Running your AI training jobs on Satori using Slurm¶
Computational work on Satori is quickly being migrated to use the Slurm workload manager. A typical job consists of several components:
- A submission script
- An executable file (python sript or C/C++ script)
- Training data needed by the ML/DL script
- Output files created by the training/inference job
There are two types for jobs:
- interactive / online
- batch
In general, the process for running a batch job is to:
- Prepare executables and input files
- Modify provided SLURM job template for the batch script or write a new one
- Submit the batch script to the Workload Manager
- Monitor the job’s progress before and during execution
A Note on Exclusivity¶
To make best use of Satori’s GPU resource default job submissiosn are not exclusive. That means that unless you ask otherwise, the GPUs on the node(s) you are assigned may already be in use by another user. That means if you request a node with 2GPU’s the 2 other GPUs on that node may be engaged by another job. This allows us to more efficently allocate all of the GPU resources. This may require some additional checking to make sure you can uniquely use all of the GPU’s on a machine. If you’re in doubt, you can request the node to be ‘exclusive’ . See below on how to request exclusive access in an interactive and batch situation.
Interactive Jobs¶
Most users will find batch jobs to be the easiest way to interact with the system, since they permit you to hand off a job to the scheduler and then work on other tasks; however, it is sometimes preferable to run interactively on the system. This is especially true when developing, modifying, or debugging code.
Since all compute resources are managed/scheduled by SLURM, it is not possible to simply log into the system and begin running a parallel code interactively. You must request the appropriate resources from the system and, if necessary, wait until they are available. This is done with an “interactive batch” job. Interactive batch jobs are submitted via the command line, which supports the same options that are passed via #SBATCH parameters in a batch script. The final options on the command line are what makes the job “interactive batch”: -Is followed by a shell name. For example, to request an interactive batch job (with bash as the shell) equivalent to the sample batch script above, you would use the command:
srun --gres=gpu:4 -N 1 --mem=1T --time 1:00:00 -I --pty /bin/bash
This will request an AC922 node with 4x GPUs from the Satori (normal queue) for 1 hour.
If you need to make sure no one else can allocate the unused GPU’s on the machine you can use
srun --gres=gpu:4 -N 1 --exclusive --mem=1T --time 1:00:00 -I --pty /bin/bash
this will request exclusive use of an interactive node with 4GPU’s
Batch Scripts¶
The most common way to interact with the batch system is via batch jobs. A batch job is simply a shell script with added directives to request various resources from or provide certain information to the batch scheduling system. Aside from the lines containing SLURM options, the batch script is simply the series commands needed to set up and run your AI job.
To submit a batch script, use the bsub command:
sbatch myjob.slurm
As an example, consider the following batch script for 4x V100 GPUs (single AC922 node):
#!/bin/bash
#SBATCH -J myjob_4GPUs
#SBATCH -o myjob_4GPUs_%j.out
#SBATCH -e myjob_4GPUs_%j.err
#SBATCH<EMAIL_ADDRESS>#SBATCH --mail-type=ALL
#SBATCH --gres=gpu:4
#SBATCH --gpus-per-node=4
#SBATCH --nodes=1
#SBATCH --ntasks-per-node=4
#SBATCH --mem=0
#SBATCH --time=24:00:00
#SBATCH --exclusive
## User python environment
HOME2=/nobackup/users/$(whoami)
PYTHON_VIRTUAL_ENVIRONMENT=wmlce-1.7.0
CONDA_ROOT=$HOME2/anaconda3
## Activate WMLCE virtual environment
source ${CONDA_ROOT}/etc/profile.d/conda.sh
conda activate $PYTHON_VIRTUAL_ENVIRONMENT
ulimit -s unlimited
## Creating SLURM nodes list
export NODELIST=nodelist.$
srun -l bash -c 'hostname' | sort -k 2 -u | awk -vORS=, '{print $2":4"}' | sed 's/,$//' > $NODELIST
## Number of total processes
echo " "
echo " Nodelist:= " $SLURM_JOB_NODELIST
echo " Number of nodes:= " $SLURM_JOB_NUM_NODES
echo " GPUs per node:= " $SLURM_JOB_GPUS
echo " Ntasks per node:= " $SLURM_NTASKS_PER_NODE
#### Use MPI for communication with Horovod - this can be hard-coded during installation as well.
export HOROVOD_GPU_ALLREDUCE=MPI
export HOROVOD_GPU_ALLGATHER=MPI
export HOROVOD_GPU_BROADCAST=MPI
export NCCL_DEBUG=DEBUG
echo " Running on multiple nodes/GPU devices"
echo ""
echo " Run started at:- "
date
## Horovod execution
horovodrun -np $SLURM_NTASKS -H `cat $NODELIST` python /data/ImageNet/pytorch_mnist.py
echo "Run completed at:- "
date
In the above template you can change:
- line 2-4: with your desired job name, but remember to keep _out for the job output file and _err for the file with the related job errors
- line 7:
--gres=gpu:4
here you can consider the no of GPUs you need per node e.g. a value of 1 means you want only 1 GPU on each node, a value of 4 means you want all GPUS’s on the node. - line 9:
--nodes=1
here you put how many nodes you need. e.g. a value of 1 means 1 node, a value of 2 means 2 nodes, etc. Note: the total number of GPUS is the product of the--gres
and the--nodes
settings. e.g. a value of--gres=gpu:4
and--nodes=2
= 4 x 2 = 8 GPU’s in total. - line 12:
--time=24:00:00
indicates the maximum run time you wish to allow. Note If this number is larger than the runtime limit of the queue you are in, your job will be terminated at the queue limit. It is good practice to make use of checkpointing in order not to lose your work if your job is terminated. - line 13:
--exclusive
means that you want full use of the GPUS on the nodes you are reserving. Leaving this out allows the GPU resources you’re not using on the node to be shared. - line 17: change to your conda virtual environment defined at installation of WMLCE (or other conda environment)
- line 49: change as need for what you will want to run and from where. Note while horovod isn’t strictly needed for single node runs, we recommend it in case you need to expand to more nodes.
- The environment variables below can be used to change Horovod communication from MPI to NCCL2; In case of the MPI, allgather allocates an output tensor which is proportionate to the number of processes participating in the training. If you find yourself running out of GPU memory and you can force allgather to happen on CPU by passing device_sparse=’/cpu:0’ to hvd.DistributedOptimizer.
export HOROVOD_GPU_ALLREDUCE=MPI
export HOROVOD_GPU_ALLGATHER=MPI
export HOROVOD_GPU_BROADCAST=MPI
export HOROVOD_GPU_ALLREDUCE=NCCL
export HOROVOD_GPU_BROADCAST=NCLL
Note you may need to install Horovod by activating your conda environment and installing it. e.g.
conda active wlmce-1.6.3. <or whatever your conda environment is called>
conda install horovod
For your convenience additional SLURM batch job templates have been created to cover distributed deep learning trainings across Satori cluster. You can find them here
Monitoring Jobs¶
SLURM provides several utilities with which you can monitor jobs. These include monitoring the queue, getting details about a particular job, viewing STDOUT/STDERR of running jobs, and more.
The most straightforward monitoring is the command:
squeue
This command will show the current queue, including both pending and running jobs.
Canceling Jobs¶
SLURM allows you to kill jobs you’ve already submitted by using the command:
scancel <jobnumber>
where <jobnumber> is the slurm job number see wiht you submit the job or found by running squeue.
Scheduling Policy¶
In a simple batch queue system, jobs run in a first-in, first-out (FIFO) order. This often does not make effective use of the system. A large job may be next in line to run. If the system is using a strict FIFO queue, many processors sit idle while the large job waits to run. Backfilling would allow smaller, shorter jobs to use those otherwise idle resources, and with the proper algorithm, the start time of the large job would not be delayed. While this does make more effective use of the system, it indirectly encourages the submission of smaller jobs.
Batch Queue Policy¶
New users are granted access to a default batch queue. It enforces the following policies: Limit of (1) executing job per user with a maximum wall time of 12 hours. Jobs in excess of the per user limit above will be placed into a queued state, and will change to eligible-to-run at the appropriate time.
Queue Policies¶
Account holders who are comfortable with basic practices of how to use the system productively (understanding basic Linux commands, learning interactive and batch scheduling techniques, developing basic strategies for managing large numbers of files etc… ) are able to access higher level queues on the system. These can be useful for urgent time constraints such as paper deadlines and for more involved workflows. To request acccess to the priority queue first make sure you are comfortable with the technical and social norms of using a shared system. Then please email<EMAIL_ADDRESS>and indicate that you would like to access higher level queue features.
A set higher level queues has initially been set up in two configurations, 1 Node with 4 GPUs and 2 Nodes with 8 GPU’s. Job run length will be capped at 24 hours so please use checkpointing. There will be a limit of 2 parallel jobs per user running during peak times. If these queue settings do not meet your project goals, please email<EMAIL_ADDRESS>with your needed requirments and we will consider them.
Running jobs in series¶
Slurm provides numerous mechanisms for chaining jobs together to run unattended in sequence. A simple example of this sort of job is shown below
#!/bin/bash
MYSCRIPT=/home/${USER}/foo.slurm
MYSUBDIR=/home/${USER}
JID=${SLURM_JOB_ID}
ssh service0001 "cd $MYSUBDIR; pwd; sbatch --dependency=afterok:${JID} ${MYSCRIPT}"
sleep 60
submitting this job, for example, as
sbatch --gres=gpu:4 -N 1 --exclusive --mem=1T --time 1:00:00 foo.slurm
will create a series of jobs that runs one after another. Together with checkpointing this sort of approach can be used to run extended workloads in an largely automated manner. The Slurm documentation describes many features for managing sequences of jobs. Some more involved examples can be found at the NIH Biowulf site. Fully automating workflows can be a little fiddly and time consuming to get going, but once it is in place you no longer have to get up in the middle of the night to check on every computational experiment.
Note on Pytorch 1.4¶
Note.. we have recently updated the CUDA drivers on the part of Satori running Slurm. You can install Pytorch 1.4 for use with Slurm using these commands
conda config --prepend channels https://public.dhe.ibm.com/ibmdl/export/pub/software/server/ibm-ai/conda-early-access/
conda create -n wmlce-ea python=3.7
conda activate wmlce-ea
conda install pytorch=1.4.0=23447.g18a1a27


{% extends 'website/base.html' %} {% block main_content %}
Our NGS analysis platform is named VIOS, short for Virus Identification On Site.
You can analysis NGS data with FASTQ format from sequencing instrument like Illumina series and Ion torrent.You can achieve to identify viruses by mining the NGS query dataset...


