At some point, I began to fall out of love with my longtime friend, Toodledo. I didn’t want it to happen – he’d served me faithfully for years – but time and tide revealed my need for more.
The disillusionment came when Damian Castillo, aka Proximo (a prolific Toodledo user whose outstanding GTD setup was the basis for my own) revealed that he was leaving Toodledo behind:
My decision was based on personal preference and a solid focus to GTD. GTD is very simple and when implemented correctly, it allows you to get things done and be more productive. I was tired of making Toodledo work for GTD and spent way too much time fixing, tweaking, hacking it to do GTD.
I though back to my guide to todo management; I loved that little held-together-by-spit-and-glue system, but a part of me was starting to agree with Proximo. I, too, was spending too much time mending it, fixing it, improving it, etc.1
That wasn’t the only issue. I was growing dissatisfied with the UI of Toodledo (both the web app and the iOS app). Common actions – like adding subtasks – were unnecessarily difficult. Synchronization of my Saved Searches was sporadic. Each tiny issue added to my growing frustration.
And so, I began to look around.
TL;DR
I’m leaving Toodledo for OmniFocus; here are the reasons why.
The Story
I started my journey by following Proximo from Toodledo to Nirvana. That worked for a little bit – I was even excited about it – but I didn’t care for its stagnant development cycle (well into 2014, it still had an old-school iOS 5-esque UI) or the deafening silence from its developers. My excitement faded within a week and I moved on.
The next app I tried was Doit.im. It, too, was a great GTD-focused app and worked well for a time. But I didn’t love it. Something about the experience wasn’t great. Like Nirvana, it seemed like a long time had passed since its last update. My experience with Doit.im lasted longer than my experience with Nirvana, but in the end, it didn’t do it for me.2
Day after day, I kept Googling for “GTD apps.” I spent time each night looking through the App Store’s Productivity category. I didn’t find the magic bullet I was looking for.
During these searches, I did notice a name pop up time and time again: OmniFocus.
The Courtship
I remember hearing about OmniFocus (and the Omni Group‘s other products, such as OmniGraffle) all the way back in college.3 As I started to browse a bit, I was struck by one thought: “This is a beautiful app.”
In both the iOS and OS X versions of the app, it was clear that the Omni Group had taken great care in designing an experience that was beautiful, pleasing to look at, and a great UI experience.
I deliberated. Did I want to try yet another GTD system (and one that, compared to several others I’d tried, was expensive)? Did I want to effectively lock myself into the Apple ecosystem with my todo management?4
Rather rashly, I bought the iOS version and began using it. And in two weeks, I fell in love. It was simple; it was elegant; most of all, it fit GTD concepts without needing much tweaking at all. For the first time in ages, I was able to focus more on my tasks than on the system managing them.
The one piece missing was the desktop component. I wasn’t my most effective without a desktop companion to OmniFocus. That said, I kept halting myself. The version of OmniFocus that I wanted – the Professional version that had all the mouthwatering features – was $79.99. Yikes.
I deliberated some more. Finally, I bit the bullet, bought it, and didn’t look back.
In the time since, OmniFocus has become my go-to companion. It isn’t perfect, but more often than not, it just works. It’s a joy to use. It helps me focus. Most importantly, it doesn’t get in the way.
Allow me to share my specifics with you. This won’t be an authoritative post on OmniFocus itself; rather, it will be the story of how I’ve made it work for me.
Initial Considerations
- Much of my OmniFocus setup is reliant on the Omni Sync Server, which, among other things, allows tasks to synchronize nicely between the iOS and OS X versions of the app.
- I ended up purchasing the Professional Version because of Focus Mode, Custom Perspectives, and Applescript Support. Be aware that the Standard Version does not include these features.
- A healthy understanding of GTD is necessary to understand this material and is not something I provide here. Googling for “GTD” should get you going.
Projects
Projects in OmniFocus are exactly what they sound like: grouped sets of tasks geared at accomplishing a discreet purpose. Additionally, OmniFocus carries the nice ability to group projects into folders, which allows for more fine-grained tuning.
Here’s my setup:
- Work Folder
- _Next Actions: a Single Action project that holds my independent work tasks that don’t have due dates.
- _Scheduled: a Single Action project that holds my independent work tasks that have due dates.
- Projects Folder: contains all of my work projects (and their associated tasks).
- Personal Folder
- _Next Actions: a Single Action project that holds my independent personal tasks that don’t have due dates.
- _Scheduled: a Single Action project that holds my independent personal tasks that have due dates.
- Projects Folder: contains all of my personal projects (and their associated tasks).
Additionally, I employ two other Single Action projects that conform to GTD principles: Someday/Maybe and Ticklers.
Notice that I have _Next Actions and _Scheduled projects for both my work and personal life. I do this for two reasons:
- It allows me to separate those tasks that have hard due dates and those that don’t.
- It allows me to split work from personal life – using OmniFocus’ Focus Mode, I can choose what folders I want to focus on.
Flags
Flags are much like Toodledo’s stars; as such, I use them in a similar manner: when I flag a task, I’m saying that I want to tackle it today. Tasks that I flag don’t generally have due dates; rather, they are pulled from the “work on them whenever you want to” pool for today.
Perspectives
Perspectives in OmniFocus are custom views that allow you to view tasks that fit specific criteria. By default, OmniFocus comes with a set of base Perspectives:
- Inbox: New tasks are created here by default.
- Contexts: Displays all contexts stored within OmniFocus, as well as the tasks that use those Contexts.
- Projects: Displays all projects stored within OmniFocus.
- Changed: Displays all recently changed items (tasks, projects, etc.).
- Flagged: Displays all tasks that have their flag set.
- Completed: Displays all recently completed tasks.
- Review: Displays OmniFocus’ project review, in which users perform their daily review.
In addition to these, I’ve created several of my own custom perspectives, which are detailed here. Note that the custom icons I use were pulled from the OmniFocus Perspective Icons repository on GitHub.
Stalled
This perspective shows any projects that don’t have any actions assigned to them. This allows me to do a quick mental check – is there more to that project, or should I close it out?
Waiting
This perspective makes use of a context called “Waiting For” – this allows me to quickly see all tasks that I’m waiting on a response for.
Delegated
Similar to my Waiting perspective, this one gives me a quick view into the tasks that I’ve delegated to others.
Candidates
This perspective shows my available tasks that don’t have due dates. These are the tasks that are sitting around, ready for me to address them at my leisure. Notice that I have elements under the Focus drop down; in particular, I’ve excluded any _Scheduled tasks because I only want to see those that are available at my leisure.
Hotlist
This is my primary perspective; it allows me to see any tasks due/overdue and any flagged tasks (thus allowing me to get a handle on what I need to be working on today).
My Flow
With these custom perspectives in place, here is the flow I follow on a regular basis:
- Inbox. If there are new tasks in my Inbox, I assign a context to them and assign them to a project. This gets them out of the Inbox and into the rest of the system.
- Stalled. Next, I check this perspective to see if there are any projects that have stalled (i.e., have no actions left). I quickly deal with them, either by adding tasks or closing the project.
- Waiting. Waiting reminds me of the owned-by-others tasks that I need to keep an eye on. If I need to follow up on any that day, I flag them.
- Delegated. Next, I check this perspective to see if I need to act on any tasks that I’ve assigned to others. If I do that day, I flag them.
- Forecast. I check this perspective to see if any tasks have suddenly become available today (i.e., today is their “Defer Until” date). Of those that do become available, I flag the ones I want to work on today.
- Candidates. This view contains any available tasks that were available before today, but which I did not choose to act on. Same drill: I flag any tasks that I want to work on today.
- Hotlist. This is the final stop: all the tasks that I’ve flagged, plus any due/overdue ones appear here. From this list, I get to work.
Applescript Support
I mentioned in a previous post that I have a Hazel action that continually scans my nvALT notes for [ x ]
symbols and adds their contents to OmniFocus. Allow me to share.
Moving Forward
OmniFocus has done the job so far. I will continue to revise my flow over time, but for now, I’m enjoying my return to GTD’s central tenant of stress free productivity.
- I have often been lovingly told that I spend more time on the system than I do on my work itself. I don’t buy it. :) ↩
- I should point out here that I have nothing personal against Nirvana, Doit.im, or any other GTD app. You should do your due diligence with each. ↩
- Of the few memories I have, I remember thinking, “It’s just some elitist program for the Mac.” Interesting how life turns out. ↩
- Although I lead a mostly Apple-driven life, I still have a time-to-time worry about being completely hooked to it. ↩


