The Perfect Storm (2000)
It's been few days since I've seen Wolfgang Petersen's THE PERFECT STORM, and I don't like it as well as I did while I watched it.
I don't usually take this much time to percolate, to ponder over a film, before reviewing it.
Here's what I still think is very good: The images of the hurricane itself, foreshadowed from early in the narrative, and climaxing at the end, are marvelous. Much of this footage is computer generated, the waves as tall as buildings dwarfing the rather large swordfishing boat. Often it is easy to pick out computerized work, especially when it involves water (think of the fake-y scenes in DEEP BLUE SEA), but here the ocean appears real and threatening, a truly awesome natural force. As the crew of the `Andrea Gail' valiantly fight to batten the windows and buck the waves, we understand somewhat the futility they must feel.
The acting is for the most part very strong. I have always liked George Clooney, even though I thought he acted too much with those smiley eyes of his; but in several scenes in STORM, Clooney seals the performance so far of his career. He plays Captain Billy Tyne, who has brought his crew out on an extra fishing run, a result of a poor run from which they have just returned. Tyne is a complicated man; Clooney plays him as quiet yet fiercely proud and competitive. When his crew suggests the `Andrea Gail' turn about, Tyne reveals his plans to venture even farther, halfway across the Atlantic even, to the `Finnish Cap,' where the real fish are. This plot twist leads to the main conflict. Will the men on the boat be able to navigate their way back home through the storm that has been ravaging the coast? Where Clooney comes in is the scene in which Billy Tyne exerts his will over the crew. It is a mixture of pep talk and threatening lecture, and Clooney's eyes are narrowed and dead serious. Clooney proves himself a leading man, even more clearly than in another strong performance, in THREE KINGS.
We see good work from the supporting cast as well. Mark Wahlberg is convincing as Bobby Shatford, who has cut bait and pack ships before, but who is a rookie in the actual fishing game. The story follows his relationship with Christina Cotter (Diane Lane); this subplot serves as the romantic interest, as Tyne is divorced and living far from his family. As `Murph,' John C. Reilly is always reliable, even though we don't know the full history of his hatred for another crew member, `Sully,' played by William Fichtner (remember him, the kooky SEAL from THE ABYSS, as well as the kooky astronaut from ARMAGEDDON?). John Hawkes also plays an interesting, though sketchily developed character, in Michael `Bugsy' Moran.
What I think, upon second thought, is weak: Petersen and screenwriter William D. Wittliff (from the non-fiction book by Sebastian Junger) work too hard at trying to build up the combination of cold fronts and hurricane that births this perfect natural disaster. We watch rather disconnected scenes at a television news set in Boston, the meteorologist following the storm readouts as though he's witnessing the chance of his career. There's no connection between this subplot and the main characters, and there is only a tenuous connection to a small craft, piloted by a rich man (Bob Gunton, the kooky warden in THE SHAWSHANK REDEMPTION), and carrying two female passengers. About to be swamped by the storm, the three are rescued at great risk by the crew of a Coast Guard chopper. While the three shaken victims wait aboard the Guard cutter, the crew leave on another mission, to try and rescue the men of the `Andrea Gail.'
Actually, some of the scenes involving the trouble experienced by the chopper crew are some of the best in the film. This suggests to me, though, that we need stronger connections between all of the subplots: Petersen needs to work on his connectors.
My other major complaint concerns the ending. Without spoiling it with specific revelations, I judge the closing now as too sentimental. Perhaps one or even two scenes at the very end could be cut – then we would not have to sit through a couple of moments that try but fail to earn our tears. It seems as though the director simply refused to end with the outcome of the sea story, and had to return to the women who waited faithfully on land.
So, the sea story works well on its own, the men battling each other and then the storm. This microcosmic representation of the world is particularly interesting, as it calls up the madness of some scenes in Mellville's MOBY DICK, the quintessential American novel. What I'm thinking of is the pattern of bad omens that convinces the crew the voyage is doomed. However, when the other subplots surface occasionally – the weatherman and the rich, bad sailor and the worried women back at home – they give thin support to the main story.
On the whole, THE PERFECT STORM offers very solid summer entertainment, with some of the most gripping hurricane shots on film. With a few reservations, I would recommend watching the film – particularly for the performances of Clooney, Wahlberg and Lane. But you may wish to wait for the video.
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James Corden, Venus Williams & Rob Gronkowski Become The Newest Laker Girls In Surprise Halftime Performance
by Becca LongmireFans attending the Lakers-Thunder game Tuesday were treated to a very special performance.
James Corden, Venus Williams, and Rob Gronkowski joined the Los Angeles Lakers’ cheerleaders during their halftime show to flaunt their impressive moves on the court.
The game saw the Lakers beat the Oklahoma City Thunder 112-107 at the Staples Center, but all eyes were on the celebs as they did body roll after body roll and tried to keep up with the girls.
The performance comes as Gronk got everyone talking once again after saying he hadn’t ruled out a return to football in the future.
The New England Patriots tight end said during an interview with ESPN, “I wouldn’t say ‘Never coming back.’
“I’m 30 years old. I’m young. I still stay fit, still watch the game whenever I can, still enjoy it. I’m feeling good, but you know, one year off could possibly be the case. Or maybe two years off, man.”


/admin for admin
Spring security username
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ADMIN AAA
MANAGER AAA
This content is only for administrators.
[[${#authentication.principal}]]
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[[${member.uname}]]


Next:
proof 2
Up:
misc contents
Previous:
proof: The derivation of
proof
In this subsection, we prove that
is zero.
(
352
)
where the last second equality is due to the fact that
(
353
)
Next:
proof 2
Up:
misc contents
Previous:
proof: The derivation of
yj 2015-09-04


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A simple Flask project from youtube channel 'Traversy Media' which is titled 'Python Flask From Scratch'.
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Bootstrap is the most popular HTML, CSS, and JS framework for developing responsive, mobile-first projects on the web.
The Bootstrap grid system has four classes: xs (for phones) sm (for tablets) md (for desktops) lg (for larger desktops) Bootstrap's grid system allows up to 12 columns across the page. If you do not want to use all 12 columns individually, you can group the columns together to create wider columns
The small element is used to create a lighter, secondary text in any heading:
Use the mark element to highlight text.
The abbr element is used to mark up an abbreviation or acronym:
The WHO was founded in 1948.
The dl element indicates a description list:
Inline snippets of code should be embedded in the code element:
The following HTML elements:
span
,
section
, and
div
defines a section in a document.


\newsavebox{cmd}
Declares cmd, which must be a command name that is not already defined, to be a bin for saving boxes.
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The \newsavebox command is fragile.
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Appearance
Tauros is like a bull. It is a reddish color with a brown mane that covers part of his body. Tauros has dark blue hooves and horns. He also has three long tails.


The Effects of Two Types of Success and Failure on
Children's Discrimination Learning and Evaluations of Performance
FE Eaye SAR LS LEELA Aa SE EAI LTE RG ASE BEAD LUN ER COR RE ET
Elizabeth S. Meid
Sedat Pe Biel tee ae US SQL F500 0B PLAINES CREEL WS EL BS
A Dissertation Presented to the Faculty of the Graduate School of Yale University in Candidacy for the Degree of Doctor of Philosophy
1971
RN LANES Lt at ae AAI CESARE UA RE ONE A a GA BA Lhe wc VEL
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.


Heather Piwowar is a cofounder of Impactstory and a leading researcher in research data availability and data reuse. She wrote one of the first papers measuring the citation benefit of publicly available research data, has studied patterns in data archiving, patterns of data reuse, and the impact of journal data sharing policies.
Heather has a bachelor’s and master’s degree from MIT in electrical engineering, 10 years of experience as a software engineer, and a Ph.D. in Biomedical Informatics from the U of Pittsburgh. She is an frequent speaker on research data archiving, writes a well-respected research blog, and is active on twitter (@researchremix).


This document describes a small Java Speech application to allow switching between workspaces in NetBeans. In order to run it, a speech engine is required, for instance, IBM ViaVoice. Also, the Java Speech JAR file is required. It can be found at http://java.sun.com/products/java-media/speech
To use the Java Speech environment, we need to initialize the Recognizer
, give it a grammar to listen for and then start listening for speech that matches that grammar.
The grammar, found in the file 'netbeans.gram', that is used by this example is:
<action> = (switch | go) to {switch}; <target> = <workspace> | explorer {explorer}; <workspace> = (Editing | "GUI Editing" | Browsing | Running | Debugging) {workspace}; public <command> = <action> [<target>];This will accept the following phrases:
We use apublic static void main(String args[]){ try{ // Create a recognizer that supports English. rec = Central.createRecognizer(new EngineModeDesc(Locale.ENGLISH)); // Start up the recognizer rec.allocate(); // Load the grammar from a file, and enable it FileReader reader = new FileReader("netbeans.gram"); RuleGrammar gram = rec.loadJSGF(reader); gram.setEnabled(true); // Add the listener to get results rec.addResultListener(new WorkspaceActivator()); // Commit the grammar rec.commitChanges(); // Request focus and start listening rec.requestFocus(); rec.resume(); } catch (Exception e){ e.printStackTrace(); } }
ResultListener
to respond to any speech which is accepted by the grammar.
This example was created to show that using Java Speech to control the IDE is a viable concept.public void resultAccepted(ResultEvent e){ ResultToken[] tokens = ((Result)(e.getSource())).getBestTokens(); String[] tags = ((FinalRuleResult)(e.getSource())).getTags(); if ((tags[0].compareTo("switch") == 0) && (tags[1].compareTo("workspace") == 0)){ String workspaceName = tokens[2].getWrittenText(); Workspace workspace = TopManager.getDefault().getWindowManager().findWorkspace(workspaceName); if (workspace != null){ workspace.activate(); } } }


