THE DYBBUK A film review by Mark R. Leeper Copyright 1989 Mark R. Leeper
Capsule review: Paydirt! A Yiddish film made in Poland in 1938 turns out to be a little-known gem. The film lacks a lot of what we might consider high production values, but besides being an unintentional artifact of the culture of Eastern European Jewry wiped out in the Holocaust, it also turns out to be a haunting horror film that deserves to be seen by all fans of 1920s and 1930s horror films. At least one sequence, a grotesque dance, ranks this film up with some of the best of German Expressionism. Rating: +3.
Watching the 1938 Polish-made Yiddish film THE DYBBUK, one is only too aware that the film is flawed. Much of the acting is exaggerated as it would be in a silent film. Some of the photography seems poor, as well as some of the editing. At least once the film cuts from a quiet scene to a loud scene and the sudden sound causes the audience to jump. It is true, however, that in retrospect most of the faults seem hard to remember. The strongest memories of the film are beautiful images, some haunting and horrifying. And while taken individually many of the scenes were less effective for me than they may have been for THE DYBBUK's intended audience, this is a great mystical horror film, perhaps one of the better horror films of the 1930s.
[Spoilers follow, though as with a Shakespeare play, one does not see THE DYBBUK for plot surprises.]
Sender and Nisn have been very close friends since their student days. Now they see each other only on holidays. To cement the bond of their friendship they vow that if their respective first children--each expected soon--are of opposite sexes then they will arrange a marriage of the two children. Sure enough, Sender has a daughter Leah, though he loses his wife in childbirth. Nisn has a son, Khonnon, though an accident claims Nisn's life before he can even see his new son or conclude his arrangement to marry Khonnon to Leah.
Years later Khonnon, now a Talmudic scholar, meets Leah and they fall in love. Neither knows about the vow they would be married and Sender does not know whose son Khonnon is. The intense Khonnon is already considering giving up his study of the Talmud to study Kabalah, the great book of mystical knowledge and magic. Sender three times tries to arrange a marriage with a rich but rather sheepish young man. Twice the plans fail and Khonnon believes his magic has averted the arrangement. The third time, however, an agreement is reached. Khonnon calls upon dark forces to help him but is consumed by his own spell and found dead. The day of Leah's marriage--in fact, during the marriage ceremony itself--Khonnon's spirit returns from the grave as a dybbuk, a possessing demon, and takes over the body of the woman he was denied. Leah is taken to a great and pious Rabbi, now nearing the end of his life and torn with self-doubts, who alone may have the knowledge to remove the demon.
If some of this smacks of William Peter Blatty, it should be remembered that this is a 1938 film based on a pre-World-War-I play. THE DYBBUK by S. Anski (a pen name for Shloyme Zanvl Rappoport), along with THE GOLEM by H. Leivick (a pen name for Leivick Halper), are perhaps the two best remembered (and most commonly translated) plays of the great Yiddish Theater. While Yiddish folklore has many dybbuk and golem stories, and the play THE GOLEM was based on an actual legend ("The Golem of Prague"), THE DYBBUK was an original story involving a legendary type of demon. The film retells the story of the play, but remains very different. Other than plot there is not much of the play carried over into the film.
All too commonly constraints of budget and even what appears now to be inappropriate style rob some scenes of their effect. Much of the acting is exaggerated in ways that might have been more appropriate to silent film or to the stage. In fact, in some ways this feels like an entire film done in a style much like the early, good scenes of the 1930 DRACULA. Director Michal Waszynski could well be excused on the grounds that he was making the film for a very different audience. However, just occasionally, a scene will be really supremely well done. The best sequence of the film is when Leah, just before her marriage, is called upon to dance with the poor of the town, as is traditional. Leah is reluctant and the dance turns into a grotesquery culminating with Leah dancing with a figure of death. The film is a showcase for Yiddish songs, cantorial singing, and dancing, both traditional and modern. Much seems out of place, but this one dance creates one of the most eerie and effective horror scenes of its decade.
THE DYBBUK stands as more than a good horror film. It is also an artifact of pre-Holocaust Yiddish film and of Eastern European Jewish village life. Curiously, for a Yiddish film some of the stereotypes that appear could be interpreted as being anti-Semitic. We see a miser with exaggerated Jewish features counting and recounting his coins. We see what is intended to be a great Rabbi looking pompous, fat, sloppy, and apparently lazy. Why a Yiddish film would have such images is open to question. Still, it is a pity that this film is not better known. It deserves to be thought of as a major film of its decade. I rate it +3 on the -4 to +4 scale. Congratulations to the National Center for Jewish Film for restoring this film.
[THE DYBBUK will be playing at the Festival Theater in New York through September 28. -Moderator]
Mark R. Leeper att!mtgzx!leeper<EMAIL_ADDRESS>.
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


Rock! Paper! Scissors!
press "r" "p" or "s" to start
Your Choice:
Computers Choice:
Ties:
Wins:
Losses:


{% autoescape true %}
{% if loggedIn %}User logged in! {{userName}}
{% if isTeacher %}Is Teacher!
{% for c in classes %} {% if c.isClass %}| Class: | {{c.title}} | |
|---|---|---|
| ID: | {{c.id}} |
| Student Name | Quiz 1 | Quiz 2 | Quiz 3 | Quiz 4 | Quiz 5 | Quiz 6 |
|---|---|---|---|---|---|---|
| {{s.name}} | {{s.q1}} | {{s.q2}} | {{s.q3}} | {{s.q4}} | {{s.q5}} | {{s.q6}} |
Is student!
{% else %}Not student or teacher!
{% endif %} {% endif %} {% else %}User not logged in. In order to save you grades on the quizzes, you'll need to have a Google Mail account. If you want to log in, sign in here. Otherwise, just take a quiz below.
{% endif %}| Quiz Number | Quiz | Highest Score |
|---|---|---|
| 1 | Basic Shop Safety | {{ q1 }} |
| 2 | Hand Tools | {{ q2 }} |
| 3 | Basic Power Tools | {{ q3 }} |
| 4 | Metalworking | {{ q4 }} |
| 5 | Advanced Power Tools | {{ q5 }} |
| 6 | Electrical | {{ q6 }} |


