The DASH project was our clash with delivering real-time, production ready solution. Training models running in RT and optimizing the code for RT has shown some challenges that were not obvious at the first sight in offline development.
Our initial vision was to deliver beamforming model and apply a postfilter that would recognize speech and speech only. While we produced both parts of the pipeline, they could not be run together without experiencing delays. Our initial goal was to process an audio frame in 8ms, which was not unreasonable given the sheer compute amount provided by NVidia Xavier. Making any reasonable model run in 8ms was very hard, therefore had to settle to 16 millisecond window.
The core of the problem lied in the multiprocessing nature of the system. While we had an audio pipeline for processing of the frames, audio capture was best done in parallel, which in turn with infamous GIL, didn't really matter - they "stole" the time from the main thread whenever audio frame was available. Yielding from threads reduced the load by avoiding busy loops but still took a reasonable amount of time. We didn't manage to move the audio to separate process as we have done with GUI thread, but this could've been the solution.
Finally, when we reduced all interference to our software, we focused on optimization of the main loop. There were two different parts: the ANN runtime and the rest of the models.
We benchmarked the ANNs and removed some code introduced by Keras' predict()
by accessing the tensorgraph directly. The speed up was negligible, so I investigated on the
speed of Xavier's GPU, which was underwhelming. I've used cupy for some mock
multiplications, which are the most important operations in ANN computation. I've tested both
float32 and float16 (which allegedly speeds up Xavier even more), but there results here are
for float32 only:
import cupy as cp
import timeit
for i in range(3):
print("Iteration", i)
print("Plain:")
shapes = [
[1, 1, 256],
[1, 1, 257],
[1, 1, 512],
[1, 8, 257],
[1, 17, 257],
[1, 256, 256],
[1, 257, 257],
[1, 1, 514],
[1, 1, 1024],
[8, 1, 257],
[8, 17, 257],
[8, 257, 257],
]
for shape in shapes:
A = cp.random.random(shape)
B = cp.random.random([shape[-1], shape[-1]])
t = timeit.timeit(stmt='A @ B', number = 1000, globals=vars())
print("{}: {:5}ms".format(shape, 1000*t))
print("with reshaping:")
shapes = [
[8, 17, 257],
[8, 257, 257]
]
for shape in shapes:
A = cp.random.random(shape)
reduced = [shape[0] * shape[1], shape[2]]
B = cp.random.random([shape[-1], shape[-1]])
t = timeit.timeit(stmt='(A.reshape(reduced) @ B).reshape(shape)', number = 1000, globals=vars())
print("{}: {:5}ms".format(shape, 1000*t))
Iteration 0
Plain:
[1, 1, 256]:<PHONE_NUMBER>9907826ms
[1, 1, 257]:<PHONE_NUMBER>9928828ms
[1, 1, 512]:<PHONE_NUMBER>997336ms
[1, 8, 257]:<PHONE_NUMBER>003611ms
[1, 17, 257]:<PHONE_NUMBER>0026408ms
[1, 256, 256]:<PHONE_NUMBER>994292ms
[1, 257, 257]: 1007.2193309988506ms
[1, 1, 514]: 1576.276236999547ms
[1, 1, 1024]: 2555.831270999988ms
[8, 1, 257]: 3887.888352999653ms
[8, 17, 257]: 2933.9079300007143ms
[8, 257, 257]: 10879.743296000015ms
with reshaping:
[8, 17, 257]:<PHONE_NUMBER>9979876ms
[8, 257, 257]: 4703.092271998685ms
Iteration 1
Plain:
[1, 1, 256]: 4289.341556001091ms
[1, 1, 257]:<PHONE_NUMBER>987172ms
[1, 1, 512]:<PHONE_NUMBER>9958348ms
[1, 8, 257]:<PHONE_NUMBER>992315ms
[1, 17, 257]:<PHONE_NUMBER>9988493ms
[1, 256, 256]:<PHONE_NUMBER>994604ms
[1, 257, 257]: 1007.2986830000445ms
[1, 1, 514]: 1576.207312000406ms
[1, 1, 1024]: 2555.8297309999034ms
[8, 1, 257]: 3914.368211000692ms
[8, 17, 257]: 2891.042434001065ms
[8, 257, 257]: 10868.77109300076ms
with reshaping:
[8, 17, 257]:<PHONE_NUMBER>99815ms
[8, 257, 257]: 4703.685815999052ms
Iteration 2
Plain:
[1, 1, 256]: 4291.740508999283ms
[1, 1, 257]:<PHONE_NUMBER>010311ms
[1, 1, 512]:<PHONE_NUMBER>000094ms
[1, 8, 257]:<PHONE_NUMBER>0019593ms
[1, 17, 257]:<PHONE_NUMBER>9948663ms
[1, 256, 256]:<PHONE_NUMBER>0045693ms
[1, 257, 257]: 1006.7699740011449ms
[1, 1, 514]: 1576.1703009993653ms
[1, 1, 1024]: 2555.9492989996215ms
[8, 1, 257]: 3986.134861001119ms
[8, 17, 257]: 2946.6131969984417ms
[8, 257, 257]: 10875.999005000267ms
with reshaping:
[8, 17, 257]:<PHONE_NUMBER>0043545ms
[8, 257, 257]: 4700.0457489994005ms
What has stricken me was the lack of differences between several first shapes and drastic effect of thresholding (e.g. 512 vs 514 units in multiplication) on the total runtime. The Xavier unit has 512 cores that operate in parallel, so that threshold seemed natural. But some differences between computation times were surprising. It seemed that reshaping the input from batches to time dimension reduced the runtime drastically without changing the meaning of the operation. It was more optimal to perform double transposition and multiplication on transposed arrays than the straightforward operation.
This all could've been the gimmicks of the cupy implementation. Our observations however were confirmed in practice, as we were able to run LSTM on eight concurrent channels with no noticeable slowdown compared to a single channel. This helped us a lot and pointed out how inefficient our code was with the compute that was available.
Tegra units are made for image processing, which is significatly different than dense computations we performed in our networks. This could explain the significant loss of performance as most image processing consists of 4D convolution operation and the hardware was optimized for this operation. Nevertheless we wanted to use the GPU for other operations that could be easily parallelized. The MVDR after all is calculated at each frequency separately.
MVDR and other parts that were required to use it had two bottleneck operations. First was inversion of the covariance matrices. The second - finding the eigenvector.
Our first implementation using numpy used for loop and np.linalg.inv() and was obviously inefficient. Built-in inv() can be run in parallel for each matrix designated by last two indices and this solution solved the problem slightly above 7ms of wall time. This was insufficient, but we couldn't shave it off. Natural thought was to run it on GPU. CuPy implementation however performed the inversion
Similar problems were encountered in eigenvector decomposition. Our final solution was to use an iterative method that moved the eigenvector towards the desired direction with each iteration. Cupy implementation was of no help either.
Single channel instances of DASH demo were able to run more smoothly on my i5 laptop than on the Xavier. This has shown how underutilized the GPU was.
Xavier is an excellent tool capable of running multiple data streams in parallel. Our project wasn't the most optimized, but the results are interesting - we probably would be able to process more recordings at once (we didn't hit the limit on channels), but not necessarily faster. Our autoencoders could reliably run under 6ms out of required 16ms and there were no problem with running multiple channels at once in our masking network. Xavier offers interesting scaling possibilities, but those are probably mostly horizontal as far as real-time is concerned. Operations that are not typically expressed as multiplication of large matrices were not optimal, especially when the task consisted of multitude of very small matrices (as in the inversion). If you are building real-time solution on Xavier, stick to neural networks and avoid unconventional operations. LSTM is also probably the bad solution unless you really need it.
This conclusion could obviously be incomplete, as there are dedicated units for other operations, as well as dedicated sound processing unit. We didn't touch this submodule (and could not find any documentation either), therefore it is possible that using some clever low-level programming and crafting the implementations of the algorithms to be run in speech enhancement methods the limitation we experienced can be omitted.
- Paweł Tomasik