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delete_module - unload a kernel module
int delete_module(const char *name, int flags);
Note: No declaration of this system call is provided in
glibc headers; see NOTES.
The delete_module() system call attempts to remove the unused loadable
module entry identified by name. If the module has an exit
function, then that function is executed before unloading the module. The
flags argument is used to modify the behavior of the system call, as
described below. This system call requires privilege.
Module removal is attempted according to the following rules:
- 1.
- If there are other loaded modules that depend on (i.e., refer to symbols
defined in) this module, then the call fails.
- 2.
- Otherwise, if the reference count for the module (i.e., the number of
processes currently using the module) is zero, then the module is
immediately unloaded.
- 3.
- If a module has a nonzero reference count, then the behavior depends on
the bits set in flags. In normal usage (see NOTES), the
O_NONBLOCK flag is always specified, and the O_TRUNC flag
may additionally be specified.
- The various combinations for flags have the following effect:
- flags == O_NONBLOCK
- The call returns immediately, with an error.
- flags == (O_NONBLOCK | O_TRUNC)
- The module is unloaded immediately, regardless of whether it has a nonzero
reference count.
- (flags & O_NONBLOCK) == 0
- If flags does not specify O_NONBLOCK, the following steps
occur:
- The module is marked so that no new references are permitted.
- If the module's reference count is nonzero, the caller is placed in an
uninterruptible sleep state (TASK_UNINTERRUPTIBLE) until the
reference count is zero, at which point the call unblocks.
- The module is unloaded in the usual way.
The O_TRUNC flag has one further effect on the rules
described above. By default, if a module has an init function but no
exit function, then an attempt to remove the module fails. However,
if O_TRUNC was specified, this requirement is bypassed.
Using the O_TRUNC flag is dangerous! If the kernel was not
built with CONFIG_MODULE_FORCE_UNLOAD, this flag is silently ignored.
(Normally, CONFIG_MODULE_FORCE_UNLOAD is enabled.) Using this flag
taints the kernel (TAINT_FORCED_RMMOD).
On success, zero is returned. On error, -1 is returned and errno is set
appropriately.
- EBUSY
- The module is not "live" (i.e., it is still being initialized or
is already marked for removal); or, the module has an init function
but has no exit function, and O_TRUNC was not specified in
flags.
- EFAULT
- name refers to a location outside the process's accessible address
space.
- ENOENT
- No module by that name exists.
- EPERM
- The caller was not privileged (did not have the CAP_SYS_MODULE
capability), or module unloading is disabled (see
/proc/sys/kernel/modules_disabled in proc(5)).
- EWOULDBLOCK
- Other modules depend on this module; or, O_NONBLOCK was specified
in flags, but the reference count of this module is nonzero and
O_TRUNC was not specified in flags.
delete_module() is Linux-specific.
The delete_module() system call is not supported by glibc. No declaration
is provided in glibc headers, but, through a quirk of history, glibc versions
before 2.23 did export an ABI for this system call. Therefore, in order to
employ this system call, it is (before glibc 2.23) sufficient to manually
declare the interface in your code; alternatively, you can invoke the system
call using syscall(2).
The uninterruptible sleep that may occur if O_NONBLOCK is
omitted from flags is considered undesirable, because the sleeping
process is left in an unkillable state. As at Linux 3.7, specifying
O_NONBLOCK is optional, but in future kernels it is likely to become
mandatory.
In Linux 2.4 and earlier, the system call took only one argument:
int delete_module(const char *name);
If name is NULL, all unused modules marked auto-clean are
removed.
Some further details of differences in the behavior of
delete_module() in Linux 2.4 and earlier are not currently
explained in this manual page.
create_module(2), init_module(2), query_module(2),
lsmod(8), modprobe(8), rmmod(8)
This page is part of release 5.05 of the Linux man-pages project. A
description of the project, information about reporting bugs, and the latest
version of this page, can be found at https://www.kernel.org/doc/man-pages/.


Fasantauri System
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Do you like Sci-Fi? While I finish up my next novel, I have started an online fiction series called Forbearance. Picking up from the canteen scene in Bellicose, we meet Keius Minjen, a postal marine, as he tries to survive the battle planet Guna to exact revenge and one day liberate his homeland.
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Star Systems Link: [Alpha Centauri](/star-systems/alpha-centauri)
Overview
Said to be the oldest of Old Terra’s colonies, and its proximity to Sol and a wealth of historical and archaeological evidence would bear this out. A rare system, it contains three habitable worlds. One of the wealthiest of all the worlds in human space, its political, economic and cultural importance is second only to Corrigan.
History
First Expanse
According to the oldest historical records, the Fasantauri System was first colonized over 1,600 standard years ago via slowboats that took the better part of a century to reach their destination. These earliest colonists chose the planet Terre Nouveau, with its balmy climate and largely compatible biochemistry.
Over the next few centuries, but particularly after the development of FTL technology, Terra Nouveau and the other two habitable planets; Goetel’s World and Glacia saw an influx of tens of millions.
The system was the scene of much friction at this time, as the Oligarchs and their client states battled for territory and resources. Records indicate that at least four wars were fought during this period. A final treaty carved the system into a number of provinces, each nominally a democracy but in fact controlled by an Oligarchic family.
First Decline
The Decline hit the Fasantauri hard, but certainly much less so than virtually any other system. Communications with Old Terra were not completely lost, and the sheer size and wealth of the system meant that its economy, while initially strained to the breaking point, was able to survive and eventually prosper.
The heavily industrialized provinces with their Oligarchic overlords, evolved into technology-rich kingdoms, frequently at war, always maneuvering for supremacy in an ever-shifting array of alliances.
By the second half of the Decline, only a half-dozen kingdoms remained, with Glacia almost solely the territory of the Perez Family and Goetel’s World in the hands of the Tawmeriks[–‘^1^’–]. Terra Nouveau, with its larger populations and greater resource base, remained divided into four kingdoms, though pre-eminent among them was Krezil. The Oligarchs initially resisted such younger clans as the Tawmeriks and Perezs, but ultimately accomodated them, though never entirely accepting their inevitable political status as equals.
In the final century of the Decline, the last great war of the Fasantauri System was fought, the so-called Fifth Patrician’s War. Though, like the others, it was fought largely to a stalemate, for Krezil it proved an economic disaster, leading to the infamous Krezil Stock Market Crash. The Tawmeriks, Perezs and the other Oligarchs (particularly the Bafiktuys), seized much of this wealthy state’s assets, enriching themselves and paving the way for political unification.
The Terran Republic and Early Imperium
With the rediscovery of hopspace techology, the Fasantauri System was thrust to the forefront. Its wealth and its formidable technology were so great that even internal divisions could not keep the Oligarchs and the lesser families and corporations from forming a hub of worlds, united in purpose if not always in actions.
The formation of the Terran Republic was, in very large part, simply an extension of political, social and economic evolution of the Fasantauri System during the latter part of the Decline. While other systems would be added, none could boast the wealth and power that the Oligarchic and younger clans of Fasantauri held.
In the end, however, the formation of the Republic and its later replacement by the Imperium must assuredly be one of the great anti-climaxes of human history. Fasantauri was supplanted as a center of human civilization, and while its political clout remained great, its early pre-eminence faded away.
The High Imperium
With the failure of the Tawmeriks, Fasantauri’s decline accelerated. The new dynasty, having no substantial attachments; traditionally or economically, sought to limit the power of the Oligarchs and the remnants of the Tawmeriks.
The Oligarchs of Fasantauri, however, were not so easily defeated, and while they were forced further into the shadows, they completed their takeover of Fasantauri’s domestic political structure. Their hold on power became absolute, and the Neo Tawmeriks and Perez Family were evicted from the system, along with numerous minor families.
The Late Imperium and the Interregnum
By the later Imperium, Fasantauri was little more than an Oligarch-run technocracy. As Imperial authority began to slip, the Oligarchs exerted more direct control over surrounding systems, forming a formidable bloc that, while potentially threatening the Imperium, may have actually staved off the decline. After the Zenbrudi War, it was Fasantauri’s banking system that was essentially funding the Imperium, at a very high rate of interest.
With the failure of the Emperors and the beginning of the Imperial Interregnum, the Oligarchs were keen supporters of the new political structure with Durin Bonish at the helm. Bonish was more keen to do business with the Oligarchs, receiving large loans and key Congressional votes in return. While Bonish and his successors were vocally great champions of honest government, they were, in fact, the greatest beneficiaries of corruption, much of it stemming from the Oligarchs of Fasantauri.
The Hundred Bloody Days
It is still too recent in time to determine the truth of Fasantauri’s involvement in the Hundred Bloody Days. The were Anthorphs in the system had always been a second-class populace, and bigoted attitudes never entirely faded away even during the more enlightened period of the High Imperium. The Oligarchs, while clearly uncomfortable with the Bloody Pretender, were quite willing to profit from his brief, vicious reign, and in this more than any other act, condemned themselves as profiteers and amoral power seekers.
The Civil War
The fall of the Bloody Pretender had swift consequences for the Fasantauri system. Its economy collapsed as the Oligarchs found themselves financially overextended from the vast loans they had given to the Imperial Congress and the Bloody Pretender. Unemployment suddenly skyrocketed to over twenty percent, the Imperium currency so devalued now that double digit inflation became the norm. Revolution and civil war were inevitable.
Old rivalries, nearly forgotten but still simmering, bubbled over. The unity of the Oligarchic clans broke down, and soon they were in open conflict. Much of the Civil War was fought on Terre Nouveau, which was ravaged. In the midst of this the Oligarchic civil war, new leaders arose, particularly young and dynamic Solomon Quain, a commoner by birth and veteran of the wars against the Bloody Pretender’s regime who had returned to find his planet in chaos.
From his home province on Glacia, Quain declared the age of the Oligarchs at an end, and raised an army of nearly ten million. The Oligarchs, already weakened by their own war, were no match for a populist like Quain, whose greatest skill was in picking talented generals. Glacia soon fell to him, and a popular uprising on Goetel’s World lead to a government that swore fealty to him.
At this moment, the ailing Imperial Congress, still realing from its own disasters, sent Quain aid in the form of three heavy cruisers. I cannot say for certain what the justification for it is, though clearly Quain has proven himself an astute military and political leader, and perhaps they are hoping that he is the man to bring order to chaos.
Fasantauri Today
The Civil War still rages on Terre Nouveau, where the Oligarchs hang on. Quain’s new regime is in its infancy, and despite having a small navy in its hands, seems unwilling to do anything that could threaten the most populated and valuable planet in the Fasantauri System.
Both Quain’s regime and the Oligarchs still dutifully declare themselves loyal subjects of the Imperium. The Oligarchs clearly do so only for the purposes of legitimacy, but Quain’s ties to the remnants of the Imperial Congress are murkier, and only time will tell precisely what he and that last organ of Imperium rule are up to.
Sites on Terre Noveau
Krezel [–(anc. Anselle)–]
One of the earliest sites of colonization on Terre Nouveau, it has been for centuries the cultural center of the Fasantauri System. Once also a political and economic superpower, today it is again the house of power for the Oligarchs as they fight the forces of Solomon Quain.
Ethus
Constructed on a vast plateau some three miles above sea level, Ethus is one of the most beautiful cities in the Imperium. Constructed entirely out of so-called Ethus marble, the city is said to shine from space.
The Caverns of Oth
Enormous series caverns that sit beneath the small northern polar cap. Formed some billion years ago during a period of severe vulcanism, these caverns boast a vast array of minerals, fossils and dozens of unique ecologies. The full extent of these caverns has never been explored, and legends of various alien races or lost populations are popular.
Sites on Glacia
Towers of Relmentia
During the great conflicts of the First Decline, the Oligarchic Nissa family constructed dozens of towers in their main city of Relmentia, mainly to demonstrate their prestige and wealth. Some stand as nearly four kilometers high, and are marvels of engineering. The tallest, the Tower of Kisangalora, is 3,922 meters, now serves as the residence of Solomon Quain.
The Sea of Ice
A vast polar sea in the southern hemisphere of Glacia. Containing nearly thirty percent of the water on the planet, it is virtually uninhabitable, and even at the height of the Imperium’s power, the natural resources beneath it are all but untapped. Said to be the realm of a Yezza, a degenerate people, possibly related to Anthorphs, none have been seen in seven hundred years.
Dagor Crater
Nearly two hundred miles across, this impact crater is the source of a good deal of Glacia’s mineral wealth. An asteroid hit here nearly ninety million years ago, and is believed to have been responsible for Glacia’s frigid climate. The deepest part of the crater, Valles India, is nearly seven miles deep and is a popular tourist destination because of its numerous mineral hotsprings.
Sites on Goetel’s World
Serebar
Third largest city in the Fasantauri System, and largest on Goetel’s World. Once the center of the pre-Imperium Tawmerik’s power, it is now one of the most important industrial centers in the Fasantauri system. It was the last holdout of the Oligarchs on Goetel’s World, and the scene of several battles that saw a quarter of the city destroyed.
Temple of Kristos
An ancient place of worship, founded during the First Expanse by an ancient Terran religion, Kristianity. Though the religion itself faded during the First Decline, this great temple (or church as the locals call it) is a great dome, one of the largest in the Imperium. Though now a museum, the few remaining Kristos worshippers in the Fasantauri System are permitted to worship their god here. It boasts numerous remarkable frescoes, some said to have come from Old Terra.
Tebis Desert
Vast equatorial desert that domintes Goetel’s World’s largest continent. A difficult environment to live in, it is populated by various nomadic tribes, and the mineral wealth here has long attracted prospectors. There are no permanent settlements in the deep desert, though there are often reports of lost cities.
[–‘^1^’ The early history of the Tawmeriks is somewhat confused, and their own histories claim that they originated in the Vadia System as the rulers of the semi-legendary Vadian Free Republic.–]
References
- Anthorphs
- Corrigan System
- Durin Bonish
- First Decline
- First Expanse
- Hundred Bloody Days
- Imperial Interregnum
- Krezil Stock Market Crash
- Neo Tawmeriks
- Perez Family
- Tawmerik Dynasty
- Terran Republic
- Vadia System
- Vadian Free Republic
- Zenbrudi War
Related Articles
- Imperium Edition Index
- Vadian Free Republic
- Krezil Stock Market Crash
- Imperial Congress
- Neo Tawmeriks
- Hundred Bloody Days
- Alpha Centauri
- Durin Bonish
- Terran Republic
- Imperial Interregnum
- Perez Family
- Zenbrudi War
- Star Systems
- Tawmerik Dynasty
- Starsystems/Alphacentauri
- Anthorph
- First Decline
- Congressional
- Vadia System
- Tawmeriks
- Tawmerik’S
- Decline
- First Expanse
- Corrigan
- Corrigan System


