You need to host the {{CONFIG.VALUES.GAME_PHRASE_SINGULAR}} files yourself. If you don't have a website, you might want to consider hosting files on a service like Dropbox or Google Drive, or as a release if you're using Github.
Add at least one build. You can add source code too, however a build is required.
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PSALMS 111
1 Praise Yahweh!
I will thank Yahweh with my entire inner being
every time that those who do what is right come together.
2 The things that Yahweh has done are wonderful!
All those who are delighted with those things
desire to study them.
3 Because he is a great king and does wonderful things,
people greatly honor him and respect him;
the righteous things that he does will endure forever.
4 He has done wonderful things that people will always remember;
Yahweh always acts kindly and mercifully.
5 He provides food for those who have an awesome respect for him;
he never forgets the covenant that he made with our ancestors.
6 By enabling his people to capture the lands that belonged to other people groups,
he has shown to us, his people, that he is very powerful.
7 He does everything fairly, as he has promised us,
and we can depend on him to help us when he commands us to do things.
8 What he commands must be obeyed forever;
and he acted in a true and righteous manner when he gave us those commands.
9 He rescued us, his people, from being slaves in Egypt,
and he made a covenant with us that will last forever.
He is holy and awesome!
10 Having an awesome respect for Yahweh is the way to become wise.
All those who obey his commands will know what is good for them to decide to do.
We should praise him forever!


Translate the pixels from an image into waveform samples or vice versa. Currently only supports .png, .jpg, and .wav files.
To translate an image to an audio file, specify the number of samples per second (try 44100).
To translate an audio file to an image, specify the width of the image in pixels.
Read more


TFlearn is a modular and transparent deep learning library built on top of Tensorflow. It was designed to provide a higher-level API to TensorFlow in order to facilitate and speed-up experimentations, while remaining fully transparent and compatible with it.
TFLearn features include:
The high-level API currently supports most of recent deep learning models, such as Convolutions, LSTM, BiRNN, BatchNorm, PReLU, Residual networks, Generative networks… In the future, TFLearn is also intended to stay up-to-date with latest deep learning techniques.
Note: Latest TFLearn (v0.3) is only compatible with TensorFlow v1.0 and over.
# Classification
tflearn.init_graph(num_cores=8, gpu_memory_fraction=0.5)
net = tflearn.input_data(shape=[None, 784])
net = tflearn.fully_connected(net, 64)
net = tflearn.dropout(net, 0.5)
net = tflearn.fully_connected(net, 10, activation='softmax')
net = tflearn.regression(net, optimizer='adam', loss='categorical_crossentropy')
model = tflearn.DNN(net)
model.fit(X, Y)
net = tflearn.input_data(shape=[None, 100, 5000])
net = tflearn.lstm(net, 64)
net = tflearn.dropout(net, 0.5)
net = tflearn.fully_connected(net, 5000, activation='softmax')
net = tflearn.regression(net, optimizer='adam', loss='categorical_crossentropy')
model = tflearn.SequenceGenerator(net, dictionary=idx, seq_maxlen=100)
model.fit(X, Y)
model.generate(50, temperature=1.0)
There are many more examples available here.
TensorFlow Installation
TFLearn requires Tensorflow (version 1.0+) to be installed.
To install TensorFlow, simply run:
pip install tensorflow
or, with GPU-support:
pip install tensorflow-gpu
For more details see TensorFlow installation instructions
TFLearn Installation
To install TFLearn, the easiest way is to run
For the bleeding edge version (recommended):
pip install git+https://github.com/tflearn/tflearn.git
For the latest stable version:
pip install tflearn
Otherwise, you can also install from source by running (from source folder):
python setup.py install
See Getting Started with TFLearn to learn about TFLearn basic functionalities or start browsing TFLearn Tutorials.
There are many neural network implementation available, see Examples.
Graph
Loss & Accuracy (multiple runs)
Layers
This is the first release of TFLearn, if you find any bug, please report it in the GitHub issues section.
Improvements and requests for new features are more than welcome! Do not hesitate to twist and tweak TFLearn, and send pull-requests.
For more info: Contribute to TFLearn.
MIT License


[singlepic id=925 w=250 float=right] Here it is. The road trip post! A quick rundown of my week driving all over New Zealand’s south island. The pictures are all posted on the pictures page.
Day 1 - Feb 9th - Christchurch to Oamaru:
Mike and I rented a car from a very cute little punk rock chick in downtown
Christchurch. Left in the afternoon and headed down to Oamaru. On the way we
stopped in Raikia Gorge to snap some photos. In Oamaru we just made it in
time to see the penguins come out. We went down to observation point, but it
was quite difficult to see them as we were high up on the cliffs. That night
we stayed in a little shack of a hostel, but it was run by some very nice
people.
Day 2 - Feb 10th - Oamaru to Te Anau:
[singlepic id=888 w=250 float=right] Most of the morning was spent driving
down the coast past Dunedin, then we turned inland. The low hills are quite
pretty in New Zealand, and there are sheep and cows everywhere. That night we
got to Te Anau and hopped on a sunset cruise and tour of the glow worm caves.
The caves are quite amazing. It is just what it sounds like, thousands of
tiny glow worms light up thecave with small blue lights. The highlight is the
last room of the cave where it actually feels like looking at a starry sky
rather than the ceiling of a cave.
Day 3 - Feb 11th - Te Anau to Wanaka:
[singlepic id=579 w=250 float=right] We had to wake up around 5am to drive to
Milford Sound - the highlight of the trip. The drive takes a couple hours
through stunning valleys, fiords, and lakes. Then we took a two hour cruise
of the sound. I took nearly 300
picutres while
we were there. Definitely check them out, but they don’t really do the
scenery justice. On the way out we stopped and hiked up to a waterfall coming
off a high glacier. We found out later that it was off limits. Whoops. That
afternoon we drove back to Te Anau and then all the way to Wanaka, a small
town up by a mountain lake.
Day 4 - Feb 12th - Wanaka to Hanmer Springs:
[singlepic id=958 w=250 float=right] Probably our longest day of driving. In
the morning we drove to the west coast and stopped at Fox glacier. We hiked
up to the observation point, which was quite far away from the face of the
glacier. There were all kinds of signs warning of dangerous slides, ice
falls, rocks, and surging water past that point. We promptly ignored the
signs and went right up to the face and the river coming from the glacier.
That afternoon we drove all the way to Hanmer Springs and crashed for the
night.
Day 5 - Feb 13th - Hanmer Springs to Christchurch :
The morning in Hanmer Springs was spent soaking in hot pools and sulfer pools.
Very relaxing, all though they stretched the idea of “natural” a bit. Mid day
we drove back down to Christchurch to meet some friends of my dad - Nigel and
Wendy Gilchrist. They invited us to join them for a fantastic dinner party
with fresh scallops, lobster and whitebait.
Day 6 - Feb 14th - In Christchurch :
[singlepic id=968 w=250 float=right] Mike left back for the states in the
morning. In the late afternoon Nigel took me to my first professional rugby
match. It was very exciting and I think I finally have a handle on how the
game is played.
Day 7 - Feb 15th - To Brisbane, Australia:
Today is day 7. I am leaving this afternoon for 5 days in Brisbane,
Australia. Then on Feb 20th I am headed to Singapore. It has been a great
time in New Zealand. I haven’t even been able to post about a tenth of the
experiences I have had here, but I am looking forward to more in other
countries!
-Steve


Sherlock
Sherlock Holmes and Dr. John Watson's adventures in 21st Century London. A thrilling, funny, fast-paced contemporary reimagining of the Arthur Conan Doyle classic.