{% extends "base.html" %} {% block title %}
Medieval catalogues > BENEDICTINES: THE SHORTER CATALOGUES > Bermondsey > Catalogue, 1310 × 1328
{% endif %}44 identified entries found.
All data was derived from the List of Identifications by Professor Richard Sharpe.
{% if not printing %}
A key to codes used in the List is available (opens in new tab).{% endif %}


CSS3 Gradients
CSS3 gradients let you display smooth transitions between two or more specified colors.
Earlier, you had to use images for these effects. However, by using CSS3 gradients you can reduce download time and bandwidth usage. In addition, elements with gradients look better when zoomed, because the gradient is generated by the browser.
CSS3 defines two types of gradients:
- Linear Gradients (goes down/up/left/right/diagonally)
- Radial Gradients (defined by their center)
Browser Support
The numbers in the table specify the first browser version that fully supports the property.
Numbers followed by -webkit-, -moz-, or -o- specify the first version that worked with a prefix.
| Property | ||||||
|---|---|---|---|---|---|---|
| linear-gradient | 26.0 10.0 -webkit- |
12.0 | 10.0 | 16.0 3.6 -moz- |
6.1 5.1 -webkit- |
12.1 11.1 -o- |
| radial-gradient | 26.0 10.0 -webkit- |
12.0 | 10.0 | 16.0 3.6 -moz- |
6.1 5.1 -webkit- |
12.1 11.6 -o- |
| repeating-linear-gradient | 26.0 10.0 -webkit- |
12.0 | 10.0 | 16.0 3.6 -moz- |
6.1 5.1 -webkit- |
12.1 11.1 -o- |
| repeating-radial-gradient | 26.0 10.0 -webkit- |
12.0 | 10.0 | 16.0 3.6 -moz- |
6.1 5.1 -webkit- |
12.1 11.6 -o- |
CSS3 Linear Gradients
To create a linear gradient you must define at least two color stops. Color stops are the colors you want to render smooth transitions among. You can also set a starting point and a direction (or an angle) along with the gradient effect.
Syntax
background: linear-gradient(direction, color-stop1,
color-stop2, ...);
Linear Gradient - Top to Bottom (this is default)
The following example shows a linear gradient that starts at the top. It starts red, transitioning to yellow:
Example
#grad {
background: red; /* For browsers that do not
support gradients */
background: -webkit-linear-gradient(red,
yellow); /* For Safari 5.1 to 6.0 */
background: -o-linear-gradient(red,
yellow); /* For
Opera 11.1 to 12.0 */
background: -moz-linear-gradient(red, yellow); /* For
Firefox 3.6 to 15 */
background: linear-gradient(red, yellow); /* Standard
syntax */
}
Try it yourself »
Linear Gradient - Left to Right
The following example shows a linear gradient that starts from the left. It starts red, transitioning to yellow:
Example
#grad {
background: red; /* For browsers that do not
support gradients */
background: -webkit-linear-gradient(left,
red , yellow); /* For Safari 5.1 to 6.0 */
background: -o-linear-gradient(right, red,
yellow); /* For Opera 11.1 to 12.0 */
background: -moz-linear-gradient(right,
red, yellow); /* For Firefox 3.6 to 15 */
background: linear-gradient(to
right, red , yellow); /* Standard syntax */
}
Try it yourself »
Linear Gradient - Diagonal
You can make a gradient diagonally by specifying both the horizontal and vertical starting positions.
The following example shows a linear gradient that starts at top left (and goes to bottom right). It starts red, transitioning to yellow:
Example
#grad {
background: red; /* For browsers that do not
support gradients */
background: -webkit-linear-gradient(left
top, red, yellow); /* For Safari 5.1 to 6.0 */
background: -o-linear-gradient(bottom
right, red, yellow); /* For Opera 11.1 to 12.0 */
background: -moz-linear-gradient(bottom
right, red, yellow); /* For Firefox 3.6 to 15 */
background:
linear-gradient(to bottom right, red, yellow); /* Standard syntax */
}
Try it yourself »
Using Angles
If you want more control over the direction of the gradient, you can define an angle, instead of the predefined directions (to bottom, to top, to right, to left, to bottom right, etc.).
Syntax
background: linear-gradient(angle, color-stop1,
color-stop2);
The angle is specified as an angle between a horizontal line and the gradient line.
The following example shows how to use angles on linear gradients:
Example
#grad {
background: red; /* For browsers that do not
support gradients */
background: -webkit-linear-gradient(-90deg,
red, yellow); /* For Safari 5.1 to 6.0 */
background: -o-linear-gradient(-90deg,
red, yellow); /* For Opera 11.1 to 12.0 */
background: -moz-linear-gradient(-90deg,
red, yellow); /* For Firefox 3.6 to 15 */
background:
linear-gradient(-90deg,
red, yellow); /* Standard syntax */
}
Try it yourself »
Using Multiple Color Stops
The following example shows a linear gradient (from top to bottom) with multiple color stops:
Example
#grad {
background: red; /* For browsers that do not
support gradients */
background: -webkit-linear-gradient(red,
yellow, green); /* For Safari 5.1 to 6.0 */
background: -o-linear-gradient(red,
yellow, green); /* For Opera 11.1 to 12.0 */
background: -moz-linear-gradient(red,
yellow, green); /* For Firefox 3.6 to 15 */
background:
linear-gradient(red, yellow, green); /* Standard syntax */
}
Try it yourself »
The following example shows how to create a linear gradient (from left to right) with the color of the rainbow and some text:
Example
#grad {
background: red; /* For browsers that do not
support gradients */
/* For Safari 5.1 to 6.0 */
background: -webkit-linear-gradient(left,red,orange,yellow,green,blue,indigo,violet);
/* For Opera 11.1 to 12.0 */
background:
-o-linear-gradient(left,red,orange,yellow,green,blue,indigo,violet);
/*
For Fx 3.6 to 15 */
background: -moz-linear-gradient(left,red,orange,yellow,green,blue,indigo,violet);
/* Standard syntax */