Shadowbox Interface
The image below shows you your scene from all angles as if it were surrounded by a "box". On each side of the box, you can see the scene from only that angle. You can imagine this as a "shadow", where every side of the box shows you the shadows the objects would cast on that side. You can interact with the objects through their shadows, as well as with the objects themselves through the main view. The shadows can be manipulated on only 2 axes. In the main view, you can manipulate the object on any axis desired.
Object Controls:
- Translate: Click the "Translate" icon on the top left of the interface. Now you will be able to move objects. To select an object to move, hover over it and press the left mouse button. To move this object, hold down the left mouse button and drag the mouse to where you want the object positioned.
- Rotate: Click the "Rotate" icon on the top left of the interface. Now you will be able to rotate objects. To select an object to rotate, hover over it and press the left mouse button. To rotate this object, hold down the left mouse button and drag the mouse to where you want the object to rotate to.
- Resetting objects to initial position: On the "reset" dropdown on the toolbar click "Object Position"
Scene Controls:
- Zoom: use the mouse-wheel to zoom in/out in your interface.
- Rotating the scene: If you left-click-and-drag on the scene and have not selected "rotate" or "translate, you will rotate the scene in the direction that you move the mouse.
- Panning the scene: If you right-click-and-drag on the scene and have not selected "rotate" or "translate, you will pan the scene in the direction that you move the mouse.
- Resetting the scene orientation: On the "reset" dropdown on the toolbar click "Scene Orientation"


HENRY V A film review by Steve Rhodes Copyright 1996 Steve Rhodes
RATING (0 TO ****): ****
Camera Three in San Jose is continuing their six weeks long Shakespeare festival. This week I saw Kenneth Branagh's brilliant HENRY V (1989). It number one on my best of the year list for 1989, but since I wasn't a movie critic then, I never wrote a review of it.
"A kingdom for a stage, princes to act," begins the careful narration by Derek Jacobi ("I Claudius"). His is the canonical British actor's accent - rich and melodious. Truly, he could read the encyclopedia, and people would pay to listen. His small part is a crucial one for he provides the tensive glue that binds the play together.
The secret of this movie is the star, the screenwriter, and the director, namely Kenneth Branagh. He is arguably the preeminent Shakespearean interpreter in the world today, and the best of all of his works is this production of HENRY V.
I've thought about what it is that makes his Henry V come alive so, and it may come down to the basics. He is the master of Shakespearean enunciation. Every word is clear and forceful even when he speaks in whispers. Most Shakespearean actors run through their lines in a blur as if either they have so much to say they have to talk fast or, more likely, they don't fully comprehend them all. Branagh gives the impressions that he has been studying the Bard's original folios since birth. He presents each word to maximum effect.
Any film that is smart enough to get Simon Rattle and the Birmingham Symphony to do the music has already proven their seriousness of purpose. For those of you not familiar with them, Rattle and his orchestra are arguably the best Mahlerian interpreters in the music world today. Since Henry V has the force of a Mahler symphony, what more appropriate group to play the film's music (Patrick Doyle). Their sounds in the film are full of power and energy that further illuminate and enhance the action.
The cinematography by Kenneth MacMillan (A SUMMER STORY, OF MICE AND MEN, and CIRCLE OF FRIENDS) is inviting. The interior scenes are not only lit strictly with candles, but the light even flickers on the players as real candles would. When HENRY V enters the room for the first time, he is in shadow and framed in bright lights from behind. As he walks forward, the camera is below him to increase his stature. This all combines to give the king the aura of a god. Since I am about Branagh's height, I thought, now that's how I'd like to be framed.
Actually, Branagh's physical appearance makes gives him a unique force of presence. His thin lips almost vanish as he speaks which force the viewers attention even more on his words. His brow radiates energy and optimism as he delivers the best speech in the play, the St. Crispin day speech, "We few, we happy few, we band of brothers."
Branagh's Henry V is the epitome of self-assurance. No matter how bleak the odds, he has the force of will to convince his men they could defeat a army of any size. His facial expressions radiate confidence. You see him, and you believe.
Branagh, the director, is a master at opening up the Bard's plays. The interior scenes are intimate, but it is in the exterior where his directorial genius shines.  There are also realistic. His battle of Agincourt becomes a mud bowl and the march to it even worse. His soldier's lives are truly miserable.
Emma Thompson has a fairly small part as Katherine, the daughter of the French King (Paul Scofield). She and her companion, Mistress Quickly (Judi Dench), supply the comic relief in the story. They giggle their lines, which are almost exclusively in French. My favorite is Dench who steals her scenes with her perky and silly little mannerisms.
As a frequent visitor to the British Isles, I loved Constable's (Richard Easton) line toward the end when he can not figure out how anyone who lives in a country with such miserable weather could have the strength to defeat them. "Where have they this mettle? Is not their climate foggy, raw and dull?"
As the battle of Agincourt ends, an exhausted Henry confesses to the French envoy Mountjoy (Christopher Ravenscroft), "I know not if the day be ours or no." To which Montjoy simply replies, "The day is yours."
I could go on and on about this film. The rest of the cast is outstanding. Even the small details like the sounds of the rush of the arrows in the battle is impressive. A film to be seen and savored, again and again.
HENRY V runs 2:17. It is rated PG for some tastefully done, but realistic war violence. There is no sex, nudity, or bad language. The film would be fine for any kid old enough to be interested in the play. I give the picture my strongest recommendation and rate it ****.
**** = One of the top few films of this or any year. A must see film. *** = Excellent show. Look for it. ** = Average movie. Kind of enjoyable. * = Poor show.  Totally unbearable.
REVIEW WRITTEN ON: November 11, 1996
Opinions expressed are mine and not meant to reflect my employer's.
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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execline
Software
skarnet.org
The tryexec program
tryexec executes into a command line, with a fallback.
Interface
In an execlineb script:
tryexec [ -n ] [ -c ] [ -l ] [ -a argv0 ] { prog1... } prog2...
- tryexec reads prog1... in a
block. It then executes into it,
completely forgetting prog2...
- If for some reason the execve() fails - for instance,
a non-executable prog1 - then tryexec executes
into prog2... instead.
Options
- -n : reverse prog1... and prog2...'s
role. The latter becomes the main execution path and the former becomes
the fallback.
The -c, -l and -a options have the same
semantics as with the exec program.
Notes
- tryexec prog1... "" prog2... would be
equivalent to
sh -c 'exec prog1... || exec prog2...', if
such a shell construct existed. Unfortunately, the shell language does
not offer that functionality.


To Upgrade or Not To Upgrade?
Spring 3.2.x does not support the 1.8 bytecode level
- However, it does support running JDK 6/7 based apps on JDK 8
Strongly recommend an early upgrade to Spring 4
- Spring Framework 3.2 is in maintenance mode already
- Spring Framework 4.0.2 released on March 2014


If you have any questions about joining the Knights of Columbus, our service work in the area, or general questions about the Knights, please fill out the form below and we will do our best to answer you quickly!


THE MSA TEAM
ibraheem naser
software devaloper
major : software engineering
nour hajbi
software devaloper
major : computer science
ahmad abudames
software devaloper
major : management information systems
abdelrahman aldaour
software devaloper
major:Civil Engineering
Khaled al shishani
software devaloper
major:Business information technology
Rujeena alzyoud
software devaloper
major :Computer engineering


"""Return the y coordinate of the upper left corner of this widget
in the parent."""
return self.tk.getint(
self.tk.call('winfo', 'y', self._w))
def xview(
self, index=None)
If index is not given a tuple containing two fractions is returned, each fraction is between 0 and 1. Together they describe the horizontal span that is visible in the window.
If index is given the view in the window is adjusted so that the column given by index is displayed at the left edge of the window.
def xview(self, index=None):
"""If index is not given a tuple containing two fractions is returned,
each fraction is between 0 and 1. Together they describe the
horizontal span that is visible in the window.
If index is given the view in the window is adjusted so that the
column given by index is displayed at the left edge of the window."""
res = self.tk.call(self._w, 'xview', index)
if index is None:
return self._getdoubles(res)
def xview_moveto(
self, fraction)
Adjusts the view in the window so that fraction of the total width of the table text is off-screen to the left. The fraction parameter must be a fraction between 0 and 1.
def xview_moveto(self, fraction):
"""Adjusts the view in the window so that fraction of the total width
of the table text is off-screen to the left. The fraction parameter
must be a fraction between 0 and 1."""
self.tk.call(self._w, 'xview', 'moveto', fraction)
def xview_scroll(
self, *L)
Shift the view in the window left or right according to number and what. The 'number' parameter must be an integer. The 'what' parameter must be either units or pages or an abbreviation of one of these.
If 'what' is units, the view adjusts left or right by number cells on the display; if it is pages then the view adjusts by number screenfuls. If 'number' is negative then cells farther to the left become visible; if it is positive then cells farther to the right become visible.
def xview_scroll(self, *L):
# change by frank gao for attach scrollbar 11/11/2010
"""Shift the view in the window left or right according to number and
what. The 'number' parameter must be an integer. The 'what' parameter
must be either units or pages or an abbreviation of one of these.
If 'what' is units, the view adjusts left or right by number cells on
the display; if it is pages then the view adjusts by number screenfuls.
If 'number' is negative then cells farther to the left become visible;
if it is positive then cells farther to the right become visible. """
# self.tk.call(self._w, 'xview', 'scroll', number, what)
op, howMany = L[0], L[1]
if op == 'scroll':
units = L[2]
self.tk.call(self._w, 'xview', 'scroll', howMany, units)
elif op == 'moveto':
self.tk.call(self._w, 'xview', 'moveto', howMany)
def yview(
self, index=None)
If index is not given a tuple containing two fractions is returned, each fraction is between 0 and 1. The first element gives the position of the table element at the top of the window, relative to the table as a whole. The second element gives the position of the table element just after the last one in the window, relative to the table as a whole.
If index is given the view in the window is adjusted so that the row given by index is displayed at the top of the window.
def yview(self, index=None):
"""If index is not given a tuple containing two fractions is returned,
each fraction is between 0 and 1. The first element gives the position
of the table element at the top of the window, relative to the table
as a whole. The second element gives the position of the table element
just after the last one in the window, relative to the table as a
whole.
If index is given the view in the window is adjusted so that the
row given by index is displayed at the top of the window."""
res = self.tk.call(self._w, 'yview', index)
if index is None:
return self._getdoubles(res)
def yview_moveto(
self, fraction)
Adjusts the view in the window so that the element given by fraction appears at the top of the window. The fraction parameter must be a fraction between 0 and 1.
def yview_moveto(self, fraction):
"""Adjusts the view in the window so that the element given by
fraction appears at the top of the window. The fraction parameter
must be a fraction between 0 and 1."""
self.tk.call(self._w, 'yview', 'moveto', fraction)
def yview_scroll(
self, *L)
Adjust the view in the window up or down according to number and what. The 'number' parameter must be an integer. The 'what' parameter must be either units or pages or an abbreviation of one of these.
If 'what' is units, the view adjusts up or down by number cells; if it is pages then the view adjusts by number screenfuls. If 'number' is negative then earlier elements become visible; if it is positive then later elements become visible.
def yview_scroll(self, *L):
# change by frank gao for attach scrollbar 11/11/2010
"""Adjust the view in the window up or down according to number and
what. The 'number' parameter must be an integer. The 'what' parameter
must be either units or pages or an abbreviation of one of these.
If 'what' is units, the view adjusts up or down by number cells; if it
is pages then the view adjusts by number screenfuls.
If 'number' is negative then earlier elements become visible; if it
is positive then later elements become visible. """
# self.tk.call(self._w, 'yview', 'scroll', number, what)
op, howMany = L[0], L[1]
if op == 'scroll':
units = L[2]
self.tk.call(self._w, 'yview', 'scroll', howMany, units)
elif op == 'moveto':
self.tk.call(self._w, 'yview', 'moveto', howMany)
Instance variables
var version
Return tktable's package version.


