| JasperReports Ultimate Guide - Sample Reference - Schema Reference - Configuration Reference - API (Javadoc)
|
|
|
|
|
| JasperReports - Crosstabs Sample (version 6.16.0) | |
|
|
|
|
|
| Main Features in This Sample | |
|
| Crosstabs |
|
| Datasets |
|
| Dynamic Styles |
|
|
|
|||||
| top | ||||||
|
|
||||||
| Crosstabs | Documented by | |||||
|
|
||||||
|
| Description / Goal |
| How to use the built-in crosstab element to display aggregated data. | |||
|
| Since |
| 1.1.0 | |||
|
|
||||||
|
|
Crosstabs Overview
Crosstabs are very helpful tools used to aggregate data into 2-dimensional grids. Like other data aggregating elements (charts, for instance), they are organized as regular report elements, but with a complex structure and granularity. Crosstabs can be used with any level of data (nominal, ordinal, interval, or ratio), and usually display the summarized data, contained in report variables, in the form of a dynamic table. Variables are used to display aggregate data such as sums, counts, average values. Crosstabs are also interesting due to their flexible layout capabilities. When a crosstab does not fit on a page, then either a column or row break occurs, and the crosstab splits into several pieces. Depending on the remaining available space, the crosstab could continue on the same page, or it could overflow onto a new page. A crosstab element is characterized by the following attributes:
name and class attributes and
by the <parameterValueExpression> tag.
One can declare crosstab parameters either one by one in the crosstab element, or grouping them in a parameters map referenced by the <parametersMapExpression> tag.
Crosstab Datasets Like charts, crosstabs can handle by themselves collections of data. They can access data either in the report main dataset, or they can handle their own subdataset. All subdataset information required by the crosstab element is contained in the <crosstabDataset> child element. To faster
perform calculations on data it is recommended that data come already sorted within dataset, according
to the row and column groups. If this is not the case, then the crosstab internal engine should be
instructed to sort data during the aggregation process. One can do this using the isDataPreSorted
dataset attribute. If no <crosstabDataset> is declared, then the crosstab is using the
main dataset. More on datasets can be found further in the datasets section.
Data Grouping in Crosstab The crosstab calculation engine aggregates data by iterating through the associated dataset records. In order to aggregate data, one need to group them first. In a crosstab rows and columns are based on specific group items, called buckets . A bucket definition should contain:
Any number of row groups can be declared within a crosstab. The first row group will enclose the second one, the second one will enclose the third one, and so on. A row group is characterized by the following attributes:
Any number of column groups can be declared within a crosstab. Like row groups, outer column groups are enclosing inner column groups, in the same order as they were declared. A column group is characterized by the following attributes:
A measure is a result of aggregate data calculation. Its value is typically displayed in the crosstab cells. A crosstab measure behaves just like a report variable and is completely characterized by:
ROW_COUNT and COLUMN_COUNT one can generate alternate colors for rows or columns
in a crosstab, using conditional styles:
<style name="RowStyle" isDefault="false" mode="Opaque"> <conditionalStyle> <conditionExpression><![CDATA[$V{ROW_COUNT} % 2 == 0]] ></conditionExpression> <style backcolor="#E0E0E0"/> </conditionalStyle> </style>or: <style name="ColumnStyle" isDefault="false" mode="Opaque"> <conditionalStyle> <conditionExpression><![CDATA[$V{COLUMN_COUNT} % 2 == 0]] ></conditionExpression> <style backcolor="#E0E0E0"/> </conditionalStyle> </style>Crosstab Cells A crosstab cell is a rectangular report element that can contain any kind of other report element, except subreports, charts, and crosstabs. Usually, crosstab cells can be either detail cells (when its both row/column correspond to a bucket value), or total cells (when at least the row or column corresponds to a group total value). Depending on their position within the crosstab, or on their special meaning, crosstab cell types are described below:
This sample contains 4 JRXML files illustrating various crosstab properties and usability.
Running the sample requires the Apache Ant library. Make sure that ant is already installed on your system (version 1.5 or later).
In a command prompt/terminal window set the current folder to demo/hsqldb within the JasperReports source project and run the > ant runServer command.
It will start the HSQLDB server shipped with the JasperReports distribution package. Let this terminal running the HSQLDB server.
Open a new command prompt/terminal window and set the current folder to demo/samples/crosstabs within the JasperReports source project and run the > ant test view command.
It will generate all supported document types for the four sample reports and save them in the demo/samples/crosstabs/build/reports directory.
Then the ShipmentsReport will open in the JasperReports internal viewer. |
|||||
|
|
||||||
| top | ||||||
|
|
||||||
| Datasets | Documented by Sanda Zaharia | |||||
|
|
||||||
|
| Description / Goal |
| How to make use of subdatasets for chart elements and crosstab elements. | |||
|
| Since |
| 1.1.0 | |||
|
| Other Samples |
|
|
|||
|
|
||||||
|
|
Report Datasets
A dataset is an entity that intermediates data source and subreport characteristics. Datasets allow the engine to iterate through some virtual records, just as data sources do, but they also enable calculations and data grouping during this iteration using variables and groups. A dataset declaration, containing parameters, fields, variables, and groups, is similar to subreport declarations, but datasets are not related to any visual content. There are no sections or layout information at the dataset level. The report data source, along with the parameters, fields, variables, and groups declared at the report level, represent a special dataset declaration, implicitely used in every report template, the so-called main dataset. One can consider the main dataset responsible for iterating through the report data source records, calculating variables, filtering out records, and estimating group breaks during the report-filling process. Subdatasets and Dataset Runs User-defined datasets are declared as <subDataset/> elements. To completely
characterize a subdataset
one needs to set:
Anytime a dataset is referenced by another report element, a dataset run is instantiated. A dataset run supplies additional information about either the appropriate data source to be iterated, or the database connection string. It comes also with its own parameters and/or parameters map. Dataset runs are similar to subreports in the way parameters and the data source/connection are passed in: <element name="datasetRun"> <annotation> <documentation>Subdataset instantiation information for a chart/crosstab dataset.</documentation> </annotation> <complexType> <sequence> <element ref="jr:parametersMapExpression" minOccurs="0" maxOccurs="1"/> <element ref="jr:datasetParameter" minOccurs="0" maxOccurs="unbounded"/> <choice minOccurs="0" maxOccurs="1"> <element ref="jr:connectionExpression"/> <element ref="jr:dataSourceExpression"/> </choice> </sequence> <attribute name="subDataset" type="string" use="required"> <annotation> <documentation>The name of the <elem>subdataset</elem> to instantiate.</documentation> </annotation> </attribute> </complexType> </element>The subDataset attribute is mandatory and contains the name of the subdataset to be used during the
chart or crosstab filling process. If no dataset run is specified for a chart or crosstab, the main dataset of
the report is used by default.
|
|||||
|
|
||||||
| top | ||||||
|
|
||||||
| Dynamic Styles | Documented by Sanda Zaharia | |||||
|
|
||||||
|
| Description / Goal |
| How to make use of dynamic style features in to customize the appearance of report elements. | |||
|
| Since |
| 4.8.0 | |||
|
|
||||||
|
|
Overview
Since report styles are declared once per report, dynamic expressions cannot be used to set their attributes. However, in some situations the element's appearance may depend on certain conditions determined only at runtime, so it needs to be set dynamically. A common example is the necessity to use different foreground/background colors in table cells, depending on the cell content. Conditional styles based on a dynamic condition expression are very helpful in such situations, but style attributes in a conditional style still don't support expressions. To solve this problem were introduced dynamic style features in JasperReports, starting with v.4.8.0. These features come in form of properties or property expressions having their names prefixed with net.sf.jasperreports.style ,
that are set per report element. Each feature is associated with a style attribute. If such a property is found at element level,
its value will override the related style attribute of the element.
The following style properties are defined in PropertyStyleProvider class. They are also presented in this page, in a sequence starting with the net.sf.jasperreports.style.backcolor property. Style properties are grouped in 4 categories: common, box, pen and paragraph style:
net.sf.jasperreports.style.name and
net.sf.jasperreports.style.style are not supported. They have no meaning and no effects in this implementation.
This is because styles cannot be defined at element level, and dynamic style features are intended only for overriding an existing style attribute for that element. For dynamic style definitions one can use conditional styles in the report. Following is an example of dynamic style features declared for a given element in JRXML: <reportElement mode="Opaque" x="0" y="0" width="60" height="10" uuid="7a6d4e33-8395-467d-8f6e-bef91a959af5"> <property name="net.sf.jasperreports.style.isBold" value="true"/> <propertyExpression name="net.sf.jasperreports.style.forecolor"><![CDATA[$F{Forecolor}]] ></propertyExpression> <propertyExpression name="net.sf.jasperreports.style.backcolor"><![CDATA[$P{Backcolor}]] ></propertyExpression> <propertyExpression name="net.sf.jasperreports.style.fontName"><![CDATA[$V{FontName}]] ></propertyExpression> </reportElement>Dynamic Styles Example The OrdersReport.jrxml file in the crosstabs sample uses a dynamic style feature in order to allow different background color tones in crosstab cells, based on the value of the cell content relative to the grand total. For elements in detail cells the backcolor style feature was set using the following property expression: <reportElement style="OrderCountStyle" mode="Opaque" x="0" y="0" width="60" height="10" uuid="7a6d4e33-8395-467d-8f6e-bef91a959af5"> <propertyExpression name="net.sf.jasperreports.style.backcolor"> <![CDATA["#" + net.sf.jasperreports.engine.util.JRColorUtil.getColorHexa(new java.awt.Color( 255, 255 - Math.min(255,(int)(255 * 20 * $V{OrderCount} / $V{OrderCount_CountryRow_FreightColumn_ALL})), 255 - Math.min(255,(int)(255 * 20 * $V{OrderCount} / $V{OrderCount_CountryRow_FreightColumn_ALL}))))]] > </propertyExpression> </reportElement>After running the sample we'll see the red background of crosstab cells colored more or less intensely depending on the value of the OrderCount measure as percent of OrderCount_CountryRow_FreightColumn_ALL quantity. Cells with OrderCount = 0 display a white background. |
|||||
|
|
|
|
| © 2001- TIBCO Software Inc. www.jaspersoft.com |


Skip to a Specific Universe - Where Do You Want to Start?
Prologue 1/4 - World War SqueePrologue 2/4 - Ugga Bugga BOO!
Prologue 3/4 - Pave Paradox and Put up a Parking Lot
Prologue 4/4 - A Match Made in The Other Place
Scene I Branch 1/4 - Ice, House, Baby!
Scene I Branch 2/4 - Don't Forget to Try the Priest
Scene I Branch 3/4 - A City Way To Spend the Day
Scene I Branch 4/4 - The Fort End of the Stick
Previously On BITE! BITE! BIRDIE!...
ZOMBIE CONRAD: Qrack brack graAAAgharg!
COMMANDING OFFICER: It's a miracle, he's alive! Quick men, gather around him all unnecessarily close-like!
WELL ARMED SOLDIERS: Sir! Yes sir!!
Previously On BITE! BITE! BIRDIE!...
ROSIE: We have to get out of here!
ALBERT: I...I don't know how to use these Rose! It's been a long time!
ROSIE: It'll come back Albert, wielding a machete is just like riding a bike. While, um, wielding a machete...
ALBERT: And where did you find them? Why do you have them? Did the scarecrow stop working again?
Albert walks dumbfounded to the window.
Previously On BITE! BITE! BIRDIE!...
ROSIE: Quick! Nail those chairs to the door frame! Wait, what was that...?

