 In whose arms the time and place Can't help it if I space in a daze My eyes tune out the other way I may switch off and go in a daydream In this head my thoughts are deep Sometimes I can't even speak Would someone be and not pretend I'm off again in my world I never spend less than an hour washing my hair in the shower It always takes 5 hours to make it straight So I'll braid it in a zillion braids though it maybe take all the friggen day There's nothing else better to do anyway! When you're all alone in the lands of forever, Lay under the Milky Way, On and on it's getting too late out I'm not in love this time, this night Can't help it if I space in a daze My eyes tune out the other way I may switch off and go in a daydream In this head my thoughts are deep Sometimes I can't even speak Would someone be and not pretend I'm off again in my world I take some time Mellow out Party it up but don't fall down Don't get caught sneak out of the house! Can't help it if I space in a daze My eyes tune out the other way I may switch off and go in a daydream In this head my thoughts are deep Sometimes I can't even speak Would someone be and not pretend I'm off again in my world Can't help it if I space in a daze My eyes tune out the other way I may switch off and go in a daydream In this head my thoughts are deep Sometimes I can't even speak Would someone be and not pretend I'm off again in my world |
|
Voltar
|


After Maharashtra twist, professor gets ‘shock’; applies for leave, gets a no
The political shocker came a day after NCP, Sena and Congress almost finalised an arrangement to form coalition in state.
by PTIChandrapur: Fast-paced political developments in Maharashtra on Saturday apparently proved too hot to handle for a professor who claimed that he fell sick and went into a “shock”.
Zaheer Syed, who teaches English at a college in Gadchandur, 43 kms away from Chandrapur city, said, “I fell sick and went into shock in the morning after watching the news about unfolding political drama in the state”.
He said he had applied for leave, which was rejected by the college principal.
The purported leave application of the professor went viral on social media.
The day was marked by Devendra Fadnavis of the BJP taking oath as the chief minister for a second term and Ajit Pawar of the NCP as his deputy early morning.
The political shocker came a day after the NCP, the Shiv Sena and the Congress almost finalised an arrangement to form a coalition in the state, which was under President’s rule.
NCP chief Sharad Pawar had said Ajit’s decision was his personal and the party had nothing to do with it.
Catch the latest news, live coverage and in-depth analyses from India and World. Follow us on Facebook and Twitter.


bool mysql_free_result ( resource $result )
mysql_free_result() will free all memory associated with the result identifier result. mysql_free_result() only needs to be called if you are concerned about how much memory is being used for queries that return large result sets. All associated result memory is automatically freed at the end of the script's execution.
Returns TRUE on success or FALSE on failure. If a non-resource is used for the result, an error of level E_WARNING will be emitted. It's worth noting that mysql_query() only returns a resource for SELECT, SHOW, EXPLAIN, and DESCRIBE queries.


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BY EDWIN JAHIEL
CENTRAL STATION (Central do Brazil) (Brazil-France, 1998) *** 1/2 Directed by Walter Salles, Jr. Written by Joao Emanuel Carneiro and Marcos Bernstein, based on an idea by Salles. Photography, Walter Carvalho. Editing, Isabelle Rathery, Felipe Lacerda.Poduction design, Cassio Amarante, Carla Caffe. Music, Antonio Pinto, Jaques Morelembaum. Producers, Arthur Cohn, Martine de Clermont-Tonnerre. Cast: Fernanda Montenegro (Dora), Vinicius de Oliveira (Josue), Mariela Pera (Irene), Othon Bastos (Cesar the truck driver), et al. A Sony Classics release. In Portuguese, subtitled. 110 MIN. R (language)
Mix the following ingredients: Brazil's own 1960's Cinema Novo's first wave (political, socially conscious, realistic); the road movies genre; early Italian neorealist films; cinema-verite; and bits of epistolary films. Take as your subject the undying category in which a tough (or just gruff) man or woman gets somehow stuck with a kid (generally but not always sweet like Shirley Temple or Freddie Bartholomew) that will mellow the adult; think of the current remake of Cassavetes' "Gloria." And what do you get in Central Station?
A hybrid? Not at all. You get an original, un-gimmicky, un-icky, un-cliched, attention-holding, touching film that opens your eyes on major aspects of the human condition in Brazil and on that country's people and life.
Obviously, the movie has been appreciated, with awards and/or applause at several festivals, including the top prize at the Berlin Festival. It is also a contender in the best foreign film category at the 1999 Oscars.
Rio de Janeiro's Central train station where 300,000 people move about each day, is a microcosm of urban society. The station looks to me (but I may be wrong) like the hub of local trains rather than long-distance travel. Also, the majority of the people we see are working class, low income or no income Cariocas, cheaply clad -- a far cry from the well-dressed crowds in North American commuter trains. (To anticipate comments, I do know that, as I write this in cold February, it is 90 degrees in Rio, and people are in shirt-sleeves, but shabbiness prevails at the station by any standards).
The mobs are busy rushing into the trains. Many younger men jump into the wagons through open windows. The place is also a hive of makeshift stores and stands. Early into the movie there's a horrendous scene. A man who has lifted something from a shop is pursued. Two cops catch up with him. They take his loot, and, without thinking twice about it, one of the lawmen puts a bullet in the fellow's head. Nothing is made of this. Life is cheap.
Dora, in her mid-to-late 60s, and no beauty --to put it mildly--is a retired elementary school teacher. To make ends meet, in the cavernous station she has a table on which she writes letters that many illiterates dictate to her and gets also paid for putting on stamps later and mailing the envelopes. But, tough, brusque and caustic, the scribe is also a scam artist.
When she gets to her dismal apartment by the tracks, she brings along her daily bag of letters that she's supposed to mail, and shows them to her friend Irene. Irene may be her roommate or her neighbor, it's not clear. Clearly though, she is the only friend in Dora's depressing life. Irene, younger, jolly and a still nice-looking fading beauty, is probably a prostitute, though this is not elaborated.
At home, Dora perhaps selects a few envelops that she mails. For sure, she tears up many of them and puts the rest in drawers,where they probably remain forever.
Among her customers is a woman with her 9-year old boy Josue. Her husband, a drunkard, left her long ago.  That woman is killed by a bus right outside the station. The plight of the child is even more tragic if you are aware of the horrendous problem of millions of street-children in Brazil. Their survival is a tragedy; many even get killed by the police for no reason.
Soon, hard-as-nails Dora takes streetwise and sullen Josue to her place. Her unexpected kindness is undone when she sells the boy to a shabby "agency" which supposedly supplies children to adoptive parents abroad.
Dora returns home with a new color TV set, on which, with subtle, symbolic, irony, we see only black-and-white programs. But an aghast Irene tells her that the agency is a fake, that the kids will be killed for their organs. Dora rushes back, kidnaps Josue and in fear of retaliation, flees with him to look for the missing father.
This is where the travels begin. It's more of a road movie than an odyssey since the "adventures" are on a small, intimate rather than a grand scale. The grand scale is only in the vastness of Brazil, the world's fifth largest nation.
The woman and the rebellious Josue take a lot of busses. When hardly solvent or broke they hitch rides in trucks.Most of this is in the "sertao" of the North East, Brazil's thinly populated, often barren outback. (It's a neat reversal of the poor of those areas trudging to the promised land of big cities).
The trip, the landscape, the places seen are harsh. Nothing is paved in this barrenness, except for the main highways. The viewers are given a tour which, like the entire film, is extremely well photographed and uncompromisnly realistic. We are light years away from the commonly pictured touristic Brazil with its fiestas and the thong-wearing beauties of the Copcabana Beach. Credit director Salles's experience as a documentarist. He is objective but has a heart.
While the protagonists gradually, as expected, draw closer to each other, Salles, with much naturalness, avoids sentimentalizing people or places.   An episode with a nice, warm, older trucker, an Evangelical who, for a brief spell, stirs the woman in Dora, is effortlessly touching. And in a long, spectacular sequence, Dora and Josue find themselves in a throng of pilgrims that go to revere Jesus in acts of hope and of self-consolation.
(One should not, by the way, make too much of names such as Josue (Joshua) and Jesus, the elusive father, nor the fact that Jesus is a sort of carpenter. Symbolism may be present , but with a light touch. Curiously, in the other main candidate for Best Foreign Film Oscar this year ( Life is Beautiful) the woman is called Dora and the child is Josue
The humanity of the Dora-Josue twosome has enormous appeal. She is one of Brazil's top stage actresses -- and light years away from the looks of Sharon Stone in Gloria!) He was a poor shoeshine boy whom the director discovered in an airport. Their performances are so real that the word "acting" never comes into your mind.
What might come to mind is the great Italian film "Stolen Children," as well as its contrast with Central Station, whose poverty makes even the Italian South look relatively wealthy. The most upsetting sight for me, one that encapsulates the movie, is the the picture of a goat in a sertao village. The animal, trying to graze in the barren dust, walks somehow with his two broken front legs. Yet the total movie does not stress grimness. It has its natural quota of positiveness, even unforced humor.
" 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
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: default ---
Humans First
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Diversity is our superpower
We celebrate diversity, individuality, and non-traditional, out of the-box thinkers. Because our differences make us strong.
Remote-first
We are a geographically distributed team where little humans, pets, and everything in between are welcome during our zoom calls. We ♥ Open Source and use Mattermost for collaboration. Less is more when it comes to meetings, and we are accommodating of different time zones.
We are more than the faces you see here...
 We are bound and determined to succeed. We strive to be the people you want to work with.
We are a team of 170+ awesome humans
....and growing


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This Must Be Something
Value to simplify:
Values to use (and optional label):
-
+
Max operations:
Max iterations:
Solve


ScratchCardViewDelegate
@objc public protocol ScratchCardViewDelegate: class
The ScratchCardViewDelegate interface
-
The top view of the scratch card. Covers the content view.
Declaration
Swift
func coverView(for scratchCardView: ScratchCardView) -> UIView
Parameters
scratchCardView
the view that asks for the cover view.
Return Value
The method should return a cover view for the scratch card
-
The content view of the scratch card. It is initialy covered and is revealed after scratching the view.
Declaration
Swift
func contentView(for scratchCardView: ScratchCardView) -> UIView
Parameters
scratchCardView
The view that asks for the content view.
Return Value
The method should return a content view for the scratch card
-
Gets called when scratching starts
Declaration
Swift
@objc optional func scratchCardView(_ view: ScratchCardView, didStartScratchingAt point: CGPoint)
Parameters
view
The scratch card
point
The point at which the scratches started. In the scratch card coordinate system
-
Called when scratches are in progress
Declaration
Swift
@objc optional func scratchCardView(_ view: ScratchCardView, didScratchTo point: CGPoint)
Parameters
view
The scratch card
point
The point to which the scratching finger moved. In the scratch card coordinate system
-
Called when current scratches stop (user lifts his finger)
Declaration
Swift
@objc optional func scratchCardViewDidEndScratching(_ view: ScratchCardView)
Parameters
view
The scratch card


