To edit your pattern, right click on it and select "edit pattern" from the popup menu.
This will bring up LEMu's very own MIDI sequencer. You can add notes to the pattern simply by clicking in the area on the right. Dragging as you click will make the notes longer or change the pitch. To remove a note, right click on it.
Remember that 60 is middle C, and there are 12 tones per octave. The tonic (C) is highlighted in "lightish red" (a red vs blue reference). While the perfect 4th and 5th intervals are blue.
If you want to play the music of this pattern, go to the actions menu within the editor and click preview:
This will make the pattern you are editing to be the currently playing pattern. (so it will keep on going, as though you had clicked on it from the music area).
To change the velocity of a note, hold down ctrl and right click on the note. A velocity slider will popup.
When you move the mouse over the note again, the popup will dissapear.
For more detailed explanations of the features of the pattern editor, goto Pattern Editor - Advanced


Here you can fill in the {{CUSTOM_DATA}} form. Once it is completed, you can Validate the {% trans "form_label" %}.
You won't be able to reach the review page before the document is valid according to the selected template. From the review page, you will be able to curate the {% trans "record_label" %}.
The 'Save {% trans "form_label"|title %}' button allows you to save partial data that you may want to edit later. This will only save a temporary document and won't actually curate data.
All grayed elements are optional. Thus, all elements written in black are required. The document may still be valid with empty elements.
There are no validation on empty fields if no such constraint is defined in the template.
Thus, an empty string of characters may not raise a validation error, but an empty number will.


Client ID
Navigate to
https://portal.azure.com/
App Registrations
On the left navigation pane click "App Registrations"
New Registrations
Choose a name and Single Tenant, no redirect
Finding your Client ID
Application ID is your Client ID
Required Permissions (TBA, examples below)
User.Read
Sign in and read user profile
App.Read.All
View All Power BI apps
Capacity.Read.All
View all capacities
Capacity.ReadWrite.All
Read and write all capacities
Content.Create
Create content
Dashboard.Read.All
View all dashboards
Dashboard.ReadWrite.All
Read and write all dashboards
Dataflow.Read.All
View all dataflows
Dataflow.ReadWrite.All
Read and write all dataflows
Dataset.Read.All
View all datasets
Dataset.ReadWrite.All
Read and write all datasets
Gateway.Read.All
View all gateways
Gateway.ReadWrite.All
Read and write all gateways
Report.Read.All
View all reports
Report.ReadWrite.All
Read and write all reports
StorageAccount.Read.All
View all storage accounts
StorageAccount.ReadWrite.All
Read and write all storage accounts
Workspace.Read.All
View all workspaces
Workspace.ReadWrite.All
Read and write all workspaces
User
Password


This command provides some interpretation of backtraces generated during chunking. If no option is given, then a list of all chunks and justifications is printed.
The two most useful variants are explain-backtraces prodname and explain-backtraces name n. The first variant lists all of the conditions for the named chunk or justification, and the ground which resulted in inclusion in the chunk/justification. A ground is a working memory element (WME) which was tested in the supergoal. Just knowing which WME was tested may be enough to explain why the chunk/justification exists. If not, the conditions can be listed with an integer value. This value can be used in explain-backtraces name n to obtain a list of the productions which fired to obtain this condition in the chunk/justification (and the crucial WMEs tested along the way). Why use an integer value to specify the condition? To save a big parsing job.
If an option is given, it must match one of the following forms:
save_backtraces mode must be on when a chunk or justification is created or no explanation will be available. Explain-backtraces mode is toggled using the save_backtraces boolean variable. save_backtraces is off by default. When explain mode is on, more memory is used, and building chunks and justifications will be slower.


Sorry this page could not be found, try doing more sensitivity testing to determine the cause.
Return Home?


In the Senate of the United States, sitting as a court of impeachment : in re impeachment of President Donald J. Trump / Adam B. Schiff [and six others].
2020
Web Resource
Verification, model checking, and abstract interpretation : 21st International Conference, VMCAI 2020, New Orleans, LA, USA, January 16-21, 2020, Proceedings / Dirk Beyer, Damien Zufferey (eds.)
3030393224 (electronic bk.)
2020
Web Resource
Data-driven modeling of cyber-physical systems using side-channel analysis / Sujit Rokka Chhetri, Mohammad Abdullah Al Faruque.
3030379620 (electronic bk.)
2020
Web Resource
Arabic historical literature from Ghadāmis and Mali : documents from the 18th to 20th century / by Harry T. Norris, with Abd al-Jabbar.
9789004315853 electronic book
2020
Web Resource
The Institute of International Law's resolution on state succession and state responsibility : introduction, text and commentaries / Marcelo G. Kohen, Patrick Dumberry
9781108677905 (electronic bk.)
2019
Web Resource
Using Compiler Directives for Performance Portability in Scientific Computing [electronic resource] : Kernels from Molecular Simulation
2019- 01-01
Web Resource
Fearless cities : a guide to the global municipalist movement / compiled by Barcelona En Comú ; contributions from Debbie Bookchin, Ada Colau et al.
9781780265032 paperback
2019
Environmental Design
An illustrated dictionary of Navajo landscape terms / David M. Mark, David Stea, Carmelita Topaha, compilers and editors.
9781433160585 paperback alkaline paper
2019
Environmental Design
Transactions on high-performance embedded architectures and compilers V / Per Stenström, Cristina Silvano, Koen Bertels, Michael Schulte (eds.)
9783662588345 (electronic bk.)
2019
Web Resource
Understanding the case against Shukden : the history of a contested Tibetan practice / compiled by The Association of Geluk Masters, The Geluk International Foundation and The Association for the Preservation of Geluk Monasticism ; translated by Gavin Kilty ; foreword by Lama Zopa Rinpoché.
9781614295358 paperback alkaline paper
2019
Main (Gardner) Stacks
By the Fire [electronic resource] : Sami Folktales and Legends / collected and illustrated by Emilie Demant Hatt ; translated by Barbara Sjoholm.
9781452959566
2019
Web Resource
Washington, D.C. : United States. Dept. of Energy., 2019
Korea's premier collection of classical literature : selections from Sŏ Kŏjŏng's Tongmunsŏn / translated, annotated, and with an introduction by Xin Wei and James B. Lewis
9780824878214 (electronic bk.)
2019
Web Resource
Washington, D.C. : United States. National Nuclear Security Administration, 2019
Leo Tolstoy in Conversation with Four Peasant Sectarian Writers [electronic resource] : The Complete Correspondence / edited by Andrew Donskov ; letters compiled by Liudmila Gladkova and Andrew Donskov ; correspondence translated from the Russian by John Woodsworth.
9780776627809
2019
Web Resource
Contemporary high performance computing : from Petascale toward Exascale. Volume 3 / edited by Jeffrey S. Vetter
9781351036849 (electronic bk.)
2019
Web Resource
Modeling Communication Networks and Protocols : Implementation via the SMURPH System / Paweł Gburzyński
9783030153915 (electronic bk.)
2019
Web Resource
After promontory : one hundred and fifty years of transcontinental railroading / Center for Railroad Photography and Art ; with essays by Keith L. Bryant Jr. [and 3 others] ; foreword by Robert D. Krebs ; introduction by H. Roger Grant ; edited by Peter A. Hansen.
9780253039606 hardcover ; alkaline paper
2019
Bancroft
Korea's premier collection of classical literature : selections from Sŏ Kŏjŏng's Tongmunsŏn / translated, annotated, and with an introduction by Xin Wei and James B. Lewis.
9780824877309 hardcover ; alkaline paper
2019
Main (Gardner) Stacks
The Complete Roster and Service Records of Lee’s Army of Northern Virginia during the Overland Campaign [electronic resource] / Alfred C. Young, III.
9780807173121
2019
Web Resource
After promontory : one hundred and fifty years of transcontinental railroading / Center for Railroad Photography and Art
9780253039613 (e-book)
2019
Web Resource


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Optimize Images
Introduction
The PageSpeed Modules optimize your images to minimize their size and thus reduce their load time. They remove non-visible image information and apply high-efficiency compression techniques. This can result in a data saving of 50% or more.
Using PageSpeed Modules, you can focus on the content of your site, knowing your visitors will receive images in the best format and dimensions for their device and browser while using minimum bandwidth.
Optimization methods
PageSpeed Modules can optimize most common image formats, including GIF, PNG, and JPEG, and convert them to PNG, JPEG, or WebP. GIF, PNG, and JPEG are supported by all browsers. WebP is a modern image format that can compress images over 25% more than older formats, and is currently supported by many browsers, including Google Chrome, Android 4.0+, and Opera. PageSpeed-optimized images are converted to the best format supported by the target browser, i.e., to WebP if it is supported, or PNG or JPEG if not.
PageSpeed can also maximize compression based on image content. Lossy formats compress images far better than lossless formats, but sometimes introduce visible and undesirable "compression noise". PageSpeed examines the content of images to see whether they are sensitive to compression noise and, if so, converts to PNG or the lossless mode of WebP; if not, it converts to JPEG or the lossy mode of WebP.
In-place optimization vs. tag rewriting
PageSpeed is capable of doing all this without changing your HTML or CSS, known as In-Place Resource Optimization (IPRO). However, if you allow PageSpeed to modify your HTML and CSS, it can do even more. For example, PageSpeed can shrink images to their actual rendered dimensions, thereby using fewer pixels and offering additional byte savings. It can also inline small images into HTML or CSS to avoid additional round trips to your server for fetching the images.
This table shows some examples of how PageSpeed can modify your HTML.
| Example 1 | |
|---|---|
| Before optimization |

|
| After optimization |

|
| Explanation | Image converted from GIF to PNG format and cache-extended. |
| Example 2 | |
| Before optimization |

|
| After optimization |

|
| Explanation | Image resized to 256 x 192 pixels, recompressed to PNG, and cache-extended. |
| Example 3 | |
| Before optimization |

|
| After optimization |

|
| Explanation | Image resized and then inlined into HTML as Base64 data. Because the inlined data has the desired dimensions, width and height are no longer needed. |
Tip: There are multiple ways to tell PageSpeed Modules not to modify certain images.
- To avoid modifying a group of images, e.g., images under a certain folder or images named after a pattern, you can use the Disallow option.
-
To avoid modifying the contents of an image, you can add a
Cache-Control: no-transform
response header to the image. This header can be overridden by the DisableRewriteOnNoTransform option. -
To avoid modifying an
img
tag, you can use thedata-pagespeed-no-transform
attribute, i.e.,

