public interface Type5MemoryCommandInterface
| Modifier and Type | Method and Description |
|---|---|
ReadBlockResult |
readBlocks(int firstBlockAddress,
int sizeInBlocks)
Read function with Block granularity
If the option bit is set on the flag parameter, the Block Security Status
byte array of ReadBlockResult is filled with the blockSecurityStatus byte
value for each requested block:
blockSecurityStatus = 0 for unlocked block
blockSecurityStatus = 1 for awrite-locked block (read only)
blockSecurityStatus = FF if not read
|
ReadBlockResult |
readBlocks(int firstBlockAddress,
int sizeInBlocks,
byte flag,
byte[] uid)
Read function with Block granularity
If the option bit is set on the flag parameter, the Block Security Status
byte array of ReadBlockResult is filled with the blockSecurityStatus byte
value for each requested block:
blockSecurityStatus = 0 for unlocked block
blockSecurityStatus = 1 for awrite-locked block (read only)
blockSecurityStatus = FF if not read
|
byte[] |
readBytes(int byteAddress,
int sizeInBytes)
Read function with Byte granularity.
|
byte[] |
readBytes(int byteAddress,
int sizeInBytes,
byte flag,
byte[] uid)
Read function with Byte granularity.
|
void |
writeBlocks(int firstBlockAddress,
byte[] data)
Write function with Block granularity
|
void |
writeBlocks(int firstBlockAddress,
byte[] data,
byte flag,
byte[] uid)
Write function with Block granularity
|
void |
writeBytes(int byteAddress,
byte[] data)
Write function with Byte granularity
|
void |
writeBytes(int byteAddress,
byte[] data,
byte flag,
byte[] uid)
Write function with Byte granularity
|
ReadBlockResult readBlocks(int firstBlockAddress, int sizeInBlocks) throws STException
firstBlockAddress
- sizeInBlocks
- STException
ReadBlockResult readBlocks(int firstBlockAddress, int sizeInBlocks, byte flag, byte[] uid) throws STException
firstBlockAddress
- sizeInBlocks
- flag
- uid
- STException
void writeBlocks(int firstBlockAddress, byte[] data) throws STException
firstBlockAddress
- data
- STException
void writeBlocks(int firstBlockAddress, byte[] data, byte flag, byte[] uid) throws STException
firstBlockAddress
- data
- flag
- uid
- STException
byte[] readBytes(int byteAddress, int sizeInBytes) throws STException
byteAddress
- sizeInBytes
- STException
byte[] readBytes(int byteAddress, int sizeInBytes, byte flag, byte[] uid) throws STException
byteAddress
- sizeInBytes
- flag
- uid
- STException
void writeBytes(int byteAddress, byte[] data) throws STException
byteAddress
- data
- STException
void writeBytes(int byteAddress, byte[] data, byte flag, byte[] uid) throws STException
byteAddress
- data
- flag
- uid
- STException
COPYRIGHT 2017 STMicroelectronics. All rights reserved.


AutoML adoption in software engineering for machine learning
This blog post has originally been published on automl.org
In our global survey among teams that build ML applications, we found ample room for increased adoption of AutoML techniques. While AutoML is adopted at least partially by more than 70% of teams in research labs and tech companies, for teams in non-tech and government organisations adoption is still below 50%. Full adoption remains limited to under 10% in research and tech, and to less than 5% in non-tech and government.
Software engineering for machine learning
With the inclusion of ML techniques in software, the risks and requirements of the software also changes. In turn, the best ways to maintain and develop software with ML components is different from traditional software engineering (TSE). We call this new field software engineering for machine learning (SE4ML).
Based on a study of the academic and “grey” literature (the latter comprises blog articles, presentation slides and white papers), we identified best practices for SE4ML, and composed a recommended reading list on the topic. These practices include the use of AutoML techniques to improve the use of ML components in software. All practices are described in our practice catalogue. We encourage readers to have a look and to send us their suggestions for additions.
Figure 1: Engineering best practices for machine learning.
Having a solid overview of the best practices, we set up a survey to find out the extent to which these SE4ML practices have already been adopted. We asked teams working on software with machine learning components to which degree they followed each practice in their work. In the resulting data we saw that tech companies have the highest adoption of the new ML related best practices, while research labs have the highest adoption of AutoML. Overall, more practices are adopted by teams that are larger and more experienced, with practices originating from TSE seeing slightly lower adoption than the new ML specific practices.
Effects of best practice adoption
Besides the adoption of best practices, we also investigated the effects of the practices. This resulted in insights into which specific practices relate to which desired outcomes. For instance, we found that software quality is influenced most by continuous integration, automated regression tests, and static analysis. On the other hand, agility is primarily affected by automated model deployment, having a cohesive- multi-disciplinary team, and enabling parallel training experiments. With these insights into the effectiveness of different practices, we hope to increase practice adoption and improve the quality of software with ML components.
A brief overview of additional survey results can be found in our piece titled “The 2020 State of Engineering Practices for Machine Learning”, and in our technical publication “Adoption and Effects of Software Engineering Best Practices in Machine Learning”.
How about automated ML?
A recent line of research advancements in ML focuses on automated machine learning (AutoML), an area that aims to automate (parts of) the construction and use of ML pipelines to enable a wider audience to make effective and responsible use of ML, without needing to become an expert in the field. We took a closer look at our survey results and found that, compared to non-tech companies and governmental organisations, research labs and tech companies are ahead in the adoption of AutoML practices (see Figure 2).
Figure 2: AutoML adoption by organisation type.
While overall AutoML adoption is similar across continents, non-profit and low-tech organisations see higher adoption in Europe than in North America. We also found that teams with multiple years of experience are more likely to adopt AutoML techniques. Finally, across the board, there is significant room to increase adoption of AutoML, but this is especially true for non-tech companies and governmental organisations.

Looking forward
Based on feedback from and interviews with participants, we recently revised our survey to learn more. Specifically, in our latest version of the survey, we ask in more detail about responsible use of ML and about the adoption of different AutoML techniques such as automated feature selection and neural architecture search. You can help us by taking the 10-minute survey and by spreading the word. If you want to stay up to date with our progress, keep an eye on our website.


# MdHighlightCode + Avdol + Yes! + I! + Am! + Jojo! > Jojo! This is the last of my hamon! Take it from me!! **Everything above should be preserved** ```haskell module Kira where data KillerQueue -- this code should be preserved ```
module MdHighlightCode where open import Agda.Builtin.NatThis is an Agda code block ↑
number : Nat number = suc (suc zero)This is an Agda code block as well ↑