Dr. Sam Oyemade
Financial Expert And Gospel Minister
Sam Oyemade is a Chartered Accountant of about two (2) decades and Chartered Tax Practioner with many years professional experience as an external auditor,Tax and Business Management Consultant to many reputable Organisations & Institutions.
He is the President Bearer of Light Missions World Outreach and MP Sam Oyemade & Co (FCS)


Trams for Palm OS v1.0 |
The expenses claim system used in HP Denmark (and EMEA in general) is called Trams. Trams comes in two flavours - one full version which lets you register just about anything and a mobile (or slim) version which lets you register the most common expenses.
Trams for Palm OS is an even slimmer version. It only lets you register expenses - no Per Diem and no fancy expenses can be registered. However, this works in Denmark as we only need to register the amount spent and what the money was spent on.
On this website I have a couple of documents describing how to install and use Trams for Palm OS. These are listed below in the order you should read them:
If you have any comments, requests for enhancements or just want to drop me a note, well, then look me up in Outlook or PFO. Search for schau brian.
I look forward to receive your comments, criticism and good ideas!
... goes to Ben Beall for getting me started on this! :-)
2006-06-28 1.0 * Initial release


Precision of internal calculations¶
MW4 is using for all calculations the skyfield (https://rhodesmill.org/skyfield/) from Brandon Rhodes. As for the new command set offered with 10microns FW3.x it needs to calculate the alt/az coordinates for a satellite track each second for the entire track. As you would like to follow the as precise as possible I made some comparisons between the internal calculations done in 10micron mount and the results provided by skyfield.
In skyfield there is a chapter about satellite calculations and precision: https://rhodesmill.org/skyfield/earth-satellites.html#avoid-calling-the-observe-method Despite the fact that the observe method is expensive the difference in calulation time for a 900 step track is on my computer 120ms (using more precise observe method) to 7ms (using the less precise difference).
Brandon writes about it:
While satellite positions are only accurate to about a kilometer anyway, accounting for light travel time only affected the position in this case by less than an additional tenth of a kilometer. This difference is not meaningful when compared to the uncertainty that is inherent in satellite positions to begin with, so you should neglect it and simply subtract GCRS-centered vectors instead as detailed above.
Here the charts for NOAA 15 [B] at julian date JD=2459333.26498 for the transit happening. The used TLE data was:
NOAA 15 [B]
1 25338U 98030A 21104.44658620 .00000027 00000-0 29723-4 0 9990
2 25338 98.6888 133.5239 0011555 106.3612 253.8839 14.26021970192127
You could see the alt/az of the sat track.
the difference for altitude between 10micron and skyfield
the difference for azimuth between 10micron and skyfield
the difference for right ascension between 10micron and skyfield
the difference for declination between 10micron and skyfield
There is a set of plots for another satellite, which shows the same behavior. The used TLE data was:
RAAVANA-1
1 44329U 98067QE 21134.29933328 .00044698 00000-0 30736-3 0 9995
2 44329 51.6342 100.9674 0004554 122.3279 237.8162 15.74179130108776
You could see the alt/az of the sat track.
the difference for altitude between 10micron and skyfield
the difference for azimuth between 10micron and skyfield
the difference for right ascension between 10micron and skyfield
the difference for declination between 10micron and skyfield
For all calculations is valid:
they are using refraction correction with the same values.
the coordinates from 10micron are gathered with :TLEGEQJD#, :TLEGAZJD# commands
julian date is in UTC time system
10micron firmware 3.0.4
skyfield version 1.39


Cron Web Interface
Cron Job Scheduler - Friendly UI
Script to execute:
When to execute:
Every:
Choose a time interval
At specific hour every:
Choose a day interval
At specific time and day every week:
Choose a day
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
Sunday
At specific time and day every month:
Choose day of month


