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August 29, 2002
These boots are made for killing Jews
The Scotsman | Submitted by: breed
"Sportswear manufacturer Umbro tonight promised to review its procedures
after a pair of trainers was given the same name as a deadly gas used by the
Nazis to kill millions in concentration camps. Jewish groups expressed
outrage after it emerged that the leather training shoes were called Zyklon,
prompting Umbro to drop the name and express its regret at any
offence caused."
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Read article...
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Quality meats from far off India
Times of India | Submitted by: Fnef
"India has once again come to unhealthy prominence as one of the world’s
leading underground organ bazaars with the revelation that a Britain
based Indian doctor agreed to broker the cut-price sale of a kidney from
a living Indian donor... the price quoted on the open market for organs
taken from live patients is $4,500 for a cornea, $55 for a patch of
skin and $1,000 to $2,000 for a kidney."
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Read article...
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A less-than-ideal comic pairing
Fox News | Submitted by: D. Rango
It ain't Lewis and Martin. "A comedian scheduled to open for Jewish comic
Jackie Mason was told hours before the show he couldn't perform because he is
Palestinian. 'It's not exactly like he's just an Arab American. This guy's a
Palestinian,' said Jyll Rosenfeld, Mason's manager."
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Read article...
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Dog Fucker
Elizabethton Star | Submitted by: optional
"Mrs. Norris also advised the officer that Norris possibly had sexually
assaulted their dog, stating that when she arrived home, she found a large
amount of dog hair on the living room floor, a half-empty bottle of lotion
covered in dog hair, a towel with unknown excrement and fecal matter,
and a T-shirt covered with the same substances."
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Read article...
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Genital spatula branding case conviction
Sydney Morning Herald | Submitted by: PHREACS
"A man who helped brand a neighbour in Michigan with a hot metal spatula
on his genitals and buttocks after learning he had been sodomising young boys
was sentenced to 19 months in prison today for his role in the attack."
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Read article...
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Japanese sub found at Pearl Harbor
CNN | Submitted by: BURKE
"Discovery of the 78-foot vessel could provide the first physical evidence
to back U.S. military assertions that it fired first against Japan and
inflicted the first casualties. The sub was sunk by a Navy destroyer on
December 7, 1941. The remains of two Japanese crewmen are believed to be
still inside the submarine."
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Read article...
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McRape
Mainichi Daily News | Submitted by: Roger
"One big difference is that for a price they will carry out a real rape
for their members. There's no acting like there is in some clubs. It's the
real thing.
If a member tells his club the type of women he'd like to rape, the club
will arrange it for him. Market rates are about 100,000 yen a rape. If
the member designates a specific individual, the fee can go over 1 million
yen in some cases."
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Read article...
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Mourners tempt fate and almost lose
Canadian Press | Submitted by: Gorg
"Grieving relatives placing a memorial at an intersection where six people
were killed earlier this week were sent diving for cover Wednesday as two
cars crashed at the same place... There were two relatives of the victims in
the ditch erecting a makeshift memorial when Wednesday's crash happened."
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Read article...
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Priest on boys: It takes two to tango
Detroit News | Submitted by: Spookbabe
"The boys work in the rectory with the priest and you just get friendly.
You sit down in the rectory and have a Coke. It's a mutual deal... an
affectionate thing and a friendly thing."
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Read article...
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More Jap atrocities in WW2
The Age | Submitted by: Vesney
A secret Japanese military unit used prisoners of war for gruesome medical
experiments. As one Japanese soldier recalls; "I still remember clearly the
first live autopsy I participated in. I knew the Chinese individual we
dissected alive because I had taken his blood once before for testing.
At the vivisection, I could not meet his eyes because of the hate he had
in his glare at me."
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Read article...
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Big head
WKMG-TV 6 Orlando | Submitted by: Rio
"A teen might have to sit out his football team's season because his head,
26 inches in circumference, won't fit his helmet. The Edinburgh High School
freshman's search for suitable headgear is going nationwide, a national
network has booked him for a morning-show interview, and he can't help but
take the attention in stride. 'I'm trying to make it not get to my head.
It doesn't need to get any bigger than it is now,' Tyler said."
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Read article...
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Union Carbide exec living good life on the lam
Independent | Submitted by: meatload
Indian authorities consider former Union Carbide Chairman Warren Anderson
a fugitive, as a result of the 1994 chemical leak that killed 2,500+ in
Bhopal (perhaps as many as 8,000). The former exec, now in his eighties,
prefers spending time between his New York and Florida homes, and playing
daily rounds of golf, to submitting himself to a criminal trial for
the 'culpable homicide' of thousands. Duh!
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Read article... and
This article...
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If you're going to pose, at least pose naked
Waco Tribune-Herald | Submitted by: freakymeatballs
"A Baylor University fraternity has been suspended from campus for a
year after some members appeared in the current issue of Playboy magazine.
In a jubilant group photo, about 50 male and four female students posed
on a sand volleyball court. All were clothed. Some were wearing Sigma Phi
Epsilon T-shirts, others waved Baylor pennants."

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Read article...
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Source code for trane.utils.generate_cutoff_times
#IMPORTANT INFO ABOUT FILE STRUCTURE:
#Each cutoff strategy will be it's own class.
#The only function that should change across classes is apply_cutoff_strategy()
[docs]class CutoffTimeBase:
def __init__(self):
pass
"""Args:
entity_to_data_dict(Dict): mapping from entities to their data
Returns:
entity_to_data_and_cutoff_dict(Dict): mapping from entities to a tuple of data and cutoff time
"""
[docs] def generate_cutoffs(self, entity_to_data_dict):
entity_to_data_and_cutoff_dict = {}
for entity in entity_to_data_dict:
entity_data = entity_to_data_dict[entity]
entity_cutoff = self.apply_cutoff_strategy(entity_data)
#New dictionary insert
entity_to_data_and_cutoff_dict[entity] = (entity_data, entity_cutoff)
return entity_to_data_and_cutoff_dict
[docs]class FixedCutoffTimes(CutoffTimeBase):
[docs] def apply_cutoff_strategy(self, entity_data):
#Here is where a user defines their cutoff strategy. In this class example
#we return a constant cutoff time.
return 0
[docs]class VariableCutoffTime(CutoffTimeBase):
[docs] def apply_cutoff_strategy(self, entity_data):
#Here is where a user defines their cutoff strategy. This class is an example
# of using the entity_data to influence the cutoff time.
return 0 + entity_data


This page contains webassembly and javascript content, please enable javascript in your browser.
Thin Rows
Thick Rows


Zoomin Flash Game(Nippon Television Network Corporation)
Illustlation (character design is another person.)
Zoomin (Nippon Television Network Corporation)
Illustlation(character design is another person.)
Zoomin (Nippon Television Network Corporation)
Illustlation(character design is another person.)
Zoomin (Nippon Television Network Corporation)
Illustlation(character design is another person.)
Zoomin (Nippon Television Network Corporation)
Illustlation(character design is another person.)