Why Does Ruby Add Numbers Wrong?
Getting Over the Open Source Jitters
React: Let's Build in JavaScript!
Self-Care, part 1
DevOps Days as a Newbie
Ruby Classes with Cars
Pairing and Feedback
Numbers and Steps (and a Video Too)
Enumerables with Kittens
A Random Grower
Arrays and Hashes
The Mystery of Margin, Border, and Padding
Git and Github Fun
Dev Bootcamp: Like Peace Corps for tech?
Github Repository


Welcome Atlanta Zoo System Hello {{current_user.username}} you are logged in as {{ current_user.usertype }} Search Animal Search Shows Search Exhibit Exhibit History Shows History Log Out


--- layout: post title: Tale of a wooden comb tags: - DIY status: publish type: post published: true meta: _edit_last: '2' _aioseop_description: wooden comb are better than plastic comb _aioseop_title: Wooden comb advantage review _aioseop_keywords: wooden comb, plastic comb, hair fall, split ends, hair cuticle, wood comb review, comb review, Indian makeup blog _graphene_slider_img: global _graphene_slider_imgurl: '' _graphene_show_addthis: global _yoast_wpseo_linkdex: '0' _thumbnail_id: '125' --- Most of us are not aware of the fact that plastic combs are not good for hair health. They are one of the major cause for


--- title: S3Bz keywords: fastai sidebar: home_sidebar summary: "save and load dictionary to s3 using bz compression" description: "save and load dictionary to s3 using bz compression" nb_path: "index.ipynb" ---
full docs here https://thanakijwanavit.github.io/s3bz/
pip install s3bz
First, import the s3 module
from importlib import reload
from s3bz.s3bz import S3
result = S3.save(key = key,
objectToSave = sampleDict,
bucket = bucket,
user=USER,
pw = PW,
accelerate = True)
print(('failed', 'success')[result])
result = S3.load(key = key,
bucket = bucket,
user = USER,
pw = PW,
accelerate = True)
print(result[0])
print(bucket)
%time S3.saveZl(key,sampleDict,bucket)
%time S3.loadZl(key,bucket)
%time S3.savePklZl(key,sampleDict,bucket)
%time result =S3.loadPklZl(key,bucket)
import gzip, json
compressor=lambda x: gzip.compress(x)
encoder=lambda x: json.dumps(x).encode()
decompressor=lambda x: gzip.decompress(x)
decoder=lambda x: json.loads(x.decode())
%time S3.generalSave(key, sampleDict, bucket = bucket, compressor=compressor, encoder=encoder )
%time result = S3.generalLoad(key, bucket , decompressor=decompressor, decoder=decoder)
assert result == sampleDict, 'not the same as sample dict'
result = S3.exist('', bucket, user=USER, pw=PW, accelerate = True)
print(('doesnt exist', 'exist')[result])
url = S3.presign(key=key,
bucket=bucket,
expiry = 1000,
user=USER,
pw=PW)
print(url)
from s3bz.s3bz import Requests
result = Requests.getContentFromUrl(url)
inputPath = '/tmp/tmpFile.txt'
key = 'tmpFile'
downloadPath = '/tmp/downloadTmpFile.txt'
with open(inputPath , 'w')as f:
f.write('hello world')
S3.saveFile(key =key ,path = inputPath,bucket = bucket)
##test
S3.exist(key,bucket)
S3.loadFile(key= key , path = downloadPath, bucket = bucket)
with open(downloadPath, 'r') as f:
print(f.read())
result = S3.deleteFile(key, bucket)
## test
S3.exist(key,bucket)
### this is not include in the requirements to minimize the size impact
import pandas as pd
df = pd.DataFrame({'test':[1,2,3,4,5],'test2':[2,3,4,5,6]})
S3.saveDataFrame(bucket,key,df)
S3.loadDataFrame(bucket,key)
from s3bz.s3bz import ExtraArgs, S3
bucket = 'pybz-test'
key = 'test.dict'
fields = {**ExtraArgs.jpeg}
S3.presignUpload(bucket, key, fields=fields)


--- layout: page title: About header-img: "img/about-bg.png" ---
I am a software developer and analyst coming from the healthcare and customer service industry. Experience with Ruby, JavaScript, Rails, React & Redux, SQL and Machine Learning with Python. I have a natural desire to learn new skills and broaden my intellectual scope.


Glossary¶
- dictionary
- A Python dictionary maps keys to values. Also known as “hashes”, or “associative arrays” in other programming languages. See https://docs.python.org/2/tutorial/datastructures.html#dictionaries
- edge
- Edges are either two-tuples of nodes
(u, v)
or three tuples of nodes with an edge attribute dictionary(u, v, dict)
. - ebunch
- An iteratable container of edge tuples like a list, iterator, or file.
- edge attribute
- Edges can have arbitrary Python objects assigned as attributes
by using keyword/value pairs when adding an edge
assigning to the
G.edges[u][v]
attribute dictionary for the specified edge u-v. - hashable
An object is hashable if it has a hash value which never changes during its lifetime (it needs a
__hash__()
method), and can be compared to other objects (it needs an__eq__()
or__cmp__()
method). Hashable objects which compare equal must have the same hash value.Hashability makes an object usable as a dictionary key and a set member, because these data structures use the hash value internally.
All of Python’s immutable built-in objects are hashable, while no mutable containers (such as lists or dictionaries) are. Objects which are instances of user-defined classes are hashable by default; they all compare unequal, and their hash value is their
id()
.Definition from https://docs.python.org/2/glossary.html
- nbunch
- An nbunch is a single node, container of nodes or None (representing
all nodes). It can be a list, set, graph, etc.. To filter an nbunch
so that only nodes actually in
G
appear, useG.nbunch_iter(nbunch)
. - node
- A node can be any hashable Python object except None.
- node attribute
- Nodes can have arbitrary Python objects assigned as attributes
by using keyword/value pairs when adding a node or
assigning to the
G.nodes[n]
attribute dictionary for the specified noden
.


--- layout: post title: Opting Out of Phonebook Delivery external-url: http://www.about.sensis.com.au/community/environment.php ---
Information on environmental initiatives undertaken by Sensis to offset their Yellow and White Pages directories. Also contains a note on how to opt-out of receiving the directories.
It requires sending them an email but it’s worth it. Everyone should opt out. Via prethoughtlisten.


You are not like other women
Anangsha Alammyan
Toxicity disguised as a compliment built over years of women seeing other women as competition
The other day, a friend and I were having a conversation. “What’s the worst compliment you’ve ever received?” she asked.
I thought long and hard, and this is what I came up with — “You are not like other girls”.
Most people I have met think this is a compliment. They believe it is okay to demean other girls to compliment me.
Over the years, I have heard several forms of this statement in various contexts. Here is what they sound like-
You are not like other girls.
Your favourite colour is not pink.
You don’t wear short dresses to attract guys.

You don’t need makeup to look beautiful.
You don’t have a “size-zero” figure.
You don’t need a man to buy you a house. You can get what you want with your own money.
You pick books over expensive clothes.
These statements are toxic because they imply that all girls act in one way and I am different. It creates a sense of competition when there is none — that to stand out, I must be better than other women. It creates the wrong impression that having “feminine” traits is looked down upon. That somehow, wearing makeup and short dresses is wrong, and because I don’t do that, I am special. That preferring clothes over books is bad. That a woman wanting a man to buy them a house is wrong.
It tries to empower me by alienating me from my gender.
It is damaging because it disregards the choices other women make as frivolous.
Don’t do it.
You don’t have to praise me on being different by calling me special. If you must compliment me, you can praise my positive traits without bringing other women’s negative traits in the picture.
Here is how you can do that-
You are a strong, confident woman.
Your favourite colour is green.
It’s interesting how you can talk about any topic under the sun.
Those jeans look amazing on you.
You are outgoing, affectionate, and kind.
Your ambition is inspiring. I hope you can make all your dreams come true someday.
Your love for books makes me want to start reading.
You know what, you are right. I am not like other women. All the women you know aren’t like other women either.
Every woman is unique in her own special way
So, the next time when you must compliment a woman, tell her about her. Don’t start by declaring the faults of other women.


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Nationwide
NatWest
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Other


Open Source
The RELOAD Editor is Open Source Software and the source code is available (under The MIT license: http://www.opensource.org/licenses/mit-license.php) at SourceForge (http://www.sourceforge.net/projects/x4l-reload/).
The RELOAD License
RELOAD Editor - An IMS Metadata, Content Packaging and Learning Design tool
Copyright (c) 1998-2003 Oleg Liber, Bill Olivier, Phillip Beauvoir
Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the "Software"), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:
The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.
 IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.
Project Management Contact:
Oleg Liber
Bolton Institute of Higher Education
Deane Road
Bolton BL3 5AB
UK
e-mail<EMAIL_ADDRESS>Technical Contact:
Phillip Beauvoir
e-mail<EMAIL_ADDRESS>Web: http://www.reload.ac.uk


“Be not afraid of life. Believe that life is worth living, and your belief will help create the fact.”
– William James
“Be not afraid of life. Believe that life is worth living, and your belief will help create the fact.”
– William James
“Nurture your mind with great thoughts. To believe in the heroic makes heroes.”
– Benjamin Disraeli
“Luck is a dividend of sweat. The more you sweat, the luckier you get.”
– Ray Kroc
“When I let go of what I am, I become what I might be.”
– Lao Tzu
“You may find the worst enemy or best friend in yourself.” – English Proverb
“Live each day as if your life had just begun.” – Johann Wolfgang Von Goethe
“If not us, who? If not now, when?”
– John F. Kennedy
“Speak less than you know; have more than you show.”
– William Shakespeare
“Education costs money. But then so does ignorance.”
– Sir Claus Moser
“Do not let what you cannot do interfere with what you can do.”
– John Wooden
“Rule #1 of life.
– Unknown
“It is not enough to aim, you must hit.”
– Italian Proverb
“Every strike brings me closer to the next home run.”
– Babe Ruth
“An obstacle is often a stepping stone.”
– Prescott
“Our lives begin to end the day we become silent about things that matter.”
– Martin Luther King Jr.


