--- title: Places where I've lived, part 8 - Copenhagen excerpt: date: '2021-04-30 09:07:39 +0100' categories: - Motivation - General - Traveling - Photography - Copenhagen image: path: /assets/images/social/places_copenhagen.jpg ---
A big part of integration in any country is local language. I studied Danish and really tried to get a grasp of it while working in English-speaking companies, ranging from startups to enterprises. I was a bit naive and thought knowing Swedish would help. How wrong I was! Reading, yes, listening, yeah, a bit, but speaking - no. Danish is a bit like French in that you have to learn two languages in one: the written and the spoken version. In the spoken version, you leave half of the written letters out - and then just replace the remaining letters with some others. The "soft D" comes to mind.
The Danes I met were not afraid of difficult conversations. Communication is carried out in a direct, in-your-face, no-nonsense style which I learned to appreciate only later :) At the time it just put me off, as it felt too rude and too bold (but considered normal in Denmark). I believe this is because some Danes translate the way they speak Danish - or make a joke - literally, word by word into English. This often results in awkward moments when subtle nuances get lost in translation ("you forgot to say please!"). The good thing is that you don't need to interpret the message as it's delivered in plain language.
I see Denmark's culture as a vibrant, interesting and unique mix of Scandinavian, Central European and Latin cultures, with a touch of Silicon Valley boldness - a mix of conservative and progressive, in no particular order :) However, my point of view is somewhat limited as I lived and worked only in the capital, Copenhagen.
To conclude, I admire the pragmatism and the action-oriented product culture of Copenhagen/Denmark. There's a lot to learn from the Danes, and for that, you need to speak Danish (beyond the superficial "hygge"). Otherwise you're just a foreigner in the country, living in a bubble, even if most Danes like speaking English.
{% include navigation-places.html %}


XDG-DESKTOP-ICON(1) xdg-desktop-icon Manual XDG-DESKTOP-ICON(1) NAME xdg-desktop-icon - command line tool for (un)installing icons to the desktop SYNOPSIS xdg-desktop-icon install [--novendor] FILE xdg-desktop-icon uninstall FILE xdg-desktop-icon {--help | --manual | --version} DESCRIPTION The xdg-desktop-icon program can be used to install an application launcher or other file on the desktop of the current user. An application launcher is represented by a *.desktop file. Desktop files are defined by the freedesktop.org Desktop Entry Specification. The most important aspects of *.desktop files are summarized below. COMMANDS install Installs FILE to the desktop of the current user. FILE can be a *.desktop file or any other type of file. uninstall Removes FILE from the desktop of the current user. OPTIONS --novendor Normally, xdg-desktop-icon checks to ensure that a *.desktop file to be installed has a vendor prefix. This option can be used to disable that check. A vendor prefix consists of alpha characters ([a-zA-Z]) and is terminated with a dash ("-"). Companies and organizations are encouraged to use a word or phrase, preferably the organizations name, for which they hold a trademark as their vendor prefix. The purpose of the vendor prefix is to prevent name conflicts. --help Show command synopsis. --manual Show this manual page. --version Show the xdg-utils version information. DESKTOP FILES An application launcher can be added to the desktop by installing a *.desktop file. A *.desktop file consists of a [Desktop Entry] header followed by several Key=Value lines. A *.desktop file can provide a name and description for an application in several different languages. This is done by adding a language code as used by LC_MESSAGES in square brackets behind the Key. This way one can specify different values for the same Key depending on the currently selected language. The following keys are often used: Value=1.0 This is a mandatory field to indicate that the *.desktop file follows the 1.0 version of the specification. Type=Application This is a mandatory field that indicates that the *.desktop file describes an application launcher. Name=Application Name The name of the application. For example Mozilla GenericName=Generic Name A generic description of the application. For example Web Browser Comment=Comment Optional field to specify a tooltip for the application. For example Visit websites on the Internet Icon=Icon File The icon to use for the application. This can either be an absolute path to an image file or an icon-name. If an icon-name is provided an image lookup by name is done in the user's current icon theme. The xdg-icon-resource command can be used to install image files into icon themes. The advantage of using an icon-name instead of an absolute path is that with an icon-name the application icon can be provided in several different sizes as well as in several differently themed styles. Exec=Command Line The command line to start the application. If the application can open files the %f placeholder should be specified. When a file is dropped on the application launcher the %f is replaced with the file path of the dropped file. If multiple files can be specified on the command line the %F placeholder should be used instead of %f. If the application is able to open URLs in addition to local files then %u or %U can be used instead of %f or %F. For a complete overview of the *.desktop file format please visit http://www.freedesktop.org/wiki/Specifications/desktop-entry-spec ENVIRONMENT VARIABLES xdg-desktop-icon honours the following environment variables: XDG_UTILS_DEBUG_LEVEL Setting this environment variable to a non-zero numerical value makes xdg-desktop-icon do more verbose reporting on stderr. Setting a higher value increases the verbosity. EXIT CODES An exit code of 0 indicates success while a non-zero exit code indicates failure. The following failure codes can be returned: 1 Error in command line syntax. 2 One of the files passed on the command line did not exist. 3 A required tool could not be found. 4 The action failed. 5 No permission to read one of the files passed on the command line. SEE ALSO xdg-icon-resource(1) EXAMPLES The company ShinyThings Inc. has developed an application named "WebMirror" and would like to add a launcher for for on the desktop. The company will use "shinythings" as its vendor id. In order to add the application to the desktop there needs to be a .desktop file for the application: shinythings-webmirror.desktop: [Desktop Entry] Encoding=UTF-8 Type=Application Exec=webmirror Icon=shinythings-webmirror Name=WebMirror Name[nl]=WebSpiegel Now the xdg-desktop-icon tool can be used to add the webmirror.desktop file to the desktop: xdg-desktop-icon install ./shinythings-webmirror.desktop To add a README file to the desktop as well, the following command can be used: xdg-desktop-icon install ./shinythings-README AUTHORS Kevin Krammer Author. Jeremy White Author. COPYRIGHT Copyright © 2006 xdg-utils 1.0 02/22/2015 XDG-DESKTOP-ICON(1)


