Once upon a time—in the days when the fairies lived—there was a king who had three daughters, who were all young, and clever, and beautiful; but the youngest of the three, who was called Miranda, was the prettiest and the most beloved.
The King, her father, gave her more dresses and jewels in a month than he gave the others in a year; but she was so generous that she shared everything with her sisters, and they were all as happy and as fond of one another as they could be.
Now, the King had some quarrelsome neighbors, who, tired of leaving him in peace, began to make war upon him so fiercely that he feared he would be altogether beaten if he did not make an effort to defend himself. So he collected a great army and set off to fight them, leaving the Princesses with their governess in a castle where news of the war was brought every day—sometimes that the King had taken a town, or won a battle, and, at last, that he had altogether overcome his enemies and chased them out of his kingdom, and was coming back to the castle as quickly as possible, to see his dear little Miranda whom he loved so much.
The three Princesses put on dresses of satin, which they had had made on purpose for this great occasion, one green, one blue, and the third white; their jewels were the same colors. The eldest wore emeralds, the second turquoises, and the youngest diamonds, and thus adorned they went to meet the King, singing verses which they had composed about his victories.
When he saw them all so beautiful and so gay he embraced them tenderly, but gave Miranda more kisses than either of the others.
Presently a splendid banquet was served, and the King and his daughters sat down to it, and as he always thought that there was some special meaning in everything, he said to the eldest:
“Tell me why you have chosen a green dress.”
“Sire,” she answered, “having heard of your victories I thought that green would signify my joy and the hope of your speedy return.”
“That is a very good answer,” said the King; “and you, my daughter,” he continued, “why did you take a blue dress?”
“Sire,” said the Princess, “to show that we constantly hoped for your success, and that the sight of you is as welcome to me as the sky with its most beautiful stars.”
“Why,” said the King, “your wise answers astonish me, and you, Miranda. What made you dress yourself all in white?
“Because, sire,” she answered, “white suits me better than anything else.”
“What!” said the King angrily, “was that all you thought of, vain child?”
“I thought you would be pleased with me,” said the Princess; “that was all.”
The King, who loved her, was satisfied with this, and even pretended to be pleased that she had not told him all her reasons at first.
“And now,” said he, “as I have supped well, and it is not time yet to go to bed, tell me what you dreamed last night.”
The eldest said she had dreamed that he brought her a dress, and the precious stones and gold embroidery on it were brighter than the sun.
The dream of the second was that the King had brought her a spinning wheel and a distaff, that she might spin him some shirts.
But the youngest said: “I dreamed that my second sister was to be married, and on her wedding-day, you, father, held a golden ewer and said: ‘Come, Miranda, and I will hold the water that you may dip your hands in it.’”
The King was very angry indeed when he heard this dream, and frowned horribly; indeed, he made such an ugly face that everyone knew how angry he was, and he got up and went off to bed in a great hurry; but he could not forget his daughter’s dream.
“Does the proud girl wish to make me her slave?” he said to himself. “I am not surprised at her choosing to dress herself in white satin without a thought of me. She does not think me worthy of her consideration! But I will soon put an end to her pretensions!”
He rose in a fury, and although it was not yet daylight, he sent for the Captain of his Bodyguard, and said to him:
“You have heard the Princess Miranda’s dream? I consider that it means strange things against me, therefore I order you to take her away into the forest and kill her, and, that I may be sure it is done, you must bring me her heart and her tongue. If you attempt to deceive me you shall be put to death!”
The Captain of the Guard was very much astonished when he heard this barbarous order, but he did not dare to contradict the King for fear of making him still more angry, or causing him to send someone else, so he answered that he would fetch the Princess and do as the King had said. When he went to her room they would hardly let him in, it was so early, but he said that the King had sent for Miranda, and she got up quickly and came out; a little black girl called Patypata held up her train, and her pet monkey and her little dog ran after her. The monkey was called Grabugeon, and the little dog Tintin.
The Captain of the Guard begged Miranda to come down into the garden where the King was enjoying the fresh air, and when they got there, he pretended to search for him, but as he was not to be found, he said:
“No doubt his Majesty has strolled into the forest,” and he opened the little door that led to it and they went through.
By this time the daylight had begun to appear, and the Princess, looking at her conductor, saw that he had tears in his eyes and seemed too sad to speak.
“What is the matter?” she said in the kindest way. “You seem very sorrowful.”
“Alas! Princess,” he answered, “who would not be sorrowful who was ordered to do such a terrible thing as I am? The King has commanded me to kill you here, and carry your heart and your tongue to him, and if I disobey I shall lose my life.”
The poor Princess was terrified, she grew very pale and began to cry softly.
Looking up at the Captain of the Guard with her beautiful eyes, she said gently:
“Will you really have the heart to kill me? I have never done you any harm, and have always spoken well of you to the King. If I had deserved my father’s anger I would suffer without a murmur, but, alas! he is unjust to complain of me, when I have always treated him with love and respect.”
“Fear nothing, Princess,” said the Captain of the Guard. “I would far rather die myself than hurt you; but even if I am killed you will not be safe: we must find some way of making the King believe that you are dead.”
“What can we do?” said Miranda; “unless you take him my heart and my tongue he will never believe you.”
The Princess and the Captain of the Guard were talking so earnestly that they did not think of Patypata, but she had overheard all they said, and now came and threw herself at Miranda’s feet.
“Madam,” she said, “I offer you my life; let me be killed, I shall be only too happy to die for such a kind mistress.”
“Why, Patypata,” cried the Princess, kissing her, “that would never do; your life is as precious to me as my own, especially after such a proof of your affection as you have just given me.”
“You are right, Princess,” said Grabugeon, coming forward, “to love such a faithful slave as Patypata; she is of more use to you than I am, I offer you my tongue and my heart most willingly, especially as I wish to make a great name for myself in Goblin Land.”
“No, no, my little Grabugeon,” replied Miranda, “I cannot bear the thought of taking your life.”
“Such a good little dog as I am,” cried Tintin, “could not think of letting either of you die for his mistress. If anyone is to die for her it must be me.”
And then began a great dispute between Patypata, Grabugeon, and Tintin, and they came to high words, until at last Grabugeon, who was quicker than the others, ran up to the very top of the nearest tree, and let herself fall, head first, to the ground, and there she lay—quite dead!
The Princess was very sorry, but as Grabugeon was really dead, she allowed the Captain of the Guard to take her tongue; but, alas! it was such a little one—not bigger than the Princess’s thumb—that they decided sorrowfully that it was of no use at all: the King would not have been taken in by it for a moment!

