You can display your system permissions and add or change your login password in the Configure > My Account page.
New Password/Confirm New Password Specify a password in the text box. Retype the password in the Confirm New Password text box. (Appears when password policy is enabled and the Minimum Character Difference Between Passwords value is greater than 0). Non-administrators must specify the old password.
3. Click Apply to apply your changes to the running configuration.The My Account page includes a way to clear user preferences if any user settings result in an unsafe state and the Management Console cannot display the page.
2. Under User Preferences, click Restore Defaults.


HI
Ooops! You already chose a specialist. Go to the next dashboard by clicking the button below. If you want to change your specialist later. That's allowed after one week of trial.


COPYCAT A film review by James Berardinelli Copyright 1995 James Berardinelli
RATING (0 TO 10): 9.2
United States, 1995 U.S. Availability: 10/27/95 (wide) Running Length: 2:03 MPAA Classification: R (Violence, post mortem photographs) Theatrical Aspect Ratio: 2.35:1
Cast: Sigourney Weaver, Holly Hunter, Dermot Mulroney, Harry Connick Jr., William McNamara, Will Patton, John Rothman, J.E. Freeman Director: Jon Amiel Producers: Arnon Milchan and Mark Tarlov Screenplay: Ann Biderman and David Madsen Cinematography: Laszlo Kovacs Music: Christopher Young U.S. Distributor: Warner Brothers
Move over, SILENCE OF THE LAMBS! COPYCAT has usurped the position at the top of the all-time serial killer movie heap. With its rare mixture of intelligent plotting, flawless acting, and start-to-finish tension, COPYCAT is a force to be reckoned with--hopefully both at the box office and when Oscars are given out next spring. It amazes me that an entry from this genre, which is normally known for pointless gore and contrived storylines (see--or rather don't see--DON'T TALK TO STRANGERS), has turned out a motion picture this keen and complex.
COPYCAT opens in a college lecture hall. Dr. Helen Hudson (Sigourney Weaver), a psychiatrist who specializes in serial killers, is giving a talk on her pet subject. Her words drive home the point: these people get turned on by what they do. They feel no remorse--only anticipation of the next kill. After finishing the seminar, Helen heads for the restrooms, where she comes face-to-face with Daryll Lee Cullem (Harry Connick Jr.), a man with murderous intentions who has been stalking her.
Thirteen months later, Helen is an agoraphobiac recovering from a nervous breakdown. She hides inside her apartment, connected to the Internet while downing pills and booze in roughly equal quantities. She's useless to herself or anyone else. Then the police, led by Mary Jane Monahan (Holly Hunter) and Reuben Goetz (Dermot Mulroney), arrive at her door. They need help tracking a serial killer who has been terrorizing young women in the San Francisco area, and who better to go to than an expert with twenty years of having "serial killers on the brain"? Although at first reluctant, Helen eventually relents and lends her experience to the investigation. Her first contribution is to identify the killer as a copycat. He is mimicking the great serial killers--the Boston Strangler, Son of Sam, the Hillside Strangler, Dahmer, and Bundy--and there's no way to tell who or how he will murder next. On top of everything, he has decided to play Internet games with Helen, the "Muse of Serial Killers."
It's a difficult task to perfect this sort of story. There are so many areas where the script can fail that it's astounding how seamlessly COPYCAT overcomes all obstacles.  The police are smart, but so is the killer. And the movie doesn't play games with the villain's identity--we aren't left wondering whether he's one of the supposed "good guys." Like SEVEN, COPYCAT isn't concerned with whodunnit, but why they did it and how they will strike next. In contrast to the Brad Pitt/Morgan Freeman movie, however, this picture has a rock-solid storyline with no gaping holes in logic.
I've never been a big fan of Sigourney Weaver, but what she accomplishes here is impressive. I can't help wonder how much better DEATH AND THE MAIDEN would have been had she turned in a similar caliber performance there. From the opening scene in COPYCAT, Weaver has a good sense of Dr. Hudson, and she holds onto the character through all the emotional ups and downs. This is doubtlessly the actresses' best work to date.
Holly Hunter, following her Oscar-winning mute role in THE PIANO, shows her range by doing something radically different. Strong-willed, tough, and extremely competent, her MJ Monahan is the kind of smart, multi-layered role actors relish, and Hunter is on target with her portrayal. This is a contained, dynamic performance without a hint of overacting. In many ways, what the actress does here exceeds what she managed in Jane Campion's New Zealand period drama.
The supporting cast is solid. Dermot Mulroney projects a likable cockiness as Monahan's partner. Harry Connick Jr. is creepy as Hudson's stalker. While no Hannibal the Cannibal, Connick's Daryll Lee is still a frighteningly demented man. Equally disturbing is William McNamara as the title character, one of the most chilling since Michael Rooker's lead in HENRY: PORTRAIT OF A SERIAL KILLER.
The worst thing that can happen in a movie like this is for the characters to be a step behind the audience. That's not the case in COPYCAT, where the viewer is in synch with what's occurring on-screen. Tension and atmosphere are excellent, and director Jon Amiel pays careful attention to detail. Parts of this film are frightening, and will have many viewers either on the edge of their seat or hiding their eyes. And, unlike in many so-called thrillers, the ending is not a let- down. Comparisons with SILENCE OF THE LAMBS are inevitable, but this movie is no mere copycat of Jonathan Demme's 1991 feature--it's a well-crafted improvement.
- James Berardinelli<EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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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.
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Related links: index of all rec.arts.movies.reviews reviews


To select a dynamic universe of US Equities based on US Congress Trading data, call the AddUniverse method with the QuiverQuantCongressUniverse class and a selection function.
def Initialize(self) -> None: self.AddUniverse(QuiverQuantCongressUniverse, "QuiverQuantCongresssUniverse", Resolution.Daily, self.UniverseSelection) def UniverseSelection(self, alt_coarse: List[QuiverQuantCongresssUniverse]) -> List[Symbol]: return [d.Symbol for d in alt_coarse \ if d.Amount > 200000 and d.Transaction == OrderDirection.Buy]
AddUniverse<QuiverQuantCongresssUniverse>("QuiverQuantCongresssUniverse", Resolution.Daily, altCoarse => { return from d in altCoarse where d.Amount > 200000 && d.Transaction == OrderDirection.Buy select d.Symbol; });
For more information about dynamic universes, see Universes.


My name is Christopher McCulloh
this file is located at iphone/www/index.html
Platform:
Version:
Device Name:
UUID:
X:
Y:
Z:
Watch Accelerometer
Get Location
Call 411
Custom Alert
Beep
Vibrate
Get Fourth Contact