Events are the foundation of interactive applications in Corona. They're used to trigger responses in your app like a tap on the screen, detection of a specific system event, completion of a timer, collision of two physical bodies, etc. Events are detected using the addEventListener() object method which directs Corona to track (listen for) the associated event within a listener function. See the Registering Events section for details.
Runtime events are dispatched to the global Runtime listener. These events are not directed at any particular object; rather, they are broadcast to all interested listeners. Common Runtime events include the following:
enterFrame
events occur at the frames-per-second interval of the application (30 or 60).
system
events are dispatched when certain external events occur, such as when the device needs to suspend or exit the application.
orientation
events occur when the device orientation changes from portrait to landscape or vice-versa.
The following code shows how an app can respond to system
events:
local function onSystemEvent( event )
local eventType = event.type
if ( eventType == "applicationSuspend" ) then
--perform all necessary actions for when the device suspends the application, i.e. during a phone call
elseif ( eventType == "applicationResume" ) then
--perform all necessary actions for when the app resumes from a suspended state
end
end
Runtime:addEventListener( "system", onSystemEvent )
Local events are sent to a single listener and are not broadcast to the global Runtime. Common local events include the following:
hit
events occur when the user touches the device screen.
collision
events occur when two physics objects collide.
timer
events occur when a running timer completes its duration.
audio
events can be dispatched when a audio file finishes playing.
Local events vary in usage and are discussed further in their topic-appropriate guides and/or the API Reference.
Listeners can be either functions or table/display objects.
When a function listener is invoked, it is passed a table representing the event:
local myListener = function( event )
print( "Listener called with event of type: "..event.name )
end
Runtime:addEventListener( "touch", myListener )
Runtime:addEventListener( "enterFrame", myListener )
Sometimes a function listener is not convenient because certain variables are not in scope when the listener is invoked. In these situations, table listeners should be used. Table listeners must have an instance method with a name corresponding to the event name:
--assume myClass and myClass:new() already exist
function myClass:enterFrame( event )
print( "enterFrame called at time: "..event.time )
end
function myClass:touch( event )
print( "touch occurred at: "..event.x..","..event.y )
end
local myObject = myClass:new()
Runtime:addEventListener( "touch", myObject )
Runtime:addEventListener( "enterFrame", myObject )
When the user touches the screen, a hit event is generated and dispatched to display objects in the display hierarchy. Only those objects that intersect the hit location on the screen will receive the event. Hit events propagate through these objects in a particular order. By default, the first object to receive the event is the front-most display object in the display hierarchy that intersects the hit location. The next object to receive the event is the next object back in the hierarchy that intersects the hit location, and so on. For more information on display objects, please read the Display Objects guide.
Hit events propagate until they are handled. This means that if you have multiple objects overlaying each other in the display hierarchy, and a hit event listener has been applied to each, the hit event will propagate through all of these objects. However, you can stop propagation to the next underlying object by telling Corona that the event has been handled. This is as simple as returning true
from the event listener — this stops the propagation cycle and prevents any underlying objects from responding to the hit event.
local function myTouchListener( event )
if ( event.phase == "began" ) then
--code executed when the button is touched
print( "object touched = "..tostring(event.target) ) --'event.target' is the touched object
end
return true --prevents touch propagation to underlying objects
end
local myButton = display.newRect( 100, 100, 200, 50 )
myButton:addEventListener( "touch", myTouchListener )
Note that if the hit event is still not handled after traversal through the entire display hierarchy, it is broadcast as a global event to the Runtime listener.
You can direct all hit events to a specific display object by setting the focus on that object. Consider a typical button. If the user touches the button and — without lifting — slides off the button, the button generally should not trigger an action. Likewise, if the touch slides off the button and intersects another interactive object, you probably don't want that object to react since the touch began on the button.
This is easily solved by setting focus on the display object which instructs the system to deliver all future hit events to that display object.
local function myTouchListener( event )
if ( event.phase == "began" ) then
display.getCurrentStage():setFocus( event.target ) --'event.target' is the touched object
elseif ( event.phase == "ended" or event.phase == "cancelled" ) then
display.getCurrentStage():setFocus( nil ) --setting focus to 'nil' removes the focus
end
return true
end
local myButton = display.newRect( 100, 100, 200, 50 )
myButton:addEventListener( "touch", myTouchListener )
For more information on hit events and multitouch (more than one touch on the screen at the same time), please refer to the Tap / Touch / Multitouch guide.
As illustrated in each example above, events are dispatched to event listeners which are written as basic functions. An event
argument is always dispatched to the function.
local function myTouchListener( event )
print( "Touch X location"..event.x )
print( "Touch Y location"..event.y )
end
local myButton = display.newRect( 100, 100, 200, 50 )
myButton:addEventListener( "touch", myTouchListener )
Notice how the event
argument passed to the myTouchListener
function contains both x
and y
properties that represent the point on the screen where the touch occurred. Properties associated with the event
argument are unique to each event type — please refer to the Events API documentation for details.
Events can be registered using the addEventListener() object method. Just pass the string name of the event type and the name of the event listener function that should handle it.
--standard touch listener on an object
myButton:addEventListener( "touch", myTouchListener )
--Runtime 'system' event listener
Runtime:addEventListener( "system", onSystemEvent )
As shown above, two types of event listeners can be created with the addEventListener()
object method: listeners attached to display objects and listeners attached to the global Runtime.
When you create a display object and add a local touch event listener to it, you essentially point to a block of code via reference to the function. This code resides in its own memory and it persists after the display object is removed. When that occurs, there's no way to sense future events on the object, so the local event listener is effectively removed for you. You don't need to explicitly remove it.
Runtime event listeners, on the other hand, must be removed when you're finished using them. Otherwise, they'll continue to run because the Runtime event is global. Not only will this cause a memory leak, but if any functions executing in the Runtime attempt to reference object(s) that no longer exist, the program will crash. See Removing Event Listeners below for more information.
Most listeners, with the exception of Runtime listeners like "enterFrame"
, will be removed automatically when the associated object is removed, for example when you call removeSelf() or display.remove(). However, you may need to explicitly remove an event listener without removing the object.
Removing an event listener is done using the built-in removeEventListener() object method.
This function is called in the same exact manner as addEventListener()
. For example, if you want to stop listening for touch events on the myButton
object, remove the listener as follows:
myButton:removeEventListener( "touch", myTouchListener )
Both the type and function name are required to remove the associated listener, because it's possible to assign multiple listeners of the same type to a single object. For instance, you could have two (or more) different listener functions assigned to the "touch"
event of the myButton
display object. Therefore, when calling removeEventListener()
, you need to specify the type of event you want to stop listening for, as well as the listener function that was previously assigned to that event.


Six Specification statements¶
Data
Transformations
Scale
Coordinate
Element
Guide
Data¶
In pyG2, data should be specified as a list of dictionaries or as a pandas.DataFrame object.
Transformations¶
Data transformations should be done beforehand you provide them to the Chart object. You can use pandas.DataFrame to obtain these transformations.
Scales¶
Chart.scale(variable, **config)
is used to specify the scale and scale transformations.
Coordinate¶
Chart.coordinate(variable, **config)
is used to specify the coordinate system and coordinate transformations.Default is Cartesian coordinates.
Element¶
In pyG2 chart elements are named geometry. They are the main components of the graphic: line in line chart, bar in bar chart etc.
Guides¶
In G2, guides are legends, tooltips and annotations. They are the auxillary components of a chart that helps the user to understand the chart easily.


The application is designed to function independently of your
browser buttons. If you change your mind about a task, such
as posting a syllabus or a resource item, you need to rely on the
buttons within the application to cancel the action instead of your
browser's Back
button.
If you click the Back
button before completing a task, then
the next time you try to use that tool you may return to the
uncompleted task; if this happens, you will need to click
Cancel
before you can do anything else in that tool.
Also, you might unintentionally lock yourself out by using the
Back button, so that you and other people (with equivalent
roles for the site) are unable to use the tool. If this happens, you
can try to clear the lock by clicking the reset
button . If this doesn't work, log out and
wait at least 20 minutes before logging back in. |