RealSurf is a tool for realtime visualization of algebraic surfaces. Algebraic surfaces are defined as the zero sets of polynomials. Here we deal with surfaces in the three variables x, y and z.
RealSurf utilizes the OpenGL Shading Language to render the surfaces with realtime performance on suitable graphics cards. So it is possible to rotate, move and scale the rendered object with your mouse, set lighting and material parameters and even vary surface parameters. All changes show up immediately!
This help will give an overview of the handling of RealSurf without going into too much detail.In order to display a surface you must specify its formula. This formula is, of course, a polynomial.
A polynomial expression may consist of the variables 'x'
, 'y'
and 'z'
, surface parameters and constants,
which all can be added, subtracted, negated and multiplied by using the operators '+'
, '-'
and '*'
.
A polynomial can be also constructed by raising a polynomial to an integer power, e.g. (1+x)^3
.
As you see in this example, you can also put subexpressions into parenthesis.
On parameters and constants you can do more operations as on polynomials itself.
You can divide them with '/'
, which is not allowed on polynomials.
So, x/3+y/t
is allowed, because 3
is a constant and t
is a surface parameter.
Clearly x/y
is forbidden.
Here is a list of functions you can apply to surfaces parameters and constants:
sin(t) | sine of t | |
cos(t) | cosine of t | |
tan(t) | tangent of t | |
asin(t) | arc sine of t for t ∈[-1,+1] | |
acos(t) | arc cosine of t for t ∈[-1,+1] | |
atan(t) | arc tangent of t for t ∈[-π/2,+π/2] | |
atan(t1,t2) | arc tangent with quadrant calculation of t1/t2 for t1/t2 ∈[-π,+π] | |
exp(t) | euler number raised to the power of t | |
log(t) | natural logarithm of t | |
sqrt(t) | square root of t | |
pow(base,exponent) | base raised to the power exponent | |
ceil(t) | smallest integral value not less than t | |
floor(t) | largest integral value not greater than t | |
abs(t) | absolut value of t | |
sign(t) | sign of t , meaning -1, 0, +1 |
What remains, is to define constants and surface parameters. A constant is any number in the usual floating point notation, e.g. 100.2345, 1.00234e2, 100234e-3, 1, 2 and so on.
Additionally there are two predefined constants:
PI | 3.1415926535897932 | |
E | 2.7182818284590452 |
'x'
, 'y'
, 'z'
, 'X'
, 'Y'
, 'Z'
, 'PI'
and 'E'
.
The parameter must begin with a letter ([a-zA-Z]
) and end with a digit ([0-9]
) or a letter.
Inside the name letters, digits and the underscore _
are allowed.
That's it. Now you should be able to express any algebraic surface you like. Type it into the equation editor, press return and enjoy :-).
'+'
and '-'
.
RealSurf uses the phong based lighting model according to the OpenGL Specification 2.0. Lots of guides concerning OpenGL lighting can be found int the Internet. This tutorial is a good explanation of the lighting and material parameters.
Sometimes it is difficult to find nice material parameters. For this reason some predefined matarials are available in the pull-down-menu. The default light configuration is suitable in most cases.
To you want to explore the self intersections of a surface, you can use transparency effects. You explicitly need to enable transparencies due to the computation overhead these effects produce. It is not a good idea to always enable transparencies, but not to use them. The rendering speed is independent of the actual transparency value, but differs between enabled and disabled transparency effects.
Transparent surfaces often look a bit unnatural. Due to the fact that we treat only infinitely thin surfaces and not solid objects, we cannot associate a thickness with the object. The surfaces are now like infinitely thin colored glass objects, which do not exist in reality and hence must look a bit "unnatural".
F1 | this help | |
F6 | save screenshot | |
F11 | toggle fullscreen mode | |
F12 | toggle tab widget and equation editor | |
ESC | reset window to normal mode (i.e. undo F11 and F12) | |
F | toggle display of frames per second | |
C | change clipping object | |
B | show/hide bounding object | |
R | reset surface transformation | |
S | swap front and back material |


This example demonstrates a user defined gravity field. Function "world.gravityAcceleration" is redeclared to function theoreticalNormalGravityWGS84 that computes the theoretical gravity of the WGS84 ellipsoid earth model at and close to the earth ellipsoid surface. In the gravity field, a large, single pendulum is present. Via parameter "geodeticLatitude", the geodetic latitude on the earth can be defined, where the pendulum is present. The world frame is located at the WGS84 earth ellipsoid at this latitude. The result variable "gravity" is the gravity vector at the center of mass of the pendulum mass. Since the height of this mass is changing, the value of the gravity is also changing (the difference is in the order of 0.00001).
The result of the simulation is slightly different at the equator (geodeticLatitude=0) and at the poles (geodeticLatitude=90). For example, after 10 s of simulation time the rotation angle of the pendulum, rev.phi, has the following values:
| latitude [deg] | rev.phi [rad] |
| = 0 | = -2.39 rad |
| = 90 | = -2.42 rad |


|
SideCar
|
Public Types | |
| using | const_iterator = const off_t * |
Public Member Functions | |
| RecordIndex (const std::string &path) | |
| Constructor. More... | |
| off_t | operator[] (size_t index) const |
| bool | empty () const |
| size_t | size () const |
| const_iterator | begin () const |
| const_iterator | end () const |
Static Public Member Functions | |
| static Logger::Log & | Log () |
| static std::string const & | GetIndexFileSuffix () |
Definition at line 13 of file RecordIndex.h.
| RecordIndex::RecordIndex | ( | const std::string & | path | ) |
Constructor.
| path | location of index file to use |
Definition at line 31 of file RecordIndex.cc.
References Utils::FilePath::c_str(), Utils::Exception::err(), Utils::FilePath::exists(), LOGDEBUG, LOGERROR, LOGINFO, and Logger::ProcLog::thrower().


| 1 | /* | |
| 2 | * Licensed to the Apache Software Foundation (ASF) under one or more | |
| 3 | * contributor license agreements. See the NOTICE file distributed with | |
| 4 | * this work for additional information regarding copyright ownership. | |
| 5 | * The ASF licenses this file to You under the Apache License, Version 2.0 | |
| 6 | * (the "License"); you may not use this file except in compliance with | |
| 7 | * the License. You may obtain a copy of the License at | |
| 8 | * | |
| 9 | * http://www.apache.org/licenses/LICENSE-2.0 | |
| 10 | * | |
| 11 | * Unless required by applicable law or agreed to in writing, software | |
| 12 | * distributed under the License is distributed on an "AS IS" BASIS, | |
| 13 | * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. | |
| 14 | * See the License for the specific language governing permissions and | |
| 15 | * limitations under the License. | |
| 16 | */ | |
| 17 | package org.apache.commons.collections4.functors; | |
| 18 | ||
| 19 | import java.io.Serializable; | |
| 20 | ||
| 21 | import org.apache.commons.collections4.FunctorException; | |
| 22 | import org.apache.commons.collections4.Transformer; | |
| 23 | ||
| 24 | /** | |
| 25 | * Transformer implementation that always throws an exception. | |
| 26 | * | |
| 27 | * @since 3.0 | |
| 28 | * @version $Id: ExceptionTransformer.java 1543950 2013-11-20 21:13:35Z tn $ | |
| 29 | */ | |
| 30 | public final class ExceptionTransformer<I, O> implements Transformer<I, O>, Serializable { | |
| 31 | ||
| 32 | /** Serial version UID */ | |
| 33 | private static final long serialVersionUID =<PHONE_NUMBER>121985545L; | |
| 34 | ||
| 35 | /** Singleton predicate instance */ | |
| 36 | @SuppressWarnings("rawtypes") // the static instance works for all types | |
| 37 | public static final Transformer INSTANCE = new ExceptionTransformer<Object, Object>(); | |
| 38 | ||
| 39 | /** | |
| 40 | * Factory returning the singleton instance. | |
| 41 | * | |
| 42 | * @param <I> the input type | |
| 43 | * @param <O> the output type | |
| 44 | * @return the singleton instance | |
| 45 | * @since 3.1 | |
| 46 | */ | |
| 47 | @SuppressWarnings("unchecked") // the static instance works for all types | |
| 48 | public static <I, O> Transformer<I, O> exceptionTransformer() { | |
| 49 |
1
1. exceptionTransformer : mutated return of Object value for org/apache/commons/collections4/functors/ExceptionTransformer::exceptionTransformer to ( if (x != null) null else throw new RuntimeException ) → KILLED |
return (Transformer<I, O>) INSTANCE; |
| 50 | } | |
| 51 | ||
| 52 | /** | |
| 53 | * Restricted constructor. | |
| 54 | */ | |
| 55 | private ExceptionTransformer() { | |
| 56 | super(); | |
| 57 | } | |
| 58 | ||
| 59 | /** | |
| 60 | * Transforms the input to result by cloning it. | |
| 61 | * | |
| 62 | * @param input the input object to transform | |
| 63 | * @return never | |
| 64 | * @throws FunctorException always | |
| 65 | */ | |
| 66 | public O transform(final I input) { | |
| 67 | throw new FunctorException("ExceptionTransformer invoked"); | |
| 68 | } | |
| 69 | ||
| 70 | private Object readResolve() { | |
| 71 |
1
1. readResolve : mutated return of Object value for org/apache/commons/collections4/functors/ExceptionTransformer::readResolve to ( if (x != null) null else throw new RuntimeException ) → KILLED |
return INSTANCE; |
| 72 | } | |
| 73 | ||
| 74 | } | |
Mutations | ||
| 49 |
1.1 |
|
| 71 |
1.1 |


Tooltips for D3JS line chart with time series data
Line chart with no tooltip
Approach 1: vertical line


Welcome to Ministry of Road Transport & Highways
The Ministry of Road Transport & Highways has been facilitating computerization of more than 1000 Road Transport Offices (RTOs) across the country. RTOs issue Registration Certificate (RC) & Driving License (DL) that are valid across the country. It was necessary to define same standards for these documents on a pan-India level to ensure interoperability and correctness and timely availability of information. SCOSTA committee setup for this purpose had recommended a uniform standardized software across the country. Ministry entrusted National Informatics Centre the task to standardize & deploy the software VAHAN for Vehicle Registration and SARATHI for Driving Licenses and compilation of data with respect to Vehicle Registration and Driving Licenses of all the states in State Register and National Register.


1.When does JavaScript code appear inline within an HTML file?
2.What will be done if more than one page requires a file of JavaScript code?
3. Which object is the main entry point to all client-side JavaScript features and APIs?
4. What can be done in order to avoid creation of global variables in JavaScript?
5. The behaviour of the instances present of a class inside a method is defined by
6. The basic difference between JavaScript and Java is
7. The keyword or the property that you use to refer to an object through which they were invoked is
8. What is the default value of the type attribute?
9. How many default number methods are available in JavaScript?
10. Which of the following attribute of form tag is not set by using document object in JavaScript?