background: linear-gradient(to right,
red,orange,yellow,green,blue,indigo,violet);
}
Try it yourself »
Using Transparency
CSS3 gradients also support transparency, which can be used to create fading effects.
To add transparency, we use the rgba() function to define the color stops. The last parameter in the rgba() function can be a value from 0 to 1, and it defines the transparency of the color: 0 indicates full transparency, 1 indicates full color (no transparency).
The following example shows a linear gradient that starts from the left. It starts fully transparent, transitioning to full color red:
Example
#grad {
background: red; /* For browsers that do not
support gradients */
background: -webkit-linear-gradient(left,rgba(255,0,0,0),rgba(255,0,0,1)); /*Safari
5.1-6*/
background:
-o-linear-gradient(right,rgba(255,0,0,0),rgba(255,0,0,1)); /*Opera 11.1-12*/
background: -moz-linear-gradient(right,rgba(255,0,0,0),rgba(255,0,0,1));
/*Fx 3.6-15*/
background: linear-gradient(to right, rgba(255,0,0,0),
rgba(255,0,0,1)); /*Standard*/
}
Try it yourself »
Repeating a linear-gradient
The repeating-linear-gradient() function is used to repeat linear gradients:
Example
A repeating linear gradient:
#grad {
background: red; /* For browsers that do not
support gradients */
/* Safari 5.1 to 6.0 */
background: -webkit-repeating-linear-gradient(red,
yellow 10%, green 20%);
/* Opera 11.1 to 12.0 */
background:
-o-repeating-linear-gradient(red, yellow 10%, green 20%);
/* Firefox 3.6
to 15 */
background: -moz-repeating-linear-gradient(red, yellow 10%,
green 20%);
/* Standard syntax */
background:
repeating-linear-gradient(red, yellow 10%, green 20%);
}
Try it yourself »
CSS3 Radial Gradients
A radial gradient is defined by its center.
To create a radial gradient you must also define at least two color stops.
Syntax
background: radial-gradient(shape size at position, start-color, ..., last-color);
By default, shape is ellipse, size is farthest-corner, and position is center.
Radial Gradient - Evenly Spaced Color Stops (this is default)
The following example shows a radial gradient with evenly spaced color stops:
Example
#grad {
background: red; /* For browsers that do not
support gradients */
background: -webkit-radial-gradient(red, yellow, green); /*
Safari 5.1 to 6.0 */
background: -o-radial-gradient(red, yellow, green); /* For Opera
11.6 to 12.0 */
background: -moz-radial-gradient(red, yellow, green); /*
For Firefox 3.6 to 15 */
background: radial-gradient(red, yellow, green);
/* Standard syntax */
}
Try it yourself »
Radial Gradient - Differently Spaced Color Stops
The following example shows a radial gradient with differently spaced color stops:
Example
#grad {
background: red; /* For browsers that do not
support gradients */
background: -webkit-radial-gradient(red 5%,
yellow 15%, green 60%); /*
Safari 5.1-6.0 */
background: -o-radial-gradient(red 5%, yellow
15%, green 60%); /* For Opera
11.6-12.0 */
background: -moz-radial-gradient(red 5%, yellow 15%,
green 60%); /*
For Firefox 3.6-15 */
background: radial-gradient(red 5%, yellow
15%, green 60%);
/* Standard syntax */
}
Try it yourself »
Set Shape
The shape parameter defines the shape. It can take the value circle or ellipse. The default value is ellipse.
The following example shows a radial gradient with the shape of a circle:
Example
#grad {
background: red; /* For browsers that do not
support gradients */
background: -webkit-radial-gradient(circle, red, yellow, green); /*
Safari */
background: -o-radial-gradient(circle, red, yellow, green); /* Opera
11.6 to 12.0 */
background: -moz-radial-gradient(circle, red, yellow,
green); /* Firefox 3.6 to 15 */
background: radial-gradient(circle, red,
yellow, green);
/* Standard syntax */
}
Try it yourself »
Use of Different Size Keywords
The size parameter defines the size of the gradient. It can take four values:
- closest-side
- farthest-side
- closest-corner
- farthest-corner
Example
A radial gradient with different size keywords:
#grad1 {
background: red; /* For browsers that do not
support gradients */
/* Safari 5.1 to 6.0 */
background: -webkit-radial-gradient(60%
55%, closest-side, red, yellow, black);
/* For Opera 11.6 to 12.0 */
background: -o-radial-gradient(60% 55%, closest-side, red, yellow, black);
/* For Firefox 3.6 to 15 */
background: -moz-radial-gradient(60% 55%,
closest-side, red, yellow, black);
/* Standard syntax */
background: radial-gradient(closest-side at 60% 55%, red, yellow,
black);
}
#grad2 {
/* Safari 5.1 to 6.0 */
background: -webkit-radial-gradient(60% 55%, farthest-side,
red, yellow, black);
/* Opera 11.6 to 12.0 */
background: -o-radial-gradient(60% 55%,
farthest-side, red, yellow, black);
/* For Firefox 3.6 to 15 */
background: -moz-radial-gradient(60% 55%, farthest-side, red, yellow, black);
/* Standard syntax */
background: radial-gradient(farthest-side at 60%
55%, red, yellow, black);
}
Try it yourself »
Repeating a radial-gradient
The repeating-radial-gradient() function is used to repeat radial gradients:
Example
A repeating radial gradient:
#grad {
background: red; /* For browsers that do not
support gradients */
/* For Safari 5.1 to 6.0 */
background: -webkit-repeating-radial-gradient(red,
yellow 10%, green 15%);
/* For Opera 11.6 to 12.0 */
background:
-o-repeating-radial-gradient(red, yellow 10%, green 15%);
/* For Firefox
3.6 to 15 */
background: -moz-repeating-radial-gradient(red, yellow 10%,
green 15%);
/* Standard syntax */
background:
repeating-radial-gradient(red, yellow 10%, green 15%);
}
Try it yourself »
Test Yourself with Exercises!
Exercise 1 » Exercise 2 » Exercise 3 » Exercise 4 » Exercise 5 » Exercise 6 » Exercise 7 »