The outline glyph view is the window in which most editing happens.
At the top of the window, underneath the menu bar is an information line. The first item is the location of the mouse pointer (in the internal coordinate system of the glyph). If there is a single selected point then the next item gives its location, and the next three are, respectively, the offsets from the selected point to the current location, the distance from the selected point, and the angle from the horizontal (measured counter-clockwise). Then we have the current scale factor, and the layer which is active. Finally (in the debugging view) is an indication of whether the instruction pointer is in the glyph program, the 'prep' program of the 'fpgm'.
Underneath the information is a ruler showing the current pointer location as a red line. There's a similar ruler on the left side.
Underneath that is the glyph itself. On the left edge of the screen is a grey line indicating the x=0 line, further right is a black line showing where the glyph's width is currently set. There are also grey lines showing the ascent, descent and baseline.
Background images and background splines are drawn in grey. Grid lines are also drawn in grey. Vertical hinting regions are drawn in light blue, Horizontal hints are drawn in light green. If any hints overlap the boundaries are drawn in cyan.
The points of the glyph are of three types, corner points drawn as filled squares, curve points drawn as filled circles and tangent points drawn as filled triangles. If a point is selected then it will be drawn as an outlined square, circle or triangle and its control points are drawn as little magenta or dull-cyan xs at the end of a similarly colored line. (in a curved point the control points will be collinear). (the "Next" control point will be drawn dull cyan, and the Prev point will be magenta).
In a TrueType font, an on-curve point can be implied between two control points. FontForge will draw these with an open circle.
The initial point in a contour will be drawn in green, and beside it will be a tiny arrow pointing in the direction of the contour.
Sometimes it is important to know which points are at the extrema of splines (postscript likes for there to be points at the extrema of all splines), if this is important to you set the "Mark Extrema" flag in the View menu. After that points at extrema will show up as dull purple. And internal extrema will also be marked.
There are also two palettes, one, a layer palette, allowing you to control which layers are visible, and one, a tool palette, from which you may pick editing tools. Normally these are free floating windows, but you may choose to dock them in the window with View->Palettes->Dock Palettes.
You select an editing tool by clicking on the appropriate button on the tools palette, or you may depress the right mouse button and select a tool from a popup menu (you may also change layers and do a few other things with this menu). There are four different tools bindings available to you (this may be a complication with no utility). The left mouse button has a tool bound to it, and this tool will be displayed when the program is idle. If you hold down the control key, another tool is available, by default this is a pointer but if you click on the tools palette with the control key down you can select something else. If you depress the middle mouse button you get a third tool (by default a magnifying glass), and the control key and middle button give you the fourth (a ruler).
If the mouse pointer is close to a point (within a few pixels) when you depress the mouse, then the effective location of the press will be the location of the point.
If you drag a glyph from the font view and drop it into a glyph view then FontForge will drop a reference to the dragged glyph into the view.
Warning: If your glyph has truetype instructions then editing it may cause those instructions to behave very oddly. If your glyph has anchor points which depend on truetype point matching then editing the glyph may disconnect the points. If your glyph is used as a reference in another glyph that positions references by point matching then editing this glyph may reposition those references.
There are several drawing layers in the outline view. Each layer has an "eye box" (indicating whether it is visible or not), curve type ("C" for cubic, "Q"for quadratic, " " for Guide layer, which is always cubic), mode ("#" for Guide layer, "B" for background layers, "F" for foreground layers) and a name.
The first layer is a set of guide lines/splines. These are common to all glyphs in the font. A few lines are provided for you (the x=0 line, the ascent, descent and baseline). Other handy lines might be the x-height of the font, the cap-height, ascender-height, descender-height, ... When you are working in any of the other layers, points will snap to splines in this layer (making it easy to force a consistent x-height for example).
Next are the background layers, these contain background images and splines. These do not go into the font, but may be helpful to you in tracing the outline of your glyph. It is possible to paste an image into the background if you have an image manipulation program that supports selection by mime type (the kde family of applications does this, perhaps others), then FontForge will be able to read images in either "image/png" or "image/bmp", otherwise you may import background image files.
When debugging truetype
(Hints->Debug)
, or showing
gritfit outlines (View->Show
Gridfit
) the visibility of the gridfit outlines can be controlled
by the background layer's visibility.
The last is the foreground layer, this contains the splines that actually make up the glyph that will be placed into the font.
One can actually have multiple foreground and background layers. They can be created and deleted with "+" and "-" buttons. FontForge, won't delete last layer of its type, though. And care must be taken when generating a font to have the right foreground layer selected, if multiple are present.
Layer curve type and visibility can be toggled freely with left mouse button. Making the layer cubic or quadratic is a little trickier, as it's done with right mouse button: a pop-up menu will appear, allowing for some additional operations, like moving contents between layers.
There are 19 different editing tools, a mode button which alters the behavior of 5 of them, and two others (rectangle/ellipse and polygon/star) which come in two forms.
At the bottom of the palette is a list of the current bindings of the mouse buttons. Here mouse button 1 is bound to the pointer tool, mouse button 1 with the control key pressed is also bound to pointer, mouse button 2 is bound to magnify, and mouse button 2 with control is bound to ruler.
Many of the tools have different behaviors if you hold the shift or alt (meta) key down when using the tool. On the mac there is no alt/meta key, and the Option and Command keys are usually bound to making a one button mouse look like a three button mouse. So on the mac fontforge uses the caps-lock key rather than alt/meta.
This tool is used for selecting points, images and referenced glyphs. It can also move these and scale images and referenced glyphs.
Only things that are in the layer that is currently editable may be selected or moved or scaled.
A simple click on an unselected point selects it and deselects everything else. A shift click on a point toggles whether that point is selected or not. A double click selects all points on the path containing that point. A tripple click selects everything in the layer. Clicking on the background will deselect everything. Clicking on the background and dragging out a rectangle will select everything within the rectangle. Clicking on a line or spline will select the two end points of that line or spline. Clicking on the dark part of an image (when in a layer with images) will select the image. Clicking on the outline of a referenced glyph will select that reference (if a reference glyph happens to have the same outline and bounding box, then holding down the meta/alt/caps-lock key will allow you to move it once it is selected, without the meta key you will resize it).
If a point has no visible control points, then they are at the same location as the point itself. If you want to select one of the control points then first select the point (to make the control points active) then hold down the meta key (use caps-lock on the mac) and depress the mouse on the point. This should allow you to drag one of the control points (if you get the wrong point the first time drag it out of the way, repeat the process to get the other control and then put the first one back). Sadly some window managers (gnome-sawtooth for one) will steal meta-clicks. If this happens you will need to use Element->Get Info to set the control points.
When you move
a control point you have the option
(View->Show Control Point
Info
) of getting a popup box showing information about the control
point (and its opposite number on the other side of the on-curve point).
You will be told whether this is the next or previous control point, the
absolute location of the point, the offset from the on-curve point, the slope
expressed as a ratio, and as an angle, and the curvature on this side of
the base point. At the very bottom is the difference between the two curvatures.
Try to make this number approach 0 for curved points.
Once something is selected you may drag it around. If you select something and drag the mouse then it and everything else selected will be moved. If you drag an open path and one of the end points happens to fall on the end point of another open path, then the two will be merged into one (If you don't want open paths to merge, hold down the Alt/meta/caps-lock key). If you drag a control point then it will be moved (if you drag a control point defining an implied point, then the implied point(s) will also be moved).
If you selected a spline, then dragging it will drag the location on the spline where you pressed the mouse (so you are changing the shape of the spline).
If you hold the shift key down when you drag then the motion will be constrained to be either horizontal, vertical, or at a 45° angle. (When moving control points the combination of shift and meta (alt) will mean that the control point is constrained to be the same angle from the base point as it was before you started moving it).
If your font has an ItalicAngle set, and the ItalicConstrain preference item is set, then motion that would normally be constrained to the vertical is constrained to be along the ItalicAngle.
If you move the mouse to the bounding box of a selected image or reference glyph and drag it then you will scale that object.
If you move the mouse to the advance width line, then dragging it will change the width of the current glyph. If there are any bitmaps of this glyph then their widths will also be updated. If there are any other glyphs which depend on this glyph (ie. include this glyph as a reference) and their width was the same as the glyph's, then their widths will also be updated (so if you change the width of A, then the width of À, Á, Â, Ã, Ä and Å might also be changed). If you are displaying vertical metrics (in a font that has them), then you can use the same technique to modify the vertical advance.
If you are in an accented glyph then you may not be able to change the width, as its width is bound to that of the base glyph (By setting the "Use My Metrics" bit in the reference containing the base glyph). This will be displayed as a lock icon at the top of the window near the width line.
It is also possible to use the arrow keys to move selected items around. Each arrow will move the selection one em-unit (this can be changed in preferences to be any number of em-units) in the obvious direction. The selection may include the width (right bearing) line (or vertical with line). If the last thing you selected was a control point then that point will be moved. If you hold down the shift key at the same time the up and down arrows will move parallel to the italic angle (be careful of this: this leads to non-integral values). If you hold down the meta (alt) key, then the motion will be 10 times the normal amount.
If you hold down the control key while working with the arrows then the view will be scrolled rather than moving the selection.
If the glyph is a ligature (and has a ligature entry in Glyph Info) then it has the potential of having "ligature caret locations". Essentially this means that between each ligature component it is possible to place a caret location (so that the word processor will place be able to place a caret between each component of the ligature). In a ligature window a series of vertical lines will be drawn across the screen at the caret locations. By default these lines will be placed at the origin, but you may move one by placing the mouse pointer on it, depressing the button and dragging the line around. See the description on building a ligature for a more complete description.
Clicking with the magnifying tool will magnify the view and center it around the point you clicked on. Holding down the Alt/Meta/CapsLock key and clicking will minify the view, again centered around the point at which you clicked. Again some window managers will steal meta-clicks, so you may have to use the View menu to minify (It's called Zoom Out
If you drag out a rectangle with this tool then when you release, FontForge will shift and scale the view so that your rectangle just fits into the window.
If your mouse has a scroll wheel then holding down the control key with the scroll wheel causes it to magnify or minify the window.
You can use this tool to scroll the window without using the scroll bars.
You can use this tool to draw a random curve which FontForge will then attempt to convert into a set of splines. If you hold down the Alt/Meta/CapsLock key then FontForge will close the curve when you release the mouse.
If you double click on the icon in the tool palette you get a dialog similar
to the Element->Expand Stroke which
will give you slightly more control over the results, as you can have it
not expand the stroke you draw (ie. leave a single trace.)
These four tools behave similarly, differing only in what kind of point is added to the view.
If a single point is selected, and if that point is at the end of a path then depressing the mouse button will create a new point where the mouse was depressed and draw a spline from the selected point to new point. If this new location happens to be the end of a path then the two paths will be joined (or if it is the end of the current path then the path will be closed).
Otherwise if the mouse is depressed while being on a spline then a point will be added to that spline.
Otherwise a new point is created not on any path at the location of the press.
Once the point has been created then it becomes selected and all others are deselected. You may drag the point around, and if the point is on an open path and you drag it to the end point of another open path then the two paths will be joined.
If you double click then a point will be added as above and a Point Info dlg will appear to give you fine control over the location of the point and its control points.
The four different point types are
This tool behaves differently in cubic and quadratic editing. In many ways it is similar to the tools above as it adds a point to the current spline.
In a cubic font the points created are curved points, and they are initially created with the control points on the point and as you drag you drag out the control points rather than moving the point itself around.
In a quadratic font a point will be created half-way between the last control point and the current location (which becomes the next control point).
If you hold down the Alt (Meta, etc) key you change the behavior so that cubic editing looks like quadratic and vice versa.
These tools add spiro control points to the current contour, these are only available in spiro mode, but the basic adding process is similar to the above.
The different point types are:
This is based on Raph Levien's work with clothoid splines which provide constant curvature across points.
This button toggles between editing contours using Bézier control points, or between using spiro (clothoid) control points.
This tool is used to cut splines. As you drag it across the view fontforge draws a line showing where the cut will happen. When you release, every spline you intersect will be cut-- that is at the location where this line intersects the spline two new points will be created and the old spline will be split in two connecting to the two new end points. These endpoints are not joined, so the spline is now open (or if it were previously open, it is now cut in two).
This tool tells you current position of the mouse. If the mouse is near the outline it will give the slope and curvature there. If the mouse is near a point on the outline will give the slope and curvature on each side of the point.
If you depress the button and drag, the tool will show the x-y offsets, distance and angle from the point where you depressed the mouse to the mouse's current location. If you depress the tool at one end point of a spline and move it to the other endpoint then it will also show the length of that spline.
If you hold down the Meta/Alt/CapsLock key then information will only be shown when the mouse is depressed.
This tool allows you to scale the selection by eye rather than by a set amount (if there is no selection then everything in the current layer will be scaled). The location of the press will be the origin of the transformation, the further you move the point up and to the right the more it will be scaled in that dimension. If you want the scaling to be uniform or only in one dimension then hold down the shift key.
Double clicking on this will bring up the transform dialog with the "Scale..." option selected.
This tool allows you to flip the selection either horizontally or vertically. Again the point at which you press the mouse is the origin of the transformation.
Double clicking on this will bring up the transform dialog with the "Flip..." option selected.
Note: After flipping an outline you will almost certainly want to apply Element->Correct Direction.
This tools allows you to rotate the selection freely.
Double clicking on this will bring up the transform dialog with the "Rotate..." option selected.
This tool allows you to skew the selection.
Double clicking on this will bring up the transform dialog with the "Skew..." option selected.
This tool allows you to rotate the selection in the third dimension and project the result back onto the x-y plane. An imaginary line is drawn from the point where you pressed to the current point, this line determines the axis of rotation. The distance you move from the initial press determines the amount of rotation.
Double clicking on this will bring up the transform dialog with the "Rotate 3D..." option selected.
This tool allows you to apply a perspective transformation to the selection (this is a non-linear transformation). This tool uses three points: The glyph origin, the press point, and the current location of the cursor. In the image at right the mouse was pressed on the baseline near the glyph's advance width, and the mouse was released in the upper middle of the image. The glyph is transformed so that the release point is treated as the point at infinity. The line between the origin and the press point defines one axis of the transformation. Distances perpendicular to this line are retained, distances parallel to it are scaled as:
x' = release_x + (release_y - y)/release_y * ( x - release_x )
y' = y
By default this produces a rectangle, single-clicking on the tool palette will toggle between rectangle and ellipse, and double clicking in the tools palette gives you a dialog which allows you to control whether your rectangles are drawn with round corners, and how both rectangles and ellipses are specified.
You can choose whether the rectangle (or ellipse) will be drawn between the point where you depressed the mouse on the view and the point where you released it (bounding box), or whether the point where you depress the mouse becomes the center of the rectangle and the point where you release it provides an end-point (center out).
If you want even more control, you can double click in the glyph view and get another dialog which allows you to define numerically where the rectangle/ellipse should be placed, how big it should be, and whether it should be rotated.
By default this draws a regular polygon, but by double clicking on the button in the tools palette you can make it draw a star, or select the number of verteces in your polygon.
The polygon is drawn as though it were inscribed in the circle whose center is the point where you depressed the mouse and whose radius is the distance between the press point and the release point. One of the polygon's verteces will be at the release point.
A star is drawn similarly. It will be a star generated from a regular polygon. As the number of verteces of the polygon gets larger the star will look more and more like a circle, for this reason the dialog box that allows you to pick the number of verteces will also allow you to pick how far the star's points should extend beyond the circle in which the polygon is inscribed (this will make a non-regular star, but it might look nicer).
In this
view the vertical metrics of the glyph are shown. You can change the vertical
advance just as you changed the glyph's width (by selecting the pointer tool
and dragging the vertical advance line up or down).
If you have
the freetype library, then you can see the results of rasterizing your glyph.
If you have freetype's bytecode interpreter enabled you can also see how
the truetype instructions in the glyph have moved the points around (if you
don't have the bytecode interpreter enabled you will see what freetype's
autohinter does to points). This mode can be invoked with
View->Show Grid
Fit
...
The Show Grid Fit command will ask you for some basic information first.
It needs to know the pointsize and resolution for which you want the action
performed (the example at right is 12pt on a 72dpi screen).
"I told you butter wouldn't suit the works!" he added, looking angrily at the March Hare."It was the best butter," the March Hare meekly replied.
Alice's Adventures in Wonderland
Lewis Carroll
FontForge has a truetype debugger -- provided you have a version of freetype on your machine with the bytecode interpreter enabled (Note: you need a license from Apple to enable this. It is protected by several patents).
The image to the right shows an example of this mode. You invoke it with
Hints->Debug
, and as with
the grid-fit view above you must establish a pointsize and and resolution.
The view divides into two panes, the left of which is similar to the grid
fit view above (except that it changes as you step through the instructions),
the right pane provides a list of the instructions to be executed.
In addition to showing you all the points in your glyph there are either 2 or 4 additional points. These are the so-called "phantom" points and represent the horizontal and vertical metrics of the glyph (old versions of freetype will only display 2 points -- left side bearing and advance width, while newer versions will display top side bearing and advance height as well).
As you step through a glyph occasionally points will light up. This is FontForge's attempt to show you what points will be affected (usually moved) by the current instruction. Other points will have a circle drawn around them. These are used as reference points by the instruction.
There are a series of buttons at the top of the instruction view. The first will single step the truetype program (step into), the second will step over procedure calls, the third will set a break point at the return point for the current function and continue until that is hit, and the fourth will continue until:
The red "STOPPED" arrow shows the current location of the instruction pointer (and what instruction will be executed next).
The fifth button allows you to set a watch point. You select a point (or several points) in the left hand pane, and press this button. Thereafter, whenever one of those points is moved FontForge will stop the glyph program. (You may also set watch points through the points window).
When you are in this mode there are a few special "hot keys"
r run/restart k kill/quit debugger q kill/quit debugger c continue s step (into) n next (step over) f finish function (continue until we return from the function)
Similarly you may watch storage and cvt locations by clicking on the appropriate spot in the storage and cvt windows.
You can set a more conventional break point by clicking on an instruction. A little red stop sign will appear on top of the address area, and the program will halt when the instruction pointer reaches that instruction. Clicking on the instruction again will remove the breakpoint.
Flaw: Currently there is no way to set breakpoints outside of the current function (or glyph).
Flaw: Currently there is no way to examine the call stack.
The sixth button brings up a menu with which you can control which of various debugging palettes are visible. The ones available so far are: Registers, Stack, Points, Storage, Cvt, Raster and Gloss.
| Shows the truetype graphics state. | Shows the truetype stack. The value in parentheses is a 26.6 number. | Shows the points. You may choose to view the twilight points, or the
points displayed in the glyph pane (the normal points). You may view the
current location or the original location. You may view them in the units
of the current grid, or in em-units.
When debugging a composite glyph the Transformed check box indicates whether the points of the current component have been transformed (to show where they fit in the composite) or not (showing where they are in the base component -- this is what the instructions are working on). The points may have some flags associated with them: 'P' means the point is an on curve point, 'C' means the point is an off curve point (a control point), 'I' means the point is an on-curve point interpolated between two control points, 'F' means a phantom point, 'T' means a twilight point, 'H' means the horizontal touch flag has been set, 'V' means the vertical touch flag has been set. A small stop sign indicates the point is being watched (that is execution will stop if the point moves). You may change whether a point is watched by clicking on it. Contours are separated by horizontal lines |
| Shows the truetype storage locations.
 You may change whether a location is watched by clicking on it. |
Shows the current values in the cvt array.
A small stop sign indicates the cvt location is being watched (that is execution will stop if the value changes). You may change whether a location is watched by clicking on it. |
Shows the current raster with no magnificaton |
|
| This window tries to provide a gloss for the current instruction. It gives a brief description of the instruction in the top few lines, then explains what registers it uses, and shows their values, it shows what use is made of the stack and attempts to interpret the data on the stack. Finally it explains what registers will be set, and what will be pushed onto the stack. |
The final button will exit the debugger.
The debugger also responds to some single character commands common to many debuggers:
| s | step into |
| n | step over (next) |
| c | continue |
| r | restart (with same grid) |
| f | step out (finish routine) |
| k | kill the debugger |
| q | kill the debugger |
The Hints->Debug menu command can also be used to exit the debugger (by turning off the debug check box), or to restart the debugger with different values for the point size and resolution. This dlg can also control whether the fpgm and prep tables are debugged. Usually debugging will start when execution reaches the instructions associated with this glyph.
FontForge is not as friendly when debugging composite glyphs as it should be -- this is influenced by the way truetype works. Suppose you want to debug the "Atilde" glyph.
First FontForge will load and grid fit the "A" glyph, points from the "tilde" will not be displayed and behavior will be exactly the same as if you were debugging a stand alone "A".
Then FontForge will load and grid fit the "tilde" glyph, and now points from the "A" glyph will not be visible. The point numbers on the "tilde" will be the same as they are in a stand-alone "tilde" (whereas in a true representation of "Atilde", the points numbering in the "tilde" component will be offset by the number of points in the "A" component). The "tilde" may appear oddly positioned, this is caused by rounding: the "tilde" will usually be translated, and this translation will usually be rounded to fit the pixel grid. The width line will show the width of the "tilde" and not of the "Atilde".
Finally FontForge will execute any instructions in the composite itself, now all sub-components will be displayed, and all points will be numbered as they should be.
Several words of caution:
Intermediate version of "A" with two other styles in the background |
In a multiple master font the MM menu
gives you control over which style of the font you are editing. It will also
allow you to display any (or all) of the other styles in the background.
Although the menu is called "MM" it applies equally to Apple's distortable
fonts ("*var" fonts, like Skia).
If you wish to edit type3 fonts, and you have configured FontForge correctly, the FontForge can display a glyph broken down into a series of strokes and fills and allow you to edit each one.