.
Image formats
PageSpeed Modules support the most common image formats used on the web.
| GIF | A legacy but still popular image format. GIF is a lossless format, so the compressed image is visually identical to the original. It supports both single frame (still image) and multiple frames (animation). Despite its popularity, GIF often has poor compression performance, so PageSpeed converts GIF images to other (better) formats, unless the images are tiny. |
| PNG | A more recent lossless format designed as a successor to GIF for single-frame images. |
| JPEG | A lossy format where the compression process removes image detail that is difficult for the human eye to see. How much data to remove depends on the quality level. JPEG has two modes, baseline and progressive. Progressive mode can be used to render the image incrementally and has a higher compression ratio for large images. |
| WebP | A cutting-edge image format. While it is not yet supported in all browsers, it is becoming increasingly available. In addition to superior compression performance, it includes features of all other formats: lossy mode, lossless mode, transparency, and animation. WebP has added support for these features over time, so your visitor's browser may support all, a subset, or none of these features. PageSpeed automatically detects the features which your visitor's browser supports and only uses the supported features in optimization. |
Filters
PageSpeed Modules provide specific filters so you can control exactly how your images are optimized. For each visitor, PageSpeed Modules choose the best format and mode from the ones you allowed and the ones supported by the visitor's browser.
To simplify configuration, PageSpeed Modules provide rewrite_images, a filter group that consists of the most common image optimizations. It allows recompression, transcoding to optimal formats, reduction of image dimensions, and inlining of small images into HTML or CSS. If you want to make more detailed adjustments, you can also enable or disable the individual filters:
- To PNG format: convert_gif_to_png, recompress_png.
- To JPEG format: convert_png_to_jpeg, convert_jpeg_to_progressive, recompress_jpeg.
- To WebP format: convert_jpeg_to_webp, convert_to_webp_lossless, convert_to_webp_animated, recompress_webp.
- General: inline_images, resize_images.
You can use any combination of the filter group and individual filters for your site. In each case, images are optimized only to the formats that are supported by your visitor's browser, and images are replaced only when the optimized one is smaller than the original.
Image quality
For images that are sensitive to compression noise, PageSpeed Modules always use lossless compression; for other images, PageSpeed Modules use the more aggressive lossy methods. For the lossy formats you can specify up to three quality levels, indicated by specific situations:
- When the user indicates a preference for reduced data usage.
- When the user visits your site from a mobile device. Mobile devices usually have a high device pixel ratio, so compression noise is less visible. In addition, mobile devices are more likely to use an expensive data channel.
- For all other cases, e.g., when the user visits your site from a desktop or tablet.
If your visitors have high transfer costs, slow connection speeds, or for other reasons, they may prefer reduced data usage. Some browsers, including Chrome, Opera, and Yandex, let visitors choose to send a Save-Data header when they request pages. You can honor their preference by allowing lower image quality for such requests.
The image quality levels can be specified using various parameters, listed here in order of precedence.
- Format-specific qualities for save-data: JpegQualityForSaveData and WebpQualityForSaveData.
- Format-specific qualities for mobile: JpegRecompressionQualityForSmallScreens, WebpRecompressionQualityForSmallScreens, and WebpAnimatedRecompressionQuality.
- Format-specific qualities for all other cases: JpegRecompressionQuality, WebpRecompressionQuality, and WebpAnimatedRecompressionQuality.
- Format-generic quality for all other cases: ImageRecompressionQuality.
Each parameter has a range of 0 - 100, representing lowest to highest quality. They can also be set to -1, indicating that the parameter should be ignored and the parameters of the lower precedences should be used. If all of the quality parameters are set to -1, images will not be optimized to any lossy format.
Tip: If you do not want to recompress lossy-format images or convert images to lossy formats, it is best to disable any filter that would optimize to JPEG or WebP. Setting all of the qualities to -1 wastes CPU to achieve the same result.
Image dimensions
PageSpeed Modules can shrink an image to its actual display dimensions based on the design of the page, the visitor's device, and the visitor's actions, to ensure the best user experience without wasting pixels.
You can use the
resize_images filter to
shrink the image to the dimensions specified by the width=
and
height=
attributes in the
tag or by the
inline style=
attribute.
If you cannot use the resize_images filter, you can use the resize_rendered_image_dimensions filter to shrink the images to their rendered dimensions. In this case, PageSpeed injects JavaScript into your HTML that will report the rendered dimensions to the server, known as "beaconing". After receiving a few beacons, PageSpeed identifies the dimensions, and shrinks the images.
You can use the
responsive_images
filter to ensure your visitor sees full-resolution images, whether they are
using a retina-based or regular device. Sending full resolution images to all
devices is challenging because different devices may use a different number of
pixels (known as device pixels) for displaying a region of the page
(measured by CSS pixels). For example, a region of 100x100 CSS pixels in a
page is displayed using 100x100 device pixels on an iPhone 3, 200x200 device
pixels on an iPhone 6, and 300x300 device pixels on an iPhone 6+. For the best
visual effect using the least bandwidth, you can resize your image to 100x100
for iPhone 3, to 200x200 for iPhone 6, and to 300x300 for iPhone 6+. Using this
filter, PageSpeed generates images at all of these dimensions, and then
modifies the
tags so your visitor's browser uses the
best size.
Taking the responsive_images filter one step further, you can use the responsive_images_zoom filter to send images of higher resolutions when your visitor zooms in. Using this filter, PageSpeed injects JavaScript into your HTML that checks the zoom level of the page and fetches a higher-resolution image if necessary. On the back end, PageSpeed resizes the image to the proper resolutions.
Inline images
In addition to making the images smaller, PageSpeed Modules can help your page load faster by inlining images or previews into your HTML or CSS.
PageSpeed can inline small images directly into the HTML or CSS, reducing server requests. This is enabled by the inline_images filter, and is controlled by the ImageInlineMaxBytes and CssImageInlineMaxBytes options.
As well as inlining small images, PageSpeed can inline a reduced-quality version of large images into the HTML or CSS and, after the page is loaded, replace the low-quality image with the original. See Inline Preview Images for details.
Srcsets
Note: New feature as of <IP_ADDRESS>.
In addition to optimizing image src
attributes, as of <IP_ADDRESS>
PageSpeed will now also optimize images referenced in srcset
s.
This includes all PageSpeed image optimizations except resizing.
PageSpeed can also automatically insert srcset
attributes. See the
the responsive_images
filter for configuration instructions.
Other controls
PageSpeed Modules provide controls to make sure that your server is stable, your proxy/CDN (if any) is fully utilized, and your images are delivered to the user in the format you want.
Image optimization is an expensive process. To ensure the stability of your server, you can use ImageResolutionLimitBytes to limit the maximum dimensions of images to optimize, and ImageMaxRewritesAtOnce to limit the maximum number of images that are concurrently optimized.
To ensure that your proxy/CDN can handle the optimized images correctly, you can use AllowVaryOn to tell PageSpeed which request headers can be used to control image optimization. You can also use NoTransformOptimizedImages to instruct proxies not to further compress the images.
The
ServeRewrittenWebpUrlsToAnyAgent
option can be used to tell PageSpeed how to respond to a request asking for a
WebP image when the browser does not appear to support WebP. In this case,
PageSpeed will normally return the image as a PNG or JPEG (whichever is most
appropriate). If ServeRewrittenWebpUrlsToAnyAgent
is enabled,
PageSpeed will instead return the WebP unconditionally. Returning the image
depending on the headers ensures that your visitor sees the image correctly.
Returning the image unconditionally in WebP format is useful if you want to
serve WebP but your CDN or proxy removes headers from the request.
You can also ask PageSpeed to insert the image dimensions into

tags so the browser can compute the layout of the
page before downloading the images. See
insert_image_dimensions
filter for more information.
Risks
Image optimization is not perfect, and its use can have some downsides. Here are some potential issues and suggested solutions.
|
Image optimization is both CPU- and memory-intensive.  If the load increases too much, you can alleviate it by setting ImageMaxRewritesAtOnce and ImageResolutionLimitBytes. After the images have been optimized once, they will be cached for future use. |
|
Reducing the dimension of an image or compressing it to a lossy format causes some image details to be lost. This is sometimes noticeable, though usually not; you should inspect the optimized images to ensure their quality is acceptable. |
|
PageSpeed removes metadata, such as copyright information.
If you want keep a specific image's metadata, add
|
|
It is possible to craft an image that, after re-compression, looks like HTML to certain browsers. While PageSpeed adds proper content-type headers and headers that forbid content-type sniffing, some ancient browsers can still be tricked into rendering them as HTML. If you have user-submitted images, you should filter them before using them in your site. |
|
Your beacons may need a new attribute.
If you use images as beacons to monitor page activity, you should add
|
|
Images may incur stretching distortion if you ask PageSpeed Modules to insert image dimensions.
If you use |
|
Color profiles are removed by PageSpeed. If your images contain color profiles, they are removed to save data. This is usually not a problem since most images with a color profile render indistinguishably when the color profile is removed. |