| Top |
A GtkPrintSettings object represents the settings of a print dialog in a system-independent way. The main use for this object is that once you’ve printed you can get a settings object that represents the settings the user chose, and the next time you print you can pass that object in so that the user doesn’t have to re-set all his settings.
Its also possible to enumerate the settings so that you can easily save the settings for the next time your app runs, or even store them in a document. The predefined keys try to use shared values as much as possible so that moving such a document between systems still works.
Printing support was added in GTK+ 2.10.
void (*GtkPrintSettingsFunc) (const gchar *key
,const gchar *value
,gpointer user_data
);
GtkPrintSettings *
gtk_print_settings_new (void
);
Creates a new GtkPrintSettings object.
Since: 2.10
GtkPrintSettings *
gtk_print_settings_copy (GtkPrintSettings *other
);
Copies a GtkPrintSettings object.
Since: 2.10
gboolean gtk_print_settings_has_key (GtkPrintSettings *settings
,const gchar *key
);
Returns TRUE
, if a value is associated with key
.
Since: 2.10
const gchar * gtk_print_settings_get (GtkPrintSettings *settings
,const gchar *key
);
Looks up the string value associated with key
.
Since: 2.10
void gtk_print_settings_set (GtkPrintSettings *settings
,const gchar *key
,const gchar *value
);
Associates value
with key
.
Since: 2.10
void gtk_print_settings_unset (GtkPrintSettings *settings
,const gchar *key
);
Removes any value associated with key
.
This has the same effect as setting the value to NULL
.
Since: 2.10
void gtk_print_settings_foreach (GtkPrintSettings *settings
,GtkPrintSettingsFunc func
,gpointer user_data
);
Calls func
for each key-value pair of settings
.
Since: 2.10
gboolean gtk_print_settings_get_bool (GtkPrintSettings *settings
,const gchar *key
);
Returns the boolean represented by the value
that is associated with key
.
The string “true” represents TRUE
, any other
string FALSE
.
Since: 2.10
void gtk_print_settings_set_bool (GtkPrintSettings *settings
,const gchar *key
,gboolean value
);
Sets key
to a boolean value.
Since: 2.10
gdouble gtk_print_settings_get_double (GtkPrintSettings *settings
,const gchar *key
);
Returns the double value associated with key
, or 0.
Since: 2.10
gdouble gtk_print_settings_get_double_with_default (GtkPrintSettings *settings
,const gchar *key
,gdouble def
);
Returns the floating point number represented by
the value that is associated with key
, or default_val
if the value does not represent a floating point number.
Floating point numbers are parsed with g_ascii_strtod()
.
Since: 2.10
void gtk_print_settings_set_double (GtkPrintSettings *settings
,const gchar *key
,gdouble value
);
Sets key
to a double value.
Since: 2.10
gdouble gtk_print_settings_get_length (GtkPrintSettings *settings
,const gchar *key
,GtkUnit unit
);
Returns the value associated with key
, interpreted
as a length. The returned value is converted to units
.
Since: 2.10
void gtk_print_settings_set_length (GtkPrintSettings *settings
,const gchar *key
,gdouble value
,GtkUnit unit
);
Associates a length in units of unit
with key
.
Since: 2.10
gint gtk_print_settings_get_int (GtkPrintSettings *settings
,const gchar *key
);
Returns the integer value of key
, or 0.
Since: 2.10
gint gtk_print_settings_get_int_with_default (GtkPrintSettings *settings
,const gchar *key
,gint def
);
Returns the value of key
, interpreted as
an integer, or the default value.
Since: 2.10
void gtk_print_settings_set_int (GtkPrintSettings *settings
,const gchar *key
,gint value
);
Sets key
to an integer value.
Since: 2.10
const gchar *
gtk_print_settings_get_printer (GtkPrintSettings *settings
);
Convenience function to obtain the value of
GTK_PRINT_SETTINGS_PRINTER
.
Since: 2.10
void gtk_print_settings_set_printer (GtkPrintSettings *settings
,const gchar *printer
);
Convenience function to set GTK_PRINT_SETTINGS_PRINTER
to printer
.
Since: 2.10
GtkPageOrientation
gtk_print_settings_get_orientation (GtkPrintSettings *settings
);
Get the value of GTK_PRINT_SETTINGS_ORIENTATION
,
converted to a GtkPageOrientation.
Since: 2.10
void gtk_print_settings_set_orientation (GtkPrintSettings *settings
,GtkPageOrientation orientation
);
Sets the value of GTK_PRINT_SETTINGS_ORIENTATION
.
Since: 2.10
GtkPaperSize *
gtk_print_settings_get_paper_size (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_PAPER_FORMAT
,
converted to a GtkPaperSize.
Since: 2.10
void gtk_print_settings_set_paper_size (GtkPrintSettings *settings
,GtkPaperSize *paper_size
);
Sets the value of GTK_PRINT_SETTINGS_PAPER_FORMAT
,
GTK_PRINT_SETTINGS_PAPER_WIDTH
and
GTK_PRINT_SETTINGS_PAPER_HEIGHT
.
Since: 2.10
gdouble gtk_print_settings_get_paper_width (GtkPrintSettings *settings
,GtkUnit unit
);
Gets the value of GTK_PRINT_SETTINGS_PAPER_WIDTH
,
converted to unit
.
Since: 2.10
void gtk_print_settings_set_paper_width (GtkPrintSettings *settings
,gdouble width
,GtkUnit unit
);
Sets the value of GTK_PRINT_SETTINGS_PAPER_WIDTH
.
Since: 2.10
gdouble gtk_print_settings_get_paper_height (GtkPrintSettings *settings
,GtkUnit unit
);
Gets the value of GTK_PRINT_SETTINGS_PAPER_HEIGHT
,
converted to unit
.
Since: 2.10
void gtk_print_settings_set_paper_height (GtkPrintSettings *settings
,gdouble height
,GtkUnit unit
);
Sets the value of GTK_PRINT_SETTINGS_PAPER_HEIGHT
.
Since: 2.10
gboolean
gtk_print_settings_get_use_color (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_USE_COLOR
.
Since: 2.10
void gtk_print_settings_set_use_color (GtkPrintSettings *settings
,gboolean use_color
);
Sets the value of GTK_PRINT_SETTINGS_USE_COLOR
.
Since: 2.10
gboolean
gtk_print_settings_get_collate (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_COLLATE
.
Since: 2.10
void gtk_print_settings_set_collate (GtkPrintSettings *settings
,gboolean collate
);
Sets the value of GTK_PRINT_SETTINGS_COLLATE
.
Since: 2.10
gboolean
gtk_print_settings_get_reverse (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_REVERSE
.
Since: 2.10
void gtk_print_settings_set_reverse (GtkPrintSettings *settings
,gboolean reverse
);
Sets the value of GTK_PRINT_SETTINGS_REVERSE
.
Since: 2.10
GtkPrintDuplex
gtk_print_settings_get_duplex (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_DUPLEX
.
Since: 2.10
void gtk_print_settings_set_duplex (GtkPrintSettings *settings
,GtkPrintDuplex duplex
);
Sets the value of GTK_PRINT_SETTINGS_DUPLEX
.
Since: 2.10
GtkPrintQuality
gtk_print_settings_get_quality (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_QUALITY
.
Since: 2.10
void gtk_print_settings_set_quality (GtkPrintSettings *settings
,GtkPrintQuality quality
);
Sets the value of GTK_PRINT_SETTINGS_QUALITY
.
Since: 2.10
gint
gtk_print_settings_get_n_copies (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_N_COPIES
.
Since: 2.10
void gtk_print_settings_set_n_copies (GtkPrintSettings *settings
,gint num_copies
);
Sets the value of GTK_PRINT_SETTINGS_N_COPIES
.
Since: 2.10
gint
gtk_print_settings_get_number_up (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_NUMBER_UP
.
Since: 2.10
void gtk_print_settings_set_number_up (GtkPrintSettings *settings
,gint number_up
);
Sets the value of GTK_PRINT_SETTINGS_NUMBER_UP
.
Since: 2.10
GtkNumberUpLayout
gtk_print_settings_get_number_up_layout
(GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_NUMBER_UP_LAYOUT
.
Since: 2.14
void gtk_print_settings_set_number_up_layout (GtkPrintSettings *settings
,GtkNumberUpLayout number_up_layout
);
Sets the value of GTK_PRINT_SETTINGS_NUMBER_UP_LAYOUT
.
Since: 2.14
gint
gtk_print_settings_get_resolution (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_RESOLUTION
.
Since: 2.10
void gtk_print_settings_set_resolution (GtkPrintSettings *settings
,gint resolution
);
Sets the values of GTK_PRINT_SETTINGS_RESOLUTION
,
GTK_PRINT_SETTINGS_RESOLUTION_X
and
GTK_PRINT_SETTINGS_RESOLUTION_Y
.
Since: 2.10
void gtk_print_settings_set_resolution_xy (GtkPrintSettings *settings
,gint resolution_x
,gint resolution_y
);
Sets the values of GTK_PRINT_SETTINGS_RESOLUTION
,
GTK_PRINT_SETTINGS_RESOLUTION_X
and
GTK_PRINT_SETTINGS_RESOLUTION_Y
.
settings |
||
resolution_x |
the horizontal resolution in dpi |
|
resolution_y |
the vertical resolution in dpi |
Since: 2.16
gint
gtk_print_settings_get_resolution_x (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_RESOLUTION_X
.
Since: 2.16
gint
gtk_print_settings_get_resolution_y (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_RESOLUTION_Y
.
Since: 2.16
gdouble
gtk_print_settings_get_printer_lpi (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_PRINTER_LPI
.
Since: 2.16
void gtk_print_settings_set_printer_lpi (GtkPrintSettings *settings
,gdouble lpi
);
Sets the value of GTK_PRINT_SETTINGS_PRINTER_LPI
.
Since: 2.16
gdouble
gtk_print_settings_get_scale (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_SCALE
.
Since: 2.10
void gtk_print_settings_set_scale (GtkPrintSettings *settings
,gdouble scale
);
Sets the value of GTK_PRINT_SETTINGS_SCALE
.
Since: 2.10
GtkPrintPages
gtk_print_settings_get_print_pages (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_PRINT_PAGES
.
Since: 2.10
void gtk_print_settings_set_print_pages (GtkPrintSettings *settings
,GtkPrintPages pages
);
Sets the value of GTK_PRINT_SETTINGS_PRINT_PAGES
.
Since: 2.10
GtkPageRange * gtk_print_settings_get_page_ranges (GtkPrintSettings *settings
,gint *num_ranges
);
Gets the value of GTK_PRINT_SETTINGS_PAGE_RANGES
.
an array
of GtkPageRanges. Use g_free()
to free the array when
it is no longer needed.
[array length=num_ranges][transfer full]
Since: 2.10
void gtk_print_settings_set_page_ranges (GtkPrintSettings *settings
,GtkPageRange *page_ranges
,gint num_ranges
);
Sets the value of GTK_PRINT_SETTINGS_PAGE_RANGES
.
settings |
||
page_ranges |
an array of GtkPageRanges. |
[array length=num_ranges] |
num_ranges |
the length of |
Since: 2.10
GtkPageSet
gtk_print_settings_get_page_set (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_PAGE_SET
.
Since: 2.10
void gtk_print_settings_set_page_set (GtkPrintSettings *settings
,GtkPageSet page_set
);
Sets the value of GTK_PRINT_SETTINGS_PAGE_SET
.
Since: 2.10
const gchar *
gtk_print_settings_get_default_source (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_DEFAULT_SOURCE
.
Since: 2.10
void gtk_print_settings_set_default_source (GtkPrintSettings *settings
,const gchar *default_source
);
Sets the value of GTK_PRINT_SETTINGS_DEFAULT_SOURCE
.
Since: 2.10
const gchar *
gtk_print_settings_get_media_type (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_MEDIA_TYPE
.
The set of media types is defined in PWG 5101.1-2002 PWG.
Since: 2.10
void gtk_print_settings_set_media_type (GtkPrintSettings *settings
,const gchar *media_type
);
Sets the value of GTK_PRINT_SETTINGS_MEDIA_TYPE
.
The set of media types is defined in PWG 5101.1-2002 PWG.
Since: 2.10
const gchar *
gtk_print_settings_get_dither (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_DITHER
.
Since: 2.10
void gtk_print_settings_set_dither (GtkPrintSettings *settings
,const gchar *dither
);
Sets the value of GTK_PRINT_SETTINGS_DITHER
.
Since: 2.10
const gchar *
gtk_print_settings_get_finishings (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_FINISHINGS
.
Since: 2.10
void gtk_print_settings_set_finishings (GtkPrintSettings *settings
,const gchar *finishings
);
Sets the value of GTK_PRINT_SETTINGS_FINISHINGS
.
Since: 2.10
const gchar *
gtk_print_settings_get_output_bin (GtkPrintSettings *settings
);
Gets the value of GTK_PRINT_SETTINGS_OUTPUT_BIN
.
Since: 2.10
void gtk_print_settings_set_output_bin (GtkPrintSettings *settings
,const gchar *output_bin
);
Sets the value of GTK_PRINT_SETTINGS_OUTPUT_BIN
.
Since: 2.10
GtkPrintSettings * gtk_print_settings_new_from_file (const gchar *file_name
,GError **error
);
Reads the print settings from file_name
. Returns a new GtkPrintSettings
object with the restored settings, or NULL
if an error occurred. If the
file could not be loaded then error is set to either a GFileError or
GKeyFileError. See gtk_print_settings_to_file()
.
file_name |
the filename to read the settings from. |
[type filename] |
error |
return location for errors, or |
[allow-none] |
Since: 2.12
GtkPrintSettings * gtk_print_settings_new_from_key_file (GKeyFile *key_file
,const gchar *group_name
,GError **error
);
Reads the print settings from the group group_name
in key_file
. Returns a
new GtkPrintSettings object with the restored settings, or NULL
if an
error occurred. If the file could not be loaded then error is set to either
a GFileError or GKeyFileError.
Since: 2.12
GtkPrintSettings *
gtk_print_settings_new_from_gvariant (GVariant *variant
);
Deserialize print settings from an a{sv} variant in
the format produced by gtk_print_settings_to_gvariant()
.
Since: 3.22
gboolean gtk_print_settings_load_file (GtkPrintSettings *settings
,const gchar *file_name
,GError **error
);
Reads the print settings from file_name
. If the file could not be loaded
then error is set to either a GFileError or GKeyFileError.
See gtk_print_settings_to_file()
.
settings |
||
file_name |
the filename to read the settings from. |
[type filename] |
error |
return location for errors, or |
[allow-none] |
Since: 2.14
gboolean gtk_print_settings_load_key_file (GtkPrintSettings *settings
,GKeyFile *key_file
,const gchar *group_name
,GError **error
);
Reads the print settings from the group group_name
in key_file
. If the
file could not be loaded then error is set to either a GFileError or
GKeyFileError.
Since: 2.14
gboolean gtk_print_settings_to_file (GtkPrintSettings *settings
,const gchar *file_name
,GError **error
);
This function saves the print settings from settings
to file_name
. If the
file could not be loaded then error is set to either a GFileError or
GKeyFileError.
settings |
||
file_name |
the file to save to. |
[type filename] |
error |
return location for errors, or |
[allow-none] |
Since: 2.12
void gtk_print_settings_to_key_file (GtkPrintSettings *settings
,GKeyFile *key_file
,const gchar *group_name
);
This function adds the print settings from settings
to key_file
.
Since: 2.12
GVariant *
gtk_print_settings_to_gvariant (GtkPrintSettings *settings
);
Serialize print settings to an a{sv} variant.
Since: 3.22
Used to determine the layout of pages on a sheet when printing multiple pages per sheet.
struct GtkPageRange { gint start; gint end; };
See also gtk_print_settings_set_page_ranges()
.
#define GTK_PRINT_SETTINGS_OUTPUT_DIR "output-dir"
The key used by the “Print to file” printer to store the directory to which the output should be written.
Since: 3.6
#define GTK_PRINT_SETTINGS_OUTPUT_BASENAME "output-basename"
The key used by the “Print to file” printer to store the file name of the output without the path to the directory and the file extension.
Since: 3.6
#define GTK_PRINT_SETTINGS_OUTPUT_FILE_FORMAT "output-file-format"
The key used by the “Print to file” printer to store the format of the output. The supported values are “PS” and “PDF”.
#define GTK_PRINT_SETTINGS_OUTPUT_URI "output-uri"
The key used by the “Print to file” printer to store the URI to which the output should be written. GTK+ itself supports only “file://” URIs.
#define GTK_PRINT_SETTINGS_WIN32_DRIVER_EXTRA "win32-driver-extra"