Kenneth D. Swegman Jr.
Cloud Engineer
Hi, my name's Kenneth Swegman, and I'm a Computer Scientist.
I started my personal career in computers working as a work/study at La Roche University.
There I utilized my skill and knowledge in Office365. I utilized products such as Word, Powerpoint, and Excel. Through that experience, it helped me troubleshoot
problems quickly, as well as help me communicate to the person experiencing the problem.
I did the work/study from 2015 to 2017, and at this time in school, I was mainly studying Java. It's in this time, I secured my first Internship with Duquesne Light Co. in the spring of 2017.
During my first internship with DLC in the Summer of 2017, I learned Web Development for the first time. It was a fun and challenging time!
My first project I had was working as a QA on an in-house app called StormTracker.
I also shadowed multiple developers, the two I mainly worked with dealt in C# and React.
I did not go back in 2018 to DLC. So, I felt that I had to stay busy in another way. So, I signed up for summer classes, and I really challenged myself.
I took a class that I thought was extremely interesting, Intro to Mathematical Neuroscience. In that class, we had a massive final paper, which encapsulates, our notes, and our understanding in the subject.
It is an extremely complex subject, and it was my first time learning LaTex. I have the paper to view here, if it interests you.
During 2018, it was also a time that ignited a passion for Cyber Security.
In the Summer of 2019 I returned to DLC. With a different role, instead of just being a general IT Intern, I was on the DevOps team in DLC.
I had no experience with the Cloud, just like my previous internship, when I had zero experience in Web Dev. I learned fast though! I created my first VM day one! Not long after, I was creating servers, databases, and vms.
I learned how to be an Azure Admin, and also how to develop using the cloud platform. After showing proficiency using Azure, I was given a task to create a data pipeline for the weather data at DLC.
So I was able to utilze my skill in Development, with my new skill using the cloud. Utilizing Logic Apps in Azure, I was able to make a pipeline coming from a CSV file to a SQL DB.
I also displayed presentable data to end users, using PowerBI. Thanks to my friends in the BI Department at DLC. If you want to see my powerpoint presentation from the internship, it can be found here.
Currently I am pursuing future opportunities in the Cloud and Security fields.