ALBERT: Rosie...is that...is that who...is that what I think it is???
ROSIE: Downstairs! Downstairs now!
Previously On BITE! BITE! BIRDIE!...
VOICE IN THE DARKNESS: GRRaaaackagggraraaha...
ROSIE: That's not funny Albert - turn the light on!
VOICE IN THE DARKNESS: Zzzrrhgrak...
[?do clear_text(); ?]
RADIO ANNOUNCER: ...and most of all, welcome back Private First Class Conrad Birdie. Your adoring fans have missed you rabidly - haha - in fact one of those fans seems to have made it on to the stage!
Prologue
CROWD OF GIRLS: We love you Conrad! SQUEEEEE!!!RADIO ANNOUNCER: ...and most of all, welcome back Private First Class Conrad Birdie. Your adoring fans have missed you rabidly - haha - in fact one of those fans seems to have made it on to the stage!
Prologue
CROWD OF GIRLS: We love you Conrad! SQUEEEEE!!!RADIO ANNOUNCER: ...and most of all, welcome back Private First Class Conrad Birdie. Your adoring fans have missed you rabidly - haha - in fact one of those fans seems to have made it on to the stage!
RABID FAN: GRAAaagh! <chomp>
CONRAD: Yikes!
RABID FAN: YarghghghghghghHHHHK! <chomp chomp>
RADIO ANNOUNCER: My God! She's tearing into his neck with her teeth like he's wrapped in tissue paper. We should either continue to watch in morbid fascination OR do something to help!
COMMANDING OFFICER: You heard the man! Don't just do something - stand there!
WELL ARMED SOLDIERS: Sir! Yes Sir!
CONRAD: Wait...what? Why isn't anyone helping meeeee?
RABID FAN: Eeeeeeegagagagagahhh! <chomp chomp chomp>
CONRAD: No....no stop! Please! Pleh...
RADIO ANNOUNCER: Ladies and gentlemen, Conrad Birdie, the veritable songbirdie of his generation, is...dead.
COMMANDING OFFICER: Where's that boy from anyway? We're gonna have to notify next of kin.
WELL ARMED SOLDIER: I remember him saying something about it, sir. He don't have no family, 'cept maybe his agent, in Pumkin Falls, Iowa. Hey now - I think he's still moving!
COMMANDING OFFICER: You heard 'im, boys! Take her out!
WELL ARMED SOLDIER: Looks like she's already eating, sir, and doesn't seem the type to appreciate fine dining...
COMMANDING OFFICER: Open fire, dag-nabbit!
<BANG! BANG! BANG! BANG! BANG!>
WELL ARMED SOLDIER: Target neutralized.

ZOMBIE CONRAD: Qrack brack graAAAgharg!
COMMANDING OFFICER: It's a miracle, he's alive! Quick men, gather around him all unnecessarily close-like!
WELL ARMED SOLDIERS: Sir! Yes sir!!
Needless to say, things escalated rather quickly after that, and by the time Rosie and Albert found out it was too late.
Congratulations! You have completed Prologue 1/4 and unlocked:
World War Squee
You may continue, scroll back up to try other choices, or display the main menu.
Meanwhile, in a certain nice little split-level midwestern nestern...
The telephone rings.ALBERT: Rose, would you get that? I'm busy trying to grade papers while cooking, without cooking the papers...
The telephone rings again.
ALBERT: Well, I suppose I could try to answer it and risk burning the tortillas. But I've got to grade these papers by tomorrow and it's already midnight!
ALBERT: Bah, where on earth is she? This is probably an important call...
Albert answers the phone.
ALBERT: Albert J. Peterson, speaking. Hello? Hello? I'm sorry who is this? I can barely hear you over all the terrifying gurgles and groans and screams...hello?
Albert gently places the phone back on the receiver.
ALBERT: Huh. How rude.
ALBERT: If it's important they'll call back. Papers about appropriately submissive gender roles won't grade themselves!
The sounds of crashing thunder and a torrential downpour invade the house.  A drenched Rosie rushes in and slams it shut.
ROSIE: They're everywhere, Albert - everywhere!
Albert notices that Rosie is brandishing a shotgun...
ALBERT: Rosie, I thought you were upstairs! Who's everywhere? What are you talking about? And please watch where you point that thing...
ROSIE: Albert, you said you already set up the scarecrow - the birds are eating all of the corn! They're not even afraid of the gun anymore. Thank heavens this rain is driving them away...
ALBERT: The scarecrow! Oh Rosie, I'm sorry - I forgot. I'll set it up first thing in the morning.
Another sudden thunder crash, and the house goes dark.
ALBERT: The storm must have knocked out the power. The flashlights are in the basement, I'll go get them.
Albert's footsteps recede down the creaky stairs.
VOICE IN THE DARKNESS: GRRaaaackagggraraaha...
ROSIE: That's not funny Albert - turn the light on!
VOICE IN THE DARKNESS: Zzzrrhgrak...
They make quite the pair, don't they? It may have even worked out if they weren't So. Damn. Hungry. All. The. Time.
Congratulations! You have completed Prologue 4/4 and unlocked:
A Match Made in The Other Place!
You may continue, scroll back up to try other choices, or display the main menu.
The upstairs door explodes in a flash of crimson light, and Rosie comes careening down the stairs on rocket skates.
ROSIE: Albert! Thank the Lord you answered the phone! That means there still might be enough time!
ALBERT: Rosie, I thought you were outside! What is the meaning of this? And mind my tortillas!
ROSIE: Just take these and keep them handy.
Rosie slaps a machete and a semiautomatic handgun into Albert's hands.
ALBERT: But...but Rose...
ROSIE: Sorry Albert, don't distract me now - I need to remember what I was supposed to do next! Let's see, was it barricade the house or was it to head into town...
Albert now notices that he is unexpectedly heavily armed.
ROSIE: We have to get out of here!
ALBERT: I...I don't know how to use these Rose! It's been a long time!
ROSIE: It'll come back Albert, wielding a machete is just like riding a bike. While, um, wielding a machete...
ALBERT: And where did you find them? Why do you have them? Did the scarecrow stop working again?
Albert walks dumbfounded to the window.
ALBERT: Funny. I don't remember dressing the scarecrow in gold sequins...
ROSIE: That's no scarecrow Albert! It's...
...it's to be continued.
Congratulations! You have completed Prologue 2/4 and unlocked:
Ugga Bugga BOO!
You may continue, scroll back up to try other choices, or display the main menu.
A *CRASH* of thunder interrupts Rose! The window shatters as rain and shards of glass patter against the floor.
HOODED FIGURE CLOTHED IN GOLD SEQUINS: Alllllbeeeeeert!
ROSIE: Get back from the window now Albert!
Albert doesn't move, he just stares at the figure in the window.
Albert shrugs and punts the head down the basement stairs.
Suddenly, thunder crashes abruptly and the window shatters! Shards of glass rain into the kitchen. Just outside, a hooded figure withdraws it's bleeding fist from the shattered pane and draws closer.
ROSIE: Get back from the window now Albert!
Albert doesn't move, he just stares at the figure in the window.
The figure reaches for Albert with bloody hands and groans...
HOODED FIGURE: ALLLLLLLLLBEEERRRRRT!
ROSIE: For the love of God don't just stand there!
He takes an incredulous step toward the window frame.
ALBERT: Is...is that...
The figure lunges for Albert and tumbles into the kitchen.
HOODED FIGURE: AAAAAAAALLLLLLLBEEERRRRRRT!
ROSIE: (Muttering) Do I have to do everything myself?
 Meanwhile, Albert inches closer to the writhing figure on the ground.
Wiry, clawlike hands seize Albert's wrists - his weapons clatter to the floor.
HOODED FIGURE: AAAAAAAAAAAAAAAAALLLLLLLBEEERRRRRRRRRRRRRRRRRT!
Rosie must act now, but Albert is in the way! Her eyes dart feverishly between her husband and the dark invader.
ROSIE: Sorry honey, you'll thank me for this later.
CLANG! Albert groans and drops like a stone.
HOODED FIGURE: GRRRRRRRRRRR!
It leaps at Rose. She ducks, spins and slams the door as the monster sails passed her into the bathroom.
ALBERT: Wha....?
CLICK. Rosie locks the bathroom door from the outside.
ROSIE: We'll finish that thing off later - there's no time now.
She pulls Albert to his feet.
ALBERT: You...hit me?
ROSIE: NO TIME!
She darts out the front door.
Growls and crashes resound ominously from the locked bathroom.

CLANG! Rose knocks the creature back four feet against the door. It's sequined hood flies up.
Albert's eyes widen with recognition.
ALBERT: Ma?
Mae steps into the light rubbing a lump on her forehead.

ALBERT: Save me from...?
Mae glares at Rose. Rose glares right back.
Rose indicates the skillet in her hand with a threatening glance.
Mae winces and returns her attention to Albert.
MAE: Fine. Still, you have to come with me. Some nice young men are giving us a ride to the base, and she's not invited.
ALBERT: Base?
ROSIE: Ignore her Albert, you'll both end up worse than dead...
MAE: You're one to talk! If you knew what was good for you'd be out of the city by now.
ROSIE: You're wrong Mae, the city is the only safe place right n...
Mae shushes an indignant Rose with an equally indignant left hand and hurries to the corner. She turns on the radio.
RADIO: ...NOT PANIC. RESIDENTS OF PUMPKIN FALLS ARE ADVISED TO SEEK SHELTER AT NEARBY FORT ACORN AND AWAIT THE EVACUATION TEAMS. REPEAT: DO NOT PANIC...
CLICK. Mae turns off the radio.
MAE: There, see? They've crashed some sort of experimental weather balloon and the city is being evacuated just in case.
ROSIE: Surely you don't believe the hooey about the weather balloon...
Mae gives a start as she realizes that Albert is heavily armed.
MAE: Um. You can leave those behind dear. You've been fidgety about weapons ever since you got back from the war.
ROSIE: Albert is just fine, now Mae. He was debriefed and discharged with honours years ago, the nightmares hardly happen at all these days. And we're going to need those.
Albert is looking back and forth between Rose and Mae confusedly.
ALBERT: Clearly, this squabbling is getting us nowhere. I shall make a Command Decision.
He looks again at Rose, who wants to head into town.
Then again at Mae, who is going to Fort Acorn.
ALBERT: We're heading to Fort Acorn. The Leader has spoken.
MAE: There's my smart little sonny boy! Mama always knows best.
Mae takes Albert by the hand and leads him out the front door.
Rosie groans and follows them out.
ROSIE: Unbelievable...
Previously On BITE! BITE! BIRDIE!...
ALBERT: We're heading to Fort Acorn. The Leader has spoken.
MAE: There's my smart little sonny boy! Mama always knows best.
Mae takes Albert by the hand and leads him out the front door.
Rosie groans and follows them out.
ROSIE: Unbelievable...
Congratulations! You have found Scene I Branch 4/4:
The Fort End of the Stick
You may continue, scroll back up to try other choices, or display the main menu.
ALBERT: We're heading into town. The Leader has spoken.
Outraged, Mae blocks the way to the door.
MAE: Oh no you don't, Rose!
ROSIE: Really Mae?Really?