This PWG meeting will be held on February 10 and 11, 2016, hosted by Apple at their facilities in Sunnyvale, CA:
250 S. Mathilda Ave.
Sunnyvale, CA 95014
[map]
A light breakfast and lunch will be served each day.
All sessions will be held in the "WMH" conference room in the Mathilda 1 building. It is located just past the double doors beyond the vistor's desk in the lobby. The entrance is on the North (top) side of the building. A parking garage is located behind the building - all-day parking is available on levels 3 and 4.
Directions from Highway 280:
Directions from Highway 101:
Parking:
There is no registration fee for this meeting.
Please respond to the PWG February 2016 face-to-face meeting survey whether you are planning to attend the meeting in person, by phone, or not at all. This will help us plan for services and make any necessary reservations.
Call-in toll-free number (US/Canada): +1<PHONE_NUMBER>
Call-in toll number (US/Canada): +1<PHONE_NUMBER>
Call-in toll number (US/Canada): +1<PHONE_NUMBER>
Attendee access code: (by request only)
To join the online meeting:
Note:All times are local to the venue.
Discussions at PWG face-to-face meetings are covered by the PWG Policy on Intellectual Property and Confidentiality - basically everything we discuss is non-confidential and can be included in an open standard.
| Date | Times | Description |
|---|---|---|
| Feb 10 | 8:30 AM - 9:00 AM | Breakfast |
| 9:00 AM - 10:15 AM | PWG Plenary (Slides) | |
| 10:15 AM - 10:30 AM | Break | |
| 10:30 AM - 12:00 PM | Semantic Model - Schema, JDFMAP (Slides · SM3 2.905) | |
| 12:00 PM - 1:00 PM | Lunch | |
| 1:00 PM - 5:00 PM | IPP - Workgroup Status, IETF IPP/1.1 Updates, IPP System Service (Slides · RFC2910bis · RFC2911bis · SYSTEM) | |
| Feb 11 | 8:30 AM - 9:00 AM | Breakfast |
| 9:00 AM - 12:00 PM | IPP - 3D Printing Extensions (IPP 3D) | |
| 12:00 PM - 1:00 PM | Lunch | |
| 1:00 PM - 2:30 PM | IPP - Job Password Repertoire, Finishings 2.0 Errata (Repertoire) |
There are several good hotels in the vicinity: Hotels near Apple