Utilities: Jitterfix
The .u-jitterfix
utility is
used to reserve space for transitioning (i.e. on hover) to weighted text.
Jitterfix depends on data-text
attribute
content to calculate the necessary transition space.
.u-jitterfix--light
[jitterfix]Thin to Light[jitterfix]
vs.
[jitter]Thin to Light[jitter]
.u-jitterfix--regular
[jitterfix]Light to Regular[jitterfix]
vs.
[jitter]Light to Regular[jitter]
.u-jitterfix--semibold
[jitterfix]Regular to Semibold[jitterfix]
vs.
[jitter]Regular to Semibold[jitter]


Introduction
Welcome to Idea Box! Ideabox is a simple application that allows users to create a pool of ideas and promote collaboration. It has the following features:
- Creating an account
- Signing in a registered user
- Reset Password
- Edit user profile
- Create an Idea
- Edit an Idea
- Delete an Idea
- Comment on an Idea
- Reset password email
- Search for Idea
- Filter for ideas by category
Authentication
Sign-up
Request Body:
{
{
"firstname": "Ife",
"lastname": "Tomiwa",
"email"<EMAIL_ADDRESS>"password": "Welcome3000#"
}
}
Sample Response:
{
{
"user": {
"userId": "5a35197c4ac189151504dc2c",
"firstname": "funsho",
"lastname": "ajayi",
"email"<EMAIL_ADDRESS>"token": ""
},
"message": "Signup successful",
"token": "eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJ1c2VySWQiOiI1YTM1MTk3YzRhYzE4OTE1MTUwNGRjMmMiLCJlbWFpbCI6ImZ1bnNvQGFuZGVsYS5jb20iLCJpYXQiOjE1MTM0MjkzNzIsImV4cCI6MTUxMzU3MzgxNn0.B8-bRncbepKkxpp9BNUsA0Qit9n03hZ1SmeLbkibBxo"
}
}
HTTP Request
POST /api/v1/user/signup
This endpoint creates a new user
onSuccess - Status Code [201]
onError - Status Code [400, 409, 500]
Sign-in
Request Body:
{
{
"firstname": "funsho",
"lastname": "ajayi",
"email"<EMAIL_ADDRESS>"password": "Welcome3000#"
}
}
Sample Response:
{
"user": {
"userId": "5a35197c4ac189151504dc2c",
"firstname": "funsho",
"lastname": "ajayi",
"email"<EMAIL_ADDRESS>},
"message": "Login Successful",
"token": "eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJ1c2VySWQiOiI1YTM1MTk3YzRhYzE4OTE1MTUwNGRjMmMiLCJlbWFpbCI6ImZ1bnNvQGFuZGVsYS5jb20iLCJpYXQiOjE1MTM0MzAzMzAsImV4cCI6MTUxMzU3NDc3NH0.gRBBuxw-xpCQ32TEDLg2ia7c10ka8MVDXLKjmDRienY"
}
HTTP Request
POST /api/v1/user/login
This endpoint verifies if a user is registered and then logs the user if verified or throws the appropriate error if not verified. You can login with email
onSuccess - Status Code [200]
onError - Status Code [400, 401, 404, 500]
Update Profile
Request Body:
{
{
"firstname": "funsho",
"lastname": "Ajayi",
"email"<EMAIL_ADDRESS>"password": "Welcome3000#"
}
}
Sample Response:
{
"user": {
"userId": "5a35197c4ac189151504dc2c",
"firstname": "funsho",
"lastname": "Ajayi",
"email"<EMAIL_ADDRESS>},
"message": 'Your profile was updated successfully',,
}
**Update Profile [PUT - /api/v1/user]**
This endpoint updates a user profile
**onSuccess - Status Code [200]**
**onError - Status Code [400, 404, 500]**
Forgot Password
Request Body:
{
{
"email"<EMAIL_ADDRESS>}
}
Sample Response:
{
"message": 'Check your email to continue resetting your password',,
}
**Forgot Password [POST - /api/v1/resetpassword]**
This endpoint generates a token and sends a reset link to the user via email
**onSuccess - Status Code [200]**
**onError - Status Code [400, 404, 500]**
Reset Password
Request Body:
{
{
"email"<EMAIL_ADDRESS>}
}
Sample Response:
{
"message": 'Check your email to continue resetting your password',,
}
HTTP Request
PUT /api/v1/resetpassword
Upon reception of an email to reset password, this method receives the new password entered by the user and replaces the user's old password with the new one
onSuccess - Status Code [200]
onError - Status Code [400, 500]
Ideas
Post an Idea
{
{
"title": "Woman Abused",
description: "So Many woman in africa are sexually abused",
category: "engineering",
ideaType: "Public",
user: "5a35197c4ac189151504dc2c",
modified: false,
}
}
Sample Response:
{
"newIdea": {
"ideaId": "5a352870327a6e175d8232f1",
"title": "Woman Abused",
"description": "So Many woman in africa are sexually abused",
"type": "Public",
"userId": "5a35197c4ac189151504dc2c"
},
"message": "Idea created successfully"
}
This endpoint retrieves a specific idea.
HTTP Request
POST /api/v1/idea
**onSuccess - Status Code [201]**
**onError - Status Code [409, 500]**
Get All Ideas
Sample Response:
{
"ideas": [
{
"_id": "5a35280add91fb174dcce01e",
"title": "Help Help help",
"description": "A study of Helpers hhk",
"category": "Engineering",
"user": {
"_id": "5a35197c4ac189151504dc2c",
"firstname": "funsho",
"lastname": "ajayi",
"email"<EMAIL_ADDRESS>"password":
"$2a$10$Sji81NvHqSaKPI1VH1FTw.UVea.EUB6XXOEc0NMzFDfE1Ka0TelSu",
"token": "",
"__v": 0,
"updatedAt": "2017-12-16T13:02:52.690Z",
"createdAt": "2017-12-16T13:02:52.690Z"
},
"modified": false,
"__v": 0,
"updatedAt": "2017-12-16T14:04:58.069Z",
"createdAt": "2017-12-16T14:04:58.069Z",
"ideaType": "Public"
},
{
"_id": "5a352870327a6e175d8232f1",
"title": "Woman Abused",
"description": "So Many woman in africa are sexually abused",
"category": "engineering",
"user": {
"_id": "5a35197c4ac189151504dc2c",
"firstname": "funsho",
"lastname": "ajayi",
"email"<EMAIL_ADDRESS>"password":
"$2a$10$Sji81NvHqSaKPI1VH1FTw.UVea.EUB6XXOEc0NMzFDfE1Ka0TelSu",
"token": "",
"__v": 0,
"updatedAt": "2017-12-16T13:02:52.690Z",
"createdAt": "2017-12-16T13:02:52.690Z"
},
"modified": false,
"__v": 0,
"updatedAt": "2017-12-16T14:06:40.895Z",
"createdAt": "2017-12-16T14:06:40.895Z",
"ideaType": "Public"
}
]
}
This endpoint retrieves all ideas.
HTTP Request
GET /api/v1/ideas
Get a Specific idea
The above command returns JSON structured like this:
{
"_id": "5a352870327a6e175d8232f1",
"title": "Woman Abused",
"description": "So Many woman in africa are sexually abused",
"category": "engineering",
"user": {
"_id": "5a35197c4ac189151504dc2c",
"firstname": "funsho",
"lastname": "ajayi",
"email"<EMAIL_ADDRESS>"password": "$2a$10$Sji81NvHqSaKPI1VH1FTw.UVea.EUB6XXOEc0NMzFDfE1Ka0TelSu",
"token": "",
"__v": 0,
"updatedAt": "2017-12-16T13:02:52.690Z",
"createdAt": "2017-12-16T13:02:52.690Z"
},
"modified": false,
"__v": 0,
"updatedAt": "2017-12-16T14:06:40.895Z",
"createdAt": "2017-12-16T14:06:40.895Z",
"ideaType": "Public"
}
This endpoint retrieves a specific idea.
HTTP Request
GET /api/v1/idea/<ID>
URL Parameters
| Parameter | Description |
|---|---|
| ID | The ID of the idea to retrieve |
Delete a Specific Idea
Response:
{
"message": "Idea successfully deleted"
}
This endpoint deletes a specific Idea.
HTTP Request
DELETE api/v1/idea/<ID>
URL Parameters
| Parameter | Description |
|---|---|
| ID | The ID of the idea to delete |
Errors
The IdeaBox API uses the following error codes:
| Error Code | Meaning |
|---|---|
| 400 | Bad Request -- Your request sucks. |
| 401 | Unauthorized -- Your API key is wrong. |
| 403 | Forbidden -- The kitten requested is hidden for administrators only. |
| 404 | Not Found -- The specified kitten could not be found. |
| 405 | Method Not Allowed -- You tried to access a kitten with an invalid method. |
| 406 | Not Acceptable -- You requested a format that isn't json. |
| 409 | CONFLICT -- The specified request already exists or conflicts with an existing parameter. |
| 500 | Internal Server Error -- We had a problem with our server. Try again later. |