For Developers
Data Visualization
A set of elements (custom HTML tags) has been implemented for fetching aggregated data on the workflows, the repository and the audit. Combined with graphical elements (like Google Chart or Chart.js libraries) they allow to build meaningful business dashboards very quickly.
Ex: The one below allows to get arrays of information on data stored in documents of the repository (of type Insurance Claim).
The one below fetches aggregated information on the TravelExpenseValidation workflow.
More information can be found in the Nuxeo Data Visualization documentation .
Asynchronous Conversions
The Conversion service has been improved to handle asynchronous conversions. This new feature has also been exposed on the REST API, with new endpoints. Launch an asynchronous conversion by doing a POST on the @convert adapter, with the parameter async to true:
This returns a JSON object with the following data:
The new endpoint available to poll and get the result of a conversion:
For conversion not completed, it returns the status of the conversion with a 200 HTTP code:
For conversion completed, it returns the result URL in the Location header with a 303 HTTP code.
This returns the result Blob of the conversion if any, returns 404 if there is no conversion / no result yet for the conversion.
Upload by Chunks
The batch upload REST API has been improved to allow:
- Batch initialization
- File upload in chunks
- Getting information about the chunks uploaded for a given file
- Resumable upload
- It allows to manage upload resume with enough granularity (restart with chunk x)
- It allows multiplexing (upload on multiple TCP streams)
- It allows to overcome the limitations of some reverse proxies (limits the risk of having a POST considered as too big)
- Nuxeo Drive
- Drag and drop
- Bulk import
- JS client
Elasticsearch Passthrough: Audit Index and Contribuable Filters
The Elasticsearch API passthrough now allows to hit different indexes, like the audit one. Also, an extension point has been added for being able to plug different logics of filtering depending on the index name that is hit. For instance for the "workflow" index, a logic has been added for returning only audit events that are related to the workflow instances for which the workflow model is one on which the user has the permission "Data Visualization". Here is an exemple of such a contribution:
More information on the Nuxeo Elasticsearch Passthrough documentation .
Batch Manager Uses the Transiant Store
Now the Batch Manager relies on the Transient Store to allow several implementations among which the Redis one that is cluster aware.
Theme Removal and Styling Methods Evolutions
Former Theme Framework has been Removed
The page layout is now relying on a standard XHTML page instead of an XML contribution to Nuxeo runtime
extension points.
JavaScript and CSS resources to be presented on the page are now served by a wro4j
servlet (
http://wro4j.github.io/wro4j/
). This allows to use standard ways of managing these resources, and eases up style customization through
Studio, thanks to standard CSS cascading features.
Also, the favicon can now be customized by flavor
(like the logo already was).
Updated documentation
and
migration instructions
are available.
From .css to Sass .scss
The styles framework is now using Sass. Thanks to this major evolution of Nuxeo's styles framework, the styles will be updated in the next versions of the product to have a cleaner structure, a neat logic, and have a better maintenability. The variables customizable by Studio are contained in one file, default_variable.scss. The old variables used by the Theme engine are now obsolete and will be moved to theme-webapp-compat.
DIV Instead of Tables
The container widget used in Nuxeo Studio has been lightened and displays now a div instead of a table on some cases. The main left column is now independant from the main area, allowing user to scroll only in the required area.
ACLs and Security Framework
New Methods on Java ACL Object
New methods were added on ACL object:
- blockInheritance(String username)
- unblockInheritance()
The ACL#addACE method implementation was modified to take care of the ACLs order: method take care of the ACLs order:
- inherited ACL always at the end
- local ACL at the end, but before inherited if present
- any other ACL before local and inherited
New Content Enricher: Allowed Permissions
A new enricher "AllowedPermissions" allows to fetch accepted UI Permissions for the given document according to the permission extension point.
File Download Security Policy
In addition to the permissions applying to a document, which restrict access to a document as a whole, it's now possible to specify more fine-grained permissions to disallow the download of some file attachments. To additionally restrict the download of a given blob inside a document, you can contribute to the following extension point:
In the JavaScript context, access is provided when relevant to the Document, the XPath where the file is stored, the rendition name, the current user, the blob itself, and more contextual information.
Nuxeo Elements
The Nuxeo team has started implementing some Web Components, i.e. custom HTML elements that you can include in your HTML page, wherever that one is hosted. This set of custom elements allows to fetch data from the Nuxeo Platform: documents, directories, users. It also allows to easily execute some rest calls as well as some Nuxeo Automation operations calls. Those elements are a way to build an integration very quickly between a portal and Nuxeo Plaform, or any tierce application and Nuxeo Plaform. That's what was used for implementing the Salesforce connector. See the list of existing elements as well as a quick start .
Runtime Configuration Service
A new extension point has been added to define configuration properties to be checked by application code. This allows to tweak some of the application behaviours thanks to standard runtime contributions, in particular from a Studio project. Here is a sample contribution to use ajaxified tabs:
Those configuration properties aim at being at application level while the nuxeo.conf properties will be assigned to deployment level.
New and Enriched Audit Events
Search Events
A new parameter on the page provider allows to enable audit on page providers, thanks to an implementation in the AbstractPageProvider class that logs:- The PageProvider name
- The PageProvider class
- The parameters of the query
- The search document model if any
- The resulting query (NXQL or native)
Tracking can be enabled at the Pageprovider level at the XML Contribution level, by just adding:
or in nuxeo.conf with the property:
Workflow Events
Information logged on workflow events has been greatly extended and more events are logged. You can find the details in the documentation .
Automation Scripting: Documents are Returned as DocumentWrappers
Documents (input, output, etc.) are now DocumentWrappers like in Automation Chains, allowing to use same sytnax such as Document["dc:title"].
New Insert Zone on Content Views
A new include zone, "bottom_buttons", has been added on content views. It can be easily overriden by JSF Templating composition.
New API to Compare Pictures
The org.nuxeo.diff.pictures.DiffPictures class allows to compare two pictures (must be same format and same dimensions), either from two Documents or two Blobs, and returns the image (as Blob) of the difference. Parameters can be used to setup the fuzz and the highlight colors. It requires ImageMagick.
Use \ to escape wildcards in NXQL LIKE
Possibility has been added to escape _ and % wildcards using a \ in a LIKE query:
This will only match foo_ but not for instance foo1. Without the \ it matches foo_ and foo1. This is now true for all backends that make use of NXQL Queries: VCS, MongoDB, Elasticsearch.
No Search On First Display
When accessing the Search tab for the first time, the rendering of results trigger a search that presents all documents. Some users would rather wait for the search filter form to be submitted at least once for this search to be triggered. This can be handled by detecting if user has already clicked on "Filter" at least once. Display of results should also be adapted when search has not been performed yet. The content view accepts a boolean property for this behaviour, as well as a customizable sentence to display when no result is shown because of this setting:
New Java API can be used to adapt display:
- ContentView#isWaitForExecution()
- ContentView#isExecuted()
- ContentView#getWaitForExecutionSentence()
CMIS
ETag for CMIS Renditions
CMIS renditions now support an ETag like regular CMIS streams.
Flag to Allow Computation of CMIS Renditions Info
Set framework property org.nuxeo.cmis.computeRenditionInfo to true to have all renditions return a width, height, length and MIME type.
Template Rendering Samples
Installing Nuxeo Template Rendering package won't install samples anymore, which avoids you to have undesired documents in the repository. Updated sample documents are now available in a dedicated addon, NUxeo Template Rendering Samples .
Cluster Invalidator Made Pluggable
To customize the cluster invalidation mechanism for VCS, you can now define in the repository descriptor:
Here the class implements org.nuxeo.ecm.core.storage.sql.ClusterInvalidator. The default is org.nuxeo.ecm.core.storage.sql.jdbc.JDBCClusterInvalidator.
Core-IO tooling For Transtypage
Core-io can now be used to handle a migration between two Nuxeo repositories where there are some changes in the doc types or other kind of transformations. Several "transformers" have been added:
- DoctypeToFacetTranslator(String docType, String newDocType, String facet)
- FacetRemover(String docType, String facet)
- FieldMapper(String srcSchemaName, String srcField, String dstSchemaName, String dstField)
- SchemaRemover(String docType, String schema)
- SchemaRenamer(String srcSchema, String dstSchema, String dstPrefix).
Ex:


AssertJ Swing can take screenshots of the desktop when a TestNG GUI test fails. Because of TestNG's excellent support for extensibility, this extension is very easy to configure.
The provided listener, {@link org.assertj.swing.testng.listener.ScreenshotOnFailureListener}
, takes a
screenshot of the desktop when a test fails and saves it in TestNG's default output directory. Due to TestNG's flexible
architecture, this listener can be called either from Ant, TestNG plug-in for Eclipse , command line, etc.)
org.assertj.swing.annotation.GUITest


--- layout: post permalink: britishtools&fasteners.html Tags: Array NameOfCoupon: British Tools & Fasteners Cash Back Summary: See our British Tools & Fasteners Coupon Code, British Tools & Fasteners Rebate, British Tools & Fasteners Promo Code, British Tools & Fasteners Discount, British Tools & Fasteners Coupon Cash Back Rebate here. MetaKeywords: British Tools & Fasteners Coupon Code, British Tools & Fasteners Rebate, British Tools & Fasteners Promo Code, British Tools & Fasteners Cash Back Rebate, British Tools & Fasteners Discount, British Tools & Fasteners Coupon Image: images/27963.jpg LinkURL: http://www.shareasale.com/r.cfm?b=238857&u=412002&m=27963 affiliate_url_link: http://www.icouponblog.com/jane.php?id=1557 thesis_readmore: See the British Tools & Fasteners Coupon thesis_thumb: http://www.icouponblog.com/tn.php?merchantURL=britishfasteners.com Title: Save 5% - British Tools & Fasteners Coupon Code for britishfasteners.com. British Tools & Fasteners Rebate & Discount thesis_description: Our British Tools & Fasteners Discount Coupon Code for britishfasteners.com. We have the best British Tools & Fasteners Rebate anywhere. thesis_keywords: British Tools & Fasteners, British Tools & Fasteners Coupon Code, British Tools & Fasteners Discount, British Tools & Fasteners Rebate product_name: British Tools & Fasteners hop_url: http://www.icouponblog.com/hop.php?id=1557 ---
Have you worn out your minces searching for the right nuts, bolts, taps, dies and tools? Well, you’re in luck, Chuck. British Tools & Fasteners sells specialized British sized nuts and bolts for all your nutting and bolting needs. You won’t have to search the planet and end up in the back of beyond looking for the tools and parts you need. British Tools & Fasteners will easily become your favorite shopping center.
With British Tools & Fasteners’ easy to use website, you’ll have no trouble selecting exactly what you’re searching for. You can choose from screws, washers, socket head cap screws, drain plugs, grub screws, British Seagull Outboard Motor Tool and much, much more. You’ll also love the British Tools & Fasteners Coupon above. It’ll allow you to save on all your British Tools & Fasteners purchases.
British Tools & Fasteners also offers you access to their eBay auctions, Fastener Forums, gives you a fraction to decimal conversion chart and even features videos on how to make threads with taps and dies. So go on and click on the British Tools & Fasteners Coupon to access the British Tools & Fasteners Discount. You’ll save a stash of sausage and mash. So go ahead and click now for great savings today!


....January 18, 2020 is likely when Bitcoin will lurch forward towards surmounting new ATHs to be achieved before the May 2020 halving event....
......it will also suddenly raise the Bitcoin Market Cap Dominance to ~99+%......
.....Proof-of-work altcoins
Thusly Bitcoin’s mining hashrate will be at least two orders-of-magnitude greater than any altcoin’s. Thus rented 50+% hashrate attacks will become trivially easy against all altcoins not just the numerous weaker ones which have already been 50+% attacked.
The cost of Komodo’s Delayed Proof-of-work (dPoW) might become prohibitive.
I feel bad about that, because the idea for dPoW originated from me in private discussions with @jl777, although I always thought it to be only a stopgap measure while researching for a better solution.....
https://steemit.com/bitcoin/@anonymint/phoenix-rises-in-2020-all-altcoins-including-bitcoin-core-will-be-50-attacked-destroyed