RETURN OF THE LIVING DEAD 3 by The Phantom<EMAIL_ADDRESS>It's been a while since the Phantom has seen a good, solid horror film, and to be honest he went into RETURN OF THE LIVING DEAD 3 with a certain amount of trepidation. After all, although the first installment in this series was a top-notch horror/comedy, well directed by Dan O'Bannon (of DARK STAR fame and one of the creative forces behind ALIEN), its sequel was a complete botch--an utterly forgettable, poorly-made rip-off of its popular and successful predecessor. Sadly, that's often the way with sequels; although on occasion a TERMINATOR will pave the way for a T2, an ALIEN for an ALIENS, more often than not we go from the pinnacle of happiness with the witty and original ROBOCOP to the depths of despair with the stupid and mean-spirited ROBOCOP 2.
Bad sequels are even worse than bad original films, since not only do they disappoint us while we're watching them--they also cheapen their fine predecessors and perhaps even make us forget why we ever liked them in the first place. (Most of the recent NIGHTMARE ON ELM STREET sequels are like this; ever since DREAM CHILD, it's been difficult for the Phantom to remember what was so fresh and original about Wes Craven's take on the sometimes porous barrier between our nightmares and reality.)
So RETURN OF THE LIVING DEAD 3 turned out to be a nice surprise indeed, a well-made and literate film, balancing its obligatory zombie effects and gore with interesting characters and a thoughtful screenplay. And enhancing the theater-going experience still further: the Criterion theater, conveniently located in the heart of Times Square and currently quite ably defending its reputation as the premiere palace of sleazy cinema in midtown Manhattan. Although United Artists has spent a considerable sum of money on the Criterion over the past few years (in order to differentiate it from the true slime-pits on 42nd Street), the gentrification really hasn't taken hold--although the basement theaters are somewhat nicer than they used to be (seeing a film in one of the Criterion's fine basement theaters used to be a lot like watching TV underneath a subway platform--rats, garbage and all), most have almost entirely reverted to their former extremely sleazy state: lots of people smoking (and not all King Tobacco); people tending to amble in about 15 minutes into the film with their whole families and a bucket of KFC; and of course, lots of unsolicited advice from the audience to help the fictional characters on the screen guide their next move. No previews for the latest Merchant/Ivory snoozer, THE REMAINS OF THE DAY; instead, we got MAN'S BEST FRIEND, the Robo-Dog pic. From the response in the theater, we're all looking forward to it with great anticipation. You just don't get this kind of experience watching a video....
So the environment was right for true horror film enjoyment. Yet the Phantom suspects that he would have enjoyed this film even had he seen it in the worst possible environment for cinematic horror (any theater on the Upper East Side, surrounded by Eurotrash who couldn't get into whatever that week's hip Spanish sex farce happened to be); perhaps it was just the chronic lack of good cinematic horror that did it, but the Phantom found RETURN OF THE LIVING DEAD 3 to be standout entertainment.
The success of this film can be directly attributed to both its screenplay and its director, Brian Yuzna, a veteran director of quality horror films. In fact Yuzna, who directed BRIDE OF REANIMATOR, SOCIETY, and the best of the SILENT NIGHT, DEADLY NIGHT series (part 4), is one of our best horror film directors, right up there with Frank Henenlotter, Sam Raimi and Stuart Gordon. He has an eye for the shocking, and there's nothing he loves more than gore. Yet his films don't shortchange the characters by relegating them to two-dimensional bystander status; in particular, RETURN OF THE LIVING DEAD 3 is one of the more literate and serious horror films in a while, reminiscent in many ways of Romero's thoughtful DAY OF THE DEAD. The point being that while anyone with a sufficient budget can do gore, not everyone can sustain an audience's interest with nothing more than good characterization and dialogue (not to mention snappy editing, which is very much in evidence here). Yuzna is the director that Clive Barker wishes he could be.
But although he had to labor mightily against the constraints of a very low budget, Brian Yuzna handles the well-written screenplay with his usual flair and has produced a winner. In fact, he shows real courage by inviting comparisons to both Clive Barker and George Romero's best films and succeeding in paying homage to them while still delivering an original horror film of his own.
The screenplay uses the original RETURN OF THE LIVING DEAD as a starting point and then expands on it in two different directions, both of which come together by the end of the film. The story focuses on two teenagers (Curt and Julie, both ably portrayed here by talented unknowns) who stumble upon strange goings-on in the military installation supervised by Curt's father. It seems the military is interested in using the recently dead as weapons--not a completely outlandish thought, considering what unstoppable killing machines they were in the first two installments in the series. Naturally a way to control them is needed, and Curt's father believes he's found it; of course, things don't work out quite as planned, and the recently reanimated find themselves less interested in being all they can be, and more interested in wreaking zombie havoc.
Things with Curt and Julie don't go as planned, either; Curt finds that a motorcycle accident has rendered Julie a prime candidate for reanimation herself, and since this is a horror film, we all know that no good opportunity for reanimation is ever wasted. What happens after Curt brings his girlfriend back to life comprises the bulk of the film, though the screenplay does swing back around to the military angle in time for a truly horrific denouement.
Although much of this territory has been covered by Stuart Gordon's classic over-the-top horror/comedy REANIMATOR, RETURN OF THE LIVING DEAD 3 deals with it in a more serious fashion: Julie is brought back to life, yes, but at what cost? And if Curt really loves her, how can he stand to see what she must go through to stay "alive"; yet how can he let her die once again? It would have been nice had Coppola dealt with these issues in DRACULA with the same degree of subtlety, rather than wasting his time and ours producing a dopey, special effects-laden costume drama; in some ways, RETURN OF THE LIVING DEAD 3 is a better DRACULA than DRACULA, and a REANIMATOR that takes itself seriously. It's that rare example of what can be done within a genre that does not normally lend itself to thoughtfulness and insight, one in which special effects often overwhelm whatever thin screenplay has been used as an excuse for generic mayhem and gore.
When RETURN OF THE LIVING DEAD 3 does falter, it's generally because of the most important constraint under which it was made (besides the R-rating it needed to get to get any sort of theatrical release at all): its very limited budget. With only so much money available for creature effects, we miss out on the one or two more "incidents" (shall we say) that probably should have been added to keep the film well on the right side of becoming too talky. It's a difficult juggling act, of course, since Yuzna obviously intended to make something more than just a zombie-fest. Yet the film does drag at times, and there's nothing wrong with keeping the living dead at the forefront of the action--especially if the title of the film implies that they're going to be returning from somewhere. Yuzna redeems himself by the time we reach the last act--all hell breaks loose, just as we knew it would, and it's at this point that we get a feeling for how all the money in this film was (well) spent. Until then, though, we can do little but sit tight and listen to the dialogue, which is happily well above the Camp Crystal Lake level one expects from horror films these days. No one says "Darn! The basement light just blew--let me just pop down there and change it." Or "I'm *sure* he's dead--no need to check." Or even "Hello? Anyone here? Hel--hey! What's wrong with the lights!?" Very satisfying to be able to enjoy a solid screenplay backing solid special effects--it's just too bad that this is the exception to the rule that all but requires horror filmmakers to insult the intelligence of their audiences.
All in all, a quite satisfying film, and another winner from Trimark, the tiny independent distributor that's fast becoming the New Line of the nineties. RETURN OF THE LIVING DEAD 3 and the two WARLOCK films are almost enough for the Phantom to forgive Trimark for the unending pain of LEPRECHAUN, incredibly enough their most successful film to date. RETURN OF THE LIVING DEAD 3 is currently enjoying Trimark's investment of zero dollars in advertising, so it's not likely to do better box office than LEPRECHAUN; let's just hope that phans starved for good horror descend upon it in droves once it hits the video stores in a couple of months. For those who will have no chance to see it in the superior ambience of the Criterion, it will be worth the wait.
: The Phantom<EMAIL_ADDRESS>.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Layout
Table of Contents:
- HorizontalArrangement
- HorizontalScrollArrangement
- TableArrangement
- VerticalArrangement
- VerticalScrollArrangement
HorizontalArrangement
Use a horizontal arrangement component to display a group of components laid out from left to right.
This component is a formatting element in which you place components that should be displayed
from left to right. If you want to have components displayed one over another, use
VerticalArrangement
instead.
In a HorizontalArrangement
, components are arranged along the horizontal axis, vertically
center-aligned.
If a HorizontalArrangement
’s Height
property is set to Automatic
, the actual
height of the arrangement is determined by the tallest component in the arrangement whose
Height
property is not set to Fill Parent
. If a HorizontalArrangment
’s
Height
property is set to Automatic
and it contains only components whose Height
properties are set to Fill Parent
, the actual height of the arrangement is calculated using
the automatic heights of the components. If a HorizontalArrangement
’s Height
property is set to Automatic
and it is empty, the Height
will be 100.
If a HorizontalArrangement
’s Width
property is set to Automatic
, the actual width
of the arrangement is determined by the sum of the widths of the components. If a
HorizontalArrangement
’s Width
property is set to Automatic
, any components whose
Width
properties are set to Fill Parent
will behave as if they were set to
Automatic
.
If a HorizontalArrangement
’s Width
properties are set to Fill Parent
will equally
take up the width not occupied by other components.
Properties
- AlignHorizontal
- A number that encodes how contents of the
HorizontalArrangement
are aligned horizontally. The choices are:1
= left aligned,2
= right aligned,3
= horizontally centered. Alignment has no effect if theHorizontalArrangement
’sWidth
isAutomatic
. - AlignVertical
- A number that encodes how the contents of the
HorizontalArrangement
are aligned vertically. The choices are:1
= aligned at the top,2
= vertically centered,3
= aligned at the bottom. Alignment has no effect if theHorizontalArrangement
’sHeight
isAutomatic
. - BackgroundColor
- Specifies the background color of the HorizontalArrangement as an alpha-red-green-blue integer. If an Image has been set, the color change will not be visible until the Image is removed.
- Height
- Specifies the
HorizontalArrangement
’s vertical height, measured in pixels. - HeightPercent
- Specifies the
HorizontalArrangement
’s vertical height as a percentage of theScreen
’sHeight
. - Image
- Specifies the path of the background image of the
HorizontalArrangement
. - Visible
- Specifies whether the
HorizontalArrangement
should be visible on the screen. Value istrue
if theHorizontalArrangement
is showing andfalse
if hidden. - Width
- Specifies the horizontal width of the
HorizontalArrangement
, measured in pixels. - WidthPercent
- Specifies the horizontal width of the
HorizontalArrangement
as a percentage of theScreen
’sWidth
.
Events
None
Methods
None
HorizontalScrollArrangement
A formatting element in which to place components that should be displayed from left to right.
If you wish to have components displayed one over another, use VerticalScrollArrangement
instead.
This version is scrollable.
Properties
- AlignHorizontal
- A number that encodes how contents of the
HorizontalScrollArrangement
are aligned horizontally. The choices are:1
= left aligned,2
= right aligned,3
= horizontally centered. Alignment has no effect if theHorizontalScrollArrangement
’sWidth
isAutomatic
. - AlignVertical
- A number that encodes how the contents of the
HorizontalScrollArrangement
are aligned vertically. The choices are:1
= aligned at the top,2
= vertically centered,3
= aligned at the bottom. Alignment has no effect if theHorizontalScrollArrangement
’sHeight
isAutomatic
. - BackgroundColor
- Specifies the background color of the HorizontalScrollArrangement as an alpha-red-green-blue integer. If an Image has been set, the color change will not be visible until the Image is removed.
- Height
- Specifies the
HorizontalScrollArrangement
’s vertical height, measured in pixels. - HeightPercent
- Specifies the
HorizontalScrollArrangement
’s vertical height as a percentage of theScreen
’sHeight
. - Image
- Specifies the path of the background image of the
HorizontalScrollArrangement
. - Visible
- Specifies whether the
HorizontalScrollArrangement
should be visible on the screen. Value istrue
if theHorizontalScrollArrangement
is showing andfalse
if hidden. - Width
- Specifies the horizontal width of the
HorizontalScrollArrangement
, measured in pixels. - WidthPercent
- Specifies the horizontal width of the
HorizontalScrollArrangement
as a percentage of theScreen
’sWidth
.
Events
None
Methods
None
TableArrangement
Use a table arrangement component to display a group of components in a tabular fashion.
This component is a formatting element in which you place components that should be displayed in tabular form.
In a TableArrangement
, components are arranged in a grid of rows and columns, with not more
than one component visible in each cell. If multiple components occupy the same cell, only the
last one will be visible.
Within each row, components are vertically center-aligned.
The width of a column is determined by the widest component in that column. When calculating
column width, the automatic width is used for components whose Width
property is set
to Fill Parent
. However, each component will always fill the full width of the column that it
occupies.
The height of a row is determined by the tallest component in that row whose Height
property is not set to Fill Parent
. If a row contains only components whose Height
properties are set to Fill Parent
, the height of the row is calculated using the automatic
heights of the components.
Properties
- Columns
- Determines the number of columns in the table.
- Height
- Specifies the
TableArrangement
’s vertical height, measured in pixels. - HeightPercent
- Specifies the
TableArrangement
’s vertical height as a percentage of theScreen
’sHeight
. - Rows
- Determines the number of rows in the table.
- Visible
- Specifies whether the
TableArrangement
should be visible on the screen. Value istrue
if theTableArrangement
is showing andfalse
if hidden. - Width
- Specifies the horizontal width of the
TableArrangement
, measured in pixels. - WidthPercent
- Specifies the horizontal width of the
TableArrangement
as a percentage of theScreen
’sWidth
.
Events
None
Methods
None
VerticalArrangement
Use a VerticalArrangement
component to display a group of components laid out from top to
bottom, left-aligned.
This component is a formatting element in which you place components that should be displayed
one below another. The first child component is stored on top, the second beneath it, and so on.
If you want to have components displayed next to one another, use HorizontalArrangement
instead.
In a VerticalArrangement
, components are arranged along the vertical axis, left-aligned.
If a VerticalArrangement
’s Width
property is set to Automatic
, the actual width
of the arrangement is determined by the widest component in the arrangement whose
Width
property is not set to Fill Parent
. If a VerticalArrangement
’s
Width
property is set to Automatic
and it contains only components whose
Width
properties are set to Fill Parent
, the actual width of the arrangement is
calculated using the automatic widths of the components. If a VerticalArrangement
’s
Width
property is set to Automatic
and it is empty, the width will be 100.
If a VerticalArrangement
’s Height
property is set to Automatic
, the actual height
of the arrangement is determined by the sum of the heights of the components. If a
VerticalArrangement
’s Height
property is set to Automatic
, any components whose
Height
properties are set to Fill Parent
will behave as if they were set to Automatic
.
If a VerticalArrangement
’s Height
property is set to Fill Parent
or specified in
pixels, any components whose Height properties are set to Fill Parent
will equally take up the
height not occupied by other components.
Properties
- AlignHorizontal
- A number that encodes how contents of the
VerticalArrangement
are aligned horizontally. The choices are:1
= left aligned,2
= right aligned,3
= horizontally centered. Alignment has no effect if theVerticalArrangement
’sWidth
isAutomatic
. - AlignVertical
- A number that encodes how the contents of the
VerticalArrangement
are aligned vertically. The choices are:1
= aligned at the top,2
= vertically centered,3
= aligned at the bottom. Alignment has no effect if theVerticalArrangement
’sHeight
isAutomatic
. - BackgroundColor
- Specifies the background color of the VerticalArrangement as an alpha-red-green-blue integer. If an Image has been set, the color change will not be visible until the Image is removed.
- Height
- Specifies the
VerticalArrangement
’s vertical height, measured in pixels. - HeightPercent
- Specifies the
VerticalArrangement
’s vertical height as a percentage of theScreen
’sHeight
. - Image
- Specifies the path of the background image of the
VerticalArrangement
. - Visible
- Specifies whether the
VerticalArrangement
should be visible on the screen. Value istrue
if theVerticalArrangement
is showing andfalse
if hidden. - Width
- Specifies the horizontal width of the
VerticalArrangement
, measured in pixels. - WidthPercent
- Specifies the horizontal width of the
VerticalArrangement
as a percentage of theScreen
’sWidth
.
Events
None
Methods
None
VerticalScrollArrangement
A formatting element in which to place components that should be displayed one below another.
(The first child component is stored on top, the second beneath it, etc.) If you wish to have
components displayed next to one another, use HorizontalScrollArrangement
instead.
This version is scrollable.
Properties
- AlignHorizontal
- A number that encodes how contents of the
VerticalScrollArrangement
are aligned horizontally. The choices are:1
= left aligned,2
= right aligned,3
= horizontally centered. Alignment has no effect if theVerticalScrollArrangement
’sWidth
isAutomatic
. - AlignVertical
- A number that encodes how the contents of the
VerticalScrollArrangement
are aligned vertically. The choices are:1
= aligned at the top,2
= vertically centered,3
= aligned at the bottom. Alignment has no effect if theVerticalScrollArrangement
’sHeight
isAutomatic
. - BackgroundColor
- Specifies the background color of the VerticalScrollArrangement as an alpha-red-green-blue integer. If an Image has been set, the color change will not be visible until the Image is removed.
- Height
- Specifies the
VerticalScrollArrangement
’s vertical height, measured in pixels. - HeightPercent
- Specifies the
VerticalScrollArrangement
’s vertical height as a percentage of theScreen
’sHeight
. - Image
- Specifies the path of the background image of the
VerticalScrollArrangement
. - Visible
- Specifies whether the
VerticalScrollArrangement
should be visible on the screen. Value istrue
if theVerticalScrollArrangement
is showing andfalse
if hidden. - Width
- Specifies the horizontal width of the
VerticalScrollArrangement
, measured in pixels. - WidthPercent
- Specifies the horizontal width of the
VerticalScrollArrangement
as a percentage of theScreen
’sWidth
.
Events
None
Methods
None