WQMY
Urban Dictionary: having a period
. in a while to some people. Not as often as a period but maybe once every two... . blood period tampon tissue by My name's not Earl Jan 19, 2008 add a video .
http://www.urbandictionary.com/define.php?term=having%20a%20period
| the shire golf uk/iron condor option defined/ asus p5e-vm do lga775 matx motherboard |
|
|---|---|
| popular brands of cigarettes | Williamsport |
| Branding | MyNetworkTV other names for your period |
| new computer viruses or hoaxes | i'll be gere awhile 311 acoustic: 29 (men's night clothes history) & california american legion auxiliary-DT 45.3 (UHF) |
| dirty shadows in art | see article |
| Owner | New Age Media, LLC Twelve Things You May Not Know About Your Period - Huffington Post |
| First air date | December 30, 1988 |
| oreo and black stools | MYNetworkTV |
| associated master inspectors portland or | WOLF-TV, married and looking in pittsburgh |
| san francisco studio vaction | WILF (1988-2006) |
| Former channel number(s) | How to Stop Your Period | Clinic Time |
| roadtrip an best places and california | lab coat hanging systems (1988-1998) the shire golf uk / king of the sevens (1998-2006) |
| flight victoria bc to phoenix arizona | 50 clyde high school clyde texas 420 kW (WOLF-DT3) |
| happy trails aquisition limited partnerships | 243 m 488 m (WOLF-DT3) |
| china's electric car 2007 | 52075 73375 (WOLF-DT3) |
| Transmitter coordinates | john deere hydro tractor buildings in pittsburgh pennsylvania (WOLF-DT3) |
Common Period Problems | Irregular Periods | Missed ... - BabyZone
Missed periods, strange cycles, irregular bleedingwe tackle your most . Your Facebook name, profile photo and other personal information you make public .
http://www.babyzone.com/mom/womens-health/common-period-problems_69461
First Period and Menstruation - Tips & Advice - U by Kotex Australia
The occasion is given its own scientific name called Menarche. Every girl might feel a different way about this change in their bodies; you might feel reassured .
http://www.ubykotex.com.au/menstruation/first-period/
Contents |
[reverse credit card charges] History
Another name for your period
What is another name for a period? You can call it Fred, the curse, a little visitor, pleb, the monthly, having the painters in, that time of the month again, or...
http://wiki.answers.com/Q/Another_name_for_your_period
What to Call Your Period in Other Countries TheGloss
Mar 8, 2010 . Have you ever used cutesy phrases to talk about your period, like Aunt Flo is in town . In other news, I am stealing that Danish phrase pronto.
http://www.thegloss.com/2010/03/08/sex-and-dating/what-to-call-your-period-in-other-countries/
Menstrual Periods - Heavy, Prolonged, or Irregular - Symptoms ...
Sep 2, 2009 . Back to TopAlternative Names. Irregular . Back to TopHome Care. Keep a record of your menstrual cycles and any other bleeding, including: .
http://health.nytimes.com/health/guides/symptoms/menstrual-periods-heavy-prolonged-or-irregular/
Menstrual Periods
Apr 21, 2010 . Your period feels like liquid flowing slowly, with starts and stops, out of your vagina. . The amount of blood flow you have will probably be different each day. . Puberty is the name for the time when your body goes through .
http://www.youngwomenshealth.org/menstrual3.html
Painful menstrual periods: MedlinePlus Medical Encyclopedia
Although some pain during your period is normal, excessive pain is not. . This pain is usually not related to a specific problem with the uterus or other pelvic .
http://www.nlm.nih.gov/medlineplus/ency/article/003150.htm
Words and expressions for menstruation at MUM
AF "As I pointed someone to your site to read about all different names for . We always used to laugh at her name and say it sounded like a period. Now it's my .
http://www.mum.org/words.html
Slang words for menstruation, menstrual period (related to) | Urban ...
A list of slang words for menstruation, menstrual period (related to). Find words with this meaning on The Online Slang Dictionary's slang thesaurus (urban .
http://onlineslangdictionary.com/thesaurus/words+meaning+menstruation,+menstrual+period+(related+to).html
My Monthly Deathly Hallows And Other New Names For Your Period
Jul 14, 2011 . Let's get one thing straight: my period and I are not friends. And that's why last week, when I was going through the worst of it, I started referring .
http://www.thefrisky.com/2011-07-14/my-monthly-deathly-hallows-new-names-for-your-period/
Menstruation (Having Your Period) - Products to Use - PMS
Every healthy woman menstruates, or has a period. But every woman's period is different. And a woman's period can change throughout her lifetime.
http://www.plannedparenthood.org/health-topics/womens-health/menstruation-20696.htm
Funny Period Euphemisms - Painful Periods
Feb 10, 2013 . Pain Free Periods | How To Stop Painful Periods For Good! . Turns Out That Funny Names For Your Period Is A Universal Concept If you think using clever pet names for your period is unique to . Yes, on some other device.
http://pain-freeperiods.com/tag/funny-period-euphemisms/
[model railroad hobby shops palymra pa] Digital channels
| Channel | Name | japanese hot tub plan | aromatic bitters not available | Programming |
|---|---|---|---|---|
| 53.1 | other names for your period DT | oreo and black stools | timeline for the year 2000 | Main other names for your period programming / MyNetworkTV |
| 53.2 | WOLF DT | motels and lakeview il | data and analog and digital | Simulcast of martial arts flowery branch ga |
| 53.3 | WSWB DT | 480i | 4:3 | Simulcast of inverness arena cape breton |
Birth Control or other remedies to stop your period on your ...
Jul 1, 2012 . I havent taken birth control going on 3 yrs now but I have seen of birth controls that will delay or stop your period. Does anyone know the names .
http://www.weddingwire.com/wedding-forums/birth-control-or-other-remedies-to-stop-your-period-on-your-wedding-day/c4cbcf0385be3337.html
[number of use times] References
[used pallet racks san diego county] External links
- decoding cadillac vin numbers
- to to increase wireless headphone range
- thermostat for a water heater
- calgary fairs fare books
- utah murray edger dealers
- gecko house st john
|
|


Hello! My name is Colton Simmons Campbell, and I make things.
I've spent a lot of time doing a lot of things over the last ten or so years, but the hat I've worn most often is the one that says "Graphic Designer" in a really cool font with a simple yet tasteful icon. It came with the beard and glasses.
My expertise is in brand development and messaging. I've done everything from logo to web to print to clothing design, copywriting, content strategy, adwords, music composition, photography, and I've also tried my hand at carpentry. Yeah. It's been a busy ten years.
Anyway, here is what you need to know: I am here to help you. Whatever you need, we can work together to make something amazing. Let's chat.
Feel free to shoot me an email, or hit me up through any form of social media you see fit.
If there is one thing that I can claim as a "specialty," it's branding. I've done everything from getting startups off the ground, to assisting the complete rebrand of a university. Coming up with solutions to branding problems and maintaining a consistent identity is something I am truly passionate about. No joke, this stuff gets me super excited.
Below are a few examples of my work. You can view a more complete portfolio here.
What I lack in pencil or paintbrush ability I make up for in mouse skills. I enjoy art, and I enjoy making it. A lot of times, the illustration work I do is for personal enjoyment, but othertimes it's used to assist branding, messgaging, and helping translate ideas to anyone who looks at it. One of my favorite projects was illustrating a childrens book for the Dixie State University rebrand. You can check that out here. I even helped win a few awards with that one.
Below are a few examples of my work. You can view a more complete portfolio here.
I am not a mathmatician or science guy, but for some reason the amount of logistical work that goes into the methodology of taking a photo is a sometimes tedious task that I look forward to undertaking every time I pull that bad boy out of its case. Maternity photos, product shoots, proms, births, a day at the park, professional headshots; I can capture whatever look it is you're going for.
In addition to being the occasional photographer myself, I enjoy working with other photographers to make sure all of their client's needs are met. If you're a photographer and want to work with me in some sort of capacity, check out my photographer referal program, or shoot me an email.
Below are a few examples of my work. You can view a more complete portfolio here.
Believe it or not, somehow I've managed to also earn a Bachelors of Science Degree in English with an emphasis on Professional and Technical Writing, with a minor in Visual Design. I've got experience writing content for clients including email blasts, blog posts, and ad copy. I've also worked as an editor in perfecting other people's work, and have contributed to the occasional magazine or news site with my own articles.
You can take a look at some writing samples below. I've picked a few of my favorites, and included a word count so you can know what you're getting yourself into. If you'd like to see more, please feel free to shoot me an email.
Childish Gambino and Chaucer: Old English in Modern Rap
(1490 words)
Campus Dining Review (Satire)
(495 words)
Get Out (Movie Review)
(250 words)
Life and Death of User Manuals (Senior Thesis)
(4900 words)
I like to try and do a lot of things. Below you'll find a smattering of music composition (mostly for ads and marketing videos), marketing videos I've directed, and honestly just stuff that wouldn't fit into any other category.
Do you like my work so much that you want to wear it on your body?
Well, I am flattered.
A shop is coming soon, so you can do just that.


UCR Mosaic has moved to a new location: http://mosaicucr.wordpress.com/ Click on the link above link if you're not automatically transferred to the new site.


{% extends 'include.html' %} {% block content %} {% load static %}
Tweet Sentiment Analyzer
Search for tweets
and get to know their sentiments
Follow @thecoducer
{% csrf_token %}
Has keyword
From user
Loading...
Oops! User not found. Try again.
Something went wrong. Try again!
No tweets found.
Filter by sentiment:
All
Table
Chart
Word Cloud
{% endblock %}


Class Beam, that holds all the nessesary information for Beam and it's details therefore we can use in the interface.
More...
#include <beam.h>
|
| struct | Properties |
| | Struct with material specific properties TODO:Check if this can be moved to the base class. More...
|
| |
|
| enum class | Type : uint8_t { BEGIN = 0
, Beam = BEGIN
, END
} |
| |
|
|
std::ostream & | operator<< (std::ostream &os, const Beam &obj) |
| | Shift operator overload for class Aluminium, this will print all the nessesery informations.
|
| |
Class Beam, that holds all the nessesary information for Beam and it's details therefore we can use in the interface.
◆ Type
| Enumerator |
|---|
| Beam | This grade is commercially pure aluminum. It is soft and ductile and has excellent workability, making it ideal for applications with difficult forming. It can be welded using any method, but it is non heat-treatable. It has an excellent resistance to corrosion and is commonly used in the chemical and food processing industries.
|
◆ Beam()
| MassCalculator::Shapes::Beam::Beam |
( |
double |
side, |
|
|
double |
length |
|
) |
| |
Construct a new Beam object.
- Parameters
-
| side | Side of the Beam in meter |
| length | Length of the Beam in meter |
◆ getDiagonal()
| double MassCalculator::Shapes::Beam::getDiagonal |
( |
void |
| ) |
const |
Get the Radius object.
- Returns
- const double Radius of the Beam
◆ getLength()
| double MassCalculator::Shapes::Beam::getLength |
( |
void |
| ) |
const |
Get the Length object.
- Returns
- const double Length of the Beam
◆ getSide()
| double MassCalculator::Shapes::Beam::getSide |
( |
void |
| ) |
const |
Get the Side object.
- Returns
- const double Side of the Beam
◆ getSurfaceArea()
| double MassCalculator::Shapes::Beam::getSurfaceArea |
( |
void |
| ) |
const |
Get the Surface Area object.
- Returns
- double Surface Are of the Beam
◆ getType()
| std::string MassCalculator::Shapes::Beam::getType |
( |
void |
| ) |
const |
Get the Surface Area object.
- Returns
- double Surface Are of the Beam
◆ getVolume()
| double MassCalculator::Shapes::Beam::getVolume |
( |
void |
| ) |
const |
Get the Volume object.
- Returns
- double Volume of the Beam
◆ setSize()
| bool MassCalculator::Shapes::Beam::setSize |
( |
double |
side, |
|
|
double |
length |
|
) |
| |
Set the Size object.
- Parameters
-
| side | Side of the Beam in meter |
| length | Length of the Beam in meter |
- Returns
- true If setting the size is successful
-
false If setting the size fails
The documentation for this class was generated from the following files:
- /home/runner/work/masscalculator.github.io/masscalculator.github.io/MassCalculator/masscalculator-core/libraries/masscalculator-core/include/masscalculator/masscalculator-core/shapes/beam.h
- /home/runner/work/masscalculator.github.io/masscalculator.github.io/MassCalculator/masscalculator-core/libraries/masscalculator-core/src/shapes/beam.cc