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Documentation Contents
Java Rich Internet Applications Guide
This guide covers the following topics:
Java Rich Internet Applications Development and Deployment
Rich Internet Applications Decision Guide
Migrating Java Applets to Java Web Start Applications
Java Rich Internet Applications Deployment Advice
Customizing the Rich Internet Application Loading Experience
Properties That Affect the Behavior of Rich Internet Applications
Packaging a Java App for Distribution on a Mac
Applet Developer's Guide
Java Plug-in and Applet Architecture
Applet Deployment
Using applet, object and embed Tags
Applet Status And Event Handlers
Codebase Determination
Networking
Proxy Configuration
Deploying JAR Files Compressed with Pack200
Compression Formats for Network Deployment
Java Control Panel
Deployment Configuration File and Properties
Java Console
Tracing and Logging
Security
Rich Internet Application Deployment Process
Browser Keystores
Mixing Privileged Code and Sandbox Code Ensuring Application and Applet Security
Signed JNLP Files
Verification of RSA Signed Applets in Java Plug-in
Signing Applets Using RSA Certificates
Deploying RSA-Signed Applets in Java Plug-in
JAR File Manifest Attributes for Security
Preventing RIAs from Being Repurposed
Security Dialogs
Deployment Rule Set
Exception Site List
Enhancements and Other Features
Rich Internet Applications - Development, Deployment, and Runtime Enhancements
Java Rich Internet Applications Enhancement in JDK 8
Java Rich Internet Applications Enhancement in JDK 7
Protocol Support: HTTP, HTTPS, FTP, GOPHER, SOCKS, and NTLM
Multi-Version Support
System-Wide Repository
Applet Persistence API
Special Applet Attributes
Pack200 and Version Download
Deploying JavaFX Applications, see the
Java SE Deployment Guide


Path Of Exile Is Coming To Mobiles And Macs
by Leah WilliamsAt ExileCon 2019, Chris Wilson, founder and managing director of Grinding Gear Games took the stage to announce some brand new expansions to the world of Path of Exile. In fantastic news for mobile gamers, Path of Exile Mobile was announced, as well as a version for Mac OS.
Path of Exile for mobile went undated, but the developers indicated that the port would have "zero compromises" when it does finally arrive.
The gameplay trailer showed off impressive scenes, including a new skill and inventory system neatly optimised for mobile devices. A great romp through Iceberg and battles with Vaal Frost Guardians were shown, as well as a brand new map and travel system.
But that wasn't the only thing announced — Path of Exile will also be coming to Mac OS. That's great news for Mac gamers, who, in the past, have often missed out on large scale RPGs like Path of Exile.
While both of these releases were teased at ExileCon, neither were dated. Path of Exile Mobile is likely to be hotly anticipated, if the live audience reaction is anything to go by. Stay tuned for the rest of our coverage on ExileCon over the weekend!
Full disclosure: This writer attended ExileCon as a guest of Grinding Gear Games.


To provide the best opportunity to the students to attain technical excellence in the field of Computer Science & Engineering and Emerging Technologies and to develop a comprehensive and integrated personality.
MissionTo produce high quality Computer Science and Engineering professionals adaptable to the changing environment, with all-round Managerial capabilities, and commitment to the Society.


delay
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Toness
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Hi, {{personName}}.
You should receive a text message to the phone number you provided in the next few minutes.


Your Browser not found MetaMask Plugin,please Install
If you want changed selected Address ,Please use the MetaMask Plugin.


respiratory {border-style px;} #ffffff;} pandemic diseases infections influenza COVID- px; {font-family font-size line number seasonal viral double; seasons time viruses border-color border-width control included solid; total {font-style {font-weight Commons Creative Northern University []. bold cold corona courier; diagnoses em; infection line; period pt;} season share summer virus years


Predictions
Possibily: apple: bean: cabbage: carrot: cauliflower: cucumber: eggplant: mashroom: pitaya:


Simple Interest Calculator
Amount
Interest Rate
10.50%
No. of Years
1
2
3
4
5
6
7
8
9
10
Compute Interest


{% load static %}
7.27d
Hoodwink
- Base Agility reduced by 4.
- Acorn Shot: Bonus damage reduced from 25/50/75/100 to 20/40/60/80.
- Acorn Shot: Bounce count reduced from 3/4/5/6 to 2/3/4/5
- Bushwhack: Cast range reduced from 1200 to 1000.
- Bushwhack: Radius reduced from 325 to 275.
- Level 20 talent changed from -5 Armor Corruption to -3 Armor Corruption.
7.28
General
- Added three new playable heroes: Queen of Pain, Slark, and Templar Assassin
- Added a fifth ascension level: Apex Mage
- Added four new ascension modifiers: Glutton, Clumsy, Glimmer, Meteoric
- Bristleback now sells a variety of minor upgrade shards for the chosen heroes in the game
- The rate of earning Battle Points during the game has been increased
Aghanim's Trials
- The next Trial will be on the Grand Magus ascension level
7.29
General
NEW HERO : SORLA KHAN RELEASING.
Shahkar Ul Hassan
2017-EE-36
Mubeen Khan
2017-EE-14
Watch detailed analysis


About Me
Hi! I was born and raised in New Orleans, Louisiana. I graduated from LSU in English-Creative Writing in 2015. I am a creative intellectual, and I love programming, as it is a creative activity in a similar relation to creative writing. I begin with an idea, a product, and focus on the story it will tell. Programming, much like writing, consists of piecing the building blocks and significant parts together that create a unique whole - a useful product we can benefit from.
I worked as the sole Digital Marketer and Social Media Specialist for a privately owned physical therapy business, where I ran marketing campaigns for three clinic locations. Rebuilding the business website led me to editing code and which I quickly discovered my limited capabilities of creating and customizing interfaces online with the little knowledge I had with programming. I grew curious and more interested in learning to program, and began teaching myself the basics with resources online. I decided I wanted to go full into web development and enrolled at UC Berkeley Extension's Full Stack Web Development Program.
Creating projects to showcase my new programming and technical skills is what I am currently working on, and producing an updated portfolio for myself online for employers to reference my skills and abilities.
Alexandra Goodwin


ApplicationConfiguration
A simple and codable way to configure a Perfect Application.
This module is a part of PerfectAcelerators brought to you by the Perfect Community!
Installation
Using Swift Package Manager, add the following to your packages.swift
.package(url: "https://github.com/PerfectAccelerators/ApplicationConfiguration.git", .branch("master"))
Run swift package update
and if you use Xcode run swift package generate-xcodeproj
Usage
Create a file that includes the configuration for your application, for instance:
{
"server": {
"baseURL": "localhost:8181",
"baseDomain": "localhost",
"port": 8181,
"secure": 0
},
"os": 2,
"environment": 1,
"ssl": {
"port": 443,
"originCertificatePath": "",
"privateKeyPath": "",
"verifyMode": "peer"
},
"logging": {
"requestLoggingPath": "./perfectRequests.log",
"logPath": "./perfect.log"
},
"db": {
"name": "perfect",
"host": "localhost",
"port": 3306,
"user": "",
"pass": "",
"driverType": 1
}
}
Then modify your main.swift:
import ApplicationConfiguration
#if os(Linux)
let fileRoot = "/perfect-deployed/Perfect/"
let filePath = "./config/ApplicationConfigurationLinux.json"
#endif
let app = Application(name: "Perfect", path: filePath)
do {
try HTTPServer.launch(app.server())
} catch {
fatalError("\(error)")
}
Documentation
Jazzy generated documentation can be found here
Contributing
To contribute a feature or idea to ApplicationConfiguration, fork the project, make your changes and submit a pull request :)