getstarted.Rmd
The main goal of the imgw package is to give convenient and programmable access to the Polish database of the archive meteorological and hydrological measurements.
It consists of tools that are:
The imgw package consists of nine main functions - four for meteorological data, four for hydrological data and one for sounding meteo:
meteo_hourly()
- downloading meteorological the data with hourly intervalmeteo_daily()
- downloading meteorological the data with daily intervalmeteo_monthly()
- downloading meteorological the data with monthly intervalmeteo()
- downloading meteorological the data with interval the user want to choosehydro()
- downloading hydrological the data with interval the user want to choosehydro_daily()
- downloading hydrological the data with daily intervalhydro_monthly()
- downloading hyrological the data with monthly intervalhydro_annual()
- downloading hyrological the data with annual intervalmeteo_sounding()
– downloading rawinsonde data (+metadata)Most of the functions mentioned above have similar arguments allowing to choose:
rank
- type of the stations "synop"
, "climate"
, "precip"
(only meteo functions)year
- vector of selected years (e.g., 1966:2000
)status
- logical argument TRUE or FALSE; if TRUE the measurement statuses will be erased (only meteo functions)coords
- logical argument TRUE or FALSE; if TRUE the coordinates are added to the stationsstation
- selection of the stations; it can be the ID of stations (numeric) or name of the station (CAPITAL LETTERS (character))col_names
- format of the columns names; three types of column names are possible: "short"
- default, values with shorten names, "full"
- full English description, "polish"
- original names in the datasetimgw also has a few additional databases:
hydro_abberv
/meteo_abberv
- a dictionary containing all original descriptions of parameters in both languages and the abbreviations#> fullname abbr_eng
#> 1 Absolutna temperatura maksymalna [C] tmax_abs
#> 2 Absolutna temperatura minimalna [C] tmin_abs
#> 3 Aktynometria [J/cm2] irrad
#> 4 Charakterystyka tendencji [kod] press_tend
#> 5 Chmury CH [kod] cl_CH_code
#> 6 Chmury CH tekstem cl_CH
#> fullname_eng
#> 1 Absolute maximum air temperature [C]
#> 2 Absolute minimum air temperature [C]
#> 3 Irradiance [J/cm2]
#> 4 Pressure tendency
#> 5 High cloud cover [code]
#> 6 High cloud cover [text]
hydro_stations
/meteo_stations
- datasets of almost all meteorological/hydrological stations containing their ID, latitude, and longitude#> # A tibble: 6 x 3
#> id X Y
#> <dbl> <dbl> <dbl>
#> 1 249190020 19.6 50.0
#> 2 249199999 19.3 49.9
#> 3 249190040 19.4 49.9
#> 4 249190050 19.8 49.9
#> 5 249190060 20.0 49.9
#> 6 249190070 19.2 49.9
We will show how to use our package and prepare the data for spatial analysis with the additional help of the dplyr and tidyr packages. Firstly, we download ten years (2001-2010) of monthly hydrological observations for all stations available and automatically add their spatial coordinates.
#> id X Y station riv_or_lake hyy idhyy idex H
#> 95164 150210180 21.8335 50.88641 ANNOPOL Wisła (2) 2001 3 1 227
#> 95165 150210180 21.8335 50.88641 ANNOPOL Wisła (2) 2001 3 2 265
#> 95166 150210180 21.8335 50.88641 ANNOPOL Wisła (2) 2001 3 3 342
#> 95087 150210180 21.8335 50.88641 ANNOPOL Wisła (2) 2001 4 1 245
#> 95169 150210180 21.8335 50.88641 ANNOPOL Wisła (2) 2001 4 2 286
#> 95170 150210180 21.8335 50.88641 ANNOPOL Wisła (2) 2001 4 3 370
#> Q T mm
#> 95164 205 NA 1
#> 95165 333 NA 1
#> 95166 692 NA 1
#> 95087 257 NA 2
#> 95169 421 NA 2
#> 95170 861 NA 2
The idex
variable represents id of the extremum, where 1
means minimum, 2
mean, and 3
maximum.1 Hydrologists often use the maximum value so we will filter the data and select only the station id
, hydrological year (hyy
), latitude X
and longitude Y
. Next, we will calculate the mean maximum value of the flow on the stations in each year with dplyr’s summarise()
, and spread data by year using tidyr’s spread()
to get the annual means of maximum flow in the consecutive columns.
h2 = h %>%
filter(idex == 3) %>%
select(id, station, X, Y, hyy, Q) %>%
group_by(hyy, id, station, X, Y) %>%
summarise(srednie_roczne_Q = round(mean(Q, na.rm = TRUE),1)) %>%
spread(hyy, srednie_roczne_Q)
| id | station | X | Y | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 149180010 | KRZYŻANOWICE | 18.28722 | 49.99361 | 200.5 | 147.4 | 87.9 | 109.2 | 170.6 | 226.9 | 152.9 | 131.0 | 160.9 | 461.1 |
| 149180020 | CHAŁUPKI | 18.32752 | 49.92127 | 174.7 | 96.7 | 57.6 | 91.8 | 146.9 | 170.6 | 110.2 | 101.6 | 124.7 | 314.6 |
| 149180040 | GOŁKOWICE | 18.49640 | 49.92579 | 4.5 | 2.0 | 1.7 | 1.7 | 2.5 | 3.3 | 2.1 | 1.7 | 2.2 | 8.6 |
| 149180050 | ZEBRZYDOWICE | NA | NA | 13.5 | 7.9 | 3.8 | 5.0 | 10.4 | 6.5 | 5.8 | 2.8 | 4.5 | 23.6 |
| 149180060 | CIESZYN | 18.62972 | 49.74583 | 57.2 | 57.7 | 29.8 | 26.8 | 65.4 | 60.7 | 54.7 | 33.0 | 34.7 | 135.0 |
| 149180070 | CIESZYN | 18.63137 | 49.74629 | NaN | NaN | NaN | NaN | NaN | NaN | 0.6 | 0.5 | 0.6 | 0.6 |
The result represent changing annual maximum average of water flow rate over the decade for all available stations in Poland. We can save it to:
.csv
with: write.csv(result, file = "result.csv", sep = ";",dec = ".", col.names = T, row.names = F)
. This command saves our result to result.csv
where the column’s separator is ;
, the decimal is .
, we are keeping the headers of columns and remove names of rows which are simply numbers of observation.
.xlsx
with: write.xlsx(result, file = "result.xlsx", sheetName = "Poland", append = FALSE)
This command saves our result to result.xlsx with the name of the sheet Poland
. Argument append=TRUE
add the sheet to already existing xlsx
file. To save data in .xlsx
you have first to install package with command: install.packages("writexl")
, and add it: library(writexl)
.
library(sf)
library(tmap)
# trzeba dodac konturowke chociaz...
library(rnaturalearth)
library(rnaturalearthdata)
world <- ne_countries(scale = "medium", returnclass = "sf")
h3 = h2 %>%
filter(!is.na(X)) %>%
st_as_sf(coords = c("X", "Y"))
tm_shape(h3) +
tm_symbols(size = as.character(c(2001:2010)), col = rainbow(10),style = "quantile",
title.size = "Max. flow") +
tm_facets(free.scales = FALSE) +
tm_shape(world) + tm_borders(col = "black", lwd=2) +
tm_layout(legend.position = c(-1.25, 0.05),
outer.margins = c(0, 0.05, 0, -0.25))
You can find more information about this in the hydro_abbrev
dataset.↩


Instructions
- Select "Add-ons>Speedy Slide Creator>Create Slides" to open the main sidebar
- select the required template(s)
- fill in the textbox with the text
- click "submit"
- Enjoy your new slides added to the end of your presentation
How your text is used?
- Text will go onto a new slide when there is a blank line
- The starting lines of a paragraph which start with a # are used for the title.
- Starting a line with a space will stop the line being seen as a title.
- If the first line doesn't starts with a #, then no title is set for that paragraph.
- Other lines are seen as body text
e.g.
#My Title Some fun body text #My Title #Second Line of this title Some body text and I go on two lines I am body text without a title. I also have multiple lines #My title #I start with a space #so I am body text and not a title #I start with a space #so I am body text and not a title Some body text #I am not at the start of the paragraph #so I am just body text some more text in the body
Which template is used?
The template used is based on what text there given for a slide.
- title only => title template
- body only => body template
- title + body => mixed template