The 12 top toys of Christmas revealed
Toy Story 4, Frozen 2 and Star Wars film merchandise will bring £1billion to the UK toy market, alongside small-screen favourites Paw Patrol and Peppa Pig
by Jennifer Russell, https://www.dailyrecord.co.uk/authors/jennifer-russell/The 12 toys of ChristmasView gallery
Major Hollywood movies are set to drive this year’s Christmas must have toy list, experts reveal.
Toy Story 4, Frozen 2 and Star Wars film merchandise will bring £1billion to the UK toy market, alongside small-screen favourites Paw Patrol and Peppa Pig.
The annual Dream Toys list, issued by the Toy Retailers Association, is the most authoritative list of what will be hot this Christmas.
The list is selected by a panel of retailers and industry experts and is independent of toy manufacturers and makers.
The trend for "surprise" and "reveal" toys remains strong, with LOL Surprise! still the most popular collectable for a second year in a row. The cheapest on the list is the Blume Doll at under £10 with the Barbie Dreamplane Playset the most expensive.
Gary Grant, chair of the DreamToys selection committee said: "This year’s DreamToys top 12 selection is an exciting mixture of the year’s biggest brands and kids favourites that will delight children up and down the country this Christmas,”
“These toys will top the Christmas wish lists and with two-thirds of the toys on the list priced under £50, it’s also a list suitable to a range of family budgets.”
From the Harry Potter Knight Bus to Nerf Elite Fortnite, here’s the complete list of 12:
Barbie Dreamplane Playset £79.99
Ready to help kids’ imaginations take off, the Barbie Dreamplace comes with realistic touches like reclining seats, overhead compartments and a snack cart.
Children can push it on its wheels to taxi on the ground or open up the top and side to reveal and play inside the plane.
Blume Dolls £9.99
The must have fashion doll. Just add water and like magic a new friend will grow before your very eyes. Featuring imaginative and over-the-top-hairstyles, Blume dolls grow out of flower pots and come with surprises and accessories.
Frozen 2 Into the Unknown Elsa Doll £39.99
Anna and Elsa are back for another winter themed adventure and the new film merchandise coincides with the big budget release. The latest doll sings “Into the Unknown” and says 14 different phrases from the movie.
 As the vehicle races away, swerving around corners and bouncing over bumps, the bed slides back and forth and the chandelier swings from the ceiling - just like the real thing.
LOL Surprise! 2-in-1 Glamper £99.99
A firm favourite returns from last year with even more surprises. The 2-in-1 Glamper has over ten play areas with lights and sounds, a removable cab, an exclusive doll and more than 55 surprises to unbox.
Nerf Elite Fortnite SP-L £19.99
Inspired by the blaster used in Fortnite with a similar look and colour from the popular video game, kids can play the game in real life. The blaster has a detachable barrel to customize for different ways to play.
Owleez £49.99
These interactives birds act like real owls as you teach them to fly through the air making triumphant and happy noises.
Paw Patrol Mighty Pups Super Paws Mighty Jet Command Centre £59.99
Take the Paw Patrol gang on new adventures with the 2-in-1 delux vehicle as it transforms from a jet into a mobile command centre for the Paw Patrol. On land, lift the handle on the jet to switch into mobile command headquarters and when it’s time to go on a rescue mission transform it back.
Peppa Pig Peppa's Stage Playset £39.99
Re-enact your favourite Peppa episode or create your very own show for family and friends with Peppa's Stage Playset. This interactive playset includes loads of props, as well as Peppa and George figures to help bring your production to life.
Rizmo £59.99
Your new favourite pet who’s crashed down from outer space looking for a new home. How fast Rizmo evolves is up to you. All you have to do is play, sing and love Rizmo to help them grow. Each Rizmo has their own characteristics and musical style, all influenced by how you play.
Ryan's World Super Surprise Safe £44.99
Kids can use the key to open the safe and discover cool surprises inside, such as articulated figures, mix and match build a characters, and treasure. Push and reveal, smash and surprise, decode and discover all of the amazing surprises inside.Each safe has over 30 fun surprises inside.
Toy Story 4 True Talkers £17.99
Forky is the newest character from the lovable family movie, this 7-inch spork come to life with moving facial features. Featuring more than 20 phrases from the film kids can have hours of fun recreating favourite scenes or thinking up new adventures with Buzz, Woody and Bo Peep.


Home
Register child
Register adult
Match
Database
Register an adult
Personal info
Name:
Gender:
Contact:
Notes:
Child info
Missing child's name:
Age:
Gender:
Notes:
Register


--- layout: post title: Happy Birthday My Love date: 2011-11-08 12:29:39.000000000 -05:00 categories: - Celebrations - Family Life - Gastronomic Explosions - aka Yummy Food/Recipes tags: - Birthday - family celebratiions - yummy cake status: publish type: post published: true meta: aktt_notify_twitter: 'no' _edit_last: '1' dsq_thread_id: '1188056963' author: login: cint email<EMAIL_ADDRESS>display_name: Jacinta first_name: Jacinta last_name: '' ---
It's Greg's birthday today. Of course he spent most of it at work, but we all went out for dinner tonight to a local restaurant to celebrate. The kids were gorgeous and did really well considering we were heading out at the time we normally put them to bed.
[caption id="attachment_1299" align="aligncenter" width="353" caption="Jairah was drawing a plane, so he told me"][/caption]
Nothing like finding some scrap paper in your handbag and a pen to keep little hands and minds busy!
We all survived our outing and came home to continue the festivities. I'd let the kids choose a gift each for Greg. I had a giggle at what they decided he might 'want'. Scarlett chose a unicorn book for Greg to read (to her!), Tenneille chose a singing, dancing Christmas reindeer and the girls chose, on behalf of Jairah, a picture book. Looks like Greg has plenty of new reading material for the kids bedtime this week.
To balance out his birthday bounty from the kids, his main gift was a remote control helicopter, which apparently he has always wanted. Probably not what I would have chosen, but better to buy a gift someone wants, right? Jairah just about lost his mind when he saw Greg unwrapping it. I will endeavour to video Greg flying it to get Jairah's reaction on film.
[caption id="attachment_1300" align="aligncenter" width="450" caption="A bit of light reading for you papa!"][/caption]
[caption id="attachment_1298" align="aligncenter" width="500" caption="Make a wish! Actually, Jairah blew out the candles before Greg got a chance. I was quite impressed."][/caption]
As for the cake, there is a recipe to come. It's too good not to share with you. Now pardon me while I go lay down and allow the piece of cake I ate to digest.
[caption id="attachment_1301" align="aligncenter" width="548" caption="The cake. Recipe coming....."][/caption]
A little Irish blessing, just for you Greg, happy birthday love:
Lucky stars above you,
Sunshine on your way,
Many friends to love you,
Joy in work and play-
Laughter to outweigh each care,
In your heart a song-
And gladness waiting everywhere
All your whole life long!
Jacinta x


| Name | |
| Godzila | |
| Born | |
| 1952 | |
| From | |
| Japan | |
| Color | |
| Green |
Godzilla is a giant dinosaur-like fictional monster who first appeared in movies from Japan, in the year 1954. Since then has been featured in twenty-nine movies. During his movie career, this large reptile fought against many other mythical monsters, including the giant moth-like Mothra, the three-headed King Ghidorah, his own robotic mirror image Mechagodzilla, and several more enemies.
Godzilla (ゴジラ, Gojira), known as the King of the Monsters,
is a giant nuclear enhanced prehistoric amphibious reptile (origins may vary)
who is the star of the popular Godzilla franchise of films produced by Toho Company, Ltd.

The new movie Godzilla 2 King of monster is out now in theaters and will
be he new blockbuster and give Godzilla new looks and contiue the saga form 2014.
| First Name | Last Name |
|---|---|
| John | Joe |
| Jane | Joe |
function enumeration(obj) { for (let key in obj) { if (obj.hasOwnProperty(key)) { console.log(key); } } }


ERROR: Your wallet.dat is not matching the blockchain. Please restart the wallet with -reindex param.
Read it completely and carefully before use.
It seems you probably trying to move coinbase coins that you must move through a private address (zaddress) first by shielding your coinbases, which is required by Verus blockchain rules.
Procedure:
Agama Wallet: 1. go to the "Receive" screen and make a new private address 2. Copy the new private address to your clipboard 3. Go to the "Send" screen and select "Shield a coinbase" 4. Leave "Transparent funds" as the source and paste the new zaddress into the destination 5. Click on "Shield funds" 6. Wait a while until you have a private balance showing on the transactions screen 7. Send again, this time from your private address to any normal transparent receive address that you have. Verus Desktop: As of block 800200 the need to shield newly received coinbase rewards is no longer present. The newly received rewards will have to be moved, before they can participate in staking. Only timelocked rewards from the early mining period will need shielding/unshielding. 1. Click on the green down arrow in the `Private Balance` section. 2. Copy a private address. 3.  Type in the `native client terminal` the following command: `run z_shieldcoinbase * ` followed by pasting in the z-address you just copied. 5. Wait a while until you have your private balance updated on the wallets screen. 6. Send again, this time from your private address to any normal transparent receive address that you have.
(submitted by @keda666, solution written by mikeout)


NEW ORDERS
0
| # | Task | Status | Manager | Progress |
|---|---|---|---|---|
| 1 | Task A | Doing | John Doe |
|
| 2 | Task B | To Do | John Doe |
|
| 3 | Task C | On Hold | John Doe |
|
| 4 | Task D | Wait Approvel | John Doe |
|
| 5 | Task E | Suspended | John Doe |
|
| 5 | Task E | Suspended | John Doe |
|
| 5 | Task E | Suspended | John Doe |
|
| 5 | Task E | Suspended | John Doe |
|