import numpy as np
from ..core import RewardFunction
from ..utils import set_state_array
import warnings
[docs]class WeightedSumOfErrors(RewardFunction):
"""
Reward Function that calculates the reward as the weighted sum of errors with a certain power.
.. math:
`reward = - reward_weights * (abs(state - reference)/ state_length) ** reward_power `
.. math:
` limit\_violation\_reward = -1 / (1 - \gamma)`
| state_length[i] = 1 for states with positive values only.
| state_length[i] = 2 for states with positive and negative values.
"""
def __init__(self, reward_weights=None, normed=False, observed_states=None, gamma=0.9, reward_power=1, **__):
"""
Args:
reward_weights(dict/list/ndarray(float)): Dict mapping state names to reward_weights, 0 otherwise.
Or an array with the reward_weights on the position of the state_names.
normed(bool): If True, the reward weights will be normalized to 1.
observed_states(list(str)): List of state names of which the limit are observed. Default: no observation.
gamma(float): Discount factor for the reward punishment. Should equal agents' discount factor gamma.
reward_power(dict/list(float)/float): Reward power for each of the systems states.
"""
self._n = reward_power
self._reward_weights = reward_weights
self._state_length = None
self._normed = normed
self._gamma = gamma
super().__init__(observed_states)
[docs] def set_modules(self, physical_system, reference_generator):
super().set_modules(physical_system, reference_generator)
self._state_length = self._physical_system.state_space.high - self._physical_system.state_space.low
self._n = set_state_array(self._n, self._physical_system.state_names)
referenced_states = reference_generator.referenced_states
if self._reward_weights is None:
reward_weights = dict.fromkeys(
np.array(physical_system.state_names)[referenced_states],
1/len(np.array(physical_system.state_names)[referenced_states])
)
else:
reward_weights = self._reward_weights
self._reward_weights = set_state_array(reward_weights, self._physical_system.state_names)
if sum(self._reward_weights) == 0:
warnings.warn("All reward weights sum up to zero", Warning, stacklevel=2)
rw_sum = sum(self._reward_weights)
if self._normed:
self._reward_weights /= rw_sum
self.reward_range = (-1, 0)
else:
self.reward_range = (-rw_sum, 0)
def _limit_violation_reward(self, state):
return self.reward_range[0] / (1 - self._gamma)
def _reward(self, state, reference, *_):
return -np.sum(self._reward_weights * (abs(state - reference) / self._state_length)**self._n)
[docs]class ShiftedWeightedSumOfErrors(WeightedSumOfErrors):
"""
Weighted Sum of Errors shifted by the maximum negative reward to obtain rewards in the positive range.
.. math::
reward = max\_reward - reward\_weights * (abs(state - reference)/ state\_length) ** reward\_power
.. math::
limit~violation~reward = 0`
| state_length[i] = 1 for states with positive values only.
| state_length[i] = 2 for states with positive and negative values.
"""
def _reward(self, state, reference, *_):
return self.reward_range[1] + super()._reward(state, reference)
def _limit_violation_reward(self, state):
return 0.0
[docs] def set_modules(self, physical_system, reference_generator):
super().set_modules(physical_system, reference_generator)
self.reward_range = (0, -self.reward_range[0])


QuadEdgeSubdivision
.Coordinate
s of a
set of Geometry
s,
and the parent geometry, and transfers the source geometry
data objects to geometry components tagged with the coordinates.QuadEdgeSubdivision
.QuadEdge
s of a triangle.Geometry
using the Visvalingam-Whyatt area-based algorithm.


Facial Analysis Playground
Results:
Gender:
|
Age:
No Face Detected
IBM
Microsoft
Face++
Google
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Coded Gaze Score:
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Gender:
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Ethnicity:
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Detected
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IBM
Microsoft
Face++
Kairos
Google
NA
NA
*
correct if within ±5 years of actual age


Coding Quiz Challenge
Welcome to the Code Quiz!
Try to answer the following code-related questions within the given time limit (showing on the top right corner of your screen). Keep in mind that with each incorrect answer, your time limit/score will be deducted by 10 seconds.


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{% extends 'base.html'%} {% block styles%} {{ super() }} {% endblock %} {% block content %}
Have 60 seconds to impress someone and make something great.!!!
Any product that needs a manual to work is broken.
“The difference between the almost right word and the right word is the difference between the lightning bug and the lightning.”
“It’s not whether you get knocked down. It’s whether you get up.”


FORREST GUMP A film review by Jon Ridge Copyright 1994 Jon Ridge
CAST: Tom Hanks, Sally Field, Robin Wright, Gary Sinise, Mykelti Williamson DIRECTOR: Robert Zemeckis SCREENPLAY: Eric Roth CINEMATOGRAPHY: Don Burgess / VISUAL EFFECTS: Ken Ralston RUNNING TIME: 2:19 RELEASE -- July 6, 1994
"We all do things sometimes that, well ... just don't make sense."
For all its broad scope, all its twenty years of American History, FORREST GUMP tells a simple story of two people who can never be together. Through the eyes of the title character, the film quantum leaps over a number of important events (wars, and such), but never loses sight of what's most important. Life unfolds comfortably here; what our hero does may not make sense ... but it sure is noble.
Tom Hanks (outdoing anything he's done to date) portrays Forrest, a simpleton whose IQ may not meet basic educational norm, but whose heart is as big as life itself. As a young boy, Forrest faced persecution from others not as understanding of his physical handicap as mama (Sally Field). Young boys and girls wouldn't let him sit next to them on the school bus; they threw rocks at him, insulted him. To make life a bit more morally miserable, mama had to tell people things about daddy that didn't seem quite right, and do things with men that made no sense to Forrest. But it was all for the benefit of her boy, whom she would stop at nothing to get "the same opportunity as everyone else" for. Her loving devotion gave Forrest enough inspiration to, one sunny afternoon, break away form the chains holding him back and discover in himself an inner strength, something that no one else had so much of--speed.
Not all little children were unkind. One girl accepted him for who he was, and showed friendship still. The daughter of an abusive father, Jenny Curran understood with total clarity of young, open mind the pain that Forrest was going through, perhaps in a different respect, and with him sought refuge from home life. As narrated by the older Gump: "She was my most special friend. My only friend." The two children never separated for more than a second than need be and, as we watch them grow older, we see that nothing between them changed.
As high school ends, and Forrest enters college on sole account of his running ability on the football field, he and Jenny are forced to split up. That's not an easy thing, especially when, during one of many frequent visits to her all-girl college, Forrest sees her in the midst of front-seat sex. He doesn't know much about anything, and understands even less why Jenny hasn't (apparently) kept him in her heart as he has kept her. It's one of many life, learning, experiences that Forrest encounters throughout the film--others being Presidential visits with the likes of Kennedy and Nixon, Vietnam, professional shrimping, world-class ping pong championships. But above all else, the one experience that proves most difficult to endure is life without Jenny.
It's a nifty premise. Forrest Gump--a man less smart than anyone else around, finding more success and good fortune in life than anyone else around. The film would seem to say that if one has a good heart, nothing can go wrong, nothing bad can happen. Nothing, except the one thing dearest to a heart.  That one girl for Forrest can't (or won't) give him what would mean more to him than a thousand wars, a thousand visits to the White House--romantic love. He would never harm her, never break her heart, and always keep her safe. It's extremely ironic, then, as in a scene in which Forrest has just rescued her from a group of perverts in a strip-tease, that she demands him leave her be: "I can't help it. I love you."  It's truly amazing how a person can know someone else all their life, and never *really* know them at all. Just as he doesn't understand what love is (as far as Jenny thinks), he doesn't understand to stop loving her, either. The feeling he has for Jenny is probably the only true, human emotion Forrest has ever known, and the best thing for her even as she cannot reasonably accept it.
That's what FORREST GUMP is all about--relationships. Aside from Jenny, Forrest meets a man as intellectually down as himself named Bubba, whose only goal in life is to eat and sell as much shrimp as humanly possible. In the army, Forrest meets and serves under Lieutenant Dan Taylor, the man whose life Forrest saves, but whose dignity Forrest "cheats" away. These are friendships we care about, with people we care about; people Forrest would do anything for, never disobey, and always be loyal to. But like Jenny, they don't always know how to handle it; a scene with Forrest and Lt. Dan in a hospital, after the Lieutenant's legs have been amputated, displays the madness and rage of man whose life has been morally diminished because of the bravery of another: "Every man has a destiny in life, and you cheated mine away from me." Taylor is a complicated character--a man whose entire life has been garnered to fight and cease to be in war, as did every one of his ancestors in every American war; as Forrest narrates of the first time he met Taylor: "I guess you could say he had a lot to live up to." Sitting on the floor, as we witness one of the film's remarkable special effects, the frustration of man dead inside is made audible: "What am I going to do now?"
Forrest strongly effects the lives of several major and minor historical figures, and those closest him. Returning home from war, Forrest becomes a rich man from ping pong advertisements and uses the money to keep the promise he made his friend in Vietnam; the friend who died there in his arms. Forrest takes his riches and purchases a shrimping boat, having little success at first, but major triumph in the end. From that springs even greater financial well-being, giving him the opportunity to do something good for Bubba's family, even though Bubba is gone, and for other places he visited along the way. His partner in the shrimping business, also keeping a promise to a friend, is Lt. Dan who, through Forrest's belief in The Almighty and the chance at a new life given him, finds spiritual meaning in the world and the strength to carry on. Just to see all this happen to her son is the greatest success of all for Forrest's mother who, on her death-bed, tells him with all honesty, "I did the best I could."
Tremendously entertaining, FORREST GUMP brings with it deep and heartfelt emotion. The film is one of the best examples I can bring to mind of artists who believe in telling a good story, and trust in the power of it. Forrest is a good, honest individual to whom good things seem to come naturally.  You get the feeling that even if the character were presented as normal (total contradiction to the novel on which this picture is based), his actions would still warrant our trust and dedication. Forrest does whatever people tell him to do; in the Army, a soldier tells him to turn off the television, and he does so without question; Lt. Dan orders him run to the store and fetch a fresh bottle of wine, and he instantly gets up to go. And the best instance of Forrest's obedience comes when Jenny is just about to leave him (again), and he gives her the Medal of Honor he received for saving so many lives in Vietnam; she refuses to take it from him but, as he explains, he only got it for doing what she told him to do--what he does best. The scene ends just like this: "Why are you so good to me?" "... You're my girl." Jenny--"I'll always be your girl." A nice, subtly moving moment between two people who care for each other more than words could ever say. That's what this movie incorporates better than any other this critic has seen thus far in 1994--quiet moments that endear into the heart and mind. Some- thing not likely to be forgotten any time soon after the film has made peace with itself, or ever. This is superb work from Director Zemeckis, most assuredly the very best accomplishment of his career.
Casting of the lead must have proven difficult task. What actor alive could play a man like Forrest Gump, bring out his inner strength, beauty and struggle without letting the audience think he isn't taking any of it serious? Tom Hanks is probably not the first name that came to mind. But he puts a completely new spin on his talent here, while at the same time putting forth the best performance of his career. With Hanks as our guide, we see Forrest's pain, his frustration and terror, his sadness and doubt, without actually seeing any of it at all.  What's underneath all that is a strong spirit with more love to give, more contributions for his world to make, than he or anyone else knows what to do with. An actor who can put that on the screen, non-judgmentally and without satire, after it's all said and done making the viewer agree without a doubt that Forrest deserved his, good fortune, is going way above and beyond his duties as actor. Hanks turns out to be the key. His performance is breathtakingly simplistic, but not simple; his mannerisms, intonation, annunciation are all perfect. Hanks' work is not just good ... it's ethereal.
As the love of his life, Robin Wright makes for a constant delight in Jenny. A woman who should probably open her heart to Forrest more than she does but cannot because the heart she has is distraught, Jenny wants to be a part of life, experience it for whatever good or bad it will bring. She and Forrest share a complicated relationship; he begins life with total back-hold and ultimately find freedom of being, while Jenny starts out with freedom but winds up immersed in self-intoxication, prisoner to the demons inside. What life has to offer her is initial good followed by lack of control (drug abuse, abuse from men): In a disturbing scene, Jenny walks out onto an apartment ledge, high on drugs, contemplating suicide, the lyric "I can't change" leading her along. Over the course of two turbulent decades, this emotionally scarred young woman proves willing to delve so deeply into "expanding her mind" because of pain suffered her during a mother-less childhood--as the film would seem to say during a quietly moving scene in which Jenny throws rocks at the deteriorated house she once called home. When she falls to the ground in tears, you realize just how lost this person is. And yet, for all that complexion Jenny remains somewhat of an enigma. She cares for this man Forrest, but does she *love* him? Time apart passed by like a nightmare, and once it is ended, the 80s are set into motion and she comes to him one last time, her intentions are unclear. Despite this lack of full substance, Wright delivers a performance of delicacy and the utmost care; you want Jenny and Forrest to come together, somehow, and that it can never be is heartbreaking. Why the underrated, talented, beautiful Wright isn't working more is a mystery.
Rounding out the flawless cast is Mykelti Williamson as Bubba, Sally Field as Forrest's mother and (most notably) Gary Sinise. Sinise brings power and fury to the film just when it's needed, giving an already tremendous motion picture its edge in the best performance of his career. Michael Humphreys effortlessly establishes the innocence of the film, and little Hanna R. Hall is just the sweet "angel" she needs to be.
What surprised me most of all about FORREST GUMP is that, as easy as it would have been to do, it does not exploit a war. During the brief appearance of it on screen, Vietnam is presented with more authenticity than most films that've dealt with it directly. The soundtrack, an eclectic blend of songs from days gone by, is not here to create anything the film doesn't already have. The music effectively enhances the mood. And Alan Silvestri's score softly provides a feeling of nostalgia, so that just as Forrest is narrating the events of his life there is an extra level of poignance.
1994 is seven months deep, and not too late to begin serving up its crop of best pictures. FORREST GUMP is one of them. It has a sense of being and, more importantly, time and place; an uplifting epic of the human spirit about being all that you can be. Its people, I was happy to meet ... and awfully sad to say goodbye to.
Rated PG-13 CRITICAL RATING: ****
.
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
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Related links: index of all rec.arts.movies.reviews reviews