Treebank Statistics: UD_Karo-TuDeT: Features: Clas
This feature is language-specific.
It occurs with 11 different values: Bds
, Bss
, Ccv
, Cylb
, Cylm
, Cyls
, Fem
, Flat
, Rd
, Tflat
, X
.
166 tokens (7%) have a non-empty value of Clas
.
39 types (5%) occur at least once with a non-empty value of Clas
.
22 lemmas (5%) occur at least once with a non-empty value of Clas
.
The feature is used with 5 part-of-speech tags: ADJ (124; 5% instances), PRON (34; 1% instances), VERB (4; 0% instances), AUX (3; 0% instances), NOUN (1; 0% instances).
ADJ
124 ADJ tokens (52% of all ADJ
tokens) have a non-empty value of Clas
.
ADJ
tokens may have the following values of Clas
:
Bds
(4; 3% of non-emptyClas
): maʔBss
(12; 10% of non-emptyClas
): gap, kapCcv
(15; 12% of non-emptyClas
): káʔ, gáʔ, káCylb
(19; 15% of non-emptyClas
): bap, pap, map, pab, bab, bahCylm
(4; 3% of non-emptyClas
): ʔɨp, ɨpCyls
(11; 9% of non-emptyClas
): pɨʔ, bɨʔ, pɨʔtoʔFlat
(12; 10% of non-emptyClas
): beʔ, meʔ, peʔ, peroʔRd
(36; 29% of non-emptyClas
): ʔa, ʔaʔ, aʔ, ʔaʔtoʔTflat
(7; 6% of non-emptyClas
): cɨʔ, beʔ, meʔX
(4; 3% of non-emptyClas
): nãʔ
| Paradigm peʔ | Flat | Tflat |
|---|---|---|
| _ | beʔ, meʔ, peʔ | beʔ, meʔ |
| Number=Plur | peroʔ |
Clas
seems to be lexical feature of ADJ
. 93% lemmas (13) occur only with one value of Clas
.
PRON
34 PRON tokens (11% of all PRON
tokens) have a non-empty value of Clas
.
The most frequent other feature values with which PRON
and Clas
co-occurred: Number=Sing (34; 100%), Person=3 (34; 100%), PronType=Prs (31; 91%).
PRON
tokens may have the following values of Clas
:
Fem
(34; 100% of non-emptyClas
): ŋa, ŋakəy, ŋaat, ŋapik
VERB
4 VERB tokens (1% of all VERB
tokens) have a non-empty value of Clas
.
The most frequent other feature values with which VERB
and Clas
co-occurred: Number=Sing (4; 100%), Person=3 (4; 100%).
VERB
tokens may have the following values of Clas
:
Fem
(4; 100% of non-emptyClas
): ŋabean, ŋaken, ŋaramãya, ŋaʔóa
AUX
3 AUX tokens (2% of all AUX
tokens) have a non-empty value of Clas
.
The most frequent other feature values with which AUX
and Clas
co-occurred: Number=Sing (3; 100%), Person=3 (3; 100%), Tense=EMPTY (3; 100%), VerbForm=EMPTY (3; 100%), Decl=Assert (2; 67%).
AUX
tokens may have the following values of Clas
:
Fem
(3; 100% of non-emptyClas
): ŋaap, ŋanãn, ŋaʔet
NOUN
1 NOUN tokens (0% of all NOUN
tokens) have a non-empty value of Clas
.
The most frequent other feature values with which NOUN
and Clas
co-occurred: Person=EMPTY (1; 100%).
NOUN
tokens may have the following values of Clas
:
Flat
(1; 100% of non-emptyClas
): be


Lyricist.
Want to sing,but don't know the lyrics.Here you go!
Lyrics
Featured
Empty
No Lyrics Found.
GO Back


Intermittent fasting (or "IF") is an eating pattern where you cycle between periods of
eating and fasting. It is a very popular health and fitness trend, with research to back
it up.
Here we have an official licenced site with all the steps and types of fasting. If you
wish to start the plan,just click the "START" button below.
START
The keto diet is a low-carb, high-fat diet. It lowers blood sugar and insulin levels, and
shifts the body’s metabolism away from carbs and towards fat and ketones.
To start on this amazing diet plan just click on the start button below.
START
The Atkins diet is based on the theory that eating carbohydrates stimulates the
production of insulin, which in turn leads to hunger, eating, and weight gain. The
theory is that people on the Atkins diet experience reduced appetite and their bodies
use stored fat for energy versus burning glucose from ingested carbohydrate. Burning fat
for energy is supposedly lead to weight loss.
To start on this amazing diet plan just click on the start button below.
START
The paleo diet is a nutritional approach that focuses on eating only foods that are high in nutrients, unprocessed, and based on the foods that were available and eaten by humans in Paleolithic times. The main idea behind the paleo diet is that if humans were not able to consume a food thousands of years ago- before industrial agriculture, the domestication of animals, and modern food processing existed- than humans should not consume these types of foods today, because the human body is not adapted to them.
STARTFor some people, gaining weight or adding muscle can be just as difficult as losing weight for others. However, simply adding certain foods to your diet can make your weight gain efforts both healthy and more effective.
STARTFor some people, gaining weight or adding muscle can be just as difficult as losing weight for others. However, simply adding certain foods to your diet can make your weight gain efforts both healthy and more effective.
START


Definition 5.7.4. Graybody.
The term graybody refers to an imperfect blackbody in the sense that it absorbs only a propotion of the incident radiation. Graybodies can be more reflective of reality and adjusting for the lower absorption rate is a matter of scaling by what is called the emissivity.


Provides basic entities for implementing and conducting experiments with recommenders: Items, Recommendations, Users etc.


This diagram illustrates how anonymous block boxes may spring into existence around anonymous content.
It shows two rectangular boxes that contain text, the first being anonymous. It has a light grey background and contains the words "Some text". Just below it is a P box with a dark grey background that contains the words "More text". The boxes are both within a DIV box.


ngAria
The ngAria
module provides support for adding ARIA
attributes that convey state or semantic information about the application in order to allow assistive technologies
to convey appropriate information to persons with disabilities.
To enable the addition of the ARIA tags, just require the module into your application and the tags will hook into your ng-show/ng-hide, input, textarea, button, select and ng-required directives and adds the appropriate ARIA attributes.
Currently, the following ARIA attributes are implemented:
You can disable individual ARIA attributes by using the config method.
First include angular-aria.js
in your HTML:
<script src="angular.js">
<script
src="angular-aria.js">
You can download this file from the following places:
//ajax.googleapis.com/ajax/libs/angularjs/X.Y.Z/angular-aria.js
bower install<EMAIL_ADDRESS>"//code.angularjs.org/X.Y.Z/angular-aria.js"
where X.Y.Z is the AngularJS version you are running.
Then load the module in your application by adding it as a dependent module:
angular.module('app', ['ngAria']);
With that you're ready to get started!
| Name | Description |
|---|---|
| $ariaProvider | Used for configuring ARIA attributes. |
| Name | Description |
|---|---|
| $aria | Contains helper methods for applying ARIA attributes to HTML |