This user guide describes Google Earth Version 5 and later.
Welcome to Google Earth! Once you download and install Google Earth, your computer becomes a window to anywhere, allowing you to view high-resolution aerial and satellite imagery, photos, elevation terrain, road and street labels, business listings, and more. See Five Cool, Easy Things You Can Do in Google Earth.
You can view a printable version of this user guide (free Adobe Reader required, English only).
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Use the following topics to learn Google Earth basics - navigating the globe, searching, printing, and more:
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For other topics in this documentation, see the table of contents (left) or check out these important topics:
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The following diagram describes some of the features available in the main window of Google Earth:
Click the following toolbar buttons to...
| Conceal or the display the side bar | Display sunlight across the landscape |
| Add a placemark for a location | View the sky, moon and planets |
| Add a polygon | Measure a distance or area size |
| Add a path (line or lines) | Email a view or image. |
| Add an image overlay on the Earth | Print the current view of the Earth |
| Record a tour | Show the current view in Google Maps |
| Display historical imagery |
Want to jump in and start having fun with Google Earth? Try any of the the following:
View samples of other things you can see and do in Google Earth.
This version of Google Earth has a number of exciting new features, including:
For information about installing Google Earth, visit the Google Earth Help Center.
To use Google Earth on a Windows PC, you must have at least the following:
To use Google Earth on a Mac, you must have at least the following:
Regarding Linux, Google Earth has been tested on Ubuntu version 6.06, but certainly works on others. Hardware requirements include:
Please make sure your system has properly-configured OpenGL drivers. If Google Earth appears to be slow and unresponsive, it is likely that your system needs different video drivers.
You can change the language displayed in Google Earth. To do this in Windows or Linux:
To change your language on the Mac:
Google Earth Version 5 supports the following languages:
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In addition to this user guide, Google offers a number of resources that can help you use and enjoy Google Earth. These include:
Note - This section is relevant to Google Earth Pro and EC users.
When you first start Google Earth EC, the Select Server dialog box appears. This enables you to choose the appropriate server settings. Settings in this dialog box include:
To add a database (server) that you can log into in Google Earth EC, click File > Add Database. To log out of a server in Google Earth Pro or EC, choose File > Server Log Out. To log in to a server, choose File > Server Login and choose the settings described above.
Tip - When you add another database (click File > Add Database), Google Earth logs into new database and maintains a connection to the existing database. Using this method, you can view data from up to eight databases simultaneously.
If you have Google Earth Pro or EC installed, you can deactivate this software. When you deactivate Google Earth Pro or EC, the license is removed so you can use the Pro or EC license on another computer.
To deactivate Google Earth Pro or EC, click Help > Deactivate Google Earth Pro/EC license.
Tip - When the Google Earth Pro/EC login and password appear, write these down so you can use them later to activate the software on this or another computer.
You can view fascinating content from the KML Gallery such as 3D models of space satellites, a biography of Bob Marley, a grand prix racing tour, Jane Austen's life and works and much more. To view such content:
Note - The Add Content button only appears in Google Earth version 4.2 and later. However, you can access the aforementioned content in older versions by going to the KML Gallery directly in your web browser.
Tip - Follow a tutorial on this subject or play the video below (English only).
In Google Earth, you see the Earth and its terrain in the 3D viewer. You can navigate through this 3D view of the globe in several ways:
You can also manipulate your view of the earth by tilting the terrain for perspectives other than a top-down view. Finally, you can reset the default view for a north-up, top-down view wherever you are.
To get started navigating with your mouse, simply position the cursor in the middle of the 3D viewer (image of the earth), click one of the buttons (right or left), move the mouse and note what happens in the viewer. Depending upon which mouse button you press, the cursor changes shape to indicate a change in behavior. By moving the mouse while pressing one of the buttons, you can:
The following table describes all the actions you can accomplish using the mouse. See
also Keyboard and Mouse Controls:
| Move the view in any direction (north, south, east, or west) |
To move the view, position the mouse cursor on the viewer and press the LEFT/main
mouse button. Notice that the cursor icon changes from an open hand to a closed hand
. Pull the viewer as if the hand cursor is like a hand on an actual globe, and
you want to drag a new part of the earth into view. You can drag in any direction to reveal new parts of the globe, and you can even drag in circular motions. Once you are at ground level, you can move around as if you were walking by using the W, A, S, D or arrow keys. You can also use the move joystick. |
| Drift continuously across the Earth |
If you want to drift continuously in any direction, hold the left/main mouse button
down. Then, briefly move the mouse and release the button, as if you are
"throwing" the scene. Click once in the 3D viewer to stop motion. |
| Zoom in |
There are a number of ways to zoom in with the mouse.
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| Zoom out |
There are a number of ways to zoom out with the mouse.
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| Tilt the view |
If your mouse has a either middle button or a depressible scroll wheel, you can tilt
the view by depressing the button and moving the mouse forward or backward. If your
mouse has a scroll wheel, you can tilt the view by pressing the SHIFT key and
scrolling. You can also press Shift and the left mouse button and drag. Note that
crosshairs appear and that your view tilts from this point. See Tilting and Viewing Hilly Terrain for more information. |
| Look | To look around from a single vantage point, as if you were turning your head, press Ctrl and left mouse button and drag. |
| Rotate the view |
If your mouse has either a middle button or a depressible scroll wheel, you rotate
the view by clicking on the middle button and moving the mouse to the left or right.
You can also press Shift and the left mouse button and drag. Note that crosshairs
appear and that your view rotates around this. You can also use the CTRL ( on the Mac) key in combination with the scroll wheel to rotate the view. Press CTRL ( on the Mac) and scroll UP to rotate clockwise, CTRL ( on the Mac) + scroll DOWN to rotate counter-clockwise. See Tilting and Viewing Hilly Terrain for more information. |
| Interact with 3D buildings | Learn more. |
| Mouse wheel | See above. To change these settings, click Tools > Options > Navigation (on the Mac: Google Earth > Preferences > Navigation > Mouse Wheel Settings). Move the slider to set how fast or slow your viewpoint of the earth zooms in or out. Check Invert Mouse Wheel Zoom Direction to reverse the direction of zooming when you use the mouse wheel. |
| Other controllers | (Windows and Linux) Tools > Options > Navigation > Navigation Mode > Pan and Zoom. (on the Mac: Google Earth > Preferences > Navigation > Non-mouse controller settings). If you use a joystick or other non-mouse controller, you can also change how perspective moves in the 3D viewer under Non-mouse controller settings. Choose User-Based to move your particular vantage point or Earth Based to move the globe. Check Reverse Controls to reverse the actions of the joystick. |
To view and use the navigation controls, move the cursor over right corner of the 3D viewer. After you start Google Earth and move the cursor over this area, the navigation controls fade from sight when you move the cursor elsewhere. To view these controls again, simply move the cursor over the right corner of the 3D viewer.
Note - If the navigation controls do not appear when you move the cursor over the right corner of the 3D viewer, click View > Show Navigation > Automatically and try again.
To hide or show the compass icon in the 3D viewer, click View > Compass. See also Showing or Hiding Items in the 3D Viewer.
The Google Earth navigation controls offer the same type of navigation action that you can achieve with mouse navigation. In addition, you can use the controls to zoom and swoop (perhaps for a perspective on terrain) or to rotate your view. The following diagram shows the controls and explains their functions.
You can also use the keyboard to control navigation. See 3D Viewer Navigation in Keyboard Controls for more information. |
Learn how to tilt using your mouse.
When you first start Google Earth, the default view of the earth is a "top-down" view, which is straight down.
The following figures show a comparison view of Mount Shasta in California with and without tilt enabled.
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Top down view |
Tilted view |
You can adjust the appearance of the terrain if you would like the elevation to appear more pronounced. To do this, click Tools > Options > 3D View from the Tools menu (for the Mac, choose Google Earth > Preferences > 3D View) and change the Elevation Exaggeration figure. You can set it to any value from 1 to 3, including decimal points. A common setting is 1.5, which achieves an obvious yet natural elevation appearance. See Viewing Preferences for more information.
You can navigate under the surface of the ocean just as you can anywhere else in Google Earth (see above). This means that you can explore sea floor terrain, such as deep ocean trenches.
You can hide or display the surface of the ocean. To do this, click View > Water Surface. You can view this visual effect from above or below this surface. Note that you can navigate under the ocean surface when it is displayed.
Tip - To view exciting content related to oceans, in the Layers panel, click Ocean.
After tilting and rotating the 3D view in Google Earth, you can always quickly reset to the default north-up and top-down view. To do this:
Consider also using the Overview Map Window as a way to provide an additional perspective on your location, especially when you are zoomed in to unfamiliar places.
You can set the starting (default) location that appears each time you launch Google Earth. To do this, navigate to the appropriate location and perspective and click View > Make this my start location.
You can display the sun and sunlight across the landscape, To do this:
Tip - This feature often produces dramatic effects when you are viewing hilly or mountainous terrain.
Google Earth displays the approximate date of displayed imagery in the status bar at the bottom in the 3D viewer. As you mouse over a location, this information depicts the date of the imagery. Note that this date is only approximate.
Updated on


Hi My Name Is Levi Chan and on discord my tag is Levi Chan#3508 and my github Levi-kun!
Another place you can contact me is Twitter!If you would like to dm me then go ahead!


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Perl Weekly
Issue #232 - 2016-01-04 - Try Perl in your browser!
latest | archive | by Gabor Szabo
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Hi there!
The new year starts quite well with a new, web-based tool teaching Perl. Try it! Help improve it!.
In addition yours truly is looking for people to write articles for the Perl Maven site and he even offers you money for that. So now you can combine your love of writing about Perl with earning some money.
Enjoy your year!
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Announcements
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Testing
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Fast monitoring scripts development
by Alexey Melezhik (MELEZHIK)
At first I thought that Alexey is a pirate who keeps talking about sparrow, but apparently that's a bird. So what is the connection between a bird and web site monitoring? Is that the good sight? Being light-weight? Or that it never seem to rest?
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Code
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Web
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Easy PSGI
by Dave Cross (DAVECROSS)
You don't need to port CGI programs to Dancer, Mojolicious, or Catalyst just in order to start using PSGI. You can easily switch to PSGI, get the advantages it provides and keep using your existing CGI code.
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CPAN
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The CPAN Pull Request Challenge for 2016
by Neil Bowers (NEILB)
Hmm, if I understand CPAN PR is back for another year, but this time only distributions of CPAN authors who opt-in will be included. So if you are a CPAN author and you'd like to get Pull Requests, then talk to Neil.
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Which CPAN distributions have a github repo?
by Neil Bowers (NEILB)
It's interesting how Neil and I keep touching the same subjects, but in addition to the simple question stated in the title, Neil also looks at the place of the distribution in the 'CPAN river' or in other words, How the importance of distributions and the availability of GitHub repositories correspond.  In case you need dose of fuming.
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Grants
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Perl 6
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Rakudo Perl 6 was released on Christmas
by Sinan Unur (NANIS)
Sinan, the representative of the dark side with his Microsoft Visual Studio 2015 at hand took the new toy to a spin. It crashed and burned (what else would you expect from a butterfly hitting windows), but Sinan seems to be happy with the results.
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Christmas Came, Bah Humbug
by JT Smith (RIZEN)
I don't like the title, but I the responses from Liz are great and I hope we'll see more and more real-world problems solved with Perl 6 in a better way than in some of the other languages. I am especially looking at you 'threading made easy'. Oh and more comments on Reddit.
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Other
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The Popularity of Perl in 2015
by Gabor Szabo (SZABGAB)
Thought the title should be probably 'the popularity of Perl-related sites' based on 3 sources: Perl Weekly subscribers; Alexa, and Google Analytics of search.cpan.org, blogs.perl.org, MetaCPAN, and Perl Maven.
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Weekly collections
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Not Just Perl
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Strategic rebasing
by Carl Mäsak
How to write a test for an already fixed bug, but also make sure it fails without the fix.
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You know, you could get the Perl Weekly right in your mailbox. Every Week. Free of charge!
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Uber May Begin Recording Audio During Rides
For safety purposes.
by Isaac RouseAccording to reports, rideshare app Uber will begin recording audio during rides in the United States as a new safety precaution. The initiative will be pushed as a new feature which will inform riders that their ride may be recorded.
The feature is slated to be tested in cities in Brazil and Mexico in December and will share recordings with the police upon their request, according to Reuters. The move comes following several reports throughout the years of sexual assault during Uber rides, which has resulted in several lawsuits against the company.
Reports state neither riders nor drivers will be able to listen to these recordings and will be encrypted for privacy purposes. Following their trip, customers will be able to immediately report a safety incident and send their recording to Uber support, who will then look into the situation. Uber has yet to make a comment. The company has also recently launched a panic button for customers in the United States as another precautionary measure.
In other Uber news, the company was recently fined $650 million USD for classifying drivers as independent contractors.