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MIDNIGHT COWBOY a film essay by Sean Lee
Directed by John Schlesinger. Written by Waldo Salt Joe Buck: Jon Voight Ratso Rizzo: Dustin Hoffman
Evaluation: **** (out of ****)
In the opening shot of Midnight Cowboy, we see a close-up of a blank movie screen at a drive-in. We hear in the soundtrack human cries and the stomping of horses' hooves. Without an image projected onto the screen, the audience unerringly identifies the familiar sound of cowboys chasing Indians and can spontaneously fill in the blank screen with images of old westerns in our mind's eye. Even without having seen a cowboys and Indians movie, somehow the cliched images of them seem to have found their way into our mental schema. But do cowboys really exist, or are they merely Hollywood images personified by John Wayne and Gary Cooper? Exploring this theme, director John Schlesinger uses the idea of the cowboy as a metaphor for the American Dream, an equally cliched yet ambiguous concept. Is the ease at which salvation and success can be attained in America a hallmark of its experience or an urban legend? Midnight Cowboy suggests that the American Dream, like image of the cowboy, is merely a myth. As Joe Buck migrates from place to place, he finds neither redemption nor reward in his attempt to create a life for himself, only further degeneration.
During the opening credits, Joe walks past an abandoned theater whose decrepit marquee reads `John Wayne: The Alamo.' As Joe is on the bus listening to a radio talk show, a lady on the air describes her ideal man as `Gary Cooper… but he's dead.' A troubled expression comes across Joe's face, as he wonders where have all the cowboys gone. Having adopted the image of a cowboy since youth, Joe now finds himself deserted by the persona he tried to embody. Joe's persistence in playing the act of the cowboy serves as an analogue to his American Dream. He romanticizes about making it in the big city, but his dreams will desert him as he is forced to compromise his ideals for sustenance. By the end of Midnight Cowboy, Joe Buck loses everything and gains nothing. Just as the audience can picture cowboys chasing Indians on a blank screen, we can also conjure up scenes from Pretty Woman as paradigms of American redemption and success. But how realistic are these ideals?  The scars of his troubled past prompt him to migrate to New York, but he does not know that his aspirations to be a cowboy hero will fail him there just as they had in Texas.
Alongside the dream of success is the dream of salvation. The ability to pack up one's belongings and start anew seems to be an exclusive American convention. Schlesinger provides us with strong hints as to Joe's abusive and abused past with flashbacks of improper relationships with Crazy Anne and Granny. We understand that Joe adopts the façade of a cowboy, a symbol of virility and gallantry, as an attempt to neutralize his shame.  In the scene at the diner which foreshadows Joe's encounter with the gay student, Joe Buck spills ketchup on himself. Standing up, we see the ketchup has made a red stain running from the crotch of his pants down his thigh. Schlesinger visually depicts the degeneration of Joe's virility by eliciting an image of bleeding genitals, signifying emasculation.  The fact that the idea of a bleeding virgin is relegated only to females furthers the imagery of Joe's emasculation. It is ironic that Joe has trouble prospecting for female clients, but effortlessly attracts men. Joe believes his broncobuster getup is emblematic of his masculinity; New Yorkers see his ensemble as camp and `faggot stuff.'
There are two predominant images of New York. The first is that New York is the rich, cosmopolitan city where hope and opportunity are symbolized by the tall skyscrapers and the Statue of Liberty. The other New York is Travis Bickle's New York, a seedy, corruptive hell on Earth. Joe envisions New York as the former, but is presented with the latter.  Joe thinks he is performing a great service for New York, but the city rapes him of his pride and possessions. The people steal Joe's money, the landlord confiscates his luggage, and the homosexuals rob him of his dignity. What has become of Joe's American Dream? Schlesinger responds to this question with the scene at the party. Joe gets invited to a shindig of sorts and at the gathering is exposed to a dizzying array of food, drugs, and sex. At the party, all of Joe and Ratzo's desires are made flesh; Joe flirts successfully with women and Ratzo loads up on free salami. Contrasting Joe's daily struggles, shots of Warhol's crew display wanton indulgence. There is an irreverence in the partygoers' attitude; we see a shot of a woman kowtowing to nothing in particular, orgies breaking out in the periphery, and drugs passed around like party favors. The party makes a mockery of Joe' s ideals. Joe believed that hard work and persistence were the elements for success in America; scenes of the party and his rendezvous with Shirley suggest that it is the idle who profit from Joe's toils. The American Dream, Schlesinger suggests, is merely a proletarian fantasy, for those who are content no longer dream, but become indolent.
As Joe heads to Miami, all that was significant of the cowboy image has left him. His masculinity is compromised and his morality is relinquished. For Joe, nothing is left of the cowboy hero and commensurately, he surrenders the identity. Tossing his boots into the garbage, he returns to the bus for the last leg of his journey to Miami. The final shot of Midnight Cowboy shows Joe inside the bus, more introspective, taking only a few glances outside the window. Instead of the frequent POV shots of Joe excitedly looking out of the bus on his way to New York, Schlesinger sets up this final shot from the exterior of the bus looking in through the window at Joe. Reflections of the palm trees Ratzo so raved about run across the bus' window with Joe hardly taking notice. The scenery of Miami no longer exacts the same excitement from Joe as before. The world seems smaller to Joe now; the termination of his journey coincides with the termination of his American Dream. No longer does Joe aspire to be the enterprising gigolo; he resolves to return to a normal job and resign to basic means.
Midnight Cowboy presents two familiar incarnations of the American Dream. There is the frontier fantasy that if you are brave enough to repel a few Indians, you can set up a ranch out West and raise a beautiful family. Then there is the Jay Gatsby dream that a man of humble stock, with perseverance, can make a fortune in the big city. Joe's attempt to realize these dreams robs him of his innocence in Texas and morality in New York. During his search for an intangible paradise, Joe ends up raping a girl and killing a man. An allegory of chasing the promise of the American Dream, Joe Buck's progressive moral atrophy is a warning against the pursuit of illusory icons.
Copyright 1999 Sean Lee
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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Related links: index of all rec.arts.movies.reviews reviews


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[Gecode] Please keep the conlevel argument...
Guido Tack
tack at ps.uni-sb.de
Fri Sep 24 17:29:47 CEST 2004
On Friday 24 September 2004 16:57, Christian Schulte wrote:
> Please always keep the consistency level agrument, even though you only
> have bnds consisten versions: this will making interfacing to Gecode much
> simpler (think of a modelling language where one is allowed to annotate
> entire expressions by conistency level). So, keep and ignore ;-)
It was actually my idea to remove it ;-)
But: Of course you shouldn't do _nothing_ if the conlevel is not BND, you
should just _always_ post the BND version.
Guido
--
Guido Tack
http://www.ps.uni-sb.de/~tack
More information about the gecode-users
mailing list


Choose an image
Choose a photo below and it will prompt you to enter a message, and an optional password. Then click "hide message", and the photo with the message hidden (with modified pixels as well) will appear. To download the photo, right click on the image and select "Save Image As". To reveal the hidden message and check if it worked, click "reveal message". You can optionally enter a password to hide the message with.