THE PRINCE OF EGYPT A film review by Matt Williams
RATING: * * * out of * * * *
When Dreamworks first set up an animation division to rival Disney, it was a lofty goal. And their first traditionally animated film, The Prince of Egypt, makes some bold steps. Telling the tale of Moses, the film eschews Disney's traditionally comedic kid-friendly approach to animation, in favor of a more serious, more adult style of animation. Their experiment is a success. While not a perfect film, its rich visuals join with a strong storyline to create a true animated epic.
Fearing a population explosion, the Egyptian Pharaoh Seti (Patrick Stewart) orders the murder of all Hebrew babies. One Hebrew mother (Ofra Haza) places her baby in a reed basket, and floats him down the Nile to avoid his fate. Miraculously, the child ends up in the royal palace, where the queen (Helen Mirren) adopts him and raises the baby Moses as her own son.
Flash forward several years.  They're particularly annoying to the royal priests, Hotep and Huy (Steve Martin and Martin Short). However, Ramses, the future Pharaoh, is also constantly worried about living up to the high expectations set by his father. Moses, on the other hand, is unaware of his true identity, until a chance encounter with his real brother and sister (Jeff Goldblum and Sandra Bullock), that is.
The brotherly conflict continues through adulthood, when each prince takes a different path. Ramses takes the throne and tries to expand and surpass his father's empire. Moses abandons his adopted family, and instead opts for the life of a simple shepherd, and marriage to the feisty Tzipporah (Michelle Pfieffer). But God has another destiny in mind for Moses...one which will put him at odds with his former brother, but which may finally grant freedom to the suffering Hebrew slaves.
With it's star studded cast, The Prince of Egypt suffers from the same spot-the-star syndrome of Dreamworks' previous animated film, Antz. Rather than blending seamlessly into the characters, the celebrity voices leap to the forefront of your consciousness every time someone speaks. (It's particularly distracting when The Voice Of God issues forth, and, rather than being awe-struck, you're thinking, "Hey, isn't that Val Kilmer...".)
The animation of The Prince of Egypt is nothing short of spectacular. The special effects are appropriately awe-inspiring, but the film excels at character detail as well. If you're an animation enthusiast, the quality here alone makes this film a must-see.
However, good animation aside, The Prince of Egypt can never quite shake the mediciney feeling that this is animation which is supposed to be "good-for-you"...both spiritually and visually. The film flows best when it simply relaxes and lets the story unfold. However, there is a stiff formality that hangs over several scenes of the movie. It feels like everyone involved tensed up at the same moment when they realized they were doing something "important", and that translated on screen.
The Prince of Egypt has a big story to tell, and only 100 minutes in which to tell it. As a result, the story feels awfully rushed. Some events are glossed over in montages, others (particularly the events after the Red Sea) are mostly ignored.
Young children might get confused or frightened during some of the film's more intense scenes (the plagues, for example). But, for the most part, the film is structured simply enough that kids should be able to follow the story. And though comic relief isn't stressed nearly as highly as the standard Disney fare, there are some good humorous bits here and there.
The flaws of The Prince of Egypt could be summed up by saying Dreamworks was trying too hard. The result is thoroughly watchable, and, at times, technically brilliant, but a little stiff, awkward and rushed in places.
Copyright 1998 Matt Williams
- Matt Williams<EMAIL_ADDRESS>Reviewer for Cinematter: http://www.cinematter.com Home of over 650 reviews, and information on nearly 700 upcoming releases
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


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I will be hosting an event at {{ data.event_location }} at {{ data.timestamp}}. {{ data.event_description }} {# I would like for you to RSVP with me so I can get a head count. We will be opening google earch and doing a virtual walkthrough together as a group.#}
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The Code Component can be used to insert short pieces of python code into your experiments. This might be create a variable that you want for another Component, to manipulate images before displaying them, to interact with hardware for which there isn’t yet a pre-packaged component in PsychoPy (e.g. writing code to interact with the serial/parallel ports). See code uses below.
Be aware that the code for each of the components in your Routine are executed in the order they appear on the Routine display (from top to bottom). If you want your Code Component to alter a variable to be used by another component immediately, then it needs to be above that component in the view. You may want the code not to take effect until next frame however, in which case put it at the bottom of the Routine. You can move Components up and down the Routine by right-clicking on their icons.
Clock
associated with them, which gets reset at the beginning of that repeat of the routine. So if you have a Routine called trial, there will be a Clock
called trialClock and so you can get the time (in sec) from the beginning of the trial by using::To see what other variables you might want to use, and also what terms you need to avoid in your chunks of code, compile your script before inserting the code object and take a look at the contents of that script.
Note that this page is concerned with Code Components specifically, and not all cases in which you might use python syntax within the Builder. It is also possible to put code into a non-code input field (such as the duration or text of a Text Component). The syntax there is slightly different (requiring a $ to trigger the special handling, or \$ to avoid triggering special handling). The syntax to use within a Code Component is always regular python syntax.
The parameters of the Code Component simply specify the code that will get executed at 5 different points within the experiment. You can use as many or as few of these as you need for any Code Component:
- Begin Experiment:
- Things that need to be done just once, like importing a supporting module, initialising a variable for later use.
- Begin Routine:
- Certain things might need to be done just once at the start of a Routine e.g. at the beginning of each trial you might decide which side a stimulus will appear
- Each Frame:
- Things that need to updated constantly, throughout the experiment. Note that these will be executed exactly once per video frame (on the order of every 10ms), to give dynamic displays. Static displays do not need to be updated every frame.
- End Routine:
- At the end of the Routine (e.g. the trial) you may need to do additional things, like checking if the participant got the right answer
- End Experiment:
- Use this for things like saving data to disk, presenting a graph(?), or resetting hardware to its original state.
There are many ways to do this, but you could add the following to the Begin Routine section of a Code Component at the top of your Routine. Then set your stimulus position to be $targetPos and set the correct answer field of a Keyboard Component to be $corrAns (set both of these to update on every repeat of the Routine).:
if random()>0.5:
targetPos=[-2.0, 0.0]#on the left
corrAns='left'
else:
targetPos=[+2.0, 0.0]#on the right
corrAns='right'
As with the above there are many different ways to create noise, but a simple method would be to add the following to the Begin Routine section of a Code Component at the top of your Routine. Then set the image as $noiseTexture.:
noiseTexture = random.rand((128,128)) * 2.0 - 1
Make a new routine, and place it at the end of the flow (i.e., the end of the experiment). Create a Code Component with this in the Begin Experiment field:
expClock = core.Clock()
and put this in the Begin routine field:
msg = "Thanks for participating - that took %.2f minutes in total" %(expClock.getTime()/60.0)
Next, add a Text Component to the routine, and set the text to $msg. Be sure that the text field’s updating is set to “Set every repeat” (and not “Constant”).
Code components can also be used to control the end of a loop. See examples in Recipes:builderTerminateLoops.
The most complete way to find this out for your particular script is to compile it and take a look at what’s in there. Below are some options that appear in nearly all scripts. Remember that those variables are Python objects and can have attributes of their own. You can find out about those attributes using:
dir(myObject)
Common PsychoPy variables:
- expInfo: This is a Python Dictionary containing the information from the starting dialog box. e.g. That generally includes the ‘participant’ identifier. You can access that in your experiment using exp[‘participant’]
- t: the current time (in seconds) measured from the start of this Routine
- frameN: the number of /completed/ frames since the start of the Routine (=0 in the first frame)
- win: the
Window
that the experiment is using
Your own variables:
anything you’ve created in a Code Component is available for the rest of the script. (Sometimes you might need to define it at the beginning of the experiment, so that it will be available throughout.)
the name of any other stimulus or the parameters from your file also exist as variables.
most Components have a status attribute, which is useful to determine whether a stimulus has NOT_STARTED, STARTED or FINISHED. For example, to play a tone at the end of a Movie Component (of unknown duration) you could set start of your tone to have the ‘condition’
myMovieName.status==FINISHED
Selected contents of the numpy library and numpy.random are imported by default. The entire numpy library is imported as np, so you can use a several hundred maths functions by prepending things with ‘np.’:
- random() , randint() , normal() , shuffle() options for creating arrays of random numbers.
- sin(), cos(), tan(), and pi: For geometry and trig. By default angles are in radians, if you want the cosine of an angle specified in degrees use cos(angle*180/pi), or use numpy’s conversion functions, rad2deg(angle) and deg2rad(angle).
- linspace(): Create an array of linearly spaced values.
- log(), log10(): The natural and base-10 log functions, respectively. (It is a lowercase-L in log).
- sum(), len(): For the sum and length of a list or array. To find an average, it is better to use average() (due to the potential for integer division issues with sum()/len() ).
- average(), sqrt(), std(): For average (mean), square root, and standard deviation, respectively. Note: Be sure that the numpy standard deviation formula is the one you want!
- np.______: Many math-related features are available through the complete numpy libraries, which are available within psychopy builder scripts as ‘np.’. For example, you could use np.hanning(3) or np.random.poisson(10, 10) in a code component.