These instructions will take you through the process of creating your first forms-angular application, which will consist of an input form for a simple model, a listing showing data already on file, search, menus and a simple report with several features including outputting to PDF.
If you want a sneak preview of what the input form will look like when you have finished take a look at one of the examples - there is a simple input form here and a more feature-filled one here.
(if you need to - you may already have these applications / packages installed)
Please note: the "just a few minutes" in the title starts from after these are installed!
npm install -g express
npm install -g bower
You have the option at this point (if you are really lazy and you aren't worried about
stuff happening in scripts you have never seen) you can do
wget https://raw.github.com/mchapman/forms-angular/master/app/partials/get-started/get-started.sh && bash get-started.sh
.
If you want to understand a bit more about how the example app works you are better off working through
the instructions below.
Several other packages / components are installed by npm / bower, and some of them need to be understood before you can make best use of forms-angular (though you can do simple forms without). forms-angular is based on what has become known as the MEAN stack - made up of Mongo, Express and Node (all installed above) and Angular JS. All of these come with extensive documentation on their websites.
In addition to the MEAN stack, some grasp of Mongoose is a good idea for all but the simplest of forms, and knowledge of Twitter Bootstrap is recommended.
and comment out any lines that start with app.get(
:
// app.get('/', routes.index);
// app.get('/users', user.list);
Create the following files:
public/index.html
public/myapp.js
public/partials/index.html
public/partials/base-edit.html
public/partials/base-list.html
public/partials/base-report.html
node app.js
Visit http://<IP_ADDRESS>:3000
in your browser.


I'm A Celeb Recap Day 1
by Tuathla LuceyHere’s what the celeb campmates are getting up to Down Under…
We're only one day into the Jungle action and it hasn't left us disappointed!
We've already seen tears, creepy crawlies and friendships start to form.
It was also the much-awaited return of Ant McPartlin to I'm A Celebrity... Get Me Out Of Here.
The Celebs drove straight into the deep end with a swimming challenge and the Plank Challenge.
We saw an iconic duo form as Nadine & Caitlyn bonded after skydiving into the jungle
Then we saw the celebs settle into the jungle and get ready for their first dinner in the camp.
John Barrowman revealed a new look for the Xtra Camp show.
He wasn't the only celeb to look different last night, as Ant McPartlin was seen sporting an arm full of new tattoos that he had done during his year off.
Here are our favourite tweets from last night's show;
I'm A Celeb returns tonight from 9PM on ITV.
I'm A Celeb updates brought to you by Eternal Beauty Salons.


MARY SHELLEY'S FRANKENSTEIN A film review by Mark R. Leeper Copyright 1994 Mark R. Leeper
Capsule review: Unevenly-paced rendition of the famous horror story takes far fewer liberties than most versions, but still does not really deserve to call itself "Mary Shelley's." Kenneth Branagh has a few bizarre images worth seeing, but much of his film lacks the spark really to capture the imagination of general audiences. Fans of the story, however, will find the film rewarding. Rating: low +2 (-4 to +4) (This review contains spoilers for people who do not already know the plot of the original novel. I don't believe they would hurt the enjoyment of the film, but reader discretion is advised.)
The novel FRANKENSTEIN has been filmed in at least eleven previous English-language versions (listed at the end of this review). But perhaps it is more accurate to say that it has failed to be filmed for nine of those versions. Most adaptations take only an idea or two from the novel. They stitch those ideas together with ideas more from the filmmaker in attempts to infuse the story with the spark of life on the screen. The problem is that the novel has almost no visually dramatic images beyond that of the creature itself. The original novel shies away from describing in any detail the process for creation. This is in part because Frankenstein, who in the novel tells the story, does not want to give away the secret. It also worked out conveniently for the teenaged Mary Shelley, who had only a slight acquaintance with science and could not realistically describe such a process herself. As a result the novel, while exciting, is extremely non-visual. DRACULA, on the other hand, was written by a man in the theater professionally, and that horror novel is extremely dramatic visually. The treatment DRACULA has gotten at the hands of filmmakers is far more shameful since a filmmaker has much more to work with.
But in adapting FRANKENSTEIN to the screen a filmmaker is always faced with the dilemma that the more accurate a film version is to the book, the more ponderous and less dramatic the film must be. Calvin Floyd's VICTOR FRANKENSTEIN (TV title: TERROR OF FRANKENSTEIN) is the only version I would call a faithful adaptation of the novel. But that film, an ambitious Swedish-Irish co-production, turned out impenetrably static and dull even for a Swedish film. Dan Curtis made a middlingly faithful version for television in 1972, and most other filmmakers have not even tried to be faithful to the book, either because of the nature of the book or because they have just been sure that they could improve on Shelley. But adapting this novel to the screen in a way that is both faithful and entertaining is a real puzzle comparable to, say, giving modern audiences something they can enjoy from Shakespearean plays like HENRY V or MUCH ADO ABOUT NOTHING.
So Kenneth Branagh has taken on the ambitious task of adapting FRANKENSTEIN to the screen in a reasonably faithful manner. Sadly, this film will not be his crowning achievement, but it is not a disaster either. People looking for excitement on the screen and people who wanted to see Shelley's novel accurately done will probably agree that this movie is just okay, but nothing great. But, in fact, Branagh has a sort of a moral victory on both fronts. He perhaps has created the second most faithful screen adaptation and still has managed to make it moderately entertaining. And fans of the horror film will find he has infused some of the most interesting and bizarre original visual images since James Whale did the 1931 version.
The script does take liberties with the original story but generally these changes show the expert hand of Frank Darabont as the co-writer. Darabont, who wrote and directed THE SHAWSHANK REDEMPTION, has a remarkable ability to see minor strategic revisions to a story that have maximum impact in improving the resulting story. For example, modern readers of the novel are usually surprised that Frankenstein is not more concerned when his creature escapes and disappears. By the minor addition of setting the creation during a bad cholera epidemic, the script explains how Frankenstein is able to find "parts" as plentiful as he does, adds some visually exciting street scenes, and explains why Frankenstein had reasonable motivation for believing that his escaped creature will perish on his own. The epidemic is a very minor liberty which pays major dividends to the story-telling. With the exception of purists, most people should appreciate that the story works better with the change. There is a sequence toward the end of the film that is a major departure from the novel. It picks up the interest in a section of the story that would be slow and pays homage to another cinematic Frankenstein story.
Generally Branagh's style in telling the classic story is to take less dramatic scenes in the novel and to goose them up so that they are considerably more engaging in film version. For example, while the ship in the framing story just quietly gets locked by ice, the film version has an exciting scene of the ship foundering as the ice closes in on it while in the background huge icebergs rear out of the water. Time and again this film has scenes from the novel but gives them more dramatic interpretations, which is exactly what the story needed. Scenes that would normally have some dramatic impact, like the creation scene, are further energized by short quick cuts.
In fact, the creation scene is a study all by itself. The laboratory that is the setting seems strangely organic instead of mechanistic as is the case in many film versions. Mammoth bags of electric eels pulsate over the body. As we approach the instant of creation Branagh uses a frenzy of shorter and shorter cuts, then at the instant of the creation the pace changes to a long languorous shot.  It is amazing what you can do with editing. Moments later we see the creature pulled from its watery artificial womb amid a torrent of spilling fluid, again a very powerful birth image. The laboratory mechanisms are as bizarre for us today as Kenneth Strickfaden's electrical gizmos and Jack Pierce's neck bolts must have been to 1931 audiences. Whatever faults the film might have, and it certainly has them, the creation sequence makes up for.
The set design is often sumptuous. Much of what we see of Frankenstein's palatial family home takes place in a huge front hall dominated by a mammoth stairway that is at once both beautiful and dangerous-looking, another very symbolic image. Street scenes have a realistic feel.
Some of the script touches seem not well thought-out. It is tempting to say these touches were made after Darabont's work since they seem uncharacteristic of the care he seems to take with a script, but of course there is no way to tell for sure. At one point Frankenstein writes in his journal that in the morning he will destroy this journal. So why is he bothering to write? Did he have a surfeit of ink? In another sequence Frankenstein is standing in the middle of his home's enormous empty front lawn. He turns to the house, but from nowhere we see the previously undetected creature reach out his hand and grab Frankenstein. What did he do, burrow up from underground? Hoe do you sneak up on someone standing in an open field?
Most film versions interpret the creature as a sort of zombie--the resurrected dead. Shelley saw the creature more as a baby in the artificially-created body of a large and powerful man. Branagh really gives the creature both aspects and walks a tightrope between them, much as the Karloff films did. The creature sees the world with fresh eyes, but can draw on memories of a former life. Branagh's version has Frankenstein initially inspired by the wish to bring his mother back from the dead, so he himself thinks of his work as resurrection as much as it is creation. In another departure in interpretation, Shelley's creature was powerfully strong, but only humanly so. Branagh's version chooses to give him superhuman strength. Most film versions do this, of course, but VICTOR FRANKENSTEIN and the Dan Curtis version do not.
As Frankenstein, Branagh is intense and angry. Unlike the moody Colin Clive or even Peter Cushing, Branagh is vital and alive in the role. Top billing goes to Robert De Niro as the creature. It is a casting decision that I still do not understand, unless it was a role that De Niro himself was anxious to play. I do not think it is as hard to play the creature well as most people think it is. I have always contended that it takes far more acting talent to play believably a Georgia cotton farmer than to play Frankenstein's creature. The creature should have some humanity, but also some feel of being alien. But as long as an actor gives him that, not much else he can do with the role can be wrong. The creature needs imposing physically--which De Niro is not--and beyond that just has to be a good creative actor. Except for stature problems De Niro is fine in the role, but is over- qualified for the role that should have gone to encourage the career of promising but less recognized actor. The surprise of the film is John Cleese in a rare serious role. He is terrific as an aging scientist who could have created life himself but who lacked the final spark of courage. His Dr. Waldman is a man broken by his own cowardice at taking that one last step (at least that is my interpretation). His is the most interesting character in the film, ironically. Helena Bonham-Carter is her usual pouty character as Elizabeth. Tom Hulce is just a little too naughty-schoolboy-ish to play Henry Clerval.
This interpretation does not always work, but at its best it is a vital interpretation of the Shelley book. I would have to give Branagh's MARY SHELLEY'S FRANKENSTEIN a low +2 on the -4 to +4 scale.
Previous film English language versions with the actor who played the creature:
- FRANKENSTEIN (1910)--Charles Ogle - LIFE WITHOUT SOUL (1915)--Percy Darrell Standing (I have not seen it) - FRANKENSTEIN (1931)--Boris Karloff - CURSE OF FRANKENSTEIN (1957)--Christopher Lee - HORROR OF FRANKENSTEIN (1970)--David Prowse - FRANKENSTEIN (1972)--Bo Svenson - FRANKENSTEIN: THE TRUE STORY (1974)--Michael Sarazan - ANDY WARHOL'S FRANKENSTEIN (1974)--Carlo Mancini - VICTOR FRANKENSTEIN (a.k.a TERROR OF FRANKENSTEIN) (1975)--Per Oscarsen - FRANKENSTEIN (1984)--David Warner - FRANKENSTEIN (1993)--Randy Quaid
Mark R. Leeper<EMAIL_ADDRESS>.
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Admiral Horatio Nelson and Admiral Pierre
Villeneuve fight the Battle of Trafalgar using
the children's card game War to determine the
winner of the naval engagement. Unlike their
1805 battle, Admiral Villeneuve has a fighting
chance with cards. Will Admiral Nelson on
his flagship HMS Victory destroy Admiral
Villeneuve's French and Spanish fleet?
Open the console to play a War card game