But when the Captain of the Guard would have taken her tongue it turned out to be quite black, so that would not have deceived the King either.
“Am I not unlucky?” cried the poor Princess; “I lose everything I love, and am none the better for it.”
“If you had accepted my offer,” said Tintin, “you would only have had me to regret, and I should have had all your gratitude.”
Miranda kissed her little dog, crying so bitterly, that at last she could bear it no longer, and turned away into the forest. When she looked back the Captain of the Guard was gone, and she was alone, except for Patypata, Grabugeon, and Tintin, who lay upon the ground. She could not leave the place until she had buried them in a pretty little mossy grave at the foot of a tree, and she wrote their names upon the bark of the tree, and how they had all died to save her life. And then she began to think where she could go for safety—for this forest was so close to her father’s castle that she might be seen and recognized by the first passer-by, and, besides that, it was full of lions and wolves, who would have snapped up a princess just as soon as a stray chicken. So she began to walk as fast as she could, but the forest was so large and the sun was so hot that she nearly died of heat and terror and fatigue; look which way she would there seemed to be no end to the forest, and she was so frightened that she fancied every minute that she heard the King running after her to kill her. You may imagine how miserable she was, and how she cried as she went on, not knowing which path to follow, and with the thorny bushes scratching her dreadfully and tearing her pretty frock to pieces.
At last she heard the bleating of a sheep, and said to herself:
“No doubt there are shepherds here with their flocks; they will show me the way to some village where I can live disguised as a peasant girl. Alas! it is not always kings and princes who are the happiest people in the world. Who could have believed that I should ever be obliged to run away and hide because the King, for no reason at all, wishes to kill me?”
So saying she advanced toward the place where she heard the bleating, but what was her surprise when, in a lovely little glade quite surrounded by trees, she saw a large sheep; its wool was as white as snow, and its horns shone like gold; it had a garland of flowers round its neck, and strings of great pearls about its legs, and a collar of diamonds; it lay upon a bank of orange-flowers, under a canopy of cloth of gold which protected it from the heat of the sun. Nearly a hundred other sheep were scattered about, not eating the grass, but some drinking coffee, lemonade, or sherbet, others eating ices, strawberries and cream, or sweetmeats, while others, again, were playing games. Many of them wore golden collars with jewels, flowers, and ribbons.
Miranda stopped short in amazement at this unexpected sight, and was looking in all directions for the shepherd of this surprising flock, when the beautiful sheep came bounding toward her.
“Approach, lovely Princess,” he cried; “have no fear of such gentle and peaceable animals as we are.”
“What a marvel!” cried the Princess, starting back a little. “Here is a sheep that can talk.”
“Your monkey and your dog could talk, madam,” said he; “are you more astonished at us than at them?”
“A fairy gave them the power to speak,” replied Miranda. “So I was used to them.”
“Perhaps the same thing has happened to us,” he said, smiling sheepishly. “But, Princess, what can have led you here?”
“A thousand misfortunes, Sir Sheep,” she answered.
“I am the unhappiest princess in the world, and I am seeking a shelter against my father’s anger.”
“Come with me, madam,” said the Sheep; “I offer you a hiding-place which you only will know of, and where you will be mistress of everything you see.”
“I really cannot follow you,” said Miranda, “for I am too tired to walk another step.”
The Sheep with the golden horns ordered that his chariot should be fetched, and a moment after appeared six goats, harnessed to a pumpkin, which was so big that two people could quite well sit in it, and was all lined with cushions of velvet and down. The Princess stepped into it, much amused at such a new kind of carriage, the King of the Sheep took his place beside her, and the goats ran away with them at full speed, and only stopped when they reached a cavern, the entrance to which was blocked by a great stone. This the King touched with his foot, and immediately it fell down, and he invited the Princess to enter without fear. Now, if she had not been so alarmed by everything that had happened, nothing could have induced her to go into this frightful cave, but she was so afraid of what might be behind her that she would have thrown herself even down a well at this moment. So, without hesitation, she followed the Sheep, who went before her, down, down, down, until she thought they must come out at the other side of the world—indeed, she was not sure that he wasn’t leading her into Fairyland. At last she saw before her a great plain, quite covered with all sorts of flowers, the scent of which seemed to her nicer than anything she had ever smelled before; a broad river of orange-flower water flowed round it and fountains of wine of every kind ran in all directions and made the prettiest little cascades and brooks. The plain was covered with the strangest trees, there were whole avenues where partridges, ready roasted, hung from every branch, or, if you preferred pheasants, quails, turkeys, or rabbits, you had only to turn to the right hand or to the left and you were sure to find them. In places the air was darkened by showers of lobster-patties, white puddings, sausages, tarts, and all sorts of sweetmeats, or with pieces of gold and silver, diamonds and pearls. This unusual kind of rain, and the pleasantness of the whole place, would, no doubt, have attracted numbers of people to it, if the King of the Sheep had been of a more sociable disposition, but from all accounts it is evident that he was as grave as a judge.
As it was quite the nicest time of the year when Miranda arrived in this delightful land the only palace she saw was a long row of orange trees, jasmines, honeysuckles, and musk-roses, and their interlacing branches made the prettiest rooms possible, which were hung with gold and silver gauze, and had great mirrors and candlesticks, and most beautiful pictures. The Wonderful Sheep begged that the Princess would consider herself queen over all that she saw, and assured her that, though for some years he had been very sad and in great trouble, she had it in her power to make him forget all his grief.
“You are so kind and generous, noble Sheep,” said the Princess, “that I cannot thank you enough, but I must confess that all I see here seems to me so extraordinary that I don’t know what to think of it.”
As she spoke a band of lovely fairies came up and offered her amber baskets full of fruit, but when she held out her hands to them they glided away, and she could feel nothing when she tried to touch them.
“Oh!” she cried, “what can they be? Whom am I with?” and she began to cry.
At this instant the King of the Sheep came back to her, and was so distracted to find her in tears that he could have torn his wool.
“What is the matter, lovely Princess?” he cried. “Has anyone failed to treat you with due respect?”
“Oh! no,” said Miranda; “only I am not used to living with sprites and with sheep that talk, and everything here frightens me. It was very kind of you to bring me to this place, but I shall be even more grateful to you if you will take me up into the world again.”
“Do not be afraid,” said the Wonderful Sheep; “I entreat you to have patience, and listen to the story of my misfortunes. I was once a king, and my kingdom was the most splendid in the world. My subjects loved me, my neighbors envied and feared me. I was respected by everyone, and it was said that no king ever deserved it more.
“I was very fond of hunting, and one day, while chasing a stag, I left my attendants far behind; suddenly I saw the animal leap into a pool of water, and I rashly urged my horse to follow it, but before we had gone many steps I felt an extraordinary heat, instead of the coolness of the water; the pond dried up, a great gulf opened before me, out of which flames of fire shot up, and I fell helplessly to the bottom of a precipice.
“I gave myself up for lost, but presently a voice said: ‘Ungrateful Prince, even this fire is hardly enough to warm your cold heart!’
“‘Who complains of my coldness in this dismal place?’ I cried.
“‘An unhappy being who loves you hopelessly,’ replied the voice, and at the same moment the flames began to flicker and cease to burn, and I saw a fairy, whom I had known as long as I could remember, and whose ugliness had always horrified me. She was leaning upon the arm of a most beautiful young girl, who wore chains of gold on her wrists and was evidently her slave.
“‘Why, Ragotte,’ I said, for that was the fairy’s name, ‘what is the meaning of all this? Is it by your orders that I am here?’
“‘And whose fault is it,’ she answered, ‘that you have never understood me until now? Must a powerful fairy like myself condescend to explain her doings to you who are no better than an ant by comparison, though you think yourself a great king?’
“‘Call me what you like,’ I said impatiently; ‘but what is it that you want—my crown, or my cities, or my treasures?’
“‘Treasures!’ said the fairy, disdainfully. ‘If I chose I could make any one of my scullions richer and more powerful than you. I do not want your treasures, but,’ she added softly, ‘if you will give me your heart—if you will marry me—I will add twenty kingdoms to the one you have already; you shall have a hundred castles full of gold and five hundred full of silver, and, in short, anything you like to ask me for.’
“‘Madam Ragotte,’ said I, ‘when one is at the bottom of a pit where one has fully expected to be roasted alive, it is impossible to think of asking such a charming person as you are to marry one! I beg that you will set me at liberty, and then I shall hope to answer you fittingly.’
“‘Ah!’ said she, ‘if you really loved me you would not care where you were—a cave, a wood, a fox-hole, a desert, would please you equally well. Do not think that you can deceive me; you fancy you are going to escape, but I assure you that you are going to stay here and the first thing I shall give you to do will be to keep my sheep—they are very good company and speak quite as well as you do.
“As she spoke she advanced, and led me to this plain where we now stand, and showed me her flock, but I paid little attention to it or to her.
“To tell the truth, I was so lost in admiration of her beautiful slave that I forgot everything else, and the cruel Ragotte, perceiving this, turned upon her so furious and terrible a look that she fell lifeless to the ground.
“At this dreadful sight I drew my sword and rushed at Ragotte, and should certainly have cut off her head had she not by her magic arts chained me to the spot on which I stood; all my efforts to move were useless, and at last, when I threw myself down on the ground in despair, she said to me, with a scornful smile:
“‘I intend to make you feel my power.  I did not lose the power of speech, or of feeling the misery of my present state.
“‘For five years,’ she said, ‘you shall be a sheep, and lord of this pleasant land, while I, no longer able to see your face, which I loved so much, shall be better able to hate you as you deserve to be hated.’