Delver
First Trimester
Mana (16)
- 1 Mox Ruby
- 1 Mox Sapphire
- 3 Volcanic Island
- 2 Tropical Island
- 1 Island
- 1 Strip Mine
- 4 Scalding Tarn
- 1 Misty Rainforest
- 1 Flooded Strand
- 1 Polluted Delta
Card Draw, Card Selection (17)
- 4 Gush
- 4 Preordain
- 1 Ponder
- 1 Brainstorm
- 2 Dig Through Time
- 1 Treasure Cruise
- 1 Ancestral Recall
- 1 Time Walk
- 1 Mystical Tutor
- 1 Merchant Scroll
Countermagic (15)
- 4 Force of Will
- 4 Mental Misstep
- 3 Pyroblast
- 2 Flusterstorm
- 2 Misdirection
Removal, Disruption (3)
- 3 Lightning Bolt
Creatures (8)
- 4 Young Pyromancer
- 4 Delver of Secrets
Planeswalkers (1)
- 1 Dack Fayden
Sideboard
- 3 Ingot Chewer
- 3 Nature’s Claim
- 2 Ancient Grudge
- 2 Grafdigger’s Cage
- 1 Rending Vollet
- 1 Lightning Bolt
- 1 Pyroblast
- 1 Null Rod
- 1 Electrickery


Hey there!
Hi, I am Erica Mae Menes Aguilar
19 years old from Silang Cavite. I am studying at Cavite State University Silang-Campus, a third year student I am the eldest daughter of the family.
Educational Background
Elementary: Anabu II Elementary School
High School: General Vito L. Belarmino National High School
College: Cavite State University Silang- Campus
Contact
Address
Brgy. Kalubkob, San Andres
Silang, Cavite Phone Number
+639352288909
Brgy. Kalubkob, San Andres
Silang, Cavite Phone Number
+639352288909


Contently
Contently is the anti-content farm, a platform where real journalists can manage their freelance careers, and where brands-turned-publishers can create and manage editorial operations. They were part of the TechStars NYC Summer program and I had the opportunity to work with this amazing team.
Premium Profile Design
Contently wants to build premium profile designs for their journalists to showcase their work. They requested a unique design. I took my inspiration from isotope.js and came up with the following design. Based on the popularity of the article, it would receive a larger bounding box.
Icon Design
Contently wanted an icon for their Twitter feed, so I tried my hand at visual. I drew some initial sketches before we decided on an iOS style keyboard using the letter C. A few iterations, et voila. I wanted to maintain the Contently blue and I was playing with the angle a bit before they decided on the lower right view.


--- title: (BFDataset) createModel keywords: documentation theme, jekyll, technical writers, help authoring tools, hat replacements last_updated: July 3, 2016 tags: [getting_started] sidebar: matlab_docs_sidebar permalink: bfdataset_createmodel.html folder: mydoc ---
createModel Creates a model in the dataset MODEL = createModel(OBJ, 'name', 'description) creates a model in the dataset with 'name' and a 'description'. The model name needs to be unique in the dataset. It returns the created model. NOTE: the name of the model will be modified to contain no spaces or non-characters. However, the provided name will always be used for visualization in the web application, For example: BF = Blackfynn() DS = BF.datasets(1) DS.createModel('Patient', 'This is a patient model')
| Access | public |
| Sealed | false |
| Static | false |


Logo
Reset ID
Please enter your email address below and we will send you information to change your unique ID.
~Email
Reset ID


{% load static %}
Dealership Review
About Us
Contact Us
{% if user.is_authenticated %}
{{ user.first_name }}({{ user.username }})
Logout
{% else %}
{% csrf_token %}
Login
Sign Up
{% endif %}
Add a review about {{dealer.full_name}}
{% csrf_token %}
Enter the review content:
Has purchased the car from {{dealer.full_name}}? (select purchased car information below if checked)
Select your car (model-make-year):
{% for car in cars %}
{{car.name}}-{{car.make.name}}-{{car.year|date:"Y"}}
{% endfor %}
Select Your Purchase Date:
Submit


VPKImage
@interface VPKImage : UIImage
Drop-in replacement (subclass) for UIImage For use in conjunction with VPKPreview
If VPKImage is initialised with null veepId or imageURL it will behave as a standard UIImage
See
VPKPreview
-
The veepId, if available.
Declaration
Objective-C
@property (nonatomic, strong, readonly, nullable) NSString *veepId;
-
The original content URI, if available.
In the case of an image veep, this will match the source URL of the supplied image.
For a video veep, this is the source URI for the video media (not the poster image). This may not be an actual URL, but should be the unique identifier used when creating the veep (for example, it could be a youtube id with an appropriate scheme).
The URI is used to match the content to it’s veep metadata. If a veepId is provided, the URI is ignored as the veep will be fetched by the veepId.
Declaration
Objective-C
@property (nonatomic, strong, readonly, nullable) NSURL *originalContentURI;
-
An array of alternative identifiers, if available
Declaration
Objective-C
@property (nonatomic, strong, readwrite, nullable) NSArray *alternativeURIs;
-
The veep metadata associated with the image, if available
Declaration
Objective-C
@property (nonatomic, strong, readonly, nullable) VPKVeep *veep;
-
An abbreviated, header-only version of a veep, if available.
Declaration
Objective-C
@property (nonatomic, strong, readonly, nullable) VPKPublicVeep *publicVeep;
-
Optional string that the host app can use for tracking purposes.
Declaration
Objective-C
@property (nonatomic, strong, readwrite, nullable) NSString *mediaIdentifier;
-
Optional dictionary whose keys and values must be strings. The host app can use for tracking purposes.
Declaration
Objective-C
@property (nonatomic, strong, readwrite, nullable) NSDictionary<NSString *, NSString *> *customData;
-
Use initWithImage:veepId if you are identifying veep content using the unique identifier (id) of the veep.
Declaration
Objective-C
- (nonnull instancetype)initWithImage:(nonnull UIImage *)image veepId:(nullable NSString *)veepId;
Parameters
image
The UIImage that this instance will subclass
veepId
A veep identifier. Veep metadata will be associated with the image using this identifier. The veep Id is returned as part of the veep creation process.
Return Value
An instance of VPKImage.
-
Use initWithImage:url if you are identifying veep content using the original URI used to create the veep.
Declaration
Objective-C
- (nonnull instancetype)initWithImage:(nonnull UIImage *)image url:(nonnull NSURL *)contentURI;
Parameters
image
The UIImage that this instance will subclass
contentURI
The contentURI is the unique identifier for the veep’d resource. In the case of an image this will often be the source URL used to obtain the UIImage. In the case of video this will be the source address of the video asset. The contentURI must be the same URI as was used to create the veep as that is how veeps are identified.
Return Value
An instance of VPKImage.
-
sets the veep, veepId and originalContentUri
Declaration
Objective-C
- (void)updateWithVeep:(nonnull VPKVeep *)veep;
-
sets the publicVeep (a veep header stub), veepId and originalContentUri.
Declaration
Objective-C
- (void)updateWithPublicVeep:(nonnull VPKPublicVeep *)veep;


WITNESS LIST Intergovernmental Relations Committee July 12, 2004 -10:00A Charge 1 AGAINST: Donaldson, Jr., David Attorney (Freedom of Information Foundation), Austin, TX Enright, Richard Reg. Manager-VP (Data Trace, Data Tree and FARES), Arlington, TX Moran, Milt Publisher (Self), Wynnwood, TX Sibley, James President (Title Data, Inc.), Spring, TX Willmoth, Terri Assistant Manager (Texas Document Imaging & Retrieval), Palestine, TX ON: Barnett, Chuck (Real Estate Information Data Inc.), San Antonio, TX Cary, Katherine Chief, Open Records Division (Office of the Attorney General), Austin, TX Johnson, Edward Director of Legislative Affairs (TBPC), Austin, TX Mitchell, Cynthia County Clerk-Denton County (Denton County), Denton, TX Place, Allen Attorney (Brown Abstract Co., Inc. and Texas Land Title Assn.), Gatesville, TX Rothermel, Beth Ann Washington County Clerk (County and District Clerks' Association), Brenham, TX Schloss, Hadassah Open Records Administrator (TBPC and Open Records Steering Committee), Austin, TX Streater, Joy County Clerk (Self), New Braunfels, TX