Congratulations on reaching the final project of the Robotics Nanodegree!
Previously, you worked on the Semantic Segmentation lab where you built a deep learning network that locates a particular human target within an image. For this project, you will utilize what you implemented and learned from that lab and extend it to train a deep learning model that will allow a simulated quadcopter to follow around the person that it detects!
Most of the code below is similar to the lab with some minor modifications. You can start with your existing solution, and modify and improve upon it to train the best possible model for this task.
You can click on any of the following to quickly jump to that part of this notebook:
We have provided you with a starting dataset for this project. Download instructions can be found in the README for this project's repo. Alternatively, you can collect additional data of your own to improve your model. Check out the "Collecting Data" section in the Project Lesson in the Classroom for more details!
import os
import glob
import sys
import tensorflow as tf
from scipy import misc
import numpy as np
from tensorflow.contrib.keras.python import keras
from tensorflow.contrib.keras.python.keras import layers, models
from tensorflow import image
from utils import scoring_utils
from utils.separable_conv2d import SeparableConv2DKeras, BilinearUpSampling2D
from utils import data_iterator
from utils import plotting_tools
from utils import model_tools
In the Classroom, we discussed the different layers that constitute a fully convolutional network (FCN). The following code will introduce you to the functions that you need to build your semantic segmentation model.
The Encoder for your FCN will essentially require separable convolution layers, due to their advantages as explained in the classroom. The 1x1 convolution layer in the FCN, however, is a regular convolution. Implementations for both are provided below for your use. Each includes batch normalization with the ReLU activation function applied to the layers.
def separable_conv2d_batchnorm(input_layer, filters, strides=1):
output_layer = SeparableConv2DKeras(filters=filters,kernel_size=3, strides=strides,
padding='same', activation='relu')(input_layer)
output_layer = layers.BatchNormalization()(output_layer)
return output_layer
def conv2d_batchnorm(input_layer, filters, kernel_size=3, strides=1):
output_layer = layers.Conv2D(filters=filters, kernel_size=kernel_size, strides=strides,
padding='same', activation='relu')(input_layer)
output_layer = layers.BatchNormalization()(output_layer)
return output_layer
The following helper function implements the bilinear upsampling layer. Upsampling by a factor of 2 is generally recommended, but you can try out different factors as well. Upsampling is used in the decoder block of the FCN.
def bilinear_upsample(input_layer):
output_layer = BilinearUpSampling2D((2,2))(input_layer)
return output_layer
In the following cells, you will build an FCN to train a model to detect and locate the hero target within an image. The steps are:
encoder_block
decoder_block
Create an encoder block that includes a separable convolution layer using the separable_conv2d_batchnorm()
function. The filters
parameter defines the size or depth of the output layer. For example, 32 or 64.
def encoder_block(input_layer, filters, strides):
output_layer = separable_conv2d_batchnorm(input_layer, filters, 1)
output_layer = separable_conv2d_batchnorm(output_layer, filters, strides)
return output_layer
The decoder block is comprised of three parts:
def decoder_block(small_ip_layer, large_ip_layer, filters):
upsampled = bilinear_upsample(small_ip_layer)
concatenated = layers.concatenate([upsampled, large_ip_layer])
output_layer = separable_conv2d_batchnorm(concatenated, filters, 1)
output_layer = separable_conv2d_batchnorm(output_layer, filters, 1)
return output_layer
Now that you have the encoder and decoder blocks ready, go ahead and build your FCN architecture!
There are three steps:
def fcn_model(inputs, num_classes):
# Add Encoder Blocks.
# Remember that with each encoder layer, the depth of your model (the number of filters) increases.
encode1 = encoder_block(inputs, 16, 2)
encode2 = encoder_block(encode1, 32, 2)
# Add 1x1 Convolution layer using conv2d_batchnorm().
layer3 = conv2d_batchnorm(encode2, 64, kernel_size=1, strides=1)
# Add the same number of Decoder Blocks as the number of Encoder Blocks
decode1 = decoder_block(layer3, encode1, 32)
decode2 = decoder_block(decode1, inputs, 16)
return layers.Conv2D(num_classes, 1, activation='softmax', padding='same')(decode2)
The following cells will use the FCN you created and define an ouput layer based on the size of the processed image and the number of classes recognized. You will define the hyperparameters to compile and train your model.
Please Note: For this project, the helper code in data_iterator.py
will resize the copter images to 160x160x3 to speed up training.
"""
DON'T MODIFY ANYTHING IN THIS CELL THAT IS BELOW THIS LINE
"""
image_hw = 160
image_shape = (image_hw, image_hw, 3)
inputs = layers.Input(image_shape)
num_classes = 3
# Call fcn_model()
output_layer = fcn_model(inputs, num_classes)
Define and tune your hyperparameters.
learning_rate = 0.01
num_samples = 4750
batch_size = 30
num_epochs = 20
steps_per_epoch = int(num_samples/batch_size)
validation_steps = 50
workers = 2
"""
DON'T MODIFY ANYTHING IN THIS CELL THAT IS BELOW THIS LINE
"""
# Define the Keras model and compile it for training
model = models.Model(inputs=inputs, outputs=output_layer)
model.compile(optimizer=keras.optimizers.Adam(learning_rate), loss='categorical_crossentropy')
# Data iterators for loading the training and validation data
train_iter = data_iterator.BatchIteratorSimple(batch_size=batch_size,
data_folder=os.path.join('..', 'data', 'train'),
image_shape=image_shape,
shift_aug=True)
val_iter = data_iterator.BatchIteratorSimple(batch_size=batch_size,
data_folder=os.path.join('..', 'data', 'validation'),
image_shape=image_shape)
logger_cb = plotting_tools.LoggerPlotter()
callbacks = [logger_cb]
model.fit_generator(train_iter,
steps_per_epoch = steps_per_epoch, # the number of batches per epoch,
epochs = num_epochs, # the number of epochs to train for,
validation_data = val_iter, # validation iterator
validation_steps = validation_steps, # the number of batches to validate on
callbacks=callbacks,
workers = workers)
# Save your trained model weights
weight_file_name = 'model_weights'
model_tools.save_network(model, weight_file_name)
Now that you have your model trained and saved, you can make predictions on your validation dataset. These predictions can be compared to the mask images, which are the ground truth labels, to evaluate how well your model is doing under different conditions.
There are three different predictions available from the helper code provided:
# If you need to load a model which you previously trained you can uncomment the codeline that calls the function below.
# weight_file_name = 'model_weights'
# model = model_tools.load_network(weight_file_name)
The following cell will write predictions to files and return paths to the appropriate directories.
The run_num
parameter is used to define or group all the data for a particular model run. You can change it for different runs. For example, 'run_1', 'run_2' etc.
run_num = 'run_1'
val_with_targ, pred_with_targ = model_tools.write_predictions_grade_set(model,
run_num,'patrol_with_targ', 'sample_evaluation_data')
val_no_targ, pred_no_targ = model_tools.write_predictions_grade_set(model,
run_num,'patrol_non_targ', 'sample_evaluation_data')
val_following, pred_following = model_tools.write_predictions_grade_set(model,
run_num,'following_images', 'sample_evaluation_data')
Now lets look at your predictions, and compare them to the ground truth labels and original images. Run each of the following cells to visualize some sample images from the predictions in the validation set.
# images while following the target
im_files = plotting_tools.get_im_file_sample('sample_evaluation_data','following_images', run_num)
for i in range(3):
im_tuple = plotting_tools.load_images(im_files[i])
plotting_tools.show_images(im_tuple)
# images while at patrol without target
im_files = plotting_tools.get_im_file_sample('sample_evaluation_data','patrol_non_targ', run_num)
for i in range(3):
im_tuple = plotting_tools.load_images(im_files[i])
plotting_tools.show_images(im_tuple)
# images while at patrol with target
im_files = plotting_tools.get_im_file_sample('sample_evaluation_data','patrol_with_targ', run_num)
for i in range(3):
im_tuple = plotting_tools.load_images(im_files[i])
plotting_tools.show_images(im_tuple)
Evaluate your model! The following cells include several different scores to help you evaluate your model under the different conditions discussed during the Prediction step.
# Scores for while the quad is following behind the target.
true_pos1, false_pos1, false_neg1, iou1 = scoring_utils.score_run_iou(val_following, pred_following)
print("IOU 1 = {}".format(iou1))
# Scores for images while the quad is on patrol and the target is not visable
true_pos2, false_pos2, false_neg2, iou2 = scoring_utils.score_run_iou(val_no_targ, pred_no_targ)
print("IOU 2 = {}".format(iou2))
# This score measures how well the neural network can detect the target from far away
true_pos3, false_pos3, false_neg3, iou3 = scoring_utils.score_run_iou(val_with_targ, pred_with_targ)
print("IOU 3 = {}".format(iou3))
# Sum all the true positives, etc from the three datasets to get a weight for the score
true_pos = true_pos1 + true_pos2 + true_pos3
false_pos = false_pos1 + false_pos2 + false_pos3
false_neg = false_neg1 + false_neg2 + false_neg3
weight = true_pos/(true_pos+false_neg+false_pos)
print(weight)
# The IoU for the dataset that never includes the hero is excluded from grading
final_IoU = (iou1 + iou3)/2
print(final_IoU)
# And the final grade score is
final_score = final_IoU * weight
print(final_score)