“She disappeared as she finished speaking, and if I had not been too unhappy to care about anything I should have been glad that she was gone.
“The talking sheep received me as their king, and told me that they, too, were unfortunate princes who had, in different ways, offended the revengeful fairy, and had been added to her flock for a certain number of years; some more, some less. From time to time, indeed, one regains his own proper form and goes back again to his place in the upper world; but the other beings whom you saw are the rivals or the enemies of Ragotte, whom she has imprisoned for a hundred years or so; though even they will go back at last. The young slave of whom I told you about is one of these; I have seen her often, and it has been a great pleasure to me. She never speaks to me, and if I were nearer to her I know I should find her only a shadow, which would be very annoying. However, I noticed that one of my companions in misfortune was also very attentive to this little sprite, and I found out that he had been her lover, whom the cruel Ragotte had taken away from her long before; since then I have cared for, and thought of, nothing but how I might regain my freedom. I have often been in the forest; that is where I have seen you, lovely Princess, sometimes driving your chariot, which you did with all the grace and skill in the world; sometimes riding to the chase on so spirited a horse that it seemed as if no one but yourself could have managed it, and sometimes running races on the plain with the Princesses of your Court—running so lightly that it was you always who won the prize. Oh! Princess, I have loved you so long, and yet how dare I tell you of my love! what hope can there be for an unhappy sheep like myself?”
Miranda was so surprised and confused by all that she had heard that she hardly knew what answer to give to the King of the Sheep, but she managed to make some kind of little speech, which certainly did not forbid him to hope, and said that she should not be afraid of the shadows now she knew that they would some day come to life again. “Alas!” she continued, “if my poor Patypata, my dear Grabugeon, and pretty little Tintin, who all died for my sake, were equally well off, I should have nothing left to wish for here!”
Prisoner though he was, the King of the Sheep had still some powers and privileges.
“Go,” said he to his Master of the Horse, “go and seek the shadows of the little black girl, the monkey, and the dog: they will amuse our Princess.”
And an instant afterward Miranda saw them coming toward her, and their presence gave her the greatest pleasure, though they did not come near enough for her to touch them.
The King of the Sheep was so kind and amusing, and loved Miranda so dearly, that at last she began to love him too. Such a handsome sheep, who was so polite and considerate, could hardly fail to please, especially if one knew that he was really a king, and that his strange imprisonment would soon come to an end. So the Princess’s days passed very gaily while she waited for the happy time to come. The King of the Sheep, with the help of all the flock, got up balls, concerts, and hunting parties, and even the shadows joined in all the fun, and came, making believe to be their own real selves.
One evening, when the couriers arrived (for the King sent most carefully for news—and they always brought the very best kinds), it was announced that the sister of the Princess Miranda was going to be married to a great Prince, and that nothing could be more splendid than all the preparations for the wedding.
“Ah!” cried the young Princess, “how unlucky I am to miss the sight of so many pretty things! Here am I imprisoned under the earth, with no company but sheep and shadows, while my sister is to be adorned like a queen and surrounded by all who love and admire her, and everyone but myself can go to wish her joy!”
“Why do you complain, Princess?” said the King of the Sheep. “Did I say that you were not to go to the wedding? Set out as soon as you please; only promise me that you will come back, for I love you too much to be able to live without you.”
Miranda was very grateful to him, and promised faithfully that nothing in the world should keep her from coming back. The King caused an escort suitable to her rank to be got ready for her, and she dressed herself splendidly, not forgetting anything that could make her more beautiful. Her chariot was of mother-of-pearl, drawn by six dun-colored griffins just brought from the other side of the world, and she was attended by a number of guards in splendid uniforms, who were all at least eight feet high and had come from far and near to ride in the Princess’s train.
Miranda reached her father’s palace just as the wedding ceremony began, and everyone, as soon as she came in, was struck with surprise at her beauty and the splendor of her jewels. She heard exclamations of admiration on all sides; and the King her father looked at her so attentively that she was afraid he must recognize her; but he was so sure that she was dead that the idea never occurred to him.
However, the fear of not getting away made her leave before the marriage was over. She went out hastily, leaving behind her a little coral casket set with emeralds. On it was written in diamond letters: “Jewels for the Bride,” and when they opened it, which they did as soon as it was found, there seemed to be no end to the pretty things it contained. The King, who had hoped to join the unknown Princess and find out who she was, was dreadfully disappointed when she disappeared so suddenly, and gave orders that if she ever came again the doors were to be shut that she might not get away so easily. Short as Miranda’s absence had been, it had seemed like a hundred years to the King of the Sheep. He was waiting for her by a fountain in the thickest part of the forest, and the ground was strewn with splendid presents which he had prepared for her to show his joy and gratitude at her coming back.
As soon as she was in sight he rushed to meet her, leaping and bounding like a real sheep. He caressed her tenderly, throwing himself at her feet and kissing her hands, and told her how uneasy he had been in her absence, and how impatient for her return, with an eloquence which charmed her.
After some time came the news that the King’s second daughter was going to be married. When Miranda heard it she begged the King of the Sheep to allow her to go and see the wedding as before. This request made him feel very sad, as if some misfortune must surely come of it, but his love for the Princess being stronger than anything else he did not like to refuse her.
“You wish to leave me, Princess,” said he; “it is my unhappy fate—you are not to blame. I consent to your going, but, believe me, I can give you no stronger proof of my love than by so doing.”
The Princess assured him that she would only stay a very short time, as she had done before, and begged him not to be uneasy, as she would be quite as much grieved if anything detained her as he could possibly be.
So, with the same escort, she set out, and reached the palace as the marriage ceremony began. Everybody was delighted to see her; she was so pretty that they thought she must be some fairy princess, and the Princes who were there could not take their eyes off her.
The King was more glad than anyone else that she had come again, and gave orders that the doors should all be shut and bolted that very minute. When the wedding was all but over the Princess got up quickly, hoping to slip away unnoticed among the crowd, but, to her great dismay, she found every door fastened.
She felt more at ease when the King came up to her, and with the greatest respect begged her not to run away so soon, but at least to honor him by staying for the splendid feast which was prepared for the Princes and Princesses. He led her into a magnificent hall, where all the Court was assembled, and himself taking up the golden bowl full of water, he offered it to her that she might dip her pretty fingers into it.
At this the Princess could no longer contain herself; throwing herself at the King’s feet, she cried out:
“My dream has come true after all—you have offered me water to wash my hands on my sister’s wedding day, and it has not vexed you to do it.”
The King recognized her at once—indeed, he had already thought several times how much like his poor little Miranda she was.
 I ordered you to be put to death because I thought your dream portended the loss of my crown. And so it did,” he added, “for now your sisters are both married and have kingdoms of their own—and mine shall be for you.” So saying he put his crown on the Princess’s head and cried:
“Long live Queen Miranda!”
All the Court cried: “Long live Queen Miranda!” after him, and the young Queen’s two sisters came running up, and threw their arms round her neck, and kissed her a thousand times, and then there was such a laughing and crying, talking and kissing, all at once, and Miranda thanked her father, and began to ask after everyone—particularly the Captain of the Guard, to whom she owed so much; but, to her great sorrow, she heard that he was dead. Presently they sat down to the banquet, and the King asked Miranda to tell them all that had happened to her since the terrible morning when he had sent the Captain of the Guard to fetch her. This she did with so much spirit that all the guests listened with breathless interest. But while she was thus enjoying herself with the King and her sisters, the King of the Sheep was waiting impatiently for the time of her return, and when it came and went, and no Princess appeared, his anxiety became so great that he could bear it no longer.
“She is not coming back any more,” he cried. “My miserable sheep’s face displeases her, and without Miranda what is left to me, wretched creature that I am! Oh! cruel Ragotte; my punishment is complete.”
For a long time he bewailed his sad fate like this, and then, seeing that it was growing dark, and that still there was no sign of the Princess, he set out as fast as he could in the direction of the town. When he reached the palace he asked for Miranda, but by this time everyone had heard the story of her adventures, and did not want her to go back again to the King of the Sheep, so they refused sternly to let him see her. In vain he begged and prayed them to let him in; though his entreaties might have melted hearts of stone they did not move the guards of the palace, and at last, quite broken-hearted, he fell dead at their feet.
In the meantime the King, who had not the least idea of the sad thing that was happening outside the gate of his palace, proposed to Miranda that she should be driven in her chariot all round the town, which was to be illuminated with thousands and thousands of torches, placed in windows and balconies, and in all the grand squares.  There lay her dear, kind sheep, silent and motionless, upon the pavement!
She threw herself out of the chariot and ran to him, crying bitterly, for she realized that her broken promise had cost him his life, and for a long, long time she was so unhappy that they thought she would have died too.
So you see that even a princess is not always happy—especially if she forgets to keep her word; and the greatest misfortunes often happen to people just as they think they have obtained their heart’s desires!(1)
(1) Madame d’Aulnoy.


