackal, but the similarities basically end there.
The story opens with a joint US and Russian police operation in Moscow. A scar-faced Major Valentina Koslova, played with unwavering intensity by Diane Venora from HEAT, kills one of the Russian Mafia kingpins in a nightclub raid.  All we know of the target's identity is that the Jackal says he will have to go into hiding forever after the kill and hence demands and receives $70,000,000 as his fee with half payable upfront.
Sidney Poitier in one of his better recent performances plays FBI Deputy Director Carter Preston. Preston teams up with Major Koslova to track down the Jackal before he makes the big hit. As the sincere ex-IRA hit man named Declan Mulqueen, Richard Gere manages to keep his Irish accent consistent and believable. Mulqueen is temporarily released from prison to help Koslova and Preston track down the Jackal since Mulqueen is one of two living people known to have ever seen the Jackal. Although Gere slightly underplays an already underwritten role, he gives a quite credible performance.
The problems with the movie almost undermine it on several occasions. The script heaps several unnecessary leaps of faith on the audience, most surrounding the lack of seriousness American law enforcement officers place on the threat of a major assassination.  And the well executed ending is flawed by an illogical rabbit pulled out of a hat.
The director does not get the show's motor in gear for over half an hour. After he does, he lets it slip into neutral too often in the non-action scenes. In most thrillers, consider the television "Prime Suspect" dramas, for example, the police's planning scenes are full of tension and energy. In THE JACKAL, by contrast, there is a certain ennui to the proceedings.
All of this notwithstanding, whenever Willis is on the screen, the movie hums. The writing is smart in the way the Jackal creates his disguises and switches back and forth seamlessly. The military hardware he assembles for the kill and the stealthy way he transports it is fascinating. Willis approaches his part with the serene confidence of a killer who murders without hesitation.
Even though the assassination attempt is telegraphed from early on, its execution will undoubtedly send chills up your spine. At THE JACKAL's best, as it is in the last half hour, the movie has you on the edge of your seat. The problem with the film is that too often you may find yourself slumped back in your chair during the frequent slow interludes.
THE JACKAL runs a little under two hours. It is rated R for some profanity and a few gory scenes. It would be fine for teenagers.
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


Review by Lars Lindahl<EMAIL_ADDRESS>"Hamlet" (2000) **1/2 (out of four)
Directed by Michael Almereyda Written by MIchael Almereyda from William Shakespeare's play
Starring Ethan Hawke, Julia Stiles, Bill Murray, Sam Shephard, Kyle MacLachlan, Diane Venora, Liev Schreiber, Steve Zahn, and Dechen Thurman.
There have been countless remakes of William Shakespeare's most celebrated drama Hamlet. Everyone from Laurence Olivier to Mel Gibson has stepped into the shoes of the titular character with a fair amount of success. Now indie writer/director Michael Almereyda (Another Girl, Another Planet), with an all star cast, has tried something a little bit different with the bard's masterpiece. The ultimate question facing Almereyda is whether this difference can attract the same viewers who have seen the play filmed to death. Is this play the thing? In many ways, yes. The unique visual flare of the director and the ability of making the story work in a time period it doesn't belong are both reasons to see and enjoy this film. However, many walls stand in the way of perfection.
Meet the new Hamlet; a New Yorker, a loner, a hip stylish artist in his twenties who has lived to see the dropping ball introduce the year 2000. He has a cell phone, a video camera, and a Blockbuster card and he also has a lot on his mind. His father, the "king" of the Denmark Corporation, died and his mother, following the funeral, immediately married his uncle. All of this seems fine until the ghost of Hamlet's father visits him in his apartment and tells him that something evil is going on. Poor, confused Hamlet now doesn't know if he's just imagining the ghost, or if his father was actually betrayed by his own greedy brother.
Although not as witty or impressive as Baz Luhrmann's similarly contemporary Romeo + Juliet, this remake stands out for its overall cleverness in presentation. Very dramatic with periods of laugh out loud humor, Almereyda creates new meanings to words written centuries ago. Some of the scenes will have you wondering how the heck anyone could have thought of something this original. Instead of a theatrical play to determine whether Claudius is guilty or not, Hamlet creates a short film entitled Mouse Trap with blatant images of death, greed, and corruption. The short is memorably funny and makes the film Hamlet much more interesting. There are plenty of satisfying scenes like this which liven up the movie but at some points, it feels like Almereyda takes the easy way out. He leaves out scenes (possibly because they are too difficult to complete?) and he leaves out characters (two talented actors - Jeffrey Wright and Casey Affleck are in the movie for seconds as the gravedigger and Fortinbras, a case of too much editing). But there is more to like than to hate while watching this movie and I guess that's a good thing.
My major complaint is with Almereyda's obsessive use of product placement. Sure, using real companies is another clever way of reminding the audience that this Hamlet is living in the same world as you are, but eventually it becomes very distracting. For example, Hamlet delivers the famous "To be or not to be" speech inside a Blockbuster Video store. The speech is extremely important in understanding exactly how Hamlet is responding to the visits of the ghost or his troubles with girlfriend Ophelia, but the whole time I found myself uncontrollably spotting familiar video boxes in the background or watching the television behind Hamlet's head display previews of upcoming releases. Not once did I look at Hawke and very few times did I hear what he was saying. This happens several times during the movie; by the end I really wanted to rent a video, drink some Pepsi, shop at Key Food, and call Movie-Fone. If this adaptation is paying tribute to Shakespeare's brilliant writing skills by updating it, then why are there so many visual distractions that detract the audience's attention from the script? The visuals are stunning and creative but the text is what has made Hamlet so respected - what has inspired this film to be made in the first place.
The cast left me with several mixed impressions. Despite hearing that Hawke was a disappointment as Hamlet, I found him to be very effective and convincing. You could feel his pain each time he is betrayed (which is about a billion times) and it is very clear that as the film progresses, his character becomes more and more doomed for tragedy. Julia Stiles, as Hamlet's illicit lover Ophelia, is not as successful in her performance. It seemed like her part was much less important than in other versions, maybe because Almereyda cut some scenes or because she put very little life into her role. Either way, I felt very little sympathy for her. Bill Murray is also a bit of a disappointment. It felt like he was reading off cue cards - he would pause after every sentence and look off over the shoulder of his counterpart like someone was feeding him words. The rest of the cast positively contributed to the film: Sam Shephard was brilliant as the ghost, Diane Venora and Kyle MacLachlan ideal as the mischievous relatives Gertrude and Claudius, and Liev Schreiber right on target playing the vengeful Laertes. You have to give credit to these actors no matter how they faired, these roles were very difficult to master. Mixing old lingo with a contemporary background is tough to do.
The most recent Hamlet to add to the voluminous collection of Hamlet's is a near-hit. At some points you will be shocked with entertainment and other points frozen in boredom. Check it out for some decent experimental filming and laugh at Bill Murray doing Shakespeare.
Grade: **1/2 (out of four)
Lars Attacks! A teenager attacks past and present cinema http://www.angelfire.com/ny3/larsattacks
<EMAIL_ADDRESS>(c) 2000 Lars Lindahl
Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/
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