THE GAMBLER
Reviewed by Harvey Karten, Ph.D. Legacy Releasing Director: Karoly Makk Writer: Katharine Ogden & Charles Cohen and Nick Dear Cast: Michael Gambon, Jodhi May, Polly Walker, Dominic West, Luise Rainer, Johan Leysen, John Wood
When Al Gore invented the Internet, he gave humankind its greatest boon since Carrier knocked out the first air conditioner in 1902. The Web is so addicting that we have no difficulty understanding the willingness of its devotees to spend 18 hours a day staring at the screen. Cigarette addiction: easy. Nicotine and tars are more compelling than cocaine. Alcohol? It's in the genes. But gambling? How to comprehend people's desire to throw away their rent money when the house always wins? Go to Atlantic City at any time of day or night and just try to get a place at one of the one- arm bandits! People of all ages, often of modest means, plug away trying to line up the lemons in a row. From Monte Carlo to Vegas and throughout most of the Far East, croupiers keep busy raking in the money. Finally, with Hungarian director Karoly Makk's exquisitely photographed production, "The Gambler," we have the answer. People gamble because they want to lose. The desire is unconscious but given the fact that we're all loaded with a lifetime of guilt feelings, losing money rapidly in an exciting environment provides us with redemption. Who better to describe the influence of suffering and guilt than the Russian novelist Fyodor Dostoyevsky?
Makk's movie about an episode in the life of Dostoyevsky, "The Gambler" is no long, rambling tale of the strange lifestyle of speculators. This has already been done by Robert Altman in his 1974 "California Split," which demonstrated the emptiness of winning--a muddled story with a grotesque soundtrack. Instead Makk weaves an actual account of a meeting that the Russian writer (played by Michael Gambon) has at the age of 45 with a 20-year-old stenographer, Anna Snitkina (Jodhi May) with the fictional tale that Dostoyevsky is dictating to the lovely scribe. The two, separate stories are braided together so seamlessly that we in the audience are caught up in the same passion that the innocent, shy young woman feels as she reports for work day after day, giving free rein to her fantasies about the imagined personalities. Anna soon catches on that the book is actually a thinly veiled description of the author's experiences despite the contrast she sees between his cluttered St. Petersburg digs and the gorgeous, sun-drenched streets and casino in the German town of Roulettenberg.
As Dostoyevsky, prodded compulsively by his enraptured steno, dictates away at a yarn about young Alexei (Dominic West--as the thinly veiled Dostoyevsky), who is tutor to the children of the General (John Wood) and who falls in love with the General's charming and stunning daughter Polina (Polly Walker)--Anna fantasies herself as the sophisticated Polina, imagining the middle-aged Dostoyevsky as the dashing Alexei.
Adding considerably to the story's fascination is the contract which the author had, in desperation, signed with his publisher. In return for a then much-needed sum of money, Dostoyevsky is bound to turn in a novel of 160 pages within 27 days. If he fails to do so, the publisher would own rights to everything the author should produce for the rest of his life. This race against time adds a melodramatic flourish to the enterprise, while it puts Anna--who had been virtually engaged to a boring but rising young government official--in the position of a gambler herself. Should the writer not finish the manuscript on time, Anna would not receive the 50 rubles compensation she so desperately needs.
Michael Gambon is astonishing in the wonderfully developed role of a self-destructive genius, afflicted with epilepsy, a penchant for alcohol, and a calamitous compulsion to gamble away his money. In Anna's role, the gently beautiful Jodhi May frames the picture, wandering sadly in search of the man who had become her husband, afflicted with periods of extreme poverty, but remaining faithful to the man who showed her how to live.
Not Rated. 97 minutes. (C) 1999 by Harvey Karten
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


Open Source P2P
Cloud and IoT
software
Global marketplace for trading computing resources and applications
A "green" token mining cloud router and IoT gateway
Templates that reduce development time and simplify the process of application deployment
An Ethereum blockchain-based reserve currency token


Bink
Developed by - Amit Gujar & Open Source
Community
Contribute
Notes -
- Bink wants your Location Permission to Display Weather.
- If Text is not properly visible due to Light
Wallpaper then Click on Change button to Change Wallpaper.
- Extension will take some time to load for First Time, Depends on Internet Connection


Tech Workshop 12.09.2019, Andreas Maierhofer & Mathis Hofer
https://gitlab.puzzle.ch/pitc_members/tws19-pwa/
(PWAs are) "websites that took all the right vitamins"
postMessage
install
activate
message
fetch
sync
push


CTLAPP SAMPLE
Binder WS Fail
Debug/Monitoring
Launcher
Mediaplayer
Radio
Dashboard
Navigation
HVAC
POI
Mixer
Settings
Phone
Display
Question
Response
Events:


Life at a glance
During the less than 13 years of Dr. Martin Luther King, Jr.’s leadership of the modern American Civil Rights Movement, from December 1955 until April 4, 1968, African Americans achieved more genuine progress toward racial equality in America than the previous 350 years had produced. Dr. King is widely regarded as America’s pre-eminent advocate of nonviolence and one of the greatest nonviolent leaders in world history.
Drawing inspiration from both his Christian faith and the peaceful teachings of Mahatma Gandhi, Dr. King led a nonviolent movement in the late 1950s and ‘60s to achieve legal equality for African-Americans in the United States. While others were advocating for freedom by “any means necessary”, including violence, Martin Luther King, Jr. used the power of words and acts of nonviolent resistance, such as protests, grassroots organizing, and civil disobedience to achieve seemingly-impossible goals. He went on to lead similar campaigns against poverty and international conflict, always maintaining fidelity to his principles that men and women everywhere, regardless of color or creed, are equal members of the human family.
Dr. King’s “I Have a Dream” speech, Nobel Peace Prize lecture, and “Letter from a Birmingham Jail” are among the most revered orations and writings in the English language. His accomplishments are now taught to American children of all races, and his teachings are studied by scholars and students worldwide. He is the only non-president to have a national holiday dedicated in his honor, and is the only non-president memorialized on the Great Mall in the nation’s capitol. He is memorialized in hundreds of statues, parks, streets, squares, churches, and other public facilities around the world as a leader whose teachings are increasingly-relevant to the progress of humankind.
A timeline of achievement:
1955Dr. King was recruited to serve as spokesman for the Montgomery Bus Boycott, which was a campaign by the African-American population of Montgomery, Alabama to force integration of the city’s bus lines. After 381 days of nearly universal participation by citizens of the black community, many of whom had to walk miles to work each day as a result, the U.S. Supreme Court ruled that racial segregation in transportation was unconstitutional.
1957Dr. King was elected president of the Southern Christian Leadership Conference (SCLC), an organization designed to provide new leadership for the now burgeoning civil rights movement. He would serve as head of the SCLC until his assassination in 1968, a period during which he would emerge as the most important social leader of the modern American civil rights movement.
1963Dr. King led a coalition of numerous civil rights groups in a nonviolent campaign aimed at Birmingham, Alabama, which at the time was described as the “most segregated city in America”. The subsequent brutality of the city’s police, illustrated most vividly by television images of young blacks being assaulted by dogs and water hoses, led to a national outrage resulting in a push for unprecedented civil rights legislation. It was during this campaign that Dr. King drafted the “Letter from a Birmingham Jail”, the manifesto of Dr. King’s philosophy and tactics, which is today required-reading in universities worldwide.
Later in 1963, Dr. King was one of the driving forces behind the March for Jobs and Freedom, more commonly known as the “March on Washington”, which drew over a quarter-million people to the national mall. It was at this march that Dr. King delivered his famous “I Have a Dream” speech, which cemented his status as a social change leader and helped inspire the nation to act on civil rights. Dr. King was later named Time magazine’s “Man of the Year”.
1964At 35 years old, Martin Luther King, Jr. became the youngest person to win the Nobel Peace Prize. His acceptance speech in Oslo is thought by many to be among the most powerful remarks ever delivered at the event, climaxing at one point with the oft-quoted phrase below:
Also in 1964, partly due to the March on Washington, Congress passed the landmark Civil Rights Act, essentially eliminating legalized racial segregation in the United States. The legislation made it illegal to discriminate against blacks or other minorities in hiring, public accommodations, education or transportation, areas which at the time were still very segregated in many places.
1965Congress went on to pass the Voting Rights Act, which was an equally-important set of laws that eliminated the remaining barriers to voting for African-Americans, who in some locales had been almost completely disenfranchised. This legislation resulted directly from the Selma to Montgomery, AL March for Voting Rights lead by Dr. King.
1965—1968Dr. King shifted his focus toward economic justice – which he highlighted by leading several campaigns in Chicago, Illinois – and international peace – which he championed by speaking out strongly against the Vietnam War. His work in these years culminated in the “Poor Peoples Campaign,” which was a broad effort to assemble a multiracial coalition of impoverished Americans who would advocate for economic change.
Dr. Martin Luther King, Jr.’s less than thirteen years of nonviolent leadership ended abruptly and tragically on April 4th, 1968, when he was assassinated at the Lorraine Motel in Memphis, Tennessee. Dr. King’s body was returned to his hometown of Atlanta, Georgia, where his funeral ceremony was attended by high-level leaders of all races and political stripes.


To complete the application you’ll need:
- details of the event you’re interested in exhibiting at
- details of your business and the products or services it provides
- the business turnover for the last 3 fiscal years
In addition you will also need to provide details of:
- any state aid received in the last 3 years
- your trade show experience
- your export experience
- your export strategy and export plan, if you have one
- any DIT trade advisors or DIT-approved trade associations (also known as Trade Challenge Partners) that you’re in contact with
{% include 'core/govt_uk_details.html' with summary_text='What are DIT trade advisors and TCPs?' text='The DIT offers support to businesses considering international trade through International Trade Advisors. They act as independent mentors to both those new to, and experienced in exporting. They can help with everything from preparing for trade shows, creating an export growth action plan, advising on which markets are best for your business, and putting you touch with contacts who can help your international expansion.
Trade Challenge Partners, or TCPs, are trade associations and other industry representative organisations focused on overseas trade that are accredited by the DIT. Reflecting every sector and industry in the UK, accreditation allows these DIT partners to work with us to deliver customer-focused trade shows and events.' %}
{% include "core/govt_uk_form.html" with button_text="Continue" %}


You can play around with the options and model here. This is actually running through `eval` in the demo, so feel free to use functions or angular tools like `$sce`.
Hint: use your browser's developer tools to edit the waterfall's CSS!