Sender API Demo
Before using the API, the proper endpoints must be turned on to listen for requests.
This demo has been configured to write data to a sender service and historian running on the local machine.
- Open the "Canary Admin" program.
- Click on the "Sender" info box on the home screen.
- Click on "Configuration" in the bottom tab control.
- Click on "Endpoints" in the side tab control.
- Turn on the (Web API) endpoints that you will use. Note the port numbers. These are the ports that will be listening for the Web API requests.
Click on the buttons to execute method calls to an api on the local machine. Hit the F12 key to open the browser console window to view the results of each method call.
- Call "GetUserToken" and keep the "userToken" for subsequent calls.
- Call "GetSessionToken" and keep the "sessionToken" for subsequent calls.
- Call "StoreData" with a valid "userToken" and "sessionToken" as often as necessary.
- Call "KeepAlive" every 15-30 seconds for long running tasks to prevent tokens from expiring,
OR make calls to revoke tokens when finished writing data.


@mixin direction-context($direction) { ... }
Changes the direction property used by other mixins called in the code block argument.
Parameters
-
$direction
-
(left-to-right)
Layout direction to be used within the block. Can be left-to-right
or right-to-left
.
Example
Usage
@include direction-context(right-to-left) {
.right-to-left-block {
@include span-columns(6);
}
}
CSS Output
.right-to-left-block {
float: right;
...
}
@mixin display-context($display) { ... }
Changes the display property used by other mixins called in the code block argument.
Parameters
-
$display
-
(block)
Display value to be used within the block. Can be table
or block
.
Example
@include display-context(table) {
.display-table {
@include span-columns(6);
}
}
.display-table {
display: table-cell;
...
}
@mixin shift-in-context($shift) { ... }
Translates an element horizontally by a number of columns, in a specific nesting context.
Parameters
-
$shift
-
A list containing the number of columns to shift ($columns
) and the number of columns of the parent element ($container-columns
).
The two values can be separated with any string such as of
, /
, etc.
Example
Usage
.element {
@include shift(-3 of 6);
}
CSS output
.element {
margin-left: -52.41458%;
}


| DOSE: |
30 mg |
oral |
2C-T-2 |
(capsule) |
Tomorrow is going to be my first vacation in years, and I finished packing a little early… so why not indulge a tad, right? I put 30mg of 2C-T-2 in a gelcap, and swallowed the cap at noon. I haven’t had much luck with this substance in the past – although, each time I’ve tried it was from the same 1g I recently acquired from a lab out of the country. I have purchased other chemicals from them before, and have always been very happy with the quality of their products.
T+ :60 - First signs - I get the familiar slight tingling in the back of my head, not completely unlike the feeling I get from DXM at first. This feeling quickly passes, though, and I just get cold (as is usual for me on this substance).
T+ 2:00 - Start noticing slight trails, but conversation is completely normal. I really don’t notice anything at this point other than still being cold.
T+ 3:10 - Now things are getting interesting. I just felt a little rush, which always reminds me of tryptamine rush, but not as intense. With tryptamines I know that “there is more to come” and it sometimes freaks me out. But with this substance I feel OK – like it just wants to let me know it’s there, but nothing else.
T+ 3:33 – White walls have color to them, and this screen seems to be shimmering in a spectacular way. Thought process doesn’t seem affected, but I can feel a definite change of consciousness.
T+ 5:00 – Spent the last hour and change listening to music and watching TV. Music isn’t really enhanced, and I don’t feel especially drawn into drama on TV. The color shifting and image trails are nice, though. All that’s really noteworthy is the “off kilter” feeling; that feeling of not knowing what is different, but knowing I'm definitely not straight. Having those usual paranoid thoughts of what ifs – what if I never come out of it… how would I go through life like this. Not nearly as pronounced as oral 5-meo-DMT experience (with Syrian Rue), but still there.
T+ 6:30 – Coming down completely – it happens pretty quickly for me on this stuff. The trails are stopping, colors aren’t shimmering, and the mental effects are disappearing.
T+ 7:30 – Down almost completely. Some residual visual changes, but other than that I am almost back to baseline.
T+ 8:00 – Back to baseline, more or less. I do feel a little spacey, but just a tad – this feeling usually lingers for a while after dosing with 2c-t-2 for me. A headache is moving in, as usual. They usually last half a day after for me.
Summary:
Another successful 2c-t-2 trip, but the highest dosage I’ve tried yet. The shift in consciousness was more pronounced, and was accompanied by a little confusion and scatter mindedness at this dosage. 2c-t-2 is not my favorite chemical – its effects don’t impress me much, don’t leave me in a productive state of mind, and it leaves me with a pretty bad headache. As always I am reminded how great weed is, and that I think I’ll stick to it for a while to come. After my vacation it’s back to my dealer :-)
Safe travels, all.
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.