Angular + SmartyStreets
Step 1: Enter a token
Step 2: Search for things
Step 3: Get results
{{ address|json }}


0.0.1
A global instance of the Alg object
A.run( `a = x^2 - x - 1` )
A container object for Algebrite helper functions
run from A
for the round function
shortcut for Algebrite.run see: http://algebrite.org
checks for valid result
(algCommand)
Algebrite command string
algExpression
:
algebraic expression - nothing on error
cmd = `c = ((${pt1.x}) * (${pt2.y})) - ((${pt2.x}) * (${pt1.y}))`
A.run(cmd)
let c = A.run(`c`)
run command with logging cmd string before
(any)
convert the algebraic value to float and check if number
returns false if not a number
false
)(algValue)
Algebrite command string
(float | false
)
:
round for float comparison
(any)
represents a circular proportion between two points
Extends Struct
(Point)
center point of the circle
(Point)
radius point of the circle.
(string)
optional: type of element - default: "Circle"
(string)
optional: unique id for the element - default: ""
represents the common properties and methods of any entity of the Model
in homage to Euclid
(string)
optional: type of element - such as "Point" - like a class in CSS
(string)
optional: unique id for the element
type for the element
string
:
default: "Element"
will generally be set by extending class to create a unique identifier based on parameters
a place to log the work
grouped console output to represent the object
log string to history
(any)
a set of parameters representing proportions for a Struct
uses a generalized form that supports both Line and Circle structs
d x^2 + e x y + f y^2 + a x + b y = c
the parameters are set as strings representing algebraic values
these parameters are held as properties of an object so that the properties can be iterated through for analysis
Algebrite library http://algebrite.org provides all the calculations of the algebraic values and conversion to float when necessary
(string)
coefficient for x^2 term - always 1 for a circle - 0 for line
(string)
coefficient for xy term - should always be zero in this model
(string)
coefficient for y^2 term - always 1 for a circle - 0 for line
(string)
coefficient for x term
(string)
coefficient for y term
(string)
constant - WATCH SIGN - note that we position the c value on the other side of the equations
internal log to Show The Work
TODO: each parameter should be checked as a valid Value object - if string, create new Value object
Object
:
with properties for each coefficient
function nonZeroCoeffients() {
let count = 0;
for (var key in this.params) {
// don't count the final constant
if (key != 'c') {
if (this.params[key] != 0) { count++ }
}
}
return count
}
full expression for the Equation
(d)x^2 + (e)xy + (f)y^2 + (a)x + (b)y + (c)
TODO: validate corrct sign for calgExpression
:
simplified expression for the Equation
0
TODO: validate correct sign for calgExpression
:
returns expression equal to 0
does the equation have an x variable?
( p.d != 0 || p.e != 0 || p.a != 0 )
boolean
:
Array
:
returns an array of strings representing the vars in the equation
[
"x", "y"
]
returns dimension of the x variable
int
:
0, 1, 2
returns dimension of the y variable
int
:
0, 1, 2
highest dimension for the equation
int
:
0, 1, 2
shortcut for 1 dimensional equations
(algValue)
algExpression
:
shortcut for 1 dimensional equations
(algValue)
algExpression
:
render simple equation latex in Katex
list properties
this.toString() in a console.group()
get tab-delimited matrix row
provides the context for an algebriac framework to explore proportions in classical constructive geometry.
const E = new Explorer();
//initial points set by X Y
let P0 = new Point( "-1/2", "0" )
E.addPoint(P0)
P0.log()
let P1 = new Point( "1/2", "0" )
E.addPoint(P1)
P1.log()
const L1 = new Line( P0, P1 )
E.addStruct(L1)
L1.log()
represents a linear proportion established by two points
Extends Struct
(Point)
initial point of the Line
(Point)
initial point of the Line.
(string)
type of element - default: "Line"
(string)
optional: unique id for the Struct
the equation associated with this element
d x^2 + e x y + f y^2 + a x + b y = c
d = 0
// always for a line
e = 0
// always for a line
f = 0
// always for a line
a = (pt1.y) - (pt2.y)
b = (pt2.x) - (pt1.x)
c = ((pt1.x) * (pt2.y)) - ((pt2.x) * (pt1.y))
// but sign is changed to put it on the other side of the equals
Equation
:
a container for holding a sets of points, elements.
represents an ordered List of two algebraic values
x, y
within a two dimensional cartesian planeTODO: points should be immutable after instantiation
TODO: each x, y value pair is a part of a result set from a System of two Structs - relate the System to the Point
TODO: create a Value object as a container for Algebraic and Float representations
TODO: make x, y Value objects - validate
Extends Element
(algValue)
string with algebraic value
(algValue)
string with algebraic value
(Struct)
parent structure - such as intersecting line or circle.
(Struct)
parent structure - such as intersecting line or circle.
(string)
optional: type of Element - default: "Point"
(string)
optional: unique id for the Element
TODO: set these as Value objects
algebraic value - set by constructor
algValue
:
algebraic value
floating point value - set by constructor - converted from algValue
float
:
floating point value - set by constructor - converted from algValue
float
:
intended as a unique idenifier for the element withing the model. based on its parameters
Quadrance - the square of the vector of this point from origin
(x)^2 + (y)^2
algValue
:
algebraic value
algebraic value - set by constructor
algValue
:
algebraic value
a Set of contiguous Segment objects along a line that demonstrate Golden Ratio harmonics
TODO: - take a Set of segments as parameter
TODO: could be of type Element
represents a structure defined by a set of proportions establsihed by two Point objects
TODO Struct should take an Array of Point objects - allowing for polygons
TODO There are only 3 distinct relationships that can occur between two points - a Line and two Circle.
The determination of these three relationships could happen here as fundamental to a Struct of two points
These three objects, Line and two Circles, always imply at least 4 additional points to the model
Extends Element
(Point)
initial point of the structure
(Point)
initial point of the structure
(string)
optional - default: "Struct"
(string)
optional
all Struct objects have an equation that are set by the sub class
System - collection of equations - starting with two structures provides a roots solution set - an array of objects with x, y values should show all the work
Extends Element
(Struct)
first struct
(Struct)
second struct
(string)
optional: type of element - such as "Point" - like a class in CSS
(string)
optional: unique id for the element
represents a value within the Model - relative to the unit measure establish by the starting points
TODO: validation!!!!!! simplify?? make immutable!!!
(algValue)
the algebraic expression of the value -s hould NOT contain variables
(string)
unique id for the element
internal constant
the floating point expression of the value of the value
returns float if valid number
latex string from Algebrite print latex when valid
katex.renderToString(this.latex)
override toString()
override valueOf()
a container for drawing and animating the SVG panel and the other data panels of the UI
radius for point icon
for variable width stroke on segments in proportion to the line length
setup DOM elements for List Tables in Aside
add a Point to the View
SVG circle
object representing the point location
radius of circle
set by this.PTRAD
(Point)
svgElement
:
circle
object
add a Struct (Line or Circle) to the View
SVG circle
object representing the point location
radius of circle
set by this.PTRAD
(any)
(Point)
svgElement
:
draw the Struct into the Drawing using SVG.js
(Struct)
svgElement
:
table row
Global instance of the View object
main.js - script to sequence the creating and display of the geometric model
primary interface for main
Global instance of the Model object
SVG Drawing
Global instance of the Explorer object


A: Renters can view rates, availability, live photos, and reserve a boat in one simple click!
A: An online boat renting site! We are here to connect boat renters to boat owners. No experience needed!
A: Private boat owners and boat renting facilities.
A: No, anyone can use RentABoat.com. You do not have to be a member to search boats.
A: We are a FEE FREE online reservation site! No membership is required. Rent A Boat is not a club! Renters can search boats without signing in! There is a deposit to hold your desired boat, this fee will be deducted from your rental price. The boat owner can require an additional deposit to hold your boat. Boat owners will post their rules and requirements.
A: Boat owners will receive your contact information. They are required to contact you within 24 hours. Renters will also receive the boat owners contact information. If you, the renter or boat owner have any communication problems, our staff will be available 24/7 to help assist you.
A: Yes, boat owners are encouraged to use our computerized program as their in-house reservation system, keeping the reservation calendars accurate.
A: Owners are required to post up to date photos of their boat.
A: Some boat owners and states will require you to have a boating license. Boat owners will post their rules and requirements.
A: If you're not 100% satisfied with your rental, you online reservation deposit will be refunded.
A: Boat owners have their cancellation policy. Please review the listed cancellation policies before making a reservation.
Have more questions? Feel free to contact RentABoat.com!


Reading response A
Assignment:
Read three texts:
- Jill Lepore, "The Cobweb: Can the Internet Be Archived?"(2015)
- Alexander Galloway, "Jodi’s Infrastructure” (2016)
- Conversation 2, "Reliability" (2017)
Then, find a specific section of the conversation you're interested in. Copy and paste this section into your "reading-response-a.html" document, and use the appropriate HTML tags to render the text legible. Now, insert your own opinion or response by writing your name and what you'd say into the section. When you're done, make sure you link this from your class homepage.
Nilas: I think it’s about the individual freedom in what you want. For some people, it makes sense. I know
people in my class, our class, who document stuff and put it online and as they are here. I personally don't
do it. Growing up with the internet in the way that we all have here, we’re all changing our approaches to it.
For example, Facebook is suddenly a lot bigger than it was when we joined. Once you put something out
there, you lose control of it, and maybe some of us are hesitant about being public with stuff because we
felt we’ve lost control of things. Especially in an educational situation, where you are here to change or
develop, you might not relate or identify with the work you did two years before you came here, because
being here can elicit a significant development. But also after your time here, you might develop further. If
you’re a person who changes so much, then the identification, the internet as a mirror, can be frustrating
LC: I’ve been thinking about the implications of publishing art work online, whether it be on a personal website, Instagram, or tumblr. When I first started posting my work on Tumblr five years ago, I did not understand or even think about the implications of posting an image online. I posted artwork on tumblr in a light-hearted and non-self-conscious way, since art was truly just a hobby at the time. Before posting an image, I did not stop and think – “is this an image I want my name to be permanently associated with forever?”.
A couple days ago I did an extensive google search of my artist name and Instagram handle and I was surprised by the results. Of course there were many cringe-worthy artworks I’ve posted on Tumblr when I was younger that I would rather not be associated with anymore. Although I have since deleted those images off my Tumblr, they remain associated with my name forever, due to the nature of the reblog function on Tumblr.
I also noticed something strange. The publications/interviews that I have done with larger press outlets had been copied and pasted onto strange websites in verbatim – some of these sites had urls that indicated they were from Russia, China, and France. These sites weren’t art blogs – these sites appeared to be bot-generated. If I was ever so unhappy with a publication, I could maybe have the article removed by asking the publisher. With these bot-generated sites, I would never be able to track down the publisher or ask them to remove the article. These bot-generated sites help solidify the permanence of the original publications.
However, the strangest thing I found from my online search was when I google image searched my Instagram handle. I wasn’t surprised to find that the search yielded images of my original posts, posts I’ve deleted, and posts I’ve liked. However, I was very startled to find the appearance of several images I have only looked at, but have definitely not liked. It is frightening that the things that we think we are looking at in private can be published online in a very visible way.
Laurel: The never ending stream.
Dan: The never ending stream.
Ayham: The never ending stream.
LC: The never ending stream.
Back