Rout Layer Checks
The Rout
Layer Checks action is a read-only action intended to find potential
manufacturability defects in the Rout Layer. This analysis action is designed
to check chained rout layers, but can also process design data (i.e. raw routing
data as sent from the customer) before any adjustments are made to the data,
such as assign chains, etc.
This action
requires a special license option: routchk.
This action can be
applied to all layer features or to a selected sequence (a selected sequence
contains at least one selected feature). The action gets a rout layer (not
necessary in board context).
It will process Lines
and Arcs features in these layers. If the selected feature has a .comp attribute,
compensation will be taken into
consideration. If the
selected feature does not have this attribute, compensation = none is
assumed.
This action performs
chain checks. Listed below are the current types of chain checks:
1. Find locations that
will create problems for the tool size (defined or default):
• Arcs that are smaller than the tool size (Small Arc)
• Places where two features are closer than the tool size (Too Narrow).
• Lines whose length is less than the tool size (Short Line).
• Arcs whose length is less than the tool size (Short Arc).
2. Report about
features that intersect (go over) each other (Intersection).
Note An unfinished chain is
not processed and is reported in a special category - Unfinished
Chain.
An Unfinished Chain is
a chain where only some of the chain’s features are assigned rout chain attributes.


So far, I've noticed I get particularly triggered around two types of experience: the firist and perhaps most prevalent is when things aren't working as I expect them to. Sometimes I catch myself saying there's a needle in a haystack in term of finding the broken piece of code. I can work through these feelings by cooling off, taking breaks, and asking for help. The second way I notice myself getting triggered in code so far is when I am truly stumped, and procure help, I tend to think of myself as a fraud. This week more than others, I've felt a growing fear about my future as a coder. There are lots of things I'm passioante about in this life, and while I'm sure there's more intriuge to discover as I get more literate, I'm aware of a sense of comparison to some of my cohort members, which often leads to stories of work scarcity, self-abandonment, and generalized fear about the future.
This is a wonderfully simple explanation of tools to calm the nervous system. I especially liked the imagery of the Siberian railroad, with its cooling nature (and the necessity to work together in such extreme environments!). I know for myself that regulating through the body is a crucial way that I deal with being triggered. It's a great way to remember these tools!


12 February 2003
Disease Outbreak Reported
As of 12 February 2003, a total of 61 suspected cases of acute haemorrhagic fever syndrome has been reported in the districts of Mbomo (7 cases, 4 deaths) and Kellé (54 cases, 44 deaths) in Cuvette Ouest Region (see previous report).
A team is in the field and clinical samples have been collected. These will be tested by the Centre International de Recherches Médicales de Franceville (CIRMF), Gabon. Volunteers from the national Red Cross Society are informing and mobilizing communities in the region.
A National Coordination Committee to contain the outbreak has been established in Brazzaville under the Direction Générale de la Santé, assisted by WHO and other international partners.


Shmock: An Express-Based HTTP Mocking Library for Node.js
We’re excited to introduce the latest open source project by Gilt Principal Systems Engineer (and Docker talker) Jonathan Leibiusky: Shmock, an HTTP mocking library based on Express. If you’re not familiar with Express, it’s an open-source, Sinatra-inspired web development framework for Node.js created by Canadian developer/Luna author TJ Holowaychuk. It’s pretty great!
Jon created Shmock to avoid the hassles and errors that typically arise whenever developers attempt to change the behavior of mocking functions. “Compared to nock and other well-known HTTP mocking libraries for Node.js,” Jon says, “Shmock offers a distinct advantage in that it is based on a real HTTP server (Express). This means that you can use Shmock to make HTTP requests without changing the behavior of Node’s native APIs or common HTTP libraries. No matter how you make your HTTP requests, or which version of Node.js you use, Shmock will work correctly.” And like SuperAgent–an Ajax API, also created by Holowaychuk–Shmock is lightweight and easy-to-use.
To help you get started:
Installation
$ npm install shmock
Usage
Initialize with or without port
var shmock = require('shmock');
var mock = shmock(); // will give some arbitrary port
var mock2 = shmock(9000); // will use port 9000
Define expectations
On http methods
mock.get("/foo").reply(200, "bar");
On http headers
mock.get("/foo").set("Authorization", "123456").reply(200, "bar");
On querystring parameters
mock.get("/foo").query("a=bi&c=d").reply(200, "bar");
mock.get("/foo").query({a: "b", c: "d"}).reply(200, "bar");
On request body
mock.post("/foo").send({a: "b"}).reply(200, "bar");
mock.post("/foo").send("123456").reply(200, "bar");
Add a delay to the reply
mock.get("/foo").delay(500).reply(200);
Make assertions on the handler
Check if expectation has been met
var handler = mock.get("/foo").reply(200);
...
...
handler.isDone.should.be.ok;
handler.done(); // Throws an error if isDone is false
Wait for expectation to be met
var handler = mock.get("/foo").reply(200);
...
...
handler.wait(function(err) {
if(err) {
// A default timeout of 2 seconds has passed and still the expectation hasn't been bet
}
});
You can also specify a timeout in ms:
handler.wait(200, function(err) { ... });
Or if using mocha:
handler.wait(200, done);
Make sure to view the test for examples. And check out Jon’s other recent projects: Goblin and GoReq!


rsu¶
SYNOPSIS¶
rsu [-h] [-f] [-d] {bmcimg,fpga} [bdf]
DESCRIPTION¶
Perform RSU (remote system update) operation on PAC device given its PCIe address. An RSU operation sends an instruction to the device to trigger a power cycle of the card only. This will force reconfiguration from flash for either BMC image (on devices that support it) or the FPGA
POSITIONAL ARGUMENTS¶
{bmcimg,fpga}
type of operation
bdf
PCIe address of device to do rsu (e.g. 04:00.0 or 0000:04:00.0)
OPTIONAL ARGUMENTS¶
-h, --help
show this help message and exit
-f, --factory
reload from factory bank
-d, --debug
log debug statements
EXAMPLE¶
This will trigger a boot of the BMC image for a device with a pci address of 25:00.0. NOTE: Both BMC and FPGA images will be reconfigured from user bank.
# rsu bmcimg 25:00.0
This will trigger a factory boot of the BMC image for a device with a pci address of 25:00.0. NOTE: Both BMC image will be reconfigured from factory bank and the
# rsu bmcimg 25:00.0 -f
This will trigger a reconfiguration of the FPGA only for a device with a pci address of 25:00.0. NOTE: The FPGA image will be reconfigured from user bank.
# rsu fpga 25:00.0
This will trigger a factory reconfiguration of the FPGA only for a device with a pci address of 25:00.0. NOTE: The FPGA image will be reconfigured from the factory bank.
# rsu fpga 25:00.0 -f


Step 1. Enter a uniuque (but simple) password that you will share with your group to access the files you wish to share.
Step 2: Enter the distance you prefer your file to be reached to. See home page for examples. Then, upload a file.
Step 3: Choose a file to share. Upload it, and share your password with those who you want to share with.


Part A includes basic information about SEQ Legal;
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‘Schools may not re-open in January’
by Staff ReporterSchools in Zimbabwe may permanently close this year if the government does not address the challenges facing the teachers who are incapacitated to go to their workplaces of work the Zimbabwe Teachers Association has said.
In a statement issued on Wednesday ZIMTA said, “The wheels are fast grinding to a halt in the education sector due to the crippling but circumstantial incapacitation. Most schools now risk permanent closure this year, a situation that calls for government to urgent consider alleviating the plight of educators whose working conditions have now reached unbearable levels.”
Teachers in some areas are now attending school just for two days a week.
ZIMTA also condemned the announcement by government that teachers will be paid bonuses in December arguing that the money would have lost value.
Read the full statement below:
Source – Byo24


MCO 1.0 is an XML Schema implementation derived from ISO ISO 19115-1, Geographic Information - Metadata - Part 1: Fundamentals, Clause 6.5.4. It includes elements for describing resource and metadata constraints. The XML schema was encoded using the rules described in ISO/TS 19139:2007, Clause 8 and implementation approach from ISO/TS19115-3, Clause 8.
The namespace URI for mco 1.0 is http://standards.iso.org/iso/19115/-3/mco/1.0.
mco.xsd is the XML Schema document to be referenced by XML documents containing XML elements in the mco 1.0 namespace or by XML Schema documents importing the mco 1.0 namespace. This XML schema includes (indirectly) all the implemented concepts of the mco namespace, but it does not contain the declaration of any types.
NOTE: The XML Schema for mco 1.0 are available here. A zip archive including all the XML Schema Implementations defined in ISO/TS 19115-3 and related standards is also available.
constraints.xsd implements the UML conceptual schema defined in ISO 19115-1, Geographic Information - Metadata - Part 1: Fundamentals, Clause 6.5.4. It was created using the encoding rules defined in ISO 19118, ISO 19139, and the implementation approach described in ISO 19115-3 and contains the following classes (codeLists are bold): MD_ClassificationCode, MD_Constraints, MD_LegalConstraints, MD_Releasability, MD_RestrictionCode, and MD_SecurityConstraints
| Name | Standard Prefix | Namespace Location | Schema Location |
|---|---|---|---|
| Geographic COmmon | gco | http://standards.iso.org/iso/19115/-3/gco/1.0 | ../../../../19115/-3/gco/1.0/gco.xsd |
| Metadata Common Classes | mcc | http://standards.iso.org/iso/19115/-3/mcc/1.0 | ../../../../19115/-3/mcc/1.0/mcc.xsd |
Written by writeHTMLFiles Version: 2015-06-06 at 2018-03-10T10:56:57.622-07:00