Web animations is to have a flash or GIF animation intergrated onto the web page. Normal web animations still require the use of plugins such as Java Applets, Shockwave, Adobe Flash. In this tutorial, we will be showing you how to create animations using javascript without the need of installing plugins.
Timing Dictionary is basically a set of timing properties being put together and apply for an animaton. Timing dictionary allows the grouping of all timing properties together to avoid rewrite of many lines of codes. There are a total of 9 memebers that can be included in a timing dictionary:
Note that when using the above properties, the duration of the animation will have to be defined under 'duration'. Also, properties with a type of 'double' as input should have a value greater than or equals to 0. A negative value would cause "Exception Errors".
The animation interface should be as follow when using timing dictionary:
new Animation(element, {effect},
{timing properties, duration: #});
- startTime
- Defines the start time of the animation. Defaulting to 'null'.
- Value should be in double.
- startDelay
- Defines the number of seconds to wait before starting an animation.
- Value should be in double.
- fillMode
- Defines the existence of effects outside of the active interval (i.e. the actual animation time) as outside of the active interval, a timed item may still have an effect.
- There are 4 modes: none, forwards, backwards, both.
- iterationStart
- Defines the number of iterations into the timed item at which to begin.
- For instance, a value of 0.5 woule cause the timed item to begin half-way through the first iteration.
- interationCount
- Defines the number of times to repeat an item. Defaulting to 1.0.
- Value should be in double.
- iterationDuration
- Defines the duration of a single iteration. Defaulting to 'null'.
- Value should be in double.
- defaultPlaybackRate
- A double number which multiplies to the inherited time potentially which causes the item to run at a different rate to its natural speed. Defaulting to 1.0.
- Value should be in double.
- direction
- Defines the direction in which the animation proceeds. Defaulting to 'normal'.
- It has 4 directions: 'normal', 'reverse', 'alternate', 'alternate-reverse'.
- timingFunction
- Defines the scaling of time to produce easing effects. Defaulting to 'null'. Further explaination in Timing Functions section.


SOFTWARE DEVELOPER
passionate for any and all things technology.
Growing up in a city like New York, I’ve always been surrounded by the best technologies the world had to offer. However it wasn’t the amazing science in the tech that pulled me to this industry, but rather the way people chose to use that tech in creative and meaningful ways. Seeing first hand that technology can be influenced by music, art and culture in general, lit a fire in me that led me to dedicate my career to.
I am a software engineering student currently studying computer science and mathematics at the University at Buffalo.
Over the past few years I have been working on a variety of independent projects alongside my formal education at university.
Through these experiences, I have worked with many different languages like Java, C and Python, as well as the latest
web frameworks and API’s to build responsive and intuitive web apps.
However I know my education doesn’t stop here, I will strive to learn and grow as a developer to keep up
with the ever changing technology.
My love for aesthetic design for UI/UX and passion for functionality and structure is the basis for my development process. I believe software development is one of the most powerful tools to solve challenging problems, but I also believe that these tools, if used in creative ways can, be interpreted as art. My goal as a developer is to find the best balance between these two notions or even connect them as one.
Feel free to email me about any collaborate ideas, suggestions or just to chat!
I am available for freelance projects and full-time or part-time employment.
Software Developer
<EMAIL_ADDRESS>317 617-3301


Cabinet approves draft ‘Maritime Zones Act’ with life term for piracy
by bdnews24.comThe government has approved in principle a draft of the “Bangladesh Maritime Zones Act 2019” with a provision on up to life term punishment of pirates.
The cabinet gave the approval in a meeting chaired by Prime Minister Sheikh Hasina at her office on Monday.
The rights of Bangladesh for exclusive economic zone over 200 nautical miles and its sovereign rights over 350 nautical miles in the continental shelf of the sea will be established once the law is passed, according to Cabinet Secretery Khandker Anwarul Islam.
“Besides this, Bangladesh will be able to control illegal activities hampering naval traffic security along with piracy, maritime terrorism, marine pollution and other crimes committed at sea,” he told reporters.
A section of the draft law states that whoever commits an act of piracy and maritime terrorism at sea shall be punished with imprisonment for life.
If the accused causes death or attempt to murder someone in committing the act of piracy, he offender may be punished with death, the cabinet secretary said.
An attempt to commit piracy, maritime terrorism or any unlawful attempt intended to aid, abet, counsel or procure for the commission of an offence of piracy shall also constitute as an offence.
Such offence will be liable on conviction to be punished with imprisonment for maximum 14 years or fines or both.
This act will be applicable to punish crimes committed on any foreign ship passing through the territorial sea and arrest the offender, Anwarul said.
Bangladesh passed the Territorial Waters and Maritime Zones Act, 1974 to demark the maritime zones of the country and explore marine resources during Bangabandhu Sheikh Mujibur Rahman’s tenure.
It then signed the UN Convention on the Law of the Sea in 1982.
The cabinet secretary said the government tasked the Legislative and Parliamentary Affairs Division and the Ministry of Foreign Affairs with drafting a new law by amending the previous one.
It will be placed in cabinet for final approval after vetting by the law ministry.