This driver provides enhanced support for processed PALSAR products from the JAXA PALSAR processor. This encompasses products acquired from the following organizations:
Support is provided for the following features of PALSAR products:
This is a read-only driver.
To open a PALSAR product, select the volume directory file (for example, VOL-ALPSR000000000-P1.5_UA or VOL-ALPSR000000000-P1.1__A). The driver will then use the information contained in the volume directory file to find the various image files (the IMG-* files), as well as the Leader file. Note that the Leader file is essential for correct operation of the driver.
See Also:


User
class.
This class is an ancestor of mongoose active record object, described here http://mongoosejs.com/docs/documents.html,
http://mongoosejs.com/docs/queries.html
Note: before saving message have all special symbols escaped.
Documentation generated by JSDoc 3.3.0-alpha5 on Sat Jun 14 2014 02:57:16 GMT+0400 (MSK)


Module: WscSdk::Enums::Errors
- Extended by:
- WscSdk::Enums
- Defined in:
- lib/wsc_sdk/enums/errors.rb
Overview
Enumerate the errors that can be generated by the SDK
Constant Summary collapse
- INVALID_ATTRIBUTES =
Error returned when the model does not validate.
{ meta: { status: 422, code: "ERR-422-InvalidAttributes", title: "Invalid Attributes", message: "The model has invalid attribute values assigned to it. Check the `WscSdk::Model#errors` property for more details.", description: "" } }
- MODEL_DOES_NOT_EXIST =
Error returned when the model is attempting an update, but it doesn't have a primary key.
{ meta: { status: 422, code: "ERR-422-RecordInvalid", title: "Record Invalid", message: "You are attempting to access or update a record that does not exist.", description: "" } }
- MODEL_EXISTS =
Error returned when the model is attempting to create, but it already has a primary key.
{ meta: { status: 422, code: "ERR-422-RecordInvalid", title: "Record Invalid", message: "You are attempting to create a record that already exists.", description: "" } }
Class Method Summary collapse
-
.invalid_attributes(endpoint) ⇒ WscSdk::Models::Error
Build an INVALID_ATTRIBUTES error model object.
-
.model_does_not_exist(endpoint) ⇒ WscSdk::Models::Error
Build an RECORD_DOES_NOT_EXIST error model object.
-
.model_exists(endpoint) ⇒ WscSdk::Models::Error
Build an RECORD_EXISTS error model object.
Methods included from WscSdk::Enums
Class Method Details
.invalid_attributes(endpoint) ⇒ WscSdk::Models::Error
Build an INVALID_ATTRIBUTES error model object.
55 56 57 58 59 |
# File 'lib/wsc_sdk/enums/errors.rb', line 55 def self.invalid_attributes(endpoint) error = WscSdk::Models::Error.new(endpoint) error.attributes = INVALID_ATTRIBUTES error end |
.model_does_not_exist(endpoint) ⇒ WscSdk::Models::Error
Build an RECORD_DOES_NOT_EXIST error model object.
69 70 71 72 73 |
# File 'lib/wsc_sdk/enums/errors.rb', line 69 def self.model_does_not_exist(endpoint) error = WscSdk::Models::Error.new(endpoint) error.attributes = INVALID_ATTRIBUTES error end |
.model_exists(endpoint) ⇒ WscSdk::Models::Error
Build an RECORD_EXISTS error model object.
83 84 85 86 87 |
# File 'lib/wsc_sdk/enums/errors.rb', line 83 def self.model_exists(endpoint) error = WscSdk::Models::Error.new(endpoint) error.attributes = INVALID_ATTRIBUTES error end |


Money Play. Should Red double? If doubled, should White take?
pips Red=128 White=112
(CorrectAnswer= 0/0, ErrorScore= 0)
The strength of the five-point prime gives Red enough of an advantage to double. Those blots will be considerably tidier after Red’s next roll.
Meanwhile White leads in the race and has the advantage of holding Red’s 9-pt although that won’t last forever. White has twelve checkers in the attack zone so if he gets the chance, he might win with a blitz attack.
The position is finely balance and very volatile. Red should double and White should take. Dropping would be a double blunder.
Meanwhile White leads in the race and has the advantage of holding Red’s 9-pt although that won’t last forever. White has twelve checkers in the attack zone so if he gets the chance, he might win with a blitz attack.
The position is finely balance and very volatile. Red should double and White should take. Dropping would be a double blunder.
Cube analysis 2-ply cubeless equity +0.487 0.705 0.147 0.006 - 0.295 0.075 0.001 Cubeful equities: 1. Double, take +0.773 2. Double, pass +1.000 (+0.227) 3. No double +0.747 (-0.026) Proper cube action: Double, take


Tooltip with Hyperlink
Left Tooltip with longer content
Right Tooltip with longer content
Absolutely-positioned Tooltips
To properly test these, pull your browser window's borders close to the edge of the white box
Tooltip (Configured to open on Top)
Tooltip (Configured to open on Left)
Tooltip (Configured to open on Top)
Tooltip (Configured to open on Right)
Tooltip (Configured to open on Bottom)
Tooltip (Configured to open on Right)
Tooltip (Configured to open on Bottom)
Tooltip (Configured to open on Left)


Chittagong
Posted on Sat 25 March 2017 in Personal
Disclaimer : This blog represents my feelings and the way I feel about certain things. I need to understand some of the incidents that happen in my life and I would like to blog about it. I may be wrong and my mind is exploring both sides of the game. The game of life! I believe in learning from my own mistakes and taking my own calls. I am not a rebel. I wish to understand things within and things that have led to me being here. Most of all, I consider this as my way of talking to my own self and clearing my thoughts.
The Uprising
Independence Struggle was something that was an essential and burnt into the minds of everybody that has come from the lands that fought for the same valiantly. What is freedom ? What is the truest sense of freedom ?
To understand the truest sense of freedom, we would need to understand what was defined as a violation of it:
- Justification of unjust, unfair, unscrupulous (having no morals) and outright foul events.
- When the people who should've been protecting the justice, violate it.
- When you are forced to commit to something you don't believe in ( e.g. Linguistic Chauvinism in the Last Lesson ).
- To follow people who have wronged you and to be part of a flawed system.
You feel frustrated and find means to fulfill what you feel is right.
Armed Uprising
People started giving in/bringing in fire-arms and practicing firearms. The people had started realizing that freedom was necessary and started feeling the need to fight.
What has History remembered?
History recorded that an uprising had been caused by small children who were all under or around 20 years of age. An average age below 18 years. They all had found a leader in one person - Masterda Surya Sen. What had the children, the teenage boys seen in this man ? What motivated these children to join and follow a rebel? These teenagers, these boys had no idea of what the big picture was or maybe they had. But at that age, it would be wrong to assume that children were mature enought to know what they were doing.
The uprising was a success and these boys had become men