TODO: move this to the appropriate part of the docs (shouldn't show up in reference-- instead it should appear at the top of the other migration guide/changelog stuff in the "Support" section)
Sails v0.10 is finally here.
For the most part, running sails lift
in an existing v0.9 project should just work. The core contributors have taken a number of steps to make the upgrade as easy as possible, and if you follow the deprecation messages in the console, you should do just fine.
Sails v0.10 comes with some big changes. The sections below provide a high level overview of what's changed, major bug fixes, enhancements and new features, as well as a basic tutorial on how to upgrade your v0.9.x Sails app to v0.10.
The Sails/Waterline communities have been extremely supportive to newer users throughout the beta. If you run into problems, please reach out for help in IRC, the Google Group and on Stack Overflow.
If you believe you've encountered an upgrade issue not addressed in this document, please let the core team know by sending a pull request to this file on Github. If you don't know the answer to a question, explain the upgrade issue you've having in the appropriate section (or a new one), and someone will do their best to answer it/provide a migration strategy.
Thanks!
@mikermcneil
========================================
========================================
The Connect multipart middleware will soon be officially deprecated. But since this module was used as the built-in HTTP body parser in Sails v0.9 and Express v3, this is a breaking change for v0.9 Sails projects relying on req.files
.
By default in v0.10, Sails includes skipper
, a body parser which allows for streaming file uploads without buffering tmp files to disk. For run-of-the-mill file upload use cases, Skipper comes with bundled support for uploads to local disk (via skipper-disk), but streaming uploads can be plugged in to any of its supported adapters.
For examples/documentation, please see the Skipper repository as well as the Sails documentation on req.file()
.
A body parser's job is to parse the "body" of incoming multipart HTTP requests. Sometimes, that "body" includes text parameters, but sometimes, it includes file uploads.
Connect multipart is great code, and it supports both file uploads AND text parameters in multipart requests. But like most modules of its kind, it accomplishes this by buffering file uploads to disk. This can quickly overwhelm a server's available disk space, and in many cases exposes a serious DoS attack vulnerability.
Skipper is unique in that it supports streaming file uploads, but also maintains support for metadata in the request body (i.e. JSON/XML/urlencoded request body parameters). It uses a handful of heuristics to make sure only the files you're expecting get plugged in and received by the blob adapter, and other (potentially malicous) file fields are ignored.
Important!
For Skipper to work, you must include all text parameters BEFORE file parameters in file upload requests to the server. Once Skipper sees the first file field, it stops waiting for text parameters (this is to avoid unnecessary/unsafe buffering of file data).
As with most things in Sails, you can use any Connect/Express/Sails-compatible bodyparser you like. To switch back to connect-multipart, or any other body parser (like formidable or busboy), change your app's http
configuration.
A new blueprint action (findOne
) has been added. For instance, if you have a FooController
and Foo
model, then send a request to /foo/5
, the findOne
action in your FooController
will run. If you don't have a findOne
action, the findOne
blueprint action will be used in its stead. Requests sent to /foo
will still run the find
controller/blueprint action.
Policies work exactly as they did in v0.9- however there is a new consideration you should take into account: Due to the introduction of the more specific findOne()
blueprint action mentioned above, you will want to make sure you're handling it explicitly in your policy mapping configuration.
For example, let's say you have a v0.9 app whose policies.js
configuration prevents access to the find
action in your DoveController
:
module.exports.policies = {
'*': true,
DoveController: {
find: false
}
};
Assuming rest
blueprint routes are enabled, this would prevent access to requests like both /dove
and /dove/14
. But now in v0.10, since /dove/14
will actually run the findOne
action, we must handle it explicitly:
module.exports.policies = {
'*': true,
DoveController: {
find: false,
findOne: false
}
};
message
socket (i.e. "comment") event on client is now modelIdentity
(where "modelIdentity" is different depending on the model that the publish*()
method was called from.Model.watch()
.create
, update
, and destroy
are now created
, updated
, and destroyed
.The biggest change to pubsub is that Socket.io events are emitted under the name of the model emitting them. Previously, your client listened for the message
event and then had to determine which model it came from based on the included data:
socket.on('message', function(cometEvent) {
if (cometEvent.model == 'user') {
// Handle inbound messages related to a user record
}
else if (cometEvent.model === 'product') {
// Handle inbound messages related to a product record
}
// ...
}
Now, you subscribe to the identity of the model:
socket.on('user', function(cometEvent) {
// Handle inbound messages related to a user record
});
socket.on('product', function (cometEvent) {
// Handle inbound messages related to a product record
});
This helps to structure your front end code.
The way you subscribe clients to models has also changed. Previously, you specified whether you were subscribing to the model class (class room) or one or more model instances based on the parameters that you passed to Model.subscribe
. It was effectively one method to do two very different things.
Now, you use Model.subscribe()
to subscribe only to model instances (records). You can also specify event "contexts", or types, that you'd like to hear about. For example, if you only wanted to get messages about updates to an instance, you would call User.subscribe(req, myUser, 'update')
. If no context is given in a call to .subscribe()
, then all contexts specified by the model class's autosubscribe property will be used.
To subscribe to model creation events, you can now use Model.watch()
. Upon subscription, your clients will receive messages every time a new record is created on that model using the blueprint routes, and will automatically be subscribed to the new instance as well.
Remember, when working with blueprints, clients are no longer auto subscribed to the class room. This must be done manually.
Finally, if you want to see all pubsub messages from all models, you can access the firehose
, a development-only tool that broadcasts messages about everything that happens to your models. You can subscribe to the firehose using sails.sockets.subscribeToFirehose(socket)
, or on the front end by making a socket request to /firehose
. The firehose will broadcast a firehose
event whenever a model is created, updated, destroyed, added to, removed from or messaged. This effectively replaces the message
event used in previous Sails versions.
To see examples of the new pubsub methods in action, see SailsChat.
Previously, with schema: true
, if you sent an attribute value to a .create()
or .update()
that did not match the expected type declared in the model's attributes, the value you passed in would still be accessible in your model's lifecycle callbaks.
In Sails/Waterline v0.10, this is no longer the case. Values passed to .create()
and .update()
are type-casted before your lifecycle callbacks run. Affected lifecycle callbacks include beforeUpdate()
, beforeCreate()
, and beforeValidate()
.
beforeValidation()
is now beforeValidate()
If you were using the beforeValidation
or afterValidation
model lifecycle callbacks in any of your models, you should change them to beforeValidate
or afterValidate
. This change was made in Waterline to match the style of the other lifecycle callbacks (e.g. beforeCreate
, afterUpdate
, etc.).
.done()
vs. .exec()
The old (/confusing?) meaning of .done()
has been deprecated.
In Sails <= v0.8, the syntax for executing an ORM query was Model. [ … ] .done( cb )
. In v0.9, when promise support was added, the Model. [ … ] .exec( cb )
became the recommended replacement, since .done()
has a special meaning in the promise spec. However, the original usage of .done()
was left untouched to make upgrading from v0.8 to v0.9 easier.
But as of Sails/Waterline v0.10, the original meaning of .done()
has been officially deprecated to allow for a more robust promise implementation going forward, and pluggable promise library support (e.g. choose Q
or Bluebird
etc.).
Sails v0.10 introduces associations between data models. Since the work we've done on associations is largely additive, your existing models should still just work. That said, this is a powerful new feature that allows you to write less code and makes your app more maintainable, so we suggest taking advantage of it! To learn about how to use associations in Sails, check out the docs.
Associations (or "relations") are really just special attributes. Instead of string
or integer
values, you can specify an instance of a model or a collection of model instances. You can think about this kind of like an object ({...}
) or an array ([{...}, {...}]
) you might store as JSON in a NoSQL database. The difference is, in Sails, this works with any of the supported databases, and even allows you to populate
(i.e. join) across different databases and types of databases.
Sails has had support for generating code for a while now (e.g. sails generate controller foo
) but in v0.10, we wanted to make this feature more extensible, open, and accessible to everybody in the Sails community. With that in mind, v0.10 comes with a complete rewrite of the command-line tool, and pluggable generators. Want to be able to run sails generate blog foo
to make a new blog built on Sails? Create a blog
generator (run sails generate generator blog
), add your templates, and configure the generator to copy the new templates over. Then you can release it to the community by publishing an npm module called sails-generate-blog
. Compatibility with Yeoman generators is also in our roadmap.
For a complete guide to what generators are and how they work, check out the in-progress docs on the subject.
The big change here is how you create a new api. In the past you called sails generate new_api
. This would generate a new controller and model called new_api
in the appropriate places. This is now done using sails generate api new_api
You can still generate models and controllers seperately using the same CLI Commands
Also, --linker
switch is no longer available. In previous version, if --linker
switch was provided, it created a myApp/assets/linker
folder, with js
, styles
and templates
folders inside. In this new version, the myApp/assets/linker
folder is not created. Compiling CoffeeScript and Less is the default behavior now, right from the myApp/assets/js
and myApp/assets/scripts
folders.
In v0.10, you can now generate your own custom server responses. See here to learn how.
Like before, there are a few that we automatically create for you. Instead of generating myApp/config/500.js
and other .js responses in the config directory, they are now generated in myApp/api/responses/
.
To migrate, you will need to create a new v0.10 project and copy the myApp/api/responses
directory into your existing app. You will then modify the appropriate .js file to reflect any customization you made in your response logic files (500.js,etc).
sails-disk
databasesails-disk
, used by default in new Sails projects, now stores data a bit differently. If you have some temporary data stored in a 0.9.x project, you'll want to wipe it out and start fresh. To do this:
From your project's root directory:
$ rm .tmp/disk.db
config.adapters
(in myApp/config/adapters.js
) is now config.connections
(in new projects, this is generated in myApp/config/connections.js
). Also, config.model
is now config.models
.
Your app's default connection
(i.e. database) should now be configured as a string config.models.connection
used by default for model. New projects are generated with a /config/models.js
file that includes the default connection.
To configure a model to use specific adapters, you must now specify them in the connection
key instead of adapters
.
module.exports = {
connection: ['someMongoDatabase'],
attributes: {
name:{
type : 'string',
required : true
}
}
};
The object literal describing controller configuration overrides for controller blueprints should change from
...
_config: {
blueprints: {
rest: true,
...
}
}
to
...
_config: {
rest: true,
...
}
In Sails v0.9, you could use the following syntax to specify auth/someLayout.ejs
as a custom layout when rendering a view:
return res.view('auth/login',{
layout: 'someLayout'
});
However in Sails v0.10, all layout paths are relative to your app's views path. In other words, the relative path of the layout is no longer resolved from the view's own path-- it is now always resolved from the views path. This makes it easier to understand which file is being used, particularly when layout files have similar names:
return res.view('auth/login', {
layout: 'auth/someLayout'
});
If you notice something we've missed, please visit the sails-docs
repo on GitHub and edit the page to submit a pull request.
If you're having migration issues that we havn't mentioned here, please open an issue on the sails-docs
repo. If you've already figured out how to resolve the issue, give us a hand by submitting a PR to this file describing the problem and how you fixed it. Thanks!