First, some news: starting this fall, I will be an assistant professor in the Department of Cognitive and Information Sciences at the University of California, Merced. I wrote the bulk of this post on May 26, the day after the 9th annual Conference on Values in Medicine, Science, and Technology at UT Dallas. I have a great community at this conference, and I’ve been sharing the news with my friends. Everyone is thrilled for me, of course.
But certain kinds of congratulation, while well-intentioned, give me pause. These are “you really deserve this” and “things finally worked out.” To my ear, these kinds of congratulation accept the dominant meritocratic view of academia, which further tends to lead to the conclusion that academics struggling with precarity and contingency deserve their low pay, lack of stability, and marginalized status.
It’s not that I think that I don’t deserve a tenure-track job, in some sense or another. I check all the meritocratic boxes, with something like 12 or 14 peer-reviewed publications, the majority of which are in “top” philosophy of science journals; I have a good mix of single-authored disciplinary papers and interdisciplinary collaborations; my PhD is from a fairly prestigious program; over the past seven years I’ve held a series of postdocs and research positions at comparable institutions; and so on.
But luck has played an enormous role in getting me to the point where I could check all these boxes. If things had gone just slightly differently, I would be struggling like so many of my peers: teaching 7+ courses per year, trying to make ends meet on $30,000 per year or less, and desperately trying to find time to publish an occasional paper.
In the rest of this post, I want to highlight 3 moments where luck made an enormous difference to the trajectory of my career.
The first moment was my admission to Notre Dame. I was not a philosophy major in undergrad; I studied math and political science, and took two philosophy of science courses my senior year. I decided to pursue a career in philosophy after taking those two courses and sitting in on a few graduate courses at the University of Illinois, Chicago. For obvious reasons I didn’t have a lot of mentorship to help me articulate my interests clearly, identify appropriate grad programs, weigh the advantages of philosophy vs. HPS, or write a relevant writing sample. (My first attempt at a writing sample was on Wittgenstein, Foucault, and philosophy of math. The second attempt was a little better, on Kant’s philosophy of math.) My application was a mess.
Officially, I was waitlisted at every grad program to which I applied; but I doubt I was considered seriously anywhere. Except at Notre Dame. Two days before the deadline in 2005 I was offered a seat in the incoming cohort. No doubt ND was scraping the bottom of the waitlist when they got to me. I was just lucky that everyone else above me had declined the offer.
Of course, once I was admitted, I was a Notre Dame grad student and later a Notre Dame PhD, with all of the prestige and alumni connections that are attached to that name.
The second moment where luck played a major role in my career was actually a series of moments: the positions I’ve held since finishing my PhD. Like a lot of other precarious scholars, I’ve had to scramble from temporary position to temporary position, moving long distances every few years in order to follow the next opportunity. But unlike a lot of other precarious scholars, I’ve had a series of postdocs and other research-focused positions. Except for a single course of 6 students, I haven’t had any teaching responsibilities since 2013.
This series of research positions is largely the reason why I’ve been able to write so much, averaging almost 2 peer-reviewed papers per year since I finished my dissertation. (A traditional standard for tenure in philosophy at research universities is 1 single-authored paper per year.) In addition, these positions have given me opportunities to work in science policy, learn an entirely distinct set of research skills as a data scientist, and collaborate with researchers in other disciplines. Finally, they have also provided me with a comfortable income and conference travel support, giving me enough time and peace of mind to focus on research, rather than continually worrying about finding my next position while grinding through grading and commuting for poverty wages.
Over the last 15 years, I’ve regularly had to think about what my backup plan would be if I didn’t find a good next step. For a long time the best option would have been to live with my dad in the San Francisco Bay Area and adjunct while getting a certificate to teach high school math. In the last couple years, the best backup plan would have been to work as a data scientist in the tech industry. Data science would have paid much better than high school math, but both backups would have meant the end of my research career.
In each case, these research positions weren’t things that were planned out well in advance. Most of the offers came in April, which is relatively late in the annual academic job market cycle. The offer for my most recent position, at UC Davis, came in early August, about a month before my then-current position ended.
The third moment where luck made a huge difference in my career was the job ad for UC Merced. I’m currently finishing a postdoc position at UC Davis. Davis is about 15 miles west of Sacramento; I grew up about 30 miles east of Sacramento. My entire immediate family is in the Sacramento area. I knew when I applied for the postdoc that my family couldn’t handle me moving home just to move away again two years later. I was committed to staying in Northern California.
I recognized that this meant I was basically writing off a faculty position. (Unlike my grad school applications, I talked out the decision to accept this postdoc with a couple mentors before I had to make it.) There are several bachelor’s-granting colleges and universities in Northern California; but most are in the Bay Area, which is experiencing a severe housing crisis. Things are so bad that even UC Berkeley has lost faculty due to the cost of housing.
Davis and the Sacramento area haven’t been affected (too much, yet) by the Bay Area housing crisis. And I thought there might be a chance that UC Davis would hire a philosopher of science during the two years of my postdoc. But really, when I took the postdoc, my plan was to use the time to figure out pathways into state government and the tech industry.
Then, last August, a few people emailed me a job ad for a data ethics position (not at UC Merced, but another school). It was within my geographic range, and my work experience as a data scientist might compensate for the fact that I haven’t published anything on data ethics. I was hesitant to jump into the job market again, even just for one position. But once I decided to apply for that one, I went on PhilJobs and saw the UC Merced ad:
We are seeking candidates who take an interdisciplinary approach to ethics, applying ethical theories and principles to topics within the purview of [Cognitive and Information Sciences]. Sample topics might include neuroethics or the ethics of technology. Applied ethicists working on topics outside the scope of CIS who use scientific methods will also be considered (for example, someone who draws on large data sets).
Not only was I a good topical fit; but also the department liked the interdisciplinary breadth of my work, my experience as a data scientist, and my connections to the data science community at UC Davis. Geographically, Merced is about 2 hours south of Sacramento, and about 2 hours and 30 minutes from my mom’s house. It’s a small city of about 80,000 people, and far enough from the Bay Area that it hasn’t really been affected by the current housing crisis yet. (Though Merced was one of the epicenters of the housing crisis in 2007-08.)
In other words, an interdisciplinary department at a university in an affordable location within my geographic range was looking to hire someone who does roughly what I do. During the two-year period between my moving back to California and my giving up on academia entirely to work in the tech industry. The fit in both directions could hardly have been better.
In all of these moments, things easily could have gone some other way. I might still have been an academic, but I probably wouldn’t be heading into a very nice tenure-track position at a research university. And there’s a very good chance I would have left academia for good, whether to teach high school math or to work in the tech industry. For all of the success I’ve had due to my hard work and “talent”, there are people who were equally “talented” and worked just as hard — if not harder — but haven’t been recognized or rewarded. Still other people would have been just as “talented” and worked just as hard, but were never given the chance. I’ll happily take your congratulations, but please keep in mind the people who weren’t lucky enough to get the kinds of opportunities that have come my way.


Flexible framework for coalescent analyses in R. It includes a main function running the MCMC algorithm, auxiliary functions for tree rearrangement, and some functions to compute population genetic parameters.
| Version: | 0.4-1 |
| Depends: | ape, coda, lattice |
| Imports: | Matrix, phangorn, stats |
| Published: | 2015-03-03 |
| Author: | Emmanuel Paradis [aut, cre, cph] |
| Maintainer: | Emmanuel Paradis <Emmanuel.Paradis at ird.fr> |
| License: | GPL-2 | GPL-3 [expanded from: GPL (≥ 2)] |
| NeedsCompilation: | yes |
| Materials: | NEWS |
| In views: | Bayesian |
| CRAN checks: | coalescentMCMC results |
| Reference manual: | coalescentMCMC.pdf |
| Vignettes: |
Coalescent Models Runnning coalescentMCMC |
| Package source: | coalescentMCMC_0.4-1.tar.gz |
| Windows binaries: | r-devel: coalescentMCMC_0.4-1.zip, r-release: coalescentMCMC_0.4-1.zip, r-oldrel: coalescentMCMC_0.4-1.zip |
| OS X binaries: | r-release: coalescentMCMC_0.4-1.tgz, r-oldrel: coalescentMCMC_0.4-1.tgz |
| Old sources: | coalescentMCMC archive |
Please use the canonical form https://CRAN.R-project.org/package=coalescentMCMC to link to this page.