Rose drags her into the bathroom and locks the door from the outside.
Albert is speechless.
ROSIE: Trust me Albert, she'll be safer in there. We'll come back for her later.
Rose heads out the door, Albert follows slowly.
ALBERT: Well, uh, now that The Leader has spoken... where exactly are we going Rose?
Rose looks back at Albert.
ROSIE: Get the lead out Albert, we need to high-tail it to City Hall!
ALBERT: ...Got it. City Hall.
ROSIE: And whatever you do Albert, avoid the Evacuation Teams!
Previously On BITE! BITE! BIRDIE!...
Rose looks back at Albert.
ROSIE: Get the lead out Albert, we need to high-tail it to City Hall!
ALBERT: ...Got it. City Hall.
ROSIE: And whatever you do Albert, avoid the Evacuation Teams!
Congratulations! You have found Scene I Branch 3/4:
A City Way To Spend the Day
You may continue, scroll back up to try other choices, or display the main menu.
ROSIE: Quick! Nail those chairs to the door frame! Wait, what was that...?

ALBERT: Rosie...is that...is that who...is that what I think it is???
ROSIE: Downstairs! Downstairs now!
The mass unfurls itself and a hand reaches out and grabs Albert's ankle before he can move.
ZOMBIE ALBERT: GrraAAAAAAGghgkakkk...
REGULAR ALBERT: I feel strangely conflicted about this...
In a flash, Albert raises his machete over his shoulder.
Many years ago, Albert escaped from a POW camp armed with only a machete and a semiautomatic handgun. Think he's still got what it takes? Stay tuned!
Congratulations! You have completed Prologue 3/4 and unlocked:
Pave Paradox and Put up a Parking Lot.
You may continue, scroll back up to try other choices, or display the main menu.
WOOSH-CHOK!
REGULAR ALBERT: It looks just like me...
The head rolls its eyes gnashes its teeth viciously.
ZOMBIE ALBERT HEAD: Gnash! Gnash! Gnash!
ROSIE: It is you Albert. Or another you, anyway.
Albert arches his eyebrow at Rose.
ALBERT: Duplicate Alberts can only mean one thing Rose.
Rose blinks at him innocently.
ROSIE: Hmmm?
ALBERT: You've been using the Time Skates again, haven't you?
ROSIE: ...
ALBERT: Rosie, you promised me it was the last time!
ROSIE: But Albert...
ALBERT: No "Buts" Rose. I'm disappointed.
ROSIE: You don't understand Albert! It was necessary this time.
ALBERT: Oh? Like the time you said you were going to warn yourself about that speeding ticket?
ROSIE: No, not like that...
ALBERT: You think I didn't notice that the next day someone discovered a Rennaissance painting of a woman who looks just like you?
ROSIE: It's different this time, Albert! It's necessary!
ALBERT: Time travel is never necessary Rose. The Professor asked us to keep those skates safe until he got back - not to use them.
ROSIE: Are you saying that you want to end up like that?
Rose gestures at the rotting head rocking on the ground nearby.
ZOMBIE ALBERT HEAD: Gnash! Gnash! Gnash!

BOOMING VOICE: You! You who dares approach Mount Macafee in the dead of night! Identify yourself!ALBERT: It's...uh...it's Albert J. Peterson.
BOOMING VOICE: State your business.
ALBERT: Trading for supplies.
BOOMING VOICE: Come back in the morning. No commerce after curfew.
ALBERT: Are you sure? I'm having a sale - fifty tortillas for a quart of water - they're selling fast?
BOOMING VOICE: ...hmmm. Actually yes, that's a very good deal. Kim? Light the walkway!
Fire spreads across a gargantuan mound of foul tires, casting a rancid flicker in all directions.
ALBERT: Thank you sir.
A makeshift drawbridge lowers and the imposing form of Mr. MacAfee carves a silhouette against the light of the ignited garbage.
ALBERT: You won't regret this Mr. MacAfee, my tortillas are the best.
 I am Emperor Sullivan I!
ALBERT: Of course, Emperor, of course.
EMPEROR SULLIVAN: Now, about those tortillas...
ALBERT: Right here. No need to count them. Two hundred tortillas for one gallon of water.
EMPEROR SULLIVAN: Thief! You said it would be fifty for one quart!
ALBERT: That's the same price, Emperor. It's...oh nevermind, how about if we count out four groups of fifty and four quarts?
EMPEROR SULLIVAN: Oh yes, I'm going to count them all twice. And they had better be fresh.
The self-styled Emperor begins the laborious effort of counting tortillas in the dark. A barely noticeable shadow slips past him, across the drawbridge.
Albert watches it furtively.
Alarm bells sound and Rosie comes careening across the drawbridge toward Albert.
ROSIE: I have them Albert! Go-go-go!
Albert drops the sack of tortillas and runs after Rosie into the night.
EMPEROR SULLIVAN: Treachery! I'll have your hide for this Albert J. Peterson!
After five minutes of chase, Albert and Rosie are a little worse for the wear.
ALBERT: I don't know how long we can run like this! Those MacAfees are much faster than I expected!
ROSIE: You're right. We have to hide. And around here, there's only one option...
ALBERT: Oh no. Not there.
ROSIE: No choice, Albert. We either end up on Sullivan's dinner table, or we hide in the Ice House.
Previously On BITE! BITE! BIRDIE!...
After five minutes of chase, Albert and Rosie are a little worse for the wear.
ALBERT: I don't know how long we can run like this! Those MacAfees are much faster than I expected!
ROSIE: You're right. We have to hide. And around here, there's only one option...
ALBERT: Oh no. Not there.
ROSIE: No choice, Albert. We either end up on Sullivan's dinner table, or we hide in the Ice House.
Note from the author: you didn't really think that you could choose to be cannibalized did you? That was just a joke. Hide in the Ice House.
Congratulations! You have found Scene I Branch 1/4:
Ice, House, Baby!
You may continue, scroll back up to try other choices, or display the main menu.
The air in the ice house is moist and frigid. Rose and Albert can barely see their own feet as they descend the steps.
ALBERT: Do you think he saw us head this way?
ROSIE: Only if he can see in the dark. But keep quiet, he can't be far.
ALBERT: Please tell me you still have them!
ALBERT: Do you think he saw us head this way?
ROSIE: Only if he can see in the dark. But keep quiet, he can't be far.
ALBERT: Please tell me you still have them!
Rose pats her satchel confidently.
ROSIE: Safe and sound, if a tad shook up.
Albert fumbles in his pockets and retrieves a paper packet of matches.
ROSIE: There's usually a lamp by the far door. Keep it covered.
ALBERT: I know, I know...I just want to be sure we're the only ones hiding in here.
Albert shakily strikes the match on the stubble of his jaw. The lamp coughs. A palid puddle of light oozes out from beneath it, spilling acros the floor and quickly dripping away into foreboding corners and crevices nearby.
ALBERT: I can see my breath more clearly than my hands but it's better than nothing.
Albert gropes his way along the wall back toward the stairwell.
ALBERT: Take my hand, would you Rose? The floor is slippery.

ROSIE: Be careful not to trip, there's junk scattered everywhere. Someone was here recently.
ALBERT: Oh, yes - I see it now. Thanks.
ALBERT: AIEEEEE! That's not junk, Rose - that's a punk...
ROSIE: I thought something stunk!
ALBERT: He appears chained to that trunk...
ROSIE: Is he a zombie or just dead?
Albert is discinclined to lean closer and check. He considers ignoring the question and returning to the stairwell.
ALBERT: Nah. What I don't know can't hurt me.
Rose is dumbfounded.
ROSIE: You're so right Albert. It can't hurt you. It can only eat you alive and/or turn you into a ravenous revenant.
ALBERT: My thoughts exactly!
Hugo snares Albert's necktie in a grasping claw and snaps at his face with a menacing growl!