- WaitingForEffects - Class in it.polimi.se2019.server.controller
-
This is the state when you have to shoot a weapon
- WaitingForEffects(Weapon, ControllerState) - Constructor for class it.polimi.se2019.server.controller.WaitingForEffects
-
Default constructor.
- WaitingForMainActions - Class in it.polimi.se2019.server.controller
-
This ControllerState represent the turn phase after the movement phase, the player should be able to shoot or grab
or reload so this ControllerState will allow those actions.
- WaitingForMainActions() - Constructor for class it.polimi.se2019.server.controller.WaitingForMainActions
-
- WaitingForPowerUps - Class in it.polimi.se2019.server.controller
-
This ControllerState represent the time when we are waiting for the player to choose a power up
- WaitingForPowerUps(String, ControllerState) - Constructor for class it.polimi.se2019.server.controller.WaitingForPowerUps
-
Default constructor.
- WaitingForReload - Class in it.polimi.se2019.server.controller
-
This ControllerState represent when we are waiting for the player to gives us a reload command
- WaitingForReload() - Constructor for class it.polimi.se2019.server.controller.WaitingForReload
-
- WaitingForRespawn - Class in it.polimi.se2019.server.controller
-
This ControllerState represent when we are asking a user where to respawn
- WaitingForRespawn() - Constructor for class it.polimi.se2019.server.controller.WaitingForRespawn
-
- Weapon - Class in it.polimi.se2019.server.cards.weapons
-
A weapon is a card that has a few more functionality, in particular if can be loaded, it has a cost tobe reload and to get it.
- Weapon(List<ActionUnit>, String, List<AmmoColor>, List<AmmoColor>, List<ActionUnit>) - Constructor for class it.polimi.se2019.server.cards.weapons.Weapon
-
Default constructor, by default a weapon is loaded
- WEAPON - Static variable in class it.polimi.se2019.util.CommandConstants
-
- WEAPON - Static variable in class it.polimi.se2019.util.DeserializerConstants
-
- WEAPON_PATH - Static variable in class it.polimi.se2019.client.util.Constants
-
- WeaponClassTest - Class in it.polimi.se2019.server.cards.weapons
-
- WeaponClassTest() - Constructor for class it.polimi.se2019.server.cards.weapons.WeaponClassTest
-
- WeaponCrateUpdate - Class in it.polimi.se2019.server.dataupdate
-
This update message is sent by the model to the views when one the weapon crates is re-spawned.
- WeaponCrateUpdate(int, int, List<Weapon>) - Constructor for class it.polimi.se2019.server.dataupdate.WeaponCrateUpdate
-
Builds a new WeaponCrateUpdate message.
- WEAPONDECK - Static variable in class it.polimi.se2019.util.DeserializerConstants
-
- WeaponDeckDeserializer - Class in it.polimi.se2019.server.deserialize
-
- WeaponDeckDeserializer() - Constructor for class it.polimi.se2019.server.deserialize.WeaponDeckDeserializer
-
- WeaponDeckDeserializerSuppier - Class in it.polimi.se2019.server.deserialize
-
- WeaponDeckDeserializerSuppier() - Constructor for class it.polimi.se2019.server.deserialize.WeaponDeckDeserializerSuppier
-
- WeaponDeserializer - Class in it.polimi.se2019.server.deserialize
-
- WeaponDeserializer() - Constructor for class it.polimi.se2019.server.deserialize.WeaponDeserializer
-
- WeaponDeserializerSupplier - Class in it.polimi.se2019.server.deserialize
-
- WeaponDeserializerSupplier() - Constructor for class it.polimi.se2019.server.deserialize.WeaponDeserializerSupplier
-
- WeaponDeserializerTest - Class in it.polimi.se2019.server.deserialize
-
- WeaponDeserializerTest() - Constructor for class it.polimi.se2019.server.deserialize.WeaponDeserializerTest
-
- WeaponStateUpdate - Class in it.polimi.se2019.server.dataupdate
-
This update message is sent by the model to the views when the value of currentWeapon is updated in game.
- WeaponStateUpdate(Weapon) - Constructor for class it.polimi.se2019.server.dataupdate.WeaponStateUpdate
-
Builds a new WeaponStateUpdate message.
- WHITE - Static variable in class it.polimi.se2019.client.cli.Colors
-
- WHITE_BACKGROUND - Static variable in class it.polimi.se2019.client.cli.Colors
-
- WHITE_BACKGROUND_BRIGHT - Static variable in class it.polimi.se2019.client.cli.Colors
-
- WHITE_BOLD - Static variable in class it.polimi.se2019.client.cli.Colors
-
- WHITE_BOLD_BRIGHT - Static variable in class it.polimi.se2019.client.cli.Colors
-
- WHITE_BRIGHT - Static variable in class it.polimi.se2019.client.cli.Colors
-
- WHITE_UNDERLINED - Static variable in class it.polimi.se2019.client.cli.Colors
-


A Glossary provides appropriate vocabularies for business users and it allows the terms (words) to be related to each other and categorized so that they can be understood in different contexts. These terms can be then mapped to assets like a Database, tables, columns etc. This helps abstract the technical jargon associated with the repositories and allows the user to discover/work with data in the vocabulary that is more familiar to them.
A term is a useful word for an enterprise. For the term(s) to be useful and meaningful, they need to grouped around their use and context. A term in Apache Atlas must have a unique qualifiedName, there can be term(s) with same name but they cannot belong to the same glossary. Term(s) with same name can exist only across different glossaries. A term name can contain spaces, underscores and dashes (as natural ways of referring to words) but no “.” or “@”, as the qualifiedName takes the following form term name@glossary qualified name. The fully qualified name makes it easier to work with a specific term.
A term can only belong to single glossary and it’s lifecycle is bound to the same i.e. if the Glossary is deleted then the term gets deleted as well. A term can belong to zero or more categories, which allows scoping them into narrower or wider contexts. A term can be assigned/linked to zero or more entities in Apache Atlas. A term can be classified using classifications (tags) and the same classification gets applied to the entities that the term is assigned to.
A category is a way of organizing the term(s) so that the term’s context can be enriched. A category may or may not have contained hierarchies i.e. child category hierarchy. A category’s qualifiedName is derived using it’s hierarchical location within the glossary e.g. Category name.parent category qualifiedName. This qualified name gets updated when any hierarchical change happens, e.g. addition of a parent category, removal of parent category or change of parent category.
Apache Atlas UI has been updated to provide user-friendly interface to work with various aspects of glossary, including:
Most of glossary related UI can be found under a new tab named GLOSSARY, which is present right next to existing familiar tabs SEARCH and CLASSIFICATION.
Apache Atlas UI provides two ways to work with a glossary - term view and category view.
Term view allows an user to perform the following operations:
Category view allows an user to perform the following operations:
Users can switch between term view and category view using toggle provided in GLOSSARY tab.
Various details of a term can be viewed by clicking on the term name in the glossary UI. Each tabs under the details page provides different details of the term.
Clicking on + next to classification label to add a classification to the term.
When the toggle switch is on category, the panel will list down all glossaries along-with the category hierarchy. Here’s a list of possible interactions under this view.
Terms can be assigned to an entity either from the results page or entity details page.
Apache Atlas basic-search API and UI have been updated to support term as a search criteria. This allows users to find entities associated with a given term. Basic search UI now includes a new input drop-down for term based searches.
Following operations are supported by Atlas, the details of REST interface can be found here
{ "guid": "2f341934-f18c-48b3-aa12-eaa0a2bfce85", "qualifiedName": "SampleBank", "displayName": "Banking", "shortDescription": "Glossary of bank", "longDescription": "Glossary of bank - long description", "language": "English", "usage": "N/A", "terms": [ { "termGuid": "502d34f1-b85f-4ad9-9d9f-fe7020ff0acb", "relationGuid": "6bb803e4-3af6-4924-aad6-6ad9f95ecd14", "displayText": "A savings account" }, { "termGuid": "e441a540-ee55-4fc8-8eaf-4b9943d8929c", "relationGuid": "dbc46795-76ff-4f68-9043-be0eff0bc0f3", "displayText": "15-30 yr mortgage" }, { "termGuid": "998e3692-51a8-47fe-b3a0-0d9f794437eb", "relationGuid": "0dcd31b9-a81c-4185-ad4b-9209a97c305b", "displayText": "A checking account" }, { "termGuid": "c4e2b956-2589-4648-8596-240d3bea5e44", "relationGuid": "e71c4a5d-694b-47a5-a41e-126ade857279", "displayText": "ARM loans" }], "categories": [{ "categoryGuid": "dd94859e-7453-4bc9-b634-a17fc14590f8", "parentCategoryGuid": "e6a3df1f-5670-4f9e-84da-91f77d008ce3", "relationGuid": "a0b7da02-1ccd-4415-bc54-3d0cdb8857e7", "displayText": "Accounts" }, { "categoryGuid": "e6a3df1f-5670-4f9e-84da-91f77d008ce3", "relationGuid": "0e84a358-a4aa-4bd3-b806-497a6962ae1d", "displayText": "Customer" }, { "categoryGuid": "7f041401-de8c-443f-a3b7-7bf5a910ff6f", "parentCategoryGuid": "e6a3df1f-5670-4f9e-84da-91f77d008ce3", "relationGuid": "7757b031-4e25-43a8-bf77-946f7f06c67a", "displayText": "Loans" }] }
{ "guid": "e441a540-ee55-4fc8-8eaf-4b9943d8929c", "qualifiedName": "fixed_mtg@SampleBank", "displayName": "15-30 yr mortgage", "shortDescription": "Short description", "longDescription": "Long description", "examples": ["N/A"], "abbreviation": "FMTG", "anchor": { "glossaryGuid": "2f341934-f18c-48b3-aa12-eaa0a2bfce85", "relationGuid": "dbc46795-76ff-4f68-9043-be0eff0bc0f3" }, "categories": [{ "categoryGuid": "7f041401-de8c-443f-a3b7-7bf5a910ff6f", "relationGuid": "b4cddd33-7b0c-41e2-9324-afe549ec6ada", "displayText": "Loans" }], "seeAlso" : [], "synonyms" : [], "antonyms" : [], "replacedBy" : [], "replacementTerms" : [], "translationTerms" : [], "translatedTerms" : [], "isA" : [], "classifies" : [], "preferredTerms" : [], "preferredToTerms": [ { "termGuid" : "c4e2b956-2589-4648-8596-240d3bea5e44", "displayText": "ARM Loans" }] }
{ "guid": "7f041401-de8c-443f-a3b7-7bf5a910ff6f", "qualifiedName": "Loans.Customer@HortoniaBank", "displayName": "Loans", "shortDescription": "Loan categorization", "anchor": { "glossaryGuid": "2f341934-f18c-48b3-aa12-eaa0a2bfce85", "relationGuid": "7757b031-4e25-43a8-bf77-946f7f06c67a" }, "parentCategory": { "categoryGuid": "e6a3df1f-5670-4f9e-84da-91f77d008ce3", "relationGuid": "8a0a8e11-0bb5-483b-b7d6-cfe0b1d55ef6" }, "childrenCategories" : [], "terms": [{ "termGuid": "e441a540-ee55-4fc8-8eaf-4b9943d8929c", "relationGuid": "b4cddd33-7b0c-41e2-9324-afe549ec6ada", "displayText": "15-30 yr mortgage" }, { "termGuid": "c4e2b956-2589-4648-8596-240d3bea5e44", "relationGuid": "8db1e784-4f04-4eda-9a58-6c9535a95451", "displayText": "ARM loans" }] }
NOTE:
NOTE:


9. Regularization¶
In mathematics, statistics, and computer science, particularly in the fields of machine learning and inverse problems, regularization is a process of introducing additional information in order to solve an ill-posed problem or to prevent overfitting (Wikipedia Regularization).
Due to the sparsity within our data, our training sets will often be ill-posed (singular). Applying regularization to the regression has many advantages, including:
- Converting ill-posed problems to well-posed by adding additional information via the penalty parameter
- Preventing overfitting
- Variable selection and the removal of correlated variables (Glmnet Vignette). The Ridge method shrinks the coefficients of correlated variables while the LASSO method picks one variable and discards the others. The elastic net penalty is a mixture of these two; if variables are correlated in groups then tends to select the groups as in or out. If α is close to 1, the elastic net performs much like the LASSO method and removes any degeneracies and wild behavior caused by extreme correlations.
9.1. Ordinary least squares regression¶
When (i.e. regParam
), then there is no penalty.
LinearRegression(featuresCol="features", labelCol="label", predictionCol="prediction", maxIter=100,
regParam=0.0, elasticNetParam=0.0, tol=1e-6, fitIntercept=True, standardization=True, solver="auto",
weightCol=None, aggregationDepth=2)
9.2. Ridge regression¶
When (i.e. regParam
) and (i.e. elasticNetParam
) , then the penalty is an L2 penalty.
LinearRegression(featuresCol="features", labelCol="label", predictionCol="prediction", maxIter=100,
regParam=0.1, elasticNetParam=0.0, tol=1e-6, fitIntercept=True, standardization=True, solver="auto",
weightCol=None, aggregationDepth=2)
9.3. Least Absolute Shrinkage and Selection Operator (LASSO)¶
When (i.e. regParam
) and (i.e. elasticNetParam
), then the penalty is an L1 penalty.
LinearRegression(featuresCol="features", labelCol="label", predictionCol="prediction", maxIter=100,
regParam=0.0, elasticNetParam=0.0, tol=1e-6, fitIntercept=True, standardization=True, solver="auto",
weightCol=None, aggregationDepth=2)
9.4. Elastic net¶
When (i.e. regParam
) and elasticNetParam
(i.e. ) , then the penalty is an L1 + L2 penalty.
LinearRegression(featuresCol="features", labelCol="label", predictionCol="prediction", maxIter=100,
regParam=0.0, elasticNetParam=0.0, tol=1e-6, fitIntercept=True, standardization=True, solver="auto",
weightCol=None, aggregationDepth=2)


Nov 18, 2015 Meeting note
Notes
- There are mainly two parts in today’s discussion:
- parameter learning for single shape.
- parameter learning for multiple shape.
For single shape
- check the parameter learning optimization on some other example shapes.
- compare the learned parameter with manually set parameter after several iterations..
- This is to prove that the parameter learning is useful that we can get results more similar to ground truth shape.
- check whether we should keep doing parameter learning iteration by iteration. To check this, we can compare:
- multiple iterations of reconstructions with fixed parameters learned from single iteration parameter learning.
- multiple iterations of reconstructions with updated parameters.
- We also have to check whether the convergence of both reconstruction optimization (i.e. optimize t), and parameter learning optimization (i.e. optimize $\sigma_L$, $\sigma_B$, and $C$)
For multiple shape
Assume for each shape, we get corresponding parameters ($\sigma_L$, $\sigma_B$, and $C$), or parameter sets (multiple $\sigma_L$, $\sigma_B$, and $C$ across different iteration.), how we combine these information, and for a new shape, we can come up new parameters for it?
Learning approaches
We can utilize multi-class classification algorithm like linear classification or SVM, classify some template shape we have, with their corresponding parameters. And for each new shape, we can predict the possibilities of them being different classes, and use that as confident to weighted average the parameters.
Feature space
For learning parameters across different shapes, we need to find the right parameter spaces for global or local structure. One possible direction is to extract the histogram of curvature, or the laplacian vectors.
TODO
- run the parameter learning only 1 iteration for different shapes, and see the behaviour.
- do the parameter learning for multiple iterations, and compare the reconstruct result with
- fix parameter (only one iteration parameter learning) and
- manually set parameter.
- after getting the above steps, I can start to work on learning from multiple shapes, both training and testing step…


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--- title: Crispy Pig Ears layout: post date: '2016-11-27 16:48:53 -0500' type: post parent_id: 0 published: true image: assets/images/post-img/Pig-Ears.jpg status: publish categories: - Pork tags: - StarChefs.com meta: _wpas_done_all: 1 _wpghs_github_path: _posts/2016-11-27-crispy-pig-ears.md _sha: 91b5b3ec2aa9af8a287777e9e5c7df1b92240e17 _edit_last: 1 _thumbnail_id: 451 _jetpack_dont_email_post_to_subs: 1 _posts_by_tag_page_fields: a:2:{s:12:"widget_title";s:0:"";s:11:"widget_tags";s:0:"";} _yourls_url: http://7t3.link/53j7e _yourls_clicks: 4 _wp_old_slug: crispy-pig-ears-starchefs-com author: login: mkelley email<EMAIL_ADDRESS>display_name: Mike first_name: Mike last_name: Kelley ---
Source: Crispy Pig Ears | StarChefs.com


--- # blog page must be named index.html and in its own folder to support pagination # https://jekyllrb.com/docs/pagination/ layout: page title: Blog ---
I try to write every once in a while about miscellaneous learnings and things I've worked on. All opinions are my own.
Discussions, annotations, and highlights are available on each post via hypothes.is as well!
Nothing published yet!
{% elsif site.paginate %} {% for post in paginator.posts %} {% if post.draft != true %} {% include blog-post.html %} {% endif %} {% endfor %} {% include pagination.html%} {% else %} {% for post in site.posts %} {% if post.draft != true %} {% include blog-post.html %} {% endif %} {% endfor %} {% endif %}


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--- layout: page title: About header-img: "img/about-bg.png" ---
Small town girl with a soft spot for building projects


We are an inclusive group of mamas living in Portland. Consider us your guides to mommyhood, your new friends, your people. It can be so isolating raising babies, that's why we would love to set up a playdate or simply a mom date with you! We aren't here to judge. This is a safe space, a place where we can all feel free to just be the moms we want to be. See our calendar of events for upcoming All the Portland Mamas meetups!
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Lives in {{mamaprofile.location}}
{{mamaprofile.description}}


object
element
Pass Criteria
#1: Element is supported
#2: Correct HTML and Core Accessibility API mappings
#3: Correct Accessible Name & Description Calculation
Reference
HTML
object
element
HTML Accessibility API Mappings for
object
element
Test obj-001:
object
element
fallback text
Test obj-002:
object
element with broken data source
fallback text


Extend the bounds of the center rectangle with the upper right rectangle
Extend the bounds of the center rectangle with the lower left marker


Consulting Engineer - Full Stack Web Developer - Project Manager
I am a Consulting Engineer at Hargis Engineers where I work as a Mechanical Designer, Associate Project Manager, and BIM Manager. At Washington State University, I earned my bachelor’s in mechanical engineering and countless memories. I completed a course at the University of Washington (as a Coug, that hurts to say) for full-stack web development and at General Assembly for Software Product Management.
I am seeking a company that gives me the capacity to grow professionally and personally and values my driven personality. Given the opportunity to use my effective interpersonal and leadership skills, I’d be a strong fit for a management, consulting, or developer role. I have experience in each of those aspects, and a passion for the challenge of each role.
Skills:
Seattle, WA
<EMAIL_ADDRESS>(360)981-8016


Nim's forum is were you can go to discuss all things nim.
The forum is fully written in nim, source can be found on github: nimforum
Come find us on freenode, in #nim. We also have logs, going back to May 2012 !
There's also a channel on gitter, bridged to IRC.
When asking a question related to Nim, be sure to use the Nim tag in your question.
Reddit : /r/nim
Twitter : @nim_lang
Google+ : Nim Community