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Instances at a Glance
Simple Instances and Scale
In addition to position we can also change the scale of our instances. Here we see that unlike our original examples, we have now applied a scale operation to our instances. If you open the network you’ll see a constant CHOP is merged with our position information. Here we provide only a single scale value, and it modifies all instances in the same manner.
Take a moment to look inside of the geo1 COMP. You should notice that our original SOP is a box. When working with instances it is often helpful to think about your template geometry (the geometry that will be instanced), and to consider how you want it to behave / respond to transformations.
Finally, note that on the Instance page of the geo1 COMP, the parameters for “Scale X”, “Scale Y” and “Scale Z” all point to matching channel names. Names matter, and if we change the names in our constant1 CHOP our instances will break. Ultimately you get to choose how you name these elements, so make sure to be thoughtful and use names that are meaningful and concise.
Tested in TouchDesigner099 2020.23680
Updated 06.03.20
Matthew Ragan
Zoe Sandoval


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wctomb
—minimal wide char to multibyte converterSynopsis
#include <stdlib.h> int wctomb(char *s, wchar_t wchar);
Description
When _MB_CAPABLE is not defined, this is a minimal ANSI-conforming
implementation of wctomb
. The
only “wide characters” recognized are single bytes,
and they are “converted” to themselves.
When _MB_CAPABLE is defined, this routine calls _wctomb_r
to perform
the conversion, passing a state variable to allow state dependent
decoding. The result is based on the locale setting which may
be restricted to a defined set of locales.
Each call to wctomb
modifies *s
unless s is a null
pointer or _MB_CAPABLE is defined and wchar is invalid.
Returns
This implementation of wctomb
returns 0
if
s is NULL
; it returns -1
if _MB_CAPABLE is enabled
and the wchar is not a valid multi-byte character, it returns 1
if _MB_CAPABLE is not defined or the wchar is in reality a single
byte character, otherwise it returns the number of bytes in the
multi-byte character.
Portability
wctomb
is required in the ANSI C standard. However, the precise
effects vary with the locale.
wctomb
requires no supporting OS subroutines.


Driving is statistically one of the most dangerous things you will ever do in your life and results in hundreds of fatalities in Victoria every year.
Despite the lower population, many council areas have a high number of accidents due to the large number of traffic that travels through them.
While getting behind the wheel of a car can seem dangerous, there are a number of safety features in place to protect you.
Motorcyclists aren't as lucky, in the event of a crash they are 15% more likely to be Seriously Injured or Killed.
You may be aware that speed is a massive factor in the outcome of a crash, but do you know just how much?
If you have an accident driving at 90km/h, compared to 80km/h, the risk of death doubles.
Even the day of the week affects the likelihood of you getting in an accident. On average, 2000 more accidents per day during the week compared to the weekend.
The time of year also has a big impact on our road toll. The summer months are by far the most dangerous time to drive and winter is the safest time, despite the poor driving conditions it presents.


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{foreach $menuList as $menu} {if condition="$menu.hasChild == 1"} {foreach $menu.childMenu as $k => $secondMenu}
{if condition="$k eq 0"}
{$menu.menu_name}
{/if}
{$secondMenu.menu_name}
{if condition="!empty($secondMenu.childMenu)"} {foreach $secondMenu.childMenu as $thirdMenu}
{$thirdMenu.menu_name}
{/foreach} {/if}
{/foreach} {else}
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LookAndFeel
classes for detailed descriptions.
To activate the QuaquaLookAndFeel
for a Java Application it is
recommended to use the following code snippet:
javax.swing.UIManager.setLookAndFeel( ch.randelshofer.quaqua.QuaquaManager.getLookAndFeelClassName() );
For a Java applet, use the following code snippet please:
javax.swing.UIManager.put("ClassLoader", getClass().getClassLoader()); javax.swing.UIManager.setLookAndFeel( ch.randelshofer.quaqua.QuaquaManager.getLookAndFeel() );
The Quaqua Look and Feel can be customized using system properties and client properties. For details see the description of class QuaquaManager. @see ch.randelshofer.quaqua.QuaquaManager
Quaqua uses JNI to do function calls to Mac OS X Carbon and Cocoa.
Make sure that the files libquaqua.jnilib
and libquaqua64.jnilib
are
in the library path of your application. If this file is missing, or could not be loaded due
to security restrictions, Quaqua will work with a reduced set of functionality.


PolyForest® Time is a no-frills, open source, time tracking utility that logs time to your
Log In to your Google account in order to quickly create time sheets.


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Rays school of safety is a land mark institute of its kind, certificate in safety and fire and safety, and diploma in safety and fire and safety are the courses conducted by RAYS SCHOOL OF FIRE AND SAFETY. Safety is the highest concern in any industrial and commercial segment. We educate the people on safety and put them in the industries aiming to make the safe and hazard less working environment.
The RAYS SCHOOL OF FIRE AND SAFETY provides degrees from state government university with highest acceptance in public and private sectors.


Money Play. How should Red play 44?
pips Red=134 White=141
(CorrectAnswer= 0/0, ErrorScore= 0)
Over the board bar/21, 7/3(3) was played but that leaves three blots and the third checker on the 3-pt becomes a dilly builder.
Simply bar/21, 13/9(2), 8/4 best, putting checkers where theatre effective and leaving only two blots. Bar/21, 7/3(3) is very nearly a blunder.
Simply bar/21, 13/9(2), 8/4 best, putting checkers where theatre effective and leaving only two blots. Bar/21, 7/3(3) is very nearly a blunder.
1. Cubeful 2-ply bar/21 13/9(2) 8/4 Eq.: -0.047 0.484 0.185 0.017 - 0.516 0.173 0.006 2. Cubeful 2-ply bar/21 7/3(3) Eq.: -0.136 (-0.088) 0.462 0.190 0.017 - 0.538 0.198 0.011 3. Cubeful 2-ply bar/21 8/4 7/3(2) Eq.: -0.182 (-0.135) 0.451 0.177 0.013 - 0.549 0.203 0.011 4. Cubeful 0-ply bar/21 13/9(2) 6/2 Eq.: -0.263 (-0.216) 0.429 0.144 0.010 - 0.571 0.203 0.013 5. Cubeful 0-ply bar/21 13/9(2) 7/3 Eq.: -0.274 (-0.227) 0.434 0.152 0.012 - 0.566 0.235 0.021


This book uses the following typographical conventions to mark certain portions of text: new terms, foreign phrases, and other important passages are emphasized in italics. Everything that represents input or output of the computer, in particular commands, program code, and screen output, is shown in a monospaced font (example). Within such passages, italics (example) indicate placeholders; you must insert an actual value instead of the placeholder. On occasion, parts of program code are emphasized in bold face (example), if they have been added or changed since the preceding example.
The following conventions are used in the synopsis of a command: brackets ([ and ]) indicate optional parts. (In the synopsis of a Tcl command, question marks (?) are used instead, as is usual in Tcl.) Braces ({ and }) and vertical lines (|) indicate that you must choose one alternative. Dots (...) mean that the preceding element can be repeated.
Where it enhances the clarity, SQL commands are preceded by the prompt =>, and shell commands are preceded by the prompt $. Normally, prompts are not shown, though.
An administrator is generally a person who is in charge of installing and running the server. A user could be anyone who is using, or wants to use, any part of the PostgreSQL system. These terms should not be interpreted too narrowly; this book does not have fixed presumptions about system administration procedures.


Here You Can Learn More About Me!
So, my name is Ryan (Which im hoping you already know by now).
I'm a Computer Science student at Liverpool John Moores University.
I am currently in my second year, which means I am looking for a placement and hopefully thats the reason you're reading this!
I'm not entirely sure what the exact kind of job I am hoping for in the future but I can tell you that I have a great interest in the internet of things and web development.
I also have many different hobbies! Included but not limited to...
-
Bouldering!
Bouldering has recently become one of my new favourite hobbies, climbing walls for a couple of hours is a truly amazing way to exercise the body and mind.
-
Playing Guitar!
After learning to play guitar when I was quite young its always been one of my passions, its great because theres always something new to learn and its an amazing way to connect with other people whether someone plays guitar also or any other instrument.
-
Web Development
As you can tell by this website I have began to develop a liking for for web development. Leading from that I am hoping to potentially get a career centered around web development either front or backend.