Above this, we have the title, subtitle, author, date, and abstract Pandoc metadata. These are specially classed H1, H2, H3, and DIV elements that we add styling to.
With Pandoc’s --section-divs
option, nested header levels create nested DIVs in HTML. This stylesheet creates nested indentation for them to nest visually.
I you can, of course, modify this CSS file or override some elements with your own other CSS after buttondown.css
to change some things like turning off nested indenting.
Buttondown doesn’t re-define the font size or weight of the headers, but it does define the font families for them as sans- serf. I have personally been using these font-size settings:
h1 {
font-size: 170%; /* Tone it down from 200% */
}
h2 {
font-size: 130%; /* Tone it down from 150% */
}
h3 {
font-size: 120%; /* Up from 116% */
}
h4 {
font-size: 110%; /* Up from 100% */
}
h5 {
font-size: 90%; /* Up from 80% */
}
h6 {
font-size: 80%; /* Up from 70% */
}
It doesn’t re-define the body text font, and it doesn’t make the text body narrow — it leaves it full width. I think this creates a good base to layer on some style flavoring CSS files.
Level 6 can be quite small.
A paragraph before.
A paragraph after.
Not all style sheets make these have more spacing.
Alpha
Beta
Gamma
And the spacing after might be too tight.
A paragraph before.
A paragraph after.
The outer level is loose format.
One
Two (with unordered sublist)
Three
The inner levels were left as tight format.
We simply italicize them and don’t do any fancy quote bar or decoration since they are already indented on the left and right.
We simply italicize them and don’t do any fancy quote bar or decoration since they are already indented on the left and right.
Code blocks are styled more to be set apart a bit more than just the monospaced font. A light background color and border (in case the background doesn’t print, but it looks nice too).
x = e * 10 / 2;
y = p - 7;
On screen, the blocks provide scroll boxes and the inline code spans
word wrap. For print, the code blocks also change to word wrap. On screen, the code spans
also get a little border, but lose it in print.
Have a subtler dotted underline with hover emphasizing with a solid line. When printing, remove all styling and print external URLs after the link text to be useful in a printout. There is no filter to not print very long URLs though.
Link text to Google. An automatic link to http://wikipedia.org.
I haven’t figured out how to not redundantly print the URL after a simple link whose link text is the URL, so maybe that fancy print feature should be moved to an extras CSS file.
A thin line that doesn’t have that shadow thing that looks terrible, especially in print.
See the end for what footnotes look like1.
An inline image , and one with that’s linked.
Baseline: ,
Top: .
Border, pad, rounded, shadow:
It seems images with different vertical alignments won’t work in the same paragraph.
Still may tweak this. Trying to use subtle lines to help group it, but it feels a bit too table-like. However, without them, it doesn’t seem to stand out much.
Definition of the term
First definition of Term2 It can be a long, wrapped paragraph like this.
A definition can include multiple paragraphs if they are indented the same in Pandoc and MultiMarkdown 3. MultiMarkdown 2 doesn’t support this, so it will be interpreted there as a code block following the Term2 definition.
A term can have multiple definitions.
The second definition of Term3. Depending on the stylesheet for HTML you are using or the output format (LaTeX, etc.), this second definition may appear styled as a separate term but without the term itself.
These get more styling than most things, yet it’s still very little compared to most table stylings, but way better than an un-styled HTML table. It’s to emulate a simple textbook style, but we throw in a hover row highlight to be a little useful on-screen when scrubbing around the table.
| Right | Left | Center | Default |
|---|---|---|---|
| 12 | 12 | 12 | 12 |
| 123 | 123 | 123 | 123 |
| 1 | 1 | 1 | 1 |
There is inline math: \(E=mc^2\)
There is display math:
\[ q = \frac{1}{2}\rho\nu^2 \]
The CSS has some empty elements for these but adding style is not advised as it will mess up the HTML renderers like MathJax.
Footnotes set off with a double-line rule.↩


Rebelo\SaftPt\Validate\DocTotalCalc
Recalcuted document values
- Author: João Rebelo
Synopsis
class DocTotalCalc
{
- // members
- protected $taxPayable = NULL;
- protected $netTotal = NULL;
- protected $grossTotal = NULL;
- protected $grossTotalFromCurrency = NULL;
- protected array $lineTotal = ;
- // methods
- public void __construct()
- public ?float getTaxPayable()
- public ?float getNetTotal()
- public ?float getGrossTotal()
- public ?float getGrossTotalFromCurrency()
- public void setTaxPayable()
- public void setNetTotal()
- public void setGrossTotal()
- public void setGrossTotalFromCurrency()
- public array getLineTotal()
- public void addLineTotal()
Members
protected
- $grossTotal — float
- $grossTotalFromCurrency — float
- $lineTotal
—
array
The calculated total line (credit/debit), ini format [lineNumber=>totalLine] - $netTotal — float
- $taxPayable — float
Methods
public
- __construct() — The Calculate values
- addLineTotal() — Add a total for a line
- getGrossTotal() — Get the GrossTotal calculated
- getGrossTotalFromCurrency() — Get the calculated GrossTotal from the currency
- getLineTotal() — The calculate total of each line, the arrey keys are the line number
- getNetTotal() — Get the Calculated NetTotal
- getTaxPayable() — get the calculated TaxPayable
- setGrossTotal() — Set the calculated Grosstotal
- setGrossTotalFromCurrency() — Set the calculated Gross total from Currency
- setNetTotal() — Set the calculated NetTotal
- setTaxPayable() — Set the calculated TaxPayable


Returns a token that you can pass to remove a self-hosted runner from a repository. The token expires after one hour. Anyone with admin access to the repository can use this endpoint. GitHub Apps must have the administration
permission to use this endpoint.
POST /repos/:owner/:repo/actions/runners/remove-token
Remove your self-hosted runner from a repository, replacing TOKEN with the remove token provided by this endpoint.
./config.sh remove --token TOKEN
Status: 201 Created
{
"token": "AABF3JGZDX3P5PMEXLND6TS6FCWO6",
"expires_at": "2020-01-29T12:13:35.123-08:00"
}


{% include './partials/head.html' %}
{% include './blobmenu.html' %}
{% include './partials/post.html' %}
{% include './partials/users.html' %}
Holiday Themes


{% extends "base.html" %} {% block title %}Welcome{% endblock %} {% block content_body %}
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.


{% with title=title%} {% include "header.html"%} {% endwith %}
(Required)
(Required for QR Code and download)


Inside home mum claims is not safe to live in - with cracked walls and no door
The door of Amy Wilson's rental home in Gateshead, Tyne and Wear, collapsed and almost fell on her son
by Herbert SodenA mum-of-four claims her house is on the verge of collapse and she no longer feels safe living there.
Amy Wilson moved into her house in Gateshead, Tyne and Wear in April, but says she has faced multiple issues since.
The mum said that the lintel above her front door collapsed and almost fell on her 18-year-old son Steven in July - and she hasn't had a front door since.
"It collapsed and came centimetres away from falling on his head," Amy told the Local Democracy Reporting Service and Chronicle Live .
"If it had been me I would have been coming out the door with my pram."
A spokesman for the Gateshead Housing Company , who she rents the property from, said workers are due to start repairs next week.
But Amy claimed the house in Beamish Gardens, Wrekenton, has been plagued by a long list of issues since she moved in to the rental this April.
Amy said her 15-year-old daughter Sophie suffers from asthma, while four-year-old Alman and six-month-old Nikki both have bad colds.
The mum also claims there are cracks throughout the property and fears that it may not be safe to live in.
She said: "It needs proper structural investigation, not just slapping plaster on. I think there's something not right in the building I don't think it is safe."
Amy continued: "I haven't got a front door and it is currently boarded up but it is letting the draft in, I can't keep my house warm.
 I'm putting on £15 every couple of days.
"I know there are bugs going round and they need to get home and warm, but you can't keep them warm."
Amy said that her living situation is also impacting her mental health.
She added: "I want to get the home nice for Christmas. I have depression and I used to be on medication but I came off it.
"I can feel myself getting back down to where I was."
A spokesman for Gateshead Housing Company said that a structural engineer would ensure the repairs to the property are carried out safely.
He said: "We are aware of the repairs and have been working with Ms Wilson.
"The repair work required the involvement of a structural engineer in order to ensure that the repair is both safe and addresses the issue.
"We have spoken to Ms Wilson to apologise for the delays and have agreed a start date of next week to commence the works."


beet & onion soko $14
Mustard sierra leone bologi kale chard beet greens black-eyed pea sorrel amaranth garlic tigernut spring onion summer purslane asparagus lentil.
seitan boudin $22
Seitan boudin with au ju gravy. Served with a vegan buttery smashed potato and steamed asparagus and spring onions.
chocolate mousse raw cheesecake $8
Raw cheesecake made from raw cacao, avaocado and cashews. Hints of vanilla and coffee. Topped with a crunchy raw cacao shell and served with fresh strawberries and a chocolate drizzle.


“Let us picture the case of a broken-hearted maiden forced to reject an ardent lover because duty calls him to a land where there are snakes. Think of his happiness blighted for ever and her doomed to a perpetual maidenhood, harrowed with remorseful dreams of the hourly perils and horrors through which he must be passing without her, and dreading to enter an academy or picture-gallery lest a laocoon or a fury might revive apprehensions too horrible to be borne. In view of possibilities so dreadful, surely it is a duty that a man owes to his kind to disseminate the truth, if he can, about the present condition of that reptile which, crawling on its belly and eating dust and having its head bruised by the descendants of Eve, sometimes pays off her share of the curse on their heels.” — E H Aitken, Concerning Animals & Other Matters


4. Module Documentation¶
Two classes are provided in the module: Polar and Airfoil. Generally, the Polar class is not needed for direct usage except for its constructor. All objects in this module are immutable. In other words, calling Airfoil.correct3D() creates a new modified airfoil object rather than editing the existing object.
4.1. Polar Class¶
A Polar object is meant to represent the variation in lift, drag, and pitching moment coefficient with angle of attack at a fixed Reynolds number. Generally, the methods of this class do not need to be used directly (other than the constructor), but rather are used by the Airfoil
class.
Class Summary:
4.2. Airfoil Class¶
An Airfoil object encapsulates the aerodynamic forces/moments of an airfoil as a function of angle of attack and Reynolds number. For wind turbine analysis, this class provides capabilities to apply 3-D rotational corrections to 2-D data using the Du-Selig method [DS98] for lift, and the Eggers method [EJCD03] for drag. Airfoil data can also be extrapolated to +/-180 degrees, using Viterna’s method [VJ82]. This class also adds methods to read and write AeroDyn airfoil files directly.
Class Summary:
-
class
airfoilprep.
Airfoil
(polars)[source] Constructor
Parameters: - polars : list(Polar)
list of Polar objects
Methods
initFromAerodynFile
Construct Airfoil object from AeroDyn file correction3D
apply 3-D rotational corrections to each polar in airfoil extrapolate
apply high alpha extensions to each polar in airfoil blend
Blend this Airfoil with another one with the specified weighting. getPolar
Gets a Polar object for this airfoil at the specified Reynolds number. interpToCommonAlpha
Interpolates all polars to a common set of angles of attack createDataGrid
interpolate airfoil data onto uniform alpha-Re grid. writeToAerodynFile
Write the airfoil section data to a file using AeroDyn input file style.
Bibliography
| [DS98] | Z. Du and M. Selig. A 3-D stall-delay model for horizontal axis wind turbine performance prediction. In 1998 ASME Wind Energy Symposium, number AIAA-1998-21. Jan 1998. |
| [EJCD03] | A. J. Eggers Jr, K. Chaney, and R. Digumarthi. An assessment of approximate modeling of aerodynamic loads on the UAE rotor. In Aerospace Sciences Meeting and Exhibit, number AIAA-2003-0868. Jan 2003. |
| [VJ82] | L.A. Viterna and D.C. Janetzke. Theoretical and experimental power from large horizontal-axis wind turbines. NASA TM-82944, National Aeronautics and Space Administration, Cleveland, OH. Lewis Research Center, September 1982. |


@* * Copyright 2021 HM Revenue & Customs * * Licensed under the Apache License, Version 2.0 (the "License"); * you may not use this file except in compliance with the License. * You may obtain a copy of the License at * * http://www.apache.org/licenses/LICENSE-2.0 * * Unless required by applicable law or agreed to in writing, software * distributed under the License is distributed on an "AS IS" BASIS, * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. * See the License for the specific language governing permissions and * limitations under the License. *@ @import model._ @import config.AppConfig @this(main: MainView, applicationConfig: AppConfig) @(application: ApplicationResponse, form: Form[UpdateRateLimitForm])(implicit request: Request[_], loggedInUser: LoggedInUser, messagesProvider: MessagesProvider) @main(title = s"${applicationConfig.title} - Manage rate limit tier") {


Some clever paragraph involving puns
This is something I am still not 100% certain on.
More confidence in my own abilities. I would really like to work onknowing when to step away from problems and take a break rather then just grinding it out. I'd also like to work on creating boundaries and not be in work mode all the time.
One of my strengths would be that I'm a hard worker. Once I start something I am always keen to finish it, although this can be a limitation sometimes as I struggle to know when to take a break or stop.
To manage the workload of EDA I will plan out my weeks in advance, making myself awear of the amount of time I will need. I then block out any chunks of time I have to study and work hard to make sure I stick to them.
I have a great problem solving process put in place which seems to be working so far. However If for some reason It doesnt work I will first try finding a solution on the internet. My next option would be to reach out to the EDA slack channels and then lastly my facilitator.
...
...