This is my first test webpage for my IT161 class. I will be testing it in a live browser like Chrome or Firefox by clicking on the two validator links in the foooter of this page.


You must run your demonstration algorithms without error before you set up unit tests.
In the Lean.DataSource.<vendorNameDatasetName> / <vendorNameDatasetName>Tests.cs file, define the CreateNewInstance
method to return an instance of your DataSource
class and then execute the following commands to run the unit tests:
$ dotnet build tests/Tests.csproj $ dotnet test tests/bin/Debug/net6.0/Tests.dll


methylation DNA gene DMCs genes file Additional compared epigenetic different polymorpha tissue levels antherozoids reprogramming context differences life cytosines sporophytes using CHH S). data sex (see female individual archegonia chromosomes expression However, sporophyte {border-style (Fig. genomic px;} #ffffff;} Table model Figure Plant context, development given plants specific analysis gametophytic repeats sequence used CHG GO: RNA Thus, available cycle enrichment flanking gain male number tissues body comparisons gametophytes plant reference repeats, average distinct dynamics early genome set types Arabidopsis Fig. LTR Marchantia increase samples stages tested Biol CMT Science antherozoids, apical archegonia, collected contexts cytosine increased interspersed linear multiple pairwise regions reproduction results Bowman LINE annotation bodies cells comparison explained gametangia/gametes groups higher isolated patterns performed sexual shown simple unknown (.%) (version CHG, Cell Epigenetic Grossniklaus ]). cell cycle. differential egg entire feature gametophytes, high individuals involved long mechanisms methyltransferases px; sequencing similar sporophytes, sporophytic thalli total transposons vegetative {font-family analyzed annotated based chromosome clearly conditions containing developmental font-size highest land late located low notches sets shared small study test thaliana (GO:), (e.g. (i.e. CG/CHG/CHH Curr Genome Interestingly, Nat Sci according autosomes context. contrast, coverage difference double; extent gametes generally genome-wide identified largely level maintenance methylated methylation. novo occur overall pattern positions provide remains repeat satellite sequences significant single terms tissues, CG, CMTa CMTb Gene Genet Given Kohchi PCR RdDM SINE Schmid Short adjusted border-color border-width caused changes clear contains contexts, development. elements evidence expressed features gametophyte identify included liverwort loss material methylation, nuclear plants, polymorpha. process reads regulation replicates residual retrotransposons solid; stage telomeric term thallus transposon, transposon; type underlying value {font-style {font-weight (.%), ./pnas. ./science. Acad Berger Dev Genes Genome-wide Natl Physiol Phytozome Plants Proc RNA, TEs Tables antheridiophores article assessed associated belonging bisulfite bold characterize chromosome. circle complete contained courier; distribution does driven element, elements, em; epigenomes example, existence focused followed forms gained general genes, group growth harbor homolog inheritance inherited instead limited little local major million obtained occurs online plants. polymorpha, possible pronounced pt;} read repeats. reproductive respectively; resulting retrotransposons, sat satellite, showed significantly silencing slightly suggest supplementary terminal tests tissue-specific transposon transposons, values variation vary


Toggle navigation
Omsairam
Gallery
Baba Satcharitra
Live Dharshan
Audios
Contact us
Contact us
Contact us and we'll get back to you within 24 hours.
Kurnool
<EMAIL_ADDRESS>Live Traffic Stats


{% extends 'views/layouts/main_layout.html' %} {% block content %}
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum.
{{ job.description | slice:":150"}} ..
{{ job.location }}
{{ job.job_type }}
Job Perks: {{ job.perks }}
{{ internship.description | slice:":150"}} ..
{{ internship.location }}
{{ internship.job_type }}
internship Perks: {{ internship.perks }}


In JBehave, stories can be located locally, i.e. in class path, or externally, locatable via URLs. Depending on where the stories are located, an appropriate StoryLoader needs to be defined:
More details and examples can be found in Configuration page.


Web is full of articles, short videos from people explaining places. But how do you know which ones are best to follow? We have the best recommended resources from experts curated just for you.
{% load static from staticfiles %}
Learn with others
Share your photos/pictures with others. Show what you have made, ask opinions from peers and experts. We have study groups around a topic to help you.


{% extends 'base.html' %} {% load staticfiles %} {% block content %}
{{ description }}
If you are trying to display a placeholder and see this message, please have a look at the samples on our home page as out of range values will land you here.
{% endif %}All errors are logged and reviewed, because our visitors are important to us.


Shop online
Using our convenient web app, you'll get all the power of gFood without having to call your order in. Order in your pajamas, order 24 hours a day, order on Christmas, we're here to serve you.
Fast delivery
You've never seen ordering this quick.  We'd ask what that is, but gFood respects your privacy.
Great deals
Money: You've got it, we want it. But let it never be said we're not incredibly fair! Burger sales? Check. Pizza sales? Check. Burger and pizza sales?? Check, check, check! We seriously can't stop making deals.


WITNESS LIST Economic Development Committee January 28, 1998-9:30A Smart Jobs On: Lanford, Lane (Dept. Economic Develop.) Nowotny, Patrick (TX Economic Dev Council) Sweeten, Rance (TDED Board) Thrasher, Richard (Dept. Economic Develop.) Vela, Dora (S. TX Community College) Wattles, Dan (Dept. Economic Develop.)


The following questionnaire is an example questionnaire for future users
of nodegame.
The questionnaire is expected to take around
10 minutes to complete.
You will be asked for
some demographic information, financial information and some opinion on inequality.
In the last part you will be asked to answer some poltical knowledge questions.
Please note that:
-
You must be at least 18 years old to participate
in this survey.
-
You will be compensated for good faith participation in this
experiment with $-USD.
Submitted tasks will be rejected
if they are completed in a manner that appears to be random,
incomplete, or otherwise negligent.
If you have understood this introduction and agree with its content,
press the "Done" button at the top of the screen to start the questionnaire.


About
About Me
I am a self taught aspiring Front-End Developer and career-changer, who found a love for Web-Development during Covid-19. My educational background and past work experience is in Geology. In my free time I love to code, do house projects with my wife, skateboard, and compete in powerlifting. I enjoy work that is concise, engaging, challenging, and requires problem solving from both an analytical, and creative perspective.
My Goals
I am currently working towards landing a frontend developer job. I plan on working in house for the first 3-5 years of my career and hope to get my start somewhere with a good team of people that appreciate my enthusiasm, and are willing to let me learn as much as I can. I plan to then eventually move to remote work as a Fullstack developer.
Skills
Interpersonal skills
I possess a strong work ethic. I am self motivated with a positive attitude. I do not shy away from extra responsibilities, and I strive to create a work environment that yields productive results.
Formal Education
I received a Bachelor's of Science in Geology from the University of Mississippi.Geology relies heavily on thinking about things in unfamiliar or abstract ways.I believe that these qualities make me a valuable, adaptable, and unique team player.
Currently Learning
I am currently working through material at Freecodecamp, Udacity and Tech901’s 14 week Web Programing bootcamp.


X-Mailer: HiveMail 1.2.2 Date: Mon, 11 Sep 2006 07:44:33 +0200 X-Priority: 3 X-Originating-IP: <IP_ADDRESS> Content-Type: multipart/mixed; boundary="==Multipart_Boundary_xff93b252ec67027c713b2b07565dc314x" This is a multi-part message in MIME format. --==Multipart_Boundary_xff93b252ec67027c713b2b07565dc314x Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Rainbow International Consultancy Sarl, 02 BP 1247, Fidjrosse Cotonou - Benin Dear Sir/ It gives me the responsibility and keen interest to crave your indulgence with this offer. I am financial consultant based in the Republic of Benin. Proposition: My late client is having some funds (US$12.4 million) with a Depository Trust Company which he intended to invest in a free banking state. But his sudden death truncated his Investment plans. Due to his political position before his death, nobody was aware of these funds at the Depository Trust Company except me, his financial consultant. My confidence is that after the death of my client, I have waited for a couple of years but no one has shown up to inquire about these funds and i cannot afford to loose the funds to the Depository Trust Company. Hence I will require your full cooperation with a sincere heart to assist me in claiming the funds from the holding firm and move them abroad for disbursement. As an insider, I have the necessary information required to claim the funds. We will commence as soon as I read your favourable response. Thanks for your understanding. Cordially, Dr Lehadi ADJOVI Principal Consultant ----------------------------------------------------- Kostenlose eMail-Adresse von www.ds24.at ----------------------------------------------------- kostenloser Counter von www.gratiscounter.at ----------------------------------------------------- --==Multipart_Boundary_xff93b252ec67027c713b2b07565dc314x--