Home
QAC Javascript Exercises
Ayaz's Garage
User Interface
Admin Interface
New Vehicle
Type:
Car
Truck
Motorcycle
Registration number:
Faults (enter one per line):
Add vehicle
Vehicles
These are vehicles that exist outside of the garage. Select one and click 'check in' to add it to the garage or click 'remove vehicle' to delete it from the list.
Faults (select only one vehicle to show):
Check in vehicle(s)
Remove vehicle(s)
Garage
This is the garage, contents are shown below. Click 'Fix vehicle(s)' to remove all faults and 'Check out' to return vehicles to the vehicles section.
Fix vehicle(s)
Check out vehicle(s)
Faults (select only one vehicle to show):
Bill:


{% extends "header.html" %} {% block body %}
In the previous video, we learned how to create a database connection, which will create the database if it does not exist. We then learned how to create a table, which we learned that we should only do once! Then, we inserted some data into our sqlite database, but we probably found this to be somewhat silly, as we still had to type it all by hand. It will become necessary eventually to dynamically insert data into a database via your program and variables that it discovers. This tutorial covers how to do just that! As an added bonus, we talk briefly about the conversion of unix time stamps to datestamps.
Here is the sample code:
import sqlite3 import datetime import time conn = sqlite3.connect('tutorial.db') c = conn.cursor() def tableCreate(): c.execute("CREATE TABLE stuffToPlot(ID INT, unix REAL, datestamp TEXT, keyword TEXT, value REAL)") def dataEntry(): c.execute("INSERT INTO stuffToPlot VALUES(1,<PHONE_NUMBER>.288,'2013-04-14 10:09:41','Python Sentiment',5)") c.execute("INSERT INTO stuffToPlot VALUES(2,<PHONE_NUMBER>.905,'2013-04-14 10:10:57','Python Sentiment',6)") c.execute("INSERT INTO stuffToPlot VALUES(3,<PHONE_NUMBER>.123,'2013-04-14 10:11:04','Python Sentiment',4)") conn.commit() idfordb = 4 keyword = 'Python Sentiment' value = 7 def dataEntry2(): date = str(datetime.datetime.fromtimestamp(int(time.time())).strftime('%Y-%m-%d %H:%M:%S')) c.execute("INSERT INTO stuffToPlot (ID, unix, datestamp, keyword, value) VALUES (?, ?, ?, ?, ?)", (idfordb, time.time(), date, keyword, value)) conn.commit()


| # | Sesion | Speaker | Time | Venue |
|---|---|---|---|---|
| 01 | Reception and Registration | Martin Smith | 9:00 AM | Room 1 |
| 02 | Breakfast | Paul Flavius | 10:00 AM | Room 2 |
| 03 | Next Generation by Martin Smith | Anne Smith | 12:00 AM | Room 3 |
| 04 | Break | Sara Lisbon | 2:00 PM | Room 4 |
| 05 | Next Generation 2 by Anne Smith | Martin Smith | 4:00 PM | Room 5 |
| 06 | Break | Paul Flavius | 9:00 AM | Room 6 |
| 07 | Reception and Registration | Martin Smith | 9:00 AM | Room 7 |
| 08 | Breakfast | Paul Flavius | 10:00 AM | Room 8 |
| 09 | Next Generation by Martin Smith | Anne Smith | 12:00 AM | Room 9 |
| 10 | Break | Sara Lisbon | 2:00 PM | Room 10 |
| 11 | Next Generation 2 by Anne Smith | Martin Smith | 4:00 PM | Room 11 |
| 12 | Break | Paul Flavius | 9:00 AM | Room 12 |
| # | Sesion | Speaker | Time | Venue |
|---|---|---|---|---|
| 01 | Reception and Registration | Martin Smith | 9:00 AM | Room 1 |
| 02 | Breakfast | Paul Flavius | 10:00 AM | Room 2 |
| 03 | Next Generation by Martin Smith | Anne Smith | 12:00 AM | Room 3 |
| 04 | Break | Sara Lisbon | 2:00 PM | Room 4 |
| 05 | Next Generation 2 by Anne Smith | Martin Smith | 4:00 PM | Room 5 |
| 06 | Break | Paul Flavius | 9:00 AM | Room 6 |
| 07 | Reception and Registration | Martin Smith | 9:00 AM | Room 7 |
| 08 | Breakfast | Paul Flavius | 10:00 AM | Room 8 |
| 09 | Next Generation by Martin Smith | Anne Smith | 12:00 AM | Room 9 |
| 10 | Break | Sara Lisbon | 2:00 PM | Room 10 |
| 11 | Next Generation 2 by Anne Smith | Martin Smith | 4:00 PM | Room 11 |
| 12 | Break | Paul Flavius | 9:00 AM | Room 12 |
| # | Sesion | Speaker | Time | Venue |
|---|---|---|---|---|
| 01 | Reception and Registration | Martin Smith | 9:00 AM | Room 1 |
| 02 | Breakfast | Paul Flavius | 10:00 AM | Room 2 |
| 03 | Next Generation by Martin Smith | Anne Smith | 12:00 AM | Room 3 |
| 04 | Break | Sara Lisbon | 2:00 PM | Room 4 |
| 05 | Next Generation 2 by Anne Smith | Martin Smith | 4:00 PM | Room 5 |
| 06 | Break | Paul Flavius | 9:00 AM | Room 6 |
| 07 | Reception and Registration | Martin Smith | 9:00 AM | Room 7 |
| 08 | Breakfast | Paul Flavius | 10:00 AM | Room 8 |
| 09 | Next Generation by Martin Smith | Anne Smith | 12:00 AM | Room 9 |
| 10 | Break | Sara Lisbon | 2:00 PM | Room 10 |
| 11 | Next Generation 2 by Anne Smith | Martin Smith | 4:00 PM | Room 11 |
| 12 | Break | Paul Flavius | 9:00 AM | Room 12 |
| # | Sesion | Speaker | Time | Venue |
|---|---|---|---|---|
| 01 | Reception and Registration | Martin Smith | 9:00 AM | Room 1 |
| 02 | Breakfast | Paul Flavius | 10:00 AM | Room 2 |
| 03 | Next Generation by Martin Smith | Anne Smith | 12:00 AM | Room 3 |
| 04 | Break | Sara Lisbon | 2:00 PM | Room 4 |
| 05 | Next Generation 2 by Anne Smith | Martin Smith | 4:00 PM | Room 5 |
| 06 | Break | Paul Flavius | 9:00 AM | Room 6 |
| 07 | Reception and Registration | Martin Smith | 9:00 AM | Room 7 |
| 08 | Breakfast | Paul Flavius | 10:00 AM | Room 8 |
| 09 | Next Generation by Martin Smith | Anne Smith | 12:00 AM | Room 9 |
| 10 | Break | Sara Lisbon | 2:00 PM | Room 10 |
| 11 | Next Generation 2 by Anne Smith | Martin Smith | 4:00 PM | Room 11 |
| 12 | Break | Paul Flavius | 9:00 AM | Room 12 |


First off I would just like to say that video really helped me by letting me know that my same concerns, other people have them as well. I think DBC and the culture and experience they offer is something completely fresh and such a great idea, not only are they teaching you how to program and potentially get a career (I only say potentially, because if someone finds out that programming is not their "cup of tea".) but they are also emerging you within the development community, which in my opinion is something that many companies or lack.
I did a lot of homework, in which kind of boot camp I wanted to get involved with. After everything was all said and done I had to choose between hacker reactor and DBC, and I am so happy that I chose DBC and that DBC chose me. When I was having my Skype interview with Greg V. I was so nervous that I was going to mess up and right away from the first time we talked, he just had a kind of laid-back nature and very empathic approach. The only reason why I mentioned Greg is to me he was the face of DBC, and from what he offered I was very impressed with DBC as a whole.
With the culture that I have seen so far, all I can say is "I am home", the feeling of belonging and knowing that "OMG, there other people like me?!" is just mind blowing, I am still trying to wrap my head around it!
My expectations have changed; from when looking online for different school to starting phase 0, to working on my first HTML and CSS project. Everything has changed, I now know that I need to work even harder to reach my goal, and DBC showed me that with the positive culture that they represent. My expectations have been risen, not so much for DBC but for myself to be a fellow team member or student or what ever, I now know that people out there have the same worries that I have and that I can always ask them if I have any questions, especially knowing that this isnt the horrible traditional schooling environment. I am extremely excited, and happy to be a part of this already amazing program, I would be lying if I said I was not nervous, but I am nervous in a good way!
I just wanted to rant a little bit more, in regards to the culture. I am very happy that DBC knows and acknowledges the importance of.. Its not just school, its a culture your learning to be a part of.


Hello books allows you to borrow books that have been gathered from different part of the world. Finding books of your choice just got easier with us.
Learn Angular 2 by Abbey Balogun
2 Available
Spirit of God by Abbey Balogun
Act Like Success by Steve Harvey
Practical Business Analytics by Abbey Balogun


This repository is a wrapper around the code provided by a codrops article on page transitions. Their code has been modified to allow more than one animatable element per page. Additionally, you can now add transitions straight from html tags.
LicensejQuery needs to be included before the elementTransitions javascript file. To load elementTransitions, add elementTransitions.js and elementTransitions.css to your page. Here is an example of what should be in your head tag.
Some animations use additional properties, such as a delay or "ontop". These can be added inside the same et-in and et-out tags separated by a space.