Here are milestones of Brendan Eich's career:
Early life
- Brendan Eich grew up in Palo Alto.
-
He attended Ellwood P. Cubberley High School, graduating in the
class of 1979.
-
Eich received his bachelor's degree in mathematics and computer
science at Santa Clara University.
-
He received his master's degree in 1985 from the University of
Illinois at Urbana-Champaign.
Netscape and JavaScript
-
He started work at Netscape Communications Corporation in April
1995.
-
He completed the first version of a programming language in ten
days in order to accommodate the Navigator 2.0 Beta release
schedule.
-
The language was called Mocha, but renamed LiveScript in September
1995 and later JavaScript in the same month.
Mozilla
-
In early 1998, Eich co-founded the Mozilla project with Mitchell
Baker, creating the website mozilla.org that was meant to manage
open-source contributions to the Netscape source code. He served
as Mozilla's chief architect.
-
AOL bought Netscape in 1999. After AOL shut down the Netscape
browser unit in July 2003, Eich helped spin out the Mozilla
Foundation.
-
In August 2005, Eich became CTO of the newly founded Mozilla
Corporation, meant to be the Mozilla Foundation's for-profit arm.
-
Eich continued to "own" the Mozilla SpiderMonkey module, its
JavaScript engine, until he passed on the ownership of it in 2011.
-
On March 24, 2014, Eich was promoted to CEO of Mozilla
Corporation.
-
On April 3, 2014, Eich stepped down as CEO and resigned from
working at Mozilla.
Brave Software
-
Eich is the CEO of Brave Software, an Internet security company
which has raised $2.5 million in early funding from angel
investors.
-
The company's co-founder is Brian Bondy, who worked on Firefox and
Khan Academy. The company's employees include Marshall Rose, a
network protocol engineer, and Yan Zhu, who worked on SecureDrop
and Tor.
-
On January 20, 2016, the company released developer versions of
its open-source Brave web browser, which blocked ads and trackers
and included a micropayments system to offer users a choice
between viewing selected ads or paying websites not to display
them. A recent update added inbuilt integration of 1Password and
LastPass password managers.
Basic Attention Token
-
Eich is also the founder of Basic Attention Token (BAT), a
"utility token based on the Ethereum technology that can also be
used as a unit of account between advertisers, publishers, and
users in a new, blockchain-based digital advertising and services
platform".
-
BAT launched its ICO on May 31, 2017 raising $35 million in just
30 seconds.
If you have time, you should read more about Brendan Eich at
Wikipedia
(and the
image
is licensed under the
Creative Commons
Attribution-Share Alike 3.0 Unported license).


Custom Scrollbar
Custom Scrollbar is used to get rid of browser default scroll bar by utilizing jQuery UI, the feature-rich jQuery Custom Scrollbar plugin. It allows you to customize scrollbars exactly as you need them. It works on all major browsers (incl. IE 10, 9, 8, & 7) and on iOS and Android. It features vertical/horizontal scrolling, mouse-wheel support, scroll easing, adjustable scrollbar height/width and more.
For more options and documentation, visit : jQuery custom content scroller
Custom Scrollbar
Initialize custom Scrollbar by adding .pmd-scrollbar .mCustomScrollbar
to the content wrapping divison. For using multiple custom scrollbar, use different IDs - #content-(id number)
.
For Default Scroll use#content-1
For Hover Scroll use#content-2
For Outside Scroll use#content-3
For Rounded dots with inverse color : use#content-4
For 3d thik scroller : use#content-7


app
/
com.magnitudestudios.GameFace.pojo.EnumClasses
/
MemberStatus
/
UNAVAILABLE
UNAVAILABLE
UNAVAILABLE
Unavailable
The member is unavailable


Learning Javascript Data Structures and Algorithms by Loiane Groner
Understanding ECMASCRIPT 6: The Definitive Guide for JavaScript Developers by Nicholas Zakas
The Principles of OBJECT-ORIENTED JAVASCRIPT by Nicholas Zakas
Professional GIT by Brent Laster
Macintosch Terminal Pocket Guide by Daniel J. Barrett
Always get whatever the latest edition is!
All these books are available on amazon.com.
Atom (Free)
Visual Studio Code (free, but there are currently problems with the Live Server. I no longer use it anymore.)
Webstorm (what I have had for a long time and have switched back to it. It’s fantastic, and a full blown Integrated Development Environment, aka IDE.) - it is not free, but for those of you that are serious about continuing to learn JavaScript, I highly recommend it. It is not expensive either. Check it out here: Webstorm JavaScript IDE
Evolution of Design and Development: A Melting Pot
React Workflows Without Create-React_App
Make sure to download the complete private course repository asap. I don’t know how much longer I will have that one up. I have to make room for the next one!
As you get deeper into “the rabbit hole", you will start finding your own favorite resources!


Cabin of Bliss
Home
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Stay at Cabin of Bliss and Reenergize Yourself
Book Your Stay


--- imgsrc: "jewish_art_will_deutsch_judaism_yentas.jpg" buylink: "http://store.notesfromthetribe.com/product/jewish-art-8-5-x11-yenta-print" postDate: "07.18.11" layout: post ---
Why did the Yenta cross the road?
Oh! You mean you HAVEN’T HEARD?
Well let me tell you…


#include <metadata.h>
Public Attributes | |
| unsigned int | mNumProperties |
| C_STRUCT aiString * | mKeys |
| C_STRUCT aiMetadataEntry * | mValues |
Metadata is a key-value store using string keys and values.
Definition at line 116 of file metadata.h.
| unsigned int aiMetadata::mNumProperties |
Length of the mKeys and mValues arrays, respectively
Definition at line 118 of file metadata.h.
| C_STRUCT aiString* aiMetadata::mKeys |
Arrays of keys, may not be NULL. Entries in this array may not be NULL as well.
Definition at line 121 of file metadata.h.
| C_STRUCT aiMetadataEntry* aiMetadata::mValues |
Arrays of values, may not be NULL. Entries in this array may be NULL if the corresponding property key has no assigned value.
Definition at line 125 of file metadata.h.


--- layout: page permalink: blog/machine-learning/cs229-notes/ title: "CS229: Machine Learning's Notes" ---
I recently took Stanford’s CS229: Machine Learning course by Andrew Ng. The course was meant as an introduction to machine learning. In the following posts, I shall be reviewing the entire course. The CS229 course has been designed to cover a lot of material. Because of this reason, neither the course nor the official notes go though the complete derivation of all the theorems and algorithms presented therein. In the following posts, however, I shall be presenting the complete derivation of most of the topics covered in those notes.
The reason for doing so was a story that I heard about Richard Feynman. Feynman used to boast of his ability to be able to derive all the fundamental equations of physics using only his brain and a chalk. Inspired by this, I tried to do the same. After studying and completely understanding a particular topic, I used to close all of my books and notes, and tried to derive everything from scratch on my laptop. Markdown and mathjax allowed me to type equations efficiently, quickly and most importantly neatly. The posts below are these derivations that I did from scratch usually without looking at any supporting material (I did get stuck at times after all).


Lets Chat
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Experience
The Goods.
HydroXphere
Branding • iOS Design • Web Development
Learn More About This Project →
K9s For Warriors
Web Design
Learn More About This Project →
HydroXphere
Branding • iOS Design • Web Development
Learn More About This Project →
HydroXphere
Branding • iOS Design • Web Development
Learn More About This Project →
Other works in progress…
View Work →
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Directions: This a sample data collection form that can be presented to a user. You can add and implement as many fields as you need or choose standard form inputs. Note, each field will require a v_OutputUserVariableName attribute specifying which variable should contain the respective value for the input field.