I strive to make the best, most sohphisticted Web development and Application solutions to meet industry needs.
I am a student at Georgian College enrolled in my third year of the Computer Programmer Analyst course. I have been using computers ever since I can remember and have starting doing programming in 2009.
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KAMIGAMI NO FUKAKI YOKUBO [The Profound Desire of the Gods] A Film Review by Manavendra K. Thakur This review is in the public domain.
1968 170 mins. Japan Japanese with English Subtitles Unrated Mono Color 35mm/2.35
Cast: Rentaro Mikuni, Choichiro Kawarazaki, Kazuo Kitamura, Kazuko Okiyama, Yasuko Matsui, Yoshi Kato, Hosei Komatsu, Kanjuro Arashi, Chikako Hosokawa, Chikage Ogi, Jun Hamamura.
Credits: Directed by Shohei Imamura. Screenplay by Shohei Imamura and Keiji Hasebe. Adapted from the 1962 play PARAJI. Cinematography by Masao Tochizawa. Music by Toshiro Mayuzumi. Art Direction by Takeshi Omura.
Studio: Imamura Productions / Nikkatsu Corp. Distributor (North America): East-West Classics 1529 Acton Street Berkeley, CA 94702<PHONE_NUMBER>
Shohei Imamura has always liked making "messy, really human, Japanese, unsettling films." And he has done exactly that in KAMIGAMI NO FUKAKI YOKUBO (THE PROFOUND DESIRE OF THE GODS), a film he made in 1968 that had to wait two decades to be released in its full 170-minute version in the United States. Using vivid color and and magnificent cinemascope photography, Imamura reaches back to ancient myths to explore the incestual origins of human society in the tiny island paradise of Kuragejima, in the Ryukyu Islands. Imamura coalesces all aspects of the film into a coherent whole with a supreme confidence that permeates virtually every shot of his film. Not until the short epilogue at the end does this rare sort of masterful filmmaking go slightly astray.
The film is defined by its six main characters, who form a microcosm of both the island's past and its encroaching future. Four of them are members of the Futori family, which has a long history of engaging in taboo practices (like incest) and being punished by both the gods and their fellow island residents. Because of this, they are commonly considered little more than animals by the other islanders, and they are treated accordingly. Twenty years ago, Nekichi Futori (Rentaro Mikuni) was discovered having an incestuous relationship with his sister Uma (Yasuko Matsui). According to legend, the gods showed their displeasure by hurling a huge boulder onto the island during a terrible storm. The islanders then chained Nekichi for his crimes and put Uma in the care of the local noros (shamanesses). To appease the wrath of the gods, Nekichi has been digging a pit for the boulder to fall into for the past twenty years, and the job is nearing completion. Nekichi's son Kametaro Futori (Choichiro Kawarazaki) is understandably confused about his heritage, since Nekichi is the son of his own grandfather. Kametaro is also uncertain about his future career plans.
The other two main characters in the film are the village headman Ryugen Ryu (Yoshi Kato), who manages a sugar mill on the island, and Mr. Kariya, an engineer from Tokyo who is sent by his company to construct a water source for the mill. Kariya is, of course, the representative of civilization, and he finds the local traditions and myths that obstruct his task to be incomprehensible. (As may be expected from this culture clash, Imamura draws a few comedic moments with Kariya.) Also in the film is grouchy Grandpa Futori (Kanjuro Arashi), who eventually dies and returns from the grave in a night-time vision seen by many of the islanders. Finally, Tokuri the Balladeer (Jun Hamamura) imparts the film with much of its mythic proportions through his storytelling and songs. For most of the film, Imamura calmly and casually explores the idiosyncratic world of the Futoris and their life on Kuragejima with an almost documentary-like style.
But all throughout the film is an ongoing subtext that ultimately relates back to the film's title. Furthermore, that subtext is the heart of the film and is crucially dependent on Imamura's camerawork. Typical of how Imamura constructs his shots is one scene where Kariya, Ryugen, and Kametaro (who has become the engineer's helper) inspect a cliff for sources of water. Most of the scene is shot matter-of-factly from ground or eye level. However, as the three begin to inspect a hole already dug in the rock, Imamura abruptly shifts the camera angle to an overhead shot. On one edge of the cinemascope frame is Kametaro and on the other edge are Ryugen and Kariya. Because the sudden cut is deliberate and repeated throughout the film, the scene strongly implies that the three men are being watched by hidden, unseen forces. And because the camera photographs the three men precisely on the edges of the frame, it seems as though the hidden forces are watching them through a perfectly situated window that leads from one world to another.
The question of who or what these hidden forces are -- the key to the subtext -- is answered by numerous stylized shots of owls, lizards, birds, snakes, and other animals. (These shots are, by the way, good examples Imamura's fascination with hybridizing documentary and dramatic styles. He first explored documentary authenticity in his 1963 film NIPPON KNOCHUKI [THE INSECT WOMAN].) The common factor linking most of the animal shots is that Imamura repeatedly focuses on the animals' piercing eyes. That -- and the fact that Imamura includes them in the film at all -- transforms the creatures into physical extensions of an omnipresent divinity constantly observing the island from all directions. This is especially apparent when an owl with bright yellow eyes gazes steadily at the characters as they bumble around in a forest late at night. The cinematic link between nature and divinity is the underlying structure that the entire film is based on, and indeed it is the key to beauty of how Imamura documents the vagaries of human interaction and the worlds in which they live -- the issue with which Imamura is ultimately most concerned.
One should note that Imamura's camerawork both raises the sense of watching through a window and also conveys a sense of the animals -- actually legendary gods through the film's identification of divinity with nature -- as the ones doing the watching. What the film's title, content, and structure emphatically exclude is the possibility of equating the film's "gods" with the film's audience. It would be smug and arrogant to assume that the film's viewers are meant to be gods. Because Imamura's camera often switches focus from the human characters to the animals and back again, it is clear that the camera's field of view does not singlemindedly represent any one particular perspective. And even if it were Imamura's intention to make viewers into gods, so to speak, the viewer-gods would be necessarily impotent and ineffective, since the viewer is at the mercy of Imamura's cinematic and narrative judgment.
To the other hand, one could conclude that the film is little more than an indulgent effort to equate the real god back to Imamura himself. While Imamura has played similar tricks in his other films -- most notably in his 1967 film NINGEN JOHATSU (A MAN VANISHES) where Imamura surreptitiously photographed a woman who is searching for her missing fiance and who falls in love with the fake interviewer-investigator Imamura paid to accompany her -- there is no such sense of egotism in KAMIGAMI NO FUKAKI YOKUBO because Imamura never calls undue attention to his camera tricks. He also does not carry anything to gratuitous extremes. Imamura is certainly fascinated by the dirty laundry of humankind, and it is therefore only natural that he would be attracted to the themes of incest and lecherous gods that Kuragejima has to offer. But in this film at least, Imamura wants to examine and learn from those themes, not exploit or revel in them.
The abrupt epilogue of the film somewhat disrupts the flow of the film, but it does effectively address how these concerns have changed the community five years after the main events of the film. Kariya, the engineer, returns with his family to visit, as does Kametaro, who has become disillusioned with life in Tokyo. Although western influences have transformed the island (Coca-Cola signs are everywhere), new indigenous legends are also emerging. Imamura implies that such folklore will always find resources to survive in the face of encroaching realities. What is most striking, though, is how strange and foreign the visitors seem on the island. Not having witnessed the events that led to the creation of the new myths, the visitors will never consider the rock named after the now-deceased Toriko to be anything more than a curiosity. Kametaro is best qualified among the visitors to realize the full import of the changes, and it is therefore appropriate that he is the only one who sees a vision of Toriko dancing on the train tracks ahead of the locomotive pulling Kariya's train. This is a rather clumsy method, but Imamura makes his point: Kametaro (and the audience) are well on their way to realizing that the story of Toriko has now become intimately anchored within the village's traditions and collective mythology -- just as a large rock hurled onto the island became a part of the local lore twenty years earlier.
Imamura is in this film concerned with the symbiotic relationship among individual humans in a primitive society, as well as the dynamic tensions between civilization and mythology. He has managed to explore the relatively isolated world of Kuragejima with both his and the residents' integrity intact. Not once does Imamura patronize the villagers. And his filmmaking is near the height of perfection. Imamura's documentary-style footage is in fact decidely manipulative, but it is also disarmingly laidback and easygoing enough that that neither the narrative impact nor the cinematic illusion (except during the epilogue) is ever lost. KAMIGAMI NO FUKAKI YOKUBO is another of Imamura's excellent films, one that has endured two decades of obscurity in this country. The full length version will undoubtedly transform that situation for the better.
Filmography of Shohei Imamura:
[English title in brackets. FD=Feature Documentary.]
NUSUMARETA YOKUJO [The Stolen Desire] 1958 NISHI GINZA EKI-MAE [Nishi Ginza Station] 1958 HATESHI NAKI YOKUBO [The Endless Desire] 1958 NIANCHAN [My Second Brother] 1959 100 mins. BUTA TO GUNKAN [Pigs and Battleships] 1961 108 mins. NIPPON KNOCHUKI [The Insect Woman] 1963 123 mins. AKAI SATSUI [Intentions of Murder] 1964 150 mins. JINRUIGAKU NYUMON [The Pornographers] 1966 128 mins. NINGEN JOHATSU [A Man Vanishes] 1967 129 mins. KAMIGAMI NO FUKAKI YOKUBO [The Profound Desire of the Gods] 1968 170 mins. NIPPON SENGO SHI: MADAMU [The History of Postwar Japan OMBORO NO SEIKATSU As Told by a Bar Hostess] (FD) 1970 KARAYUKI-SAN [Karayuki-San, The Making of a Prostitute] (FD) 1975 70 mins. FUKUSHU SURU WA WARE NI ARI [Vengeance Is Mine] 1979 *128 mins. EIJANAIKA 1981 *151 mins. NARAYAMA BUSHI-KO [The Ballad Of Narayama] 1983 *128 mins. ZEGEN 1987 *150 mins.
Shohei Imamura was born in patrician circles, but he quickly rebelled against his upbringing. After a stint in theater at Waseda University, he first joined the Shochiku company's Ofuna Studios, working as an assistant director to Yasujiro Ozu and others. However, he longed to leave the studio because it and Ozu embodied a view toward tradition and family that Imamura emphatically rejected. He joined the Nikkatsu studio, which was revived in the mid-1950s. In 1975, Imamura declared, "I wouldn't just say I wasn't influenced by Ozu. I would say I didn't want to be influenced by him."
Manavendra K. Thakur {rutgers,decvax!genrad,ihnp4}!mit-eddie!thakur<EMAIL_ADDRESS><EMAIL_ADDRESS>(*) The running times of these films may not reflect the film's original length. According to Audie Bock of East-West Classics, Japanese distributors routinely cut films to approximately 2 hours and 20 minutes when shipping them to the United States.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


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title: Page 209
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{% raw %}MY THIRD AND LAST VISIT TO L0NTD0X. 205{% endraw %}
{% raw %}always received the most generous treatment, both{% endraw %}
{% raw %}in America and England, from the members of{% endraw %}
{% raw %}the Friends' Society, and specially from George{% endraw %}
{% raw %}Sturge, Esq., who has interested himself to the{% endraw %}
{% raw %}extent of assuring me he would send me back to{% endraw %}
{% raw %}my Canadian home with a light heart. I am cer¬{% endraw %}
{% raw %}tain my heart will be heavy with gratitude, for «it{% endraw %}
{% raw %}will be full of that emotion, and I shall pray to my{% endraw %}
{% raw %}dying day for blessings to rest upon one who has{% endraw %}
{% raw %}afforded me so much relief.{% endraw %}
{% raw %}Among the new friends I have made are Pro¬{% endraw %}
{% raw %}fessor and Mrs. Fowler, formerly of New York, now{% endraw %}
{% raw %}residing in London, and I have always felt at home{% endraw %}
{% raw %}in their pleasant office.{% endraw %}
{% raw %}Professor Fowler, with his remarkable skill, gave{% endraw %}
{% raw %}me an analysis of my character from my head. I{% endraw %}
{% raw %}told him " I should have supposed my old master{% endraw %}
{% raw %}had beaten out all my brains," but he humorously{% endraw %}
{% raw %}remarked " that perhaps my skull was so thick, the{% endraw %}
{% raw %}blows did not penetrate."{% endraw %}
{% raw %}The description he gave of me was published, with{% endraw %}
{% raw %}my portrait, in the Christian Age, a weekly paper,{% endraw %}
{% raw %}and notwithstanding there were 80,000 copies of{% endraw %}
{% raw %}this number circulated, a third edition had to be{% endraw %}
{% raw %}printed to meet the demand. I am sure Professor{% endraw %}
{% raw %}Fowler's description will be of interest, and there¬{% endraw %}
{% raw %}fore give it insertion here.{% endraw %}
{% raw %}" The organisation of 'Uncle Tom' is as remarkable{% endraw %}
{% raw %}as his life and labours have been. His father was{% endraw %}
{% raw %}six feet in height, and was a very powerful, muscu¬{% endraw %}
{% raw %}lar man. He had a strong sense of justice and{% endraw %}
{% raw %}virtue, and an unflinching will. His son, Uncle{% endraw %}
{% raw %}Tom, is five feet seven inches in height.{% endraw %}
{% raw %}o{% endraw %}