References
clipmap
codecs
| summary | ||
| public |
Run-Length Encoding for numerical data. |
core
| summary | ||
| public |
C Queue A FIFO queue. |
|
| public |
C Terrain The terrain system. |
|
| public |
The Deserializable contract. |
|
| public |
The Disposable contract. |
|
| public |
The Serializable contract. |
|
| public |
The TransferableContainer contract. |
|
| public |
Signals the occurrence of an unexpected error. |
|
| public |
Signals the end of an extraction task. |
|
| public |
Signals the start of an extraction task. |
|
| public |
V load: TerrainEvent Signals the end of a volume data loading process. |
|
| public |
Signals the end of a modification task. |
|
| public |
Signals the start of a modification task. |
events
| summary | ||
| public |
A clipmap event. |
|
| public |
An SDF loader event. |
|
| public |
A terrain event. |
|
| public |
A worker event. |
isosurface
| summary | ||
| public |
An isosurface, the result of a contouring process. |
isosurface/dual-contouring
| summary | ||
| public |
Dual Contouring is an isosurface extraction technique that was originally presented by Tao Ju in 2002: http://www.cs.wustl.edu/~taoju/research/dualContour.pdf |
|
| public |
An edge mask for cell processing. |
|
| public |
A face mask for cell processing. |
|
| public |
An edge mask. |
|
| public |
V edgeProcEdgeMask: Array<Uint8Array[]> An edge mask for edge processing. |
|
| public |
V faceMap: Uint8Array[] A face map. |
|
| public |
V faceProcEdgeMask: Array<Uint8Array[]> An edge mask for face processing. |
|
| public |
V faceProcFaceMask: Array<Uint8Array[]> A face mask for face processing. |
|
| public |
V procEdgeMask: Uint8Array[] An edge mask. |
loaders
| summary | ||
| public |
An SDF loader. |
|
| public |
A load event. |
math
octree/voxel
| summary | ||
| public |
A sparse, cubic voxel octree. |
|
| public |
A voxel octant. |
octree/world
| summary | ||
| public |
A world octant that doesn't reside in LOD zero. This octant is a container for resampled volume data. Additionally, it stores information about the existence of its potential children. |
|
| public |
A design for octant keys. |
|
| public |
A key range iterator. |
|
| public |
A world octant. |
|
| public |
A world octant identifier. |
|
| public |
A world octant iterator. |
|
| public |
A world octant wrapper that stores positional information. |
|
| public |
An octree that subdivides space for fast spatial searches. |
|
| public |
A world octree CSG operation manager. |
|
| public |
A world octree raycaster. |
utils
| summary | ||
| public |
A collection of binary number utilities. |
volume
| summary | ||
| public |
C Edge An edge between two material grid points. |
|
| public |
C EdgeData Stores edge data separately for each dimension. |
|
| public |
An edge iterator. |
|
| public |
Hermite data. |
|
| public |
C Voxel A cubic voxel that holds information about the surface of a volume. |
|
| public |
An enumeration of material constants. |
volume/csg
| summary | ||
| public |
Constructive Solid Geometry combines Signed Distance Functions by using Boolean operators to generate and transform volume data. |
|
| public |
An operation that describes a density field. |
|
| public |
A difference operation. |
|
| public |
An intersection operation. |
|
| public |
A CSG operation. |
|
| public |
C Union A union operation. |
|
| public |
An enumeration of CSG operation types. |
volume/sdf
| summary | ||
| public |
Fractal noise based on Perlin's technique. |
|
| public |
A Signed Distance Function that describes a heightfield. |
|
| public |
An SDF reviver. |
|
| public |
An abstract Signed Distance Function. |
|
| public |
The super primitive. |
|
| public |
An enumeration of SDF types. |
|
| public |
An enumeration of super primitive presets. |
worker
| summary | ||
| public |
A volume data processor. |
|
| public |
A surface extractor that generates a polygonal mesh from Hermite data. |
|
| public |
Manages worker threads. |
|
| public |
A modifier that applies CSG operations to Hermite data. |
|
| public |
An enumeration of worker actions. |
|
| public |
A worker message event. |
worker/messages
| summary | ||
| public |
A configuration message. |
|
| public |
A worker message that contains transferable data. |
|
| public |
An extraction request. |
|
| public |
An extraction response. |
|
| public |
C Message A message. |
|
| public |
A modification request. |
|
| public |
A modification response. |