Are your sure you want to delete invoice {{deletedInv.inv_num}}? This action is permanent and cannot be recovered.
Set the budget year for Req# {{selectedReq.req_num}}? This action is permanent and cannot be recovered.


Emily:
Ah, you're back already? Since I've gotten old, when it's cold and damp like this, I can't move around because of my bad knees. Did you bring me the Fruit Basket?
"Here's your Fruit Basket."


Jeffrey Epstein accuser says paedophile raped and trafficked her for two years
Teala Davies has filed a lawsuit in New York claiming that she met the tycoon when she was 17 in 2002 through her older sister, who Epstein was also abusing
by Christopher Bucktin, https://www.mirror.co.uk/authors/christopher-bucktin/A woman claimed paedophile Jeffrey Epstein raped and trafficked her for two years before kicking her out onto the street when she told him she'd developed an eating disorder.
In a lawsuit filed in New York, Teala Davies said she was 17 when she met the millionaire in 2002 through her older sister, who he was also abusing.
She claims Epstein groomed her until she was entirely reliant on him flying around his homes in New York, Florida, the US Virgin Islands and Paris while abusing her.
“After Teala’s semester in Madrid, she had no home and no job. Instead, Epstein brought her to live a nomadic lifestyle in his close orbit,” the court documents allege.
“Virtually every few days, Epstein would bring Teala to a different home of his, including his Manhattan townhouse and throughout the country, where he continued to sexually assault her on a frequent basis.”
The mum-of-three said in her lawsuit: “Epstein also tried to introduce Teala to his ‘friends’ and essentially offer her as a sexual object to them."

"Teala barely escaped.”
After years of abuse, “deep despair and isolation” she developed a “severe eating disorder” which she struggled with for six months before confiding in Epstein, the documents charge.
“Instead, from the moment Epstein learned of Teala’s self-destructive behaviour, he immediately cast her out,” the filing read.
“Literally within hours of Teala anxiously confessing to Epstein that she did not know why, but had a compulsive need to binge and purge, he threw her out.”
“He instructed her to pack up her belongings and arranged for her to be flown to Arizona. But there was nothing left for her in Arizona.
"She still had no idea what had happened to her and felt it was all her fault.”
Teala, who currently lives in Arizona, sank into alcoholism after being abruptly cast out following two years of abuse at the hands of Epstein and is still struggling to put her life together nearly two decades later.


Click to Enlarge Click to Enlarge Click to Enlarge Click to Enlarge Click to Enlarge Photo caption Photo caption Photo caption


SMH - THORNTON - 3 December, 1927, at the Woman's Hospital, Crown St, Sydney, ANNIE THORNTON, of Yvo, 97 Belmore Rd, Coogee, widow of the late Frederick William Thornton, & dearly-loved mother of Fred, George & Jack, aged 47 years.
FUNERAL - The rels & friends of the late Mrs. ANNIE THORNTON, widow of the late Frederick William Thornton, are invited to her Funeral; to leave her residence, Yvo, 97 Belmore Rd, Coogee, this Monday morning at 10.30am, for Randwick General Cemetery, by Motor Funerals.
FUNERAL - The rels & friends of Mr.& Mrs.Fred Thornton, & of George & Jack Thornton, are invited to attend the funeral of their dearly-loved Mother, to leave Yvo, 97 Belmore Rd, Coogee, this Monday morning at 10.30am, for Randwick General Cemetery, by Motor Funerals.
FUNERALS - The rels & friends of Mr.& Mrs.E.T.Don, of Cremorne, Mr.& Mrs.George Miller of Orange, Mrs. May West & Bert of Neutral Bay, & Miss Miller of Coogee, are invited to attend the Funeral of their late Mother & Sister; to leave her late residence, Belmore Rd, Coogee, this morning, at 10.30, for Randwick Cemetery, per Motor Service.
FUNERAL - The rels & friends of Mr.& Mrs.Sydney Thornton, of Carr St, Coogee, Mr.& Mrs.F.B.Dixon, of Dangar St, Randwick, Mr.& Mrs.George Thornton, of Dangar St, Randwick, Mr.& Mrs.Thomas Combe, of Rockdale, Mr.& Mrs. J.Yuill, of King St, Randwick, and Mr.& Mrs.Arthur Thornton, of Marrickville, are invited to attend the Funeral of of their late beloved Sister-in-law, ANNIE THORNTONB; to move from her late residence, Yvo, 97 Belmore St, Coogee, at 10.30 to-day, for Presbyterian Section, 10. 11.


{% extends 'inspector/form_base.html' %} {% block title %}Upload Epochs - {{ block.super }}{% endblock %} {% block form %}
You can upload up to {{ max_epoch_upload_number }} additional epochs. LINSPECTOR will probe your best weights and each epoch separately.


The Printer Options page gives you a great deal of control over how pages are printed. Not only can you set margins and line-spacing but you can created custom headers and footers with substitutable parameters (see below).
Header
The header is printed at the top of each page. It is divided into a left section, a centred section and a right section. Separate each section by a vertical bar (|). If you do not supply a vertical bar the header is all left justified.
The header can contain any text and/or any of the substitutable parameters (see the table below) which you can easily add using the arrow button. The header is displayed within the top margin so make sure enough room is provided. You can position the header with the Header (From Edge) control mentioned above.
First page
When this checkbox is selected you can specify a different header on the first printed page. To remove the header altogether from the first page just leave the text blank. The options are exactly the same as for Header (above).
Footer
The footer is similar to the header but is printed at the bottom of each page. It is divided into a left section, a centred section and a right section. Separate each section by a vertical bar (|). If you do not supply a vertical bar all of the footer is left justified.
The footer can contain any text and/or any of the substitutable parameters (see the table below) which you can easily add using the arrow button. The footer is printed within the bottom margin so make sure enough room is provided. You can position it with the Footer (From Edge) control mentioned above.
First page
When this checkbox is selected you can specify a different footer on the first printed page. To remove the footer altogether from the first page just leave the text blank. The options are exactly the same as for Footer (above).
Swap left/right sections for even pages
The header and footer strings above are each separated into three sections separated by two vertical bars like this: "LEFT | MIDDLE | RIGHT". Normally the text in the sections are printed on the left side, center, and right side of the page. When this option is selected every second page (i.e. all even page numbers) have the left and right sections reversed.
This settings applies to all the above header and footer options. It is typically used for duplex (double-sided) printing.
Watermark
Select this option to have large light gray text printed diagonally on every page, "behind" all the other text. The same parameters as for the header and footer are permitted (see table below), or you can just used some fixed text like "CONFIDENTIAL".
|
Param |
When printed is replaced with: |
|
&F |
The file name |
|
&A |
The full path name of the file |
|
&P |
The current page number |
|
&D |
The current date |
|
&T |
The current time |
|
&N |
The current date and time in long format |
|
&C |
The date and time the file was created |
|
&M |
The date and time the file was last modified |
|
&G |
Anything you have entered into the category field for the file |
|
&K |
Anything you have entered into the keywords field for the file |
|
&C |
Anything you have entered into the comments field for the file |
Header, Footer and Watermark: Special Parameters and Replacements


WAQUA made easy
Wrap and un-wrap your aquachain here!
Your details
AQUA Address
AQUA balance
WAQUA balance
Wrap
Un-Wrap


My bookmarks
Where the world builds software
The Free Encyclopedia
基于Git的代码托管和研发协作平台
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代码改变世界
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oracle's website
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Learn math more effectively
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Every tool you need to work with PDFs
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{% extends 'base.html'%} {% block content %}
No profile picture
{{user.bio}}
{{user.username}} has no bio


| Name: mr.sai chaitanya | Reg No: 8-7smmhc18 |
|---|---|
| Age / Sex:25/m | Contact No:9444493428 |
| Marital Status:single | Date:14/7/18 |
| Occupation: ccd – demand forcasting – mba | Dr. |
Address: native of porumamilla kadapa dt. In blore since 3 yrs |
DIAGNOSIS- |
Weight gain observed from 2012. Got thyroid profile checked and shown 6. 08 ui/ml. fr 2 yrs din take any med in blore felt more gain. Did exercise and now it is below normal. 0.017.
Hairfall from 2013. Kaya skin clinic took rx but irregular felt the med were powerful. Dandruff.
Sensitive to smells will get throat irritation cough and cold.
Past h/o:
Epistaxis got op fr it – 12 yrs age
Chicken pox – 7th class 2006.
Jaundice - 2007
Had chikun gunya type of symptoms – 2007. Btwn chicken pox and jaundice.
2016 had some cheek sweeling due to water inf.
Family h/o:
Mom: 45 – thyroid dysfunction, htn,
Mgm: dm
Mgf: dm
Dad: 50 yrs: htn, joint pain
One younger bro 24 – healthy/
Personal:
Egg/veg. regular. Due to office work at times skips lunch.
Spicy salt and sugar must be level wont eat more.
Likes idli / dosa/ rice./ pappu / sambar. Bitter gourd, ladys finger,
Av: brinjal had agg like skin rashes.
Bowels: 1-3 / day
Urine: n
Sleep: 5 hrs /day. Sleeps late due to work and phone.
Sweat: n
Dreams: day activities.
Mentality: was introvert till pub tech also. But in mba opened up. Felt like happy inside din actually know tht he was serious. He
Rx:
Calc.carb 200 – 4-4-4-4.
Rub 30 – 1-0-1
Pll – 3-0-3


Depending upon the pval_adjust
method selected, the supplied p_values are compared against an adjusted pval_thresh
value or the provided
means are used to compute new statistics, p-values are computed and compared against the provided pval_thresh
. A data.frame
that indicates which
of the tests are significant, 1 if significant or 0 if insignificant. If means
is also provided and the p-value is signficant then the direction
of the change is indicated by the sign on 1, i.e., means<0 and p_value<pval_thresh will return -1, similarly for means>0.
p_adjustment_anova(p_values = NULL, diff_mean = NULL, t_stats = NULL, sizes = NULL, pval_adjust = "None")
| p_values | A matrix (or |
|---|---|
| diff_mean | A matrix (or |
| t_stats | A matrix (or |
| sizes | A matrix (or |
| pval_adjust | character vector specifying the type of multiple comparisons adjustment to implement. A NULL value corresponds to no adjustment. Valid options include: holm, bonferroni, dunnett, tukey or none. |
a data frame with the following columns: group means, global G-test statistic and corresponding p-value
dontrun{ library(pmartRdata) library(pmartR) mypepData <- edata_transform(omicsData = pep_object, data_scale = "log2") mypepData <- group_designation(omicsData = mypepData, main_effects = c("Condition")) group_df <- attr(mypepData, "group_DF") imdanova_Filt <- imdanova_filter(omicsData = mypepData) mypepData <- applyFilt(filter_object = imdanova_Filt, omicsData = mypepData, min_nonmiss_anova=2) anova_res <- anova_test(omicsData = mypepData) adjusted_pvalues <- p_adjustment_anova(p_values = anova_res$Fold_change_pvalues, diff_mean = anova_res$Results[, grep("Mean", names(anova_res$Results))]) }#> Error: <text>:1:8: unexpected '{' #> 1: dontrun{ #> ^


About .Albert
Albert Einstein, (born March 14, 1879, Ulm, Württemberg, Germany—died April 18, 1955, Princeton, New Jersey, U.S.), German-born physicist who developed the special and general theories of relativity and won the Nobel Prize for Physics in 1921 for his explanation of the photoelectric effect. Einstein is generally considered the most influential physicist of the 20th century.
Einstein’s parents were secular, middle-class Jews. His father, Hermann Einstein, was originally a featherbed salesman and later ran an electrochemical factory with moderate success. His mother, the former Pauline Koch, ran the family household. He had one sister, Maria (who went by the name Maja), born two years after Albert.
Einstein would write that two “wonders” deeply affected his early years. The first was his encounter with a compass at age five. He was mystified that invisible forces could deflect the needle. This would lead to a lifelong fascination with invisible forces. The second wonder came at age 12 when he discovered a book of geometry, which he devoured, calling it his “sacred little geometry book.”