The 'station' name must be an acronyme of exactly 3 characters long.
The 'full_name' can have a maximum of 24 characters.
The 'color' must be in a hexadecimal format (i.e. #3d84b0), hence exactly 7 characters long.
The 'name', 'full_name', 'catchment' and 'color' fields are mandatory.
The NULL
keyword must be entered to explicitly delete a non-mandatory value.
The rows can be resorted by dragging and dropping them at their new location. The draggable zone is the first column. The 'Update Order' button must be pressed to save the changes. Beware that to have the expected result, the table must be sorted in ascending order using the 'order' column and must not be filtered.


---
layout: post
title:
date: '2009-09-16T14:42:00.003Z'
author: FredVDD
tags:
- restore files with same name
- recycle bin
modified_time: '2009-09-16T14:54:40.250Z'
blogger_id: tag:blogger.com,1999:blog-5059265.post-3841761533411725913
blogger_orig_url: http://frederiks.blogspot.com/2009/09/one-has-webcam-taking-picture-every-few.html
---
One has a webcam taking a picture every few seconds.
The webcam puts the picture in a directory accesible by Apache.
One uses javascript in an html page to dynamically update a webcam webpage.
The webcam overwrites the previous picture taken.
The old picture ends up in the Recycle bin.
After a while, one collects hundreds of images 'webcam.jpg' in the Recycle Bin...
Windows doesn't provide you with an option to restore these files - without one overwriting the other (remember, they have the same name (and came from the same source location/directory).
Here's how I rescued my old webcam pictures:
```smalltalk
| fd |
fd _ FileDirectory on: 'C:\RECYCLER\S-1-5-21-527237240-515967899-725345543-500'.
fd entries do: [ :fde |
(fde name matches: '*.jpg') ifTrue: [
fd copyFileNamed:
fde name
toFileNamed:
('c:\webcam\webcam_',
((DateAndTime fromSeconds: fde modificationTime) asSortableString), '.jpg') ] ]
```
The above script will run on --probably-- any Squeak (-: and/or :-) Smalltalk.
Let me know if you've crafted a wicked variant on the above...


Functions | |||
| void | initrand (UINT16 seed) NONBANKED | ||
| Initalise the random number generator. More... | |||
| INT8 | rand (void) | ||
| Returns a random value. | |||
| UINT16 | randw (void) | ||
| Returns a random word. | |||
| void | initarand (UINT16 seed) | ||
| Random generator using the linear lagged additive method Note that 'initarand()' calls 'initrand()' with the same seed value, and uses 'rand()' to initialize the random generator. More... | |||
| INT8 | arand (void) | ||
| Generates a random number using the linear lagged additive method. |
| void initrand (UINT16 seed) |
Initalise the random number generator.
seed needs to be different each time, else the same sequence will be generated. A good source is the DIV register.
| void initarand (UINT16 seed) |
Random generator using the linear lagged additive method Note that 'initarand()' calls 'initrand()' with the same seed value, and uses 'rand()' to initialize the random generator.


A pastiche of your local Top 40 station conveyed in two channels: one lacking all lyrics, and the other entirely backwards.
v2.0 (steinbro 20131008)


Renewable Energy
Home
Visualization
About
Share of Renewable Energy in Europe
Final Project
Minor Programming
Xandra Vos
10731148
University of Amsterdam


| Home |
HTTPScoop provides a number of views of captured HTTP conversations which are shown in different tabs in the HTTP Request Detail pop-up window. This window appears when you double-click a request.
Summary |
|
|---|---|
|
|
The request summary tab gives general information about the request and its current state: the URL, response line, content type and request/response size.
For ease of viewing, request parameters are broken out of the URL for requests made using the GET method, or out of the POST data for POST requests using the content-type |
Headers |
|
|---|---|
|
|
Each request and response may have associated header information. Request headers from web browsers typically include information about language preferences, browser type, acceptable file types and so on. Typical response headers from a server include information about the size and type of content being returned and how the content should be cached on the client, if at all.
Another important use of headers is to support cookies. Cookies allow a site to request that information is associated with it within the web browser and returned when future requests are made. This allows user preferences to be stored, browsing habits to be monitored etc. Cookies may also be used to track browser sessions so that the server is able to see that different requests originate from the same browser window. Look out for For more information on cookies, see RFC 2965 - HTTP State Management Mechanism or for request headers in general, see the HTTP specification. |
POST Hex |
|
|---|---|
|
|
The body of a POST request can be viewed in hex dump form on this tab. Note that there may be a delay in rendering dumps for large POSTs. |
Response Text |
|
|---|---|
|
|
Shows the response body in text form after decompression (if gzip or deflate content encoding is used) and “de-chunking”. Chunking is a common technique for handling dynamic content, the size of which is not known beforehand. Rather than specifying a fixed content length the server sends “chunks” of data, with each chunk preceded by a length descriptor. The end of the response is indicated by a chunk size of zero. Because de-chunking is performed by HTTP Scoop automatically before the response text is shown, you won’t see chunking information in the response text. It can, however, be observed in the TCP/IP view. Basic syntax colouring is performed for text/HTML and text/XML content types with elements, attributes, attribute values and comments highlighted. |
Response Hex |
|
|---|---|
|
|
The body of a response can be viewed in hex dump form on this tab. Note that there may be a delay in rendering dumps for large responses. Like Response Text, this is a view of the response data after decompression and de-chunking where applicable. |
Response Image |
|
|---|---|
|
|
The Response Image tab shows returned images, scaled down to fit the view where appropriate. Note that the response |
TCP/IP |
|
|---|---|
|
|
This view allows you to see all activity on the TCP connection over which a request has been made. This gives you access to the raw data being sent over the wire, prior to any decompression, de-chunking etc. It can be useful in diagnosing protocol errors in custom HTTP clients or servers. TCP sequence numbers and acknowledgments are shown along with the state of the TCP flags SYN, ACK, RST and FIN. Packet bodies are shown in a hex dump format. The HTTP specification allows that multiple HTTP requests may be sent over the same TCP connection without waiting for a response. For this reason, the first request/response TCP packet body you see may not be for the HTTP request you selected. |


Project: $200K 2nd story addition and whole-house remodel
Location: Ithaca, NY
Highlights: Creating a grand central staircase and vaulted ceiling to a brand new 2nd floor on an existing bungalo
Timeframe: 11 months
before and after LIVINGROOM
sample of blueprints
screenshots of 3D walkthrough
before and after FRONT EXTERIOR
Project: $120K Guest Bedroom and Master Bath Remodel in historic farm house
Location: Ellicot, NY
Highlights: His and Hers glass-enclosed walk-in shower, vanity and hot tub
Timeframe: 8 months
Tub and Shower Closeup
Vanity
Tub and Shower
Project: $40K Remodel of fire-damaged meeting room in historic church
Location: Baltimore, MD
Highlights: Designed a new lighting and fan system. Upgraded the insulation and restored historic windows for more energy efficiency.
Timeframe: 3 months


Guide:
1> bower install angular-messages. Add < script src="/bower_components/angular-messages/angular-messages.js">< /script>
XI. ng-message
**replace for: view2. VIII.Validation: novalidate, $invalid, $valid, $pristine, $dirty, $error)
1. ng-message="required"
< input required/>
2. ng-message="minlength, maxlength"
< input minlength="5" />
XII. $timeout, $watch, $scope.$apply
1> look at console to see $watch (oldValue, newValue) 2> $scope.$apply use in case of setTimeOut of javascript to make $watch working (should use $timeout of angular for shorter)
set timeout result: {{ name_timeout }}
XIII. $filter
$filter('lowercase')('PHUC') = {{up_to_low}}
$filter('filter')(result, function(d){ return d.ID == 3;}) = {{filteredData}}
XIV. ng-class
1. ng-class
ng-class ="{ 'class01':text.length> 5, 'class02':text.length< 5 }"
should have {{characters}} characters:
You have less than {{characters}} characters!
You have more than {{characters}} characters!
XV. custom service
$scope.serviceCustom = ServiceCustom
{ {serviceCustom.name} } = '{{serviceCustom.name}}'
{ {serviceCustom.namelength()} } = {{serviceCustom.namelength()}}
XVI. $routeParams
$scope.routeParams = $routeParams;
{ {serviceCustom.routeParams} } = '{{routeParams}}'
XVII. custom directive
1. template
a. < my-directive>< /my-directive>
b. < div my-directive>< /div>
c. < div class='my-directive'>< /div>
d. < !--directive:my-directive
-->
2. templateUrl
3. scope, compile, link
a. @
primitive value
Javascript => scope: {personName: "@", personAddress: "@"}
myDirective_scope html => < my-directive-with-scope person-name="{{ person.name }} " person-address="{{ person.address }} ">< /my-directive-with-scope>
output:
b. =,&
object, method
Javascript =>
scope: {personObject: "=", getFullName: "&"}
html => < my-directive-with-scope person-object="person02" person-address="getFullName(aPerson)">< /my-directive-with-scope>
output:
c. ng-repeat, compile, link
( look at directive 2, name was changed at compile)
( delete compile at directive code to able to use link, then look at directive 3, name was changed at link)
(link is better option than compile)
Option 1(shorter): < my-directive-with-scope02 person-object ="person" get-full-name ="getFullName(aPerson)"
ng-repeat ="person in people">< /my-directive-with-scope02>
Option 2: < div class="list-group"
ng-repeat ="person in people"> < my-directive-with-scope02 person-object ="person" get-full-name ="getFullName(aPerson)">< /my-directive-with-scope02> < /div>
XVIII. nestController, controller-replace-scope
1. $parent for nestController
< div ng-controller="parent1Controller" >
{ { message } } = {{ message }}
< div ng-controller="child1Controller" >
{ { $parent .message } } = {{ $parent.message }}
{ { message } } = {{ message }}
2. controller-replace-scope
.controller('parent2Controller', [ function(){ this. message = 'Parent 2 Message!';}])
< div ng-controller="parent2Controller as parent2vm " >
{ {
parent2vm }.message } = {{ parent2vm.message }}
< div ng-controller ="child2Controller as child2vm" >
{ {
parent2vm .message } } = {{ parent2vm.message }}
{ {
child2vm .message } } = {{ child2vm.message }}
< input type="text" ng-model="parent2vm. message"/>
**
I.research more:
$digest, ng-switch,ng-cloak>
$http.post problem(video 04-05)
II. others:(video 05-02)
1. bookmark
2.javascript:
window.addEventListener('hashchange',function(){
console.log('Hash changed!: ' + window.location.hash);
if( window.location.hash === '#/view_udemy'){
console.log('window.location.hash === "'"#/view_udemy"l');
}
});