New Jersey Marathon
Long Branch NJ/USA
Website: www.njmarathon.org
Race Winners
(36 runnings)
3:00:44 3:02:22 3:13:41 2:52:10 3:04:51 29 Apr
2007
2:32:27
3:10:03
30 Apr
2006
2:31:37
3:04:22
17 Apr
2005
2:36:55.0
3:09:05.1
25 Apr
2004
2:33:55.8
2:51:43.0
27 Apr
2003
2:37:22.3
2:52:46.3
28 Apr
2002
2:44:19.5
2:57:28.0
29 Apr
2001
2:29:19.6
3:04:03.7
30 Apr
2000
2:41:02.9
2:59:55.6
25 Apr
1999
2:40:55.7
3:01:52.2
26 Apr
1998
2:37:43.9
3:02:59.5
27 Apr
1997
2:39:34.0
3:09:53.7
1986-1996
---
---
10 Nov
1985
2:27:
---
18 Nov
1984
2:30:55
2:57:03
13 Nov
1983
2:17:56
2:47:53
14 Nov
1982
2:18:39
2:46:31
06 Dec
1981
2:22:08
2:53:05
07 Dec
1980
2:17:29
2:54:27
02 Dec
1979
2:17:03
2:52:25
03 Dec
1978
2:17:05
2:57:07
04 Dec
1977
2:18:04
3:01:45
16 Jan
1977
2:27:07
3:09:42
Jan
1976
2:22:41
3:02:00
19 Jan
1975
2:24:47
3:02:42
20 Jan
1974
2:27:05
3:41:35
21 Jan
1973
2:19:16
3:04:50
09 Jan
1972
2:28:28.8
4:19:58
Notes: 1972 was the inaugural year. The 1972-1985 races were known as the Jersey Shore Marathon and were held in
Asbury Park; the 1997-1998 races were known as the Jersey Shore McMarathon (they benefited the Ronald McDonald
House of Long Branch); the 1999-2002 races were known as the New Jersey Shore Marathon.
30 Apr
2017
2:32:22
Jeffrey Powers (PA/USA)
2:54:17
Annie Onishi (NY/USA)
01 May
2016
2:34:41
Robert Dennis (NJ/USA)
2:54:32
Greta Sieve (NJ/USA)
27 Apr
2015
2:33:43
Thomas McConville (NY/USA)
3:05:01
Sara Belles (CT/USA)
27 Apr
2014
2:30:48
Oz Pearlman-4
2:59:22
Rachel Clattenburg (DC/USA)
05 May
2013
2:28:23
Oz Pearlman-3
3:00:11
Elizabeth Drews (NJ/USA)
06 May
2012
2:33:13
Jason Page (NC/USA)
Megan diGregorio (MD/USA)
01 May
2011
2:28:19
Oz Pearlman-2
Bronwyn O'Leary (NJ/USA)
02 May
2010
2:37:53
Michael
Arnstein-2
Holly Parker (MA/USA)
03 May
2009
2:38:42
Michael Arnstein (NY/USA)
Lauren Uhler (NY/USA)
04 May
2008
2:33:09
Oz Pearlman (NY/USA)
Kathryn Bowser (PA/USA)
Anthony Cioce (NJ/USA)
Molly Mahany (NY/USA)
Richard Tessier (PQ/CAN)
Conni Grace (NY/USA)
Jacob Cooper (NY/USA)
Jennifer Meyer (CT/USA)
Gyula Szabo (NY/USA)
Dorian Meyer-3
Peter Heimgartner (NY/USA)
Dorian Meyer-2
Maciej Ciepak (POL)
Dorian Meyer (NJ/USA)
Michael Harrison-2
Wendy Locke (NJ/USA)
Michael Harrison (VA/USA)
Laurie Parton-2
John Gouveia (NJ/USA)
Kate McCoy (PA/USA)
Brett Albert (NY/USA)
Laurie Parton (NJ/USA)
Brian McCourt (NJ/USA)
Kimberly Keenan (NJ/USA)
not held
not held
Ryszard Marczak (POL)
n/a
William Scholl (NJ/USA)
Agnes Ruane-2
Tom Fleming-3
Agnes Ruane (CT/USA)
Ray Cerankowski (USA)
Karen Dunn (NH/USA)
Cliff Whitehead (USA)
Kare Cossaboon-Holm (NY/USA)
Steve Molnar (PA/USA)
Madeline Harmeling (NY/USA)
Craig Holm (NY/USA)
Jean Chodnicki-2
Stuart Penn (NY/USA)
Jean Kerr (NY/USA)
William Sieben (NJ/USA)
Jean Chodnicki (NJ/USA)
Peter Squires (NY/USA)
Carolyn Clarke (USA)
Bruce Robinson (NJ/USA)
Nancy Kent (USA)
Jeff Bradley (PA/USA)
Patricia Barrett-3
Gary Wallace (NH/USA)
Eileen Diskin (USA)
Tom Fleming-2
Patricia Barrett-2
Tom Fleming (NJ/USA)
Patricia Barrett (NJ/USA)
Most Wins
(1972/date)
Men
4
Oz Pearlman (NY/USA)
2008,2011,2013-14
Women 3
Patricia Barrett (NJ/USA)
1972-73,1975
.
Dorian Meyer (NJ/USA)
2002-04
Prize Money
No information on prize money has been received for this race.
Race Time Bias
Insufficient data to calculate the race time bias.
Competitive Level
Insufficient data to calculate the competitive level.
Quality Performances
Men <2:18 4 <2:19 8 <2:20 14 Women <2:48 2 <2:50 2
Last Updated on 01 May 2017
Contributors: Pete Colaizo (2), Art Castellano, Juraj Gasparovic (7)


If the characters 'D', 'C', 'B', 'A' are placed in a queue (in that order), and then removed one at a time, in what order will they be removed?
Items are removed from a queue in the same order as they arrived.


w
My name is Emanuel, I am currently a server at a retirement community looking to transition
into the tech industry.
Who is the doggo? She is Blue, my faithful husky/blue heeler companion.
Besides programming, I enjoy learning/playing the guitar, listening
to music, watching Star Trek, playing with the pets, and just letting my curiosity lead me to
new concepts or ideas.
Below is some of my work, in bold are the tools used, and underneath is the github link.
Click on the image or titles to see the project. NOTE: Not all projects have links.
Populates the screen with tiles, when you hover over a tile, it chooses a true random color
and it changes back to white after a half second.
HTML, CSS, Flexbox, Javascript, jQuery, Django
Tile Color Trailer repo
Add items into a list, then shuffle them however many times you want.
HTML, CSS, Flexbox Javascript, jQuery, Django
Shuffler's repo
Choose a root note, a chord quality, then click on find shape! You can then see other shapes with the next or previous buttons.
HTML, CSS, Flexbox, Javascript, jQuery
Chord Shape Generator repo
Plug in an image to find out what it is with IBM Watson Visual Recognition.
Was intended for the following:
Baseball cards (1968, 1969, specifically Hank Aaron, and Mickey Mantle),
Typewriters (Royal and Underwood), Vinyl Album Covers (Elvis Presley and the Beatles)
HTML, CSS, Flexbox, Javascript, jQuery, Python, IBM Watson Visual Recognition, AJAX calls
Collexion's Demo repo
Listen to 4 different kinds of sound wave shapes in your desired number of Hertz.
HTML, CSS, Flexbox, Javascript, jQuery, Mozilla Web Audio API
Tone Generator repo
Created at PNCA's "Sensing the environment" hackathon. This is only the beginning.
Our team created this prototype and the housing.
A prototype for a Particulate Matter Sensor that logs readings every second
Teensyduino 3.2, Teensyduino Audio Shield, RTC module, AA battery deck,
PMS Plantower 5003, C++, Electrical Engineering
Currently working on Free Geek's scheduler with our Free Geek group
from the Code For Good conference. I connected the app to REST API,
created serializers, viewsets, routers, profile page, login, logout,
registration pages, and connected to the old home page to find functionality.
Django, Postgres, Python, REST API, HTML, CSS(Flexbox), Javascript(jQuery)
My Fork Repo
Technical Skills:
Python (Functional and Object-Oriented Programming (OOP))
HTML
CSS
Regex
Javascript
jQuery
AJAX calls
Django Framework
Command Lines (Powershell, Bash, Cygwin)
Version Control
Windows and Linux (Ubuntu) Environments
Some Java Experience
Socketing into Amazon AWS instances and using them
API's - Google Maps, Trimet, REST, Mozilla Web Audio,
Amazon Rekognition, IBM Watson Visual Recognition
Some C++
Microcontrollers - Teensyduino, Arduino Genuino,
and Raspberry Pi
For more projects, checkout my Github
Any questions, comments, or concerns? My email is on my Github repo, just shoot me an email.