Halloween A review by Joe Chamberlain Starring Donald Peasence; Jamie Lee Curtis; Nancy Kyes; P.J. Soles & Charles Cyphers
I first saw Halloween when I was in junior high, which was more than a decade ago. To this day the theme song still gives me chills. By far, Halloween has the best soundtrack of any horror film ever made, with the possible exception of Psycho. Much like the other early slasher films such as Friday The 13th or Texas Chainsaw Massacre, Halloween wasn't made on what you would call a big budget. Unlike the other films of that era, Halloween had one extra thing going for it, director John Carpenter. Carpenter makes use of what limited money he had, down to the last penny. That is not to say that Halloween always looks great, but in the places where the shoestring budget shows itself it only adds to the charm. Carpenter probably also saved money by not only directing the movie, but by writing it, and composing all of the music. Fortunately for we the audience, Carpenter excels in all three areas. The other leg up that Halloween has on the other early slashers is its cast. Sure it has its share of acting class failures, but they aren't bad enough to detract from Jamie Lee Curtis and Donald Pleasence.
Young Michael Myers, at the age of nine, decided to give new meaning to trick or treat on Halloween night by killing his sister with a butcher knife. He is confined to a mental hospital where he is placed in the care of Doctor Sam Loomis (Donald Pleasence). 15 years to the day that he killed his sister, Michael escapes from the institution to return to his hometown of Haddonfield and resume his killing. He is pursued by Dr. Loomis and the local police, but before they can catch him he resumes his love for large cutlery by using it on some of the local teen population. One of the locals who run into big Mike on Halloween is Laurie Strode (Jamie Lee Curtis) who happen to be baby sitting in the wrong place at the wrong time. It should come as no surprise that mayhem and carnage ensue.
As I said, the budget wasn't big, so don't expect Star Wars quality production values in this film. With most of the cast (or if you prefer, victims in waiting) the acting is passable. Pleasence does a great job at being creepy, and Jamie Lee Curtis, even with the bad seventies hair and the bell bottoms is a hottie. She also does a pretty good job in the acting department, considering that this was her first role. The story is pretty good considering this is a slasher flick. It is even more interesting if you also watch the sequel that gives a bit more of the back story.
No review of Halloween would be complete without the requisite fun fact about this movie. Take a good look at Michael Myers white mask that he wears throughout his killing spree. You may just notice that it is actually a William Shatner (that's right Trekkies, good old Captain Kirk himself) Halloween mask painted white. Other fun bloopers include the fact that the film is supposed to be set in Illinois but all of the cars have California license plates. I would recommend Halloween to anyone who wants a good scare, despite the fact that it looks very dated in places. One other recommendation that I would make is that if at all possible watch Halloween and its sequel at the same time as they take place within hours of each other.
7/10
Visit The Movie Guy http://members.tripod.com/~MovieGuy/index.html
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


{% extends 'main/template.html' %} {% block title %} About Plunge Meditation {% endblock %} {% block content %}
This content is inspired by Edrid's work from www.sandoth.com.
We approach a one-minute meditation as a "plunge." You plunge into it. You cast away, let go of, and drop everything.
You dive in. Your focus is 100% on your topic. You become completely open to the truth that your topic points to.
You allow for complete absorption in your experience of the topic.. There is a list of topics. You can add your own topics as you wish, but the ones supplied here are pretty good.
My advice: do just one, then let it rest. Let hours go by before you do another.


Hazel Apondi is a data professional passionate about using data to derive insights that can help businesses, organizations and individuals. She has a background in Actuarial Science and is also a creative writer with several self published short stories. She uses the art of storytelling both in her creative pursuits and also in telling stories with data.
Hazel has worked in various industries including at an FMCG company where she had the opportunity to conduct data analysis using Excel and PowerBI. Her dynamic background makes her a great choice to join teams across various industries.
She would like to continue tapping into her analytical skills to come up with logical solutions/products and mesh that with her creativity to make insightful visualizations and clear stories.
One of her most notable achievements while working at the FMCG company, is that she processed all claims that had lagged from the previous financial year, bettering customer relations as a result.
She has a general track record of working on projects assigned to her diligently, seeing them through from start to completion. Additionally, she handles the end to end process when writing her books (creative writing, editing, publishing and marketing).


Introduction
Oh boy! This post is going to be a doozy!! In the off chance that you don't know me that well there are 2 things that make me very uncomfortable: people who belittle the beautifully serene color orange, and people displaying their naked bodes (and of course the proverbial “sexy times”). Thankfully no one in Japan has dissed the color orange (and rightfully so, it is the most gorgeous color in existence). But boy oh boy, there sure are a lot of interesting things in this country. I was literally in shock (true story, ask my friends) when I saw a particular image….
Story Time At the コンビニ (Convenience Store)
Convenience stores in Japan are very, well for the lack of a better term, convenient. You can pay your bills, get money from the ATM, by food, by supplies, and many other things. They are very different than gas stations in America (gas stations and convenience stores are two separate shops). Because they have a lot to offer, many people, including myself, frequent convenience stores to buy inexpensive items.
On one sunny day, my friends and I decide to go to a convenience store (nothing out of the ordinary). After buying our items, we decided to look around for a moment. We noticed in the front of the store that there was a magazine section. We thought, “Oh there must be manga up there. Let’s take a look.” So we proceeded to the front of the store. There definitely was a lot of manga at the front, so we took great pleasure in flipping through some of our favorite manga. However, darkness was looming in wait for us. One of my friends thought it would be a great idea to look at the magazines stowed in the corner. He pulled out a magazine that looked like Cosmopolitan but the cover was a little raunchier. My friend quickly placed the magazine back into its resting position.
At this point, there are a group of Japanese girls outside of the store who are looking straight at us and giggling amongst themselves. “What are they laughing about?” I wondered to myself. I then told one of the guys that maybe we should look elsewhere. The same guy who randomly grabbed the first magazine then piqued: “Joel chill. There is no way this is going to get worse.”
Guess what? IT GOT WAAAAAAY WORSE!!!!!!!!
My friend pulls out the magazine, and WABBAM! On the front cover of this magazine is an act that happens in the middle of a certain act that may be at the end of said act (sorry ambiguity wins the day). I was literally in shock, as were all of us. The horror on our faces (and I am guessing mine was the winner) prompted the girls to start laughing uncontrollably. My friend slowly put the magazine in place and I started to pace around the store and then outside to calm myself. Nothing like that would be shown in America. This definitely was the start of something new.
Nipponbashi (DenDen Town)
Back to DenDen Town. So remember how I said I saw some interesting things? Here was a billboard (technically it wasn’t a billboard since it was on a building but same difference). I was so surprised that this was out in the open, as this would be hush hush in America.
If you don't get the picture, great good for you! Otherwise.... Yeah. I am also not going to zoom on the writing because it will give it away (I'm all about being ambigious, remember?). Also, we were walking through this part of the city and we another interesting sight. We saw a woman, plastered on a billboard in her full glory. I was very surprised and I started to freak out with one of my friends since this wouldn't be shown in America (although there is nothing wrong with the billboard. I was just surprised since I have never seen anything like it.)
Onsen
So in Japan, they have these public baths called Onsen (温泉 ). Lots of Japanese people go to these spas as it is a great way to relax. Most onsens are split by gender, and for good reason. Why you may ask? Because you have to get completely naked….
 This only added to my anxiety of not being around people who are naked. I hate nudity of pretty much of all kinds, but now I guess I am desensitized haha. Will I go back to an Onsen? Probably not. But I guess I have definitely gone out of my comfort zone now. Thanks Japan lol.
Conclusion
My hope for the reader is that may realize some of the difference between their culture (if there are such differences) and Japan in terms of nudity. I don’t think Japan’s acceptance of nudity a bad or good thing. It’s just different. Several countries around the world are like Japan in this aspect, but it is completely alien for a person who is from America. However, this difference doesn’t mean that it is bad.
For example, in the US the media is heavily centered on violence. Many people from different cultures, including Japan, would find this distasteful. However, to Americans this aspect doesn’t faze them. The same goes for nudity and sexuality in Asia and Europe. They are neither distasteful (America’s obsession of violence or Japan’s acceptance of nudity) nor tasteful. They are just different aspects of culture that should be respected as such. Sure I may not agree with it (although now I am pretty desensitized to all of it haha), but at the same time I recognize that is a part of Japanese culture and thus I accept it.
Anime Quote of the Week
"I will search the world to my heart’s content to figure out who I am.” – Aladdin
I resonate with this quote quite well. I have changed a lot ever since I have embarked on my journey to Japan. I am starting to realize what is important to me, things that don't really matter to me, and things that I should focus on. I thought I had myself pretty figured out, but I was quite mistaken. Now, I want to travel more of this world and meet different people, engage in different cultures, share cultural exchanges, and become more aware of varying perspectives of this world.
Until next time friends. じゃあ、また - Joel Kwaku Owusu Afriyie


This is the first project of a series of three, created for the Treehouse UX program. ShirtsByMike is a mock online T-shirt store that needed an overhaul and redesign in hopes that it would increase their sales and build a stronger customer base. In this project, I redesigned their existing website to make it more engaging to its users by refreshing the brand and featuring T-shirts on the homepage. Additionally, I optimized the website for both desktop and mobile devices.
Role: Research, strategy, design
Team: Solo project
Length: February to April 2020
Tools: Sketch, Illustrator, Photoshop
The owner of ShirtsByMike envisioned a website that would connect more with their intended audience, which is comprised primarily of Treehouse students. Currently, the website looks dated and could use a refresh in their branding, as well as featured campaigns to keep users engaged.
I researched other websites in the T-shirt space and enumerated the similarities, differences, and selling points from each site. I assessed the strengths of each website, and incorporated them into my proposed designs.
I also looked at other websites for further inspiration from modern clothing sites, Everlane and Madewell. Though their target audiences are not exactly the same, there were some similarities such as the target age range of shoppers and design philosophies.
I came up with a profile of a typical user that would fall under the target audience. I wanted to understand their thought processes, what they would look for in a T-shirt website, and how they would use it.
I explored two different ideas for each page, with each having different elements but accomplishing the same issue.
Much of my inspiration came from Pinterest, Dribbble, the three competitors (Teepublic, Design By Humans, and Threadless), and modern fashion websites (H&M, Everlane, Madewell).
After sketching out the wireframes, I took the best of both worlds of both ideas and then added some new ideas.
Some aspects of the original desktop site had to be simplified or hidden entirely in order to create the site mobile-friendly.
I hid some less-important elements to make more screen space to feature more important ones. I had a left facing navigation bar — so I decided to create a hamburger menu for users to press or swipe out to view. With the search bar, I placed it into a search icon that would drop down after being pressed.
I also simplified both the Instagram and product pages by creating an image carousel for the photos in order to save screen space. In the catalog page, I downsized the elements into a double column grid for a better view experience. As a result, I added a “swipe down for more” at the bottom so users can easily go to the next page below to load and see more products.
Similarly with the desktop wireframe pages, I adjusted the footer to match the content more closely. However, I simplified the sections to reduce clutter, and tried to avoid overcrowding the mobile page or making the links too small to click on.
In order to make the website more appealing and refreshing, I came up with a new palette of various complementary colors. I kept an orange color as a nod to the original design, so that the website redesign is not as jarring to prior visitors of the page. I wanted a palette that gives off a vibrant and fun vibe, on top of exuding a casual and warm personality.
The entirety of the text on the site is Brandon Grotesque, a sans serif font, which I chose for its warm and functional look.
I also felt that the logo needed an update to better match with the new style of the website — this would also give me another graphic I can add to a shirt. I wanted to keep some elements of the old logo (like the leaf) as a homage to the original, but featuring Mike the Frog more prominently so that users can easily associate him with the brand.
In designing the website for mobile visitors, I wanted to preserve the same theme and experience as the desktop version. The intent was to provide a sense of familiarity and brand stickiness such that the mobile site feels united with the desktop.
Though most of the same components and text were ported over almost exactly, I resized a lot of them to fit within the much more narrow screen dimensions. Text was also enlarged in certain places for easier reading, and components are stacked more vertically instead of horizontally to accommodate users scrolling up and down on their phone. Like the desktop site, I wanted to maintain a consistent header and footer on each page of the website — with the main difference being that we don’t have as much screen space to work with on mobile. I condensed the header by using large icons to symbolize buttons that the user can press (e.g. search bar to search the site), that way there is more screen space to view the main content of the page.
From this project, I learned about what goes into a good website design. It’s not just about the layout, typography, and visuals — what’s really important is the brand and how it is received by the target audience. It’s also not enough for a website to be visually stunning, it must also take into account who the user is and how they would interact with the site. As a result, the tone of voice and content of the website also matter a lot, and connecting that with the design of the site is essential.
I also learned a lot from checking out other apparel websites as references, how they incorporate their brand into the site design, and how they utilize color and typography. This gave me a lot of good ideas and inspiration for my own site design.
I would add more content to the website that provides more active community engagement. For example, I would include Instagram and Twitter contests that promote the brand and encourage the users to share the website more broadly. In general, having more lively color and illustrations could help tie the pages together and showcase the dynamicness and liveliness of the site.
Additionally, I would include more information about the company itself — there is currently minimal information about the brand, and what “sustainability” really means for the company and how they would achieve it. It would also be insightful to add some narrative about the brand and its origin so that visitors can learn about the site they’re shopping from, which would give them more confidence and trust in ShirtsByMike.