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|
Halide
12.0.0
|
#include <mini_d3d12.h>
Public Member Functions | |
| BEGIN_INTERFACE (IDXGIFactory *This, REFIID riid, _COM_Outptr_ void **ppvObject) | |
| IDXGIFactory _In_ REFGUID UINT | _In_reads_bytes_ (DataSize) const void *pData) |
Definition at line 6137 of file mini_d3d12.h.
| IDXGIFactoryVtbl::BEGIN_INTERFACE | ( | IDXGIFactory * | This, |
| REFIID | riid, | ||
| _COM_Outptr_ void ** | ppvObject | ||
| ) |
| IDXGIFactory _In_ REFGUID UINT IDXGIFactoryVtbl::_In_reads_bytes_ | ( | DataSize | ) | const |
| IDXGIFactory * IDXGIFactoryVtbl::This |
Definition at line 6149 of file mini_d3d12.h.
| IDXGIFactory _In_ REFGUID IDXGIFactoryVtbl::Name |
Definition at line 6159 of file mini_d3d12.h.
| IDXGIFactory _In_ REFGUID UINT IDXGIFactoryVtbl::DataSize |
Definition at line 6160 of file mini_d3d12.h.
| IDXGIFactory _In_ REFGUID _In_opt_ const IUnknown* IDXGIFactoryVtbl::pUnknown |
Definition at line 6170 of file mini_d3d12.h.
| IDXGIFactory _In_ REFGUID _Inout_ UINT* IDXGIFactoryVtbl::pDataSize |
Definition at line 6178 of file mini_d3d12.h.
| IDXGIFactory _In_ REFGUID _Inout_ UINT _Out_writes_bytes_ pDataSize void* IDXGIFactoryVtbl::pData |
Definition at line 6180 of file mini_d3d12.h.
| IDXGIFactory _In_ REFIID IDXGIFactoryVtbl::riid |
Definition at line 6186 of file mini_d3d12.h.
| IDXGIFactory _In_ REFIID _COM_Outptr_ void** IDXGIFactoryVtbl::ppParent |
Definition at line 6188 of file mini_d3d12.h.
| IDXGIFactory UINT IDXGIFactoryVtbl::Adapter |
Definition at line 6193 of file mini_d3d12.h.
| IDXGIFactory UINT _COM_Outptr_ IDXGIAdapter** IDXGIFactoryVtbl::ppAdapter |
Definition at line 6195 of file mini_d3d12.h.
| IDXGIFactory HWND IDXGIFactoryVtbl::WindowHandle |
Definition at line 6200 of file mini_d3d12.h.
| IDXGIFactory HWND UINT IDXGIFactoryVtbl::Flags |
Definition at line 6201 of file mini_d3d12.h.
| IDXGIFactory _Out_ HWND* IDXGIFactoryVtbl::pWindowHandle |
Definition at line 6207 of file mini_d3d12.h.
| IDXGIFactory _In_ IUnknown* IDXGIFactoryVtbl::pDevice |
Definition at line 6213 of file mini_d3d12.h.
| IDXGIFactory _In_ IUnknown _In_ DXGI_SWAP_CHAIN_DESC* IDXGIFactoryVtbl::pDesc |
Definition at line 6215 of file mini_d3d12.h.
| IDXGIFactory _In_ IUnknown _In_ DXGI_SWAP_CHAIN_DESC _COM_Outptr_ IDXGISwapChain** IDXGIFactoryVtbl::ppSwapChain |
Definition at line 6217 of file mini_d3d12.h.
| IDXGIFactory HMODULE IDXGIFactoryVtbl::Module |
Definition at line 6222 of file mini_d3d12.h.
| IDXGIFactory HMODULE _COM_Outptr_ IDXGIAdapter** IDXGIFactoryVtbl::ppAdapter |
Definition at line 6224 of file mini_d3d12.h.


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What is Space Jawns?
Space Jawns is a space game series currently in the planning and alpha phase of development. The first installment is a free to play 2.5D space shooter called Space Jawns Alpha. Space Jawns Alpha can be played on PC, Mac, Linux, and Android operating systems.


Request Reset Password
If you have forgotton your username or password, you may use this page to find your username or request of your password.
{{if .Data.ShowNewForm}}
An email has been sent for password reset. Please check your inbox.
{{else}}
{{if not .Data.EmailValid}}
We do not have that email address on file.
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Installation¶
Install the package, and add it to your requirements.txt
:
pip install sphinx-library
Next, edit the conf.py
file in your Sphinx project to use the Library theme:
# conf.py
html_theme = "library"
Also set the appropriate sidebars in your conf.py
file. Library comes with
a few to enable various navigation elements in the sidebar; add, remove, or
reorder them as you see fit:
# conf.py
html_sidebars = {
"**": [
"about.html", # Project name, description, etc.
"searchbox.html", # Search.
"extralinks.html", # Links specified in theme options.
"globaltoc.html", # Global table of contents.
#"localtoc.html", # Contents of the current page.
"readingmodes.html", # Light/sepia/dark color schemes.
"sponsors.html", # Fancy sponsor links.
]
}
Additional sidebars are built-in to Sphinx. See html_sidebars documentation.
Finally, it is important to specify the language of your documentation. This is not only an HTML best practice — it also enables additional typographic features of the theme, such as the ability to automatically hyphenate words when wrapping lines (just like a printed book).
# conf.py
language = "en"


Kim-Joy’s recipe for apple crumble desert with camels and cacti
by Kim-JoyA classic pudding with a twist – and comforting to the core
Yes, you read that correctly: this is a desert, not a dessert. If you love apples, this will definitely prickle your fancy.
Serves: 4-6
For the apple crumble layer:
450g apples, peeled and roughly chopped
½ tsp ground cinnamon
¼ tsp ground cardamon
50g light brown sugar
For the crumble layer:
110g salted butter (room temp, cubed)
150g plain flour
100g caster sugar
20g flaked almonds
Optional:
For the biscuits (makes extra)
200g salted butter
85g caster sugar
270g plain flour
For the royal icing:
100g icing sugar
20g egg white
Gel food dye
Preheat the oven to 200C (180C fan)/400F/gas mark 6. Mix the apples, cinnamon, cardamon and light brown sugar together in a bowl. Scatter to cover the base of an oven-proof 20-22cm-diameter (8-9in) round shallow dish.
In a separate bowl, rub the butter into the flour using your fingertips until the mixture resembles breadcrumbs (it is good to have some pieces varying in size). Stir through the sugar and flaked almonds. Sprinkle the crumble over the apple layer.
Bake for about 30-40 minutes, or until the top is golden, and the apples are bubbling and soft (insert a knife to check softness).
What turns this into a desert is the camels and cacti. Make the biscuits by first whisking together the butter and caster sugar until soft. Then add the flour and stir until combined into a ball of dough. Roll out on to a floured surface. Cut into cacti and cactus shapes. Ideally, use a biscuit cutter, although you can make your own template on card, then cut round this.
Place on to a lined baking tray in the fridge for 20 minutes, then bake for around 10-15 minutes at 180C (160C fan)/350F/gas mark 4.
Whisk together the icing sugar and egg white for the royal icing (you might need a little extra icing sugar/egg white to adjust the consistency). You can dye this different colours using gel food dye, and then place in piping bags and use to decorate the biscuits.
Arrange the biscuits to stand up in the crumble.


eS-slideshow v1.0
by Steven Crocker
Features
- Responsive: This is default by design. All slides must have equal width / height. This plugin is not for variable height photos
- Lightweight: Only 3KB (compressed)
- Navigation: Options for previous and next buttons, pager, as well as keyboard navigation.
- Easy to use: Just include the js/css and called .eSslideshow() any div containing slides
- Flexible: Use images for slides, or use div content (must be equal wid/height). Slideshow adds .eS-active class to active slides so that you can customize CSS3 animations if wanted.
Options
-
speed: Speed of transition
- Default: 1000
-
interval: Time between transitions
- Default: 5000
-
delay: Time before slidshow starts
- Default: 0
-
pauseonhover: Pause the slideshow when mouse over
- Default: true
-
manual: Manual control uses only navigation or keyboard (if enabled)
- Default: false
-
navigation: Enable the left and right arrows on hover
- Default: true
-
navfactor: The arrow size is calcuated using this factor, so that it stays proportionate to the size of the slideshow
- Default: 15
-
prev: Change the previous arrow symbol (text/unicode, use ' ' and class .eS-prev for graphical arrow)
- Default: '◄'
-
next: Change the next arrow symbol (text/unicode, use ' ' and class .eS-next for graphical arrow)
- Default: '►'
-
rounding: Adds rounded corners to slideshow, can use any number or percent
- Default: 20
-
pager: Display the pager (style pager using class .eS-pager, .eS-pager > span, and .eS-pager > span.eS-active)
- Default: false
-
keyboard: Allow keyboard navigation on focus)? (left and right arrow, must click to focus does not focus on hover)
- Default: true


Please try to answer as many questions as possible! Your score will be shown at the end of the quiz or when the timer runs out!
Please enter your Initials: Submit


The following projects were performed during the class to use tools such as FTK Imager, windows applications, and WinHex in order to analyze information and draw conculsions from the evidence discovered.
The final project was analyzing a hard drive in a criminal investigation and finding information in order to "catch" the criminal.
The final presentation was given in conjugation with the final project in order to present our findings in a condensed fashion.


public class RequestedCertificate extends ASN1Object implements ASN1Choice
ISIS-MTT-SigG: The signature act allows publishing certificates only then, when the certificate owner gives his explicit permission. Accordingly, there may be �nondownloadable� certificates, about which the responder must provide status information, but MUST NOT include them in the response. Clients may get therefore the following three kind of answers on a single request including the RetrieveIfAllowed extension:
RequestedCertificate ::= CHOICE { Certificate Certificate, publicKeyCertificate [0] EXPLICIT OCTET STRING, attributeCertificate [1] EXPLICIT OCTET STRING }
| Modifier and Type | Field and Description |
|---|---|
static int |
attributeCertificate |
static int |
certificate |
static int |
publicKeyCertificate |
| Constructor and Description |
|---|
RequestedCertificate(Certificate certificate)
Constructor from a given details.
|
RequestedCertificate(int type,
byte[] certificateOctets) |
| Modifier and Type | Method and Description |
|---|---|
byte[] |
getCertificateBytes() |
static RequestedCertificate |
getInstance(ASN1TaggedObject obj,
boolean explicit) |
static RequestedCertificate |
getInstance(java.lang.Object obj) |
int |
getType() |
ASN1Primitive |
toASN1Primitive()
Produce an object suitable for an ASN1OutputStream.
|
equals, getEncoded, getEncoded, hasEncodedTagValue, hashCode, toASN1Object
public static final int certificate
public static final int publicKeyCertificate
public static final int attributeCertificate
public RequestedCertificate(Certificate certificate)
Only one parameter can be given. All other must be null
.
certificate
- Given as Certificatepublic RequestedCertificate(int type, byte[] certificateOctets)
public static RequestedCertificate getInstance(java.lang.Object obj)
public static RequestedCertificate getInstance(ASN1TaggedObject obj, boolean explicit)
public int getType()
public byte[] getCertificateBytes()
public ASN1Primitive toASN1Primitive()
Returns:
RequestedCertificate ::= CHOICE { Certificate Certificate, publicKeyCertificate [0] EXPLICIT OCTET STRING, attributeCertificate [1] EXPLICIT OCTET STRING }
toASN1Primitive
in interface ASN1Encodable
toASN1Primitive
in class ASN1Object