|
TO: Colonel Rich Greetings! Pastor Lance has been working with Nate & we had a meeting on Sunday. He's going to have some A/N T-shirts made & is workin on Pamphlets to pass out Since Colonel Rick is not active at this moment, I'll step up to the plate & concentrate on Counter-infiltration west of the Mississippi... No doubt the enemy has another Gletty in preperation! SEE: http://www.prisonplanet.com/articles/february2007/150207_b_Neo-Nazi.htm Respectfully, Bob Share life as it happens with the new Windows Live. Share now! |


The coronavirus package provides a tidy format dataset of the 2019 Novel Coronavirus COVID-19 (2019-nCoV) epidemic. The raw data pulled from the Johns Hopkins University Center for Systems Science and Engineering (JHU CCSE) Coronavirus repository.
More details available here, and a csv
format of the package dataset available here
As this an ongoing situation, frequent changes in the data format may occur, please visit the package news to get updates about those changes
Install the CRAN version:
install.packages("coronavirus")
Install the Github version (refreshed on a daily bases):
# install.packages("devtools") devtools::install_github("RamiKrispin/coronavirus")
While the coronavirus CRAN version is updated every month or two, the Github (Dev) version is updated on a daily bases. The update_dataset
function enables to overcome this gap and keep the installed version with the most recent data available on the Github version:
Note: must restart the R session to have the updates available
Alternatively, you can pull the data using the Covid19R project data standard format with the refresh_coronavirus_jhu
function:
covid19_df <- refresh_coronavirus_jhu() head(covid19_df) #> date location location_type location_code location_code_type data_type value lat long #> 1 2020-10-10 Alberta, Canada state CA-AB iso_3166_2 deaths_new 0 53.9333 -116.5765 #> 2 2020-08-09 Alberta, Canada state CA-AB iso_3166_2 cases_new 0 53.9333 -116.5765 #> 3 2020-10-21 Alberta, Canada state CA-AB iso_3166_2 cases_new 406 53.9333 -116.5765 #> 4 2020-06-15 Alberta, Canada state CA-AB iso_3166_2 deaths_new 1 53.9333 -116.5765 #> 5 2020-06-13 Alberta, Canada state CA-AB iso_3166_2 cases_new 37 53.9333 -116.5765 #> 6 2020-06-21 Alberta, Canada state CA-AB iso_3166_2 cases_new 31 53.9333 -116.5765
data("coronavirus")
This coronavirus
dataset has the following fields:
date
- The date of the summaryprovince
- The province or state, when applicablecountry
- The country or region namelat
- Latitude pointlong
- Longitude pointtype
- the type of case (i.e., confirmed, death)cases
- the number of daily cases (corresponding to the case type)head(coronavirus) #> date province country lat long type cases #> 1 2020-01-22 <NA> Afghanistan 33.93911 67.709953 confirmed 0 #> 2 2020-01-22 <NA> Albania 41.15330 20.168300 confirmed 0 #> 3 2020-01-22 <NA> Algeria 28.03390 1.659600 confirmed 0 #> 4 2020-01-22 <NA> Andorra 42.50630 1.521800 confirmed 0 #> 5 2020-01-22 <NA> Angola -11.20270 17.873900 confirmed 0 #> 6 2020-01-22 <NA> Antigua and Barbuda 17.06080 -61.796400 confirmed 0
Summary of the total confrimed cases by country (top 20):
library(dplyr) summary_df <- coronavirus %>% filter(type == "confirmed") %>% group_by(country) %>% summarise(total_cases = sum(cases)) %>% arrange(-total_cases) summary_df %>% head(20) #> # A tibble: 20 x 2 #> country total_cases #> <chr> <dbl> #> 1 US 24821813 #> 2 India 10639684 #> 3 Brazil 8753920 #> 4 Russia 3637862 #> 5 United Kingdom 3594094 #> 6 France 3069695 #> 7 Spain 2499560 #> 8 Italy 2441854 #> 9 Turkey 2418472 #> 10 Germany 2125261 #> 11 Colombia 1987418 #> 12 Argentina 1853830 #> 13 Mexico 1732290 #> 14 Poland 1464448 #> 15 South Africa 1392568 #> 16 Iran 1360852 #> 17 Ukraine 1222459 #> 18 Peru 1082907 #> 19 Indonesia 965283 #> 20 Netherlands 951747
Summary of new cases during the past 24 hours by country and type (as of 2021-01-22):
library(tidyr) coronavirus %>% filter(date == max(date)) %>% select(country, type, cases) %>% group_by(country, type) %>% summarise(total_cases = sum(cases)) %>% pivot_wider(names_from = type, values_from = total_cases) %>% arrange(-confirmed) #> # A tibble: 192 x 4 #> # Groups: country [192] #> country confirmed death recovered #> <chr> <dbl> <dbl> <dbl> #> 1 US<PHONE_NUMBER> 0 #> 2 Brazil 56552 1096 73818 #> 3 Spain 42885 400 0 #> 4 United Kingdom 40321 1401 97 #> 5 France 23324 649 1287 #> 6 Russia 21182 566 26976 #> 7 Mexico 21007 1440 27160 #> 8 Germany 16366 837 16246 #> 9 Colombia 15073 399 10418 #> 10 India 14256 152 17136 #> 11 Portugal 13987 234 7319 #> 12 Italy 13633 472 27676 #> 13 Indonesia 13632 250 8357 #> 14 South Africa 11761 575 17841 #> 15 Argentina 10753 220 11071 #> 16 Peru 9693 230 0 #> 17 Czechia 7488 157 13320 #> 18 Poland 6693 347 0 #> 19 Iran 6332 75 7127 #> 20 Israel 6159 21 7243 #> 21 Turkey 5967 149 6018 #> 22 Canada 5827 123 6939 #> 23 Netherlands 5799 89 103 #> 24 Ukraine 5679 177 14581 #> 25 Japan 5045 108 6027 #> 26 Chile 4959 84 3031 #> 27 Sweden 4214 84 0 #> 28 Malaysia 3631 18 2554 #> 29 United Arab Emirates 3552 10 3945 #> 30 Lebanon 3220 57 3185 #> 31 Romania 2699 74 4635 #> 32 Belgium 2444 55 0 #> 33 Tunisia 2389 103 2720 #> 34 Ireland 2357 52 0 #> 35 Philippines 2170 20 245 #> 36 Switzerland 2156 63 0 #> 37 Austria 2088 42 2048 #> 38 Panama 2041 36 3288 #> 39 Pakistan 1927 43 1737 #> 40 Bolivia 1864 53 1006 #> # … with 152 more rows
Plotting the total cases by type worldwide:
library(plotly) coronavirus %>% group_by(type, date) %>% summarise(total_cases = sum(cases)) %>% pivot_wider(names_from = type, values_from = total_cases) %>% arrange(date) %>% mutate(active = confirmed - death - recovered) %>% mutate(active_total = cumsum(active), recovered_total = cumsum(recovered), death_total = cumsum(death)) %>% plot_ly(x = ~ date, y = ~ active_total, name = 'Active', fillcolor = '#1f77b4', type = 'scatter', mode = 'none', stackgroup = 'one') %>% add_trace(y = ~ death_total, name = "Death", fillcolor = '#E41317') %>% add_trace(y = ~recovered_total, name = 'Recovered', fillcolor = 'forestgreen') %>% layout(title = "Distribution of Covid19 Cases Worldwide", legend = list(x = 0.1, y = 0.9), yaxis = list(title = "Number of Cases"), xaxis = list(title = "Source: Johns Hopkins University Center for Systems Science and Engineering"))
Plot the confirmed cases distribution by counrty with treemap plot:
conf_df <- coronavirus %>% filter(type == "confirmed") %>% group_by(country) %>% summarise(total_cases = sum(cases)) %>% arrange(-total_cases) %>% mutate(parents = "Confirmed") %>% ungroup() plot_ly(data = conf_df, type= "treemap", values = ~total_cases, labels= ~ country, parents= ~parents, domain = list(column=0), name = "Confirmed", textinfo="label+value+percent parent")
The raw data pulled and arranged by the Johns Hopkins University Center for Systems Science and Engineering (JHU CCSE) from the following resources:


IClick Class
This class provides a costume events that triggers immediately after a user has clicked an element. Class supports adding new drivers to allow multiple devices inputs.
Constructor
IClick
-
[root]
Parameters:
-
[root]
Element optionalif provided will use this element as root element
Item Index
Methods
Properties
Methods
addDevice
-
name
-
config
Adds device support
Parameters:
-
name
Stringname of device
-
config
Objectdevice configurations
-
start_event
Stringname of start event
-
event_map
Objceta map of event names and their phase name. eg: { mousedown : 'STARTEVENT', mousemove : 'MOVEEVENT', mouseup : 'END_EVENT' }
-
handlers
Objcetmap of event handlers. basic structure:
type : { INITIAL : { TYPE : { CAPTURING : fn(ev,_ev){}, //optional BUBBLING : fn(ev,_ev){} //optional } }, ACTIVE : { TYPE : { CAPTURING : fn(ev,_ev){}, //optional BUBBLING : fn(ev,_ev){} //optional } } }
-
addDevice
-
name
-
config
Adds device support
Parameters:
-
name
Stringname of device
-
config
Objectdevice configurations
-
start_event
Stringname of start event
-
event_map
Objceta map of event names and their phase name. eg: { mousedown : 'STARTEVENT', mousemove : 'MOVEEVENT', mouseup : 'END_EVENT' }
-
handlers
Objcetmap of event handlers. basic structure:
type : { INITIAL : { TYPE : { CAPTURING : fn(ev,_ev){}, //optional BUBBLING : fn(ev,_ev){} //optional } }, ACTIVE : { TYPE : { CAPTURING : fn(ev,_ev){}, //optional BUBBLING : fn(ev,_ev){} //optional } } }
-
attach
()
public
chainable
attaches IClick to the root element
attach
()
public
chainable
attaches IClick to the root element
detach
()
public
chainable
detaches IClick from the root element
detach
()
public
chainable
detaches IClick from the root element
fireIClick
()
protected
chainable
fires the IClick event
fireIClick
()
protected
chainable
fires the IClick event
reset
()
protected
chainable
reset IClick checks. remove all events handlers. Must be called on canceling states.
reset
()
protected
chainable
reset IClick checks. remove all events handlers. Must be called on canceling states.