TOKENS(input, analyzer) → array
Split the input string with the help of the specified analyzer into an array.
The resulting array can i.e. be used in subsequent FILTER
statements with the
IN operator.
This can be used to better understand how the specific analyzer is going to behave.


%= render '/_head.html', :title => 'Default title'%>
<%= meta_share %>
<%= meta_tag :keywords %>
<%= render '/_header.html'%>
<% if @item[:formtype] == 'contact' %>
Thank you
for your time!
We will get back to you very soon!
<% end %>
<% if @item[:formtype] == 'sponsors' %>
Thank you for expressing interest in
being a partner of
Voxxed Days Belgrade 2016
Our team will soon reach out to you.
<% end %>
<% if @item[:formtype] == 'submittalk' %>
Thank you
for submitting!
Your submission will be peer reviewed and honestly evaluated based on originality, content depth and relevance to the conference.
If you have any questions related to the submission process be sure to contact us at<EMAIL_ADDRESS>Important dates to have in mind
June 5th
Call For Papers
closing
June 10th
Notification of
Acceptance/Rejection
September 28th
VoxxedDays Belgrade 2016
3 days full of fun!
<% end %>
<%= render '/_footer.html'%>
<%= render '/_bottomscripts.html'%>


|
Ext.NET Mobile
4.1.0
.NET Component Framework for Enterprise Level Apps
|
Public Member Functions | |
| Builder (TSheet component) | |
| virtual TBuilder | Enter (ViewportSide enter) |
| The viewport side used as the enter point when shown. Valid values are 'top', 'bottom', 'left', and 'right'. Applies to sliding animation effects only. Defaults to 'bottom'. More... | |
| virtual TBuilder | Exit (ViewportSide exit) |
| The viewport side used as the enter point when shown. Valid values are 'top', 'bottom', 'left', and 'right'. Applies to sliding animation effects only. Defaults to 'bottom'. More... | |
| virtual TBuilder | StretchX (bool? stretchX) |
| True to stretch this sheet horizontally More... | |
| virtual TBuilder | StretchY (bool? stretchY) |
| True to stretch this sheet vertically More... | |
| Builder () | |
| Builder (Sheet component) | |
| Builder (Sheet.Config config) | |
| Public Member Functions inherited from Ext.Net.Mobile.Panel.Builder< TSheet, TBuilder > | |
| Builder (TPanel component) | |
| Builder () | |
| Builder (Panel component) | |
| Builder (Panel.Config config) | |
| virtual TBuilder | Listeners (Action< ContainerListeners > action) |
| Client-side JavaScript Event Handlers More... | |
| virtual TBuilder | DirectEvents (Action< ContainerDirectEvents > action) |
| Server-side Ajax Event Handlers More... | |
Static Public Member Functions | |
| static implicit | operator Builder (Sheet component) |
| Static Public Member Functions inherited from Ext.Net.Mobile.Panel.Builder< TSheet, TBuilder > | |
| static implicit | operator Builder (Panel component) |
|
inline |
|
inline |
|
inline |
|
inline |
|
inlinevirtual |
The viewport side used as the enter point when shown. Valid values are 'top', 'bottom', 'left', and 'right'. Applies to sliding animation effects only. Defaults to 'bottom'.
|
inlinevirtual |
The viewport side used as the enter point when shown. Valid values are 'top', 'bottom', 'left', and 'right'. Applies to sliding animation effects only. Defaults to 'bottom'.
|
inlinestatic |
|
inlinevirtual |
True to stretch this sheet horizontally
|
inlinevirtual |
True to stretch this sheet vertically


Home
(current)
Autocad Club
Computer Science Club
Cyber Security Club
Robotics Club
Triple A Club
Welcome to the RCC Computer Science Club website!
Here is a detailed calendar of all meetings and events for the listed clubs at RCC


Requirement pattern concepts
04 Jan 2015"Each pattern describes a problem which occurs over and over again in our environment" - Christopher Alexander
- Projects have requirements which are similar in nature
- Requirement pattern: An approach for specifying a particular type of requirement
- Follow-on requirements: Expand the original requirement
- Pervasive requirements: Supports the pattern itself
- Patterns can vary on their level of detail (their preciseness)
Benefits of requirement patterns:
- Guidance: Suggests information to include, advices, warning of common pitfalls.
- Time save: Don't have to write each requirement from scratch, gives a suitable starting point, a foundation to build on.
- Consistency across requirements of the same type
The anatomy of a requirement pattern
- What it contains, how it is organized and why
- A requirement pattern needs to say when to use it, how to write requirements based on it. Can also give hints on how to implement and how to test it.
To convey these sorts of information, each requirement pattern should contain
- Basic details: Pattern classification, author, related patterns, etc
- Applicability: In what situations can this pattern be applied?
- Discussion: How to write a requirement of this type? What needs to be considered?
- Content: What must a requirement of this type say?
- Template(s): Starting point for writing a requirement of this type
- Example(s): One or more representative examples
- Extra requirements: What sorts of requirements often follow on
- Considerations for development: Hints for software designers and engineers on how to implement a requirement of this type
- Considerations for testing: What do we need to bear in mind when deciding how to test this type of requirement?
Domain
- For classifying the requirement patterns, instead of having a monolithic list of them, they are usually assigned to a domain
- Each domain needs an introduction to explain its theme (features in common to all its patterns)
- Some types of requirements depends on infrastructure. They may be added to the pattern through infrastructure overviews.
Requirement pattern groups
- When requirement patterns have features in common, a pattern group can be created
- Pattern groups differ from domains in the sense the domain patterns share a common theme, and the groups have detailed features in common.
Relationships between requirement patterns
- A pattern mught refer to other patterns
- The relationship can be fundamentally a mention (refers to) or a pattern extension (specialization)


--- layout: post date: 2012-03-01 time: "11:00:00" authors: ["Greg Wilson"] title: ULP (or, This is tricky and perhaps profound) tags: ["Noticed"] ---
Bruce Dawson's "Comparing Floating Point Numbers (2012 edition)" is, as he says of its subject, tricky, and perhaps profound—worthwhile reading for anyone pushing numbers around.


Pellentesque nibh nunc, pulvinar in ultrices at, ornare non ante. Quisque dolor nibh, fermentum at cursus sed, suscipit id massa.
Proin tincidunt ipsum sed quam convallis rhoncus.
Suspendisse at libero eu magna pharetra tincidunt vel vel dui. Nunc leo nibh, suscipit vel venenatis vel, fermentum at cursus sed, suscipit id massa dapibus vitae neque.
Vestibulum fringilla lacus vehicula massa malesuada venenatis. Quisque urna lorem, malesuada ac vehicula at, tristique sed enim.
Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit.
Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat
Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh.
Dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait.
Here are just some of the recent projects we’ve been involved in. Explore our other projects to discover more about our recent innovations and achievements.
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CSS Reactions
Interactive
Colors
Typography
Grid
Icons
Form Elements
Form Configurations
Navigation
Tables
Cards
Calendars
Banners
Interactive
Mixed


Redirecting you to the color site... if you aren't redirected, enable JavaScript, you're going to need it, then click here.


§431:4-106 Board of directors. The board of directors of a domestic insurer shall consist of not less than five individuals, at least three-fourths of the individuals shall be United States citizens, and a majority of the individuals shall be residents of this State. [L 1987, c 347, pt of §2]


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Teeny Static Server
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instantly!
POST users API


Dream interpretation
The notion that dreams contain hidden meanings has been popular for centuries. During the second century AD, Artemidorus Daldianus produced a five-volume work entitled “The Interpretation of Dreams”. In the 1890s, Sigmund Freud associated specific meanings to characters, objects, animals, and scenarios that frequently appeared in dreams. More recently, sleep scientists have developed increasingly sophisticated ways of coding dreams. There are more than 150 dream rating and content analysis scales today, and the best validated and most widely used one remains the Hall and Van de Castle’s. This coding system sees a dream as:
a) a cast of characters (for example, a depressed man, a friendly woman, a cute dog);
b) a plot in which characters interact with each other (for example, the depressed man patting the dog);
c) a process reflecting different affective states (for example, the depressed man now feels safe and relaxed).
Problem
Dreams are coded according to the Hall and Van de Castle’s scale manually and as such the number of dreams that can be coded is very limited.
Solution
We designed a Natural Language Processing tool that automatically scored 24K dream reports according to the Hall and Van de Castle’s scale. From each dream report, the tool extracted nouns to identify people, animals, and fictional characters, and verbs to classify interactions in terms of friendly interactions or acts of aggression.
In so doing, we were able to test what sleep scientists call the ‘continuity hypothesis’.
The results generated by the tool suggest that it is possible to quantify important aspects of dreams, making it possible to build future technologies that bridge the current yawning gap between real life and dreaming, ultimately making our ‘sleeping mind’ quantifiable.


Sunday Worship is held at 8:45 am on Sundays with Rev. Corey Ball. Refreshments and fellowship after service. Sunday school/Nursery also available


{% extends "twiglet/showcases/base_showcase.html" %} {% block showcasedescription %} This is a sample program written by Peter Sestoft to show off the use of generic classes in C#. It will convert a regular expression to a deterministic finite automaton (and visualize that DFA by producing a dot file that can be viewed with graphviz).
A fuller description, the source code, and some more nice examples can be found on Peter's web site. The translation from C# to Java shown here is compeletely automatic:
int
and bool
to the corresponding primitive type in Java. However, in some contexts (such as generic type arguments), it is neccessary to translate to the corresponding boxed types. See the translations for int
on lines 23 and 24 of Dfa.java.
Set<T>
implements the ICollection<T>
interface. In Set.java you can see that CS2J has added
implementations for iterator(), add(), addAll(), clear(), contains(), containsAll(), isEmpty(), remove(), removeAll(), retainAll(), size()
and toArray()
so that it can also implement the Java interface Collection
.