Connection pooling for DB-API connections.
Provides a number of connection pool implementations for a variety of usage scenarios and thread behavior requirements imposed by the application, DB-API or database itself.
Also provides a DB-API 2.0 connection proxying mechanism allowing regular DB-API connect() methods to be transparently managed by a SQLAlchemy connection pool.
Ensure basic interface compliance for an instance or dict of callables.
Checks that obj implements public methods of cls or has members listed in methods. If required is not supplied, implementing at least one interface method is sufficient. Methods present on obj that are not in the interface are ignored.
If obj is a dict and dict does not meet the interface requirements, the keys of the dictionary are inspected. Keys present in obj that are not in the interface will raise TypeErrors.
Raises TypeError if obj does not meet the interface criteria.
In all passing cases, an object with callable members is returned. In the simple case, obj is returned as-is; if dict processing kicks in then an anonymous class is returned.
Remove all current DB-API 2.0 managers.
All pools and connections are disposed.
Return a proxy for a DB-API module that automatically pools connections.
Given a DB-API 2.0 module and pool management parameters, returns a proxy for the module that will automatically pool connections, creating new connection pools for each distinct set of connection arguments sent to the decorated module's connect() function.
Arguments:
See the Pool class for options.
A Pool that allows at most one checked out connection at any given time.
This will raise an exception if more than one connection is checked out at a time. Useful for debugging code that is using more connections than desired.
A Pool which does not pool connections.
Instead it literally opens and closes the underlying DB-API connection per each connection open/close.
Base class for connection pools.
This is an abstract class, implemented by various subclasses including:
The main argument, creator, is a callable function that returns a newly connected DB-API connection object.
Options that are understood by Pool are:
Construct a new Pool.
Add a PoolListener-like object to this pool.
listener may be an object that implements some or all of PoolListener, or a dictionary of callables containing implementations of some or all of the named methods in PoolListener.
Dispose of this pool.
This method leaves the possibility of checked-out connections remaining open, It is advised to not reuse the pool once dispose() is called, and to instead use a new pool constructed by the recreate() method.
A Pool that imposes a limit on the number of open connections.
Arguments include all those used by the base Pool class, as well as:
Construct a new QueuePool.
A Pool that maintains one connection per thread.
Maintains one connection per each thread, never moving a connection to a thread other than the one which it was created in.
This is used for SQLite, which both does not handle multithreading by default, and also requires a singleton connection if a :memory: database is being used.
Options are the same as those of Pool, as well as:
Dispose of this pool.
this method leaves the possibility of checked-out connections remaining opened, so it is advised to not reuse the pool once dispose() is called, and to instead use a new pool constructed by the recreate() method.


The spread operator allows an expression to be expanded in places where multiple arguments (for function calls) or multiple elements (for array literals) are expected.
For function calls:
myFunction(...iterableObj);
For array literals:
[...iterableObj, 4, 5, 6]
For destructuring:
[a, b, ...iterableObj] = [1, 2, 3, 4, 5];
Example: it is common to use Function.prototype.apply in cases where you want to use an array as arguments to a function.
function myFunction(x, y, z) { } var args = [0, 1, 2]; myFunction.apply(null, args);
With ES6 spread you can now write the above as:
function myFunction(x, y, z) { } var args = [0, 1, 2]; myFunction(...args);
Any argument in the argument list can use the spread syntax and it can be used multiple times.
function myFunction(v, w, x, y, z) { } var args = [0, 1]; myFunction(-1, ...args, 2, ...[3]);
Example: Today if you have an array and want to create a new array with the existing one being part of it, the array literal syntax is no longer sufficient and you have to fall back to imperative code, using a combination of push
, splice
, concat
, etc. With spread syntax this becomes much more succinct:
var parts = ['shoulders', 'knees'];
var lyrics = ['head', ...parts, 'and', 'toes']; // ["head", "shoulders", "knees", "and", "toes"]
Just like with spread for argument lists ...
can be used anywhere in the array literal and it can be used multiple times.
Example: In ES5 it is not possible to compose new
with apply.
(In ES5 terms, apply
does a [[Call]]
and not a [[Construct]].
) In ES6 the spread syntax naturally supports this:
var dateFields = readDateFields(database); var d = new Date(...dateFields);
Example: push is often used to push an array to the end of an existing array. In ES5 this is often done as:
var arr1 = [0, 1, 2]; var arr2 = [3, 4, 5]; // Append all items from arr2 onto arr1 Array.prototype.push.apply(arr1, arr2);
In ES6 with spread this becomes:
var arr1 = [0, 1, 2]; var arr2 = [3, 4, 5]; arr1.push(...arr2);
Created by Mozilla Contributors, license: CC-BY-SA 2.5


( Drag car from the list of cars to the basket. )
- List of Cars
-
{{ car.name }} - {{ car.modelYear }} ( {{ car.price | currency }} )
- My Basket
-
{{ car.name }} - {{ car.modelYear }} ( {{ car.price | currency }} )
-
Drop here
-
Drag me using my handle
-
Drag me without handle
-
Drag me, except this bold text


abstract val moduleFactory: ModuleFactory<TProgram, TOutput, TTarget>
Provides access to modules that are registered in the environment.
The ModuleFactory acts as a service locator within the system, allowing sub-systems to get the dependencies they need.


Please fill the form Below to get information on our Outreach Programs and when we will be visiting Your Town or any other town close to you or go our outreach page.


In comics, webcomics and animation, eyebrows are very important to conveying expression, so it's important that they be seen. To this end, they sometimes actually float several inches above the character's head, or are otherwise clearly unattached. This may be a feature of the art at all times, or it may signify that the character in question is just that surprised. A subtrope of Unusual Eyebrows.
It doesn't have to be just eyebrows - watch enough animation and you'll eventually see disembodied whiskers and even entire body parts that appear to float separate from the main body.
If they're on the face but showing through the hair, that's Oddly Visible Eyebrows.
Examples:
- The M&M's' "spokecandies" all have disembodied black eyebrows.
- The Trix Rabbit, more obviously noticeable at some times than others, depending on which angle he's shown from.
- Cap'n Crunch. They're on his hat. Friends gives us this exchange:
Joey: Man, this is weird. Ever realize that Cap'n Crunch's eyebrows are actually on his hat?
Chandler: That's what's weird? Joey, the man's been captain of a cereal for the last forty years.
- Lampshaded in FLCL, where it turns out that Commander Amuro's eyebrows are actually fake, and made of nori [dried seaweed]. Amuro's eyebrows even work as a shield to protect the wearer from the head-pulling thing Haruko does. They're not even fake, inked eyebrows. They are actual seaweed, scanned and inserted into the anime, making the whole shebang look even more wrong.
- The King from Season 8 of Happy Heroes has eyebrows that can be seen in front of his crown.
- In the Motu Patlu episode "Alien Patlu", Patlu is given a pair of extra eyes through an injection from Dr. Jhatka. The resulting eyestalks have eyebrows that float above them.
- Dhokla and Vada of Simple Samosa both have eyebrows that float above their eyes.
- A Paul Merton routine had him explaining to a potential job applicant that interviews always measure a person by the height of their eyebrows on their head, and thus the ideal candidate would have eyebrows floating five inches above their head (in true Paul Merton style, this escalated into a discussion of someone's eyebrows being so high they got attached to the front of a train passing over his head).
- Comic artist Phil Foglio is rather fond of these.
- Amulet has Miskit, prominently featured on the cover (and the page image).
- Drawn in a similar style to Miskit from the Amulet example are the Bone cousins, from Bone. Fone Bone in particular will sometimes be drawn with several sets of eyebrows; all of them disembodied.
- FoxTrot had its distinctive (-:333 (best approximation).
- Snoopy of Peanuts is sometimes seen with these, such as seen here.
- Wade the Duck from the U.S. Acres comics has these. It also carries this to the Garfield TV series as well.
- Not the film itself, but most illustrations of Finding Dory for advertising would have disembodied eyebrows on the characters. This is mostly done, due to the fact it'll be difficult to illustrate emotion.
- Fear in the Disney / Pixar film Inside Out has these pretty much out of necessity, as the character doesn't have any head above his huge eyes. The movie subtly makes some fun of this at one point when Anger knocks Fear to the ground, leaving Fear's eyebrows to slowly float down after him.
- In some scenes in the picture book Hanna Hippo's Horrible Hiccups, a book in the Animal Antics A to Z series, the title character is depicted as having disembodied eyebrows. Other characters are depicted with these as well.
- In the children's picture book Are We There, Yeti?, the yeti, who is a bus driver, has these. So does at least one of the young yeti later in the book, while another has the eyebrows on the face and still others appear to have no eyebrows whatsoever.
- Disembodied whiskers are seen on the mouse character in the children's picture book Such a Little Mouse, written by Alice Shertle and illustrated by Stephanie Yue.
- John Tartagalia's Imaginocean has two fish named Whipper and Snapper who are essentially the equivalent of Statler and Waldorf. Whipper's eyebrow on the right side appears to be disembodied.
- Swampy in Where's My Water?