|
libcoap 4.3.1
|
Files | |
| file | block.c [code] |
| CoAP Block handling. | |
| file | coap_address.c [code] |
| Handling of network addresses. | |
| file | coap_asn1.c [code] |
| CoAP specific ASN.1 handling. | |
| file | coap_async.c [code] |
| State handling for asynchronous messages. | |
| file | coap_cache.c [code] |
| CoAP Cache handling. | |
| file | coap_debug.c [code] |
| Debug utilities. | |
| file | coap_event.c [code] |
| Event handling. | |
| file | coap_gnutls.c [code] |
| GndTLS interafe functions. | |
| file | coap_hashkey.c [code] |
| Hashkey functions. | |
| file | coap_io.c [code] |
| Network I/O functions. | |
| file | coap_io_contiki.c [code] |
| file | coap_mbedtls.c [code] |
| Mbed TLS specific interface functions. | |
| file | coap_notls.c [code] |
| NoTLS specific interface functions. | |
| file | coap_openssl.c [code] |
| OpenSSL specific interface functions. | |
| file | coap_option.c [code] |
| CoAP option handling functions. | |
| file | coap_prng.c [code] |
| Pseudo Random Number functions. | |
| file | coap_session.c [code] |
| Session handling functions. | |
| file | coap_subscribe.c [code] |
| Subscription handling functions. | |
| file | coap_tcp.c [code] |
| CoAP TCP handling functions. | |
| file | coap_time.c [code] |
| Clock handling functions. | |
| file | coap_tinydtls.c [code] |
| TinyDTLS specific handling functions. | |
| file | cov_session_reference_model.c [code] |
| file | encode.c [code] |
| Encoding and decoding Coap data types functions. | |
| file | mem.c [code] |
| Memory handling functions. | |
| file | murmur3.c [code] |
| file | murmur3.h [code] |
| file | net.c [code] |
| CoAP context functions. | |
| file | pdu.c [code] |
| CoAP PDU handling. | |
| file | resource.c [code] |
| Server resource handling functions. | |
| file | str.c [code] |
| String handling functions. | |
| file | uri.c [code] |
| URI handling functions. | |


getSiteData('http://thebae.watch/'); //$photo_ads = $photos->getPhotographyPhotos('baewatch front-page' , SITE); //shuffle($photo_ads); //print_r($site); //exit; //$blog_posts = $config->getPosts(); //shuffle($blog_posts); $page_title = $site['name']; $page_desc = $site['description']; include_once(ROOT.'landing/header.php'); ?>
We know exactly what people want to hear. FREELABEL provides a platform for millions of people worldwide both Major and Independent Artists.
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Create a profile, upload your music and videos, and let the world know who you are.
Ready to start your next project with us? That's great! Give us a call or send us an email and we will get back to you as soon as possible!
347-994-0267


Introduction
Motivation of this article is to write down how to realise a Kiosk mode App, through which a user locked in and can not mess around with other system functionalities. My approach does not require root.
My kiosk mode has several requirement:
- lock the user in the app.
- boot into the app when system start up.
- the app should be full screen.
- keep system awake all time.
- disable volume buttons.
My approaches:
- use app pinning feature newly introduced in SDK level 22 to lock the user in the app.
- set the app as a home intent, so system can boot into the app.
- make the app full screen with immersive mode of activity.
- keep system awake through sdk
- disable the volume buttons through sdk
Next I will introduce how to do it step by step, all the template code is available in the repo: AndroidKioskModeTemplate
Configurations
You need target Sdk level 21 for screen pinning feature.
Screen pinning
Andriod 5.0 introduces the screen pinning feature, as its documentation said: Once your app activates screen pinning, users cannot see notifications, access other apps, or return to the home screen, until your app exits the mode.
The screen pinning mode can be simply calling startLockTask()
in your activity and exit by calling stopLockTask()
.
However, when startLockTask()
called, system will ask user the permission for enterring pinning mode and user can still exit the pinning mode by touch “back and task” buttons all together. The is not “true” Kiosk that lock user in. To enable a true kiosk mode, your app need to call the startLockTask()
as a device owner.
To set your app as device owner, you need to implement a DeviceAdminReceiver
class MyAdmin
, and use the dpm tool under adb shell
Implementing a DeviceAdminReceiver
First, create a class inheriting the DeviceAdminReceiver
, no implemenation is required.
package wenchao.kiosk;
import android.app.admin.DeviceAdminReceiver;
public class MyAdmin extends DeviceAdminReceiver{
}
Second, declare the receiver in Manifest.xml
, in your <applicatio>
n element
<receiver android:name="wenchao.kiosk.MyAdmin"
android:label="@string/sample_device_admin"
android:description="@string/sample_device_admin_description"
android:permission="android.permission.BIND_DEVICE_ADMIN">
<meta-data android:name="android.app.device_admin" android:resource="@xml/my_admin" />
<intent-filter>
<action android:name="android.app.action.DEVICE_ADMIN_ENABLED" />
</intent-filter>
</receiver>
<uses-permission android:name="android.permission.MANAGE_DEVICE_ADMINS" />
The following line of meta-data need to match a xml resource file, in this case my_admin
<meta-data android:name="android.app.device_admin" android:resource="@xml/my_admin" />
The content of my_admin.xml
<device-admin xmlns:android="http://schemas.android.com/apk/res/android">
<uses-policies>
<limit-password />
<watch-login />
<reset-password />
<force-lock />
<wipe-data />
</uses-policies>
</device-admin>
Set your app as device owner
Now you can set your app as deivce own with dpm command under adb shell.
adb shell
dpm set-device-owner wenchao.kiosk/.MyAdmin
Replace wenchao.kiosk with your package name. /.MyAdmin
is your receiver class, if your receiver class is in different package of you app package, specify full path such as wenchao.kiosk/other.package.name.MyAdmin
Now, before you call startLockTask()
, you need to allow the your app to pin the screen as device owner
@Override
protected void onCreate(Bundle savedInstanceState) {
super.onCreate(savedInstanceState);
// Set the app into full screen mode
getWindow().getDecorView().setSystemUiVisibility(flags);
//Following code allow the app packages to lock task in true kiosk mode
setContentView(wenchao.kiosk.R.layout.activity_lock_activity);
// get policy manager
DevicePolicyManager myDevicePolicyManager = (DevicePolicyManager) getSystemService(Context.DEVICE_POLICY_SERVICE);
// get this app package name
ComponentName mDPM = new ComponentName(this, MyAdmin.class);
if (myDevicePolicyManager.isDeviceOwnerApp(this.getPackageName())) {
// get this app package name
String[] packages = {this.getPackageName()};
// mDPM is the admin package, and allow the specified packages to lock task
myDevicePolicyManager.setLockTaskPackages(mDPM, packages);
startLockTask();
} else {
Toast.makeText(getApplicationContext(),"Not owner", Toast.LENGTH_LONG).show();
}
}
Now, the home button in navigation disappear and user have no way to go out of your app. The back button is there, but it will do nothing
Boot into your kiosk app
Specify your activity as a HOME intent by modifying intent-filter of your activity in Manifest.xml
<intent-filter>
<action android:name="android.intent.action.MAIN" />
<category android:name="android.intent.category.HOME" />
<category android:name="android.intent.category.DEFAULT" />
</intent-filter>
Then, you need to manually replace default system launcher with your app by going to Settings > Home
, and choice your app as the home app. These only needs to be down once.
Once done, if you reboot the system, you app will be booted up and pin the screen. User have not no way to access the other part of your system. Note, if your system crash, the default andriod lanucher can kick in.
Full screen
Visible navigation bars are not ideal for my project, so I decided to hide it. You can do it by setting some system window flags.
final int flags = View.SYSTEM_UI_FLAG_LAYOUT_STABLE
| View.SYSTEM_UI_FLAG_LAYOUT_HIDE_NAVIGATION
| View.SYSTEM_UI_FLAG_LAYOUT_FULLSCREEN
| View.SYSTEM_UI_FLAG_HIDE_NAVIGATION
| View.SYSTEM_UI_FLAG_FULLSCREEN
| View.SYSTEM_UI_FLAG_IMMERSIVE_STICKY;
@Override
protected void onCreate(Bundle savedInstanceState) {
super.onCreate(savedInstanceState);
/* Set the app into full screen mode */
getWindow().getDecorView().setSystemUiVisibility(flags);
//leave out other code ...
}
With my Approach, a transient navigation bar will still be visible when user swipe on the screen from top or button of the screen. It will disappear after 1-2 seconds.
Keep device awake
This can be simply done by putting a line in Manifest.xml
, under your activity.
android:keepScreenOn="true"
Disable volume buttons
This can be down by trapping volume up and down event.
@Override
public boolean onKeyDown(int keyCode, KeyEvent event){
if (keyCode == KeyEvent.KEYCODE_VOLUME_UP){
Toast.makeText(this, "Volume button is disabled", Toast.LENGTH_SHORT).show();
return true;
}
if (keyCode == KeyEvent.KEYCODE_VOLUME_DOWN){
Toast.makeText(this, "Volume button is disabled", Toast.LENGTH_SHORT).show();
return true;
}
return super.onKeyDown(keyCode, event);
}
You programmatically set the volumes to max or mute as well
private void setVolumMax(){
AudioManager am = (AudioManager) getSystemService(Context.AUDIO_SERVICE);
am.setStreamVolume(
AudioManager.STREAM_SYSTEM,
am.getStreamMaxVolume(AudioManager.STREAM_SYSTEM),
0);
}
Disable power button
Ideally I want to do this, but it seems not easy without modification of firmwares.


5. Ajax¶
Easy ajax operations even without javascript
5.1. Description¶
The Yada Framework support for ajax calls is implemented in yada.ajax.js
.
It is automatically included in production, merged with the other yada javascript files. To use it in development, add:


Russell Noftsker and Tom Callahan made substantial engineering contributions to our work. Hosts of ideas came from students at MIT, notably Howard Austin, Manuel Blum, Danny Bobrow, Eugene Charniak, Henry Ernst, Tom Evans, Scott Fahlman, Ira Goldstein, William Gosper, Richard Greenblatt, Adolfo Guzman, Kenneth Haase, William Henneman, Carl Hewitt, Danny Hillis, Jack Holloway, Tom Knight, William Martin, Joel Moses, Bertram Raphael, Larry Roberts, James Slagle, Jerry Sussman, Ivan Sutherland, David Waltz, Terry Winograd, Patrick Winston, and many others. Countless other thoughts came from working at various times with Maryann Amacher, Gregory Benford, Terry Beyer, Woodrow Bledsoe, Mortimer Casson, Edward Feigenbaum, Edward Fredkin, Arnold Griffith, Louis Hodes, Berthold Horn, Joel Isaacson, Russell Kirsch, David Kirsh, Robert Lawler, Justin Leiber, Douglas Lenat, Jerome Lettvin, David MacDonald, Curtis Marx, Hans Moravec, Stewart Nelson, Nils Nillsson, Donald Norman, Walter Pitts, Jerry Pournelle, Charles Rosen, Carl Sagan, Roger Schank,
Robert Sheckley, Stephen Smoliar, Cynthia Solomon, Ray Solomonoff, Luc Steels, Warren Teitelman, and Graziella Tonfoni. I wish I could acknowledge the inspirations of all the friends of earlier years, particularly W. Ross Ashby, Thomas Etter, Ned Feder, Heinz von Foerster, Donald Hebb, John Hollander, Arnold Honig, Gordon Pask, Roland Silver, Jan Syrjala, Carroll Williams, Bertram Wolfe, David Yarmush — and of all the teachers of my youth, particularly Dudley Fitts, Ruth Gordon, Alexander Joseph, Edward Lepowsky, and Herbert Zim. My development was also strongly influenced first by the writing and later by the friendship of Arthur C. Clarke, Robert Heinlein, Frederick Pohl, and most of all by Isaac Asimov.
Of course, the deepest influence on my style of thought came from my parents, Henry Minsky and Fannie Reiser. My wife, Gloria Rudisch, our children Margaret, Henry, and Juliana (who drew the illustrations and sometimes changed the text to make them fit), and my sister Ruth all helped to shape this book. My sister Charlotte also lives between these lines, for even in our childhood, she was a powerful artist and critic, and her dreams became the meanings of my ordinary words.
Because I thought this theory of the mind might interest not only specialists but everyone who thinks, I favored ordinary words over the technical language of psychology. This was rarely any sacrifice because so many psychological terms already stood for obsolete ideas. But since I also wished to speak to specialists, I tried to hide more technical ideas between the lines; I hope this second level does not show. However there still were certain points at which no ordinary words seemed satisfactory, and I had to invent new terms or assign new meanings to old ones.


whoami Tracker
Sign out
Comedy is tragedy plus time.