Originally posted on {{ page.date | date: '%B %e, %Y,' }} by François G. Dorais. To the extent possible under law, François G. Dorais has waived all copyright and neigboring rights to this work.


Your access key ID for the Amazon Web Services API.
The AMI ID of the instance to use.
AWS spot instance duration in minutes (60, 120, 180, 240, 300, or 360).
The root device name of the instance.
Optional endpoint URL (hostname only or fully qualified URI)
The AWS IAM role name to be used as the instance profile.
Disable SSL when sending requests
The instance type to run.
AWS keypair to use; requires ssh-keypath
Enable CloudWatch Monitoring.
Make the specified port number accessible from the Internet.
Use the private IP address only.
The region to use when launching the instance.
Use spot instances.
Set retry count for recoverable failures (use -1 to disable)
The root disk size of the instance (in GB).
Your secret access key for the Amazon Web Services API.
AWS VPC security group name.
Your session token for the Amazon Web Services API.
Spot instance bid price (in dollars). Requires requestSpotInstance to be set.
Path to Private Key file to use for instance. Matching public key with .pub extension should exist
The SSH Login username, which must match the default SSH user set in the ami used.
AWS VPC subnet ID.
AWS extra tag key-value pairs.
Create an EBS Optimized Instance, instance type must support it.
Use the private IP address for docker-machine, but still create a public IP address.
Path to file with cloud-init user data.
The Amazon EBS volume type to be attached to the instance.
Your VPC ID to launch the instance in.
The AWS zone to launch the instance in (one of a,b,c,d,e).
Generated using TypeDoc
Amazon Web Services docker-machine driver options
https://docs.docker.com/machine/drivers/aws/


I love to program. I've been programming for four years. Some of my favorite languages are Java, C++, C#, JavaScript, Swift and Python
I also enjoy web development, and have been getting into technologies like NodeJS, ExpressJS and Django.
Please check out my GitHub account here GitHub
Feel free to get in touch with me here. I look forward to hearing from you!


LOSER A film review by Christopher Null Copyright 2000 filmcritic.com filmcritic.com
If you're a cynic, you might wonder when Amy Heckerling (director of the utterly vapid Clueless) lost touch with the youth of America. I'm inclined to believe it was in 1982, right after the release of Fast Times at Ridgemont High, her only good movie, which she made when she was only 28.
Now in her mid-40's, it's rather depressing to see Heckerling using the same jokes that worked almost two decades ago. And for a movie that uses "Dare to be different" as its tagline, it's almost pathetic that this story is lifted virtually verbatim from Fast Times, with the Mark Ratner-Stacy Hamilton romance going awry once again.
With American Pie alums Jason Biggs and Mena Suvari, Loser spins a story of a vaguely Midwestern, er, loser named Paul, who moves to New York to attend a vaguely NYU-like school on full scholarship. Instantly loathed for not being a philistine, Paul finds himself attracted to a nice yet vaguely Goth girl named Dora that sits next to him in English Lit. The only catch is that she's having an affair with the professor (Greg Kinnear).
Ultimately, Loser is your standard love triangle movie, tweaked to try and appeal to the coveted teen audience. This is half-successful, and Biggs and Suvari carry enough innate charm to make you laugh plenty. A boatload of comedian cameos from Steven Wright to Taylor Negron livens things up as well.
But the story -- and the comedy -- falls flat on the whole. There is no doubt from the second the characters are introduced how things are going to end, right down to the "What happens to..." text that tells you how miserable all the bad guys end up and how happy our heroes are. See also Fast Times at Ridgemont High. On top of this, the movie is just plain sloppy. Direction and editing are lackluster at best, and the film feels like it was tossed together in a week. Kinnear deserves special acclaim for managing to undo years of turning himself into a respectable actor with movies like As Good As It Gets, diving back into sitcom stereotypes with his overbearing professor role.
Amazingly, Loser is one of very few recent movies that draws power from its soundtrack, chock full of mid-to-late 1990's hits (examples: "No Myth," "Pretty Fly (For A White Guy)") that Heckerling must have gotten in an MTV compilation disc. Good tunes, all of them. Which means: if you find yourself bored between jokes on the screen, you can close your eyes and listen to the music.

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


Chicken Mamboleo served with Rice
2 chicken drumsticks with plain white rice
No Salad
Total: $ 12.00
Submarine served with Ugali
Wet fried fish with thick paste and ugali
Yes Vegies
Total: $ 12.00
Liver Lover served with Rice
Dry fried liver with plain white rice
Yes Salad
Total: $ 18.00
| Order# | Customer | Meal | Price | Order Placed | Order Delivered |
|---|---|---|---|---|---|
| #17645 | Mary | Chicken Mamboleo | $12.00 | 23 Apr 2018 at 1800 hrs | 23 Apr 2018 at 1803 hrs |
| #75647 | Jane | Submarine | $12.00 | 22 Apr 2018 at 1200 hrs | 22 Apr 2018 at 1203 hrs |
| #17547 | Green | Liver Lover | $18.00 | 21 Mar 2018 at 1618 hrs | 21 Mar 2018 at 1620 hrs |


ETERNITY AND A DAY (MIA EONIOTITA KE MIA MERA)
Reviewed by Harvey Karten, Ph.D. Merchant Ivory Films Director: Theo Angelopoulos Writer: Theo Angelopoulos, Tonino Guerra Cast: Bruno Ganz, Isabelle Renauld, Achileas Skevis, Despina Bebedeli, Iris Chatziantoniou, Helene Gerasmidou, Fabrizio, Bentivoglio, Vassilis Seimenis
Not too many great directors are sitll working in the cinema. Lovers of good film would doubtless know men like Godard, Bertolucci (whose latest "Besieged" takes him into personal waters he had not previously charted), of course Martin Scorcese, and maybe Zhang Yimou. But few in America are familiar with the films of the 62-year-old Greek master Theo Angelopoulos, whose earlier works were politically on the left (in the days of the Greek military junta) and which include, recently, "Ulysses' Gaze" starring Harvey Keitel, about the downfall of Communism in Eastern Europe. Now that Greece is again a democracy, Angelopoulos has turned--like Bertolucci--to making more personal films, perhaps even more poetic than before with the occasional burst of melodrama. He is best known for the unique use to which he puts his camera, the very opposite of MTV style. He tends to track his subjects slowly, eschewing the fancy editing that Bertolucci freshly used to capture various expressions on the face of that remarkable new actress, Thandie Newton, in "Besieged." Yet he is no fan of naturalism. As his camera slowly pans, he may throw in a sequence of magic realism, placing his hero effortlessly into time travel--which is perhaps the most fascinating aspect of his latest work, "Eternity and a Day."
Known in Greek as "Mia eoniotita ke mia mera," this Palme D'Or winner at the 1998 Cannes Film Festival is a deeply felt character study highlighting a dying poet named Alexandre (Bruno Ganz). He has been diagnosed with a terminal illness. We see him on his final day before he is to check into a hospital, an eventful day that leads him into one high adventure which, in turn, helps him to reminisce about his some of his better times with his late, lovely wife Anna (Isabelle Renauld). As he shifts back and forth in time from the seaside home in which he spent many happy days, Angelopoulos's cameraman, Girgos Arvanitis, appropriates both the coastal beauty of the country and the craggy rocks which give off a desolate, wintry feeling. Two events cause Alexandre to drift off into Proustian memories: one, the discovery of several letters which his departed wife had left for him; the other, his sheltering of an Albanian orphan boy of Greek ethnicity (Achilleas Skevis), who is at first chased by police while washing auto windshields with a gang of other abandoned kids and later abducted by band of brigands to be sold to rich tourists as illegal adoptions.
The present-day scenes are the more compelling ones, particularly one which takes place at a deteriorating, vacated hotel, where tourists stop, look at the boys who are lined up in a rogue's gallery, and make their selections. By helping the boy run away and befriending him, Alexandre, now facing death, is able to restore his own spirit while protecting the lad. His strong identity with the boy is fed by his own view of himself as an outsider. At an earlier time, his parents took him to Italy, where he lost not only his sense of place but his language. Upon his return to Greece, the alienated writer found that he had actually to purchase words from others--a situation which he dramatizes for us by having his new disciple literally go up to people, carry back Greek words to Alexandre, and gain the reward of a few drachmas.
At 132 minutes, "Eternity and a Day" may feel like just that to the MTV generation (who would not likely be seen in the Angelopoulous' audience) but despite the director's inadequacy fully to capture the character of Anna, the film is quite worth viewing particularly for the scenes between Alexandre and the boy he has saved. We see elements here of "Voyage to Cythera," which deals with a filmmaker who wants to make a movie about an elderly political refugee, who watches the old man and follows him, until the old man's life takes on the elements of story. In this case the refugee is a kid, who acts as catalyst for the poet's own meditative journey. We're not clear whether the remarkable Bruno Ganz is actually speaking Greek through the film. If so, the dubbing is remarkable as is the English translation--which appears to capture the poetry of the spoken Greek. For a specialized audience, especially attuned to this director's previous political works like "The Travelling Players," the current, more personal film is a fine reflection on the life of a man who felt himself an outsider for a good deal of his days but has begun the process of healing through his memories and through his existential commitment to an orphan boy.
Not Rated. Running Time: 132 minutes. (C) 1999 Harvey Karten
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Home
Connected!
QuickBooks CompanyInfoAPI Call
QuickBooks InvoiceInfoAPI Call
QuickBooks PaymentInfoAPI Call
Add a random Invoice
Add a random Customer