List item
Examples
folder
Photos
Jan 9, 2014
folder
Recipies
Jan 17, 2014
folder
Work
Jan 28, 2014
Simple
Luis Sardon
Timothy Johnson
Molly Micheux
Rodrigo Aguilar
Some former employee that didn't work out
Walter Rojas
Cate Raushenberger
Simple w/ Ripple
Luis Sardon
Timothy Johnson
Molly Micheux
Rodrigo Aguilar
Non Interactive
Luis Sardon
Timothy Johnson
Molly Micheux
Rodrigo Aguilar
Two-line Variant
Luis Sardon
4 niños
Timothy Johnson
4 children
Molly Micheux
not gonna happen
Rodrigo Aguilar
it's a mystery
Steve Jansen
3 wahoos
With Icon/Graphics
wifi
Wireless Networking Available
bluetooth
Ur teeth will be blue
data_usage
IDK what this means
AvatarList Variant with Graphics
Timothy Johnson
Timbo Jojo
Older stuff below
Accordion - Expand and collapse
Parent Category
Child Category
Child Category
Child Category
Child Category
alarm_on
Alarms
Daily
Weekly
Reminders


ARRAY
FunctionCreates an array from the specified arguments. Arrays are encoded as BLOBs. They can be stored in tables and variables and passed as arguments to functions, just like any other value. Large arrays should be avoided for performance reasons; for large amounts of data, consider using a dedicated table.
ARRAY([value1], [value2], ...)
A BLOB
value containing the encoded array.
DECLARE @data = ARRAY(1, 2, 3);
@data
. PRINT ARRAY_GET(ARRAY(1, 2, 3), 2)


Use a Map
(October 31, 2015)
The enumerable class in ruby houses some powerful methods that allow you to iterate through a collection of objects by passing values in succession. One of these methods called map allows you to iterate throught a block and return an array that is identical in size. It is a great method to use with a collection of items if you want to manipulate such as, capitalize all strings in the array.
Let’s do a problem together (figure-1). We have an array from 1 to 6 and we would like to square each number. To setup so we could use the map method we need to write the name of the array and then use the dot operator followed by map (array_name.map). Next, you need to create a code block using brackets ({ }). Then in between the brackets we setup our bars and a variable that will be our element iterator (|x|). Last, we write our statement that we want to compute; in this case it will be the element times itself to get the square (x * x). Note, if you have multiple statements you need to process use the do-end code block.
Ok so what is exactly happening here (figure-2)? Well, the map method is processing each element one by one into a result array that will return after it is done iterating. The return value is the same size as the original array; so if length of array was 6 we will receive a 6 element array. Another, method that does the same exact thing as map is called collect and it is used exactly like map. One, last thing you might say why not use the each iterator instead? The each iterator is different as it returns a single element value one by one and not a full array. Also, it doesn’t return an identical size array as map does.
So, I hope you were able to get a quick grasp about the map method and how useful it will be when you develop. For more information check out the documentation here.


headings
Call me Ishmael. Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off—then, I account it high time to get to sea as soon as I can.
This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me.
There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs—commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there.
Call me Ishmael. Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off—then, I account it high time to get to sea as soon as I can.
This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me.
There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs—commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there.
Call me Ishmael. Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off—then, I account it high time to get to sea as soon as I can.
This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me.
There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs—commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there.
Call me Ishmael. Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off—then, I account it high time to get to sea as soon as I can.
This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me.
There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs—commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there.
Call me Ishmael. Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off—then, I account it high time to get to sea as soon as I can.
This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me.
There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs—commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there.
<input type="checkbox" name="chbx-grp" id="chbx-1"> checkbox 1
 <input type="checkbox" name="chbx-grp" id="chbx-1"> checkbox 1  || or || <input type="checkbox" name="chbx-grp" id="chbx-1" class="inline"> checkbox 1</label
<input type="radio" name="rdio-grp" id="rdio-1"> radios 1
 <input type="radio" name="rdio-grp" id="rdio-1"> radios 1  || or || <input type="radio" name="rdio-grp" id="rdio-1" class="inline"> radios 1</label
| id | name | job |
|---|---|---|
| 0 | John | Carpenter |
| 1 | Ismael | Sailor |
| 2 | Albert | Physisist |
| id | name | job |
|---|---|---|
| 0 | John | Carpenter |
| 1 | Ismael | Sailor |
| 2 | Albert | Physisist |
| id | name | job |
|---|---|---|
| 0 | John | Carpenter |
| 1 | Ismael | Sailor |
| 2 | Albert | Physisist |
Merci for using offkit


Preparation time
less than 30 mins
Cooking time
10 to 30 mins
Serves
Serves 4
A classic combo – fried potatoes, onion, corned beef and a slick of English mustard. This makes a wonderful brunch, but is also a useful dinner dish to have in your repertoire. This is designed to be a low cost recipe.
Cook the peeled, chopped potatoes in a saucepan of salted boiling water for 8-10 minutes, or until tender. Once tender, drain and set aside.
Meanwhile, heat one tablespoon of the olive oil in a large non-stick frying pan. Cook the onion with a pinch of salt over a medium heat for about five minutes, or until softened and turning golden-brown. Once the onions are cooked, push them to the edge of the pan.
Add a little more oil to the pan and then add the potatoes, crushing them roughly with the back of a fork. Spread them out so that they cover the base of the pan and leave to cook for 4-5 minutes, or until a golden crust is beginning to form on the base. Turn and repeat until all the sides of the potatoes are golden-brown. Mix with the onions at the edge of the pan.
Add the corned beef and English mustard to taste and stir through to mix well. Continue to cook over a low heat while you prepare the eggs.
Add the remaining olive oil to a separate frying pan. Once hot, crack in the eggs and fry until the white is cooked through, but the yolk still runny.
Serve the hash divided between serving plates with an egg on top and eat immediately.