On thoses pages, you could obtain informations or statistics on application components :
Data feed is automatic when you scroll the page.
An arrow appears at the bottom of the page when you start scrolling. By clicking it you go back to the top of the page.
When clicking on column headers, the data is sorted with ascending sort, descending sort or no sort.
A search field on top of the page allow you to search in all columns, those where searching is not allowed are flagged with )
You could export in excel format those data by clicking on .


I'm in the US so having to deal with that. I have 2 Magnelab SCT-0750-000 CT's I understand that I should attach them to the two feeds in opposite direction and then sum the inputs in emoncms. Right? I haven't been able to find any docs on what operations are permitted - where? I can't find any docs on emoncms and the internal docs page shows nothing.
So my question is how to I ensure that they are connected so they sum correctly? Or can I just attach the CT's and then process the inputs to produce a positive value? Or does it not matter which way they are connected just so they are backwards of the other? These things are more difficult to pull apart then I thought and I don't relish having to do it once they are installed with a powered breaker box (or is there some trick?). Or is it that because the two feeds are 180 deg out of phase, that reversing one also reversed the output voltage so summing makes sense?
Another question on emonGLCD - since I have 2 feeds, how to I sum that on that device? And does it have an auto dimming capability so the display is off at night, say from midnight to 8am?
Also as a comment, I tried the USB_HDD script to move the OS to my HDD. It worked except that it didn't update the cmdline.txt and fstab files.  Not sure why it didn't work.
Thanks
Re: Attaching CT's and emonGLCD
Hello from Oklahoma. I use Magnelab CTs too, so can relate to the difficulty involved in pulling them apart.
Here's info that should help.
Re: Attaching CT's and emonGLCD
Have you seen the Resources page about installations in N.America? That should give you a fair bit of background information about how to connect your CTs.
I can't give a detailed answer about further processing because you haven't said what is in between the CTs and emoncms, nor indeed which emoncms you're using.
If your emonGLCD receives a time feed from a server somewhere - either emoncms.org or your own - then, depending on the sketch, it can control the backlight according to ambient light, and it can turn the backlight off overnight (you'd need to check the sketch that you intend to use for the details).
Assuming that your emonGLCD receives its data from an emonTx, then (again depending on how you connect your CTs) you might need to modify the sketch to add the powers inside the emonGLCD.
[OK, Bill T typed rather less than I did!]


Scaffolding
Use white space to create a visual hierarchy on the page.
Contents:
Page width
The default maximum page width is 1020px, but go wider if the content requires it.
Use a grid to lay out your content. To prevent long lines of text, content should sit in a column which is two-thirds of the page width.
Long lines reduce legibility, so all lines of text should be no longer than 70 to 80 characters.
Screen size
Design for small screens first using a single column layout.
Optimise for different screen sizes, but don’t make assumptions about what devices people are using.
Spacing
- spacing between elements is usually 5px, 10px, 15px or multiples of 15px
- gutters are 15px for smaller screens and 30px for larger screens
Grid unit proportions
- introduce columns as the content requires it – base column ratios on halves, thirds or quarters of the page width
- for screen breakpoints use media queries – find these in the GOV.UK frontend toolkit _conditionals.scss file
Full width
HTML

Content

Halves
HTML

Content

Content

Thirds
HTML

Content

Content

Content

Two thirds / One third
HTML
One third / Two thirds
HTML

<div class="column-one-third"<
<p<Content</p<
</div<
<div class="column-two-thirds"<
<p<Content</p<
</div<
</div<
Quarters
HTML

Content

Content

Content

Content

{% endblock %}


MimetypeFu
====
# # NOTICE: I am So Awesome Man! I’m just forking this to put on gemcutter... # the designated maintainer can have the namespace over there whenever # (I want to make a few changes for my convenience too) #
Some great Rails plugins like attachment_fu use the content type/mime type of a file to validate the instance of an object. The plugin usually gets the mime type using the CGI request, however, if the file is already in the system, this approach won’t work. Adobe Flash is also known not to send the proper mime type. As an alternative, I wrote mimetype_fu, a simple plugin which will try to guess the mimetype of a file based on its extension.
Note that mimetype_fu only looks at the extension to define its mime type if you are using Windows!
github.com/mattetti/mimetype-fu
Thanks to forestcarlisle for his big report and patch.
Copyright © 2008 Matt Aimonetti, released under the MIT license


RVS_AutofillTextField
NOTE
Here is a link to the GitHub repo for this project.
Here is a link to the technical documentation for this project.
INTRODUCTION
This is a standard UITextField
, extended to provide an “autofill” dropdown menu, under the widget. This widget will provide matches, within an Array of Strings, which can be used as “autofill.” If one of the strings is selected by the user, then it is entered, in its entirety, into the text field.
Figure 1: The Widget’s Standard Display, with a “Begins With” Action
This is, by default, a simple, “one-way,” “greedy” match. It starts from the beginning, then moves forward, matching the characters entered into the text field. They must all match, but the match can be case/diacritical-independent (by default).
We can choose several modes of matching, so we can “wildcard” text before and/or after the string (or insist on an exact match).
Figure 2: The Widget’s Standard Display, with a “Contains” Action
The widget has been designed to allow a lot of customization, as well as a very simple way to provide the data to be searched. It also has the ability to be modified for more advanced data searching.
The user must actually select a table row. There is no “tab” autofill. This is for things like phones, where that doesn’t really make sense, and the application may have other plans for the return function.