The 2015-2016 season has come to an end. It's time to prepare for the next season. Tryouts for the 2016-2017 teams will begin Monday May 16th, 2016. Players will be put on a team based on age, skill and ability.
New Age Regulation for 2016-2017
For the 2016-2017 season, a new age rule has been adopted by the US Youth Soccer Association. New and existing players will be placed on a team by their birth year. Please refer to the chart for your age bracket.
| Age Matrix - 2016-2017 | |
|---|---|
| U8 | 2009 |
| U9 | 2008 |
| U10 | 2007 |
| U11 | 2006 |
| U12 | 2005 |
| U13 | 2004 |
| U14 | 2003 |
| U15 | 2002 |
| U15 | 2001 |
Who: U8-U15 boys and gilrs teams
What: Laveen FC tryouts for 2016-2017 competitive season
When: May 16th, 91th, 23rd and 26th from 6:00 PM - 8:00 PM
Where: Manzanita Park West Field
Checkin main tent at the field when you arrive. Arrive early to prepare for the training session. Bring plenty of water, soccer ball, cleats and shin guards.
Download Tryout Flyer


>
Get Flight Status
For Airlines
Register Airline
Fund Airline
For Passengers
Purchase Insurance
Withdraw Funds


The Environmental Fluid Mechanics Lab is a group of enthusiastic researchers based in Civil Engineering at UKZN.
---
title: Home
description: Workshop Website
image: /images/beachfront2Bs.jpg
bottom_image: https://unsplash.it/2000/1322?a=.png
---
22 - 26 October 2018 at UKZN, Westville.
THE.EARTH.LIVE
The Environmental Fluid Mechanics Lab is a group of enthusiastic researchers based in Civil Engineering at UKZN.


--- layout: post title: Motorola handset fails to boot. date: 2004-12-18 00:00:00 category: mobile ---
Motorola handset fails to boot. I'm surprised this is the first time I've come across a story like this...


Provide the project costs for 'Empire Ltd'
Only your organisation can see this level of detail. All members of your organisation can acesss and edit your finances We recommend assigning completion of your finances to one member of your team. Find out which project costs are eligible.
Labour£ 126,207
Overheads £ 0
Materials£ 10,076
Capital usage £ 0
Subcontracting £ 150,000
Travel & subsistence £ 0
Other costs £ 0
Total project costs


Sekai Project Kickstarter Two-Time Backer Stats
This chord diagram visualizes the volume of backers that have backed a Sekai Project Kickstarter project twice. They represent 19.6% of all of their backers. For more context, check out the blogpost.
Created with d3.js. Data comes from publically accessible Kickstarter pages. ~cyth


Did you know that kenya was titled one of the most intelegent countries in the world. Our president is name uhuru kenyata. Kenya holds the world record of fastest man alive and that (No human is limited) done by kipchoge. We have breathe taking safaris and view.
We have out standig wild life. We give actuall acsess to seeing the big five. Did you know that we are located in the east of africa. In the year my little brother was born(2012) it was estimated that we had 43 million people.
Kenya holds one of the most and best world records. The capital of kenya is nairobi. We grow potatoes. We have a farm caled delmonte which grow pinapples and many more.
Kenya is a very good place. Kenya is very safe. Kenya is home to the fastest land animal (the cheetah). In kenya we use the language kiswahili. Close encounters with the Big Five. Hunting is illegal in Kenya. No traffic jams on Lamu Island. You can witness the result of earth splitting force. Breaking world records in running. Kenya is also home to the fastest land animal. Kenya, with its diverse wildlife habitats Its great rift valley. And its lakes. Its prolific bird life and rich culture and crafts is one of Africa's most successful conservation. The great African Rift Valley. The prehistoric fissure. Is lined by huge volcanoes. Such as Mount Kenya and the Longonot.


CHARINDEX Function
Returns the location of the specified substring within a string. Synonym of the STRPOS function.
Syntax
CHARINDEX( substring, string )
Arguments
- substring
-
The substring to search for within the string.
- string
-
The string or column to be searched.
Return Type
The CHARINDEX function returns an integer corresponding to the position of the substring (one-based, not zerobased). The position is based on the number of characters, not bytes, so that multi-byte characters are counted as single characters.
Usage Notes
CHARINDEX returns 0 if the substring is not found within the
string
:
select charindex('dog', 'fish'); charindex ---------- 0 (1 row)
Examples
The following example shows the position of the string fish
within
the word dogfish
:
select charindex('fish', 'dogfish'); charindex ---------- 4 (1 row)
The following example returns the number of sales transactions with a COMMISSION over 999.00 from the SALES table:
select distinct charindex('.', commission), count (charindex('.', commission)) from sales where charindex('.', commission) > 4 group by charindex('.', commission) order by 1,2; charindex | count ----------+------- 5 | 629 (1 row)
See STRPOS Function for details.


| 700 | (A) | and sythen wente to the wałłe on the wynde syde |
| 703 | (C) | And aftur wente to þe wałł . on þe wynd syde |
| 695 | (D) | And seth went to þe wałł on þe wynd syde |
| 677 | (E) | ¶ And thanne þey wente to þe walles . on þe wynde syde |
| (Ex) | ---- no text ---- | |
| 717 | (L) | suþ went to þe walle on þe wynde syde |
| 656 | (P) | Syne went to þe walles on þe wynde syde |
| 685 | (U) | And sethen went to the wal / on the wynd syde |
| (V) | ---- no text ---- |


Pig Dice
Player one
Player Two
Start Game
Instructions
Each player gets a chance to roll the dice as long as he/she wants
Hold results when you're satisfied with the rolls
When you roll and get '1',when you hold you'll still get a zero added
Player 1 :
Adding
##
to your score
live score
Player 2 :
Adding
##
to your score
live score
Rolls in this round :
Roll
Hold
Pass dice
Rolls in this round :
Roll
Hold
Pass dice


Go pink this wedding season; take cues from Kareena, Sonam and more
Pink is an underrated colour and you cannot deny it too. As compared to red, it's different, light and surely elegant. If you like this colour why not wear it this wedding season? Take cues from your favourite A-listers and go pink the next wedding you attend!
17 Nov 2019, 09:51
Tara Sutaria looks breathtakingly beautiful in this Chikankari sari by Anjul Bhandar. She's teamed it up with a pair of statement jhumkis from Mahesh Notandass Fine Jewellery. This sari is perfect for occasions like sangeet or mehendi. (Photo: Varinder Chawla)
Karisma Kapoor looks gorgeous in this kurti set from Payal Pratap. She's teamed it with simple jewelry and a pair of sparkly juttis which perfectly go well with outfit. (Photo: @therealkarismakapoor/ Instagram)
Styled by celebrity stylist Ami Patel, Priyanka Chopra Jonas dons nine yards of sheer elegance from the house of Sabysachi. With pink roses tucked behind the ear and the rosy glasses making it quite a rosy sight for us.  A gorgeous magenta kurta is just the right outfit for days when you are busy running errands for your loved ones who are going to walk down the aisle soon. (Photo: @aliabhatt/Instagram)
Taking the oomph factor multiple notches high, Kareena Kapoor kills it in this Manish Malhotra ensemble. This pink sari is perfect for reception or any festive occasion. (Photo: @mohitrai/ Instagram)
Kiara Advani looks gorgeous in this co-ord set which she wore for a movie promotion. She keeps it simple with a pair of silver earrings. (Photo: @ kiaraaliaadvani/ Instagram)
We love how delicate her outfit is. The Chinese collar accentuates the look of the outfit along with lace. Pink lace speaks volumes when it comes to elegance. (Photo: @anushkasharma/ Instagram)
Clad in an Abhinav Mishra ensemble, one could wear this as their wedding trousseau. It's classic, timeless and beautiful with details. (Photo: @sonamkapoor/ Instagram)
Yami Gautum looks pretty in pink. She's wearing a kurti set with a pair of pallazos and a sheer dupatta. She's completed her look with light makeup, statement golden jhumkis and a cute little bindi. (Photo: @yamigautam/ Instagram)
Sonakshi Sinha looks graceful in this light cotton sari from Ekaaya by Banaras. She's styled by Mohit Rai and has teamed up her sari with a pair of juttis from Fizzy Goblet. (Photo: @mohitrai/ Instagram)
Shilpa Shetty looks her traditional best in this pink patiala which she's teamed with a nath. She was styled by Sanjana Batra. If you don't want to wear a sari, go for a pink patiala. It will undoubtedly make for a good fashion statement. (Photo: @theshilpashetty/ Instagram)
This is handsdown the outfit for the D-day. Drape your sari like Pedneker does and pack it with a punch by doing your eyeliner in a different colour. You are bound to turn heads. (@bhumipedneker/ Instagram)
pink and cowrie shells are beachy and gorgeous at the same time. If you have a destination wedding then this attire is the perfect one. (@ananyapandey/ Instagram)