Click inside the text fields to see a yellow background:
Note: For :focus to work in IE8, a DOCTYPE must be declared.


|
Fight Club and the Effects of Anger
by Timothy Cairo
Anger is an emotion that is
particularly difficult to locate upon the moral spectrum. Unlike
greed or happiness, the actions that result from anger are of
such a broad variation that it is equally plausible to characterize
the emotion as positive as it is to determine it negative. In
zeroing in on anger as a catalyst to progressive social change,
Bell Hooks defines the emotion as a positive force, and as a
necessary requirement for leveling societal inequalities. On
the other hand, April A. Gerlock's study of war veterans and
their responses to anger presents the emotion as an inherently
negative force which tends to give rise to de-humanization and
violence. Upon the surface it appears that these divergent views
of anger are irreconcilable, however, if we look outside the
realm of academic discourse to mainstream culture it is possible
to find portrayals of anger that are able to negotiate these,
seemingly, conflicting views of the emotion, suggesting that
these views are indeed compatible. David Fincher's 1999 film
Fight Club provides a representation of anger, over the
course of its narrative that depicts the emotion, both, as a
positive force of social change as well as a stimulus for violence
and de-humanization. By employing Aristotle's definition of anger,
and analyzing the emotion within the context of different stages
of the film's narrative, it will become clear how both Hooks
and Gerlock's opinions can co-exist within a rounded portrayal
of the emotion of anger.
Aristotle defines anger as, "an
impulse, accompanied by pain, to a conspicuous revenge for a
conspicuous slight directed without justification towards what
concerns oneself or towards what concerns one's friends,"(1). In Fight Club, Ed Norton's character
Cornelius is presented as an angry and disenfranchised office
employee on the verge of a breakdown. Aristotle maintains that
to feel anger one must have been slighted by a specific individual
(2), however, Cornelius like Bell Hooks
in her article "Killing Rage" feels slighted
by society at large, creating an anger that, like Hooks', is
complex in its manifestation and in its direction. Cornelius'
anger is multi-faceted, he feels that society has slighted him
through mass-marketed promises of fame, fortune, and excitement
while, instead, delivering a reality of conformity, personal
commoditification, and occupational slavery.  We have
no great war; no great depression
our great depression
is our lives. We're all raised on television to believe we're
gonna be millionaires, and movie gods, and rock stars, but we
won't, and we're starting to learn that fact, and we're very,
very pissed off."
Cornelius desires to accomplish
something monumental, but even beyond that he longs to take control
of his destiny and to stop fearing death. However, as much as
he is enraged by modern society, and desires change it is the
comforts of this society that inhibit him from taking action.
Bell Hooks suggests that upper class African Americans often
suppress their rage "because their lives are comfortable,"(3) a theme that is reflected in Fight
Club by Cornelius' Ikea furniture and his designer wardrobe
which act as a diversion from his anger and disdain towards modern
commercial culture. By inhibiting his rage, Cornelius eliminates
any possibility of change and takes on a hopeless existence,
illustrated by his acceptance of the role of someone who is terminally
ill; each night attending a different meeting devoted to helping
people cope with their impending death.
Throughout its first act Fight Club makes continual suggestions
that Cornelius' frustration and anger is intrinsically linked
to some sort of crisis of masculinity. It is not by chance that
the first group meeting Cornelius attends is for men who have
had their testicles removed due to cancer.  And most importantly, it is not by co-incidence
that it is the appearance of a woman at Cornelius' group meetings
that causes him to abandon his hopelessness and re-embrace his
anger. In the context of the film Marla Singer's character is
symbolic of the freedom and assertiveness that Cornelius associates
with the male gender and longs for as a result. Where Cornelius
has become dependent on the group meetings in order to function
from day to day, Marla attends merely on a whim, explaining to
him that, "It's cheaper than a movie and there's free coffee".
Marla further asserts her power over the relationship between
her and Cornelius by refusing to cease her attendance of the
meetings despite Cornelius' heartfelt appeals and his confession
that he is unable to swallow his anger so long as she continues
to be present. It is this disregard for Cornelius' needs that
leads him to re-embrace his anger, a natural result according
to Aristotle who writes,
"Thus a sick man is angered by disregard for his illness,
a poor man by disregard for his poverty, a man waging war by
disregard for the war he is raging, a lover by disregard for
his love, and so throughout, any other sort of slight being enough
if special slights are wanting."(4)
However, it is not only due
to Marla's disregard that Cornelius re-discovers his anger, but
also through his envy of Marla as well. Marla gracefully controls
her own destiny without a fear of death, or a dependency on material
things, a freedom Cornelius longs for and resents in her, not
only because she possess these qualities, but more accurately
because she is a woman who possess these qualities. Now feeling
even more ineffective as a man Cornelius creates his alter-ego,
Tyler Durden, in order to cope with his anger, but in doing so
manages to achieve something positive in the process, a result
that is very much in accord with the pro-anger writings of Bell
Hooks.
Granted, most people would not consider the creation of a club
where men congregate to pound the tar out of each other to be
a positive achievement. However, within the, somewhat twisted,
logic of the film the fight clubs created by Cornelius and his
alter-ego Tyler are held out to be both a positive and a monumental
creation. Within the context of the film, the fight clubs are
presented as filling some estranged need of the attendees rather
than functioning as the source of any kind of sadistic pleasure.
They are compared by Cornelius to a "Pentecostal Church",
which is a metaphor for the clubs' role as a sacred ritual of
masculinity, too long absent from civilized society. By putting
the fight clubs into this context the film presents them as a
positive institution; a cathartic need for disenfranchised males,
like Cornelius, to assert their masculinity in the least harmful
manner possible. To Cornelius' surprise, many others share his
sentiments and before he knows it fight club has become a national
phenomenon which satiates his desire to accomplish something
truly monumental, even if it fails to grant him the ability to
overcome his fear of death and grant him the control over his
destiny that he continues to long for.
Bell hooks writes that "Like all profound repression, my
rage unleashed made me afraid. It forced me to turn my back on
forgetfulness, called me out of my denial. It changed my relationship
with home- with the South- made it so I could not return there"(5). These changes that Hooks describes
arising in herself as a by-product of tapping her rage are directly
paralleled by Cornelius' situation in Fight Club. It is
Cornelius' rage, forged by modern society and spurred by Marla
that incites him to undertake the endeavor of creating fight
club. Cornelius too changes his "relationship with home"
so that he "could not return", symbolized in the film
by the destruction of his condo and the creation of Tyler who
becomes the personification of Cornelius' rage and the catalyst
to the creation of fight club. However, although Fight Club
agrees with Hooks regarding the fact that rage can be very
useful as an inciting factor behind social change the film is
cautious to take the argument too far. Where Hooks maintains
that anger is the combustion engine behind social change, Fight
Club limits anger's role to that of a spark plug, essential
to begin the movement, but once initiated, the film maintains,
that driving is best left to more stable and dependable forces.
This is illustrated in the film as Tyler's rage continues to
grow beyond fight club, leading to the initiation of Project
Mayhem.
Gerlock observes that, "Military training is reported (Eisenhart
1975) as equating rage and anger with masculine identity in the
performance of military duty"(6)
. This is certainly paralleled in the third act of Fight Club,
where Cornelius and Tyler, in accordance with Hooks' writings,
allow their rage to govern the evolution of fight club, and in
attempt to further assert their masculinity against the lingering
specter of Marla Singer, give birth to the militaristic endeavor
of Project Mayhem. Project Mayhem attempts to "take fight
club out of the basements" through militia-like guerrilla
tactics, but quickly spins out of control, succeeding only in
violence and de-humanization. Gerlock elaborates on this theme,
explaining that, "In a combat zone the dehumanization of
others can expand beyond just the enemy (Shatan 1978). Horowitz
and Solomon (1978 p. 278) assert that "
problems of
control over violent impulses are complicated whenever real violence
has occurred, whenever human beings are dehumanized or devalued,
and whenever reality and fantasy images are fused","(7). This passage by Gerlock clearly summarizes
the dangers of allowing anger to be the guiding force behind
one's actions as encouraged by Bell Hooks. These concerns are
reflected in Fight Club through the film's negative portrayal
of Project Mayhem. By fusing "reality and fantasy images"
in the form of Tyler Durden and the unrealistic goals of the
Project, Cornelius institutes a regime that instills in its members
the very things that fight club was designed to negate. The blind
faith formerly placed in commodity culture is transformed into
blind faith in Project Mayhem, to which the first rule is "you
do not ask questions". The former rejection of mass-marketing
and big business is contradicted by Project Mayhem's large scale
publicity stunts and nation-wide franchises. Even fight club's
hostility towards the conformity of office culture disappears
within the regime of Project Mayhem which demands uniform military
style haircuts and fatigues. All these factors, born out of anger,
evidence the failure of Project Mayhem on the basis of its own
hypocrisy as well as the dehumanizing effect of the Project's
demand for complete conformity to its militaristic regime.
Gerlock also cites violence as a by-product of anger fuelled
military cultures. This too is presented in Fight Club
as evidence of the ultimate failure of the rage-driven Project
Mayhem. Where the fight clubs employed violence as a ritual enacted
upon those who consent to fight, upon the advent of Project Mayhem
this violence is re-directed, towards society at large. The anger
of Project Mayhem ultimately leads to violence in many forms,
including the threatening of the city's police chief at knife
point, the destruction of ten office towers, the near murder
of Marla Singer, and the death of Bob Paulson. It is Bob's death
that forces Cornelius to re-assess the effectiveness of Project
Mayhem and realize that action driven solely out of rage, as
suggested by Gerlock, can only lead to de-humanization and violence.
This epiphany on Cornelius' part allows him to ultimately form
the conclusion that in order to put an end to Project Mayhem
he must purge his anger, which is personified by Tyler Durden.
To eliminate, both, his anger as well as Tyler, Cornelius reasons
that he must eliminate himself, and in attempt to do so puts
a pistol in his mouth and pulls the trigger. It is this act that
signifies Cornelius' acquisition of that which he has sought
over the entire course of the narrative; that is to no longer
fear death and to gain control of his own destiny. In attempting
to end his own life Cornelius gains propriety of both these things,
but it is only by first deciding to purge his anger that he is
able to achieve this eventual success. Thus, the film maintains
that although anger can be a motivating factor in achieving positive
results (i.e. the monumental success of fight club), if anger
is the only factor driving an action it can only lead to violence
and de-humanization. By purging his anger, Cornelius' gains those
things that have eluded him throughout the film and finally is
able to interact with Marla as an equal, illustrated in the last
shot of the film which portrays Cornelius and Marla for the first
time in an equitable position, holding hands in a caring manner,
centered symmetrically in the center of the frame.
Fight Club affirms Bell Hooks position that anger can
function as a positive force in achieving social change through
its portrayal of Cornelius, whose rage motivates him to create
fight club, a necessary and lacking institution within the logic
of the film. But the film, through its negative portrayal of
Project Mayhem, also affirms Gerlock's position which finds anger
to be a largely violent and de-humanizing force. Thus, the film
is able to synthesize these two seemingly contradictory opinions
upon the nature of anger into one somewhat rounded portrayal
of the emotion. By applying these seemingly contradictory academic
discourses to an artifact of mainstream culture, it can be determined
that these views are not in fact as divergent as they might appear,
and that they are indeed compatible within a holistic presentation
of the emotion of anger.
(1)
Aristotle trans. W. Robert Rhys, The Rhetoric Book II, online:
http://classics.mit.edu/Aristotle/rhetoric.2.ii.html at pg. 1
(2) Ibid.
(3) Bell Hooks, "Killing Rage" in Ending Racism (New
York: Henry Holt and Co. 1995) at pg. 13
(4) Aristotle, supra at pg. 2
(5) Hooks, supra at pg. 16
(6) April A. Gerlock, "Veterans Responses to Anger Management
Intervention", Issues in Mental Health Nursing, 15:393-408
(January 1994) pg.393, at pg. 394.
(7) Gerlock, supra at pg. 395
Posted October 26, 2004
|