Rose decisively draws a ball peen hammer and leaps into the fray.
Albert twists Hugo up into a half nelson but gesticulates wildly at Rose.
ALBERT: Wait Rose, don't do it!
ROSIE: I love you Albert but you are out of your mind, get clear!
ALBERT: Don't do it! He's alive!
HUGO: Am not! I'm a zombie! RAWR!
She lowers her hammer.
ROSIE: Oh my lord, how did you know?
ALBERT: See his breath? It's hot! Hugo is human.
With a rapid whirl, Hugo torques his shoulders and Albert sails into the air. Albert lands lightly on his feet with the reflexes of a cat.
And then, flailing his arms and legs wildly, Albert crashes to the floor with the reflexes of a cat who just landed on a patch of ice and lamp oil.
HUGO: You're not the only one who learned some tricks during the war, Peterson! Now get out - we don't want your kind nesting here.
ALBERT: What are you talking about, Hugo? We're the same kind!
HUGO: You too, Rose. No humans allowed in the Ice House unless we're keeping you chilled for later. This is Zombie Turf!
ROSIE: "Zombie turf?" Little man, there is something very wrong with you.
Hugo takes a swing at Rosie. The chain around his neck jerks him backward. Rosie notices he is missing two fingers from each hand.
ROSIE: Hugo, what happened to your fingers?
Hugo does not reply. He points at Rose's satchel.
HUGO: Is that what I think it is?
A scratching and scrabbling at the door interrupts the conversation. Hugo grins.
HUGO: Hold that thought Rose. Honey, come on down! You'll never guess who stopped by for dinner!
ROSIE: Albert, can you still war trance?
ALBERT: Not like I used to Rose, not for a year or more.
ROSIE: THEN BAR THE DOOR! IT'S HER! IT'S BEEN HER ALL ALONG! FROM THE VERY BEGINNING!
Albert dashes toward the steps, but Hugo trips him and wraps the chain around his neck.
Seconds crawl by. The door creeks open. Hugo breaks the silence.
HUGO: You'll be so proud of me, Kim - I caught a big one this time!
Congratulations! You have found Scene II Branch 3/6:
Hugo Girl!
Scroll back up to try other choices, or display the main menu.
Unfortunately, Albert catches his foot in Hugo's chain and skids back across the slippery floor.
He crashes against a stack of crates, which tumble rapidly toward the far wall....
...knocking the lamp from its perch. The blaze grows quickly and the room fills with smoke and flame.
Hugo starts to cough.
HUGO: What in the blazes have you done?
ALBERT and ROSIE: AAAAIIEEEEE!!! You're alive?
HUGO: Not for long if we can't do something about this chain!
Hugo tugs pathetically at the chain around his neck.
ROSIE: I have just the thing!
Rosie draws a ball peen hammer and goes to work on the chain. Seconds later, Hugo is free.
ALBERT: Now, let's get out of here!
ROSIE: Easier said than done. If Emperor Sullivan didn't know where we were before, he's seen the smoke by now...
ALBERT: We must chance it Rose. We can't stay down here much longer.
But, from outside the door...
EMPEROR SULLIVAN I: Fee! Fi! Fo! Fum! I smell the blood of a Peterson!
ALBERT: On second thought, I think I'll take a nap. There are worse ways to go...
HUGO: No, there's another way out. There are tunnels beneath the Ice House for easy access to the underground wells.
Hugo points at the trap door.
The group descends and is lost underground for over an hour, but eventually the tunnels curve toward the surface and they emerge into the midst of a frigid swamp.
ROSIE: I don't hear MacAfee, I think we lost him for now.
ALBERT: Good enough for me. Hugo, you saved our lives. Thank you.
Albert's gratitude is met by silence.
ROSIE: Hugo? Where are you?
ALBERT: I think he's gone Rose!
Rose puts her hand to her shoulder and feels a flush of panic rise to greet the chilly breeze blowing off surface of the bog.
ROSIE: Not just him, Albert...
Congratulations! You have found Scene II Branch 4/6:
Must Hugo So Soon?
Scroll back up to try other choices, or display the main menu.
Current Horde Strength: 3
The starving Peterson crew chances upon a pair of lovebirds engaging in a moonlight swim. Seafood is the order of the evening.
The starving Peterson crew chances upon a pair of lovebirds engaging in a moonlight swim. Seafood is the order of the evening.
Current Horde Strength: 5
Burnt out lampposts make for great zombie climbing practice. A fresh faced group of newly recruited soldiers forgets to look up. Basic training leaves the flesh a tad gamey, but it'll do.
Current Horde Strength: 11
A father of four is changing a flat tire in the pouring rain while his wife and children shiver in their ancient Buick. Beef and veal in the same meal. Yum.
Current Horde Strength: 17
A double feature at the town drive-in. Dagnabbit! The concessions stand is fresh out of human organs - where can we find some at this time of night?
Current Horde Strength: 34
Anachronistically gothy teens in black poodle skirts and Omega letter jackets are holding a seance at the town cemetery. Okay. These kids are literally asking for it.
Current Horde Strength: 45
Not bad, but not nearly enough to capture Fort Acorn yet.
Don't worry. The night is young.
Congratulations! You have found Scene II Branch 6/6:
A Great Way to Meat People
Scroll back up to try other choices, or display the main menu.
The streets of Pumpkin Falls are swarming with soldiers. A dark green Humvee speeds by carrying a quartet of young men swathed head-to-town in thick green plastic suits.
ROSIE: There are more here than I expected; something has changed...
Albert pulls Rosie into an alley as a search light beam blazes across their path.
ALBERT: I very much look forward to your detailed account of what you know, how you know it...
He glances at his weapons, currently tucked into his belt.
ROSIE: There are more here than I expected; something has changed...
Albert pulls Rosie into an alley as a search light beam blazes across their path.
ALBERT: I very much look forward to your detailed account of what you know, how you know it...
He glances at his weapons, currently tucked into his belt.
ALBERT: ...and where these came from. But you may want to follow my lead for just a few minutes.
The duo presses their backs to the wall and hold their breaths while a sentry marches past the alleyway entrance.
ALBERT: This is not my first rodeo.
ROSIE: Gotcha, Albert. By all means, take point.
Albert continues.
ALBERT: I'm the veritable legend of survival, evasion, resistance and escape.
ROSIE: I know, honey. I'm right behind you.
It appears he isn't listening. To her voice, at least.
ALBERT: Wanna know how I escaped that camp? Raw instinct. I'd say watch and learn, but it doesn't work that way. You've either got it, or you don't.
Rose's countenance begins to harden.
ROSIE: Less talk, more survive-and-evade dear. Please.
ALBERT: See? That's what I mean. Patience is key Rose. Patience.
Rose closes her eyes and takes a deep breath.
ALBERT: A false step? An ill-considered blink? A single careless sound...
SOLDIER: Halt! Who goes there!
ALBERT: ...and all is lost. Hey, did you hear something?
Rose's horrified eyes dart from Albert to the encroaching submachine-gun-toting shadow.
SOLDIER: Identify yourself!
Albert looks startled, but foolishly calm.
ALBERT: Who, me? I'm Albert. Albert. J. Peterson, sir.
The soldier takes one hand off of his gun and reaches for his radio.
 He doesn't even turn toward the soldier.
In the time it takes Albert's left ear to twitch, the enemy is out cold on the ground and Albert is pulling the M-16 off of his body and engaging the safety.
He blinks a few times and looks up at Rose suspiciously.
ALBERT: Did you trigger my war trance, Rose? I can taste blood in my mouth - you could have at least warned me...
ROSIE: I know! I hated to do it honey, but we needed your war trance - he would have killed us or worse!
A commotion echoes into the alleyway. The thud of combat boots mounts an aural assault.
ALBERT: I see your point. We'll cut across the grounds of Pumpkin Falls High and head to City Hall from there.
ROSIE: There's a fallout shelter under City Hall, if we can just make it through the night I know I can fix this!
Albert stops and glares at Rose.
ALBERT: No, we are going to City Hall to speak to the Mayor and offer our assistance. Rose, under no circustances shall I permit you to use time travel. Understand?
Rose arches an eyebrow at her dearest husband.
ROSIE: "Permit," my love?
ALBERT: We'll find the Mayor. He'll know what to do.
The pair hurry down the alley and turn a corner. As luck would have it, they come face to face with the Mayor!
Well, most of the Mayor anyway. He has a lot less flesh than they remember him having. And gaping cavities where his stomach and bowels used to be.
ALBERT: He still drips about the same amount of drool though.
Yes. Yes he does.
Congratulations! You have found Scene II Branch 5/6:
Night Mayor On Elm Street
Scroll back up to try other choices, or display the main menu.
The trenchant triad sets out for the corner bus station at a brisk pace.
MAE: All of the buses are serving as express shuttles to Fort Acorn all night. We'll be there in no time at all.
ROSIE: (whispering hurriedly) You don't understand Albert - Fort Acorn is where this whole mess started! I'm sure of it...
MAE: What's that, Rhubarb? I didn't hear you.
ALBERT: How are you so sure, Rose? The radio broadcast says it's safe there.
MAE: All of the buses are serving as express shuttles to Fort Acorn all night. We'll be there in no time at all.
ROSIE: (whispering hurriedly) You don't understand Albert - Fort Acorn is where this whole mess started! I'm sure of it...
MAE: What's that, Rhubarb? I didn't hear you.
ALBERT: How are you so sure, Rose? The radio broadcast says it's safe there.
Rose fixes Mae with an icy stair.
ROSIE: What did you just call me, Mae?
ALBERT: Oh, for crying out loud - don't you two even start.
Mae just keeps on prattling.
MAE: See? There's the weather balloon right there.
ROSIE: That's not a weather balloon, dear.
ALBERT: She's right Ma, that's a quarantine tent. Wow - they've covered the whole bus station!
MAE: Excuse me, young man! We're looking for the shuttle to Fort Acorn.
SOLDIER ON GUARD: The line is just inside this door, ma'am.
The guard moves the "door" - a heavy, plastic curtain - to the side as they enter and get in line.
CLERK: Name?
FIRST IN LINE: Hello Mr. Desk Clerk - this is Harvey Johnson.
CLERK: City of residence?
HARVEY: Pumpkin Falls.
CLERK: Please step through the red door on the left sir.
Harvey complies, and the line moves forward.
CLERK: Name?
SECOND IN LINE, A COUPLE: Mr. and Mrs. Martin Merkle.
CLERK: City of residence?
MR. MERKLE: Gourd Straits.
CLERK: Yellow door, shuttle leaves in eight minutes.
Meanwhile, a gunshot rings out from behind the red door, followed by a wet thud.
The wait continues for half an hour. Albert and Rosie are whispering to each other, while Mae obliviously hums to herself.
ROSIE: I counted four from Gourd Straits, twelve from Butterburg, all sent to the yellow door....
ALBERT: Twenty five from Pumpkin Falls, red door all of them...
ROSIE and ALBERT TOGETHER: ...and twenty five gunshots.
CLERK: Next.
ROSIE: It's our turn, Albert!
CLERK: Name?
ALBERT: Mr. and Mrs. Albert J. Peterson.
CLERK: City of residence?
Decision time Albert. Tell the truth or lie through your teeth?
ALBERT: Pumpkin Falls.
CLERK: Red door.
ROSIE: I hope you know what you're doing, Albert.
ALBERT: So do I.
Albert and Rosie step through the red door, with Mae hurrying behind them.
MAE: Wait for me!
As expected, the room is piled high with the corpses of Pumpkin Falls' best and brightest.
MAE: ...you know on second thought I'm not actually from Pumpkin Falls. See ya!
May fiddles with the door but finds that it is sealed from the inside.
ARMED SOLDIER: Well, well well. Small world, eh Petersons?
ALBERT: Randy? Little Randolph MacAfee?
RANDY: That's Lieutenant MacAfee to you.  This time, not so much...
ALBERT: Please, take it easy Lieutenant!
LT. MACAFEE: Everything was fine until you came to town!  Kim ran away and disappeared!
ALBERT: I'm sorry son, I'm sorry for everything...
LT. MACAFEE: Mother lost herself to the ravages of an Ed Sullivan Show Rerun!
ALBERT: Wait, did you say a single rerun??
LT. MACAFEE: The same episode over and over and over again, all day, every day! I swore on my father's grave I'd get revenge!
ALBERT: Your father is dead?
LT. MACAFEE: No, of course not. He had his grave dug early to make sure we know how to tend it properly.
ALBERT: You don't have to do this, son.
LT. MACAFEE: Oh yes, yes I do. For more reasons than you know. Ladies first!
Lieutenant Randolph MacAfee takes aim at Mae.
ALBERT: I didn't want this, Randolph.
Albert bites his tongue hard and draws his machete.
Three rapid shots are fired, one at each target.
Albert whips his blade in a smooth figure eight, gracefully deflecting the rounds in midair. They whistle through the pliable plastic walls of the quarantine tent. Warm air rushes in from outside.
With another whirl of motion, the young soldier's hand is lopped off at the wrist...
...or at least it would have been if the Lieutenant did not sidestep and clock Albert in the back of the head with the butt of his pistol.
LT. MACAFEE: You think I've never seen a war trance before? Father wakes up that way every morning!
The young man draws a machete of his own and squares off against Albert.
Suddenly the lights in the room fade to red and a siren starts to wail. Randolph looks around confused.
LT. MACAFEE: We're compromised. They smelled us. How? This system is hermetically sealed...
He notices the three holes in the tent walls.
LT. MACAFEE: Oh. Oh no...
Putrid fingers appear in one of the perforations and begin to tear the wall to shreds.
Something groaning, and grinning, and green starts to shoulder unsteadily through the tattered plastic.
Albert, Mae, and Rosie freeze in place. But Lieutenant Randolph MacAfee is the most frightened of all.
Congratulations! You have found Scene II Branch 2/6:
The Real Kim Shady
Scroll back up to try other choices, or display the main menu.
ALBERT: Gourdburg!
The clerk eyes Albert warily.
CLERK: I'm sorry, what was that?
ALBERT: I meant Gourd Straits!
The clerk eyes Albert again, wearily this time, and checks his watch.
CLERK: Yellow door, the shuttle is leaving now.
Albert and Rose hurry through the door and board the crowded transport.
ALBERT: This is more like a cattle truck than a city bus...
DRIVER: Well pardon me, Your Majesty! Perhaps you'd like to go back and take the red door?
ROSIE: You mean you'll let us off?
DRIVER: Nope.
Congratulations! You have found Scene II Branch 1/6:
Thou Are Well and Truly Trucked
Scroll back up to try other choices, or display the main menu.
Zombie Albert and Zombie Rosie creep up the stairs to find Mae Peterson fiddling with the radio.
MAE: There you are you two! Next time leave the door unlocked, I had to break the window to get in.
ZOMBIE ROSIE: Grrrrahc gggg djiiii...
MAE: You know very well I don't speak Spanish. I haven't the faintest idea what you are saying.
ZOMBIE ROSIE: BRACKGGJJQUAGNZ!!
Zombie Albert chomps into her other shoulder. It gets kinda grisly after that. No need to dwell on the details.
ZOMBIE MAE: Brbrbrbrbrbrqueeeeeegrak!
ZOMBIE ALBERT: Zzzhghghghghg.
ZOMBIE ROSIE: THBKBKBKBBLBLBLBLB!?!!
The dysfunctional zombie trio shuffles out the front door and into the night.
Previously On BITE! BITE! BIRDIE!...
ZOMBIE MAE: Brbrbrbrbrbrqueeeeeegrak!
ZOMBIE ALBERT: Zzzhghghghghg.
ZOMBIE ROSIE: THBKBKBKBBLBLBLBLB!?!!
The dysfunctional zombie trio shuffles out the front door and into the night.
Congratulations! You have found Scene I Branch 2/4:
Don't Forget to Try the Priest
BONUS! You've unlocked the mini-game: EAT WHO YOU MEET
You may continue, scroll back up to try other choices, or display the main menu.