GADJO DILO (director/writer: Tony Gatlif; cinematographer: Eric Guichard; editor: Monique Dartonne; cast: Romain Duris (Stephane), Rona Hartner (Sabina), Isidor Serban (Izidor), Ovidiu Balan (Sami), Dan Astileanu (Dumitru), Florin Modovan (Adriani), 1998-France)
Reviewed by Dennis Schwartz
For the Algerian-born French director Tony Gatlif, "Gadjo Dilo" is the third in his gypsy trilogy. In 1994, Gatlif wrote and directed "Latcho Drom," a musical documentary of gypsies performing in different countries. "Mondo" told the story of an abandoned gypsy boy in France.
Gypsies have a reputation of being known as thieves and have suffered a vast amount of prejudice because of their nomadic lifestyle and failure to conform to the society where they live. Here, the director, himself a Rom member, is in love with the gypsies -- their foibles and all -- and plays a joke with their worldwide pejorative image by reversing the things usually said about gypsies, and having the gypsies say them about the foreigners.
The film has caught the gypsy mood and their persona: the gypsies here have gold teeth, the women bathe together in the nude and talk about the men in a frank sexual manner, the men drink a lot, play music with deep feelings, curse on a regular basis, and are quick to smile and see the humor in almost everything they do. This film lays the gypsy spirit on thickly, as its infectuous story unfolds in a gypsy village somewhere in rural Romania.
"Gadjo Dilo" opens with a young educated Parisian, Stephane (Romain Duris), walking in torn boots, down an isolated desolate road covered with snow and ice. He reaches a local village hotel at night, but he is told it is too late for them to admit him.  May I rot!" and lamenting the injustice of his son Adriani having just been sent to prison, claiming that there is no justice for the gypsies. The old man says his name is Izidor (Isidor Serban ) and that his finding Stephane here is a sign of good luck. He makes the young man get drunk with him as a sign of respect and starts to treat him as a surrogate son.
The next morning, in the gypsy village, some children discover Stephane in Izidor's bed. They shout in excitement, "There's a great big gadjo sleeping at our place!" "Gadjo Dilo," in the Gypsies' Romany language, means "crazy stranger," which becomes a reference to the French youth and the film's title.
It turns out that Stephane is an ethnomusicologist like his father, interested in recording the gypsy music and is on a pilgrimage through the rural Romanian countryside in search of the pure gypsy sound, in particular, he seeks a singer - Nora Luca - whose voice is on an audiotape of his late father and was his favorite singer. He comes prepared for his research, with a tape-recording system and many cassettes of the type of gypsy music he is looking for.
Stephane gets trapped in the village, as the old man refuses to let his good luck Frenchman leave, despite the other gypsies calling for the foreigner to get out -- that he is here only to steal their chickens. There is a language problem and the only one in the village who speaks French, an attractive but spirited young girl named Sabina (Rona Hartner), who left a husband in Belgium, refuses to translate. Stephane has a problem getting the old man to understand that he wants to meet Nora Luca and that she is the main purpose for his travels. Instead, the old man takes him into his house, gets the gypsy women to repair his shoes like new, teaches him to speak like a gypsy, and tells him the best gypsy music in the world is in this village.
When Stephane tries to clean up Izidor's place, in appreciation for his hospitality, he is told by him: "Aren't you ashamed of yourself for cleaning my house?"
Sabina is considered by the villagers to be a slut because of what happened in Belgium. When Stephane shows that he is attracted to her, she shows disgust; she bites his hand when he tries to help her carry wood back for the fire and she then raises her skirt mooning him. But, despite that initial coldness, Stephane is soon making love to her in the woods and running around naked with her.
As he's about to go back to Paris, the local townspeople react to Adriani's release from prison and revenge killing of the town official who had him arrested, by burning down the gypsy village and killing Adriani and Izador. The question now becomes how and if Stephane and Sabina will remain together and where, as he buries his gypsy recordings knowing that he has not found a utopia. Whether he can return to French society or feels liberated after living for months with the gypsies and assimilating with them, becomes his dilemma. For the director, the question becomes, how is it, whenever events turn bad, the gypsy community is almost always made the scapegoat.
Gatlif succeeded in setting an evocative gypsy mood, touching on their charms, highlighting their moving music, demonstrating the sheer joy in their wedding ceremonies, and leaving a good taste in one's mouth about the gypsy spirit to survive. Though the film doesn't tell a great story but a conventional one, even with all the exotic atmosphere the film exudes in, but it still holds one's interest throughout, as the moods change and gypsy life takes a more dramatic turn.
REVIEWED ON 5/23/2000 GRADE: B
Dennis Schwartz: "Ozus' World Movie Reviews"
http://www.sover.net/~ozus
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Learning CSS
If you write web pages, Cascading Style Sheets (CSS) is a great language to know.
It lets you add fonts, colors, background images, and more to your pages.
Furthermore, it separates your content from your presentation, so you can change them independently. Trust me, that's a good thing.
Without CSS, you can read the text on this page just fine.  Groovy!
For the test tomorrow know:
- How to embed a custom font
- How to embed a Google font
- How to use an image as a bullet marker


Turn {{game.turn}}
{{::game.player1.name}} (You)
Health: {{game.player1.health}}
Stamina: {{game.player1.stamina}}
{{::game.player2.name}} (You)
Health: {{game.player2.health}}
Stamina: {{game.player2.stamina}}
{{game.result.self}}!
{{game.player1.name}}: {{game.result.p1}}!
{{game.player2.name}}: {{game.result.p2}}!


Please select the type of installation
This Will automatically Scan the entire system and configure with best options available
this will let U can select your own namenode and jobtracker
This option is for advanced users and include options like managing Clients and Frameworks...


{% autoescape true %}
Your info has been {{update_text}}!
Username: {{ username }}
Friend Contact: {{ friend }}
Yo at GETHOMESAFE to whatever.


Preparation time
30 mins to 1 hour
Cooking time
10 to 30 mins
Serves
Serves 6-8
Dietary
Layers of chocolate sponge sandwiched with cherry jam and kirsch cream, topped with rich chocolate meringue frosting.
Equipment: You will need a sugar thermometer for this recipe.
Preheat the oven to 180C/350F/Gas 4.
Lightly grease and line the bases of two 23cm/9in cake tins.
Place the eggs, sugar and melted butter into a bowl and whisk for 4-5 minutes, until thickened and very pale – when the whisk is lifted out of the bowl, a trail should be left behind.
Sift in the flour and cocoa powder and fold in gently.
Spoon the mixture into the two cake tins, dividing evenly, then tap to settle.
Place the tins on a baking sheet in the oven for 12-15 minutes until risen and just firm to the touch – you do not want to overcook a genoise sponge, as it will become dry.
Remove from the oven and cool briefly before tipping out onto a rack to cool completely.
For the filling, whip the cream to soft peaks and fold in the kirsch and icing sugar.
For the topping, place the sugar with 125ml/4fl oz water into a pan and slowly bring to the boil until the syrup reaches 121C/250F on a sugar thermometer, then remove the pan from the heat.
Meanwhile, place the egg whites into a clean bowl with a squeeze of lemon juice, and whisk until firm peaks form.
With the beater at its lowest speed, pour in the sugar syrup, in a steady stream, making sure it is clear of the beaters.
Continue beating for about five minutes, until the meringue is tepid.
Add the butter and continue to beat until it is all incorporated. Then beat in the chocolate and make sure it is all incorporated.
To serve, cut the sponges in half horizontally so that you have four thin layers of sponge.
Place one piece of sponge onto the serving plate and spread over a third of the cherry jam, then a third of the kirsch cream.
Repeat with the other sponges and remaining jam and cream until you have a stack of four sponges with three layers of jam and cream.
Spread the chocolate topping over the gateau to cover completely.
Decorate with the fresh cherries and chocolate sprinkles.


For your official you need to contact the Navrachana's registar's directly
In the event your diploma is lost or damaged, the University will supply, upon proper deposition and the payment of a fee to cover the cost, a replacement diploma. Before issuing the replacement we require the return of the damaged diploma, or such portions of it as are available; or, in the case of loss or complete destruction, the submission of an affidavit, which must be notarized. A check or money order in the amount of INR 500.00 payable to Navrachana University should accompany your order. Address :- Vasna Bhayli Road, Vadodara, Gujarat 391410.
NUV will forward all messages received through an E-mail address free of charge to your own active e-mail account.
OR
you will be provided with update on this site itself once you have registered here
Here Alumni will be updated with new events that are upcoming in the college and the Alumni will get to interact with the current students .
1.They can know what is going on in college .
Example:- events,Alumni Quiz,Alumni Meet,etc
2.They can access library to read books
And Many more benefits
Here Alumni will be updated with new events that are upcoming in the college and the Alumni will get to interact with the current students Here Alumni will interconnect with current students who want's to interconnect with the Alumni or have some doubts that they want to discuss or want to know Alumni review about a particular thing or are still confused about what to do after college so they can ask you whatever they have problem in for suggestions .


About Us
We are responsible, accountable, respectful, effective,efficient and client stewards. We promote honesty, integrity and openness in all we do. We encourage innovation to meet challenges.
Services
Wedding
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Corporate Events
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Show Up Events
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Facts
Satisfied Clients
Hours Of Support
Hard Workers
Our Portfolio
Corporate Event
Wedding
Show Up Event
Team
Dedicated Team Members.
Dennis Santana
MCDennis Santana
MCDennis Santana
MCDennis Santana
MCUpcoming Events
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