| ||||||||||||||||||||
rsautl(1)
NAMErsautl - RSA utility
SYNOPSISopenssl rsautl [-in file] [-out file] [-inkey file] [-pubin] [-certin] [-sign] [-verify] [-encrypt] [-decrypt] [-pkcs] [-ssl] [-raw] [-hexdump] [-asn1parse]
DESCRIPTIONThe rsautl command can be used to sign, verify, encrypt and decrypt data using the RSA algorithm.
COMMAND OPTIONS
NOTESrsautl because it uses the RSA algorithm directly can only be used to sign or verify small pieces of data.
 If this was done using encrypt and decrypt the block would have been of type 2 (the second byte) and random padding data visible instead of the 0xff bytes. It is possible to analyse the signature of certificates using this utility in conjunction with asn1parse. Consider the self signed example in certs/pca-cert.pem . Running asn1parse as follows yields: openssl asn1parse -in pca-cert.pem 0:d=0 hl=4 l= 742 cons: SEQUENCE 4:d=1 hl=4 l= 591 cons: SEQUENCE 8:d=2 hl=2 l= 3 cons: cont [ 0 ] 10:d=3 hl=2 l= 1 prim: INTEGER :02 13:d=2 hl=2 l= 1 prim: INTEGER :00 16:d=2 hl=2 l= 13 cons: SEQUENCE 18:d=3 hl=2 l= 9 prim: OBJECT :md5WithRSAEncryption 29:d=3 hl=2 l= 0 prim: NULL 31:d=2 hl=2 l= 92 cons: SEQUENCE 33:d=3 hl=2 l= 11 cons: SET 35:d=4 hl=2 l= 9 cons: SEQUENCE 37:d=5 hl=2 l= 3 prim: OBJECT :countryName 42:d=5 hl=2 l= 2 prim: PRINTABLESTRING :AU .... 599:d=1 hl=2 l= 13 cons: SEQUENCE 601:d=2 hl=2 l= 9 prim: OBJECT :md5WithRSAEncryption 612:d=2 hl=2 l= 0 prim: NULL 614:d=1 hl=3 l= 129 prim: BIT STRING The final BIT STRING contains the actual signature. It can be extracted with: openssl asn1parse -in pca-cert.pem -out sig -noout -strparse 614 The certificate public key can be extracted with: openssl x509 -in test/testx509.pem -pubkey -noout >pubkey.pem The signature can be analysed with: openssl rsautl -in sig -verify -asn1parse -inkey pubkey.pem -pubin 0:d=0 hl=2 l= 32 cons: SEQUENCE 2:d=1 hl=2 l= 12 cons: SEQUENCE 4:d=2 hl=2 l= 8 prim: OBJECT :md5 14:d=2 hl=2 l= 0 prim: NULL 16:d=1 hl=2 l= 16 prim: OCTET STRING 0000 - f3 46 9e aa 1a 4a 73 c9-37 ea 93 00 48 25 08 b5 .F...Js.7...H%.. This is the parsed version of an ASN1 DigestInfo structure. It can be seen that the digest used was md5. The actual part of the certificate that was signed can be extracted with: openssl asn1parse -in pca-cert.pem -out tbs -noout -strparse 4 and its digest computed with: openssl md5 -c tbs MD5(tbs)= f3:46:9e:aa:1a:4a:73:c9:37:ea:93:00:48:25:08:b5 which it can be seen agrees with the recovered value above.
SEE ALSO | ||||||||||||||||||||


Noteworthy Features
- No Frameworks.
- ...That impose their view of the world on us.
- ...With funny quirks that have to be worked around.
- ...That require specialized training.
- ...That become out-dated and hard to remove (lock in).
- ...That are difficult to refactor in a polystylistic environment.
- No Controllers.
- Less Code, easier to comprehend.
- Every component is a DOM object.
- Every component has an API similar to raw HTML object such as <div>, <form>, and <video>.
- Components may generate events on self that bubble up the DOM tree.
- Every component responds to events on self that bubble up from children or are activated directly on it by parents.
- Every component should be easy to test drive.
- No component may reach out to the global DOM, but they may reach into child nodes.
- All DOM objects are constructed synchronously - all non-dependent asynchronous behavior is parallel.
- Composition of the DOM is done using plain HTML by observing node creation.
- Composition of behavior is done using plan Javascript by observing events bubbling up the DOM tree.
- No knowledge of parent element, or its location in dom, or even if it is attached to the dom
- Avoided the need to use 'this' or 'bind' or 'new'
- To reduce boilerplate, uses require.js for dependency resolution and allows for setters to override dependencies in tests rather than constructor injection.
Files


Please search using the Ingredient you would like to cook with, available recipes and nutritional information will display below.
Recipes


Sweet Bakery
Home
About
Menu
Contact
Thank you for your comment! We will get back to you in 48 hours!


Health Card # : {{selected.healthCard}} Gender : {{selected.gender}} Email : {{selected.email}} Address: {{selected.address}} Phone: {{selected.phone}} Birth Date: {{selected.birthday}}


{% extends "base.html" %} {% block title %}Guests{% endblock %} {% block content %}
Choose from one of the Not My Job guests below to view their appearance details.