Entering text on phones isn’t easy. This helps to reduce the amount of text we actually need to enter.
Additionally, this can help us to “explore” datasets, by entering partial specifications. For example, if we are searching for users in a certain area, we might do a “triage” search, and create a subset of the main database of users, for the locality. These can be used as autofill suggestions, when looking for a user.
REQUIREMENTS
This is a Swift-only module. It is based on standard UIKit, for iOS/iPadOS.
There are no dependencies to use the widget, but there are a couple, if you will run the test harness:
IMPLEMENTATION
Where to Get the Package
You can get this package as a Swift Package Manager (SPM) package, or you can include it, using GitHub’s Carthage Package Manager. Finally, you can also directly access the GitHub repository, and simply include the single source file into your app.
The Swift Package Manager
In order to use the SPM, add the package to your project with its GitHub repo location:
git@github.com:RiftValleySoftware/RVS_AutofillTextField.git (SSH),
or
https://github.com/RiftValleySoftware/RVS_AutofillTextField.git (HTTPS).
Add the static RVS_AutofillTextField
library to your project, and add the following import
line to the top of the files that will use the widget:
import RVS_AutofillTextField
Carthage
Add the following line to your Cartfile:
github "RiftValleySoftware/RVS_AutofillTextField.git"
Then, run carthage update
in the main project directory.
This will create a directory, called “Carthage”. Inside of that, will be another directory, called Checkins
. Inside of that, will be RVS_AutofillTextField/Sources/RVS_AutofillTextField/RVS_AutofillTextField.swift
.
I recommend that you include this file directly into your app, as opposed to building the library, and adding that. If you do this, there will be no need to import a module. Additionally, the IBDesignables stuff should work (these are the previews in the storyboard file).
Directly From GitHub
The above Carthage instructions will also basically apply to getting the file from GitHub. You can use the following GitHub URLs to access the repository:
git@github.com:RiftValleySoftware/RVS_AutofillTextField.git (SSH),
or
https://github.com/RiftValleySoftware/RVS_AutofillTextField.git (HTTPS).
You can add the repo as a Git Submodule, or even as a separate repo, that you use as a source for the physical file.
Get the same file, as indicated by Carthage, and add it to your project.
Customizing the widget
You instantiate the control, in exactly the same way that you would, an instance of UITextField
. This can be done programmatically:
var myTextEntryWidget = RVS_AutofillTextField(frame: widgetFrame)
or using Interface Builder, and a storyboard/IB file:
Figure 3: Dragging In A Text Field Object
Start by dragging in a Text Field.
Figure 4: Setting the Class (and Possibly, the Module).
Convert the Class to an instance of RVS_AutofillTextField
. You may need to also set the module (if not directly including the file).
Figure 5: The Widget, in Its New Home.
It will now show up as a standard Text Field.
Figure 6: The Custom Widget Parameters.
These are the custom parameters for the RVS_AutofillTextField
type.
Figure 7: The Standard Text Field Parameters.
But we also have the traditional Text Field controls.
NOTE
The dropdown menu attaches to the main root screen view, so it “floats” above everything else. It is not modal. You can still access everything behind it.
Also, the dropdown only appears when the widget has focus, and contains text that matches the selections. Just giving it a list of strings is not enough to make the dropdown appear. It also has to have text in the field that will trigger a match in one or more of the strings.
Setting Up the Data Source
The widget won’t work, without a data source. You can’t add the data source via the storyboard. It needs to be done programmatically. This is because we did not want to force the user of this widget to have to start with an NSObject
-based class (required to have the data source available via IB).
Once the widget has been installed/instantiated, it needs to be referenced by an internal property, like so:
/* ################################################################## */
/**
This is the CuT (Code Under Test). It is the test target instance of `RVS_AutofillTextField`.
*/
@IBOutlet weak var autofillTextField: RVS_AutofillTextField!
During the load setup, we should add the data source, like so:
/* ################################################################## */
/**
Called when the view hierarchy has been loaded. We use this to sync the CuT with the UX.
*/
override func viewDidLoad() {
super.viewDidLoad()
autofillTextField?.dataSource = self
The above examples were taken directly from the test harness project. In that project, the main View Controller is also the RVS_AutofillTextFieldDataSource
-conformant Instance.
Conforming to the Data Source Protocol
The RVS_AutofillTextFieldDataSource
protocol is really very simple.
It requires that an Array of a simple struct be supplied to the widget, which will then be used to provide the autofill “fuel.”
Each instance of the struct will have two properties:
The value Property
This is a simple String
. It has the full string to be searched, and, possibly, offered to replace the contents of the text field.
The refCon Property
This allows you to attach an arbitrary “reference context” to the element. This is how you can attach things like references to other properties or objects. It is an optional Any?
value, defaulted to nil
, so there is no need to define it. It’s just there, for you.
This Array can be provided in one of two ways:
The Really Simple Way
By default, the data source protocol does a rather simple, naive search for matches. If we are happy with this, then all we need to do, is provide a property, like so:
/* ################################################################## */
/**
This is an Array of structs, that are the searchable data collection for the text field.
If this is empty, then no searches will return any results.
*/
var textDictionary: [RVS_AutofillTextFieldDataSourceType] {
testingTextDictionary.compactMap {
let currentStr = $0.trimmingCharacters(in: .whitespacesAndNewlines)
return !currentStr.isEmpty ? RVS_AutofillTextFieldDataSourceType(value: currentStr) : nil
}
}
The protocol default will take care of searching and matching for us.
The More Complex Way
If you want to have a way to optimize or otherwise filter/interpret the data being given to the widget, your data source can implement the getTextDictionaryFromThis(string inString: String, isCaseSensitive inIsCaseSensitive: Bool, isWildcardBefore inIsWildcardBefore: Bool, isWildcardAfter inIsWildcardAfter: Bool, maximumAutofillCount inMaximumAutofillCount: Int) -> [RVS_AutofillTextFieldDataSourceType]
method
This is called by the widget repeatedly, with a String, containing the current text contents, and returns a filtered and searched Array of elements.
You must implement at least one of the above methods. If you don’t, then you just have a normal UITextField
instance.
The Widget Options
The widget has a few optional fields that are available via the storyboard (Figure 6).
Customizing Behaviors
isAutoFillOn
This is a Bool value that is a “main circuit breaker” for the functionality. Default is on. If off, then the widget is just a regularUITextField
.isCaseSensitive
If this is on (default is off), then searches take case and diacriticals into account. If off, then the search ignores diacriticals and case.isWildcardBefore
If this is on (default is off), then we ignore characters before the match, so the match can be further into the string. It does not need to start the string.isWildcardAfter
If this is on (default is on), then characters after the match are ignored.maximumAutofillCount
This is an integer value that designates the maximum number of results that show up in the table. If it is set to -1 (or any negative number), then there will be no limit, and the table could get quite large (and scroll). Default is 5.
If you are looking for an exact match, then turn off both wildcards. If you make it case-sensitive, then the string must match exactly.
If you are looking for a case-insensitive match at the start, just leave the defaults. If you are looking for an “ends with” match, then turn on the before wildcards, and turn off the after wildcards.
Customizing Appearance
You can specify different background and font colors. Default is standard system background, at a 75% opacity, and standard label colors, with a 50% opacity for unmatched text.