IPAddress::IPv4 - IP version 4 address manipulation library
require 'ipaddress'
Class IPAddress::IPv4 is used to handle IPv4 type addresses.
Extract an IPv4 address from a string and returns a new object
Example:
str = "foobar<IP_ADDRESS>barbaz" ip = IPAddress::IPv4::extract str ip.to_s #=> "<IP_ADDRESS>"
# File lib/ipaddress/ipv4.rb, line 846 def self.extract(str) self.new REGEXP.match(str).to_s end
Creates a new IPv4 address object.
An IPv4 address can be expressed in any of the following forms:
“<IP_ADDRESS>/24”: ip address and prefix. This is the common and
suggested way to create an object .
“<IP_ADDRESS>/<IP_ADDRESS>”: ip address and netmask. Although
convenient sometimes, this format is less clear than the previous one.
“<IP_ADDRESS>”: if the address alone is specified, the prefix will be
set as default 32, also known as the host prefix
Examples:
# These two are the same ip = IPAddress::IPv4.new("<IP_ADDRESS>/24") ip = IPAddress("<IP_ADDRESS>/24") # These two are the same IPAddress::IPv4.new "<IP_ADDRESS>/8" IPAddress::IPv4.new "<IP_ADDRESS>/<IP_ADDRESS>"
# File lib/ipaddress/ipv4.rb, line 63 def initialize(str) ip, netmask = str.split("/") # Check the ip and remove white space if IPAddress.valid_ipv4?(ip) @address = ip.strip else raise ArgumentError, "Invalid IP #{ip.inspect}" end # Check the netmask if netmask # netmask is defined netmask.strip! if netmask =~ /^\d{1,2}$/ # netmask in cidr format @prefix = Prefix32.new(netmask.to_i) elsif IPAddress.valid_ipv4_netmask?(netmask) # netmask in IP format @prefix = Prefix32.parse_netmask(netmask) else # invalid netmask raise ArgumentError, "Invalid netmask #{netmask}" end else # netmask is nil, reverting to defaul classful mask @prefix = Prefix32.new(32) end # Array formed with the IP octets @octets = @address.split(".").map{|i| i.to_i} # 32 bits interger containing the address @u32 = (@octets[0]<< 24) + (@octets[1]<< 16) + (@octets[2]<< 8) + (@octets[3]) end
Creates a new IPv4 address object by parsing the address in a classful way.
Classful addresses have a fixed netmask based on the class they belong to:
Class A, from <IP_ADDRESS> to <IP_ADDRESS>
Class B, from <IP_ADDRESS> to <IP_ADDRESS>
Class C, D and E, from <IP_ADDRESS> to <IP_ADDRESS>
Example:
ip = IPAddress::IPv4.parse_classful "<IP_ADDRESS>" ip.netmask #=> "<IP_ADDRESS>" ip.a? #=> true
Note that classes C, D and E will all have a default prefix of /24 or <IP_ADDRESS>
# File lib/ipaddress/ipv4.rb, line 957 def self.parse_classful(ip) if IPAddress.valid_ipv4?(ip) address = ip.strip else raise ArgumentError, "Invalid IP #{ip.inspect}" end prefix = CLASSFUL.find{|h,k| h === ("%.8b" % address.to_i)}.last self.new "#{address}/#{prefix}" end
Creates a new IPv4 object from binary data, like the one you get from a network stream.
For example, on a network stream the IP <IP_ADDRESS> is represented with the binary “254020n001”.
ip = IPAddress::IPv4::parse_data "\254\020\n\001" ip.prefix = 24 ip.to_string #=> "<IP_ADDRESS>/24"
# File lib/ipaddress/ipv4.rb, line 830 def self.parse_data(str, prefix=32) self.new(str.unpack("C4").join(".")+"/#{prefix}") end
Creates a new IPv4 object from an unsigned 32bits integer.
ip = IPAddress::IPv4::parse_u32(167772160) ip.prefix = 8 ip.to_string #=> "<IP_ADDRESS>/8"
The prefix parameter is optional:
ip = IPAddress::IPv4::parse_u32(167772160, 8) ip.to_string #=> "<IP_ADDRESS>/8"
# File lib/ipaddress/ipv4.rb, line 813 def self.parse_u32(u32, prefix=32) self.new([u32].pack("N").unpack("C4").join(".")+"/#{prefix}") end
Summarization (or aggregation) is the process when two or more networks are taken together to check if a supernet, including all and only these networks, exists. If it exists then this supernet is called the summarized (or aggregated) network.
It is very important to understand that summarization can only occur if there are no holes in the aggregated network, or, in other words, if the given networks fill completely the address space of the supernet. So the two rules are:
1) The aggregate network must contain all the IP addresses of the
original networks;
2) The aggregate network must contain only the IP addresses of the
original networks;
A few examples will help clarify the above. Let’s consider for instance the following two networks:
ip1 = IPAddress("<IP_ADDRESS>/24") ip2 = IPAddress("<IP_ADDRESS>/24")
These two networks can be expressed using only one IP address network if we change the prefix. Let Ruby do the work:
IPAddress::IPv4::summarize(ip1,ip2).to_s #=> "<IP_ADDRESS>/23"
We note how the network “<IP_ADDRESS>/23” includes all the addresses specified in the above networks, and (more important) includes ONLY those addresses.
If we summarized ip1 and ip2 with the following network:
"<IP_ADDRESS>/16"
we would have satisfied rule #1 above, but not rule #2. So “<IP_ADDRESS>/16” is not an aggregate network for ip1 and ip2.
If it’s not possible to compute a single aggregated network for all the original networks, the method returns an array with all the aggregate networks found. For example, the following four networks can be aggregated in a single /22:
ip1 = IPAddress("<IP_ADDRESS>/24") ip2 = IPAddress("<IP_ADDRESS>/24") ip3 = IPAddress("<IP_ADDRESS>/24") ip4 = IPAddress("<IP_ADDRESS>/24") IPAddress::IPv4::summarize(ip1,ip2,ip3,ip4).to_string #=> "<IP_ADDRESS>/22",
But the following networks can’t be summarized in a single network:
ip1 = IPAddress("<IP_ADDRESS>/24") ip2 = IPAddress("<IP_ADDRESS>/24") ip3 = IPAddress("<IP_ADDRESS>/24") ip4 = IPAddress("<IP_ADDRESS>/24") IPAddress::IPv4::summarize(ip1,ip2,ip3,ip4).map{|i| i.to_string} #=> ["<IP_ADDRESS>/24","<IP_ADDRESS>/23","<IP_ADDRESS>/24"]
# File lib/ipaddress/ipv4.rb, line 912 def self.summarize(*args) # one network? no need to summarize return [args.first.network] if args.size == 1 i = 0 result = args.dup.sort.map{|ip| ip.network} while i < result.size-1 sum = result[i] + result[i+1] result[i..i+1] = sum.first if sum.size == 1 i += 1 end result.flatten! if result.size == args.size # nothing more to summarize return result else # keep on summarizing return self.summarize(*result) end end
Returns a new IPv4 object which is the result of the summarization, if possible, of the two objects
Example:
ip1 = IPAddress("<IP_ADDRESS>/24") ip2 = IPAddress("<IP_ADDRESS>/24") p (ip1 + ip2).map {|i| i.to_string} #=> ["<IP_ADDRESS>/23"]
If the networks are not contiguous, returns the two network numbers from the objects
ip1 = IPAddress("<IP_ADDRESS>/24") ip2 = IPAddress("<IP_ADDRESS>/24") p (ip1 + ip2).map {|i| i.to_string} #=> ["<IP_ADDRESS>/24","<IP_ADDRESS>/24"]
# File lib/ipaddress/ipv4.rb, line 729 def +(oth) aggregate(*[self,oth].sort.map{|i| i.network}) end
Returns the difference between two IP addresses in unsigned int 32 bits format
Example:
ip1 = IPAddress("<IP_ADDRESS>/24") ip2 = IPAddress("<IP_ADDRESS>/24") puts ip1 - ip2 #=> 256
# File lib/ipaddress/ipv4.rb, line 703 def -(oth) return (to_u32 - oth.to_u32).abs end
Spaceship operator to compare IPv4 objects
Comparing IPv4 addresses is useful to ordinate them into lists that match our intuitive perception of ordered IP addresses.
The first comparison criteria is the u32 value. For example, <IP_ADDRESS> will be considered to be less than <IP_ADDRESS>, because, in a ordered list, we expect <IP_ADDRESS> to come before <IP_ADDRESS>.
The second criteria, in case two IPv4 objects have identical addresses, is the prefix. An higher prefix will be considered greater than a lower prefix. This is because we expect to see <IP_ADDRESS>/24 come before <IP_ADDRESS>/25.
Example:
ip1 = IPAddress "<IP_ADDRESS>/8" ip2 = IPAddress "<IP_ADDRESS>/16" ip3 = IPAddress "<IP_ADDRESS>/16" ip1 < ip2 #=> true ip1 > ip3 #=> false [ip1,ip2,ip3].sort.map{|i| i.to_string} #=> ["<IP_ADDRESS>/8","<IP_ADDRESS>/16","<IP_ADDRESS>/16"]
# File lib/ipaddress/ipv4.rb, line 460 def <=>(oth) return prefix <=> oth.prefix if to_u32 == oth.to_u32 to_u32 <=> oth.to_u32 end
Returns the octet specified by index
ip = IPAddress("<IP_ADDRESS>/24") ip[0] #=> 172 ip[1] #=> 16 ip[2] #=> 100 ip[3] #=> 50
# File lib/ipaddress/ipv4.rb, line 270 def [](index) @octets[index] end
Checks whether the ip address belongs to a RFC 791 CLASS A network, no matter what the subnet mask is.
Example:
ip = IPAddress("<IP_ADDRESS>/24") ip.a? #=> true
# File lib/ipaddress/ipv4.rb, line 745 def a? CLASSFUL.key(8) === bits end
Returns the address portion of the IPv4 object as a string.
ip = IPAddress("<IP_ADDRESS>/22") ip.address #=> "<IP_ADDRESS>"
# File lib/ipaddress/ipv4.rb, line 103 def address @address end
Checks whether the ip address belongs to a RFC 791 CLASS B network, no matter what the subnet mask is.
Example:
ip = IPAddress("<IP_ADDRESS>/24") ip.b? #=> true
# File lib/ipaddress/ipv4.rb, line 761 def b? CLASSFUL.key(16) === bits end
Returns the address portion of an IP in binary format, as a string containing a sequence of 0 and 1
ip = IPAddress("<IP_ADDRESS>") ip.bits #=> "01111111000000000000000000000001"
# File lib/ipaddress/ipv4.rb, line 284 def bits data.unpack("B*").first end
Returns the broadcast address for the given IP.
ip = IPAddress("<IP_ADDRESS>/24") ip.broadcast.to_s #=> "<IP_ADDRESS>"
# File lib/ipaddress/ipv4.rb, line 296 def broadcast self.class.parse_u32(broadcast_u32, @prefix) end
Returns the broadcast address in Unsigned 32bits format
ip = IPaddress("<IP_ADDRESS>/29") ip.broadcast_u32 #=> 167772167
# File lib/ipaddress/ipv4.rb, line 517 def broadcast_u32 network_u32 + size - 1 end
Checks whether the ip address belongs to a RFC 791 CLASS C network, no matter what the subnet mask is.