Why kill time when you can make it work for you?
Time is a great teacher, but unfortunately it kills all its pupils.
Never give up, for that is just the place and time that the tide will turn.
Take time to relax especially when you don’t have time for it.
Time is at once the most valuable and most perishable of all our possessions.
It is not the hour that you put in but what you put in the hour that matters.
If the times don’t demand the best from you, invent other times.
We work not only to produce but also to give value to time.
Don’t let yesterday use up too much of today.
This time, like all times, is a very good one, if we but know what to do with it.
Give your purse rather than your time.
Well arranged time is the surest mark of a well arranged mind.
Nine-tenths of wisdom is being wise in time.
The busy bees have no time for tears.

We must use time wisely and forever realise that the time is always ripe to do right.
Anytime is the right time for hugs.
There is no time for ease and comfort. It is the time to dare and endure.
Sometimes you must cross the deepest valleys to get to the highest mountains.
Today’s profits are yesterday’s good will ripened.
Sometimes you have to put your foot down to get a leg up.

Rome
was not built in a day.
Seize the day, trust tomorrow as little as possible.
One thing you cannot recycle is the wasted time.
One of these days is none of these days.
Men talk of killing time, while time quietly kills them.
When a person can no longer laugh at himself, it is time for others to laugh at him.
Life, we learn too late, is in the living, in the tissue of every day and hour.
Someday is not a day of the week.
The time to repair the roof is when the sun is shining.
By the time a man realizes that may be his father was right, he usually has a son who thinks he’s wrong.
Seven days without laughter makes one weak.

The best thing about the future is that it only comes one day at a time.
There are million ways to lose a workday, but not even a single way to get one back.
What we do today, right now, will have an accumulated effect on all our tomorrows.
We do not remember days, we remember moments.
Live everyday as though it were your last.
One day you’ll be right.
Yesterday is not ours to recover, but tomorrow is ours to win or lose.
You will never”find” time for anything. If you want time you must “make” it.
It is quantity of time at home and quality of time at work that counts; don’t mix them up.
There is time enough for everything in the course of the day, if you do but one thing at once.
Don't judge each day by the harvest you reap, but by the seeds you plant.
You can't have a better tomorrow if you are thinking about yesterday all the time.
Give the best you have today.
That is a recipe for a better tomorrow.
Being rich is having money; being wealthy is having time.
There's never enough time to do it right, but there's always enough time to do it over.
It takes less time to do a thing right than to explain why you did it wrong.
Pain of discipline lasts a short while but the pain of regret lasts a lifetime.
Sometimes it is good to be a fly when the giants are fighting for heavens.
We must always remember each day of our life that it’s no dress rehearsal so make the most of it.
Your only insurance against tomorrow is what you do today.
The crisis of yesterday is the joke of tomorrow.
Each day comes bearing its own gifts. Just untie the ribbons.
In the end it's not the years in your life that count. It's the life in your years.
The reputation of thousand years may be determined by the conduct of one hour.
The darkest hour is only sixty minutes.
You must pre-live the future.. not relive the past.. and savour the moment.
When all else is lost, the future still remains.
The best prophet of the future is the past.
Desire and hope will push us on toward the future.
Do your duty and a little more and the future will take care of itself.
Every saint has a past, and every sinner has a future.
Who controls the past controls the future.
Who controls the present controls the past.
If we open a quarrel between the past and the present, we shall find that we have lost the future.
Only by acceptance of the past, can you alter it.
Those who cannot remember the past are condemned to repeat it.
The more of the past you carry around, the less of the present there is room for.
When you live in the past, it costs you the present.
Confine yourself to the present.
Punctuality is the politeness of kings and the duty of gentle people everywhere.
The habit of punctuality lays the bright foundation of your career.
How do you spend your time ?
>
Where have you been ?
>
What do you do at home ?
What do you do at work ?
>
How do you spend your time on mobile ?
>


Instpirational Qoute
When you open your mind to all the possibilities of The Cosmos, you’ll be surprised at how wide your mind will stretch.


source code
Croutons Lyrics
verses printed on sheets of sublinguals
pursuin' croutons
bread cubes the size of futons
thats palatable
saladable
life balladable
stocks valuable
got play doh thats malleable
pablo escobars an escargot
embargo, let him know
yo no hablo español
yo hablo just for work
just for work ho hablo. whats it worth?


Railroad Worker Obi:
That's right! That's the conclusion after serious thought, but doesn't just want to admit fostering trouble in our Dwarven Guilds.
We, Dwarves have been persecuted too long. Even though we're extremely dextrous, and quite rich, we lack any real political power!
Why? We've been too selfish!
We should think more about our entire race, not just personal wealth!
Just the words of an old Railroad Worker who remains alone at the place of dreams...
"I got it."


{% extends "base.html" %} {% block content %}
Alert Birds uses your Loggly subdomain. If you don't know the subdomain for your account, you can retrieve it by resetting your password. If you don't have an account, you can signup here.


Six: Mr. Literal Potato Head
Sometimes an idea is so strange you can't help but make it happen.
This project involved a potato, a photo session, and a hefty dose of Photoshop.
Sometimes an idea is so strange you can't help but make it happen.
This project involved a potato, a photo session, and a hefty dose of Photoshop.


{% extends 'gram/base.html'%} {% load crispy_forms_tags %} {% load bootstrap5 %} {% load static%} {% block content%}
Liked by {{image_post.like.user}}
{% for likers in image_post.likes.all %}{{likers.likes}}
{% endfor %}{{image_post.image_caption}}
To see users you may interested to follow Click here
view all {{image_post.comments.all.count}} comments
{% endif %} {% for comment in image_post.comments.all %}{{comment.posted_by}}
{{comment.comment}}
{{image_post.posted_on| timesince}} AGO


Struggling with a Merchello project or custom Merchello Gateway Provider? Need a specific feature in Merchello straight away? You can now get support direct from Merchello.
Support/Consultancy is done via Skype sessions and are charged per hour, in addition development sprints can now be sponsored.
Find Out MoreThen please help us out. Everything we develop, create and spend time on here at Merchello is self funded and given to you entirely for FREE.
Buying a small $50 Gratitude license ensures that we can put in the extra time to polish and enhance Merchello so all of the community benefit.
Also we really appreciate it! #h5yr
Purchase Gratitude LicenseMerchello's goal is to make you and your clients successful. Because the needs of every partner are different, we offer two levels of partnership - Gold and Silver.
Each level has unique benefits, all with the goal of connecting partners to our community and helping them succeed.
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{% extends "app/base1col.html" %} Copyright 2010 Google Inc. 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. {% block title %} {{ doc_title }} {% endblock %} {% block content_main %} {% if errorMsg %} {{errorMsg}}
| {{forloop.counter}} | {{module.title}} |


Input is not a valid HTTP URL.
Your input does not point to a SPARQL service or the SPARQL service could not be reached. It may be down or your browser is not allowed to access it.
Successfully validated URL as an accessible SPARQL service.


Moviereviews.org Review
10 Things I Hate About You
By Mac VerStandig
<EMAIL_ADDRESS>http://www.moviereviews.org
3 Stars (Out of 4)
September 20, 1999
Available for Rental - October 12, 1999
10 Things I Hate About You is an update of the classic play, The Taming of the Shrew. That said, drop any pre-conceived notions of what Shakespeare's work is supposed to be like and welcome yourself to Padua High School, home of a student counselor (Allison Janney) who obsesses over the male penis; a slightly too hip and racist African-American English teacher (Daryl Mitchell); a new kid named Cameron (Joseph Gordon-Levitt); a model named Joey (Andrew Keegan), the subject of Cameron and Joey's crushes; Bianca (Larisa Oleynik); and Bianca's sister - the shrew (Julia Stiles in a marvelous performance)- whose name is Katarina, Kat for short.
With movies about high schools similar to these running through projectors like water down the Nile, it would be quite easy to write off 10 Things I Hate About You as just another doltish comedic-romance. Yet, you must realize that the story is timeless, and a few hundred years later it is equally as witty and comical as when Elizabeth gleefully looked on, groundlings below and stuffed brassieres on stage.
The first reminder of the original scribe can be found in Katarina and Bianca's last name: Stratford. Their family is run by Walter Stratford (Pretty Woman's Larry Miller), a doctor who is all too familiar with teenage pregnancy and guards his children accordingly. In what he thinks to be a moment of ironic humor, the family "no dating" policy is amended to "Bianca can date...when [Katarina] does." With prom just ahead, Bianca's fate is grim; unless, of course, she can tame the shrew. Don't think this mission to be a simple one, as Bianca kindly points out, her sister "... is a particularly hideous breed of loser."
Getting Katarina to date is complex and oftentimes confusing. When Cameron, who likes Bianca, learns of her father's new rule, he is quick to consult a friend for advice. The scheme they dream up is to fully exploit "someone with money." In this case, that is Joey - the other guy with a crush on Bianca. Cameron's friend, a loser by teenage verdict, convinces Joey to pay someone who has enough guts to take the shrew out. The solution lies no farther away than the second blatant reminder of the master scribe: Patrick Verona (Heath Ledger). This Verona is far from fair; rumor has it that he previously laid his scene in prison. Moreover, Katarina openly opined to the aforementioned English teacher that "Hemingway was an alcoholic who hung around Picasso, hoping to nail his leftovers." The laws of high school cinema inexorably turn Patrick and Katarina into Romeo and Juliet.
Providing a constant reminder of the fact that this isn't exactly what Shakespeare had in mind are the elements obligatory to a high school comedy: A party polluted with liquor, a best friend's betrayal, and prom.  Yet surely even these practices have roots in Shakespeare; Falstaff was a drunk, Romeo and Juliet met at a party, and Caesar learned about loyalty the hard way.
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