We have now gone through the basic mechanics of population modeling. But we have barely discussed where the parameters come from!
This is the focus of the current lecture!
As you recall, life tables represent a single cohort that has been followed over time until the last one has died.
NOTE: in practice, it is nearly impossible to follow a single cohort over time in the wild (although life tables are commonly available for captive populations). Therefore, in practice, most published life tables for wild populations use the static life table, which compares population size from multiple different cohorts, across the entire range of ages, at a single point in time. Static tables assume the population has a stable age structure —- that is, the proportion of individuals in each age class does not change from generation to generation,
| x | S(x) | b(x) | l(x) | g(x) |
|---|---|---|---|---|
| 0 | 500 | 0 | 1.0 | 0.80 |
| 1 | 400 | 2 | 0.8 | 0.50 |
| 2 | 200 | 3 | 0.4 | 0.25 |
| 3 | 50 | 1 | 0.1 | 0.00 |
| 4 | 0 | 0 | 0.0 | NA |
PROS - Summary of survival and fecundity, often available in the literature. Be careful when using data from captive populations!
CONS - Makes unrealistic assumptions (especially the static life table method). - Can not estimate environmental stochasticity - Can not estimate density dependence - Ignores imperfect detection (assumes perfect detection) - (remember, it’s not always perfectly straightforward to translate into population model- but it can be done!)
Census data is ultimately what we all wish we had! It means we follow a population over time, and we know exactly how many individuals of each stage are in the population each year. We have perfect detection!!!!
In this case, computing survival and fecundity (and variation in these parameters, and density-dependence) is relatively straightforward!
PROS - Can estimate survival and fecundity, env. stochasticity, density dependence- pretty much everything we want!
CONS - Very rarely if ever available! - Ignores imperfect detection (assumes perfect detection), which is probably not realistic.
PROS - Can estimate survival, variation in survival, lambda, dispersal rates. - Probably the most widely used source of data for population models!
CONS - Few downsides, although the analytical techniques can be difficult to master - Emigration and survival can be difficult to tease apart
See below for more! Also this is the main focus of the Population Dynamics course (the next course in the wildlife ecology and management sequence!)
Remember the “Stone Soup” analogy!
Consider a project designed to monitor a population of alligators. These alligators were monitored for four years, from 1976 to 1979.
Each row in the following table represents a unique possible history of captures:
A “1” indicates that an animal was successfully captured in a given year, and subsequently released.
A “0” indicates that an animal was not successfully captured in a given year.
A “2” indicates that an animal was successfully captured in a given year but was not released back into the population.
We assume that the population is closed to BIDE processes. That is, abundance does not change! We attempt to estimate abundance!
Parameters estimated:
M = the number of individuals marked in the first sample
C = total number of individuals captured in 2nd sample
R = number of individuals in 2nd sample that are marked
We can use the following formula to estimate abundance (the lincoln-peterson estimator):
\(N = \frac{C*M}{R}\)
We assume that the population is open to one or more of the BIDE processes. That is, abundance CAN change! We attempt to estimate the processes driving abundance change (often, survival rates)
IN GENERAL: - Given an underlying data-generating model, what values of the model parameters maximize the probability of producing the observed data? - To find the maximum likelihood estimate (MLE) for an unknown parameter we usually take a starting value (e.g. survival=25%), and keep trying new values until the likelihood function is maximized (numerical optimization).
FOR CMR ANALYSIS: - What value of survival maximizes the probability of generating the observed capture histories?
EXAMPLE:
Consider the following capture history for a single individual:
1 0 1 1
This individual was marked and released upon initial capture. It was not captured in the next survey, but then was captured in each of the next two subsequent surveys.
What is the probability of observing this capture history?
[(Probability of surviving from time 1 to 2) X (Probability of not being seen at time 2)] X [(Probability of surviving from time 2 to 3) X (Probability of being seen at time 3)] X [(Probability of surviving from time 3 to 4) X (Probability of being seen at time 4)]
This can be written:
\(L_1 = \phi_1(1-p_2) \cdot \phi_2p_3 \cdot \phi_3p_4\)
How about the following capture history for a single individual:
1 0 1 0
This individual was marked and released upon initial capture. It was then captured in the next survey, but was not detected in either of the final two surveys.
What is the probability of observing this capture history?
[(Probability of surviving from time 1 to 2) X (Probability of not being seen at time 2)] X [(Probability of surviving from time 2 to 3) X (Probability of being seen at time 3)] X
– either –
[(Probability of surviving from time 3 to 4) X (Probability of not being seen at time 4)]
– or –
[(Probability of NOT surviving from time 3 to 4)
This can be written:
\(L_1 = \phi_1(1-p_2) \cdot \phi_2p_3 \cdot \left \{(1-\phi_3)+\phi_3(1-p_4) \right \}\)
Q: if survival were 100% and capture probability were 100%, what is the probability of observing the above capture histories?
Q: what about if survival were 100% and capture probability were 75%?
Maximum likelihood estimation is the process of finding those values of the parameters \(\phi\) and \(p\) that would be most likely to generate the observed capture histories!
This model is known as the Cormack-Jolly-Seber model (CJS), and is the basic analysis performed by Program MARK.
Q: Why is \(\phi\) also known as “apparent” survival? Why is it not “true” survival???
MARK is a numerical maximum-likelihood engine designed for mark-recapture analysis. You input a capture history dataset and MARK will output results such as survival rate and capture probability!!
The European dipper data is THE classic example of a CMR dataset. Let’s look at it!
library(mra)
## Warning: package 'mra' was built under R version 3.3.2
## Mark-Recapture Analysis (vers 2.16.4)
data("dipper.data")
head(dipper.data,10)
## h1 h2 h3 h4 h5 h6 h7 males females
## 1 1 1 1 1 1 1 0 1 0
## 2 1 1 1 1 1 0 0 0 1
## 3 1 1 1 1 0 0 0 1 0
## 4 1 1 1 1 0 0 0 0 1
## 5 1 1 0 1 1 1 0 0 1
## 6 1 1 0 0 0 0 0 1 0
## 7 1 1 0 0 0 0 0 1 0
## 8 1 1 0 0 0 0 0 1 0
## 9 1 1 0 0 0 0 0 1 0
## 10 1 1 0 0 0 0 0 0 1
Here we use the “mra” package in R to do the ML parameter estimation!
data(dipper.histories)
ct <- as.factor( paste("T",1:ncol(dipper.histories), sep=""))
attr(ct,"nan")<-nrow(dipper.histories)
dipper.cjs <- F.cjs.estim( ~tvar(ct,drop=c(1,2)), ~tvar(ct,drop=c(1,6,7)), dipper.histories )
cat("survival estimates!\n")
## survival estimates!
dipper.cjs$s.hat[1,]
## [1] 0.7181820 0.4346708 0.4781705 0.6261177 0.5985334 0.7181820 NA
cat("\n\n detection probability estimates!\n")
##
##
## detection probability estimates!
dipper.cjs$p.hat[1,]
## [1] NA 0.6962024 0.9230769 0.9130435 0.9007892 0.9324138 0.7388270
What is our estimate for mean survival?
mean(dipper.cjs$s.hat[1,],na.rm=T)
## [1] 0.5956427
What is the environmental stochasticity?
sd(dipper.cjs$s.hat[1,],na.rm=T)
## [1] 0.1188953


The LEAN engine is written in C#, but you can create algorithms in C# or Python. If you program in Python, LEAN uses Python.Net to bridge between the C# engine and your algorithm. As a result of the bridge, QCAlgorithm
class members are in camel case, not snake case. It can be slow to move from Python to C#. If you access C# objects in your Python algorithm, it's fastest to only access them once and save a reference if you need to access them again.
# Do this: security_holding = self.Portfolio[self.symbol] avg_price = security_holding.AveragePrice quantity = security_holding.Quantity # Avoid this: avg_price = self.Portfolio[self.symbol].AveragePrice quantity = self.Portfolio[self.symbol].Quantity


@(resume: objects.Resume, isAdmin: Boolean) @* * This template is a helper template of the primary resume template. It is for the summary section of the resume, * and contains both the locked and editable sections of html. *@
| Computer Skills | Languages/SDKs/Tools | Conceptual Skills |
|---|---|---|
|
|
|


QWERTY
`Prev `__
Q
`Next <../R.html>`__
--------------
**QWERTY**: /kwer´tee/, adj.
[from the keycaps at the upper left] Pertaining to a standard
English-language typewriter keyboard (sometimes called the Sholes
keyboard after its inventor), as opposed to Dvorak or non-US-ASCII
layouts or a `*space-cadet keyboard* <../S/space-cadet-keyboard.html>`__
or APL keyboard.
Historical note: The QWERTY layout is a fine example of a
`*fossil* <../F/fossil.html>`__. It is sometimes said that it was
designed to slow down the typist, but this is wrong; it was designed to
allow *faster* typing — under a constraint now long obsolete. In early
typewriters, fast typing using nearby type-bars jammed the mechanism. So
Sholes fiddled the layout to separate the letters of many common
digraphs (he did a far from perfect job, though; ‘th’, ‘tr’, ‘ed’, and
‘er’, for example, each use two nearby keys). Also, putting the letters
of ‘typewriter’ on one line allowed it to be typed with particular speed
and accuracy for `*demo* <../D/demo.html>`__\ s. The jamming problem was
essentially solved soon afterward by a suitable use of springs, but the
keyboard layout lives on.
The QWERTY keyboard has also spawned some unhelpful economic myths about
how technical standards get and stay established; see
`http://www.reasonmag.com/9606/Fe.QWERTY.html `__.
--------------
+------------------------+----------------------------+-------------------------+
| `Prev `__ | `Up <../Q.html>`__ | `Next <../R.html>`__ |
+------------------------+----------------------------+-------------------------+
| qux | `Home <../index.html>`__ | R |
+------------------------+----------------------------+-------------------------+