About
"Seattle-based pop star makes her indie debut with a hauntingly beautiful album"
- John Tirckle, Music Today Post
"Jane Doe is one of the scene's breakout stars"
- John Tirckle, Music Today Post
- John Tirckle, Music Today Post
- John Tirckle, Music Today Post


La page web présente ne correspond pas aux critères esthétiques d’Universcience ainsi que la liaison au fichier JSON géré par un programme. La DSI me demande donc de renouveler cette page web ainsi que la liaison au fichier JSON.
Date : Janvier 2017
Client : Universcience
Catégorie : Mise à jour
Compétences acquises :
- Participation à un projet d’évolution d’un SI
- Elaboration de documents relatifs à la production et à la fourniture de services
- Productions relatives à la mise en place d’un dispositif de veille technologique et à l’étude d’une technologie, d’un composant, d’un outil ou d’une méthode
- A 1.1.1 - A 1.1.2 - A 1.3.3 - A 1.3.4 - A 1.4.1 - A 3.2.2 - A.4.1.3 - A 4.1.4 - A 4.2.1 - A 4.2.3 - A 5.1.5 - A 5.2.1 - A 5.2.3 - A 5.2.4
Télécharger la fiche mission :
Mission n°2 - Réalisation de la page d'impression des mémoires de expos chez Universcience
Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth. Even the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text by the name of Lorem Ipsum decided to leave for the far World of Grammar.
Mission n°3 - Création d'un site vitrine (CSS/HTML/JS/Bootstrap) pour une expo chez Universcience
Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth. Even the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text by the name of Lorem Ipsum decided to leave for the far World of Grammar.
Mission n°4 - Support Bureautique et réseaux chez Unverscience
Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth. Even the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text by the name of Lorem Ipsum decided to leave for the far World of Grammar.
Mission n°1 - Création d'un outil web (Webticket) [Autoformation]
Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth. Even the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text by the name of Lorem Ipsum decided to leave for the far World of Grammar.
Mission n°2 - Création d'un questionnaire de choix d'expo chez Universcience
Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth. Even the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text by the name of Lorem Ipsum decided to leave for the far World of Grammar.
Mission n°3 - Mise en place d'une doc d'utilisation et echnique d'un projet web existant
Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth. Even the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text by the name of Lorem Ipsum decided to leave for the far World of Grammar.
Mission n°4 - Réalisation d'un CRUD (amélioration du questionnaire existant)
Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean. A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth. Even the all-powerful Pointing has no control about the blind texts it is an almost unorthographic life One day however a small line of blind text by the name of Lorem Ipsum decided to leave for the far World of Grammar.


Predict house cost in Moscow
Total flat space, m
Living space, m
Kitchen space, m
Distance to underground, km
District
NE
N
NW
W
SW
S
SE
E
{{ result }}


See: Description
| Interface | Description |
|---|---|
| ExampleExternalInterface | |
| ExampleInner |
| Class | Description |
|---|---|
| AbstractClassCompiler | |
| AsmUtil |
Utilities commonly used with ASM.
|
| CachedClassLoader |
Class loader for "plain-old Java" generated classes.
|
| CheckClassVisitorFsm |
A ClassVisitor that verifies the required call sequence described in
http://asm.ow2.org/asm50/javadoc/user/org/objectweb/asm/ClassVisitor.html .
|
| CheckMethodVisitorFsm |
A MethodVisitor that verifies the required call sequence according to
http://asm.ow2.org/asm50/javadoc/user/org/objectweb/asm/MethodVisitor.html .
|
| ClassBodyBuilder | |
| ClassBuilder |
Implements the "plain Java" method of code generation and
compilation.
|
| ClassCompilerSelector |
Selects between the two supported Java compilers: Janino and
the build-in Java compiler.
|
| ClassTransformer |
Compiles generated code, merges the resulting class with the
template class, and performs byte-code cleanup on the resulting
byte codes.
|
| ClassTransformer.ClassNames | |
| ClassTransformer.ClassSet | |
| CodeCompiler |
Global code compiler mechanism shared by all threads and operators.
|
| CodeCompiler.CodeGenCompiler |
Abstracts out the details of compiling code using the two available
mechanisms.
|
| CodeCompilerTestFactory | |
| CompilationConfig | |
| DrillCheckClassAdapter |
There's a bug in ASM's CheckClassAdapter.
|
| DrillInitMethodVisitor | |
| ExampleTemplate | |
| ExampleTemplateWithInner |
Test case that also illustrates the proper construction of templates
with nested classes.
|
| FsmCursor |
Maintains state while traversing a finite state machine described by
an FsmDescriptor.
|
| FsmDescriptor |
Describes a finite state machine in terms of a mapping of tokens to
characters, a regular expression describing the valid transitions
using the characters, and an end state.
|
| InnerClassAccessStripper |
An ASM ClassVisitor that strips class the access bits that are only possible
on inner classes (ACC_PROTECTED, ACC_PRIVATE, and ACC_FINAL).
|
| LogWriter |
A simple Writer that will forward whole lines (lines ending with a newline) to
a Logger.
|
| QueryClassLoader |
Per-compilation unit class loader that holds both caching and compilation
steps.
|
| RetargetableClassVisitor |
An ASM ClassVisitor that allows for a late-bound delegate.
|
| TemplateClassDefinition<T> |
Defines a code generation "template" which consist of:
An interface that defines the generated class.
A template class which implements the interface to provide
"generic" methods that need not be generated.
A signature that lists the methods and vector holders used
by the template.
|
| TestClassCompilationTypes | |
| TestClassTransformation | |
| TestEvaluationVisitor | |
| TestLargeFileCompilation |
| Enum | Description |
|---|---|
| ClassCompilerSelector.CompilerPolicy | |
| ClassTransformer.ScalarReplacementOption |
Copyright © 2021 The Apache Software Foundation. All rights reserved.