Latent Profile Analysis (LPA) is a statistical modeling approach for estimating distinct profiles, or groups, of variables. In the social sciences and in educational research, these profiles could represent, for example, how different youth experience dimensions of being engaged (i.e., cognitively, behaviorally, and affectively) at the same time.
tidyLPA provides the functionality to carry out LPA in R. In particular, tidyLPA provides functionality to specify different models that determine whether and how different parameters (i.e., means, variances, and covariances) are estimated and to specify (and compare solutions for) the number of profiles to estimate. The package is designed and documented to be easy to use, especially for beginners to LPA, but with fine-grained options available for estimating models and evaluating specific output as part of more complex analyses.
You can install tidyLPA from CRAN with:
install.packages("tidyLPA")
You can also install the development version of tidyLPA from GitHub with:
install.packages("devtools")
devtools::install_github("data-edu/tidyLPA")
Here is a brief example using the built-in pisaUSA15
data set and variables for broad interest, enjoyment, and self-efficacy. Note that we first type the name of the data frame, followed by the unquoted names of the variables used to create the profiles. We also specify the number of profiles and the model. See ?estimate_profiles
for more details.
In these examples, we pass the results of one function to the next by piping (using the %>%
operator, loaded from the dplyr
package). We pass the data to a function that selects relevant variables, and then to estimate_profiles
:
pisaUSA15[1:100, ] %>%
select(broad_interest, enjoyment, self_efficacy) %>%
single_imputation() %>%
estimate_profiles(3)
#> tidyLPA analysis using mclust:
#>
#> Model Classes AIC BIC Entropy prob_min prob_max n_min n_max BLRT_p
#> 1 3 637.83 674.31 0.71 0.80 0.89 0.22 0.53 0.10
A simple summary of the analysis is printed to the console (and its posterior probability).
The resulting object can be further passed down a pipeline to other functions, such as:
This is the “tidy” part, in that the function can be embedded in a tidy analysis pipeline.
We can use Mplus simply by changing the package argument for estimate_profiles()
to "MplusAutomation"
:
pisaUSA15[1:100, ] %>%
select(broad_interest, enjoyment, self_efficacy) %>%
single_imputation() %>%
estimate_profiles(3, package = "MplusAutomation")
To learn more, we highly recommend the following:
Rosenberg, J. M., Beymer, P. N., Anderson, D. J., Van Lissa, C. J., & Schmidt, J. A. (2018). tidyLPA: An R Package to Easily Carry Out Latent Profile Analysis (LPA) Using Open-Source or Commercial Software. Journal of Open Source Software, 3(30), 978, https://doi.org/10.21105/joss.00978
One of the easiest but also most important ways to contribute is to post a question or to provide feedback. Both positive and negative feedback is welcome and helpful. You can get in touch by:
Sending a message via<EMAIL_ADDRESS>or view the the tidyLPA group page
Filing an issue on GitHub here
Contributions are also welcome via by making pull requests (PR), e.g. through this page on GitHub.
It may be easier if you first file an issue outlining what you will do in the PR. You can also reach out via the methods described above.
Please note that this project is released with a Contributor Code of Conduct. By participating in this project you agree to abide by its terms.


This is the Example5Controller.
Here we have two ListController(s), the first one will create, edit and remove Mapless models pesisting them in the frontend's localStorage and the second list is doing it in the backend via the RESTful API suported by default using Pharo and MongoDB.
Try adding and editing some objects and with your browser's devtools see how the localStorage is used.
Now try doing the same but see the mapless objects going and coming as JSON in the network activity.


Earth Abilities
Rank 1
Wild Swing
- Element: Earth
- Rank: 1
- CP Cost: 2
- Type: Damage
- AP Cost: 1
- Cooldown: 2
- Die Roll: Attack
- Target: Enemy
- Range: 1
Effect: Enemy takes Earth Damage 1d10.
Special: Character STR 10 or more: Add Enemy takes Status Rolls -2 for 3 Turns.
Root
- Element: Earth
- Rank: 1
- CP Cost: 2
- Type: Control
- AP Cost: 1
- Cooldown: 2
- Die Roll: Status
- Target: Enemy
- Range: 3
Effect: 1d12, if successful: Root Condition for 3 Turns.
Root Condition: Target takes Fire EM -5 and Movement -4. When Target takes Fire Damage, remove Root Condition.
Special: Character INT 10 or more: Add to Root Condition Target takes Defense Rolls -2.
Forge
- Element: Earth
- Rank: 1
- CP Cost: 2
- Type: Support
- AP Cost: 1
- Cooldown: 2
- Die Roll: -
- Target: Ally
- Range: 3
Effect: Ally gains Attack Rolls +2 for 3 Turns.
Special: Character VIT 10 or more: Add Ally gains Status Rolls +2 for 3 Turns.
Resolve
- Element: Earth
- Rank: 1
- CP Cost: 2
- Type: Passive
- AP Cost: -
- Cooldown: -
- Die Roll: -
- Target: Self
- Range: -
Effect: Self gains Defense Rolls +2.
Special: Character Level 10: Add Self gains AP +1.
Rank 2
Rising Arch
- Element: Earth
- Rank: 2
- CP Cost: 4
- Type: Damage
- AP Cost: 1
- Cooldown: 3
- Die Roll: Attack
- Target: Line
- Range: 4
Effect: Line takes Earth Damage 2d8.
Special: Character Earth EM 15 or more: Add Obstacles in Line are destroyed.
Overgrowth
- Element: Earth
- Rank: 2
- CP Cost: 4
- Type: Damage
- AP Cost: 2
- Cooldown: 3
- Die Roll: Status
- Target: Area - 2x2
- Range: 4
Effect: Targets in Area takes Earth Damage 2d6.
Special: Enemy in Area has Root Condition: Add Earth Damage +1d6.
Tempering
- Element: Earth
- Rank: 2
- CP Cost: 4
- Type: Support
- AP Cost: 1
- Cooldown: 3
- Die Roll: -
- Target: Burst, Ally
- Range: 2
Effect: Ally and Splash gains Defense Rolls +4 for 3 Turns.
Special: Character HP above 50%: Add Ally and Splash Heals 2d6.
Stalwart
- Element: Earth
- Rank: 2
- CP Cost: 4
- Type: Passive
- AP Cost: -
- Cooldown: -
- Die Roll: -
- Target: Self
- Range: -
Effect: Self gains Earth EM +2 and HP +5.
Special: Character Earth EM 15 or more: Add Self gains Status Rolls +2.
Rank 3
Titan Hammer
- Element: Earth
- Rank: 3
- CP Cost: 6
- Type: Damage
- AP Cost: 2
- Cooldown: 4
- Die Roll: Attack
- Target: Splash, Enemy
- Range: 2
Effect: Enemy and Splash takes Earth Damage 3d10.
Special: Character Earth EM 20 or more: Add Enemy and Splash takes Resistance Rolls -5 for 3 Turns.
Reap and Sow
- Element: Earth
- Rank: 3
- CP Cost: 6
- Type: Control
- AP Cost: 2
- Cooldown: 4
- Die Roll: Status
- Target: Area - 3x3
- Range: 3
Effect: 3d6, if successful: Enemies in Area gain Reap Condition for 3 Turns.
Reap Condition: At the End of the Character's Turn, Target takes Damage 1d8.
Special: If more Allies than Enemies in Area: Change Effect to Allies in Area gain Sow Condition for 3 Turns.
Sow Condition: At the End of the Character's Turn, Target Heals 1d8.
Aegis
- Element: Earth
- Rank: 3
- CP Cost: 6
- Type: Support
- AP Cost: 1
- Cooldown: 4
- Die Roll: -
- Target: Ally
- Range: 2
Effect: Ally gains All EM +5 for 3 Turns.
Special: Ally HP above 50%: Change to All EM +10.
Pride
- Element: Earth
- Rank: 3
- CP Cost: 6
- Type: Passive
- AP Cost: -
- Cooldown: -
- Die Roll: -
- Target: Self
- Range: -
Effect: Self gains HP +10, Defense Rolls +2 and Resistance Rolls +2.
Special: Character HP above 50%: Add at the End of the Character's Turn, Penalties -1 Turn.


WISSPAR
A curated immunogenicity database
The Worldwide Index of Serotype Specific Pneumococcal Antibody Responses (WISSPAR) is a centralized platform housing data on immunogenicity from clinical trials of pneumococcal vaccines. The data on WISSPAR are primarily curated from outcomes tables from clinicaltrials.gov and are made available in a searchable format that can be readily used for downstream analyses. Fields included in the database include product, manufacturers, dosing schedule, age group, and geographic region. You can use the embedded tools to generate customizable visualizations, export data for further analyses, or just browse through clinical trial results.
Please note that immunogenicity data should be compared and interpreted with caution. Data on immunogenicity alone cannot be used to infer differences in effectiveness between vaccines. These data need to be combined with information on the protective concentration of antibodies required to protect against each serotype in different populations for meaningful comparisons.
WISSPAR is a collaborative effort between the Yale School of Public Health and the Johns Hopkins Bloomberg School of Public Health. The development of this tool was supported by the Bill and Melinda Gates Foundation. For issues or suggestions, please email<EMAIL_ADDRESS>There is also the possibility of creating custom, private data access portals for specific use case; please email for details.


Home
About
Our Mission
Our Vision
Origin
Team
Projects
Contact Us
ORIGIN
Our name “THE HACK SQUARE” is composed of two words:
# HACK by which we refer to "SECURITY"
# SQUARE symbolizes the four domains with which we originated:
CYBER SECURITY, MACHINE LEARNING, WEB DEVELOPMENT & ANDROID".


Assignment (=
) transfers ownership. That is, the variable on the left becomes the new owner, and the variable on the right loses ownership. For example:
Money m = ...; // m is Owned
Money newMoney = m; // m is Unowned, and newMoney is Owned
// Now m is of type Money@Unowned, not Money@Owned.
Field declarations MUST include ownership specifications. This means that at the END of each transaction, the permission (ownership status) of the object the field references MUST match the annotation on the field when it was declared. For example:
contract Wallet {
Money@Owned money; // Note that this annotation is on a field declaration!
// exchange removes (and returns) the current contents of the Wallet, replacing it with the input Money.
transaction exchange(Money@Owned >> Unowned otherMoney) returns Money@Owned {
Money temporaryMoney = money;
money = otherMoney;
return temporaryMoney;
}
}
NOTE: in the above example, money
becomes Unowned
in the exchange
transaction when the ownership
is transferred to temporaryMoney
. However, by the end of the transaction, money
gets ownership of otherMoney
,
so its permission at the end of the transaction still matches its permission where it was declared (as a field).
[]
to specify their ownership.
The compiler will output an error if the ownership does not match the check. For example:
transaction withdraw() returns Money@Owned {
// body not shown
}
transaction test() {
Money m = withdraw(); [m@Owned];
spend(m); [m@Unowned];
[m@Owned]; // COMPILE ERROR: m is Unowned here
Constructors are specified just like in other object-oriented languages, but can include a permission. Fields of a contract must be initialized in the constructor. For example:
contract Wallet {
Money@Owned money; // Note that this annotation is on a field declaration!
//Constructor, takes in a Money parameter
Wallet@Owned(Money@Owned >> Unowned initialMoney) {
money = initialMoney;
}
}


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A cross-platform measure of your system's performance using BRL-CAD's advanced CPU intensive application of ray-tracing.
Upload your Benchmark Log NowDownload BRL-CAD
Run the Benchmark executable
Upload your benchamark log.
View, Compare and Share your results


Current version is
${project.version}
objenesis-${project.version}.jar
- Objenesis main library.
objenesis-exotic-${project.version}.jar
- Objenesis exotic library containing rarely used instantiators.
objenesis-tck-${project.version}.jar
- TCK to test your environment. See
details
.
Older versions can be found
here


Hangman
Geography Themed
CURRENT WORD:
Wins:
Losses:
Letters that have been guessed:
Number of guesses remaining:


@@include("../partials/head.html")
Transforms an input field or a textarea into a Tags component, in an easy, customizable way, with great performance and small code footprint, exploded with features.
Tagify DocumentationCopy-paste the stylesheet <link>
into your
<head>
to load the CSS.
Copy-paste the following <script>
and
Function
near the end of your pages.