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--- layout: page title: "Developing Backbone.js Applications" prev: OEBPS/ch07.html next: None book_path: books/developing-backbone-js-applications-addy-osmani--_oeb/ --- {% include JB/setup %} {% raw %}
Addy Osmani is a writer, speaker, and a JavaScript developer.He is a member of the jQuery core [Bug Triage/Docs/Learning] teams where helps with bugs, documentation, and developer evangelism.
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Welcome to Spring Boot Demo - Message Service
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| 035:041 Khan | : |
Verily! Allah grasps the heavens and the earth lest they move away from their places, and if they were to move away from their places, there is not one that could grasp them after Him. Truly, He is Ever Most Forbearing, Oft-Forgiving. |
| 035:041 Maulana | : |
Surely Allah upholds the heavens and the earth lest they come to naught. And if they come to naught, none can uphold them after Him. Surely He is ever Forbearing, Forgiving. |
| 035:041 Pickthal | : |
Lo! Allah graspeth the heavens and the earth that they deviate not, and if they were to deviate there is not one that could grasp them after Him. Lo! He is ever Clement, Forgiving. |
| 035:041 Rashad | : |
GOD is the One who holds the heavens and the earth, lest they vanish. If anyone else is to hold them, they will most certainly vanish. He is Clement, Forgiving. |
| 035:041 Sarwar | : |
God prevents the heavens and the earth from falling apart. If they do fall apart, then, no one besides Him can restore them. He is All-forbearing and All-forgiving. |
| 035:041 Shakir | : |
Surely Allah upholds the heavens and the earth lest they come to naught; and if they should come to naught, there Is none who can uphold them after Him; surely He is the Forbearing, the Forgiving. |
| 035:041 Sherali | : |
Surely, ALLAH holds the heavens and the earth lest they deviate from their positions. And if they did deviate, none can hold them back but HE. Verily, HE is Forbearing, Most Forgiving. |
| 035:041 Yusufali | : |
It is Allah Who sustains the heavens and the earth, lest they cease (to function): and if they should fail, there is none - not one - can sustain them thereafter: Verily He is Most Forbearing, Oft-Forgiving. |
Concepts/Themes Covered: أركان الإسلام > التوحيد > توحيد الله تعالي > صفات الله تعالى > حليماً Pillars of Islam> Islamic> Oneness of Allah> His Glory's Characteristics> Ever Forbearing أركان الإسلام > التوحيد > توحيد الله تعالي > وحدانيته Pillars of Islam> Islamic> Oneness of Allah> Singularity and Being Unique العلوم والفنون > الحقائق العلمية و الإشاة إلى وقائع أيدتهاالإكتشافات العلمية > الإشارة إلى الجاذبية Science and Art> The Scientific Facts and the Indication to Facts which have been supported by the Scientific Discoveries>Indication to Gravity
This tool uses eight English parallel translations for the Holy Quran imported from Mr. Clay Smith. You can also visit Qurany Concepts for browsing the Quran themes or topics. If you want to search the Holy Quran for keywords, please visit Qurany Keywords.


{extend name="layout/layout"} {block name="content"}
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|
| | COMP_NAME (std::shared_ptr< SpaCommunicator > com=nullptr) |
| |
| void | handleSpaData (SpaMessage *message) |
| |
| void | sendData (LogicalAddress destination) |
| |
| void | init () |
| |
| | Component (std::shared_ptr< SpaCommunicator > communicator=nullptr, LogicalAddress address=LogicalAddress(0, 0), LogicalAddress subnetManagerAddress=LogicalAddress(0, 0)) |
| |
| virtual | ~Component () |
| |
| void | publish () |
| |
| virtual void | preInit () |
| |
| virtual void | listen () |
| |
| void | sendMsg (SpaMessage *message, ssize_t len) |
| |
| void | receiveMessage (SpaMessage *) |
| |
| void | handleSubscriptionReply (SpaMessage *) |
| |
| void | registerSubscriptionRequest (SpaMessage *) |
| |
| void | receiveBuffer (cubiumClientSocket_t *) |
| |
| void | subscribe (LogicalAddress producer) |
| |
| void | subscribe (LogicalAddress producer, uint8_t priority, uint32_t leasePeriod, uint16_t deliveryRateDivisor) |
| |
| void | sendPayload (std::string payload, LogicalAddress destination) |
| |
| template<typename T > |
| void | sendPayload (T payload, LogicalAddress destination) |
| |
| bool | addSubscriber (LogicalAddress, uint16_t) |
| |
◆ COMP_NAME()
◆ handleSpaData()
| void COMP_NAME::handleSpaData |
( |
SpaMessage * |
message | ) |
|
|
inlinevirtual |
◆ init()
◆ sendData()
The documentation for this class was generated from the following file:


This shell Script will be executed at the end of each jobs.
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Camera
A Camera defines viewing and projection transforms for its Scene.
Overview
- One Camera per Scene
- Controls viewing and projection transforms
- Has methods to pan, zoom and orbit (or first-person rotation)
- Dynamically configurable World-space "up" direction
- Switchable between perspective, frustum and orthographic projections
- Switchable gimbal lock
- Can be "flown" to look at targets using a CameraFlightAnimation
- Can be animated along a path using a CameraPathAnimation
- Can follow a target using a CameraFollowAnimation
Examples
- Perspective projection
- Orthographic projection
- Frustum projection
- Camera with world Z-axis as "up"
- Camera with world Y-axis as "up"
- Automatically following an Entity with a Camera
- Animating a Camera along a path
- Architectural fly-through
Usage
Getting the Camera
There is exactly one Camera per Scene:
var camera = myScene.camera;
Moving around
Get and set the Camera's absolute position at any time via its eye, look and up properties:
camera.eye = [-10,0,0];
camera.look = [-10,0,0];
camera.up = [0,1,0];
Get the view matrix:
var viewMatrix = camera.viewMatrix;
var viewNormalMatrix = camera.normalMatrix;
Listen for view matrix updates:
camera.on("matrix", function(matrix) { ... });
Orbiting the look position:
camera.orbitYaw(20.0);
camera.orbitPitch(10.0);
First-person rotation, rotates look and up about eye:
camera.yaw(5.0);
camera.pitch(-10.0);
Panning along the Camera's local axis (ie. left/right, up/down, forward/backward):
camera.pan([-20, 0, 10]);
Zoom to vary distance between eye and look:
camera.zoom(-5); // Move five units closer
Get the current distance between eye and look:
var distance = camera.eyeLookDist;
Projection
For each projection type, the Camera has a Component to manage that projection's configuration. You can hot-switch the Camera between those projection types, while updating the properties of each projection component at any time.
camera.perspective.near = 0.4;
camera.perspective.fov = 45;
//...
camera.ortho.near = 0.8;
camera.ortho.far = 1000;
//...
camera.frustum.left = -1.0;
camera.frustum.right = 1.0;
camera.frustum.far = 1000.0;
//...
camera.projection = "perspective"; // Switch to perspective
camera.projection = "frustum"; // Switch to frustum
camera.projection = "ortho"; // Switch to ortho
Get the projection matrix:
var projMatrix = camera.projMatrix;
Listen for projection matrix updates:
camera.on("projMatrix", function(matrix) { ... });
Configuring World up direction
We can dynamically configure the direction that we consider to be "up" in the World-space coordinate system.
Set the +Y axis as World "up" (convention in some modeling software):
camera.worldAxis = [
1, 0, 0, // Right
0, 1, 0, // Up
0, 0,-1 // Forward
];
Set the +Z axis as World "up" (convention in most CAD and BIM viewers):
camera.worldAxis = [
1, 0, 0, // Right
0, 0, 1, // Up
0,-1, 0 // Forward
];
The Camera has read-only convenience properties that provide each axis individually:
var worldRight = camera.worldRight;
var worldForward = camera.worldForward;
var worldUp = camera.worldUp;
Gimbal locking
By default, the Camera locks yaw rotation to pivot about the World-space "up" axis. We can dynamically lock and unlock that at any time:
camera.gimbalLock = false; // Yaw rotation now happens about Camera's local Y-axis
camera.gimbalLock = true; // Yaw rotation now happens about World's "up" axis
Constructor
Camera
-
[scene]
-
[cfg]
Parameters:
-
[scene]
Scene optional -
[cfg]
optionalConfigs
-
[id]
String optional -
[meta]
String:Object optionalOptional map of user-defined metadata to attach to this Camera.
-
Index
Methods
Properties
- destroyed
- eye
- eye
- eyeLookDist
- eyeLookDist
- frustum
- frustum
- gimbalLock
- gimbalLock
- id
- isDefault
- look
- look
- matrix deprecated
- matrix deprecated
- metadata
- normalMatrix deprecated
- normalMatrix deprecated
- ortho
- ortho
- perspective
- perspective
- pivot
- project
- project
- projection
- projection
- projMatrix
- projMatrix
- scene
- superTypes
- type
- up
- up
- viewMatrix
- viewMatrix
- viewNormalMatrix
- viewNormalMatrix
- worldAxis
- worldAxis
- worldForward
- worldForward
- worldRight
- worldRight
- worldUp
- worldUp
Methods
create
-
[cfg]
Convenience method for creating a Component within this Component's Scene.
The method is given a component configuration, like so:
var material = myComponent.create({
type: "xeogl.PhongMaterial",
diffuse: [1,0,0],
specular: [1,1,0]
}, "myMaterial");
Parameters:
-
[cfg]
optionalConfiguration for the component instance.
Returns:
destroy
()
Destroys this component.
Fires a destroyed event on this Component.
Automatically disassociates this component from other components, causing them to fall back on any defaults that this component overrode on them.
TODO: describe effect with respect to #create
error
-
message
Logs an error for this component to the JavaScript console.
The console message will have this format: [ERROR] [<component type> =<component id>: <message>
Also fires the message as an error event on the parent Scene.
Parameters:
-
message
StringThe message to log
fire
-
event
-
value
-
[forget=false]
Fires an event on this component.
Notifies existing subscribers to the event, optionally retains the event to give to any subsequent notifications on the event as they are made.
Parameters:
-
event
StringThe event type name
-
value
ObjectThe event parameters
-
[forget=false]
Boolean optionalWhen true, does not retain for subsequent subscribers
hasSubs
-
event
Returns true if there are any subscribers to the given event on this component.
Parameters:
-
event
StringThe event
Returns:
True if there are any subscribers to the given event on this component.
isType
-
type
Tests if this component is of the given type, or is a subclass of the given type.
The type may be given as either a string or a component constructor.
This method works by walking up the inheritance type chain, which this component provides in property superTypes, returning true as soon as one of the type strings in the chain matches the given type, of false if none match.
Examples:
var myRotate = new xeogl.Rotate({ ... });
myRotate.isType(xeogl.Component); // Returns true for all xeogl components
myRotate.isType("xeogl.Component"); // Returns true for all xeogl components
myRotate.isType(xeogl.Rotate); // Returns true
myRotate.isType(xeogl.Transform); // Returns true
myRotate.isType("xeogl.Transform"); // Returns true
myRotate.isType(xeogl.Entity); // Returns false, because xeogl.Rotate does not (even indirectly) extend xeogl.Entity
Parameters:
-
type
String | FunctionComponent type to compare with, eg "xeogl.PhongMaterial", or a xeogl component constructor.
Returns:
True if this component is of given type or is subclass of the given type.
log
-
message
Logs a console debugging message for this component.
The console message will have this format: [LOG] [<component type> <component id>: <message>
Parameters:
-
message
StringThe message to log
off
-
handle
Parameters:
-
handle
StringPublication handle
on
-
event
-
callback
-
[scope=this]
Subscribes to an event on this component.
The callback is be called with this component as scope.
Parameters:
-
event
StringThe event
-
callback
FunctionCalled fired on the event
-
[scope=this]
Object optionalScope for the callback
Returns:
Handle to the subscription, which may be used to unsubscribe with {@link #off}.
once
-
event
-
callback
-
[scope=this]
Subscribes to the next occurrence of the given event, then un-subscribes as soon as the event is handled.
This is equivalent to calling on, and then calling off inside the callback function.
Parameters:
-
event
StringData event to listen to
-
callback
Function(data)Called when fresh data is available at the event
-
[scope=this]
Object optionalScope for the callback
orbitPitch
-
angle
Parameters:
-
angle
NumberAngle of rotation in degrees
orbitPitch
-
angle
Parameters:
-
angle
NumberAngle of rotation in degrees
orbitYaw
-
angle
Parameters:
-
angle
NumberAngle of rotation in degrees
orbitYaw
-
angle
Parameters:
-
angle
NumberAngle of rotation in degrees
pan
-
pan
Pans the camera along the camera's local X, Y and Z axis.
Parameters:
-
pan
ObjectThe pan vector
pan
-
pan
Pans the camera along the camera's local X, Y and Z axis.
Parameters:
-
pan
ObjectThe pan vector
pitch
-
angle
Parameters:
-
angle
NumberAngle of rotation in degrees
pitch
-
angle
Parameters:
-
angle
NumberAngle of rotation in degrees
pivotPitch
-
angle
Parameters:
-
angle
NumberAngle of rotation in degrees
pivotYaw
-
angle
Parameters:
-
angle
NumberAngle of rotation in degrees
warn
-
message
Logs a warning for this component to the JavaScript console.
The console message will have this format: [WARN] [<component type> =<component id>: <message>
Parameters:
-
message
StringThe message to log
yaw
-
angle
Parameters:
-
angle
NumberAngle of rotation in degrees
yaw
-
angle
Parameters:
-
angle
NumberAngle of rotation in degrees
zoom
-
delta
Parameters:
-
delta
Object
Properties
destroyed
Boolean
True as soon as this Component has been destroyed
eyeLookDist
Number
Distance from "look" to "eye".
eyeLookDist
Number
Distance from "look" to "eye".
frustum
Frustum
final
The frustum projection transform for this Camera.
This is used while projection equals "frustum".
frustum
Frustum
final
The frustum projection transform for this Camera.
This is used while projection equals "frustum".
gimbalLock
Boolean
Whether to lock yaw rotation to pivot about the World-space "up" axis.
Fires a gimbalLock event on change.
Default: true
gimbalLock
Boolean
Whether to lock yaw rotation to pivot about the World-space "up" axis.
Fires a gimbalLock event on change.
Default: true
look
Float32Array
Position of this Camera's point-of-interest.
Fires a look event on change.
Default: [0,0,0]
look
Float32Array
Position of this Camera's point-of-interest.
Fires a look event on change.
Default: [0,0,0]
matrix
Float32Array
deprecated
The Camera's viewing transformation matrix.
Fires a Camera/matrix:event event on change.
matrix
Float32Array
deprecated
The Camera's viewing transformation matrix.
Fires a Camera/matrix:event event on change.
metadata
Object
Arbitrary, user-defined metadata on this component.
normalMatrix
Float32Array
deprecated
The Camera's viewing normal transformation matrix.
Fires a Camera/matrix:event event on change.
normalMatrix
Float32Array
deprecated
The Camera's viewing normal transformation matrix.
Fires a Camera/matrix:event event on change.
ortho
Ortho
final
The orthographic projection transform for this Camera.
This is used while projection equals "ortho".
ortho
Ortho
final
The orthographic projection transform for this Camera.
This is used while projection equals "ortho".
perspective
Perspective
final
The perspective projection transform for this Camera.
This is used while projection equals "perspective".
perspective
Perspective
final
The perspective projection transform for this Camera.
This is used while projection equals "perspective".
pivot
Float32Array
Position of this Camera's pivot point.
Fires an pivot event on change.
Default: [0,0,10]
projection
String
The active projection type.
Accepted values are "perspective", "ortho" and "frustum".
Default: "perspective"
projection
String
The active projection type.
Accepted values are "perspective", "ortho" and "frustum".
Default: "perspective"
projMatrix
Float32Array
Camera's projection transformation projMatrix.
Fires a Camera/projMatrix:event event on change.
projMatrix
Float32Array
Camera's projection transformation projMatrix.
Fires a Camera/projMatrix:event event on change.
superTypes
Array of String
final
An array of strings that indicates the chain of super-types within this component's inheritance hierarchy.
For example, if this component is a Rotate, which extends Transform, which in turn extends Component, then this property will have the value:
["xeogl.Component", "xeogl.Transform"]
Note that the chain is ordered downwards in the hierarchy, ie. from super-class down towards sub-class.
type
String
final
JavaScript class name for this Component.
For example: "xeogl.AmbientLight", "xeogl.ColorTarget", "xeogl.Lights" etc.
viewMatrix
Float32Array
The Camera's viewing transformation matrix.
Fires a Camera/matrix:event event on change.
viewMatrix
Float32Array
The Camera's viewing transformation matrix.
Fires a Camera/matrix:event event on change.
viewNormalMatrix
Float32Array
The Camera's viewing normal transformation matrix.
Fires a Camera/matrix:event event on change.
viewNormalMatrix
Float32Array
The Camera's viewing normal transformation matrix.
Fires a Camera/matrix:event event on change.
worldAxis
Float32Array
Indicates the up, right and forward axis of the World coordinate system.
Has format: [rightX, rightY, rightZ, upX, upY, upZ, forwardX, forwardY, forwardZ]
Default: [1, 0, 0, 0, 1, 0, 0, 0, 1]
worldAxis
Float32Array
Indicates the up, right and forward axis of the World coordinate system.
Has format: [rightX, rightY, rightZ, upX, upY, upZ, forwardX, forwardY, forwardZ]
Default: [1, 0, 0, 0, 1, 0, 0, 0, 1]
worldForward
Float32Array
final
Direction of World-space "forwards".
Default: [0,0,-1]
worldForward
Float32Array
final
Direction of World-space "forwards".
Default: [0,0,-1]
worldRight
Float32Array
final
Direction of World-space "right".
Default: [1,0,0]
worldRight
Float32Array
final
Direction of World-space "right".
Default: [1,0,0]
worldUp
Float32Array
final
Direction of World-space "up".
Default: [0,1,0]
worldUp
Float32Array
final
Direction of World-space "up".
Default: [0,1,0]
Events
destroyed
Fired when this Component is destroyed.
eye
Fired whenever this Camera's eye property changes.
Event Payload:
-
value
ObjectThe property's new value
eye
Fired whenever this Camera's eye property changes.
Event Payload:
-
value
ObjectThe property's new value
gimbalLock
Fired whenever this Camera's gimbalLock property changes.
Event Payload:
-
value
ObjectThe property's new value
gimbalLock
Fired whenever this Camera's gimbalLock property changes.
Event Payload:
-
value
ObjectThe property's new value
look
Fired whenever this Camera's look property changes.
Event Payload:
-
value
ObjectThe property's new value
look
Fired whenever this Camera's look property changes.
Event Payload:
-
value
ObjectThe property's new value
pivot
Fired whenever this Camera's pivot property changes.
Event Payload:
-
value
ObjectThe property's new value
up
Fired whenever this Camera's up property changes.
Event Payload:
-
value
ObjectThe property's new value
up
Fired whenever this Camera's up property changes.
Event Payload:
-
value
ObjectThe property's new value
worldAxis
Fired whenever this Camera's worldAxis property changes.
Event Payload:
-
value
ObjectThe property's new value
worldAxis
Fired whenever this Camera's worldAxis property changes.
Event Payload:
-
value
ObjectThe property's new value


We'd love to hear from you about volunteering with Give a Smile. Drop us a line and we'll be in touch.
We'll help get you kitted out and setup to run your very own fundraiser. Get in touch and find out more.
We want to serve 100 million meals by 2020 in a bid to make a world free of hunger
“No one has ever become poor by giving.”