 They're curious if you could help them with their math homework.
Unfortunately, it seems like this "math" follows different rules than you remember.
The homework (your puzzle input) consists of a series of expressions that consist of addition (+
), multiplication (*
), and
parentheses ((...)
). Just like normal math, parentheses indicate that the expression inside must be evaluated before it can be used by the
surrounding expression. Addition still finds the sum of the numbers on both sides of the operator, and multiplication still finds the product.
However, the rules of operator precedence have changed. Rather than evaluating multiplication before addition, the operators have the same precedence, and are evaluated left-to-right regardless of the order in which they appear.
For example, the steps to evaluate the expression 1 + 2 * 3 + 4 * 5 + 6
are as follows:
1 + 2 * 3 + 4 * 5 + 6
3 * 3 + 4 * 5 + 6
9 + 4 * 5 + 6
13 * 5 + 6
65 + 6
71
Parentheses can override this order; for example, here is what happens if parentheses are added to form 1 + (2 * 3) + (4 * (5 + 6))
:
1 + (2 * 3) + (4 * (5 + 6))
1 + 6 + (4 * (5 + 6))
7 + (4 * (5 + 6))
7 + (4 * 11 )
7 + 44
51
Here are a few more examples:
2 * 3 + (4 * 5)
becomes26
.5 + (8 * 3 + 9 + 3 * 4 * 3)
becomes437
.5 * 9 * (7 * 3 * 3 + 9 * 3 + (8 + 6 * 4))
becomes12240
.((2 + 4 * 9) * (6 + 9 * 8 + 6) + 6) + 2 + 4 * 2
becomes13632
.
Before you can help with the homework, you need to understand it yourself. Evaluate the expression on each line of the homework; what is the sum of the resulting values?


Python Koans
A path to Python Enlightenment
koan
[ˈkōän]
- NOUN
- a paradoxical anecdote or riddle, used in Zen Buddhism to demonstrate the inadequacy of logical reasoning and to provoke enlightenment.
Bang out code until we get it right
Configure VS Code
- Install Python Extension
- Set Python interpreter to the Anaconda Python install
Source Control
- Create a branch
- Solve the first test
- Save Changes
- Stage
- Commit (comment) - this is local only
- Sync - this puts it on the server
- Switching branches


Managing and organizing music is one of the most frustrating and time-consuming aspects of music platforms. I worked with a team of interaction and graphic designers to learn more about this problem and how this action differs across popular music platforms such as Spotify and Youtube. The outcome is a mockup of a new app that prioritizes playlist management. One of our distinguishing features is the ability to dislike a song in a playlist which puts that song into an archive within the playlist. However, when users change their mind, they can easily retrieve a list of their disliekd songs and add it back to their playlist.
We interviewed 9 people to learn about how they manage their music and what they liked or disliked about different music platforms. From the 3 people I interviewed, the main insight I obtained is that people often like to create and select playlists on moods or tasks. For example, a Computer Science major said that she often doesn’t enjoy coding so she listens to upbeat music to improve her mood.
 From the 4 users that I observed, I learned that Spotify has many features that users are unaware of because there are no affordances that this function is possible.
For example, 3 out of the 4 people I observed added songs to a playlist one by one because they didn’t know you can select and drag multiple songs at once. In the image below, one user left-clicked songs one by one to add to a playlist.
Another insight is that since songs in playlists are ordered from date added, users get tired of the songs toward the top of the list or feel that the mood/type of those songs are no longer relevant to that playlist. However, they still wanted to keep older songs because they brought back past memories and would listen to them occasionally.
In the image below one user said, “The first 20 songs I’m already very familiar with and I get really bored of. But, I don’t want to delete them because I still like them. I’m tired of “Summer” but I know I like “Keep it Mello” so I’ll start it from there.
We conducted 9 tasks ourselves that related to creating playlists, managing playlists, and discovering new songs. For each task, we compared 1 platform with a good user experience workflow and 1 with a bad workflow. The platforms we used include Spotify, Youtube, SoundCloud, Apple Music, and PI Music Player.
One of the tasks I conducted was to I select multiple songs from an old playlist to add to a new one. I performed this task on Spotify and Apple music and found that Apple Music offered a better workflow for this task as explained in the images below.
Discoverability is not very good on Spotify because there was no indication that I could drag songs from one playlist to the “New Playlist” button.
Additionally, there was no feedback or confirmation to let me know that a new playlist was successfully created and was auto-named very vaguely based on the original playlist the songs came from.
Apple music offered a better user experience for this task because it was more intuitive and efficient. I could press command to select multiple songs and command+click to pull up an option menu. I was impressed by how Apple Music immediately redirects you to the new playlist and highlights the name of it which alerted me to rename it.
Our team decided to brainstorm wireframes for two different tasks. The first it to create a Playlist for an upcoming family Christmas Party filled with Christmas Classics.  By combining good features of existing music platforms with my own ideas, I created the wireframes below.
After looking over each person’s individual wireframes and combining good ideas, this is the final wirefame we decided upon as a team:
These are some of the main design decisions we made:
One of the main distinguishing features of our app is the “Dislike” section in a user’s self-made playlist that acts like an archive to store songs they don't want to listen to anymore. The idea came from a lot of users we interviewed stating that they usually skip songs in their current playlist that are overplayed, not fit for the mood, or just not appealing to them, but do not want to permanently remove from the playlist. Users can also revisit those songs and restore them back into the playlist if desired by pressing the "like" button.
We included "Radio" in the Browse tab as opposed to giving it a separate icon in the navigation bar as Spotify and iTunes does. Our team found it difficult to distinguish and agree upon the features that would fall under each tab so we thought users would also be confused. Therefore, we decided to put "Radio" under "Browse", which is the general section for discovering music. This follows the “consistency and standards” heuristic. Additionally, this is the same reason we put Genre and Moods together instead of separating them as Spotify does since we were debating whether “Holiday” fell under “Genre” or “Moods”.
The cancel button replaces the navigation bar and the back button is removed whenever the user is in the middle of a task or function. This reminds users they are in the middle of a task and prevents users from accidentally quitting the task by hitting the navigation bar. The cancel button also returns the user to where they were before they started the task which is more efficient than clicking on a back arrow multiple times to return to where they started.
When creating a new playlist, we decided that the user should name the new playlist on the same page as the list of other playlists in order to accelerate the process for creating a new playlist.This also prevents the user from naming the new playlist something too similar to an existing playlist which results in confusion. This decision influenced by the “error prevention” and “flexibility and efficiency of use” heuristic.
In the future, we would like to conduct further research and user testing to determine the order of items on the home page, browse page, and playlist menu. We would like to order the items based on how often the user clicks on the different items with the item that’s used the most often at the top of the list.
We created two prototypes of two primary user tasks to demonstrate the main concept of our app. I contributed to the user flow of both mockups and designed the prototype of task 1.


 Diary entries, however, don't usually make for compelling reading.  It is, after all, a series of brief observations and perhaps a few poignant lessons learned. But if you're glimpsing into the life of Cameron Crowe (writer/director of this film who also wrote "Jerry Maguire"), you may find it to be an interesting chapter about his life when in 1973, he was an adolescent that was able to do a few things that most similarly aged boys could only dream about.
In this pseudo-autobiographical film, Crowe is William Miller (played by newcomer Patrick Fugit), a 15-year old prodigy who has a love for rock and roll. He's not the kind of wild-eyed teen who praises it by singing its songs or mimicking its stars. Rather, his homage to it comes in the form of articles that strive to explain what it's all about. His writing ability garners the attention of Lester Bangs (Phillip Seymour Hoffman), a powerful editor within the music journalism circle. Impressed with William's level of insight and concerned about his impressionable youth, he counsels the star-struck kid about the realities and ethics that underlie the business. He warns him not to make friends with rock stars. "They make you feel cool," he imparts. "But I've met you. And, you are not cool." Above all, Bangs urges him to be honest and unmerciful.
William is well on his way and eventually catches the eye of Rolling Stone magazine. They ask him to write a cover piece about Stillwater, a (fictitious) band on the cusp of stardom. With his boyish appeal and his arsenal of music knowledge, the young reporter immediately makes a connection with the band members and they welcome him as part of the family. Of course, William is about to enter an environment totally foreign to him, full of compromised values and the allure of fame, giddy girls and drugs. It will be a tough journey ahead as he tries to complete his article, find his moral bearings in his strange New World, and hold on as he is rapidly ushered forth towards adulthood.
During his time with the band, he experiences dramas that no 15-year old is equipped to handle. The largest issue involves him, a fan named Penny Lane (Kate Hudson) and Stillwater band member Russell (Billy Crudup). There is a love triangle brewing here, although it never reaches soap opera proportions. But the theme runs throughout the film. There's also a drama about the Stillwater band itself as it struggles through its period of growth and increasing popularity. There's another dilemma about William's responsibility to report truthfully and the fondness he has for the group. And there are other milieus that arise here and there as the story winds its way to a close.
"Almost Famous" will be more warmly received by critics than by the general movie-going audience, like me. It has several interesting and charming segments. But, it didn't quite achieve the emotional highpoints. I could not fully buy into the emotions that the band probably felt or even the wonderment that young Williams experienced. It just lacked a needed dimension of eagerness. And oddly, the film seemed to want to open itself to much grander ideas such as the tenderness of young love, the zeitgeist of that turbulent era, or the evolution of rock. However, it remained in a bloated state of self-absorption. The pace is never quicker than a stroll and the payoff merely satisfies (thanks primarily to Frances McDormand's role as William's rational mom, who anchor's everyone back to reality). But, the film doesn't gratify. We certainly deserved more.
Grade: B-
S: 1 out of 3 L: 1 out of 3 V: 1 out of 3
Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/
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