- Most characters in The Legend of Zelda: The Wind Waker
- Worms has this, so much so that the idle worms will occasionally pull their eyebrows down and wear them as mustaches.
- While averted in 3D renders and artwork, 2D artwork of the Super Mario Bros. franchise tends to feature these, with eyebrows appearing on top of hat brims.
- Seen on some if not most Non-Player Characters in Jak and Daxter: The Precursor Legacy
- Bug: Bug's eyebrows are shown floating above his head in the boxart.
- In the few instances where he's actually drawn with eyebrows, the hero of the eponymous Earthworm Jim games is shown with eyebrows that don't actually connect to any part of his face, instead hovering an inch or so over his outsized eyeballs.
- Trogdor from Homestar Runner.
- Travis in Subculture has eyebrows which cross onto his hat at times.
- Narbonic, particularly early on.
- Fuzzy from Sam & Fuzzy, even lampshaded at one point.
- Mr. Sin embodies the trope - even forgetting to put his eyebrows on.
- EVIL: The eyebrows often go past the side of characters' faces when they are standing at a 3/4 angle. Also, Professor Dastard's overlap with his hat.
- Schlock Mercenary gives these to several beings that aren't supposed to have eyebrows, apparently to make them more expressive. Ennesby the floating robot head could feasibly have unattached eyebrows, and at one point mentions rolling himself down the stairs with them.
- The titular character of The Book of Biff. He has a similarly disembodied mouth.
- In 1/0, Terra's eyebrows are suspended over her general head-area (she's an earthworm). This is eventually explained. (Her facial features aren't attached very solidly either, but they are attached, at least.)
- In The Inexplicable Adventures of Bob!, Bob himself, certainly (his rectangular eyebrows are sometimes visible above his head even when viewed from the rear), Princess Voluptua's antenna eyebrows, and the other castmembers intermittently.
- Part of Phil Foglio's Signature Style, the creator of Girl Genius.
- Done in Gunnerkrigg Court when Parley confesses her love to Andrew
- When visible, eyebrows in The Order of the Stick stick out from the characters' heads most of the time. Especially notable with Blackwing the raven.
- In Air Force Blues, eyebrows float on the forehead, usually right on the hairline.
- In Commander Kitty, Nin Wah's eye brows seem to float in front of her headband and hair.
- Eyebrows in Satan and Me are visible above the characters' bangs.
- Yin Yang Yo! and possibly ¡Mucha Lucha!.
- FETCH! with Ruff Ruffman lampshades this when two of the second season contestants make a puppet of the host to use in a show. "Don't forget the eyebrows that float mysteriously above my head!"
- CGI example: Characters in BIONICLE: The Legend Reborn have their eyebrows sitting on top of their helmets, rather than being attached to their faces.
- Some characters (usually non-human) in Dora the Explorer.
- Ed from Ed, Edd n Eddy.
- Sometimes he also has a disembodied eye, though thats probably just a style thing.

- Sometimes he also has a disembodied eye, though thats probably just a style thing.
- Cyborg from the Teen Titans cartoon was often shown with an unattached eyebrow on the robotic side of his face.
- Done subtly with Jenner in The Secret of NIMH: his eyebrows are never fully detached, but no part of them consistently stays on his face either.
- The Snorks.
- Most of the characters from Phineas and Ferb have these.
- Many of the characters in WordWorld.
- One Danger Mouse episode had DM negotiating with an alien. The alien agreed to leave in peace in exchange for Penfold's eyebrows. Penfold refused, but DM simply reached down and grabbed the floating eyebrows to hand them over. Penfold was very cross afterward, but DM assured him he'd grow a new pair.
- The main character of El Tigre: The Adventures of Manny Rivera has this happen to him from time to time. At one point he raised them so high that they fell off and floated to the ground.
- In My Friend Rabbit, not only do the characters' eyebrows float, but Mouse's whiskers float as well.
- Used with several of the dinosaurs in Harry and His Bucket Full of Dinosaurs.
- Seen with several of the animal characters on Will and Dewitt.
- Al Alligator on the Playhouse Disney / Disney Junior short series Can You Teach My Alligator Manners?
- Fanboy and Chum Chum. All of the characters.
- Duckman sports a pair of these, along with eyes that are evidently attached to his glasses rather than his head.
- Angel the bunny from My Little Pony: Friendship Is Magic. Well, his whiskers, but still
- A majority of the characters from Star vs. the Forces of Evil have these.
- A number of Manny's tools have them on Handy Manny.
- Several of the characters on Disney Junior's animated adaptation of Guess How Much I Love You exhibit disembodied whiskers, depending on what angle they're shown from.
- Seen on some of the animals on Justin Time, a children's series on PBS Kids Sprout.
- Seen on worms on the Disney Junior CGI animated series The Hive:
- Most of the characters on that show have disembodied hands and feet, and it can be very distracting, once you realize These characters have no arms or legs attaching their hands and feet to their bodies! (NB: You can see this on the show's page photo of Buzzbee, the star character.)
- The disembodied whiskers variant appears on TOTO (This One and That One) with all of the cat characters, including the title characters, This One and That One. They're all anthropomorphic cats. The series airs on an on-demand service in the United States called Kabillion Jr. and can also be watched officially and for free on YouTube.
- Mama Mirabelle's Home Movies goes one step further— certain of the characters, most notably Karla, as a member of the main cast, appear to have a disembodied eye when shown in profile.
- On Peg + Cat, Police Chief Toad has them.
- In Leap Frog — The Letter Machine Rescue Team, many of the letters have these, so though sometimes the appearance of it depends on what angle they're shown at.
- Wingnut in Care Bears: Adventures in Care-a-Lot.
- Similar to the Inside Out example, on Kate & Mim-Mim, Tach's float well above his head, due to his large eyes themselves being placed right the top of his head.
- Everyone on Kaeloo has these.
- The characters of the Prime Video animated version of Pete the Cat have these, though they're generally only seen when the characters are actually using them for expression.
- Fish possesses these on The Cat in the Hat Knows a Lot About That!.
- In The Crumpets, the eyebrows of characters like Li'l One, Ditzy, and Cassandra sometimes float.
- In Let's Go Luna!, all the characters' eyebrows float above their heads.
- Futz!: The titular character has these.
- On Rhyme Time Town, the train, Jaime, has these.
- In The Loud House, Most of the characters' eyebrows can be seen through their hair.
- Dukey the talking dog from Johnny Test has these.
- The titular character of Courage the Cowardly Dog has these as well.
- On Bluey, All the characters' eyebrows float over their head.
- Some robots from Rusty Rivets has these.
- All of the characters in Codename: Kids Next Door has these.
- On both original show and reboot of The Powerpuff Girls, The Mayor of Townsville has these.
- On Elinor Wonders Why, certain characters, such as the teacher Ms. Mole, have these when shown in profile.


This package provides a way to easily create console menus that facilitates interaction with a user.


Websites for Health
Assesment Tool
has score
_______________________
Remember to use the Internet with extreme caution when you are looking for medical advice.
has score
_______________________
Remember to use the Internet with extreme caution when you are looking for medical advice.


cooking up something cool
Former music store employee law dictates that I make a top 10 albums list every year.
By the end of a full year, I always seem to forget what was actually released that year, so I use my last.fm stats to jog my memory. This year, I thought it would be interesting to compare my top albums as recorded by last.fm with my personalized ranking.
Last.fm got a me a good shortlist, but choosing favourites is another painstaking matter entirely. As expected, my list of 'best' varies significantly from what the numbers say.
Why? I have a few theories.
This probably explains why St. Vincent's St. Vincent(released Feb 25) came in so close to Caribou's Our Love (released Oct 25), which is undeniably my favourite album of the year. It would be interesting to do some sort of weighted play count based on time of year released, though there's other factors to take into account - like how long before an albums starts to fall out of my heavy rotation - and omg I'm not going down that rabbit hole.
Play count on an albums isn't how many times you've played the album in full, it's how many tracks from that album you've played. This explains why Röyksopp & Robyn's Do It Again, an EP with with 5 tracks, ranks so low on play count compared to favourite rank. Again, it might be interesting to normalize the counts based on number of tracks per album, but that's another task for another day.
The play count for ScHoolboy Q's Oxymoron was suspiciously low for how high it ranked on my list. A closer look showed my scrobbles for that album split between Oxymoron and Oxymoron (Deluxe Edition), the latter a ghost album in last.fm's database that doesn't even have a release year on it. Music cataloging is hard.
There's also the possibility that I've listened to some of these albums somewhere that doesn't report to last.fm, eg. at a friend's house or on vinyl.
While I'm fascinated by my own personal data and the cool things we can do with data, it's important to realize that it can't yet replace the nuances of human preference. That's probably why most music recommendation algorithms have failed me. I'm both picky and eclectic when it comes to music, and it's because my taste isn't easily defined by genres or characteristics - it's this nebulous, ill-defined idea of what I like.
I'm a big fan of the digital world and I'd be cool with it if we eventually built an AI that could pin down my music taste, but until then I'll be deliberating over my top 10 list at the end of every year.


Twilio Verify iOS
Table of Contents
- About
- Dependencies
- Requirements
- Installation
- Usage
- Running the Sample app
- Running the sample backend
- Using the sample app
- Errors
About
Twilio Verify Push SDK helps you verify users by adding a low-friction, secure, cost-effective, “push verification” factor into your own mobile application. This fully managed API service allows you to seamlessly verify users in-app via a secure channel, without the risks, hassles or costs of One-Time Passcodes (OTPs). This project provides an SDK to implement Verify Push for your iOS app.
Dependencies
None
Requirements
- iOS 11+
- Swift 5.2
- Xcode 11.x
Installation
Add library
Carthage
To integrate TwilioVerify into your Xcode project using Carthage, specify it in your Cartfile
:
github "twilio/twilio-verify-ios"
Register Your App with APNs
If you want to receive challenges as push notifications, you should register Your App with APNs. More info here
Usage
See Verify Push Quickstart for a step-by-step guide to using this SDK in a basic Verify Push implementation.
Running the Sample app
To run the Sample App:
- Clone the repo
- Change the Bundle Identifier to something unique so Apple’s push notification server can direct pushes to this app
- Enable push notifications
- Get the Access token generation URL from your backend (Running the Sample backend). You will use it for creating a factor
- Run the
TwilioVerifyDemo
project usingRelease
as build configuration
Running the Sample backend
- Clone this repo: https://github.com/twilio/verify-push-sample-backend
- Run the steps in the README file
Using the sample app
Adding a factor
- Press Create factor in the factor list (click on the +, top right)
- Enter the identity to use. This value should be an UUID that identifies the user to prevent PII information use
- Enter the Access token URL (Access token generation URL, including the path, e.g. https://yourapp.ngrok.io/accessTokens)
- Press Create factor
- Copy the factor Sid
Sending a challenge
- Go to Create Push Challenge page (/challenge path in your sample backend)
- Enter the
identity
you used in factor creation - Enter the
Factor Sid
you added - Enter a
message
. You will see the message in the push notification and in the challenge view - Enter details to the challenge. You will see them in the challenge view. You can add more details using the
Add more Details
button - Press
Create challenge
button - You will receive a push notification showing the challenge message in your device.
- The app will show the challenge info below the factor information, in a
Challenge
section - Approve or deny the challenge
- After the challenge is updated, you will see the challenge status in the backend’s
Create Push Challenge
view
Errors
| Types | Code | Description |
|---|---|---|
| Network | 68001 | Exception while calling the API |
| Mapping | 68002 | Exception while mapping an entity |
| Storage | 68003 | Exception while storing/loading an entity |
| Input | 68004 | Exception while loading input |
| Key Storage | 68005 | Exception while storing/loading key pairs |
| Initialization | 68006 | Exception while initializing an object |
| Authentication Token | 68007 | Exception while generating token |