Our shope Page
This is our sales page
you can add a new location
location Name :
minhourlycustomer :
maxhourlycustomer :
avgSale :


This project originates from the course DH2321 Information
Visualization at KTH Royal Institute of Technology. The course set
out to teach students about the theoretical and practical aspects of
Information Visualization.
The group project Viral50 aims to enable artists, content creators,
and music enthusiasts to visualize and gain insight into modern
music trends. The visualized data in the Viral50 project are the top
50 songs for each week and country from Spotify's viral playlists.
A viral song is a song that has a very high amount of social media
shares, song plays, and other web exposure in a short period. Since
viral playlists vary a lot between countries, we decided it would be
fun and exciting to visualize how song attributes differed between
countries at the same point in time.
The attributes visualized are aggregated by Spotify and constits of
a song's core elements. An example is the "Danceability" attribute
which consists of the elements tempo, rythm stability, beath
streangth and regularity.
Learning Objectives
We have created an interactive tool that can significantly assist in
gaining insights into viral music trends. The tool features an
overview of a specific attribute by the use of a world map. We
believe that the world map was a great choice since it helps to get
an understanding of viral music trends and if they are based on
geographic locations.
The detailed view enables users to compare specific countries and
songs with scatter plots and bar diagrams, which fit great when the
number of elements compared is small.
Even though the Mercator map projection squishes Africa, the second
largest continent in the world, we decided to go with it since we,
unfortunately, did not have any data from Africa.
During the project, we have been faced with three 15 minutes
presentations. It has been challenging but also fun to create,
rehearse, and present these with high quality.


Part of elita.deployment.salt_control View In Hierarchy
| Method | __init__ | |
| Method | get_os | Undocumented |
| Method | get_os_text | Undocumented |
| Method | group_remote_servers_by_os | Determine which servers are Windows and which are Unix-like, so we know where to push keys, etc to. |
| Method | get_remote_home | Get shell expansion of ~ on remote servers (home of user salt-minion is running as) |
| Method | get_home_expanded_path | Given a list of servers and a list of paths with '~' in them, return absolute paths |
| Method | create_directory | Undocumented |
| Method | delete_directory_win | Undocumented |
| Method | delete_directory_unix | Undocumented |
| Method | delete_directory | Undocumented |
| Method | push_files | Push a list of files to corresponding remote paths. Make sure each remote path exists first. Do all pushes in a single salt call (faster). |
| Method | rm_file_if_exists | Remove target directory if it exists |
| Method | rm_dir_if_exists | Remove target directory if it exists |
| Method | run_powershell_script | Undocumented |
| Method | run_shell_command | Undocumented |
| Method | touch | Undocumented |
| Method | ping | Undocumented |
| Method | append_to_file | Undocumented |
| Method | clone_repo | Undocumented |
| Method | checkout_branch | Undocumented |
| Method | discard_git_changes | Undocumented |
| Method | add_all_files_git | Undocumented |
| Method | commit_git | Undocumented |
| Method | set_user_git | Undocumented |
| Method | set_git_autocrlf | Undocumented |
| Method | set_git_push_url | Undocumented |
| Method | highstate | Undocumented |
| Method | run_sls | Undocumented |
| Method | run_slses_async | sls_map: { 'sls_name': [ list_of_servers ] } Runs all listed SLSes asynchronously |
| Method | _get_salt_uri | For pushing local files to remote servers, need to copy it to a random location in salt tree so we can push via cp.get_file. This file should be deleted after that call returns. |
Determine which servers are Windows and which are Unix-like, so we know where to push keys, etc to.
Get shell expansion of ~ on remote servers (home of user salt-minion is running as)
Given a list of servers and a list of paths with '~' in them, return absolute paths
For pushing local files to remote servers, need to copy it to a random location in salt tree so we can push via cp.get_file. This file should be deleted after that call returns.
Push a list of files to corresponding remote paths. Make sure each remote path exists first. Do all pushes in a single salt call (faster).
Note that these must be files, not directories.
local_remote_path_mapping = { 'local_path': 'remote_path' }


Treasure Island
by Robert Louis Stevenson
Part Two: The Sea Cook, Chapter 8: At the Sign of the Spy-Glass
Additional Information
- Year Published: 1883
- Language: English
- Country of Origin: England
- Source: Stevenson, R. L. (1883). Treasure Island. London, England: Cassell and Co.
-
Readability:
- Flesch–Kincaid Level: 7.0
- Word Count: 1,980
- Genre: Adventure
- ✎ Cite This
Downloads
When I had done breakfasting the squire gave me a note addressed to John Silver, at the sign of the Spy-glass, and told me I should easily find the place by following the line of the docks and keeping a bright lookout for a little tavern with a large brass telescope for sign. I set off, overjoyed at this opportunity to see some more of the ships and seamen, and picked my way among a great crowd of people and carts and bales, for the dock was now at its busiest, until I found the tavern in question.
 The sign was newly painted; the windows had neat red curtains; the floor was cleanly sanded. There was a street on each side and an open door on both, which made the large, low room pretty clear to see in, in spite of clouds of tobacco smoke.
The customers were mostly seafaring men, and they talked so loudly that I hung at the door, almost afraid to enter.
As I was waiting, a man came out of a side room, and at a glance I was sure he must be Long John. His left leg was cut off close by the hip, and under the left shoulder he carried a crutch, which he managed with wonderful dexterity, hopping about upon it like a bird. He was very tall and strong, with a face as big as a ham—plain and pale, but intelligent and smiling. Indeed, he seemed in the most cheerful spirits, whistling as he moved about among the tables, with a merry word or a slap on the shoulder for the more favoured of his guests.
Now, to tell you the truth, from the very first mention of Long John in Squire Trelawney’s letter I had taken a fear in my mind that he might prove to be the very one-legged sailor whom I had watched for so long at the old Benbow. But one look at the man before me was enough. I had seen the captain, and Black Dog, and the blind man, Pew, and I thought I knew what a buccaneer was like—a very different creature, according to me, from this clean and pleasant-tempered landlord.
I plucked up courage at once, crossed the threshold, and walked right up to the man where he stood, propped on his crutch, talking to a customer.
“Mr. Silver, sir?” I asked, holding out the note.
“Yes, my lad,” said he; “such is my name, to be sure. And who may you be?” And then as he saw the squire’s letter, he seemed to me to give something almost like a start.
“Oh!” said he, quite loud, and offering his hand. “I see. You are our new cabin-boy; pleased I am to see you.”

Just then one of the customers at the far side rose suddenly and made for the door. It was close by him, and he was out in the street in a moment. But his hurry had attracted my notice, and I recognized him at glance. It was the tallow-faced man, wanting two fingers, who had come first to the Admiral Benbow.
“Oh,” I cried, “stop him! It’s Black Dog!”
“I don’t care two coppers who he is,” cried Silver. “But he hasn’t paid his score. Harry, run and catch him.”
One of the others who was nearest the door leaped up and started in pursuit.
“If he were Admiral Hawke he shall pay his score,” cried Silver; and then, relinquishing my hand, “Who did you say he was?” he asked. “Black what?”
“Dog, sir,” said I. “Has Mr. Trelawney not told you of the buccaneers? He was one of them.”
“So?” cried Silver. “In my house! Ben, run and help Harry. One of those swabs, was he?  Step up here.”
The man whom he called Morgan—an old, grey-haired, mahogany-faced sailor—came forward pretty sheepishly, rolling his quid.
“Now, Morgan,” said Long John very sternly, “you never clapped your eyes on that Black—Black Dog before, did you, now?”
“Not I, sir,” said Morgan with a salute.
“You didn’t know his name, did you?”
“No, sir.”
“By the powers, Tom Morgan, it’s as good for you!” exclaimed the landlord. “If you had been mixed up with the like of that, you would never have put another foot in my house, you may lay to that. And what was he saying to you?”
“I don’t rightly know, sir,” answered Morgan.
  Perhaps you don’t happen to rightly know who you was speaking to, perhaps? Come, now, what was he jawing—v’yages, cap’ns, ships? Pipe up! What was it?”
“We was a-talkin’ of keel-hauling,” answered Morgan.
“Keel-hauling, was you? And a mighty suitable thing, too, and you may lay to that.
 And now,” he ran on again, aloud, “let’s see—Black Dog? No, I don’t know the name, not I. Yet I kind of think I’ve—yes, I’ve seen the swab. He used to come here with a blind beggar, he used.”
“That he did, you may be sure,” said I. “I knew that blind man too. His name was Pew.”
“It was!” cried Silver, now quite excited. “Pew! That were his name for certain. Ah, he looked a shark, he did! If we run down this Black Dog, now, there’ll be news for Cap’n Trelawney! Ben’s a good runner; few seamen run better than Ben. He should run him down, hand over hand, by the powers! He talked o’ keel-hauling, did he? I’LL keel-haul him!”
All the time he was jerking out these phrases he was stumping up and down the tavern on his crutch, slapping tables with his hand, and giving such a show of excitement as would have convinced an Old Bailey judge or a Bow Street runner. My suspicions had been thoroughly reawakened on finding Black Dog at the Spy-glass, and I watched the cook narrowly. But he was too deep, and too ready, and too clever for me, and by the time the two men had come back out of breath and confessed that they had lost the track in a crowd, and been scolded like thieves, I would have gone bail for the innocence of Long John Silver.
“See here, now, Hawkins,” said he, “here’s a blessed hard thing on a man like me, now, ain’t it? There’s Cap’n Trelawney—what’s he to think?  Here you comes and tells me of it plain; and here I let him give us all the slip before my blessed deadlights!  You’re a lad, you are, but you’re as smart as paint. I see that when you first come in. Now, here it is: What could I do, with this old timber I hobble on? When I was an A B master mariner I’d have come up alongside of him, hand over hand, and broached him to in a brace of old shakes, I would; but now—”
And then, all of a sudden, he stopped, and his jaw dropped as though he had remembered something.
“The score!” he burst out. “Three goes o’ rum! Why, shiver my timbers, if I hadn’t forgotten my score!”
And falling on a bench, he laughed until the tears ran down his cheeks. I could not help joining, and we laughed together, peal after peal, until the tavern rang again.
“Why, what a precious old sea-calf I am!” he said at last, wiping his cheeks. “You and me should get on well, Hawkins, for I’ll take my davy I should be rated ship’s boy. But come now, stand by to go about. This won’t do. Dooty is dooty, messmates. I’ll put on my old cockerel hat, and step along of you to Cap’n Trelawney, and report this here affair. For mind you, it’s serious, young Hawkins; and neither you nor me’s come out of it with what I should make so bold as to call credit. Nor you neither, says you; not smart—none of the pair of us smart. But dash my buttons! That was a good un about my score.”
And he began to laugh again, and that so heartily, that though I did not see the joke as he did, I was again obliged to join him in his mirth.
On our little walk along the quays, he made himself the most interesting companion, telling me about the different ships that we passed by, their rig, tonnage, and nationality, explaining the work that was going forward—how one was discharging, another taking in cargo, and a third making ready for sea—and every now and then telling me some little anecdote of ships or seamen or repeating a nautical phrase till I had learned it perfectly. I began to see that here was one of the best of possible shipmates.
When we got to the inn, the squire and Dr. Livesey were seated together, finishing a quart of ale with a toast in it, before they should go aboard the schooner on a visit of inspection.
Long John told the story from first to last, with a great deal of spirit and the most perfect truth. “That was how it were, now, weren’t it, Hawkins?” he would say, now and again, and I could always bear him entirely out.
The two gentlemen regretted that Black Dog had got away, but we all agreed there was nothing to be done, and after he had been complimented, Long John took up his crutch and departed.
“All hands aboard by four this afternoon,” shouted the squire after him.
“Aye, aye, sir,” cried the cook, in the passage.
“Well, squire,” said Dr. Livesey, “I don’t put much faith in your discoveries, as a general thing; but I will say this, John Silver suits me.”
“The man’s a perfect trump,” declared the squire.
“And now,” added the doctor, “Jim may come on board with us, may he not?”
“To be sure he may,” says squire. “Take your hat, Hawkins, and we’ll see the ship.”