Show the information of movies (Title, Region, Language, Year, Rating, Votes) which have average rating greater than 7 and number of votes greater than 1000.
 Show the names of persons who have directed more than 10 movies.
Statement: SELECT nb.primaryName FROM Name_basic nb INNER JOIN Title_crew tc ON nb.tconst=tc.directors WHERE nb.knownForTitle LIKE '%,%,%,%,%,%,%,%,%,%' LIMIT 10;
Show the top 10 TV series (more than 1 season) which most average ratings.
Statement: SELECT DISTINCT tb.primaryTitle FROM Episode e INNER JOIN Title_basic tb ON e.parentTconst=tb.tconst WHERE e.seasonNUMBER>1 LIMIT 10;
You need to design at least FOUR more queries which satisfy use aggregate functions, “group by” and “order by”.
Statement: SELECT primaryName FROM Name_basic WHERE deathYEar='NULL' GROUP BY primaryName LIMIT 10;
You need to design at least FOUR more queries which satisfy use set operations.
Statement: SELECT primaryName FROM Name_basic UNION SELECT title FROM Title_akas tb.primaryTitle GROUP BY title LIMIT 10;
You need to design at least FOUR more queries which satisfy use nested/sub queries (either in SELECT clause, FROM clause or WHERE clause).
Statement: SELECT primaryName FROM Title_basics WHERE startYear = (SELECT CEIL(AVG(startYear)) FROM Title_basics WHERE startYear LIKE '19%')e LIMIT 10;
You need to design at least FOUR more queries which satisfy use JOIN operations.


{% extends "_datatables.html" %} {% set active_page = "admin_members" %} {% block title %}Admin - Members{% endblock %} {% block head %} {% endblock %} {% block content %}
Here's a table of all members:
New Member| Name | Email Address | Phone Number | Signed Up | Last Agreement Date | Keyholder |
|---|---|---|---|---|---|
| {{ member.name }} | {{ member.email }} | {{ member.phone }} | {{ member.joined_date }} | {{ member.agreement_date }} | {{ member.is_keyholder }} |


I am a big fan of animation and my current interests lie in both aesthetic and technical aspects of 3D animation. With my solid background in graphical drawing and 3D modeling, I believe that I am well-prepared for further study in computer arts (3D animation), in order to devote myself to a career in an profound animation team in the future.
I used to be an independent fashion designer based in London. With a mixed educational background in both the East (Tsinghua University) and the West (London College of Fashion), I always would like to show a combination of oriental philosophy and western aesthetics. My work has been selected in London Fashion Week and Paris Fashion Week.


set rbcols color1 color2 ... colorN
This command specifies a new rainbow color sequence. The
color#
arguments may be taken from the 16 GrADS default colors or they may be new
color numbers defined via the set
rgb
command. This sequence of colors replaces the default rainbow color sequence whenever the
rainbow colors are used.
set rbcols
given without any arguments will return to
the default GrADS rainbow sequence.
set rbcols
.


| Order id | Total cost € | Date ordered | Approx arrival | Progress | Details | |
| ${order.orderId} | ${order.unitPrice} | ${formatTime(order.createdStamp)} | ${formatTime(order.estimatedDeliveryDate)} | ${calculateProgress(order)} | Click for details | ${invoice.currencyUomId} |


--- layout: page title: Research Interests description: This is what I like. background: '/img/bg-library.jpg' ---
There are multiple areas of research that I am interested in.
As part of the Database Research group, Databases are my primary focus. So far, within this area I have mostly focused on property graphs on the one hand, and SQL on the other. Traditional Database research focuses on improving speed and computational efficiency, but I am more interested in the usability perspective.
Even before starting university, I have been involved in education. Even now, a big part of my workload involves education. My experiences include tutoring, mentoring, exam trainings, grading and (instructies leiden). My research interest in education is primarily focussed on improving education in any way possible. On the one hand, there is the need to make Computer Science more open to female students, requiring research on where the decision not to study CSE is made.
On the other hand, a lot of research is required to support the interaction between novices and Databases. Explorations over various age groups, genders, query languages and experience is required to solve this problem.
Over the past few years, I have leant a lot about designing interfaces. Sources of information arise from all types of materials, from many different disciplines. I like the challenge to build a system that provides a very good user experience, and the process of user-centered design to further improve such ideas.
Much has been written on how visual representations of text can both increase and decrease the cognitive load on system users. In my opinion, complex topics such as databases and query language can profit from visual representations.
Although it is a different branch of science than the one I’m in, I have a love for anything related to Citizen Science. There is tremendous power in an initiative picked up by many people (in small communities or around the globe). From such data, a wide array of insights can be generated, which can be used to form solutions, inform governments, and many other applications…


Enums Class
| Name | Description | |
|---|---|---|
| Equals(Object) | Determines whether the specified Object is equal to the current Object. (inherited from Object). | |
| Finalize | Allows an object to try to free resources and perform other cleanup operations before it is reclaimed by garbage collection. (inherited from Object). | |
| GetHashCode | Serves as a hash function for a particular type. (inherited from Object). | |
| GetType | Gets the Type of the current instance. (inherited from Object). | |
| MemberwiseClone | Creates a shallow copy of the current Object. (inherited from Object). | |
| ToString | Returns a string that represents the current object. (inherited from Object). |
Top
Top
VitNX3.Functions.Win32.Enums


Your browser does not support the canvas tag.
JavaScript is required to view the contents of this page.
This is a visualization of Problem 2 of the 2011 IMO.
Built with Processing and Processing.js


活着，努力着，收获着快乐
Just put your image size (width & height) after our URL and you'll get a placeholder.https://picsum.photos/200/300. To get a square image, just put the size you want. https://picsum.photos/200


--- layout: page title: Lean Prover Zulip Chat Archive permalink: archive/113488general/32743helpwithmeasurabilityproof.html ---
Can anyone help me prove this lemma?
import measure_theory.giry_monad universe u variables {α : Type u} {β : Type u} open measure_theory measure_theory.measure lemma inl_measurable_bind_ret [measurable_space α] [measurable_space β] (ν : measure β) : measurable (λ (x : α), bind ν (λ y, dirac (x,y))) := begin apply measurable_of_measurable_coe, intros s hs, sorry, end
I have proven that λ y, dirac (x,y)
is measurable for all x
and also have that bind
followed by dirac
is map
. But at this point, I am stuck...any suggestions?


For Week 9, we were assigned to revisit our site and modify it. I decided to completely redo my github.io with a new look with solely HTML & CSS. I wanted to go with a flat design since that's the current rage and in my opinion, the simplest design to do.
I love design and because it is my own website that represents me, there is a huge incentive to do well. Time flies and it's hard to timebox myself because everything has to look just right.
Sometimes things just don't flow and it's hard to figure out what is missing. Originally I thought my design was a little empty, which is really easy to get since flat design is so minimal.
I asked several people whose design and style preferences were similar to mine. Someone suggested moving the navigation bar after my animated dots gif banner to make it look more cohesive. He also recommended I add a light shadow to some of the text so that it'd look less empty. I took both into consideration and implemented them, but one thing I still need to work on is the color scheme. He felt like the colors needed to contrast more from each other, which I agree but I've scoured colourlovers.com and design-seeds.com for a good color palette and nothing has really stuck with me. I'll figure it out later in due time.
Another feedback I got was that whenever the window is resized, all the content gets messed up. This is something I've had a problem with since day one. I am not sure if it is related to responsive design, but I haven't taken the time to figure it out yet unfortunately. I feel like I need more time to research on this problem.
I am also stuck on making my links in the navigation bar fit inside. It's so weird because the code worked fine for my old version but it wouldn't work this time. Even worse is a fellow squirrel played around with the dev tools and made it all work but then when I tried to copy the CSS from his dev tool screenshots, it wouldn't work! At this point I have spent so much time on my website that I'm just going to deal with it later.
One thing I would do differently is taking the time to look into Bootstrap, jQuery, and other things. They do wonderful things with less time in coding, after you've learned how to use them at least.
If I had more time, I'd look into deploying my github.io to my current personal domain www.jessiewuwu.com. I bought jessiewuwu.com when I first started learning coding. I wanted a website that could visually keep track of my coding progress. Phase 1 starts in two days and I haven't reviewed any Ruby or Javascript materials so I feel like I can't spend any more time on my website. I'm not ready for Dev Bootcamp, ahhhhhhhhhh!