Case study
Display a case study of a customer in order to convey trust in Funding Circle through businesses' positive experiences.
Description
This component should include a large background image and some content in a box. The content box can include any other component. Typically, it may include a quote from a customer or information about their experiences with Funding Circle.
To specifiy the background image and the colour of the background and content box, you must use the case-study-customisation
mixin.
Modifiers
There are 6 modifiers, but you must only use 3 at a time. You must choose one each for the X-axis, Y-axis, and sizing.
X-axis
case-study--left
- make the content box sit on the left
case-study--right
- make the content box sit on the right
Y-axis
case-study--middle
- make the content box sit in the middle vertically
case-study--bottom
- make the content box sit slightly below the image
Sizing
case-study--small
- makes the component work in half width containers
case-study--large
- makes the component work in full width containers
The parameters for case-study-customisation
are:
1) Path to the folder containing background images or empty string if you don't want to pass an image through this mixin (images within the
folder should be named l.jpg and s.jpg)
2) Background color of the content block
3) Background color of the overflow (should be the same color as the
content below it). Only required for --bottom
variants.
Note
If you're coming here because you recently upgraded to Radius 8.x.x and the case study in your project is now broken please look at the new
markup for the case study component. In prior versions of Radius the background image was added to a :before
pseudo element. In the 8.0.0
release the Case Study no longer adds the background image to a pseudo element, but requires you add a div with `.case-study__image" as the
first child of the case-study component.
Activate Sass component
In order to have the styling of this component available, you need to include it in your project. After including the
Radius library in your main
./index.scss
file, add this snippet:
@include radius-component-case-study;
Sass Usage
@include radius-component-case-study;
.case-study {
@include case-study-customisation("img/case-study", #3D5A99, #FAEBD7);
}
Usage example
Code example


Death at a wake in Trinidad
by Laurel V Williams(TRINIDAD NEWSDAY) — A 42-year-old Freeport man was stabbed to death at a wake in his village on Monday.
Other residents who attended the wake for an elderly Freeport villager said the community is stunned and never expected such a crime to happen at “home.”
Bissoon “Pedro” Ramkissoon was stabbed once in the chest at about 1.30 am at John Persad Extension, where he was attending the wake of an elderly woman. Police said he got in an altercation with a group of men and someone stabbed him. He died at the scene.
The father of three and grandfather of one, Ramkissoon lived at Ramlogan Trace, Uquire Road, Freeport. He worked as a PH driver on the Freeport/St Mary’s route.
A resident told Newsday that reports are Ramkissoon and the men were earlier seen drinking together.
A resident, who requested anonymity, said, “The funeral took place today (Tuesday) for the lady under Christian rites. I am not sure how she died but it was of natural causes.
“We are in shock to know that this killing happened home. I was not there, and I cannot say who killed him.
“We are hearing he was about to leave the wake when it happened. Pedro was a very quiet person. He was a family man and never refused to help others.”
Police from the Central Division, including the Freeport police station and the Homicide Bureau Region III, spoke with several residents.
No one has been arrested.
Ramkissoon’s funeral is tentatively set for Thursday under Hindu rites.
More Trinidad and Tobago News Stories
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Custom plates for Trinidad & Tobago in January November 22, 2019
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Trinidad: Sat Maharaj remembered as loving leader November 22, 2019
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Trinidad man wanted for ten murders killed by police November 22, 2019
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Trinidad: Husband ready to flee country, after wife and son killed November 22, 2019
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Trinidad: ‘Snake boy’ assures he knows how to handle reptiles November 22, 2019
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42,000 guns, T&T a war zone, says Senator November 21, 2019
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Trinidad: Man charged with possession of flour November 21, 2019
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Tourism Trinidad to provide cruise visitors with an authentic experience November 20, 2019
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Trinidad: US Embassy warns of fraudulent calls November 19, 2019


Go to the source code of this file.
Functions | |
| ssize_t | le_utf8_NumChars (const char *string) |
| size_t | le_utf8_NumBytes (const char *string) |
| size_t | le_utf8_NumBytesInChar (const char firstByte) |
| static bool | le_utf8_IsContinuationByte (const char byte) |
| le_result_t | le_utf8_Copy (char *destStr, const char *srcStr, const size_t destSize, size_t *numBytesPtr) |
| le_result_t | le_utf8_Append (char *destStr, const char *srcStr, const size_t destSize, size_t *destStrLenPtr) |
| le_result_t | le_utf8_CopyUpToSubStr (char *destStr, const char *srcStr, const char *subStr, const size_t destSize, size_t *numBytesPtr) |
| bool | le_utf8_IsFormatCorrect (const char *string) |
| le_result_t | le_utf8_ParseInt (int *valuePtr, const char *arg) |
Legato UTF-8 String Handling API include file.
Copyright (C) Sierra Wireless Inc. Use of this work is subject to license.
| le_result_t le_utf8_Append | ( | char * | destStr, |
| const char * | srcStr, | ||
| const size_t | destSize, | ||
| size_t * | destStrLenPtr | ||
| ) |
Appends srcStr to destStr by copying characters from srcStr to the end of destStr. The srcStr must be in UTF-8 format. The number of bytes in the resultant destStr (not including the NULL-terminator) is returned in destStrLenPtr.
A null-character is always added to the end of destStr after all srcStr characters have been copied.
This function will copy as many characters as possible from srcStr to destStr while ensuring that the resultant string (including the null-character) will fit within the destination buffer.
UTF-8 characters may be more than one byte long and this function will only copy whole characters not partial characters.
The destination string will always be Null-terminated, unless destSize is zero.
If destStr and srcStr overlap the behaviour of this function is undefined.
| [in] | destStr | Destination string. |
| [in] | srcStr | UTF-8 source string. |
| [in] | destSize | Size of the destination buffer in bytes. |
| [out] | destStrLenPtr | Number of bytes in the resultant destination string (not including the NULL-terminator). Parameter can be set to NULL if the destination string size is not needed. |
| le_result_t le_utf8_Copy | ( | char * | destStr, |
| const char * | srcStr, | ||
| const size_t | destSize, | ||
| size_t * | numBytesPtr | ||
| ) |
Copies the string in srcStr to the start of destStr and returns the number of bytes copied (not including the NULL-terminator) in numBytesPtr. Null can be passed into numBytesPtr if the number of bytes copied is not needed. The srcStr must be in UTF-8 format.
If the size of srcStr is less than or equal to the destination buffer size then the entire srcStr will be copied including the null-character. The rest of the destination buffer is not modified.
If the size of srcStr is larger than the destination buffer then the maximum number of characters (from srcStr) plus a null-character that will fit in the destination buffer is copied.
UTF-8 characters may be more than one byte long and this function will only copy whole characters not partial characters. Even if srcStr is larger than the destination buffer ,the copied characters may not fill the entire destination buffer because the last character copied may not align exactly with the end of the destination buffer.
The destination string will always be Null-terminated, unless destSize is zero.
If destStr and srcStr overlap the behaviour of this function is undefined.
| [in] | destStr | Destination where the srcStr is to be copied. |
| [in] | srcStr | UTF-8 source string. |
| [in] | destSize | Size of the destination buffer in bytes. |
| [out] | numBytesPtr | Number of bytes copied not including the NULL-terminator. [Parameter can be set to NULL if the number of bytes copied is not needed. |
| le_result_t le_utf8_CopyUpToSubStr | ( | char * | destStr, |
| const char * | srcStr, | ||
| const char * | subStr, | ||
| const size_t | destSize, | ||
| size_t * | numBytesPtr | ||
| ) |
Copies all characters from the srcStr to destStr up to the first occurrence of subStr. The subStr is not copied and instead a null-terminator is added to the destStr. The number of bytes copied (not including the null-terminator) is returned in numBytesPtr.
The srcStr and subStr must be in null-terminated UTF-8 strings.
The destination string will always be null-terminated.
If subStr is not found in the srcStr then this function behaves just like le_utf8_Copy().
| [in] | destStr | Destination where the srcStr is to be copied. |
| [in] | srcStr | UTF-8 source string. |
| [in] | subStr | Sub-string to copy up to. |
| [in] | destSize | Size of the destination buffer in bytes. |
| [out] | numBytesPtr | Number of bytes copied not including the NULL-terminator. Parameter can be set to NULL if the number of bytes copied is not needed. |
|
inlinestatic |
Determines whether a given byte is a continuation (not the first byte) of a multi-byte UTF-8 character.
| [in] | byte | The byte to check. |
| bool le_utf8_IsFormatCorrect | ( | const char * | string | ) |
Checks to see if the string is indeed a UTF-8 encoded, null-terminated string.
| [in] | string | The string. |
| size_t le_utf8_NumBytes | ( | const char * | string | ) |
Returns the number of bytes in string (not including the null-terminator).
| [in] | string | The string. |
| size_t le_utf8_NumBytesInChar | ( | const char | firstByte | ) |
Returns the number of bytes in the character that starts with a given byte.
| [in] | firstByte | The first byte in the character. |
| ssize_t le_utf8_NumChars | ( | const char * | string | ) |
Returns the number of characters in string.
UTF-8 encoded characters may be larger than 1 byte so the number of characters is not necessarily equal to the the number of bytes in the string.
| [in] | string | Pointer to the string. |
| le_result_t le_utf8_ParseInt | ( | int * | valuePtr, |
| const char * | arg | ||
| ) |
Parse an integer value from a string.
| [out] | valuePtr | Ptr to where the value will be stored if successful. |
| [in] | arg | The string to parse. |