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Locale
First of all, note that locale is a very different word from local, even though there is only one less letter in the latter.
A locale is a set of global names. There can be several locales, so there can be several sets of globals.
A global name in a locale is distinguished from the same name in other locales by qualifying the name with the addition of the locale name bracketed by _ (underbar) characters. A name qualified by a locale is always a global name.
abc_def_ =: 2
The above sentence can be read as global abc in locale def is 2.
abc_base_ =: 4
The above sentence can be read as global abc in locale base is 4.
If the locale name is elided, it is assumed to be base.
abc__ NB. the same as abc_base_
4
If a global name is not qualified with a locale name, then it is in the current locale. The base locale is the current locale unless it has been explicitly changed by executing a verb in a different locale. The following defines abc in the base locale:
abc =. 6
abc_base_
6
abc
6
Since the base locale is the current locale, the names abc and abc_base_ are the same.
The name abc_def_ is clearly different from abc, but so far there is no way of telling that anything special is going on. In what sense are abc and foo in the same (base) locale? And abc and abc_def_ in different locales?
One way of distinguishing is to use the names utility verb that lists global names.
a =. 23
b =. 24
a_q_ =. 25
w_q_ =. 26
names 0 NB. 0 lists nouns
a abc b
Your names result may be different, but it will include all global nouns you have defined in the base locale. You should see the a and b that you defined above and note that you do not see the w that was defined in locale q.
To see the names defined in locale q you can do the following:
names_q_ 0 NB. names in locale q
a w
Nouns a and w are defined in the q locale.
Locales partition global names into different sets, and utilities, such as names, can work with globals in a particular locale.
The real power of locales comes into play with verbs defined in a locale. When a verb executes in a locale it executes with that locale, not the base locale, as the current locale.
Let's define a simple verb in the q locale to see how this works.
f_q_ =. 3 : 'a =: y'
This verb defines global a with its right argument. There can be many different locales, each with their own global a. But when f_q_ executes, it executes in the q locale and the q locale is the current local, and global names it uses are from the q locale. Try the following experiments:
a =. 23 NB. define a in the base locale
a_q_ =. 24 NB. define a in locale q
f_q_ 100 NB. execute f in locale q
100
a
23
a_q_
100
Executing f_q_ 100 defined global a_q_ as 100. It did not affect the global a in the base locale.
If a verb explicitly references a name in a locale then that is the global that is affected. For example, define verb g_q_ that defines a in the base locale. You will see that the a in the base locale is defined and the a in the q locale is not changed:
g_q_ =. 3 : 'a_base_ =: y' NB. explicit locale name
g_q_ 200
200
a
200
a__
200
a_q_
100
Locales partition global names into separate sets. In particular, related nouns and verbs, say in a set of utilities, can be defined in their own locale. Their names don't conflict with names in the base or other locales. When you look at your application you can look at just the related globals that are in a particular locale. When a verb runs in a locale it uses globals from that same locale.
The names verb with an argument of 0 lists nouns, with 3 it lists verbs, and with 6 it lists locale names.
names_q_ 0
a w
names_q_ 3 NB. verbs
f g
names 6 NB. locale names
base j q z
The list of locale names is interesting. base and q you know about, but what about j and z ?
The globals in the j and z locales are defined when J starts up and runs the profile.ijs script. The j locale contains things which are useful in building an application and is discussed in the J Online Documentation.
The z locale is very interesting indeed.
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Hi, I'm Kelvin! I'm currently a Software Development Engineer at Amazon
working on threat orchestration and response solutions. I graduated from the
University of British Columbia with a B.A.Sc in Electrical Engineering.
Currently, I'm based in Toronto, Canada.
Keenly interested in cloud infrastructure, distributed systems, and
robotics. My past experiences include working on 5G router validation at
Netgear, database platform tooling at
AWS, and simulation infrastructure at
Tesla. On the side, I'm building
Statsugiri, a competitive Pokémon data platform.
During my studies, I worked on autonomous soccer playing robots with
UBC Thunderbots. I was also deeply involved with
UBC ECESS
and
UBC IEEE
through mentorship, treasury, and outreach. You can read more about my time
at UBC
here.
Unabashedly excited about tackling novel problems, increasing STEM
accessibility, and building a better tomorrow. There's so much to explore, I
don't know if I'll ever stop - or want to stop - wondering who I want to be.
Beyond work, you'll find me crushing at the bouldering gym, exploring
movement through dance and figure skating, or running
Frame1 Photography.


Debugging with GDB in IDA Linux
There are tons of tutorial telling you how to debug with gdb and IDA Windows, but what about IDA Linux eh?
How does debugging work?
IDALinux doesn’t have real local debugging :(( A debug server stub is used to relay information between IDA and the debugger.
And Breakpoints?
Breakpoints are implemented using software interrupts or traps:
More precisely, they are implemented by the trap int 3
, ie trap to debugger.
According to the Intel manual:
The INT3 instruction uses a one-byte opcode (CC) and is intended for calling the debug exception handler with a breakpoint exception (#BP). (This one-byte form is useful because it can replace the first byte of any instruction at which a breakpoint is desired, including other one-byte instructions, without overwriting other instructions.)
In effect, it means that when a breakpoint is set, the instruction is saved somewhere (so we can put it back later) and it replaced by 0xCC. When the CPU executes the program and stumble upon the 0xCC, it will generate a trap signal that the debugger will receive and from there, the debugger is in control.
Our Target
/* compile me:
gcc target.c -o target
*/
#include <stdio.h>
#include <stdlib.h>
#include <time.h>
int main(int argc, char* argv[])
{
// get current time
time_t now;
time(&now);
// convert it to calendar time
struct tm *local = localtime(&now);
int day, month, year;
day = local->tm_mday; /* Day of the month (1-31) */
month = local->tm_mon + 1; /* Month (0-11) */
year = local->tm_year + 1900; /* Year - 1900 */
if ((day == 15) && (month == 9) && (year == 1995))
{
printf("Yay, congratz\n\n");
printf("-- There is no right or wrong, only fun and boring.\n");
}
else
{
printf("Nope.\n\n");
printf("-- Mess with the best, die like the rest.\n");
}
return 0;
}
Compile our target binary and execute:
$ gcc target.c -o target && ./target
Nope.
-- Mess with the best, die like the rest.
Oooh, we get the negative message :(( Let’s debug the binary to bypass the check and get the nice message.
Configuration steps
Before you can use GDB, you need to locate your IDA installation:
$ locate idaq64
/home/kylma/ida-6.8/idaq64
Next, go into the dbgsrv
directory:
$ cd /home/kylma/ida-6.8/dbgsrv
$ tree .
.
├── android_server
├── android_server_nonpie
├── armlinux_server
├── armuclinux_server
├── dbghelp.dll
├── linux_server
├── linux_serverx64
├── mac_server
├── mac_serverx64
├── symsrv.dll
├── win32_remote.exe
└── win64_remotex64.exe
0 directories, 12 files
Run linux_serverx64
:
$ ./linux_serverx64
IDA Linux 64-bit remote debug server(ST) v1.19. Hex-Rays (c) 2004-2015
Listening on port #23946...
Take note of that port number, we will need it later.
Open the binary in IDA:
Select Remote Linux Debugger
as debugger:
Then configure the debugger options in Debugger > Process Options
, put <IP_ADDRESS>
as Hostname. And make sure the Port matches the one from the console earlier.
Actual Debugging
Everything is now ready! Click on a line in the disassembly output and hit F2, the line should have a red background indicating that a breakpoint has been set on this particular line.
Start the debugging with F9 , the binary will be run from the start until it hits the breakpoint. By default, when you starts the debugging, IDA will switch to the text view, hit space to go back to the graph view.
A few shortcuts are enough to get complete control of the debugger:
- F9: continue until the next breakpoint (or the end of the binary)
- F7: step into
- F8: step over
- F4: run until cursor
Now hit F7 to execute the next instruction: cmp [rbp+var_24], 15
. The green arrow below the jnz
is now blinking to indicate that execution will follow this path, and it leads to the negative message.
Let’s hijack this! We want to stay on the path to the congratz message. The decision to follow the green arrow depends on the results of the cmp
, as it will set (or not) flags like ZF which is used by jnz
to decide where we go next.
Right click on the value of the ZF flag and choose Toggle Value
:
The red arrow should now be blinking, indicating that the flow of execution has been modified /o/.
Repeat this technique until the green message is executed, the terminal running linux_serverx64
should now display the message of victory:
➔ ./linux_serverx64
IDA Linux 64-bit remote debug server(ST) v1.19. Hex-Rays (c) 2004-2015
Listening on port #23946...
=========================================================
[1] Accepting connection from <IP_ADDRESS>...
Yay, congratz
-- There is no right or wrong, only fun and boring.
[1] Closing connection from <IP_ADDRESS>...
Afterthoughts
- The binary is only checking that the date of your system is equal to 15/09/1995, you can also cheat your way to the victory message by changing the date of your system.
- Hack the planet.
References
Various stuff I read to write this article:


About me CMPUT 401 student
Education Ualberta Comp sci undergraduate
Skills include Programming Languages: Python, C, Java, HTML, CSS Technical Frameworks: Django, Android, SQlite, Elasticsearch
Current employment Full-time student