Example:
ip = IPAddress("<IP_ADDRESS>/30") ip.c? #=> true
# File lib/ipaddress/ipv4.rb, line 777 def c? CLASSFUL.key(24) === bits end
Returns the address portion of an IPv4 object in a network byte order format.
ip = IPAddress("<IP_ADDRESS>/24") ip.data #=> "\254\020\n\001"
It is usually used to include an IP address in a data packet to be sent over a socket
a = Socket.open(params) # socket details here ip = IPAddress("<IP_ADDRESS>/24") binary_data = ["Address: "].pack("a*") + ip.data # Send binary data a.puts binary_data
# File lib/ipaddress/ipv4.rb, line 252 def data [@u32].pack("N") end
Iterates over all the IP addresses for the given network (or IP address).
The object yielded is a new IPv4 object created from the iteration.
ip = IPAddress("<IP_ADDRESS>/29") ip.each do |i| p i.address end #=> "<IP_ADDRESS>" #=> "<IP_ADDRESS>" #=> "<IP_ADDRESS>" #=> "<IP_ADDRESS>" #=> "<IP_ADDRESS>" #=> "<IP_ADDRESS>" #=> "<IP_ADDRESS>" #=> "<IP_ADDRESS>"
# File lib/ipaddress/ipv4.rb, line 422 def each (network_u32..broadcast_u32).each do |i| yield self.class.parse_u32(i, @prefix) end end
Iterates over all the hosts IP addresses for the given network (or IP address).
ip = IPAddress("<IP_ADDRESS>/29") ip.each_host do |i| p i.to_s end #=> "<IP_ADDRESS>" #=> "<IP_ADDRESS>" #=> "<IP_ADDRESS>" #=> "<IP_ADDRESS>" #=> "<IP_ADDRESS>" #=> "<IP_ADDRESS>"
# File lib/ipaddress/ipv4.rb, line 395 def each_host (network_u32+1..broadcast_u32-1).each do |i| yield self.class.parse_u32(i, @prefix) end end
Returns a new IPv4 object with the first host IP address in the range.
Example: given the <IP_ADDRESS>/24 network, the first host IP address is <IP_ADDRESS>.
ip = IPAddress("<IP_ADDRESS>/24") ip.first.to_s #=> "<IP_ADDRESS>"
The object IP doesn’t need to be a network: the method automatically gets the network number from it
ip = IPAddress("<IP_ADDRESS>/24") ip.first.to_s #=> "<IP_ADDRESS>"
# File lib/ipaddress/ipv4.rb, line 350 def first self.class.parse_u32(network_u32+1, @prefix) end
Returns an array with the IP addresses of all the hosts in the network.
ip = IPAddress("<IP_ADDRESS>/29") ip.hosts.map {|i| i.address} #=> ["<IP_ADDRESS>", #=> "<IP_ADDRESS>", #=> "<IP_ADDRESS>", #=> "<IP_ADDRESS>", #=> "<IP_ADDRESS>", #=> "<IP_ADDRESS>"]
# File lib/ipaddress/ipv4.rb, line 493 def hosts to_a[1..-2] end
Checks whether a subnet includes the given IP address.
Accepts an IPAddress::IPv4 object.
ip = IPAddress("<IP_ADDRESS>/24") addr = IPAddress("<IP_ADDRESS>/24") ip.include? addr #=> true ip.include? IPAddress("<IP_ADDRESS>/16") #=> false
# File lib/ipaddress/ipv4.rb, line 536 def include?(oth) @prefix <= oth.prefix and network_u32 == (oth.to_u32 & @prefix.to_u32) end
Checks whether a subnet includes all the given IPv4 objects.
ip = IPAddress("<IP_ADDRESS>/24") addr1 = IPAddress("<IP_ADDRESS>/24") addr2 = IPAddress("<IP_ADDRESS>/24") ip.include_all?(addr1,addr2) #=> true
# File lib/ipaddress/ipv4.rb, line 552 def include_all?(*others) others.all? {|oth| include?(oth)} end
Like its sibling method IPv4#first, this method returns a new IPv4 object with the last host IP address in the range.
Example: given the <IP_ADDRESS>/24 network, the last host IP address is <IP_ADDRESS>
ip = IPAddress("<IP_ADDRESS>/24") ip.last.to_s #=> "<IP_ADDRESS>"
The object IP doesn’t need to be a network: the method automatically gets the network number from it
ip = IPAddress("<IP_ADDRESS>/24") ip.last.to_s #=> "<IP_ADDRESS>"
# File lib/ipaddress/ipv4.rb, line 375 def last self.class.parse_u32(broadcast_u32-1, @prefix) end
Returns the prefix as a string in IP format
ip = IPAddress("<IP_ADDRESS>/22") ip.netmask #=> "<IP_ADDRESS>"
# File lib/ipaddress/ipv4.rb, line 191 def netmask @prefix.to_ip end
Like IPv4#prefix=, this method allow you to change the prefix / netmask of an IP address object.
ip = IPAddress("<IP_ADDRESS>") puts ip #=> <IP_ADDRESS>/16 ip.netmask = "<IP_ADDRESS>" puts ip #=> <IP_ADDRESS>/22
# File lib/ipaddress/ipv4.rb, line 210 def netmask=(addr) @prefix = Prefix32.parse_netmask(addr) end
Returns a new IPv4 object with the network number for the given IP.
ip = IPAddress("<IP_ADDRESS>/24") ip.network.to_s #=> "<IP_ADDRESS>"
# File lib/ipaddress/ipv4.rb, line 326 def network self.class.parse_u32(network_u32, @prefix) end
Checks if the IP address is actually a network
ip = IPAddress("<IP_ADDRESS>/24") ip.network? #=> false ip = IPAddress("<IP_ADDRESS>/26") ip.network? #=> true
# File lib/ipaddress/ipv4.rb, line 313 def network? @u32 | @prefix.to_u32 == @prefix.to_u32 end
Returns the network number in Unsigned 32bits format
ip = IPAddress("<IP_ADDRESS>/29") ip.network_u32 #=> 167772160
# File lib/ipaddress/ipv4.rb, line 505 def network_u32 @u32 & @prefix.to_u32 end
Returns the address as an array of decimal values
ip = IPAddress("<IP_ADDRESS>") ip.octets #=> [172, 16, 100, 4]
# File lib/ipaddress/ipv4.rb, line 153 def octets @octets end
Returns the prefix portion of the IPv4 object as a IPAddress::Prefix32 object
ip = IPAddress("<IP_ADDRESS>/22") ip.prefix #=> 22 ip.prefix.class #=> IPAddress::Prefix32
# File lib/ipaddress/ipv4.rb, line 119 def prefix @prefix end
Set a new prefix number for the object
This is useful if you want to change the prefix to an object created with IPv4::parse_u32 or if the object was created using the classful mask.
ip = IPAddress("<IP_ADDRESS>") puts ip #=> <IP_ADDRESS>/16 ip.prefix = 22 puts ip #=> <IP_ADDRESS>/22
# File lib/ipaddress/ipv4.rb, line 141 def prefix=(num) @prefix = Prefix32.new(num) end
Checks if an IPv4 address objects belongs to a private network RFC1918
Example:
ip = IPAddress "<IP_ADDRESS>/24" ip.private? #=> true
# File lib/ipaddress/ipv4.rb, line 566 def private? [self.class.new("<IP_ADDRESS>/8"), self.class.new("<IP_ADDRESS>/12"), self.class.new("<IP_ADDRESS>/16")].any? {|i| i.include? self} end
Returns the IP address in in-addr.arpa format for DNS lookups
ip = IPAddress("<IP_ADDRESS>/24") ip.reverse #=> "<IP_ADDRESS>.in-addr.arpa"
# File lib/ipaddress/ipv4.rb, line 581 def reverse @octets.reverse.join(".") + ".in-addr.arpa" end
Returns the number of IP addresses included in the network. It also counts the network address and the broadcast address.
ip = IPAddress("<IP_ADDRESS>/29") ip.size #=> 8
# File lib/ipaddress/ipv4.rb, line 475 def size 2 ** @prefix.host_prefix end
Splits a network into different subnets
If the IP Address is a network, it can be divided into multiple networks. If self is not a network, this method will calculate the network from the IP and then subnet it.
If subnets is an power of two number, the resulting networks will be divided evenly from the supernet.
network = IPAddress("<IP_ADDRESS>/24") network / 4 # implies map{|i| i.to_string} #=> ["<IP_ADDRESS>/26", "<IP_ADDRESS>/26", "<IP_ADDRESS>/26", "<IP_ADDRESS>/26"]
If num is any other number, the supernet will be divided into some networks with a even number of hosts and other networks with the remaining addresses.
network = IPAddress("<IP_ADDRESS>/24") network / 3 # implies map{|i| i.to_string} #=> ["<IP_ADDRESS>/26", "<IP_ADDRESS>/26", "<IP_ADDRESS>/25"]
Returns an array of IPv4 objects
# File lib/ipaddress/ipv4.rb, line 618 def split(subnets=2) unless (1..(2**@prefix.host_prefix)).include? subnets raise ArgumentError, "Value #{subnets} out of range" end networks = subnet(newprefix(subnets)) until networks.size == subnets networks = sum_first_found(networks) end return networks end
This method implements the subnetting function similar to the one described in RFC3531.
By specifying a new prefix, the method calculates the network number for the given IPv4 object and calculates the subnets associated to the new prefix.
For example, given the following network:
ip = IPAddress "<IP_ADDRESS>/24"
we can calculate the subnets with a /26 prefix
ip.subnets(26).map{&:to_string) #=> ["<IP_ADDRESS>/26", "<IP_ADDRESS>/26", "<IP_ADDRESS>/26", "<IP_ADDRESS>/26"]
The resulting number of subnets will of course always be a power of two.
# File lib/ipaddress/ipv4.rb, line 682 def subnet(subprefix) unless ((@prefix.to_i)..32).include? subprefix raise ArgumentError, "New prefix must be between #@prefix and 32" end Array.new(2**(subprefix-@prefix.to_i)) do |i| self.class.parse_u32(network_u32+(i*(2**(32-subprefix))), subprefix) end end
Returns a new IPv4 object from the supernetting of the instance network.
Supernetting is similar to subnetting, except that you getting as a result a network with a smaller prefix (bigger host space). For example, given the network
ip = IPAddress("<IP_ADDRESS>/24")
you can supernet it with a new /23 prefix
ip.supernet(23).to_string #=> "<IP_ADDRESS>/23"
However if you supernet it with a /22 prefix, the network address will change:
ip.supernet(22).to_string #=> "<IP_ADDRESS>/22"
If new_prefix is less than 1, returns <IP_ADDRESS>/0
# File lib/ipaddress/ipv4.rb, line 654 def supernet(new_prefix) raise ArgumentError, "New prefix must be smaller than existing prefix" if new_prefix >= @prefix.to_i return self.class.new("<IP_ADDRESS>/0") if new_prefix < 1 return self.class.new(@address+"/#{new_prefix}").network end
Returns a string with the address portion of the IPv4 object
ip = IPAddress("<IP_ADDRESS>/22") ip.to_s #=> "<IP_ADDRESS>"
# File lib/ipaddress/ipv4.rb, line 166 def to_s @address end
Returns a string with the IP address in canonical form.
ip = IPAddress("<IP_ADDRESS>/22") ip.to_string #=> "<IP_ADDRESS>/22"
# File lib/ipaddress/ipv4.rb, line 179 def to_string "#@address/#@prefix" end
Generated with the Darkfish Rdoc Generator 2.