COVID-19 cases normalized
The following data is normalized to the first day a region hit
cases or
deaths.
Source
Confirmed cases
Deaths
Value
Total
New
Scaling
Total
By population
Threshold confirmed cases
Threshold deaths
Days before threshold
Scaling
Linear
Logarithmic
Sorting
Value
Alphabetical
Hide all
Loading...
Drag a rectangle within the chart to zoom in


Week 7 Ex. 4: Complete the event charts for Depth First and Breadth First search on the graph given in class.
Output:


Collaborations
Abhyuday, IIT Bombay
Two webinars have been conducted in collaboration with Abhyuday, the Social Club of IIT Bombay.
Girl's Up
A virtual event to celebrate the International Girl's Day was conducted in collaboration with Girl's Up Heron.
Rotaract Club of Thane North End
A food donation drive for the International Day of Charity was a combined effort of V@arSITycare and Rotaract Club of Thane North End.
Robin Hood Army
Robin Hood Academy’s students to Symbiosis Institute of Technology, in collaboration with V@rSITy-Care conducted a Swachata Pledge with kids
Karishma Care
A small initiative by V@rsity-care along with Karishmaa Care conducted a drive to help the victims of ‘Maharashtra Floods’
Paani Foundation
V@rSITy Care joined the Maharashramdaan, a rainwater harvesting and watershed management project arranged by the Paani Foundation, to make Maharashtra drought free
Vasundhra Swachhta Abhiyan
V@rSITy Care joined hands with an umbrella organization, Vashundhara Swachata Abhiyan, Pune with the mission of reforestation of the hills, afforestation- pure air ,water percolation, waste management and plastic-free lifestyle
Symbiosis Centre for Waste Resource Management
A guest lecture on “Waste Management in Symbiosis Campus” was held by the department of Civil Engineering (CESS) and V@rSITy-care to provide the students with an opportunity to learn about the techniques of water management in the campus.


Try to answer the following code-related questions within the
time limit. Keep in mind that incorrect answers will penalize
your score/time by 10 seconds!
Where in the HTML document should you link an external
stylesheet?
What does CSS stand for?
What are arrays used for?
In Bootstrap, which class provides a responsive fixed width
container?
The Bootstrap grid system is based on how many columns?
If an image can't be displayed, which HTML attribute
specifies an alternate text for the image?
Which attribute is used for a navigation bar?
Which of the following is the best resource for information
regarding Web Development?


window? {{testVar}}
Undefined doesn't throw {{notDefinedVar}}
Formatting through filtering {{"this is uppercase" | uppercase}}
Function that doesn't exist {{notdefined()}}
Function that throws error {{throwError()}}


A collection of functions that implement several algorithms for generating age-length keys for fish populations from incomplete data.
| Version: | <IP_ADDRESS> |
| Depends: | R (≥ 2.15.2) |
| Imports: | MASS, methods, Rcpp (≥ 0.10.2) |
| LinkingTo: | Rcpp |
| Published: | 2014-02-26 |
| Author: | Jose Francisco Loff, Alberto Murta, Laurence Kell |
| Maintainer: | Jose Francisco Loff <jfloff at phistat.com> |
| License: | BSD_3_clause + file LICENSE |
| URL: | http://www.github.com/ALKr |
| NeedsCompilation: | yes |
| Materials: | README NEWS |
| CRAN checks: | ALKr results |
| Reference manual: | ALKr.pdf |
| Package source: | ALKr_<IP_ADDRESS>.tar.gz |
| Windows binaries: | r-devel: ALKr_<IP_ADDRESS>.zip, r-release: ALKr_<IP_ADDRESS>.zip, r-oldrel: ALKr_<IP_ADDRESS>.zip |
| OS X binaries: | r-release: ALKr_<IP_ADDRESS>.tgz, r-oldrel: ALKr_<IP_ADDRESS>.tgz |
| Old sources: | ALKr archive |
Please use the canonical form https://CRAN.R-project.org/package=ALKr to link to this page.


Material stratification or layering
Geophysical media often exhibit stratification or layering; here we show how to produce a forward simulation account for.
This demo itself is writen in MATLAB; you can see its souce code clicking here.
Contents
A slab between halfspaces
A slab can be inserted between top and bottom half-spaces. So in addition to material_top and material_bottom, we introduce sett.sfc.material_middle, which has a thickness value:
sett = snr_settings(); % Define first case -- dry soil of infinite thickness: sett.sfc.fnc_snr_setup_sfc_material = @snr_setup_sfc_material_halfspaces; sett.sfc.material_top = 'air'; sett.sfc.material_middle = []; sett.sfc.material_bottom = 'dry soil'; setup = snr_setup (sett); result0 = snr_fwd (setup); % Define second case -- 1-cm thick dry soil slab on top of metal: sett.sfc.fnc_snr_setup_sfc_material = @snr_setup_sfc_material_slab; sett.sfc.material_top = 'air'; sett.sfc.material_middle = struct(); sett.sfc.material_middle.thickness = 1e-2; % in meters sett.sfc.material_middle.name = 'dry soil'; sett.sfc.material_bottom = 'metal'; setup = snr_setup (sett); result = snr_fwd (setup); % Compare: snr_demo_plot2 (result, result0) %snr_demo_plot_diff (result, result0)
Layering can affect the interpretation of the antenna height. When dealing with soil, the middle slab is underground, whereas with snow, the slab is above-ground. So for soil, the reference surface is the top halfspace interface, whereas for snow it is the bottom halfspace interface. We can use sett.sfc.vert_datum to define the vertical datum:
sett = snr_settings(); sett.ref.ignore_vec_apc_arp = true; % Define first case -- 10-cm snow slab, on top of dry soil halfspace: sett.sfc.vert_datum = 'bottom'; sett.sfc.fnc_snr_setup_sfc_material = @snr_setup_sfc_material_slab; sett.sfc.material_top = 'air'; sett.sfc.material_middle = struct(); sett.sfc.material_middle.thickness = 0.10; % in meters sett.sfc.material_middle.name = 'dry snow fixed'; sett.sfc.material_bottom = 'dry soil fixed'; setup0 = snr_setup (sett); result0 = snr_fwd (setup0); % Define second case -- 10-cm wet soil slab, on top of dry soil halfspace: sett.sfc.vert_datum = 'top'; sett.sfc.material_middle = struct(); sett.sfc.material_middle.thickness = 0.10; % in meters sett.sfc.material_middle.name = 'wet soil fixed'; sett.sfc.material_bottom = 'dry soil fixed'; setup = snr_setup (sett); result = snr_fwd (setup); % This scenario corresponds to case (1) in the cartoon below; compare: snr_demo_plot2 (result, result0)
Although both setup have the same antenna height, the resulting effective height of the antenna above the references surface is different:
disp({setup0.sfc.vert_datum, setup0.sfc.height_ant_sfc - setup0.ref.height_ant}) disp({setup.sfc.vert_datum, setup.sfc.height_ant_sfc - setup.ref.height_ant})
'bottom' [-0.1000] 'top' [0]
If the bottom half-space is empty, then it will default to the middle slab. Thus the permittivity contrast is lost at the bottom interface, which reverts the scenario back to the case of two half-spaces, with no slab in between -- see case (0) in the cartoon below; this is akin to having a very thick middle slab.
sett = snr_settings(); sett.sfc.vert_datum = 'top'; % Define first case -- infinite dry snow medium: sett.sfc.fnc_snr_setup_sfc_material = @snr_setup_sfc_material_halfspaces; sett.sfc.material_top = 'air'; sett.sfc.material_middle = []; sett.sfc.material_bottom = 'dry snow fixed'; setup = snr_setup (sett); result0 = snr_fwd (setup); % Define second case -- 10-cm thick snow slab, on top of infinite snow: sett.sfc.fnc_snr_setup_sfc_material = @snr_setup_sfc_material_slab; sett.sfc.material_top = 'air'; sett.sfc.material_middle = struct(); sett.sfc.material_middle.thickness = 0.1; % in meters sett.sfc.material_middle.name = 'dry snow fixed'; sett.sfc.material_bottom = []; % <<< NOTICE setup = snr_setup (sett); result = snr_fwd (setup); % Compare: snr_demo_plot2 (result, result0) %snr_demo_plot_diff (result, result0)
Few-layer profile
Above we had a single slab; two layers of different materials -- snow and soil -- can be defined as follows (notice that thickness now is a vector rather than a scalar):
sett.sfc.fnc_snr_setup_sfc_material = @snr_setup_sfc_material_layered; sett.sfc.material_top = 'air'; sett.sfc.material_middle = struct(); sett.sfc.material_middle.thickness = [0.10; 0.10]; % in meters sett.sfc.material_middle.name = {'dry snow fixed'; 'dry soil fixed'}; % This two-layer middle media still sits on top of a bottom halfspace, soil: sett.sfc.material_bottom = 'wet soil fixed'; setup = snr_setup (sett); result = snr_fwd (setup); % This scenario corresponds to case (2) in the cartoon above; compare: snr_demo_plot2 (result, result0)
We can also have a few layers of the same material type (e.g., soil) but with different material properties, such as moisture (which is now vector- valued, just like thickness):
sett.sfc.fnc_snr_setup_sfc_material = @snr_setup_sfc_material_layered; sett.sfc.material_top = 'air'; sett.sfc.material_middle = struct(); sett.sfc.material_middle.thickness = [1; 1; 1]*1e-2; % in meters sett.sfc.material_middle.moisture = [0.75; 0.5; 0.25]; sett.sfc.material_middle.name = 'soil'; sett.sfc.material_middle.type = 'sandy loam'; sett.sfc.material_bottom = 'dry soil fixed'; setup = snr_setup (sett); result = snr_fwd (setup); % Compare: snr_demo_plot2 (result, result0)
Stacks
Diferent material types (e.g., soil and snow) each with varying material properties (e.g., moisture and density) can be achieved forming a stack of two media (e.g. snow on soil).
sett.sfc.fnc_snr_setup_sfc_material = @snr_setup_sfc_material_stacked; sett.sfc.material_top = 'air'; sett.sfc.material_middle = repmat(struct(), [2,1]); % Define the first middle medium -- a 10-cm thick homogeneous slab of snow: sett.sfc.material_middle(1).fnc_snr_setup_sfc_material = @snr_setup_sfc_material_slab; sett.sfc.material_middle(1).thickness = 0.1; % in meters sett.sfc.material_middle(1).name = 'dry snow fixed'; % Now define the second middle medium -- three 1-m thick layers of soil, % exhibiting increasing moisture downward: sett.sfc.material_middle(2).fnc_snr_setup_sfc_material = @snr_setup_sfc_material_layered; sett.sfc.material_middle(2).thickness = [1; 1; 1]*1e-2; % in meters sett.sfc.material_middle(2).name = 'soil'; sett.sfc.material_middle(2).type = 'sandy loam'; sett.sfc.material_middle(2).moisture = [0.01; 0.02; 0.03]; % Finally, the bottom halfspace is taken equal to the bottom-most stack % media, namely, the soil with the most moisture: sett.sfc.material_bottom = []; setup = snr_setup (sett); result = snr_fwd (setup); % Compare: snr_demo_plot2 (result, result0) % Plot interpolated profile: snr_demo_plot_prof (setup)
Interpolated profile
Often times we are given a vertical profile made of a few measured properties and we want to interpolate its values at unsampled depths, for example, soil moisture measured at 25-cm depth intervals, with which we will interpolate a 5-mm thick layers up to a maximum depth of 55 cm:
sett.sfc.fnc_snr_setup_sfc_material = @snr_setup_sfc_material_interpolated; sett.sfc.material_top = 'air'; sett.sfc.material_middle = struct(); sett.sfc.material_middle.name = 'soil'; sett.sfc.material_middle.type = 'sandy loam'; sett.sfc.material_middle.property_name = 'moisture'; sett.sfc.material_middle.property_sample = [0.75; 0.5; 0.25]; sett.sfc.material_middle.property_depth = [0; 0.3; 0.5]; sett.sfc.material_middle.depth_max = 0.55; % in meters sett.sfc.material_middle.depth_step = 5e-3; % in meters sett.sfc.material_bottom = []; setup = snr_setup (sett); result = snr_fwd (setup); % Compare: snr_demo_plot2 (result, result0) % Plot interpolated profile: snr_demo_plot_prof (setup)
Warning: Extrapolating property "moisture" of material "soil".
An interpolated layer can be stacked just like any other kind:
sett.sfc.fnc_snr_setup_sfc_material = @snr_setup_sfc_material_stacked; sett.sfc.material_top = 'air'; sett.sfc.material_middle = repmat(struct(), [2,1]); % Define the first middle medium -- snow measured at 10-cm depth intervals, % then interpolated at 5-mm thick layers up to 25-cm maximum depth: sett.sfc.material_middle(1).fnc_snr_setup_sfc_material = @snr_setup_sfc_material_interpolated; sett.sfc.material_middle(1).name = 'dry snow'; sett.sfc.material_middle(1).property_name = 'density'; sett.sfc.material_middle(1).property_sample = [0.1; 0.2; 0.3]; sett.sfc.material_middle(1).property_depth = [0; 0.1; 0.2]; sett.sfc.material_middle(1).temperature = -5; sett.sfc.material_middle(1).depth_max = 0.25; % in meters sett.sfc.material_middle(1).depth_step = 5e-3; % in meters % Now define the second middle medium -- 5-cm thick homogenous layers with % known soil moisture: sett.sfc.material_middle(2).fnc_snr_setup_sfc_material = @snr_setup_sfc_material_layered; sett.sfc.material_middle(2).thickness = [1; 1; 1]*5e-2; % in meters sett.sfc.material_middle(2).name = 'soil'; sett.sfc.material_middle(2).type = 'sandy loam'; sett.sfc.material_middle(2).moisture = [0.01; 0.02; 0.03]; sett.sfc.material_bottom = []; setup = snr_setup (sett); result = snr_fwd (setup); % Compare: snr_demo_plot2 (result, result0) % Plot interpolated profile: snr_demo_plot_prof (setup)
Warning: Extrapolating property "density" of material "dry snow".
Parametric profile
It is also possible to specify the vertical profile of material properties in terms of a parametric formula:
sett.sfc.fnc_snr_setup_sfc_material = @snr_setup_sfc_material_parametric; sett.sfc.material_top = 'air'; sett.sfc.material_middle = struct(); sett.sfc.material_middle.name = 'soil'; sett.sfc.material_middle.type = 'sandy loam'; % A new field is used to specify the name of property parameterized: sett.sfc.material_middle.property_name = 'moisture'; % Another field is a function handle, dependent on both depth and arbitrary % parameters -- in this case, polynomial coefficients: sett.sfc.material_middle.fnc_property = @(depth, param) ... param(1) + param(2) .* depth + param(3) .* depth.^2; % The parameter values are specified it their own field: sett.sfc.material_middle.property_param = [0.1, 0.2, +0.3]; sett.sfc.material_middle.depth_max = 0.25; % in meters sett.sfc.material_middle.depth_step = 5e-3; % in meters sett.sfc.material_bottom = []; setup = snr_setup (sett); result = snr_fwd (setup); % Compare: snr_demo_plot2 (result, result0) % Plot interpolated profile: snr_demo_plot_prof (setup)
In summary, the definition of material stratification can involve any or all of the following:
- snr_setup_sfc_material_halfspaces
- snr_setup_sfc_material_slab
- snr_setup_sfc_material_layered
- snr_setup_sfc_material_stacked
- snr_setup_sfc_material_interpolated
- snr_setup_sfc_material_parametric