13 gifts for people who love to sleep
by Chloe BryanUpping one's own pajama game is hard to make a priority. Why invest in PJs when you could spend money on clothes you actually wear outside?
That's why a nice set of pajamas (or a sleep accessory) makes a delightful holiday gift. You're doing the investing for someone else, and you're making them cozy to boot.
Consider these 13 pajama and pajama-adjacent gifts for that person in your life who could stand to be a little more comfortable. And if that person is you? Even better, honestly.
1. Festive holiday pajamas
You're never too old for a set of indescribably corny, inappropriate-for-11-months-of-the-year holiday pajamas. For maximum impact, pick one printed with holiday... dinosaurs?
Price: $10-24.99 at Target
2. Warm flannel pajamas
If you know festive holiday pajamas will go unappreciated, opt for a warm, practical flannel set instead. You can even sneak in a little cheer by picking a holiday-ish print.
Price: $69.95 at L.L. Bean
3. Fancy-looking satin pajamas
For someone who appreciates a little aesthetic luxury — and, ideally, doesn't get cold easily. (You could also do silk, but that would be substantially more expensive.)
Price: $29.99 at Target
4. A waffle robe
If someone doesn't appreciate a cozy robe, can you trust them? We say no.
Price: $119 at Parachute
5.  Compromise with 100 percent cotton — truly a pajama fabric for all seasons.
Price: $98 at J.Crew
6. Statement slippers
Fuzzy slippers are even better when they're a vivid, fun color. Plus, you'll never lose them! Not that slippers are easy to lose, but better safe than sorry.
Price: $59.95 at Lou & Grey
7. A silk eye mask
With the exception of houseplants, gifts shouldn't create more work for the recipient. This washable sleep mask from Lunya is made of 100 percent silk, but it's also machine washable.
Price: $48 at Lunya
8. A fun nightlight
No shame in an adult nightlight. Here's one shaped like a crab.
Price: $17.99 on eBay
9. Pajamas to match your dog
It's important to match your dog as often as possible. Make sure your recipient's dog is cool with wearing pajamas, though.
Price: $64.99+ at Pajamagram
10. A onesie for someone who never has to pee at night
A onesie as everyday pajamas seems unhinged. What if you have to pee before bed? What if you have to change your tampon? Why lock yourself in a logic puzzle when you could simply wear normal pants? Against all odds, though, some people like pajama onesies (if only for whimsy). Here is a fun one.
Price: $48 at Nordstrom
11. Cashmere bed socks
Yes, wearing socks to bed is generally frowned upon (although not by everyone), but pre-bed socks are a luxury everyone can agree on.
Price: $49 at The White Company
12. A flannel nightshirt
Add a nightcap and a kerosene lamp and it doubles as Ebenezer Scrooge cosplay.
Price: $58.80 at The Vermont Flannel Company
13. The gold standard in slippers
We don't know anyone with these slippers who doesn't love them. More than a few people — both IRL and in reviews — assert that they pass the ultimate slipper test: That is, they're cozy and warm without making your feet sweat.


In 18 months, Graham Boylan plans to rebuild Irish fighters’ road to UFC
by Peter CarrollCORK, Ireland — Graham Boylan shared his thoughts on bringing Cage Warriors back to his hometown and rebuilding Irish MMA’s path to the UFC. The Irish promoter also revealed his plans to roll out a number of shows in Ireland in 2020, including two shows at the SSE Arena Belfast. He also underlined the star potential he sees in Rhys McKee and Ian Garry, who he believes will become the faces of the promotion in Ireland.


--- title: Masks a sequence by using a mask value to skip timesteps. type: docs repo: https://github.com/rstudio/keras menu: main: name: Masks a sequence by using a mask value to skip timesteps. - keras parent: keras-reference aliases: - /reference/keras/layer_masking.html - /keras/reference/layer_masking.html - /guide/keras/reference/layer_masking.html - /tools/tools/keras/reference/layer_masking.html - /installation/keras/reference/layer_masking.html - /tutorials/keras/reference/layer_masking.html - /guide/tools/keras/reference/layer_masking.html - /deploy/keras/reference/layer_masking.html - /tools/keras/reference/layer_masking.html - /tutorials/tools/keras/reference/layer_masking.html ---
For each timestep in the input tensor (dimension #1 in the tensor), if all
values in the input tensor at that timestep are equal to mask_value
, then
the timestep will be masked (skipped) in all downstream layers (as long as
they support masking). If any downstream layer does not support masking yet
receives such an input mask, an exception will be raised.
layer_masking(
object,
mask_value = 0,
input_shape = NULL,
batch_input_shape = NULL,
batch_size = NULL,
dtype = NULL,
name = NULL,
trainable = NULL,
weights = NULL
)
| object | Model or layer object |
| mask_value | float, mask value |
| input_shape | Dimensionality of the input (integer) not including the samples axis. This argument is required when using this layer as the first layer in a model. |
| batch_input_shape | Shapes, including the batch size. For instance,
|
| batch_size | Fixed batch size for layer |
| dtype | The data type expected by the input, as a string ( |
| name | An optional name string for the layer. Should be unique in a model (do not reuse the same name twice). It will be autogenerated if it isn't provided. |
| trainable | Whether the layer weights will be updated during training. |
| weights | Initial weights for layer. |
Other core layers:
layer_activation()
,
layer_activity_regularization()
,
layer_attention()
,
layer_dense_features()
,
layer_dense()
,
layer_dropout()
,
layer_flatten()
,
layer_input()
,
layer_lambda()
,
layer_permute()
,
layer_repeat_vector()
,
layer_reshape()