|
Gephi Toolkit Javadoc | ||||||||
| PREV CLASS NEXT CLASS | FRAMES NO FRAMES | ||||||||
| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |
public interface GraphView
Graph view define a subgraph, i.e. a subset of the original graph.
GraphModel
has at least a single view, called the main
view, which contains 100% of the graph. Other views can be defined by users
to define subgraphs with a reduced number of nodes and edges. This is typically
used by filters, which returns filtered graphs.
GraphModel
also contains the visible view, which is the
main view by default but can be set to configure the view that is visualized.
What exactly contains the view? The complete hierarchy of nodes, the edges and meta-edges. Each view has separate hierarchy, therefore grouping and meta-edges are independent.
Note that nodes' id is unique, and is not touched by views.
To get the graph in the visible view, see GraphModel.getGraphVisible()
.
FiltersAPI
.
GraphModel.setVisibleView(org.gephi.graph.api.GraphView)
.
| Method Summary | |
|---|---|
GraphModel |
getGraphModel()
Returns the graph model this view belongs. |
int |
getViewId()
Returns this view unique identifier. |
boolean |
isMainView()
Returns true if this view is the main view. |
| Method Detail |
|---|
int getViewId()
boolean isMainView()
true
if this view is the main view. Each
GraphModel
has a single main view, which contains all nodes
and edges in the model.
true
if this is the main view, false
otherwise.GraphModel getGraphModel()
|
Gephi Toolkit Javadoc | ||||||||
| PREV CLASS NEXT CLASS | FRAMES NO FRAMES | ||||||||
| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |


{% assign faqUrl = site.baseurl | append: '/faq' %}
{% assign AngularUrl = site.baseurl | append: '/faq' %}
{% assign resourcesUrl = site.baseurl | append: '/faq' %}
Tentative schedule
Friday evening, July 26
- 6:00 - 6:30 - attendee check in
- 6:30 - 8:30 - tools installation and pizza party
Saturday all-day, July 27
- 9:00 - 9:45 - check in and light breakfast buffet
- 9:45 - 10:30 - opening lecture: introduction to ngGirls and Angular
- 10:30 - 12:30 - coding session
- 12:30 - 1:30 - lunch break
- 1:30 - 5:00 - continue coding
- 5:00 - 5:30 - closing lecture, retrospective, and goodbyes


Gold drops to near 2-week lows, below $1455 level
by Haresh Menghani- Renewed trade optimism continued weighed on the commodity’s safe-haven status.
- Positive US bond yields underpinned the USD and added to the intraday selling bias.
- Bears might now aim towards retesting monthly swing lows, around the $1445 region.
Gold edged lower through the early North-American session on Monday and dropped to near two-week lows, below the $1455 horizontal support in the last hour.
The precious metal extended last week's pullback from the vicinity of the 100-day SMA and lost some additional ground on the first day of a new trading week. Improving global risk sentiment, amid renewed US-China trade optimism, weighed on the commodity's safe-haven status and was seen as one of the key factors that could be attributed to the downtick for the fourth-consecutive session on Monday.
Weighed down by receding safe-haven demand
In the latest trade-related developments, the US President Donald Trump on Friday said that a deal with China was “potentially very close” and also indicated that he might not sign a bill passed by the Congress that supports Hong Kong. Adding to this, the US National Security Adviser Robert O'Brien told reporters over the weekend that a “phase one” US-China trade deal still appeared possible by the end of the year.
Fading safe-haven demand was further evident from a modest intraday uptick in the US Treasury bond yields, which further collaborated towards driving flows away from the non-yielding yellow metal. Meanwhile, positive US bond yields helped the US dollar to stand tall near two-week tops and did little to provide any respite to the dollar-denominated commodity amid absent relevant market moving economic releases.
It will now be interesting to see if the commodity is able to find any support at lower levels or the current pullback marks a near-term bearish breakdown, setting the stage for a slide back towards challenging monthly lows support near the $1445 region.
Technical levels to watch
XAU/USD
| Overview | |
|---|---|
| Today last price | 1456 |
| Today Daily Change | -6.27 |
| Today Daily Change % | -0.43 |
| Today daily open | 1462.27 |
| Trends | |
|---|---|
| Daily SMA20 | 1478.72 |
| Daily SMA50 | 1490.24 |
| Daily SMA100 | 1482.35 |
| Daily SMA200 | 1398.2 |
| Levels | |
|---|---|
| Previous Daily High | 1473.3 |
| Previous Daily Low | 1461.64 |
| Previous Weekly High | 1478.86 |
| Previous Weekly Low | 1456.54 |
| Previous Monthly High | 1519.04 |
| Previous Monthly Low | 1455.5 |
| Daily Fibonacci 38.2% | 1466.1 |
| Daily Fibonacci 61.8% | 1468.85 |
| Daily Pivot Point S1 | 1458.18 |
| Daily Pivot Point S2 | 1454.08 |
| Daily Pivot Point S3 | 1446.52 |
| Daily Pivot Point R1 | 1469.83 |
| Daily Pivot Point R2 | 1477.39 |
| Daily Pivot Point R3 | 1481.49 |


This is a simple prototype, to test stream service using WebRTC.
Please enter the Stream Id if you have to start watching the live stream or click to broadcast.


{% extends "base.html" %} {% block title %}
Medieval catalogues > AUGUSTINIAN CANONS > Walsingham > Leland, c. 1536-40
{% endif %}3 identified entries found.
All data was derived from the List of Identifications by Professor Richard Sharpe.
{% if not printing %}
A key to codes used in the List is available (opens in new tab).{% endif %}


Registration Form
Name:
Password:
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Country:
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Course:


Each top-level result contains six nested results. Each nested result is:
commandnamecommandarityspecification
nested Array reply ofcommandflags
position offirst key in argument list
position oflast key in argument list
step count for locating repeating keys
Parameters
command: string
command name
arity: number
arity
firstKey: number
position of the first key
lastKey: number
position of the last key
interval: number
step count for locating repeating keys
readOnly: boolean
readOnly flag extracted from the nested Array reply of command flags
movable: boolean
movable flag extracted from the nested Array reply of command flags
Creates a Redis Command from METADATA. The metadata comes from the REDIS command "COMMAND" https://redis.io/commands/command
Each top-level result contains six nested results. Each nested result is:
command name command arity specification nested Array reply of command flags position of first key in argument list position of last key in argument list step count for locating repeating keys