void AFprintChunkLims(const AFILE *AFp, FILE *fpinfo)
Print the header/data (chunk) structure for an audio file
This formats and prints the file organization information. For IFF (Interchange File Format) audio files, the file is organized a chunks (named digital containers). These chunks are used to store auxiliary information and the audio data itself. Examples of IFF files supported by AFopnRead are AIFF/AIFF-C sound files, WAVE files, and CSL NSP files.
For other file formats pseudo chunks are identified. These pseudo chunks typically include the file identification string, the data format information ("fmt "), and the data storage area ("data").
The AFp->ChunkInfo structure has the following format,
struct AF_chunkInfo { struct AF_chunkLim *ChunkLim[Nmax]; int Nmax; Size of ChunkLim int N; Number of ChunkLim values set }
where struct AF_ChunkLim is defined as
struct AF_chunkLim { unsigned char ID[4]; Chunk ID long int Start; Chunk start position in bytes long int End; Last byte in the chunk }
P. Kabal / Revision 1.14 2020-11-26


@* * Copyright 2023 HM Revenue & Customs * * Licensed under the Apache License, Version 2.0 (the "License"); * you may not use this file except in compliance with the License. * You may obtain a copy of the License at * * http://www.apache.org/licenses/LICENSE-2.0 * * Unless required by applicable law or agreed to in writing, software * distributed under the License is distributed on an "AS IS" BASIS, * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. * See the License for the specific language governing permissions and * limitations under the License. *@ @import uk.gov.hmrc.cataloguefrontend.ViewMessages @import uk.gov.hmrc.cataloguefrontend.connector.model.DependencyScope @this(viewMessages: ViewMessages) @(serviceName: String, dotData : Option[String], scope : DependencyScope )(implicit request : RequestHeader ) @standard_layout(postContent = graph) {