The Hunchback of Notre Dame
by Victor Hugo
Book Ninth, Chapter 6
Additional Information
- Year Published: 1831
- Language: English
- Country of Origin: France
- Source: Hapsgood, I., trans. (1831). The Hunchback of Notre Dame. New York: Carey, Lea, and Blanchard.
-
Readability:
- Flesch–Kincaid Level: 12.0
- Word Count: 1,142
- Genre: Romance
- Keywords: culture, fate, love, loyalty
- ✎ Cite This
Downloads
That night, la Esmeralda had fallen asleep in her cell, full of oblivion, of hope, and of sweet thoughts. She had already been asleep for some time, dreaming as always, of Phoebus, when it seemed to her that she heard a noise near her. She slept lightly and uneasily, the sleep of a bird; a mere nothing waked her. She opened her eyes. The night was very dark. Nevertheless, she saw a figure gazing at her through the window; a lamp lighted up this apparition. The moment that the figure saw that la Esmeralda had perceived it, it blew out the lamp. But the young girl had had time to catch a glimpse of it; her eyes closed again with terror.
"Oh!" she said in a faint voice, "the priest!"
All her past unhappiness came back to her like a flash of lightning. She fell back on her bed, chilled.
A moment later she felt a touch along her body which made her shudder so that she straightened herself up in a sitting posture, wide awake and furious.
The priest had just slipped in beside her. He encircled her with both arms.
She tried to scream and could not.
"Begone, monster! begone assassin!" she said, in a voice which was low and trembling with wrath and terror.
"Mercy! mercy!" murmured the priest, pressing his lips to her shoulder.
She seized his bald head by its remnant of hair and tried to thrust aside his kisses as though they had been bites.
"Mercy!" repeated the unfortunate man. "If you but knew what my love for you is! 'Tis fire, melted lead, a thousand daggers in my heart."
She stopped his two arms with superhuman force.
"Let me go," she said, "or I will spit in your face!"
He released her. "Vilify me, strike me, be malicious! Do what you will! But have mercy! love me!"
Then she struck him with the fury of a child. She made her beautiful hands stiff to bruise his face. "Begone, demon!"
"Love me! love mepity!" cried the poor priest returning her blows with caresses.
All at once she felt him stronger than herself.
"There must be an end to this!" he said, gnashing his teeth.
She was conquered, palpitating in his arms, and in his power. She felt a wanton hand straying over her. She made a last effort, and began to cry: "Help! Help! A vampire! a vampire!"
Nothing came. Djali alone was awake and bleating with anguish.
"Hush!" said the panting priest.
All at once, as she struggled and crawled on the floor, the gypsy's hand came in contact with something cold and metal– lic–it was Quasimodo's whistle. She seized it with a convulsive hope, raised it to her lips and blew with all the strength that she had left. The whistle gave a clear, piercing sound.
"What is that?" said the priest.
Almost at the same instant he felt himself raised by a vigorous arm. The cell was dark; he could not distinguish clearly who it was that held him thus; but he heard teeth chattering with rage, and there was just sufficient light scattered among the gloom to allow him to see above his head the blade of a large knife.
The priest fancied that he perceived the form of Quasimodo. He assumed that it could be no one but he. He remembered to have stumbled, as he entered, over a bundle which was stretched across the door on the outside. But, as the newcomer did not utter a word, he knew not what to think. He flung himself on the arm which held the knife, crying: "Quasimodo!" He forgot, at that moment of distress, that Quasimodo was deaf.
In a twinkling, the priest was overthrown and a leaden knee rested on his breast.
From the angular imprint of that knee he recognized Quasimodo; but what was to be done? how could he make the other recognize him? the darkness rendered the deaf man blind.
He was lost. The young girl, pitiless as an enraged tigress, did not intervene to save him. The knife was approaching his head; the moment was critical. All at once, his adversary seemed stricken with hesitation.
"No blood on her!" he said in a dull voice.
It was, in fact, Quasimodo's voice.
 Fortunately for him, the moon had risen a few moments before.
When they had passed through the door of the cell, its pale rays fell upon the priest's countenance. Quasimodo looked him full in the face, a trembling seized him, and he released the priest and shrank back.
The gypsy, who had advanced to the threshold of her cell, beheld with surprise their roles abruptly changed. It was now the priest who menaced, Quasimodo who was the suppliant.
The priest, who was overwhelming the deaf man with gestures of wrath and reproach, made the latter a violent sign to retire.

So saying, he presented his knife to the priest. The priest, beside himself, was about to seize it. But the young girl was quicker than be; she wrenched the knife from Quasimodo's hands and burst into a frantic laugh,—"Approach," she said to the priest.
She held the blade high. The priest remained undecided.
She would certainly have struck him.
Then she added with a pitiless expression, well aware that she was about to pierce the priest's heart with thousands of red–hot irons,—
"Ah! I know that Phoebus is not dead!
The priest overturned Quasimodo on the floor with a kick, and, quivering with rage, darted back under the vault of the staircase.
When he was gone, Quasimodo picked up the whistle which had just saved the gypsy.
"It was getting rusty," he said, as he handed it back to her; then he left her alone.
The young girl, deeply agitated by this violent scene, fell back exhausted on her bed, and began to sob and weep. Her horizon was becoming gloomy once more.
The priest had groped his way back to his cell.
It was settled. Dom Claude was jealous of Quasimodo!
He repeated with a thoughtful air his fatal words: "No one shall have her."