ROMY AND MICHELE'S HIGH SCHOOL REUNION (Touchstone - 1997) Starring Mira Sorvino, Lisa Kudrow, Janeane Garafolo, Alan Cumming, Julia Campbell Screenplay by Robin Schiff, inspired by her stage play THE LADIES' ROOM Produced by Laurence Mark Directed by David Mirkin Running time: 91 minutes
** (out of four stars) Alternate Rating: C
Note: Some may consider portions of the following text to be spoilers. Be forewarned.
-------------------------------------------------------------
ROMY AND MICHELE'S HIGH SCHOOL REUNION is an unabashedly formulaic tale and while desperately upbeat and cheerful, it only manages to be sporadically amusing and rarely does it ever become laugh-out-loud funny - frankly, if you've seen the trailer for the film, you've more or less seen its best lines.
The film's protagonists are endearingly-ditzy best friends Romy (Mira Sorvino) and Michele (Lisa Kudrow), who share a place on Venice Beach and spend their time club-hopping and rewatching PRETTY WOMAN on video. (Romy is the slightly-brigher of the two; she at least has the good sense to make fun of the movie.) When made aware of their impending ten-year high school reunion, they reflect on their years of ridicule from the A-group at Sagebrush High in Tucson, and come to the shocking realization that their post-graduate lives haven't been the epitome of success; both are single and only Romy has a job - albeit, as a cashier. Determined to impress their classmates, Romy and Michele fabricate a success story (they settle on claiming to be the inventors of Post-It notes), and hit the road for Arizona.
It doesn't take a genius to see where this movie is going - heck, even Romy or Michele themselves could probably tell you that ROMY AND MICHELE'S HIGH SCHOOL REUNION is going to see their cliqueish tormenters receive their proper dressing-down, and that Romy and Michele are going to make a splash at Sagebrush High and exit their high school reunion triumphant. Robin Schiff's screenplay doesn't surprise in that respect, but its utter predicatability isn't necessarily a bad thing for a film such as this; if the screenplay's destination is already a given, at least we can hope for a good ride along the way.
Unfortunately, this doesn't happen in ROMY AND MICHELE'S HIGH SCHOOL REUNION. An extended fantasy sequence (and I mean extended - it seems to run for about fifteen minutes) in the middle of the film doesn't quite work, nor does a series of flashback sequences depicting Romy and Michele's persecuted high school years. The actual high school reunion scenes also don't quite click - come to think of it, none of the film really works as good as it could or should, which is a real disappointment. Ringing particularly false is an unnecessary incident in the film which temporarily drives Romy and Michele apart; it clearly comes off as a none-too-efficient device to build momentum for the reunion scenes and the obligatory reconciliation scenes, and doesn't work at all.
Ms. Sorvino and Ms. Kudrow struggle valiantly, and for the most part succeed in bringing their dense Romy and Michele characters to the screen; they're bubble-headed, but likeable protagonists for the film. Ms. Kudrow is a bit more successful as Michele than Ms. Sorvino as Romy; Ms. Sorvino's natural intelligence manages to shine through her portrayal of the character, undermining the credibility of Romy's ditzyness (which is somewhat of a surprise, given how successful she was in an Academy Award-winning portrayal of a similarly vacant character in MIGHTY APHRODITE).
None of the supporting characters in ROMY AND MICHELE'S HIGH SCHOOL REUNION are particularly well-drawn out. Class curmudgeon Heather (the scene-stealing Janeane Garafolo) is funny, but her character is mostly a mystery in ths film. Oafish jock Billy Christiansen (Vincent Ventresca), for whom Romy had a crush, and snobbish, nasty cheerleader queen Christine (Julia Campbell) are predictably one-dimensional, and class geek-turned-Bill Gates-clone Sandy Frank (Alan Cumming) is nothing more than a caricature.
David Mirkin's feature film debut has a lot of energy and is relentlessly upbeat, with the soundtrack being filled by cheery 1980s pop songs from the likes of the Go-Gos and Bananarama, but Mr. Mirkin seems to be unable to overcome the vaguely episodic nature of the film's screenplay, resulting in a tendency for ROMY AND MICHELE'S HIGH SCHOOL REUNION to lurch back and forth. (There's an ironic scene in the film where Romy and Michele, singing along with Kenny Loggins' "Footloose" [and forgetting most of the lyrics], drive a vehicle that does just that.)
ROMY AND MICHELE'S HIGH SCHOOL REUNION is a cheerful, frantically feelgood comedy which ultimately proves to be unsatisfying. It's disappointing, because I found myself liking the Romy and Michele characters; there's something endearing about their vacuous banter and their obliviousness. I'd like to see them in another movie, or at least a better one than this.
- Alex Fung email<EMAIL_ADDRESS>web : http://www.ncf.carleton.ca/~aw220/
-- Alex Fung<EMAIL_ADDRESS>| http://www.ncf.carleton.ca/~aw220/ "At one point when berated and bloodied by her male military superior, Moore screams out a guttural invitation to him to enjoy partaking in the absorption of a certain anatomical member." - Dan Cox, VARIETY, on G.I. JANE
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


Kulhudhuffushi is the capital of Haa Dhaalu Atoll administrative division and geographically part of Thiladhummathi Atoll in the north of the Maldives. It is one of the four international ports where foreign cruising crew can go ashore and is located at the southern tip of the island.
Position 06° 36.9' N, 73° 03.97' E (inside the harbour).See Maldives Clearance for main clearance information.
See Maldives Clearance Agents for a list of agents in Khuludhufushi.
This is a Port of Entry, however not one that is used to clearing pleasure yachts. Whilst all foreign yachts can get inward and outward clearance here, prices are likely to be higher.
This is not a busy port and so a comfortable berth for yachts.
There is a fee of US$12 for a 24 hour stay in the port and it is possible to fill up with water there for a small fee.
The town of Khuludhufushi has quite a few shops with basic provisioning and some restaurants. A café on the main street has Wi Fi, however electricity here can be variable.
Last updated August 2015.


 So place guards on the tops of the walls around the city! Guard the roads into the city! Get ready to fight! Gather your troops together!
2 Even though your soldiers have destroyed the descendants of Jacob, Yahweh will cause other nations to honor them again. Invaders from your country have ruined Israel as enemies would uproot a vineyard, but Israel will prosper again.
3 The shields of the enemy soldiers who are coming to attack you will shine red as the sun shines on them, and they will wear bright red uniforms. The metal of their chariot wheels will flash when they line up before the battle, and their soldiers will lift up their cypress spear and wave them.
4 Their chariots dash through the streets of Nineveh and rush furiously through the plazas. Going as quickly as lightning, they look like flaming torches.
5 Their king will summon his officers who will come so quickly that they will stumble. They will hurry to attack the city wall; they will get ready the large wooden shield to protect the attacking soldiers.
6 The enemy soldiers will force open the city gates on the rivers; the palace will collapse.
7 The queen will have her clothes stripped off her by enemy soldiers, and her slave girls will moan like doves and beat their breasts to show that they are very sad.
8 The people will rush from Nineveh like water rushes from a broken dam. The officials will shout, "Stop! Stop!" but the people will not even look back as they run away.
9 The enemy attackers say to each other,
"Seize the silver!
Grab the gold! There is a huge amount of very valuable things in the city, more valuable things than anyone can count!"
10 Soon everything valuable in the city will be seized or ruined. People will be trembling, with the result that they will not be able to fight. Their faces will all become pale with fear.
11 After that happens, people will say,
"What happened to that great city of Nineveh?
It was like a den full of young lions, where the male and female lions lived and fed the young ones, where they were afraid of nothing12 The soldiers in Nineveh were like lions that killed or strangled other animals and brought the meat to their dens."
13 Yahweh, Commander of the angel armies, says to the people of Nineveh,
"I am your enemy;
I will cause your chariots to burn in fire and go up in smoke. Your young men will be killed with swords.


--- layout: post title: Handsets from China date: 2005-12-04 00:00:00 categories: business mobile ---
Handsets from China: "DoCoMo will offer handsets from foreign vendors like Nokia and LG Electronics in the coming year and may buy cheaper handsets made in China by NEC, its No. 2 supplier, 'to cut costs as revenue falls'"


You just earned a discount of {amount} on your next purchase!
Congratulations and Thank You for registering with us. To help you celebrate, heres a coupon you can put towards your next purchase with us.
Coupon Code:
{coupon_code}
Please feel free to email us with any questions. If you prefer to call with any questions or requests we can be reached at: +xx-xxx xxx xxxx
Best regards Name Designation www.yoursite.com Ph: +xx-xxx xxx xxxx Email: support mail
Happy Shopping!


This scenario demonstrates the use of the ShowConnectionUI() method to display the list of networks.
Show Connection UI


Under development
The following example compares two estFUN
s. The first performs manipulations of data
outside of the “inner” psiFUN
function. The second performs the manipulations within the returned psiFUN
.
glm_eefun1 <- function(data, model){
f <- grab_psiFUN(model, data)
function(theta){
f(theta)
}
}
glm_eefun2 <- function(data, model){
function(theta){
f <- grab_psiFUN(model, data)
f(theta)
}
}
Now, compare the speed:
library(geex)
library(geepack, quietly = TRUE)
data("ohio")
test_binomial <- glm(resp ~ age, data = ohio,
family = binomial(link = "logit"))
system.time({test <- m_estimate(
glm_eefun1,
data = ohio,
units = 'id',
root_control = setup_root_control(start = coef(test_binomial)),
outer_args = list(model = test_binomial))})
## user system elapsed
## 1.959 0.027 1.993
system.time(update(test, estFUN = glm_eefun2))
## user system elapsed
## 16.177 0.311 16.595
method = "simple"
for computing numerical derivativesThe default for the function numDeriv::jacobian
uses the “Richardson” method for computing numerical derivatives, which requires multiple evaluations of each psiFUN
. The “simple” method is much faster, though less accurate. See the numDeriv::jacobian
help page for further options.
# The default uses method = 'Richardson`
system.time({test <- m_estimate(
estFUN = glm_eefun1, data = ohio, units = "id",
roots = coef(test_binomial),
compute_roots = FALSE,
outer_args = list(model = test_binomial))})
## user system elapsed
## 1.670 0.018 1.695
# Using method = "simple"
system.time(update(test,
deriv_control = setup_deriv_control(method = "simple")))
## user system elapsed
## 0.878 0.009 0.891


Install Duplicity on Linux(CentOS)
Duplicity backs directories by producing encrypted tar-format volumes
and uploading them to a remote or local file server.
Firstly, enable two important repo
Secondly, install Duplicity
$sudo yum install -y duplicity
Finally, Use it.
$duplicity –help
Following is a short tutorial
e.g.
#I already put the keys in master.linuxdict.com, so I don’t need a password here.
$duplicity test/<EMAIL_ADDRESS>GnuPG passphrase:
Local and Remote metadata are synchronized, no sync needed.
Last full backup date: none
No signatures found, switching to full backup.
————–[ Backup Statistics ]————–
StartTime<PHONE_NUMBER>.36 (Fri Mar 26 02:46:53 2010)
EndTime<PHONE_NUMBER>.67 (Fri Mar 26 02:46:53 2010)
ElapsedTime 0.31 (0.31 seconds)
SourceFiles 3
SourceFileSize 3060258 (2.92 MB)
NewFiles 3
NewFileSize 3060258 (2.92 MB)
DeletedFiles 0
ChangedFiles 0
ChangedFileSize 0 (0 bytes)
ChangedDeltaSize 0 (0 bytes)
DeltaEntries 3
RawDeltaSize 3056162 (2.91 MB)
TotalDestinationSizeChange 3067132 (2.93 MB)
Errors 0
————————————————-
# On master.linuxdict.com
$ls ~/tmp/
duplicity-full.20100326T084637Z.manifest.gpg
duplicity-full.20100326T084637Z.vol1.difftar.gpg
duplicity-full-signatures.20100326T084637Z.sigtar.gpg
…
$file tmp/duplicity-full.20100326T084637Z.vol1.difftar.gpg
tmp/duplicity-full.20100326T084637Z.vol1.difftar.gpg: DOS executable (COM)
# so others can’t easily copy it. 🙂
—
# Other useful command
# backup incrementally
$duplicity incr test/<EMAIL_ADDRESS># check the files that has been backuped.
$duplicity list-current-files<EMAIL_ADDRESS># Restore all the backup
$duplicity restore<EMAIL_ADDRESS># Restore only the file we need
$duplicity restore –file-to-restore wiki_import-1.1.tgz<EMAIL_ADDRESS>/root/wiki_import-1.1.tgz
More details:
RTFM 🙂 and http://www.nongnu.org/duplicity/ (offical site)


title=GOTO conference in Aarhus, Denmark, 2012 date=2012-09-27 type=post tags=blog status=published ~~~~~~
I'll be speaking at the GOTO conference in Aarhus, Denmark, from October 1-3 talking about Cloud Foundry, the open-source PaaS from VMWare. If you're at the show, I'd love to meet you! We can talk all things Spring, and Cloud Foundry, or just throw back a beer. Ping me on Twitter (@starbuxman)