--- layout: default ---
Welcome to the AsthmaMap project, a community-driven effort focused on a comprehensive description of asthma mechanisms and its applications for developing models, data interpretation and hypothesis generation.
The AsthmaMap includes three interconnected layers of granularity: Cellular Interactions (CI), a high-level overview; Molecular Relations (MR), the intermediate level of details; Biochemical Mechanisms (BM), the most detailed layer.
| AsthmaMap Cellular Interactions | AsthmaMap Molecular Relations | AsthmaMap Biochemical Mechanisms |
Content: cell-to-cell communication, each receptor represents the corresponding pathway of the AF and PD layers. Format: activity flows. Purpose: disease overview, defining the content for the detailed maps, disease endotype visualisation. Compatible databeses: MetaCore Pathway Maps (overview type). |
Content: compact representation of signalling events, molecular interactions without details on processes. Format: activity flows. Purpose: ‘omics visualisation, network-enrichment analysis, interpretation and hypothesis generation, logical models. Compatible databeses: MetaCore Pathway Maps, Ingenuity Pathways Knowledge Base, KEGG Pathway Database. |
Content: comprehensive detailed maps - integrated detailed metabolic, signalling and gene regulatory pathways. Format: process descriptions. Purpose: unambiguous visualisation of molecular processes, the basis for modelling and simulation. Compatible databases: Reactome Pathway Database, PANTHER Pathways, Recon2 reconstruction of human metabolism. |
Open in MINERVA to browse the AsthmaMap Build 1.2. More information about the MINERVA platform is available in Tools.
Video tutorials are available on browsing the AsthmaMap in MINERVA and using the resource for drug target exploration and data visualisation.


Feed
I am a very simple card. I am good at containing small bits of information.
This is a link
I am a very simple card. I am good at containing small bits of information.
This is a link
I am a very simple card. I am good at containing small bits of information.
This is a link
menu
place
chat_bubble
pets
account_circle


[viewBag] title = "Find Us" url = "/find-us" layout = "default" hidden = "0" navigation_hidden = "0" seo_description = "Find Crockenhill Baptist Church on the map." robot_index = "index" robot_follow = "follow" ==
The church is in the village of Crockenhill, about a mile outside Swanley. We're about 5 minutes by car from Junction 3 of the M25, and Junction 1 of the M20. There is a small car park at the church, with disabled access to both halls. There is plenty of extra car parking on the streets near the church.
The 477 bus from Orpington to Dartford stops in the village, only a minute or two's walk from the church. Swanley train station is a 15 minute walk away.
The map below shows the location of the church. Click on the red pin to get directions.


Contents
Sprint Plan
Here are the user stories/tasks we plan to finish for this sprint:
Here's our sprint plan/story point assignment:
Burndown Charts
Provisional
Actual
User Stories/Personas
Updated user stories can be seen here.
Minor updates to User Stories.Sprint Report
A lot was accomplished during a very small amount of time due to again, various mid terms we all had. We crammed as much as possible into Nov 1st to the 5th.
Tasks Snapshots
Before sprint execution:
After sprint execution:


Installation and setup¶
Installation¶
1. Dependencies¶
To use QISKit you’ll need to have installed at least Python 3.5 or later. Jupyter Notebooks is also recommended for interacting with tutorials.
For this reason we recommend installing Anaconda 3 python distribution, which already comes with all these dependencies pre-installed.
2. Installation¶
The recommended way to install QISKit is by using the PIP tool (Python package manager):
pip install qiskit
This will install the latest stable release along with all the dependencies.
3. Configure your API token and QE credentials¶
- Create an IBM Q experience account if you haven’t already done so
- Get an API token from the IBM Q experience website under “My Account” > “Personal Access Token”
- The API token needs to be placed in a file called
Qconfig.py
. For convenience, we provide a default version of this file that you can use as a reference: Qconfig.py.default. After downloading that file, copy it into the folder where you will be invoking the SDK (on Windows, replacecp
withcopy
):
cp Qconfig.py.default Qconfig.py
- Open your
Qconfig.py
, remove the#
from the beginning of the API token line, and copy/paste your API token into the space between the quotation marks on that line. Save and close the file.
For example, a valid and fully configured Qconfig.py
file would look like:
APItoken = '123456789abc...'
config = {
'url': 'https://quantumexperience.ng.bluemix.net/api'
}
- If you have access to the IBM Q features, you also need to setup the
values for your hub, group, and project. You can do so by filling the
config
variable with the values you can find on your IBM Q account page.
For example, a valid and fully configured Qconfig.py
file for IBM Q
users would look like:
APItoken = '123456789abc...'
config = {
'url': 'https://quantumexperience.ng.bluemix.net/api',
# The following should only be needed for IBM Q users.
'hub': 'MY_HUB',
'group': 'MY_GROUP',
'project': 'MY_PROJECT'
}
Install Jupyter-based tutorials¶
The QISKit project provides you a collection of tutorials in the form of Jupyter notebooks, which are essentially web pages that contain “cells” of embedded Python code. Please refer to the tutorials repository for detailed instructions.
Troubleshooting¶
The installation steps described on this document assume familiarity with the
Python environment on your setup (for example, standard Python, virtualenv
or Anaconda). Please consult the relevant documentation for instructions
tailored to your environment.
Depending on the system and setup, appending “sudo -H” before the
pip install
command could be needed:
pip install -U --no-cache-dir qiskit
For additional troubleshooting tips, see the QISKit troubleshooting page on the project’s GitHub wiki.


Click below to get started answering questions, or visit the admin portal to sign in/sign up and create/manage questions for others to answer!
Answer Q's Sign Up Sign In Admin:
...