TheoryMethods.Rmd
The sjosmooth package (pronounced sō smüt͟h) was built to perform kernel smoothing on any type of regression model, but the focus is on censored time-to-event or survival data. The package provides kernel smoothed estimates of survival probabilities at specified times, as well as other outcomes from survival regression models. The sm package is closely related to the sjosmooth package in that it also performs kernel smoothing with censored time-to-event data; however, the sm package only allows for univariate estimation of a survival quantile (i.e. median survival time) using the Gaussian kernel (sm::sm.survival()
). sjosmooth allows for the use of other kernels and for an n-dimensional covariate smoothing matrix.
I’ll do a brief review of the theory underlying kernel smoothing, and a brief review on simulating time-to-event data. Other vignettes focus on the usage of the sjosmooth package in the univariate setting, and for obtaining kernel-smoothed survival estimates for 2 or more covariates.
simplystatistics.org. loess explained in a GIF
Kernel smoothing is a technique for estimating a function when a parametric model for the function is unknown. The kernel smoothing methods utilized in the sjosmooth package are described in detail in the sixth chapter of the second edition of Hastie, Tibshirani, and Friedman’s book entitled The Elements of Statistical Learning: Data Mining, Inference, and Prediction.
The sjosmooth package currently supports four kernels: Epanechnikov, Tri-cube, Gaussian, and flat. The kernel specifies how much weight is given to each observation in your dataset when performing weighted regression. The figure below illustrates three kernels.
For the Epanechnikov, Tri-cube, and flat kernels, the \(\lambda\) parameter is on the standardized scale. For example, if \(\lambda = 1\) then observations within 1 standard deviation would be included in the kernel-weighted estimate. If \(\lambda = 0.5\) then only observations within half a standard deviation would be included.
The Epanechnikov quadratic kernel is
\[
K_\lambda(x_0, x) = D\Big( \frac{||x - x_0||}{\lambda} \Big)
\] with \[
D(t) =
\begin{cases}
\frac{3}{4}(1-t^2) & |t| \le 1 \\
0 & |t| > 1 \\
\end{cases}
\] The \(\lambda\) parameter is the radius of the circle (or hypersphere for higher dimensions). Any observation that is further than \(\lambda\) units from \(x_0\) is not included in the weighted estimate. Observations closer to \(x_0\) receive higher weight.
The tri-cube kernel is similarly defined similarly to the Epanechnikov kernel, except \[ D(t) = \begin{cases} (1-|t|^3)^3 & |t| \le 1 \\ 0 & |t| > 1 \\ \end{cases} \] The parameter has a similar interpretation here as it does with the Epanechnikov kernel.
The Gaussian kernel is given by \[ K_\lambda(x_0, x) = \frac{1}{\sqrt{2\pi\lambda^2}^N} exp\Bigg(-\frac{||x - x_0||^2}{2\lambda^2}\Bigg) \] where \(N\) is the dimension of the covariate, or predictor, vector. Here, the weights are defined by the Gaussian distribution and is the standard deviation. The primary difference here is that all observations are included in the estimation at every point; although, observations further from our point estimate, \(x_0\), will be included with much less weight.
Next, let’s simulate some data that we will later to get experience using the sjosmooth package. We’ll simulate the relationship between the predictors and the outcome to be non-linear (when using the Cox regression model).
The Cox proportional hazards regression estimates the hazard, \(h(t)\) \[ h(t) = h_0(t)exp(\boldsymbol{X}\beta) \] where \(h_0(t)\) is the baseline hazard and \(\boldsymbol{X}\beta\) is the linear predictor. We’re going to keep these simulations simple and assume a constant baseline hazard of 1 (i.e. \(h_0(t) = 1\)). As a result the cumulative baseline hazard takes the form \(H_0(t) = t\). The survival probability function is \[ S(t; X) = exp(-H_0(t)*exp(\boldsymbol{X}\beta)) \] which is simply \(1 - F(t; \boldsymbol{X})\). \(F(t; X)\) is well known to follow a uniform distribution (\(U(0,1)\)). If \(U \sim U(0,1)\) it follows that \(1 - U \sim U(0,1)\). Therefore, \(S(t; X) \sim U(0,1)\). We can use these results to simulate survival data from a Cox regression model. Survival times, \(T\), can be simulated by \[ T = H_0^{-1}(- \log (U)exp(-\boldsymbol{X}\beta)) \] Because we’ve assumed a simple baseline hazard, \(H_0^{-1}(t) = t\). Therefore, \[ T = - \log (U)exp(-\boldsymbol{X}\beta) \]


Sorry Donald, this is too much for Margaret to handle until Justin finds a more efficient way to factor.
CPU Burden comes from a formula I came up with to try to determine how hard the CPU will have to work based on m and k.
CPU Burden for this request was {{burden}}.
Maximum burden allowed is {{max_burden}}.


Serverless: what's in a name?
The “serverless” moniker is rubbing a lot of people the wrong way. A cursory search for #serverless captures the prevailing sentiment:
@fk_AndyJassy keeping it classy:
The mockery is real:
The fear is real:
The cluelessness is real:
And of course the hype is real:
Recent posts from acloud.guru and @PaulDJohnston try to bring some reason to the discussion. The former points out that yes, everybody understands there are actually servers still executing things, and that serverless is about shifting the overhead of server management to a service provider. The latter believes that the anti-serverless sentiment has a lot to do with fear and insecurity.
There are good points made in both of these articles, but neither really captures the problem that I have, which is not so much the word “serverless” as the prevailing attitude in the community. That somehow cloud functions will completely replace servers, and that if you’re not using cloud functions you’re doing it wrong. Gimmicks like physically destroying servers on stage at conferences aren’t exactly helping. (On the other hand, I can appreciate it because as a long time sys admin, sometimes I really, really want to beat servers to a pulp!)
But that’s not the only thing. serverless also sets the wrong expectations. It suggests that “server concerns” such as resource contention, OS settings (e.g. tunable kernel values), and runtime environment configuration (e.g. jvm settings) are irrelevant. Do developers write code just as they always have, only now they don’t worry about how it runs? Of course not, but that’s what serverless suggests.
Any informed developer will immediately understand that yes, there’s still an OS, and you’d better still understand how it abstracts the underlying physical resources. Still, with serverless, you have basically no control over the execution environment, and you’re restricted by the limits set by the provider. Don’t like how something is configured? Too bad, you’re stuck with it. Developers who use serverless exclusively live in a much smaller box and with a lot less freedom of expression than those with an open source OS at their disposal. Serverless: Nice Idea, Terrible Name from Kristian Glass expresses some of these same concerns.
A whole host of server-related challenges go away completely with serverless, many in the domain of sys admins (now DevOps - another unfortunate name). Hardening the OS, patching, maintaining uniformity across environments, software packaging and deployments - these are just a few examples. All become much easier, at least in theory. But new responsibilities arise:
- Maintain granular permission for all your functions. And you thought managing IAM roles for your EC2 instances was hard…
- Resolve dependencies between hundreds or thousands of nanoservices
- Maintain and publish versions of various functions
- Mock the execution environment to make sure local development closely matches the provider’s environment
- Ensure that the code obeys the aforementioned environmental restrictions
Most (all?) of this is now squarely in the domain of the developer. Tooling will help to address it (the most obvious current example being the well regarded Serverless framework), and I anticipate a healthy ecosystem of complementary and competing tools that make this easier over time. But we need to acknowledge that some of the same challenges have shifted in to new areas.
Should you be worried about your future career if you’re a sys admin/DevOps/SRE? Absolutely not. Think of serverless as another tool in the box. Cloud functions have joined the ranks of PaaS, containers, cloud instances, private VMs, and bare metal servers in running code to solve business problems. They’re extremely efficient and sensible in the right situation, and we should expect them to gain new features and improve over time. But servers aren’t going away any time soon, and today’s legacy applications and development patterns will be here for many years to come. If you’re afraid of the change that serverless brings, well, you’re in the wrong industry my friend.
Love it, hate it, get used to it. Cloud functions are here to stay, and serverless is too.


Frontend Development
Research in advertising is done in order to produce better advertisements that are more efficient in motivating customers to buy a product or a service.
Research in advertising is done in order to produce better advertisements that are more efficient in motivating customers to buy a product or a service.
Research in advertising is done in order to produce better advertisements that are more efficient in motivating customers to buy a product or a service.
Research in advertising is done in order to produce better advertisements that are more efficient in motivating customers to buy a product or a service.
Research in advertising is done in order to produce better advertisements that are more efficient in motivating customers to buy a product or a service.