True compassion means not only feeling another's pain but also being moved to help relieve it.
I care not for a man's religion whose dog and cat are not the better for it.
You have not lived today until you have done something for someone who can never repay you.
The results of philanthropy are always beyond calculation.
Mother Teresa“Love cannot remain by itself - it has no meaning. Love has to be put into action and that action is service.”
Mahatma Gandhi.“There are people in the world so hungry, that God cannot appear to them except in the form of bread.”
Buddha“If you knew what I know about the power of giving,you wouldn't let a single meal without sharing it in some way.”
In good times and bad, we know that people give because you meet needs, not because you have needs.
Bangalore Charitable Trust (BCT) is a registered non-profit charitable organization (NGO) founded in 2017 for taking care of all people by providing medical and nursing care of all types, especially to increase access.
Bangalore Charitable Trust (BCT) is a registered non-profit charitable organization (NGO) founded in 2017 for taking care of all people by providing medical and nursing care of all types, especially to increase access.
Bangalore Charitable Trust (BCT) is a registered non-profit charitable organization (NGO) founded in 2017 for taking care of all people by providing medical and nursing care of all types, especially to increase access.
Bangalore Charitable Trust (BCT) is a registered non-profit charitable organization (NGO) founded in 2017 for taking care of all people by providing medical and nursing care of all types, especially to increase access.
Bangalore Charitable Trust (BCT) is a registered non-profit charitable organization (NGO) founded in 2017 for taking care of all people by providing medical and nursing care of all types, especially to increase access.
Bangalore Charitable Trust (BCT) is a registered non-profit charitable organization (NGO) founded in 2017 for taking care of all people by providing medical and nursing care of all types, especially to increase access.
Palliative Care is the continuing active care of patients and their families at a time when the medical expectation is no longer a cure. Patients are referred to the service by either their family doctor or their hospital consultant.
The Missionary activities of the Mar Thoma church in the southern region of Karnataka State began in Hoskote in 1947.
Bethel Medical Services, established in 1997 by a group of medical professionals including doctors and paramedical staffs is an organization,
To provide advanced medical diagnosis and treatment to man at affordable cost, a Medical Mission Hospital diagnostic services.


Sort by Event Type | Cluster Size {% else %}
Sort by Event Type | Cluster Size {% endif %} {% endif %}


Detailed course offerings (Time Schedule) are available for
CL AR 340 Pre-Classical Art and Archaeology (3) VLPA K. TOPPER
Survey of the art and the other material remains of the civilizations in the Aegean from the Neolithic Age to the end of the Bronze Age, with special emphasis on Minoan Crete and the Mycenaean kingdoms of mainland Greece, illustrated by slides. The history, techniques, and results of significant excavations are examined. Offered: jointly with ART H 340.
View course details in MyPlan: CL AR 340
CL AR 341 Greek Art and Archaeology (3) VLPA S. LEVIN-RICHARDSON, K. TOPPER
Survey of the material remains and the developing styles in sculpture, vase painting, architecture, and the minor arts from the geometric to the Hellenistic periods, illustrated by slides. Principal sites and monuments, as well as techniques and methods of excavation, are examined in an attempt to reconstruct the material culture of antiquity. Offered: jointly with ART H 341.
View course details in MyPlan: CL AR 341
CL AR 342 Roman Art and Archaeology (3) VLPA K. TOPPER
Roman architecture and art, with emphasis on the innovations of the Romans; illustrated by slides. Offered: jointly with ART H 342.
View course details in MyPlan: CL AR 342
CL AR 343 Hellenistic Art and Archaeology (3) VLPA K. TOPPER
Survey of the art of Greece and the eastern Mediterranean from the time of Alexander the Great to the Roman conquest. Principal sites with their sculpture, painting, mosaics, and minor arts examined in lectures illustrated with slides. Offered: jointly with ART H 343.
View course details in MyPlan: CL AR 343
CL AR 442 Greek Painting (3) VLPA K. TOPPER
Study of painted decoration on Greek vases, with emphasis on stylistic developments and cultural and historical influences. Painting on other media also examined as evidence allows. Offered: jointly with ART H 442.
View course details in MyPlan: CL AR 442
CL AR 443 Roman Painting (3) VLPA S. LEVIN-RICHARDSON, K. TOPPER
Study of surviving painting from the Roman world, with emphasis on wall paintings from Pompeii and Herculaneum. Principal topics for discussion: the four styles of Pompeian painting the dependence of Roman painters on Greek prototypes, and the significance of various kinds of painting as domestic decoration. Offered: jointly with ART H 443.
View course details in MyPlan: CL AR 443
CL AR 444 Greek and Roman Sculpture (3) VLPA K. TOPPER
History and development of Greek sculpture and sculptors, their Roman copyists, and Roman portraits and sarcophagi. Emphasis on Greek sculpture of the fifth century BC. Offered: jointly with ART H 444.
View course details in MyPlan: CL AR 444
CL AR 446 Greek Architecture (3) VLPA K. TOPPER
Detailed study of Greek architecture from its beginnings, with special emphasis on the Periclean building program in fifth-century Athens. Offered: jointly with ART H 446.
View course details in MyPlan: CL AR 446
CL AR 447 The Archaeology of Early Italy (3) VLPA S. LEVIN-RICHARDSON, K. TOPPER
Study of the principal archaeological sites of early Italy, including Etruria, Sicily, southern Italy, and archaic Rome up to the Republican period. Attention given to the material remains and their relationship to the Etruscan, ancient Sicilian, and early Roman civilizations. Offered: jointly with ART H 447.
View course details in MyPlan: CL AR 447
CL AR 448 The Archaeology of Italy (3) VLPA S. LEVIN-RICHARDSON, K. TOPPER
Study of the principal archaeological sites in Italy with special emphasis on ancient Rome. Sites include the Alban hills, Ostia, Pompeii, Herculaneum, Tarquinia, Paestum, Tivoli, and Praeneste. Attention given to the relationship between material remains and their purpose in ancient life. Illustrated by slides. Offered: jointly with ART H 448.
View course details in MyPlan: CL AR 448
CL AR 513 Athenian Topography (5) K. TOPPER
Detailed consideration of the topography and monuments of ancient Athens from the beginning through the Roman period.
View course details in MyPlan: CL AR 513
CL AR 541 Seminar in Greek and Roman Art (5) S. LEVIN-RICHARDSON, K. TOPPER
In-depth study of selected topics and problems of the art of ancient Greece and Rome. Offered: jointly with ART H 541.
View course details in MyPlan: CL AR 541


Hi, I'm a header
Hello there, awesome person!
I
don't have
a favorite website
but here:
li>
This is a link to GitHub!


System Architect Symbol details for "Significance Level"
Access Type (Class)
- Description:
"Level" specifying the extents to which access to information may be granted.
- Examples:
-
Examples which may be considered include:
Read only
Copy
Forward to others
Absolute.
Each level would be deemed to include all lower levels.
Certainty Level (Class)
- Description:
"Level" being an extent to which confidence can be ascribed to the value or existence of a "Subject
Property" or a qualifier.
Desirability Level (Class)
- Description:
"Level" providing a value for an "Evaluated Desirability".
Level (Class)
- Description:
"Descriptive Category" used to describe the level to which something obtains.
level for (Association)
- From Class:
"Significance Level"
- To Class:
"Significance Of Property"
- From Class:
"Significance Level"
- To Class:
"Significance Of Property"
Level/Direction (Generalization Node)
- Base Class:
Level
- Definitions Used:
-
Level (Class)
Normality Level (Class)
- Description:
"Level" providing a value for a "Normality of Property".
Significance Level (Class)
- Description:
"Level" providing a value for a "Significance Of Property".
Significance Of Property (Class)
- Description:
"Perception Of Property" which indicates its significance.
Urgency (Class)
- Description:
"Level" capable of specifying a perceived requirement for speed.


x2d::anim::frame Class Reference
This class represents a single frame in an animation.
More...
#include <animation.h>
List of all members.
Public Member Functions |
| | frame (const boost::shared_ptr< sprite > &spr, const float &dur) |
| void | draw_at_point (point pos) const |
Friends |
|
class | animation |
Detailed Description
This class represents a single frame in an animation.
Constructor & Destructor Documentation
| x2d::anim::frame::frame |
( |
const boost::shared_ptr< sprite > & |
spr, |
|
|
const float & |
dur | |
|
) |
| | [inline] |
- Parameters:
-
| [in] | spr | The sprite to use for this frame |
| [in] | dur | Duration of this frame expressed in seconds |
Member Function Documentation
| void x2d::anim::frame::draw_at_point |
( |
point |
pos |
) |
const |
Draw the frame.
- Parameters:
-
| [in] | pos | Position to draw at |
The documentation for this class was generated from the following files:
- /Users/godexsoft/Development/Nako/x2d/x2d/x2d/src/anim/animation.h
- /Users/godexsoft/Development/Nako/x2d/x2d/x2d/src/anim/animation.cpp


--- layout: archive title: Zulip Chat Archive permalink: /stream/113488-general/topic/beta.20meta.html ---
Inside the tactic monad, can I ask Lean to beta-reduce an expr
?
Yes: head_beta
Thanks. It reveals my problem was somewhere else
{% endraw %}Last updated: Apr 24 2020 at 19:02 UTC