For the most part, a good portion of the week was dedicated to familiarizing ourselves with Git and Github. I've always heard about Github working in tech but never understood what it was. Git is essentially a version control software that allows you to manage and coordinate revisions to the code. As sales people, I'm sure you're familiar with email templates or marketing materials. It goes something like this: Email_template.doc, email_template1.doc, email_template2.doc, email_template2a.doc, etc. Git allows dev teams to manage all of this in a really systematic and orderly way. This is especially important in software development because you don't want to override or break one section of code while working on something else. It's important to have various versions so that if you DO break something, you can always go back to a stable version.
So that's git. Github's a bit different; the easiest way I had it explained to me is that traditionally git was used locally, on your computer. Meaning just like an old flashdrive, whatever changes you made were restricted to your laptop. If you wanted to transfer the change to someone else on your team, you'd have to send them your flashdrive, or in other words, send your code or take your computer to them and be in the same physical location as them. Github did what Dropbox essentially did for documents. Like any cloud service, Github hosts all changes in it's remote servers and allow anyone to push changes and updates to the code while also allowing anyone with permissions to get the most stable and updated source code. Pretty cool right? Wish I had thought of a business like that. Can't actually believe people used to code without it.
So that's been the first week. Really exciting stuff.I definitely feel like I'm learning a lot and really am enjoying how quickly things are moving. Hoping to keep learning at the pace that I am for the remaining weeks!


From the newsletter ... |
|
WAITINGAs essential road works have been carried out in Witney over this past year, I have spent more time waiting in queues of traffic than I wish to remember. Advent, the 4 weeks leading up to Christmas, is also a time of waiting. Unlike waiting in traffic however, Advent is a good reason for waiting, a time of anticipation. I can remember as a child opening the doors on my Advent Calender each day and the temptation to have a sneaky look behind the double doors on the 25th. There were no chocolates behind each door then, just a countdown to Christmas. I can also remember finding a few unwrapped presents before Christmas one year; my initial excitement soon turned a little sour as I realised that some of the excitement of Christmas had been lost. Perhaps you have some similar memories. Today, of course, we can look back at Jesus' birth as an event that changed history; but who was anticipating it? Certainly not the shepherds keeping watch over their flocks by night. They were terrified when the angel came to them, this was the last thing they were expecting. On the other hand, Isaiah, amongst others, foretold the coming of the Messiah several centuries before.  A week after the birth Simeon was able to hold the baby Jesus in his arms. Advent then is a time for waiting, as we prepare for Christmas. However, for Christians, it is also a time of preparation for the second coming of our Lord Jesus, when he comes in glory to judge all our hearts. Just like his birth in Bethlehem, some will be prepared and waiting, others like the shepherds will be terrified. So perhaps there is more to waiting, than sitting in a traffic jam after all. As you ponder all these things, may I, on behalf of Blake and St Mary's Cogges, wish you all a very Joyful Christmas this year. Cogges Parish | Other articles | Previous issue | Feedback © 2001; Published in Cogges Parish monthly newsletter, December 2001 |


Critical Role Moments
WARNING: Spoilers for all episodes
A collection of the most memorable moments from Critical Role.
NEW: You can submit your own moments by clicking here! Discuss this on Reddit.
This webpage requires JavaScript
WARNING: Spoilers for all episodes
A collection of the most memorable moments from Critical Role.
NEW: You can submit your own moments by clicking here! Discuss this on Reddit.


Module providing methods for dealing with separating a tree-ish string and a file path string when combined in a request parameter
Assigns common instance variables for views working with Git tree-ish objects
Assignments are:
-
@id - A string representing the joined ref and path
-
@ref - A string representing the ref (e.g., the branch, tag, or commit SHA)
-
@path - A string representing the filesystem path
-
@commit - A CommitDecorator representing the commit from the given ref
-
@tree - A TreeDecorator representing the tree at the given ref/path
If the :id parameter appears to be requesting a specific response format, that will be handled as well.
Automatically renders `not_found!` if a valid tree path could not be resolved (e.g., when a user inserts an invalid path or ref).
Source: show
# File lib/extracts_path.rb, line 104 def assign_ref_vars # Handle formats embedded in the id if params[:id].ends_with?('.atom') params[:id].gsub!(%r\.atom$/, '') request.format = :atom end @ref, @path = extract_ref(request.fullpath) @id = File.join(@ref, @path) @commit = CommitDecorator.decorate(@project.commit(@ref)) @tree =<EMAIL_ADDRESS>@project, @ref, @path) @tree = TreeDecorator.new(@tree) raise InvalidPathError if @tree.invalid? rescue NoMethodError, InvalidPathError not_found! end
Given a string containing both a Git tree-ish, such as a branch or tag, and a filesystem path joined by forward slashes, attempts to separate the two.
Expects a @project instance variable to contain the active project. This is used to check the input against a list of valid repository refs.
Examples
# No @project available extract_ref('master') # => ['', ''] extract_ref('master') # => ['master', ''] extract_ref("f4b14494ef6abf3d144c28e4af0c20143383e062/CHANGELOG") # => ['f4b14494ef6abf3d144c28e4af0c20143383e062', 'CHANGELOG'] extract_ref("v2.0.0/README.md") # => ['v2.0.0', 'README.md'] extract_ref('/gitlab/vagrant/tree/master/app/models/project.rb') # => ['master', 'app/models/project.rb'] extract_ref('issues/1234/app/models/project.rb') # => ['issues/1234', 'app/models/project.rb'] # Given an invalid branch, we fall back to just splitting on the first slash extract_ref('non/existent/branch/README.md') # => ['non', 'existent/branch/README.md']
Returns an Array where the first value is the tree-ish and the second is the path
Source: show
# File lib/extracts_path.rb, line 48 def extract_ref(input) pair = ['', ''] return pair unless @project # Remove project, actions and all other staff from path<EMAIL_ADDRESS>"") input.gsub!(%r^\/(tree|commits|blame|blob)\//, "") # remove actions input.gsub!(%r\?.*$/, "") # remove stamps suffix input.gsub!(%r.atom$/, "") # remove rss feed input.gsub!(%r\/edit$/, "") # remove edit route part if input.match(%r^([[:alnum:]]{40})(.+)/) # If the ref appears to be a SHA, we're done, just split the string pair = $~.captures else # Otherwise, attempt to detect the ref using a list of the project's # branches and tags # Append a trailing slash if we only get a ref and no file path id = input id += '/' unless id.ends_with?('/') valid_refs = @project.ref_names valid_refs.select! { |v| id.start_with?("#{v}/") } if valid_refs.length != 1 # No exact ref match, so just try our best pair = id.match(%r([^\/]+)(.*)/).captures else # Partition the string into the ref and the path, ignoring the empty first value pair = id.partition(valid_refs.first)[1..-1] end end # Remove ending slashes from path pair[1].gsub!(%r^\/|\/$/, '') pair end


| {{plist.name}} Collab |
|
song
|
artist
|
user
|
added
|
||
|---|---|---|---|---|---|
| {{track.title}} | {{track.artist}} | {{track.added_by}} | {{track.added | date:'shortDate'}} |


WaMDaM_v1.05 [WaMDaM_DBWrench_Schema_v1.05.xml]
This table stores metadata that are fixed for all the block of data values of a time series.
| PK | Name | Data Type | NULL | Auto | Default | Comment | FK |
|
| TimeSeriesID | Integer |
| Primary key identifier | |||
| YearType | VarChar(50) | The term U.S.Geological Survey "water year" in reports that deal with surface-water supply is defined as the 12-month period October 1, for any given year through September 30, of the following year. The water year is designated by the calendar year in which it ends and which includes 9 of the 12 months. Thus, the year ending September 30, 1999 is called the "1999" water year. | |||||
| AggregationStatisticCV | VarChar(255) | CV term to an aggregation statistic (e.g., average, min, max) |
|
||||
| AggregationInterval | Double | The interval referes to time support which is the time interval when statistical aggregation applies to a set of measurement and then the aggregated value is reported (e.g., hourly measurement values are averaged over a day to report daily values) | |||||
| IntervalTimeUnitCV | VarChar(255) | CV term to a unit name |
|
||||
| BeginDateTime | DateTime |
| A derived date (queried) referes to the begining of time series data (e.g., 1960). It helps to identify the time extent of a block of time sereis data | ||||
| EndDateTime | DateTime |
| A derived date (queried) referes to the end of time series data (e.g., 2000). It helps to identify the time extent of a block of time sereis data | ||||
| IsRegular | Boolean |
| Boolean field of either 1 that indicates the time sereis is regular or 0 that indicates the time series is irregular | ||||
| NoDataValue | VarChar(50) |
| a code that indicates there is no data value, e.g., 9999 | ||||
| Description | Text |
| a text description of the block of time series data | ||||
| ValuesMapperID | Integer | Foreign key identifier for a DataValueMapper record |
|
(none)
| Name | Parent Table | Child Table | Parent Columns | Child Columns |
| fk_TimeSeries_CV_AggregationStatistic | CVs.CV_AggregationStatistic | DataValues.TimeSeries | Name | AggregationStatisticCV |
| fk_TimeSeries_CV_Units | CVs.CV_Units | DataValues.TimeSeries | Name | IntervalTimeUnitCV |
| fk_TimeSeries_ValuesMapper | DataValues.ValuesMapper | DataValues.TimeSeries | ValuesMapperID | ValuesMapperID |
(none)
| Diagram Name |
| 01_WaMDaM |
| 02_WaMDaM_WCVs |


Lady Gaga’s ‘Monster’ Former Townhouse Listed For $17.99 Million
by Heather SenisonAttention Little Monsters: A massive downtown Manhattan townhouse once rented by Lady Gaga is on the market for $17.99 million.The 11,000-square-foot, five-bedroom, 12-bath mansion at 347 W. 17th St. in Chelsea was built in 1920 but was recently gut-renovated, and Mother Monster is reportedly the only person who has lived there since.
The home is decked out with Gaga-esque over-the-top features, including imported Italian doors with Swarovski crystal knobs, and its interiors are constructed almost entirely with glass walls and heated marble floors. The private two-car garage, for example, is separated from the home with a wall of glass, and brings vehicles up from the street level on a motorized lift to display them like art.
Each of its six floors, meanwhile, are accessible via a glass elevator. On the first is a lobby with marble floors and 13-foot ceilings, along with the aforementioned two-car garage and a stadium-style screening room. (If you want to invite Bradley Cooper over for popcorn and an “A Star Is Born Movie Night,” his $13.5 million townhouse is nearby in the West Village, StreetEasy points out.) Below it, in the basement, is a 480-bottle temperature-controlled wine room, a swimming pool and a spa.
The kitchen and dining area stretch from the second to the third floor, with an Italian Stella chandelier dangling between the two. Kitchen appliances are from Miele and Gaggenau, while its black marble counter tops are from Saint Laurent. Its adjoining living room is anchored by a DaVinci fireplace.
Other amenities in the home include a yoga studio, along with a library and a home office, both complete with wet bars. Private outdoor space for the townhouse totals 2,000 square feet, with a landscaped roof deck featuring a hot tub and views of the west side of the city for a backdrop.
Topping out its celebrity status, Ryan Serhant and Nicole Palermo at Nest Seekers share the listing.