---
layout: default
type: formControls
title: Checkboxes / Infos
source_visibility: hidden
---
Usage
Checkboxes allow multiple selection inside a set of one or more options. They can also be used as an on or off toggles with only one checkbox.
Guidelines
- Use a wording that indicates how much item the user can select. Some user may not know the difference between checkboxes and radio buttons.
- List options vertically; horizontal listings can make it difficult to tell which label is related to which checkbox.
- Try to limit the size of the label to one line.
- Always put the most common options at the top of the list.
- Only preselect options if there’s a strong, user-centred reason to. If you do it, select the value that has the most chance to be chosen by the users.
- Only reveal additional questions with the expanded zone, pointing to the value that is selected.
- Partially selected state is used only to indicate that some sub-options are selected and some are not.
- Use positive statements. Negative language in labels can be counterintuitive. For example, use “I want to receive a promotional email” instead of “I don’t want to receive promotional email.”
Accessibility
- A set (multiple checkboxes) should have a title.
- Surround a related set with a
<fieldset>
. Do not use <fieldset>
for a single checkbox.
- Both the checkbox and its label can be clicked to select the option.
- The control needs a larger hit areas on a touch devices.


D. Candidate, English Literature,
Howard University, Washington, DC
December 2016
M.A. English Literature,
Howard University, Washington, DC
Thesis: The Hip-Hop Aesthetic in Black British Literature
May 2007
B.A. English Special Emphasis Journalism,
California State University, Long Beach, CA
Dec. 2002
WORK EXPERIENCE
Lecturer, Department of English
Howard University, Washington, DC
2015 - present
-Course: African-American Literature From 1940 (ENG 055)
-Course: Expository Writing and Literary Studies (ENG 102)
-Course: Reflective Writing Portfolio (ENG 105)
Visiting Faculty Fellow, Department of English
James Madison University, Harrionburg, VA
Fall 2012 - Spring 2013
-Course: Survey of African American Literature Honors (GENG 260H)
-Course: Survey of African American Literature (GENG 260)
-Course: African American Fiction Writers (ENG 361)
Teaching Associate, Department of English
Howard University, Washington, DC
Fall 2008 - Spring 2011
-Course: Freshman English Composition (ENG 101)
Program/Teaching Assistant, Interdisciplinary
Syracuse University Abroad, Paris, France
Summer 2010 & 2011
-Course: Paris Noir Seminar, Literature, Art and Contemporary Life
Lecturer, Department of English
University of the D.C., Washington, DC
Fall 2007 - Fall 2008
-Course: Reading Improvement (ENG 014)
Lecturer, School of Medicine
Howard University, Washington, DC
Summer 2008
Course: Communications 4 (COM 4B)
Teaching Assistant, Department of Af-Am Studies
Howard University, Washington, DC
Fall 2006- Spring 2007
Course: Hip-Hop and the Black Experience (AFRO 17256)
CONFERENCES & TALKS
Panelist. “Text Mining Race and Travel in Chester Himes’s Ne nous enervons pas!, The Heat’s On, and Come Back Charleston Blue.” Noire is the New Noir Conference, American University of Paris, Paris France, November 2016.
Panelist. “Mapping Narratives of Reversal in Baldwin’s Paris.’” International James Baldwin Conference, American University of Paris, Paris, France, May 2016.
Invited Guest. “The Impact of Martin Luther King and Selma.” Larry Yates: As Is. UBN. Sunset Gower Studios. Hollywood, CA, January 2015.
Special Guest. "A Haven for Black Writers." Larry Yates As Is. Sunset Gower Studios. Hollywood, California (August 2014).
Panelist. “Hip-Hop Aesthetics and Social/Political Unrest.” “Other” Cultures Within: Beyond the Naming of Things,” Library of Congress, Washington, District of Columbia (April 2012)
Panelist. Issues Facing Graduate Students of Color in the Profession. MLA Convention, Seattle, Washington (January 2012)
Invited Guest. Media Training Workshop. Rosemary G. Feal. MLA Convention, Seattle, Washington, (January 2012)
Panelist. “Lying, Spying, and Buying: The Desire to Civilize in the Soloist.” PCA/ACA Conference. San Antonio, Texas (April 2011)
Panelist. “Lying, Spying, and Buying: The Desire to Civilize in the Soloist.” PAMLA Conference. Chaminade University, Honolulu, Hawaii (November 2010)
Moderator. “Retracing, Retrieving and Translating the Routes of the Past.” Toni Morrison Society Conference. La Bellevilloise, Paris, France (November 2010)
Panelist. “Cross Streets and Crossroads: Eshu and the African-American-Parisian Tradition in Jake Lamar's Rendezvous Eighteenth.” CLA Conference. Brooklyn College, New York, New York (April 2010)
Presenter. “Cross Streets and Crossroads: Eshu and the African-American-Parisian Tradition in Jake Lamar's Rendezvous Eighteenth.” Graduate Research Colloquia. Howard University, Washington, DC (March 2010)
Invited Guest. Roundtable with the Committee on the Status of Graduate Students in the Profession. MLA Conference. Philadelphia, Pennsylvania (December 2009)
Keynote Panelist. “Toni Morrison’s A Mercy: A Declaration of Independence.” Howard University Department of English Heart’s Day, Washington, DC (February 2009)
Panelist. “Victimization of the Innocent in Toni Morrison’s The Bluest Eye.” A Symposium on Toni Morrison’s The Bluest Eye. Howard University, Washington, DC (October 2008)
Panelist. Portraits of Black Music: Works by Photographer Jonathan French and Artist Edward C. Keith, III. The Alexandria Black History Museum, Alexandria, VA (June 2007)
Panelist. “‘Scrutinize My Literature’: The Hip Hop Aesthetic in Zadie Smith’s On Beauty.” Howard University Research Symposium, Washington, DC (April 2006)
HONORS
Graduate School Fellowship, Howard University 2008-2014
Preparing Future Faculty Fellowship, Howard University 2012-2013.
Sponsored Student Scholarship, DHWI, University of Maryland College Park 2012.
Travel Grant, Modern Language Association 2011.
Reginald Lewis Travel Fund, Howard University 2010.
Ivan Earle Taylor Scholarship, 2009
Syracuse University Abroad Scholarship, 2009
Individual Website Award, Sigma Tau Delta, 2008
1st Place Master's Oral Presentation Award, Graduate Research Symposium, 2006
Summer Frederick Douglass Scholarship, 2005
2nd Place Master's Oral Presentation Award, Graduate Research Symposium, 2005
PUBLICATIONS
“A Finding Aid for the James A. Emanuel Special Collection at the American Library in Paris.” American Library in Paris, November, 2016.
“Mapping Narratives of Reversal in ‘Baldwin’s Paris’” Spec. Issue of College Language Association Journal. September, 2016.
“A Graduate Student Guide to the MLA Annual Convention.” Committee on the Status of Graduate Students in the Profession. Co-author Atia Sattar. New York: MLA, 2012
“Literary Fiction.” The Greenwood Encyclopedia of Hip Hop Literature. Ed. Tarshia Stanley. Westport: Greenwood Press, 2009
MEMBERSHIPS
College Language Association
International Society for the Study of Narrative
Modern Language Association
Sigma Tau Delta
Toni Morrison Society
SERVICE
Board Member, Robin-Lane, Inc. 2016.
Elected. Nominating Committee. MLA, 2013-2014
Undergraduate Faculty Advisor. Africana Studies Conference.
James Madison University, 2012
Appointed. Committee on the Status of Graduate Students in the Profession. MLA, 2010-2012
Vice President. Graduate English Student Association, Howard University, 2010-2012
Judge. Undergraduate Research Symposium. Howard University, 2009 & 2010
Data Team Leader. Student First Campaign. Howard University, Spring 2009.
Planning Committee. Graduate Research Symposium. Howard University, Spring 2005.
SKILLS
Digital Pedagogy Lab, Praxis Track, University of Mary Washington, Fredericksburg, VA
Seshat: A Howard University Digital Humanities Initiative
“Large-Scale Text Analysis with R,” University of Maryland College Park, Certification January 2013
“Creating Digital Humanities Projects for the Mobile Environment,” University of Victoria, Certification June 2012
HTML,MicroSoft Office, Camtasia
Blackboard, Google Earth, Panopto, etc.


---
layout: post
title: iLaugh Out Loud
date: '2009-02-24T14:38:00.003-06:00'
author: Jabell
tags:
- Apple
- Humor
modified_time: '2010-12-10T13:33:32.422-06:00'
blogger_id: tag:blogger.com,1999:blog-19739956.post-1480953469010064192
blogger_orig_url: http://theabellsix.blogspot.com/2009/02/ilaugh-out-loud.html
---
A slight modification from a recent post on TUAW:
Windows Vista
If you play the Windows Vista CD-ROM backwards, you'll hear a satanic message. That's frightening. Even more frightening is that if you play it forward, it installs Windows Vista.