Across: 1. Crimes of the city - serial killing (10) 6. Unwanted messages and charts returned (4) 9. Going nowhere in deer country (10) 10. One went fast in Asiatic cheetah country (4) 12. Arranged carol night in this method of treatment (12) 15. Shining role player, one of a few good men (9) 17. Fuddy-duddy rabbit hunter? (5) 18. Discharge sexy nudes once stripped (5) 19. In returning refrain, ode lacks poetic description of the country (9) 20.  (12) 24. Colonial leader deceived African country (4) 25. Chambers issue definitive text (10) 26. Take action with final letter, as 22 through ancient country (4) 27. Glad he's hit, playing "Shining" parts (10) Down: 1. Leader brags when 3 and 5 depart (4) 2. Where "Easy Rider" travelled, reportedly? (4) 3. Strange clue: one tenth take tea here... (12) 4. ...so it arguably gives back perhaps one to twelve? (5) 5. Feeling work too menial? (9) 7. Developed ear implant which enables dialogue between parties (10) 8.  Politician, a populist man and/or dire catastrophe (8 4) 13. Fins create troublesome contact points (10) 14. Build up of pack ice? Pump bulk water down sides! (10) 16. Mostly face crisis foolishly with costly ritual (9) 21. Deplored tragic death (5) 22. Hot tap turned to 2 (4) 23. Some see, yes? (4)


{SURVEY.description|htmlspecialchars}
Public: {SURVEY.publish}
Created: {SURVEY.created}
Modified: {SURVEY.modified}
Usage: {SURVEY.usage_count}
Average rating: {SURVEY.average_rating|number_format(%s, 2)}
| {QUESTION.title|htmlspecialchars} {QUESTION.description|htmlspecialchars} |
{QUESTION.type} {QUESTION.type} Add new option |
Export Survey Results: CSV


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Ontario's Stephanie Comilang wins $100,000 2019 Sobey Art Award
by The Canadian PressEDMONTON — Stephanie Comilang, a 39-year-old artist representing the Ontario region, is the winner of the $100,000 2019 Sobey Art Award.
The prestigious contemporary art prize was awarded Friday evening at a ceremony at the Art Gallery of Alberta in Edmonton.
The judges said that by using the point of view of a drone Comilang speaks to how the world is increasingly experienced through technology.
They noted her work shows how communities, made up of mainly migrant women, carve out space in locations that are never really home.
Comilang said winning the award and representing a demographic that looks like her “hopefully lets others know the limitless possibilities of who you can be as an artist.”
The Sobey Art Award recognizes Canadian artists who are 40 years old or younger, selected by a jury of Canadian and international curators and gallery directors.
The award represents the breadth of contemporary practices from Canada’s five geographical regions — Atlantic Canada, Quebec, Ontario, the Prairies and the North region, and the West Coast and Yukon region.
The 2019 Sobey Art Award exhibition, featuring more than 35 works by the winner and four shortlisted artists, is on view at the Art Gallery of Alberta until Jan. 5, 2020
The Canadian Press


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China says U.S. should not 'gesticulate' about South China Sea issue
BEIJING (Reuters) - China’s foreign ministry said on Monday that the United States should not “gesticulate” about the South China Sea issue.
Ministry spokesman Geng Shuang made the comments at a daily news briefing in Beijing.
A U.S. envoy denounced Chinese “intimidation” in the South China Sea at a meeting of Southeast Asian leaders on Monday and invited them to a special summit in Washington on behalf of President Donald Trump.


Boil Water Notice lifted at Mayo water supply
Following consultation with the Health Service Executive, Irish Water and Mayo County Council are pleased to confirm that the Boil Water Notice for the area supplied by the Knock Airport Public Water Supply (PWS) has been lifted.
This also affects Cloonlyon Group Water Scheme along with Knock Airport, Cloonlyon National School and approximately 15 households.
The Boil Water Notice was put in place on October 17, 2019, following the detection of cryptosporidium in the Knock Airport Public Water Supply.
Cryptosporidium is a tiny parasite found in human and animal waste. If it is swallowed (ingested), it can cause a disease called cryptosporidiosis.
The symptoms of cryptosporidiosis include fever, stomach upset, weight loss and diarrhoea.
Cryptosporidium may be found in water if it has been contaminated or if there has been a problem with water treatment.
The water treatment plant for this area did not have a cryptosporidium barrier in place which resulted in the issuing of the Boil Water Notice when detected.
However Irish Water have been able to install a twin UV reactor and filtration system from the recently decommissioned Kilconnell Public Water Supply in Co. Galway to the Knock Airport PWS.
This has provided the cryptosporidium barrier for the Knock Airport PWS.
Commenting, Ger Greally, Irish Water’s Asset Operations Water Lead, said: “The great advantage of a national utility is that we can re-use decommissioned systems from water treatment plants all over the country.
“In this case a UV filtration system used in a plant in County Galway was relocated to where it was needed in Co. Mayo.
"Typical flows and conditions at Knock Airport PWS are compatible with those at Kilconnell which allowed for the UV system to be installed at the Knock Airport treatment plant.”
A network and reservoir cleaning programme has also been completed with all samples taken last week proving compliant.
An audit of the upgraded plant was completed earlier today by the EPA and the HSE and the recommendation to lift the Boil Water notice was made.
Irish Water has apologised for the inconvenience caused by this incident and thank customers for their patience in complying with this notice.
Irish Water and Mayo County Council acknowledge the patience, cooperation and assistance of those affected during this period.
Ger added: “Our priority is to provide safe, clean, drinking water and safeguarding that water supply for the future is a vital focus.”
*To view the drinking water quality in your area and to find out where your water comes from, visit the Drinking Water Quality section of Irish Water’s website https://www.water.ie/water-supply/water-quality/


[Note that followups are directed to rec.arts.movies.current-films and rec.arts.movies.startrek.current only, not to rec.arts.sf.movies. -Moderator]
STAR TREK: FIRST CONTACT A film review by Cameron Shelley Copyright 1996 Cameron Shelley
Star Trek: First Contact (Paramount)
---- Also available at http://watarts.uwaterloo.ca/~cpshelle/Reviews/stfc.html -----
Review by: Cameron Shelley December 3, 1996. Cast: Patrick Stewart, Jonathan Frakes, Brent Spiner, LeVar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, Alfre Woodard, James Cromwell, Alice Krige. Screenplay: Rick Berman, Brannon Braga, Ronald Moore Director: Jonathan Frakes
Whereas the previous film, Star Trek: Generations, was very like a mediocre TV episode, Star Trek: First Contact (ST:FC) was more like a competant episode from the Next Generation TV series. Most likely we have director Jonathan Frakes to thank for that. Frakes certainly seems to be in his element here, and deserves credit for making this movie an enjoyable spectacle. Visually, this film works well, matching the feeling of entrapment and restriction with the darkness of the Borg-controlled areas of the ship, the ceiling-height shots of armed patrols passing through the corridors, and the feeling that being in orbit is like just starting to fall a very tall cliff.
Although the premise of the film is not especially promising (more on that below), it is really a film for the director and actors to lose, and they don't. Being in the director's chair relieves Frakes from having to "act," so that Cmdr. Riker can just sit in the background and smirk at events in the foreground, such as Troi getting drunk or Cochrane turning up the tunes in his spaceship. The lead actors, namely Stewart, Spiner, Woodard, Cromwell, and Krige all perform well to admirably, although Stewart is the only one allowed to show any depth of character (but not too much). The effect is enjoyable and without surprises.
Where ST:FC tends to fall down is the writing. The plot itself is mildly irritating where it is allowed to intrude on the events on screen. The difficulty starts with the tried-and-thoroughly-boring device of time travel. Remember Roddenberry's injunction, at the start of the ST:TNG TV series, that the Enterprise wouldn't be allowed to exceed warp 10 because it had become such an overused ploy to create tension and plot movement? A similar moratorium should be placed on time travel (or at least time machines) right away! Five minutes into the film, I found myself asking why it was that the Borg had to fly to Earth, and into the teeth of a Federation fleet, to travel back in time when they could have done it far away from Earth with complete impunity?
In fact, the easy recourse to time travel exposes a fundamental problem with the character of this film. Besides being a crutch for weak plots (as in ST:Gs), time travel allows ST to scratch its metaphorical itch for self-examination. Part of the reason Star Trekkers travel back in time so much is for the cheap thrill of witnessing history. Having achieved perfection (as we are repeatedly assured by the characters on screen), the only place to go for excitement in the 24th century is the 20th century (or the 21st, in a pinch). Time travel is the ultimate form of tourism, borrowing adventure and novelty from events for which the outcome is safely assured. The problem with this habit of borrowing is that it makes "genuine" novelty superficial.
Looking around the scenery, we can see the kind of thing Picard apparently means when he says that the challenge in the future is to "improve oneself." Dr. Crusher is now a blonde, the new Enterprise looks different from the previous ones, Jordi has some even funkier eyeware than before, Picard can hear the Borg singing, Data can turn his emotion chip off, and the Starfleet uniforms are a little different. Some borrowing is justified, eg, the "Alien"-like look of the Borg collective, the spacewalk on the bottom of the saucer section (compare with the spacewalk in ST:TMP), and maybe even the cameos from the Voyager TV crew, but the combined effect is too much. The narrow focus on history and cosmetic change make ST:FC seem like an ongoing "trvia challenge" sometimes.
The writers are certainly aware of this problem. Cochrane (who is known from the original ST series as the inventor of warp drive) is worshipped in the 24th century as an icon of virtue but is portrayed as a drunk, a lout, and a would-be Casanova. Some humor is made by contrasting his real personality with the myth that has evolved afterwards. But Cochrane is safely domesticated by the end of the film. Inadvertant self-parody is achieved when the mysterious "aliens" prophesied by the Enterprise crew turn out to be---the Vulcans! Was there every any doubt? The film leaves us with the cozy image of something both the characters and audience already knew would happen.
In a nutshell, ST:FC is a mixed bag. The acting and direction show that there's life in the old girl yet. The story, however, is a failure by the same consideration. Roddenberry used to say that ST was about issues: sex, war, justice, and so on. Now ST is about ST, and ST:FC is an enjoyable and largely empty experience.
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rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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Related links: index of all rec.arts.movies.reviews reviews


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Platform specific keyboard shortcuts |
Support for platform-specific keyboard input maps. The new
By default you will have the system specific input map set installed - so that you don't need to call the API above if you want to conform to the platform behavioral guidelines. The cross platform input map set provides functionality identical to that of Metal. The system specific input map set provides the following:
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New Mariner skin |
The new Mariner skin is available. To use it in your application, you have the following options:
The screenshots below show the Mariner skin in action: |
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New Office Black 2007 skin |
The new Office Black 2007 skin completes the collection of skins that can be used on the Flamingo ribbon component. To use it in your ribbon-based application, you have the following options:
Here is a sample ribbon frame under Office Black 2007 skin: |
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Better integration with Flamingo |
While Office Blue 2007, Office Silver 2007 and the new Office Black 2007 skins specifically target the Flamingo ribbon component, the rest of the core Substance skins can be used on the ribbon as well. This release should provide much more polished visuals for the ribbon under all core Substance skins when the matching Substance Flamingo plugin is added to the classpath. Here is the ribbon under Business Black Steel skin: And the same ribbon under Dust skin: And the same ribbon under Dust Coffee skin: And the same ribbon under Gemini skin: And the same ribbon under Twilight skin: The ribbon also looks much better under other Substance skins such as Autumn: and Business: |
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