Once you have installed this release, your installation folder should contain some or all of the following items. The actual items installed depend on the features selected during installation.
- index.html
- The starting page for all documentation
- configentry
- The directory that contains configuration entry description files for all of the starter kit services and utilities
- classes
- The directory that contains class files from the JAR files that are in the
lib
andlib-dl
directories- doc
- The directory that contains specifications, API documentation, manual pages, release notes, license information, and other documentation
- installverify
- The directory that contains configurations and an executable for starting a service browser and six contributed Jini services
- lib
- The directory where the non-download JAR files are located
- lib-dl
- The directory where the download JAR files for the services are located
- lib-ext
- The directory where the dynamic security policy provider is located
- source
- The directory that contains all of the source code and build files for the release and the hello example
- uninstall
- The directory that contains the uninstaller for the release
jsk-policy.jar
fileThis release includes a security policy provider which supports dynamic granting of permissions at run-time. Although use of this policy provider is not required, its use is highly recommended when deploying secure applications and services. To permit effective use of this policy provider, it must first be installed as an extension in the Java 2 SDK (or JRE) that you will be using. Note that installing this provider does not automatically cause it to be used, and its installation should not alter the operation of existing applications.
To install this policy provider, providing you didn't do so during your initial installation,
you must copy the jsk-policy.jar
file from the lib-ext
subdirectory of your Jini(TM) Technology Starter Kit (starter kit) installation to
the extensions directory of your Java(TM) 2 SDK (or JRE) installation.
An alternative to copying jsk-policy.jar
to the extension directory is
to use the system property java.ext.dirs
. This property specifies one or
more directories to search for extensions, each separated by File.pathSeparatorChar
.
To use jsk-policy.jar
in this manner, the system property
must be set to include both the path to the Java 2 JRE extension directory
(or directories) and the path to the lib-ext
subdirectory of
your starter kit installation.
Note that in Java(TM) 2 Standard Edition (J2SE(TM)) 1.4, only the original extension directory
is granted permissions via the system policy file, so you will have to explicitly grant
permissions to jsk-policy.jar
in your own policy files. In J2SE 5.0, all the
directories specified in java.ext.dirs
are granted permissions so the explicit
permission grant is not needed.
This release is licensed under the Apache License, Version 2.0.
phoenix
or rmid


Phylogenetic Inference is the process of generating a phylogenetic tree, which is a structure that represents the evolutionary relationships among a group of taxological units. This process can be accomplished in different ways. Maximum Likelihood, Bayesian Approach, Maximum Parsimony, Neighbor-Joining method and UPGMA method are the most prominant algorithms. The effectiveness of each algorithm depends on dataset features.


Located on the northwest coast of the beautiful island of Crete, Youphoria Villas are a fantastic example of Greek elegance. High quality furnishings and ecological characteristics reinterpreted in an innovative design make the villas the ideal place for a dream holiday.


home
|
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sourceforge
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forums
Documentation
Introduction
Install
How to use
Compile
Handles
Error Handling
Graphics
Fonts And Encodings
API Reference
Examples
Bindings for Other Programing Languages
Useful Links
Introduction
Install
How to use
Complile
Handles
Erorr Handling
Graphics
Fonts and Encoding
API reference
Examples
Bindings for Other Programing Languages
Useful Links
LAST UPDATE 2006.08.25


I've just switched from Bash to ZSH because of oh-my-ZSH. I think this is just the right time to explain the words Shell, command line, Terminal, Bash and ZSH.
Terminal is an terminal emulator, sometimes also called a "terminal window". I work in a window environment (MATE) and I want to use command line tools within that environment. So I need a "terminal window":
ZSH and Bash are both Unix shells. A shell is a command line interpreter that provides a text-based user interface.
Command line describes the textual way you interact with the computer. When you're in a graphical user interface situation you interact by manipulating windows with your keyboard/mouse. When you're in a text-based user interface situation, you interact by entering commands in a line (hence command line).
Solarized Dark Theme
The Solarized Dark Theme is very good for command line. It can be installed like this as explained here:
$ git clone https://github.com/oz123/solarized-mate-terminal.git
$ cd solarized-mate-terminal
$ ./solarized-mate.sh dark
restart the terminal.
Oh-my-ZSH Installation
Oh-my-ZSH is a plugin for ZSH. I think this plugin is very good and makes a big difference to Bash. So when you look at the screenshots below, keep in mind that this is not a "plain vanilla" zsh.
- Install "Oh-my-ZSH"
- Install "powerline fonts" and change your Terminal font to one of them
- Change your Terminal theme to "agnoster" by setting
ZSH_THEME="agnoster"
in ~/.zshrc - Set your terminal theme to "Solarized Dark" (description)
- Make ZSH your default Shell in MATE Terminal (description) and eventually
sudo chsh -s /usr/bin/zsh username
ZSH and Bash
Here are some differences. On the left side is zsh, on the right is bash:
I like the time command of bash more, but that's it. All other interactions are either almost the same or better in zsh. I especially like that zsh doesn't print everything again when you autocomplete with tab. And it also autocompletes when you make an capitalization error.
I also begin to like the Git-specific prompt indicators:
Some usefull tools
ack
You might already know grep
. And if you've worked with it, you
might already have typed something like the following:
grep --exclude-dir=".svn" "searchterm" *
grep -rI "onlytextSearchterm" .
An alternative to grep
is ack
(for Ubuntu users: ack-grep
).
See beyondgrep.com.
Windows
It seems to be possible to get something similar (the same?) for Windows. See OH MY CYGWIN.


Select Section
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Encountering Slices
January 8, 2019
Slices currently feel like the solution to a problem I’ve not yet felt the pain of. That’s not to say the problem isn’t there; I’m just not aware of it yet. Is this because in systems programming the data you’re close to and manipulate more is of a different kind? Or of a different structure? Or more unpredictable? Or more raw? Or is performance more a concern from the outset? I guess I’ll have to wait and see.
For my learning purposes, what follows is a series of facts and musings about them, strung together in some kind of train-of-thought type structure;
Literals are initialised without a size (unlike array literals).
They can extend (within the cap).
They’re not comparable out of the box (so we can’t use ==
). While the standard golang libraries provide a function to compare byte slices thats the only one; the rest you need to build yourself.Is this because the rest aren’t that frequently needed? I’ll have to wait and find out.
Digging into why you can’t directly compare them is instructive. Firstly;
Unlike array elements, the elements of a slice are indirect, making it possible for a slice to contain pointers to contain itself. The Go Programming Language (2016), Donovan and Ritchie, pp. 87
And secondly;
because slice elements are indirect, a fixed slice may contain different elements at different times as the content of the underlying array are modified. The Go Programming Language (2016), Donovan and Ritchie, pp. 87
Let’s be explicit about what “indirect” is. Slices are like windows onto a subset of an underlying data type - an Array. Without Arrays they don’t exist. They don’t have any storage themselves - they just contain a pointers to an Array - and then add on characteristics such as len
and cap
.
It may be instructive at this point to bring in some ways of categorising things.
Composite types are types created by combining the basic types (Integers, String etc.) in various ways.
Arrays (and Structs) are a subset of Composite Type, called Aggregate Types . They are concatenations of other values in memory.
Slices, while they are Composite Types are not Aggregate Types, and must have zero or one underlying Array type behind them. If a Slice has no underlying Array type then checking against nil
with the comparison operator ==
(the only usage of this operator valid for Slices) will return true
. This is the zero-value of Slices.
A slice can still be empty if it has an underlying array, but the len
will then be zero.
To use slices directly its important to bear in mind that although the elements of the underlying array are indirect , the slices pointer,
len
andcap
are not. The Go Programming Language (2016), Donovan and Ritchie, pp. 91
Which leads me to a question which I intend to explore in a later post; do slices need to point to contiguous elements of their undelying array? I assume so, but it’s always best never to assume I’ve found.
Addendum
Slices can be used to implement stacks. But why not just have a Stack data type? It seems strange coming from the Java language with such a rich set of collections types, to arrive in goland [sic] where I find myself with just a pen knife and a compass. It’s different, but thats why I’m here; to find out why.


[§431:10A‑105.5]Federal law compliance. An accident and health or sickness insurer shall comply with applicable federal law. The commissioner shall enforce the consumer protections and market reforms relating to insurance as set forth in the federal Patient Protection and Affordable Care Act, Public Law 111-148. [L 2011, c 15, §1]


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STStreamConfig Constants Reference
| Declared in | Structure.h |
STStreamConfig
Constants indicating the Structure Sensor streaming configuration.
See also:
Definition
typedef NS_ENUM(NSInteger, STStreamConfig ) {
STStreamConfigInvalid = -1,
STStreamConfigDepth320x240 = 0,
STStreamConfigRegisteredDepth320x240,
STStreamConfigDepth320x240AndInfrared320x248,
STStreamConfigInfrared320x248,
STStreamConfigDepth640x480,
STStreamConfigInfrared640x488,
STStreamConfigDepth640x480AndInfrared640x488,
STStreamConfigRegisteredDepth640x480,
STStreamConfigDepth320x240_60FPS,
};
Constants
STStreamConfigInvalid
-
return -1 when the stream has not been calibrated
Declared In
Structure.h
. STStreamConfigDepth320x240
-
QVGA depth at 30 FPS.
Declared In
Structure.h
. STStreamConfigRegisteredDepth320x240
-
QVGA depth at 30 FPS, aligned to the color camera.
Declared In
Structure.h
. STStreamConfigDepth320x240AndInfrared320x248
-
QVGA depth and infrared at 30 FPS.
Declared In
Structure.h
. STStreamConfigInfrared320x248
-
QVGA infrared at 30 FPS.
Declared In
Structure.h
. STStreamConfigDepth640x480
-
VGA depth at 30 FPS.
Declared In
Structure.h
. STStreamConfigInfrared640x488
-
VGA infrared at 30 FPS.
Declared In
Structure.h
. STStreamConfigDepth640x480AndInfrared640x488
-
VGA depth and infrared at 30 FPS.
Declared In
Structure.h
. STStreamConfigRegisteredDepth640x480
-
VGA depth at 30 FPS, aligned to the color camera.
Declared In
Structure.h
. STStreamConfigDepth320x240_60FPS
-
QVGA depth at 60 FPS. Note: frame sync is not supported with this mode.
Declared In
Structure.h
.
Declared In
Structure.h


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