--- permalink: /404.html ---
| OVAL Definition Generator Information | |||||||||
| Schema Version | Product Name | Product Version | Date | Time | |||||
| 5.11.1 | ovalproject.github.io | {{ site.time | date: "%Y-%m-%d" }} | {{ site.time | date: "%X" }} | ||||||
| #Definitions | #Tests | #Objects | #States | #Variables | |||||
1 Total
|
0 | 0 | 0 | 0 |
| Definition Id: oval:io.github.ovalproject:def:404- Page Not Found. |
| Title: | Page Not Found. | ||
| Description: | The page you are looking for could not be located. | ||
| Family: | Class: | inventory | |
| Reference(s): |
CWE-756
|
Version: | 1 |
| Platform(s): | Product(s): | ||
| Definition Synopsis: | |||


As a worldbuilder, I designed the whole narrative and I have been involved in the totality of the game's levels.
My main tasks can be summarized in:
At the beginning of this journey, I defined up to 5 plausible, adventurous & contrasting levels, following a narrative line:
Two of them whre brought to the game:
In relation to the enemies, the studied ones were:
Out of those, this ones made the cut:
I was responsible for defining the narrative and all the dailogues of the levels, as well as the narrative images in the beginning, middle and end. Wwise was used to host those dialogues
Furthermore, I programmed the dialogue system (w/ Jorge Gemas) with customizable dialogue triggers, which I set up in the maps
My contribution can be sum up in:
The fortress would later on be used as the tutorial area:
In the picture, one of many iterations the level had:
Final result thanks to the design and art team:
The level was split in 3 zones but it was originally a whole. It was a vertical descend located in a dwarven open mine in snowy moutains
The second part wasn't originally planned, but I researched de minecart concept and came up with the mechanics and the map. The proposal was received with much enthusiasm
The last part is the boss area. I helped designing the area along with the boss
My contribution was:
In the picture, one of many iterations the level had:
Because of time constraints, I redesigned the whole first part and was in charge of the blockout and all the in-engine stuff: cameras, colliders, particles, lights, enemies... With the help of Guillem Sanchez for terrains and some props
I researched how to include a characteristic element in a mine in the game: minecarts. References ranged from Crash Bandicoot to Red Dead Redemption 2.
The boss area is organic and has elements that bind it to Ciri: the destruction with rocks falling and the platform rising symbolizes her mental climax as she is corrupted and about to colapse.
Emerald butterflies emerge after the fight as she is saved. The tornado is a reference to the series and to her power...
The levels' audio was lacking and confusing. Thus, I decided to make a full zone-by-zone design:
I did so with all levels, here is a sample:
Another one from the second level:
Thanks to Iván Ropero for translating the audio to the game
Ciri (w/ Alejandro París) was designed to represent her mental climax and she causes environment destruction.
We were inspired by the series and I thought hitting a child you want to save would be weird, so the players fight against her "impurities", the clones, while she is inside the tornado
Thanks to the team and specially Marc Guillén for translating the design to the game via code
I also worked on other areas:


This extension provides the facility to send Burp Scanner issues directly to a remote Lair project.
Full documentation for using this extension is available here.


Homework 2
Our team
How to decrypt
Home
Our team is
Majd Hanna
Salam Abu Saleh
Mohammad Heib
Ayal Sabag
Bshara Hamati


{% from "../button/macro.njk" import dasButton %} Menu Apprentice Why you should become an apprentice... Real stories What are the benefits for me? My interests - find your perfect apprenticeship How to become an apprentice - step by step... What is an apprenticeship? Find an apprenticeship Application Interview Your apprenticeship Assessment and qualification Employer Why you should hire an apprentice... Benefits to your business Real stories Find an apprenticeship for your business Help with hiring apprentices How much is it going to cost? The right apprenticeship Choose a training provider Hire an apprentice Preparing and monitoring Assessment and qualification Real stories Interests


Blacklist Items
Managing Blacklist Items
Managing blacklist items is done by accessing the Settings > Blacklist > Search Blacklist Items function in the control panel menu.
From this interface you can add new blacklist items and search, edit, or delete the existing blacklist items. For an overview of searching,
adding, editing, and deleting items, please see the Control Panel Basics section of this software manual.
Database Fields
Blacklist Items have the following fields associated with them:
-
Type -
The type of blacklist item. The avaialble types are:
Submitter IP
This will search the IP address of the user when they are creating or editing an account, uploading a video, or submitting a comment
E-mail Address
This will search the e-mail address of the user when they are creating or editing their account
Domain/URL
This will search the Website URL value submitted by a user when editing their account
Domain IP
NOT CURRENTLY USED
Word
This will search for words that have been submitted for the following:
Comments
The comment text
Videos
Title, description, tags, and location recorded
Users
Username, name, about me, hometown, current city, current country, occupations, companies,
schools, hobbies, movies, music, and books
HTML
NOT CURRENTLY USED
HTTP Header
NOT CURRENTLY USED
DNS Server
NOT CURRENTLY USED
Regular expression - Check this box if the value is a regular expression. Regular expressions are more complex than standard searches that simply look for the item as-is, but they add a great amount of flexibility. In TubeX the Perl Compatible Regular Expressions format is used for regular expressions. If you are not familiar with regular expressions, please see the Pattern Syntax portion of the PHP manual for additional information. If you check the Regular Expression box on the blacklist add/edit form, the item(s) you enter will be treated as regular expressions and used to match against the values that are submitted by the user.
If the values you enter are not regular expressions, be sure to leave that box unchecked. This will cause a normal search to occur which will match the item you enter anywhere within the field that is being searched. For example, if you enter the word "car" as a blacklisted word and someone submits a description of "Carpool to work to save gas", this will match the "car" blacklist word item since it appears in the description. Note that the search is case-insensitive and will match not only exact words, but also portions of words.
Value - The value you want to add to the blacklist.
Reason - Enter a reason why you are blacklisting this item, if you wish. This will help you keep track of why a specific item has been blacklisted.


PangoFcDecoder represents a decoder that an application provides for handling a font that is encoded in a custom way.
FcCharSet * pango_fc_decoder_get_charset (PangoFcDecoder *decoder
,PangoFcFont *fcfont
);
Generates an FcCharSet of supported characters for the fcfont given. The returned FcCharSet will be a reference to an internal value stored by the PangoFcDecoder and must not be modified or freed.
Since: 1.6
PangoGlyph pango_fc_decoder_get_glyph (PangoFcDecoder *decoder
,PangoFcFont *fcfont
,guint32 wc
);
Generates a PangoGlyph for the given Unicode point using the custom decoder. For complex scripts where there can be multiple glyphs for a single character, the decoder will return whatever glyph is most convenient for it. (Usually whatever glyph is directly in the fonts character map table.)
decoder |
||
fcfont |
a PangoFcFont to query. |
|
wc |
the Unicode code point to convert to a single PangoGlyph. |
Since: 1.6
struct PangoFcDecoder;
PangoFcDecoder is a virtual base class that implementations will
inherit from. It's the interface that is used to define a custom
encoding for a font. These objects are created in your code from a
function callback that was originally registered with
pango_fc_font_map_add_decoder_find_func()
. Pango requires
information about the supported charset for a font as well as the
individual character to glyph conversions. Pango gets that
information via the get_charset and get_glyph callbacks into your
object implementation.
Since: 1.6
struct PangoFcDecoderClass { FcCharSet *(*get_charset) (PangoFcDecoder *decoder, PangoFcFont *fcfont); PangoGlyph (*get_glyph) (PangoFcDecoder *decoder, PangoFcFont *fcfont, guint32 wc); };
Class structure for PangoFcDecoder.
This returns an FcCharset given a PangoFcFont that includes a list of supported characters in the font. The FcCharSet that is returned should be an internal reference to your code. Pango will not free this structure. It is important that you make this callback fast because this callback is called separately for each character to determine Unicode coverage. |
||
This returns a single PangoGlyph for a given Unicode code point. |
Since: 1.6


operator fun plus(other: Amount<T>): Amount<T>
A checked addition operator is supported to simplify aggregation of Amounts. Mixing non-identical token types will throw IllegalArgumentException.
ArithmeticException
- if there is overflow of Amount tokens during the summation
IllegalArgumentException
- if mixing non-identical token types.


Samples
Adding widgets dynamically
Custom drag handle
Expandable widgets
Build grid from serialize
Multiple gridster instances on the same page
Resizable widgets
Chaos Widgets
Resizable widgets with constraints
Serialize widgets positions
Using drag callbacks
Using resize callbacks
Dynamic grid width
Responsive grid width
Grid with larger widgets swapping spots with smaller ones
Grid that allows widgets to be exactly placed anywhere


{% load floppyforms %} {# novalidate - see https://github.com/brutasse/django-floppyforms/issues/75 #}
Images will be scaled to fit in a 598 pixel square box.
{{ error }}
Add different price points, sizes, or other variations.
You are about to delete an item. It will be removed from your store, but all purchase and order records for it will be preserved.
This procedure cannot be undone. Do you want to proceed?


Portfolio
Click the thumbs to display the lightbox
Portfolio
Resume
Cover Letter
Contact Information
X
X
X
X
Placeholder Text


{{ title }}
{{ intro }}
Name:
Date:
{{ month }}
Date
{% for option in date %}
{{ option }}
{% endfor %}
Submit
Download
Completed
Completed


Map Sources
Basemaps are credited in the lower right corner of each basemap
Population data is derived from The United States Census Bureau and ESRI
Complaints related to water issues were taken from Alabama Department of Environmental Management
Geological data come from USDA. The flooding frequency map was provided by ACRE
Icons made by Freepik from www.flaticon.com is licensed by CC 3.0 BY. Complaints icon made by The Noun Project


Your first time in court will be in something called set date court. Set date court serves the following functions:
Usually, your first appearence will be nothing more than seeing if the prosecutor has the evidence ready to give you. As your third and fourth appeareances come up, the court will want to know if you have hired a lawyer. Around this time you will be expected to either set a date for trial or make a deal with the prosecutor.
You will not be allowed to argue your case at set-date court. This is reserved for trial.


Video: Man Rams Mercedes-Benz Into Monument to Russian Emperor Alexander III in Siberia's Irkutsk
The driver told police that he was not in the car when the accident happened and was walking along the embankment.
A Mercedes-Benz ML 400 car rammed into a monument to Alexander III in Russia's Irkutsk early on Saturday.
When police arrived at the scene they found the car's owner - a 36-year-old man, who was drunk and denied having been behind the wheel at the time of the accident. He said he was walking along the embankment when the car rammed into the monument. He, however, failed to explain who was in control of the car then.
The driver is facing a $472 fine and will also be stripped of his driving license for two years. He will also have to pay compensation for damages caused to the monument.


Password Generator
password
Number of characters
Include uppercase?
Include numbers?
Include special characters?
Generate password


Responsive image gallery without media queries
Using grid-template-areas to specify named grid areas.
grid-template-areas
Complex grid layout with placement and span
span
Flexible content without media queries