Search for subdomains!
You can search for subdomains here, make sure to use domain.tld and no subdomains in this form to maximize results!
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{% if results %}
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{% end %}You can search for subdomains here, make sure to use domain.tld and no subdomains in this form to maximize results!
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Elektra
0.9.4
|
To make storage-plugins suitable for spec
they need to be able to store all the metadata as specified in METADATA.ini. Most file formats do not have support for that.
If metadata is merged from different namespaces, e.g., spec:
and user:
, metadata from one namespace might end up in keys of other namespaces, e.g., metadata from spec:
might end up in user:
.
spec:/
to other namespace.ini
plugin: this exposes internal metadata into the comments and can drastically affect the readability of a storage file. Comments should never be touched by a parser.spec:/
or to only for restoring configuration file formats. Rename metadata <type>
in spec:/
to check/<type>
or make/array
. This way no merging of metadata would be needed and by the name alone it would be clear to which namespace it belongs.array
or type
if the underlying configuration file format does not support it. spec-mount
could make sure that the storage plugin supports everything the underlying format needs.Do not store metadata unrelated to the configuration file structure in any namespace except in spec:/
.
kdb set-meta user:/data metadata_not_suitable_for_storage_plugins something
would fail (validated by spec
plugin).comment
or order
, might be stored in any namespace.Sometimes, the same metadata can be used in several namespaces but with different meanings and ways of serialization, e.g. type
and array
:
spec:/
the metadata array=
(empty value) means "this is an array". If you give it a value e.g. array=#4
it means "this is an array with default size X" (e.g. #4
= size 5).array=
means "this is an empty array" and e.g. array=#4
means "this is an array with max index #4". array=#4
is not stored literally but inferred.kdbSet
but spec
will keep on adding it for every kdbGet
.spec
) and as such available in the next kdbGet
from the storage plugin to be validated by spec
.Use different storage plugins, or plugins with different configurations, for the spec:/
namespace:
ni
meta
configurationThe kdb mount
tool will add the meta
plugin configuration when mounting a storage plugin to spec:/
.
type
and array
can be used in specs.spec:/
than in the other namespaces.array
in spec:/
has a quite different meaning to array
in other namespaces.


{% extends 'serenity_tools_base.html' %} {% block extra_includes %} {% endblock %} {% block app_title %} Postcode tools {% endblock %} {% block app_content %}
This tool tests multiple postcodes against one "reference" or centre-point code.
Enter postcodes to test against one per line in second box. Spacing and capitalisation does not matter.


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JOHN CARPENTER'S VAMPIRES (1998) A film review by Justin Felix. Copyright 1998 Justin Felix. All of my film reviews are archived at http://us.imdb.com/M/reviews_by?Justin+Felix This review also appears in the Shrubbery -- http://www.theshrubbery.prohosting.com/1298/movie3.html
Rating: *** (out of five)
Screenplay by Don Jakoby. Based on the novel VAMPIRE$ by John Steakley. Directed by John Carpenter. Starring James Woods, Daniel Baldwin, Sheryl Lee, Thomas Ian Griffith, Maximilian Schell. Rated R (contains violence, nudity, and profanity) 107 mins.
Synopsis: Swearing, cigar-smoking professional vampire slayer Jack Crow leads his buddy Tony, a prostitute, and a Catholic priest into battle against Valek, the world's first vampire, who is searching for the means to be able to live in sunlight.
Comments: As I write this, Halloween 1998 is a three-week old memory, and Thanksgiving is quickly approaching. Hollywood released a slew of horror and horror-related movies right before and closely after Halloween, and these movies are now slowly making their way through second-run, cheap theaters. The season brought us the campy BRIDE OF CHUCKY, the SCREAMish URBAN LEGEND, and the more serious APT PUPIL, based on a short story by Stephen King. A latecomer, the sequel I STILL KNOW WHAT YOU DID LAST SUMMER, came out on November, Friday the 13th (aren't they just so clever marketing a slasher movie on Friday the 13th?). Having seen all these films except the last (which has been slammed by most critics), I can safely say that JOHN CARPENTER'S VAMPIRES, released the day before Halloween, was the best horror film created for the holiday. This does not necessarily mean it was a great film--the aforementioned flicks were mediocre at best--but it is entertaining, especially for horror, action, and "B-movie" fans.
John Carpenter has done a number of film classics in his long and varied career (however, he's also produced some turkeys). His chief accomplishment, so far at least, is the little 1978 film HALLOWEEN, a film which became a huge hit and launched the teen slasher genre, including the FRIDAY THE 13TH and NIGHTMARE ON ELM STREET cycles. He's also done a number of solid horror and sci-fi movies: THE FOG, THEY LIVE, STARMAN, and a remake of the 50s classic THE THING. Carpenter, unfortunately, seemed to be losing his touch recently. He directed Kurt Russell through the bad ESCAPE FROM LA and Christopher Reeves through the even worse VILLAGE OF THE DAMNED (a lousy remake). Carpenter somewhat needed a film to resolidify his standing as a premiere talent. JOHN CARPENTER'S VAMPIRES, at least, is a step in the right direction.
Vampires, throughout film history, seem to be very popular with movie audiences. From Bela Lugosi's classic turn as DRACULA in the successful Universal classic to Christopher Lee in England's Hammer cycle to recent big budget epics like BRAM STOKER'S DRACULA and INTERVIEW WITH THE VAMPIRE, these creatures of the night continue to rake in profits. Subtle changes in the vampire myths as they get translated through the decades may allow for enough variety to keep people interested. This year, for example, Wesley Snipes played BLADE, a vampire slayer from Marvel Comics, combining the vampire with the comic book hero. JOHN CARPENTER'S VAMPIRES, similarly, combines vampires with another genre, the Western (interestingly, the Western had just been combined with another genre, science fiction, in SOLDIER). The results end up as an interesting mixed bag.
JOHN CARPENTER'S VAMPIRES begins promisingly. Within a beautiful New Mexico landscape, Jack Crow leads his motley crew of vampire killers into an infested, dilapidated house far removed from civilization. Apparently, Crow's crew kills bloodsuckers in a unique manner: they pierce them with cables attached to a running truck outside. The vampires are thus yanked from the darkness of their abode and into the sunlight, where they quickly flare up into ashes. The scene is effectively scary yet sets up the film's darkly humorous tone as well. After this beginning, however, the movie slows to a crawl for about half an hour as the major conflict between Jack Crow and the original vamp Valek is set up.
Whether you like JOHN CARPENTER'S VAMPIRES or not will largely depend upon whether or not you like the actors. James Woods does a wickedly fun turn as the lead vampire slayer. He brings a manic energy which fits the character perfectly. Thomas Ian Griffith deserves an equal nod as the very effective Valek. He informs the vampire with a menacing quality equal to that of other classic actors like Bela Lugosi. If you do not like these actors, especially Woods, however, you probably won't like this movie, as it serves almost like a vehicle for the two. As a side note, the highly respected Maximilian Schell does a supporting role here -- this makes *two* so-so Hollywood movies he's appeared in this year (the other being the somewhat cheesy DEEP IMPACT).
JOHN CARPENTER'S VAMPIRES is remarkedly different from the other horror movies released this past month and a half in that not even a single teenager graces the screen.  JOHN CARPENTER'S VAMPIRES features an entirely adult cast. This doesn't necessarily mean the behavior of these characters, however, is any more informed by intelligence.  One of the reasons, though, that I only give this film three stars is the attitude the main characters have. Jack Crow and Tony Montoya are uncomfortably misogynistic.  Although she is turning into a vampire, their treatment of her still seems cruel and passionless. The storyline's only major fault is to suggest that Montoya falls in love with her. Crow's treatment of members of the Catholic priesthood will probably offend some too. In one scene, for instance, Crow kicks the crap out of a priest to get information, then asks the priest whether he was turned on by the abuse or not.
Despite these faults, the final hour of JOHN CARPENTER'S VAMPIRES picks up speed and is highly entertaining. Not much more may be said without giving away some of the plot's resolution; however, the final showdown between Crow's "gang" and Valek's "posse" in a deserted town combines the genres of the Western and horror quite well. Ultimately, sitting through the first half-hour is rewarded by the finale.
JOHN CARPENTER'S VAMPIRES is deservedly rated R. It contains many scenes of graphic violence, some nudity, and several words and phrases which will never make it to commercial network TV. This one's worth catching before it comes out on video. You could probably still see it at a second-run, bargain theater for the next several weeks.
Review written November 22, 1998.
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