Places Map (QML)
The example displays a map of the current location or, if no position is available, it uses Brisbane/Australia. Subsequently a search for places matching the term "pizza" is performed and each result shown on the map.
Running the Example
To run the example from Qt Creator, open the Welcome mode and select the example from Examples. For more information, visit Building and Running an Example.
Local Search
To write the QML application that will show places on a map, we start by making the following import declarations.
import QtQuick 2.0 import QtPositioning 5.5 import QtLocation 5.6
Instantiate a Plugin instance. The Plugin is effectively the backend from where places are sourced from. Depending on the chosen plugin some manadatory parameters may be needed. In this case the OSM plugin is selected which does not have any mandatory parameters.
Plugin { id: myPlugin name: "osm" // "mapboxgl", "esri", ... //specify plugin parameters if necessary //PluginParameter {...} //PluginParameter {...} //... }
Next we instantiate a PlaceSearchModel which we can use to specify search parameters and perform a places search operation. For illustrative purposes, update() is invoked once construction of the model is complete. Typically update() would be invoked in response to a user action such as a button click.
property variant locationOslo: QtPositioning.coordinate( 59.93, 10.76) PlaceSearchModel { id: searchModel plugin: myPlugin searchTerm: "Pizza" searchArea: QtPositioning.circle(locationOslo) Component.onCompleted: update() }
The map is displayed by using the Map type and inside we declare the MapItemView and supply the search model and a delegate. An inline delegate has been used and we have assumed that every search result is of type PlaceSerachesult
. Consequently it is assumed that we always have access to the place role, other search result types may not have a place role.
Map { id: map anchors.fill: parent plugin: myPlugin; center: locationOslo zoomLevel: 13 MapItemView { model: searchModel delegate: MapQuickItem { coordinate: place.location.coordinate anchorPoint.x: image.width * 0.5 anchorPoint.y: image.height sourceItem: Column { Image { id: image; source: "marker.png" } Text { text: title; font.bold: true } } } } }
Finally, a PositionSource
is used to reset the map to the curent location and find "pizza" places in the new area. The position information is updated every 2 minutes and if the new position is more than 500 meters away from the last pizza search area the place search is retriggered.
PositionSource { id: positionSource property variant lastSearchPosition: locationOslo active: true updateInterval: 120000 // 2 mins onPositionChanged: { var currentPosition = positionSource.position.coordinate map.center = currentPosition var distance = currentPosition.distanceTo(lastSearchPosition) if (distance > 500) { // 500m from last performed pizza search lastSearchPosition = currentPosition searchModel.searchArea = QtPositioning.circle(currentPosition) searchModel.update() } } }
Files:


Git Gud?
A Look Into Command Line and Git
9/13/2015
Kicking off our first week at Dev Bootcamp, we mainly focused on getting to know the in and outs of the command line, git, and git hub.
For those unfamiliar with the command line, imagine if you open up a blank word document (or any text editor for that matter). In this text editor, you can type anything you want, it just won't work 90% of the time if you do that.
For instance, pretend you're taking care of a group of kids.If you want them to listen to you, you can can't be all loosey-goosey with your orders, you have to be very specific and very commanding. "SIT DOWN!" *Hits kid in the back of the head*
This is probably the reason why it's better that I'm going into web design, as hitting and yelling at a computer is much more acceptable than hitting and yelling at a child.
 It's much faster than using your mouse and GUI (Graphics User Interface). The caveat though is that you have to remember specific terms to navigate around your computer as text is the only form of input that you have when using the command line.
It makes sense that we started learning the command line first at DBC. Without the command line, it wouldn't be possible for us to know how to use git as the two go hand in hand together.
But before we start talking about git, let's talk a little bit about version control software first! The idea behind version control software is that anytime you make a change to a program, you can create a "patch" in a sense. You can apply this "patch" to your program, and it will make the changes that was listed in the patch. Usuall there's a master key (or master branch in this case) where the patch is applied to.
Version control software is so useful because it allows many developers to work on the same program and apply their own "patches" to the master key. Because all the changes are being tracked, when a developers wants to look at a piece of code they didn't work on but someone else did, they have "patch" notes that they can review and apply to their code and make their own "patch".
Git and GitHub are both version control software. There's a major difference between the two however and that is git is used locally on your computer, while GitHub is a storage facility for code that is to be used remotely online.
The best analogy that I heard this week was that think about Git and GitHub like files on your computer and Dropbox. Files you save on your computer are there locally, it isn't until you upload files to Dropbox are they online.
This is where knowing command line functions and git come in handy. Using the command line and git, you can take code that you created locally on your computer and upload them online to GitHub.
This is extremely useful because as long as you have an internet connection, anyone can access your code from anywhere (provided you made your files public). So if you have mulitple developers working on the same project around the world, they can access your work the second you upload it to GitHub. Pretty handy right?
And that about sums up what we learned in DBC phase 1. It's been a challenging week, definitely had some head banging moments. But once you get the hang of the material, there's a sweet sweet sense of satifaction and revenge. Bring on Week 2!


Fat tweet
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This extension add to tweet form on twitter.com additional button by clicking which you able to send tweet text as image attached to tweet.
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This is Taichi Nakashima (@deeeet)'s personal blog. I'm a software engineer currently working at Mercari and leading the internal platform group as tech lead. You can find me on Twitter or GitHub.
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Wedding
Reception
Sunday Febrauary 18, 6.30 p.m onwards
Muhurtham
Monday Febrauary 19, 6.00 -- 7.30 a.m
Location
Sri Sernthaiyan Mahal
No. 39, Sri Ganesh Nagar
Jawaharlal Nehru Road
Kolathur, Chennai - 99
Landmark:
Near Ambedkar Nagar Bus Stop,
Retteri Signal
Contact:
+ 91 98412 95739 (Narayanan)
+ 91 94980 93927 (Sathish)


-
John Limbert, former Iranian hostage
Iran can do damage when it feels cornered; but to call it a "threat" of any importance ignores reality and the country’s underlying weakness and isolation.
-
Suzanne Maloney, Brookings Institution
But the nuclear deal is a sign that over time, further bilateral engagement with the U.S. may reinforce pragmatic policymaking within Iran.
-
Abbas Milani, codirector, Iran Democracy Project, Hoover Institution
A majority of Iranian people prefer normalized relations with the U.S., and they are trying to change the regime without violence.
-
Ehud Eiran, former Israeli government official
Iranian's reach may be greater, but the possibility of a nuclear attack has shrunk. And interaction with the West might moderate the regime.
-
Eran Lerman, former Israeli adviser
Perhaps it is how they validate a revolution that has failed. Perhaps it serves the need of all totalitarian regimes to have a mortal enemy.
-
Chen Kane, James Martin Center for Nonproliferation Studies
With a smaller nuclear threat, the U.S. can sell allies defensive missiles, cool their tempers and work with them to counter Iran's surrogates.


Since the very first time i had heard of research chemicals, i had wanted to try them very much. One day a friend of mine told me about a site that you could order several chemicals from. i didnt really have too much of a preference with which one to get, but he wanted to get 2c-i. he described to me that it was very similar in chemical structure to mescaline, and also that there was an mdma type of effect as well. the order came about 5 weeks later.
I decided that i would buy a digi to weigh out the doses. i planned for the digi to go over 2 decimal places. .02 would equal about 20mg which i read was the preffered dose. the only digi i could find only went over one decimal place, so i planned to weigh out .1g which would equal 5 doses that i could split up. it didnt work out that way. the shits way too sticky or something because it didnt register at all on my digi.
[Erowid Note: For substances active at such a small dose, measuring techniques described here are particularly unwise. See related article]
For my first dose, i just smeared some on my finger and put it on my toungue. it took about 1 hour and a half to kick in. there were nice trails and some dots of color, but the visuals were very minimal. the mdma like effect i found to be very nice. i felt love towards everything. since it has an mdma like effect, its a stimulant so sleeping was not possible that night.
The next time i dosed, i put the 2c-i in a vitamin c pill that i had broken apart. im not sure if vitamin c potentiates the trip at all, but i figured it wouldnt hurt. i took one 1000mg vitamin c pill after taking the dose of 2c-i. im sure i did a lot this time, however i dont have much of an idea on how much i took. i had eaten that day so it took very long to kick in. aproxamintly 2 hours and 15 minutes.
The first thing i notice was a slight speedy feeling, folowed by very very faint dots of color. i occasionally checked my pupils until they finally showed signs of dialation. the visual trails were more intense this time, and i enjoyed them very much. there were slight shapes that were very faintly colored. they looked kinda like interlocking eyes. this night i found it very hard to sleep but managed to get a little bit of sleep eventually.
I also found out that tripping 2 days in a row is possible, unlike most of the other hallucinogenics that im aware of.
I belive that 2c-i is a lot of fun, however i dont think it as is potent as i thought it had been made out to be. im not dissapointed at all though.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


It is an attribute that returns the absolute value of the number.
wd(number).abs
wd().abs; wd().abs; wd().abs;
It is an attribute that returns the fractional part of the number.
wd(number).decimal
wd().decimal; wd().decimal; wd().decimal;
It is an attribute that returns the integer part of the number.
wd(number).integer
wd().integer; wd().integer; wd().integer;
It is an attribute that returns integer
for integers (negative, positive, and zero), real
for non-integer numbers, and infinity
for Infinity
and -Infinity
values.
wd(number).number
wd().number; wd().number; wd().number;


Description
AWS CodeBuild is a fully managed build service in the cloud. AWS CodeBuild compiles your source code, runs unit tests, and produces artifacts that are ready to deploy. AWS CodeBuild eliminates the need to provision, manage, and scale your own build servers. It provides prepackaged build environments for the most popular programming languages and build tools, such as Apach Maven, Gradle, and more. You can also fully customize build environments in AWS CodeBuild to use your own build tools. AWS CodeBuild scales automatically to meet peak build requests, and you pay only for the build time you consume. For more information about AWS CodeBuild, see the AWS CodeBuild User Guide .
AWS CodeBuild supports these operations:
- batch-get-projects : Gets information about one or more build projects. A build project defines how AWS CodeBuild will run a build. This includes information such as where to get the source code to build, the build environment to use, the build commands to run, and where to store the build output. A build environment represents a combination of operating system, programming language runtime, and tools that AWS CodeBuild will use to run a build. Also, you can add tags to build projects to help manage your resources and costs.
- create-project : Creates a build project.
- delete-project : Deletes a build project.
- list-projects : Gets a list of build project names, with each build project name representing a single build project.
- update-project : Changes the settings of an existing build project.
- batch-get-builds : Gets information about one or more builds.
- list-builds : Gets a list of build IDs, with each build ID representing a single build.
- list-builds-for-project : Gets a list of build IDs for the specified build project, with each build ID representing a single build.
- start-build : Starts running a build.
- stop-build : Attempts to stop running a build.
- list-curated-environment-images : Gets information about Docker images that are managed by AWS CodeBuild.