| Opcode/Instruction | Op /En | 64/32 bit Mode Support | CPUID Feature Flag | Description |
|---|---|---|---|---|
|
EVEX.128.66.0F3A.W1 56 /r ib VREDUCEPD xmm1 {k1}{z}, xmm2/m128/m64bcst, imm8 |
FV | V/V | AVX512VL AVX512DQ | Perform reduction transformation on packed double-precision floating point values in xmm2/m128/m32bcst by subtracting a number of fraction bits specified by the imm8 field. Stores the result in xmm1 register under writemask k1. |
|
EVEX.256.66.0F3A.W1 56 /r ib VREDUCEPD ymm1 {k1}{z}, ymm2/m256/m64bcst, imm8 |
FV | V/V | AVX512VL AVX512DQ | Perform reduction transformation on packed double-precision floating point values in ymm2/m256/m32bcst by subtracting a number of fraction bits specified by the imm8 field. Stores the result in ymm1 register under writemask k1. |
|
EVEX.512.66.0F3A.W1 56 /r ib VREDUCEPD zmm1 {k1}{z}, zmm2/m512/m64bcst{sae}, imm8 |
FV | V/V | AVX512DQ | Perform reduction transformation on double-precision floating point values in zmm2/m512/m32bcst by subtracting a number of fraction bits specified by the imm8 field. Stores the result in zmm1 register under writemask k1. |
| Op/En | Operand 1 | Operand 2 | Operand 3 | Operand 4 |
| FV | ModRM:reg (w) | ModRM:r/m (r) | Imm8 | NA |
Description
Perform reduction transformation of the packed binary encoded double-precision FP values in the source operand (the second operand) and store the reduced results in binary FP format to the destination operand (the first operand) under the writemask k1.
The reduction transformation subtracts the integer part and the leading M fractional bits from the binary FP source value, where M is a unsigned integer specified by imm8[7:4], see Figure 5-28. Specifically, the reduction transfor-mation can be expressed as:
dest = src – (ROUND(2M*src))*2-M;
where “Round()” treats “src”, “2M”, and their product as binary FP numbers with normalized significand and bi-ased exponents.
The magnitude of the reduced result can be expressed by considering src= 2p*man2, where ‘man2’ is the normalized significand and ‘p’ is the unbiased exponent
Then if RC = RNE: 0<=|Reduced Result|<=2p-M-1
Then if RC ≠ RNE: 0<=|Reduced Result|<2p-M
This instruction might end up with a precision exception set. However, in case of SPE set (i.e. Suppress Precision Exception, which is imm8[3]=1), no precision exception is reported.
EVEX.vvvv is reserved and must be 1111b otherwise instructions will #UD.
|
7 imm8 Imm8[7:4] : Number of fixed points to subtract |
6 | 5 |
4 Suppress Precision Exception: Imm8[3] Imm8[3] = 0b : Use MXCSR exception mask Imm8[3] = 1b : Suppress |
3 |
2 Round Select: Imm8[2] |
1 Imm8[2] = 0b : Use Imm8[1:0] Imm8[2] = 1b : Use MXCSR |
0 Imm8[1:0] = 00b : Round nearest even Imm8[1:0] = 01b : Round down Imm8[1:0] = 10b : Round up Imm8[1:0] = 11b : Truncate |
|
SPE RS Fixed point length |
SPE RS Fixed point length | ||
|
SPE RS Fixed point length |
SPE RS Fixed point length |
SPE RS Fixed point length |
Round Control Override |
Handling of special case of input values are listed in Table 5-21.
| Round Mode | Returned value | |
|---|---|---|
| |Src1| < 2-M-1 | RNE | Src1 |
| RPI, Src1 > 0 | Round (Src1-2-M) * | |
| RPI, Src1 ≤ 0 | Src1 | |
| RNI, Src1 ≥ 0 | Src1 | |
| |Src1| < 2-M | RNI, Src1 < 0 | Round (Src1+2-M) * |
| Src1 = ±0, or | NOT RNI | +0.0 |
| Dest = ±0 (Src1!=INF) | RNI | -0.0 |
| Src1 = ±INF | any | +0.0 |
| Src1= ±NAN | n/a | QNaN(Src1) |
* Round control = (imm8.MS1)? MXCSR.RC: imm8.RC
Operation
ReduceArgumentDP(SRC[63:0], imm8[7:0])
{
// Check for NaN
IF (SRC [63:0] = NAN) THEN
RETURN (Convert SRC[63:0] to QNaN); FI;
M (cid:197) imm8[7:4]; // Number of fraction bits of the normalized significand to be subtracted
RC (cid:197) imm8[1:0];// Round Control for ROUND() operation
RC source (cid:197) imm[2];
SPE (cid:197) 0;// Suppress Precision Exception
TMP[63:0] (cid:197) 2-M *{ROUND(2M*SRC[63:0], SPE, RC_source, RC)}; // ROUND() treats SRC and 2M as standard binary FP values
TMP[63:0] (cid:197) SRC[63:0] – TMP[63:0]; // subtraction under the same RC,SPE controls
RETURN TMP[63:0]; // binary encoded FP with biased exponent and normalized significand
}
VREDUCEPD
(KL, VL) = (2, 128), (4, 256), (8, 512)
FOR j (cid:197) 0 TO KL-1
i (cid:197) j * 64
IF k1[j] OR *no writemask* THEN
IF (EVEX.b == 1) AND (SRC *is memory*)
THEN DEST[i+63:i] (cid:197) ReduceArgumentDP(SRC[63:0], imm8[7:0]);
ELSE DEST[i+63:i] (cid:197) ReduceArgumentDP(SRC[i+63:i], imm8[7:0]);
FI;
ELSE
IF *merging-masking*
; merging-masking
THEN *DEST[i+63:i] remains unchanged*
ELSE
; zeroing-masking
DEST[i+63:i] = 0
FI;
FI;
ENDFOR;
DEST[MAX_VL-1:VL] (cid:197) 0
Intel C/C++ Compiler Intrinsic Equivalent
VREDUCEPD __m512d _mm512_mask_reduce_pd( __m512d a, int imm, int sae)
VREDUCEPD __m512d _mm512_mask_reduce_pd(__m512d s, __mmask8 k, __m512d a, int imm, int sae)
VREDUCEPD __m512d _mm512_maskz_reduce_pd(__mmask8 k, __m512d a, int imm, int sae)
VREDUCEPD __m256d _mm256_mask_reduce_pd( __m256d a, int imm)
VREDUCEPD __m256d _mm256_mask_reduce_pd(__m256d s, __mmask8 k, __m256d a, int imm)
VREDUCEPD __m256d _mm256_maskz_reduce_pd(__mmask8 k, __m256d a, int imm)
VREDUCEPD __m128d _mm_mask_reduce_pd( __m128d a, int imm)
VREDUCEPD __m128d _mm_mask_reduce_pd(__m128d s, __mmask8 k, __m128d a, int imm)
VREDUCEPD __m128d _mm_maskz_reduce_pd(__mmask8 k, __m128d a, int imm)
SIMD Floating-Point Exceptions
Invalid, Precision
If SPE is enabled, precision exception is not reported (regardless of MXCSR exception mask).
Other Exceptions
See Exceptions Type E2, additionally
| #UD | If EVEX.vvvv != 1111B. |


![](/content/images/gallery/marketing-h2.jpg)
![](/content/images/gallery/offcourt-h2.jpg)
![](/content/images/gallery/marketing-v1.jpg)
![](/content/images/gallery/offcourt-v11.jpg)
![](/content/images/gallery/oncourt-v1.jpg)
![](/content/images/gallery/marketing-v4.jpg)
![](/content/images/gallery/offcourt-s1.jpg)
![](/content/images/gallery/marketing-v3.jpg)
![](/content/images/gallery/marketing-v7.jpg)
![](/content/images/gallery/offcourt-v22.jpg)
![](/content/images/gallery/offcourt-s10.jpg)
![](/content/images/gallery/offcourt-s8.jpg)
![](/content/images/gallery/offcourt-v6.jpg)
![](/content/images/gallery/offcourt-s9.jpg)
![](/content/images/gallery/offcourt-s6.jpg)
![](/content/images/gallery/offcourt-s11.jpg)
![](/content/images/gallery/offcourt-v20.jpg)
![](/content/images/gallery/offcourt-v19.jpg)
![](/content/images/gallery/offcourt-h1.jpg)
![](/content/images/gallery/offcourt-v1.jpg)
![](/content/images/gallery/offcourt-h3.jpg)
![](/content/images/gallery/offcourt-h4.jpg)
![](/content/images/gallery/offcourt-h5.jpg)
![](/content/images/gallery/offcourt-h7.jpg)
![](/content/images/gallery/offcourt-h8.jpg)
![](/content/images/gallery/offcourt-h9.jpg)
![](/content/images/gallery/offcourt-h11.jpg)
![](/content/images/gallery/offcourt-h12.jpg)
![](/content/images/gallery/offcourt-h15.jpg)
![](/content/images/gallery/marketing-v2.jpg)
![](/content/images/gallery/offcourt-s12.jpg)
![](/content/images/gallery/marketing-v6.jpg)
![](/content/images/gallery/offcourt-v2.jpg)
![](/content/images/gallery/offcourt-s2.jpg)
![](/content/images/gallery/offcourt-s3.jpg)
![](/content/images/gallery/offcourt-s5.jpg)
![](/content/images/gallery/offcourt-v3.jpg)
![](/content/images/gallery/offcourt-v13.jpg)
![](/content/images/gallery/offcourt-v4.jpg)
![](/content/images/gallery/offcourt-s13.jpg)
![](/content/images/gallery/oncourt-h1.jpg)
![](/content/images/gallery/offcourt-h10.jpg)
![](/content/images/gallery/marketing-v5.jpg)
![](/content/images/gallery/offcourt-h13.jpg)
![](/content/images/gallery/oncourt-h7.jpg)
![](/content/images/gallery/oncourt-h6.jpg)
![](/content/images/gallery/oncourt-h4.jpg)
![](/content/images/gallery/offcourt-v7.jpg)
![](/content/images/gallery/offcourt-s7.jpg)
![](/content/images/gallery/marketing-v8.jpg)
![](/content/images/gallery/offcourt-v21.jpg)
![](/content/images/gallery/oncourt-v3.jpg)
![](/content/images/gallery/offcourt-v8.jpg)
![](/content/images/gallery/offcourt-v9.jpg)
![](/content/images/gallery/offcourt-v10.jpg)
![](/content/images/gallery/offcourt-v12.jpg)
![](/content/images/gallery/offcourt-v14.jpg)
![](/content/images/gallery/offcourt-v16.jpg)
![](/content/images/gallery/offcourt-v5.jpg)