At Ruka Designs, we specialize in custom furniture and wooden art made from reclaimed African hardwood. Having once sailed the Indian Ocean as traditional dhows, each slab of wood is handcrafted into a one-of-a-kind piece of art.
Our logo symbolizes the traditional dhow, a timeless sailing vessel from the ancient Middle East. As traders ventured across the Indian Ocean to the East African shores, they brought the dhow with them where it has remained an integral part of Swahili culture almost unchanged over the millennia. Our hope is that as the dhow brought together distant cultures of antiquity, it will do the same in it's second life serving as a connection between each of you and the exotic shores of East Africa.
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We value our relationships with the coastal communities and craftsmen we work with. Each purchase you make helps these communities monetize fishing vessels that would otherwise be discarded and provides jobs to craftsmen who pre-process all of our materials on site in Arusha, Tanzania.
Please check us out on instagram for a project full gallery, or drop us a line with your custom idea at: shea@rukadesigns.com!


(Default is 25 minutes)
(Default is 5 minutes)
The timers will change to these new values after the current timer expires, if you would like these settings to be implemented immediately please click the appropriate button below or the reset timer button.
The Pomodoro technique uses a timer to break down work into intervals, traditionally 25 minutes in length, separated by short breaks. The method is based on the idea that frequent breaks can improve mental agility. This information and more can be found at this wikipedia page.
Sounds are enabled, this slider sets the volume of the buttons, sample alarm, and alarm sounds.
To disable sounds please click this button
Check box if you want the current sample as the alarm sound, it will remain until another sample is checked, if no sound is selected the alarm sound will be random
To generate some random music from video games please click Random Songs which will generate an audio player as well as the randomly selected music.


{% extends "base.html" %} {% block title %}
Medieval catalogues > UNIVERSITY AND COLLEGE LIBRARIES OF CAMBRIDGE > King's College > Inventory for the Marian commissioners, 31 January 1557
{% endif %}54 identified entries found.
All data was derived from the List of Identifications by Professor Richard Sharpe.
{% if not printing %}
A key to codes used in the List is available (opens in new tab).{% endif %}


Id: 333
Name: Stair Goblin
Status: Alive
Species: Alien
Type: Stair goblin
Gender: Genderless
OriginName: unknown
OriginUrl:
LocationName: Fantasy World
LocationUrl: https://rickandmortyapi.com/api/location/48
Image: https://rickandmortyapi.com/api/character/avatar/333.jpeg
Episode: ['https://rickandmortyapi.com/api/episode/5', 'https://rickandmortyapi.com/api/episode/11', 'https://rickandmortyapi.com/api/episode/25']
Url: https://rickandmortyapi.com/api/character/333
Created: 2018-01-10T16:34:19.420Z


kml.plot
Create 2D plot of longitude vs. latitude. Similar to the built-in plot function.
Contents
Syntax
kml.plot(long, lat) kml.plot(...,'PropertyName',PropertyValue,...)
Description
Creates a 2D plot of longitude vs. latitude, similar to the built-in plot function.
The units for latitude and longitude are normally given in degrees, but this can be changed by calling: kml.useDegrees; or kml.useRadians; before plotting.
It is possible to fine tune the plot properties using name-value pairs:
kml.plot(...,'PropertyName',PropertyValue,...)
Properties
| Property Name | Type | Description |
|---|---|---|
| 'name' | string | Name of the plot inside the kml file |
| 'id' | string | Internal id of this plot inside the kml |
| 'description' | string | A short description of what the plot represents |
| 'visibility' | true/false | Control the initial visibility of the plot |
| 'lineColor' | kml color string | Defines the color of the line. Must be a valid hex color string input, in the style AABBGGRR |
| 'polyColor' | kml color string | Defines the color of the extruded polygon, if 'extrude' is set to true. Must be a valid hex color string input, in the style AABBGGRR |
| 'lineWidth' | double | Defines the width of the line. Set to zero to show no line. |
| 'altitude' | double | Altitude where the 2D line should be plotted. Input in meters. |
| 'altitudeMode' | string | Choose if the altitude value is absolute to the earth model, relative to the ground level, or should be clamped to the ground. Valid inputs: 'absolute', 'relativeToGround', 'clampToGround' |
| 'extrude' | true/false | Enables or disables extruding the line to the ground. |
| 'tessellate' | true/false | Tesselates the line into the ground, so that it will be visible within the terrain contour |
| 'timeStamp' | kml date string | Associates the plot to a moment in time. Should not be used together with timeSpan. Should be a string in the XML time format (more information available here) |
| 'timeSpanBegin' | kml date string | Defines the moment in time where the plot starts to exist. Should not be used together with timeStamp. Should be a string in the XML time format (more information available here) |
| 'timeSpanEnd' | kml date string | Defines the moment in time where the plot finishes to exist. Should not be used together with timeStamp. Should be a string in the XML time format (more information available here) |
Example
% Create a new kml object k = kml('my kml file'); % Plot a sample 2D curve to the kml t = linspace(0,360,1000); k.plot(20*t, 90*cosd(t/2), 'altitude', 1e6, 'altitudeMode','absolute','lineWidth',10, 'name','plot test'); % Save the kml and open it in Google Earth k.run;
This is the result of running this example:
This file is part of the kml toolbox. Copyright 2012 Rafael Fernandes de Oliveira (rafael@rafael.aero)


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student's id
student's number
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