Index of /demo/webpage/chain/js/flot/plugins
Parent Directory
curvedLines.js
Apache Server at themepixels.com Port 80


Summary
Ranking
Channels
Channels by Branch/RD
Branch
Branch Group
Branches - All Channel
RD - All Channel
Branch Key Accounts
Branch Modern Trade
Branch GT
RD Breakdown
Brand
City
Refresh
Export as Excel
Show Filter
{{template "_loader.html"}}
Structure
Fiscal Year
Breakdown by
Breakdown Value
Refresh
Export as Excel
Show Filter
Fiscal Year
Breakdown Value
Sub channels
By channels
Or by RD / non RD
Or by sub channel of
{{template "_loader.html"}}
×
Detail
{{template "_loader.html"}}
Fiscal Year
Refresh
Export as Excel
Show Filter
{{template "_loader.html"}}
Fiscal Year
Refresh
Export as Excel
Show Filter
{{template "_loader.html"}}
Refresh
Export as Excel
Show Filter
Fiscal Year
Key Account Groups
Key Accounts
Channel
{{template "_loader.html"}}
Fiscal Year
Refresh
Export as Excel
Show Filter
Fiscal Year
Branch
Branch Group
Brand
Select Cities
Channel
Distributor
Breakdown Value
{{template "_loader.html"}}
Fiscal Year
Breakdown by
Refresh
Export as Excel
Show Filter
{{template "_loader.html"}}
Filter
Click each section below to show respective filter.
Filter
Channel
MT Breakdown
Account Group
Key Account
Brand
Branch
Branch Group
Cities
Distributor
By month/quarter
Value


SVN - most popular centralized VCS. Client has only one piece of project history, he is currectly working with, called working copy. Every save or load opertaions requires connection to the server.
Git - most popular decentralized VCS. Client has a clone of the whole repository. All changes can be done locally and synchonize with a server when it is needed.
Need help? http://git-scm.com/documentation
Process of converting source code files into standalone software artifact(s) that can be run on a computer.
4.0.0
org.hardcoredevcourse
binary-tree
1.0
jar
...
4.0.0
...
org.eclipse.jetty
jetty-servlet
${jetty.version}
junit
junit
4.10
test
...
4.0.0
...
my-super-releases
http://mysuperserver.org/nexus/content/repositories/releases
...
Use http://maven.apache.org/users/index.html for help
At a high-level, unit testing refers to the practice of testing certain functions and areas – or units – of our code. This gives us the ability to verify that our functions work as expected
That is to say that for any function and given a set of inputs, we can determine if the function is returning the proper values and will gracefully handle failures during the course of execution should invalid input be provided.
public class Rectangle {
private int leftHighX;
private int leftHighY;
private int rightLowX;
private int rightLowY;
public Rectangle(int leftHighX, int leftHighY,
int rightLowX, int rightLowY) {}
public int area() {
return (rightLowX - leftHighX) * (leftHighY - rightLowY);
}
}
import static org.junit.Assert.assertEquals;
public class RectangleTest {
@Test
public int testArea() {
Rectangle rec = new Rectangle(0, 0, 1, 1);
assertEquals(1, rec.area());
}
@Test
public int testArea_negativePoints() {
Rectangle rec = new Rectangle(-1, -1, 2, 3);
assertEquals(12, rec.area());
}
}


Tags: female-portraits
Style: Impressionism
Artist: Morisot Berthe
Title: Winter (aka Woman with a Muff)
Year: 1880
Genre: portrait
Categories: chiton (29.8%); trilobite (7.4%); dough (6.9%); meat_loaf (6.7%); French_loaf (3.3%)
<< previous image next image >>


Welcome to CTSource.
holding space for general text,.
Usage.
commits and issues welcome.
Status.
The current status of build is: Fully-functional, upto date.
holding space for general text,.
commits and issues welcome.
The current status of build is: Fully-functional, upto date.


Recipe for tasty cupcakes!
Here is a recipe for the
tastiest
cupcakes you will ever have!
Buy flour,
water
and eggs.
Microwave for twenty minutes to maximize the flavor
Eat
your
delicious cupcakes.


Engine = require('./Engine')
class Engine.Solver extends Engine
Solutions:
require('./output/Solutions')
Commands: Engine.include(
Engine::Commands
require('./commands/Constraints')
)
Properties:
require('./properties/Equasions')
constructor: (@input, @output, url) ->
return context if context = super()


Reset Password
Enter the email address associated with your account, and we’ll email you a link to reset your password.
Email
SEND RESET LINK
Sign in


Custom design & native functionality
The plugin combines the features of native scrolling
(e.g. hotkeys, speed, smoothness, touchsupport etc.) and custom HTML & CSS. It does not replace the native scrollbars, it just hides them to guarantee 100% native scrolling. It also provides additional and highly customizable DOM elements to style your own scrollbars.
To check how flexible the styling is, take a look at the examples in the styling demo.
Supports all css size affecting properties
Supported are all size properties (width, height, max-*, min-*)
with all units (em, ex, %, px, cm, mm, in, pt, pc, rem).
Even height: auto
and width: auto
in combination with min-* and max-* size properties.
Floating elements in combination with width: auto
are supported too.
The best thing is, any size, padding, margin or border-width changes are detected automatically by the plugin.
Please use the capabilities demo to convince yourself.
Extended support for textarea elements
Textarea elements have extended support.
Dependent on your options, textareas can have dynamic width and height. Which means the size of the textarea is dependent of its content.
For more information please read the documentation to the textarea options or check out the textarea demo.
No-auto-wrapping (wrap="off"
) textareas are also supported.
Extended RTL support
Every browser handles RTL scrolling differently. The plugin leaves it up to you whether you want to use the native RTL scroll behavior which differs in each browser or a "normalized" RTL scroll behavior, which works the same way in every browser.
Extremely powerful scroll method
The plugin offers a scroll method which supports animated scrolling. With this method you can scroll to absolute, relative and calculated coordinates. It's also possible to scroll directly to a passed DOM element. Furthermore it provides the same functionality as the native scrollIntoView method. Try the demo or read the documentation for more info.
Supports Extensions for simple customization
In case OverlayScrollbars doesn't support a feature you need, you are able to develop or use extensions. Extensions provide additional functionality to the plugin, to support special or personal cases. The extension-system is simple and powerful. Please read the documentation for more info and check the extensions page to see all official extensions.
Using modern web technologies
The Web has many useful tools which are only supported in modern browsers. The plugin is using them in modern browsers to ensure maximum performance but uses fallbacks in older browsers to ensure functionality.
Able to hide all types of scrollbars
Similar plugins are not able to hide natively overlaid scrollbars. These are standard on all mobile browsers as well as on many Linux operating systems and MacOS.
Moreover it's even possible to hide mixed scrollbars (e.g. vertical scrollbar is overlaid and horizontal isn't) but this case can only happen if your browser is using some skin or theme plugins.
No clipping without overflow
As long as there is no overflow, the element is not clipped. The clip appears only if a overflow exists.
You can not achieve this with CSS because all overflow values except of overflow: visible
clips the element even if the element has no overflow.
Component wrapper for popular frameworks
If you are using popular component-based web front-end frameworks such as React, Vue or Angular, you can use the corresponding component wrapper.
box-sizing: border-box
and box-sizing: content-box
.npm install overlayscrollbars
jquery.
.<html>
<head>
<!-- Plugin CSS -->
<link type="text/css" href="path/to/OverlayScrollbars.css" rel="stylesheet"/>
<!-- Plugin JS -->
<script type="text/javascript" src="path/to/OverlayScrollbars.js"></script>
</head>
<body>
</body>
</html>
<html>
<head>
<!-- Plugin CSS -->
<link type="text/css" href="path/to/OverlayScrollbars.css" rel="stylesheet"/>
<!-- jQuery JS -->
<script type="text/javascript" src="path/to/jquery.js"></script>
<!-- Plugin JS -->
<script type="text/javascript" src="path/to/jquery.overlayScrollbars.js"></script>
</head>
<body>
</body>
</html>
document.addEventListener("DOMContentLoaded", function() {
//The first argument are the elements to which the plugin shall be initialized
//The second argument has to be at least a empty object or a object with your desired options
OverlayScrollbars(document.querySelectorAll("body"), { });
});
For further and more detailed information about the initialization and the initialization possibilities please read this section in the documentation.$(function() {
//The passed argument has to be at least a empty object or a object with your desired options
$("body").overlayScrollbars({ });
});
For further and more detailed information about the initialization and the initialization possibilities please read this section in the documentation.npm install @types/overlayscrollbars
I recommend setting these options in your tsconfig.json:
{
"compilerOptions": {
"allowSyntheticDefaultImports": true,
"esModuleInterop": true
}
}