I am a front end developer
Hello, I am a front-end developer. I studied computer science and I have experience in webpage design for local businesses. I love coding...I also love my pet, a golden retriever, named Sally.
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⬅ Subjects
Chemistry
Class 11
Class 12
The Solid State
Solutions
Electrochemistry
Chemical Kinetics
Surface Chemistry
General Principles and Processes of Isolation of Elements
The p-Block Elements
The d-and f-Block Elements
Coordination Compounds


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Spend less time setting up your development environment, so you can spend more time building your next killer Lightning app.
Get started building on Lightning in minutes, instead of hours, or potentially days, if you setup a local network manually
Say goodbye to the command line and config files. Say hello to a pleasing graphical interface with all of the same functionality
Spend more time building your app, and less time building your developer environment. Iterate faster so you can release faster
The source code is open for all to view. Community contributions of code, suggestions or issues are welcomed and appreciated
What good are Lightning nodes if you don't know how to connect to them? Polar surfaces some of the most common pieces of RPC connection information, which you will need to connect from your app. You'll also have quick links to the API documentation for each node.
The full file paths to the certificate and macaroons
Some SDKs require credentials in HEX format
Other SDKs require credentials in Base64 format
But the cool kids are using LNDConnect to make connecting to your node even easier
They say a picture is worth a thousand words. Well, how many terminal commands is a sexy Lightning Network graph worth?
Save a ton of time, and key-strokes, by viewing channel balances in color. The green & blue lines shift as payments are sent from one node to another. Keep in mind, the green side is where the money started.
It couldn't be easier to open channels from one node to another by simply dragging and dropping. Move nodes around, into any layout that you prefer. You can also drag new nodes from the sidebar onto the canvas.
Have you ever been working on your app with a local network and wanted to quickly simulate a completely different scenario? Resetting your network, then bringing then state back is no walk in the park. With Polar, you can have as many network configurations as you can imagine. You can even have multiple of them running at the same time.
Many of the most common actions you would perform on Lightning are made available right there in the UI.
The bitcoin nodes in your network act as faucets, so you can easily deposit regtest coins into any of the Lightning nodes with just a click.
Quickly open channels and pay invoices between multiple nodes
Start, stop and remove nodes from the network
For those command line ninjas, there's also a built-in terminal which gives you full access to the node's CLI commands
Polar has a few more tricks up its sleeve to help make your Lightning development experience even more enjoyable
When new versions of Lightning or Bitcoin node software is released, all it takes is a few clicks to begin using them. Our goal is to make new versions available within 24 hours after final builds are available
With the ability to stop individual nodes, you can simulate a chain split by stopping one of three Bitcoin nodes, then mining on the other two separately, they will be operating on different chains.
Polar was built with cross-platform support in mind from the beginning.
Available for English, French, German, Spanish, Russian, Italian, Chinese Simplified, Portuguese-Brazilian, Japanese, Korean. Help translate more by contributing to the Crowdin project.
Multiple Bitcoin and Lightning nodes can be mixed and matched in a network to simulate many scenarios for testing. Here are the latest versions supported.
LND
c-lightning
Eclair
Bitcoin Core
Polar has received some great feedback from the community. Here's what some Lightning developers and enthusiasts have to say about it...
Easily the biggest development for Lightning creators yet. If you're looking to build lightning apps or already doing so, Polar is a must have.
@ChaincodeLabs ressie @jamaljsr doing the MOST for LN developers everywhere 👏
Tools which make it easier to build on Lightning play such an important role in development. I’ve already deleted a few tiresome setup scripts thanks to Polar!
I've been playing with this a little bit this afternoon. This is incredibly useful!
Even if you aren't a developer, this is a great way to dip your toes into the Lightning Network.
@jamaljsr built Polar, a tool that devs building on the Lightning Network can use to quickly build and test ideas. Quicker testing and iterating leads to better, more useful products. Useful products are good. Number go up.
Pretty cool tool for deploying LND and RegTest nodes if you haven't seen it: https://github.com/jamaljsr/polar
I personally spend a lot of time spinning up mini networks of RegTest nodes backing up LNDs in varied configurations in order to play out various scenarios for testing purposes.
For developers looking to create comprehensive test environments, i was really impressed with Polar by @jamaljsr (https://github.com/jamaljsr/polar link includes a short video). Also from a technical standpoint it’s fantastic - 100% code cov, international support out of the gate, etc.
Interested in building apps on lightning? Check out @jamaljsr's Polar. No more command line headaches, just point and click and you have a virtual network of nodes in minutes. Been using it to iron out the upcoming Zeus release. I absolutely love it.
I just tried polar and I can say It's awesome, it saves a lot of time in configuration at the moment of start a new #LightningNetwork project.
great work!
Polar by @jamaljsr is a game changer for lightning developers. Just tried it and made my life better. Saved a lot of time.
Highly recommended.
Answers to commonly asked questions, which will likely lead to them being asked a bit less frequently. Interesting...
Polar is open source and 100% free. Sorry, but you're going to have to spend your stacked sats somewhere else.
We do not collect any usage or analytics information when you view this website or use Polar on your computer. While it would be really helpful to understand how you are using the app, your privacy is far more important.
Unfortunately, Polar was built to improve the experience of developers building applications for Lightning and Bitcoin. To obtain the immediate feedback loop necessary to be productive, you'll need to be able to mine blocks as fast as possible. Waiting 10 minutes for your channel to open just won't cut it.
The goal is to support the node implementations most commonly used by application developers building on Lightning. We will attempt to support the latest 3 versions of each implementation to allow developers to continue to test their apps on older versions.
Please head on over to the project's GitHub repo to let us know what's on your mind.


Here's where you can watch A Charlie Brown Thanksgiving this year
by WFTS Digital StaffWith "It's the Great Pumpkin, Charlie Brown" in the rear view, it's time to get ready for the next classic Peanuts holiday episode, "A Charlie Brown Thanksgiving."
In this beloved holiday special, Charlie Brown finds himself in a bit of a bind when Peppermint Patty invites herself and a few friends over for Thanksgiving dinner. With Snoopy and Woodstock pulling kitchen duty, a traditional turkey and stuffing meal is simply not in the cards. Will good old Charlie Brown survive the holiday and the wrath of his hungry dinner guests?
From Charlie Brown's efforts to finally kick that football, to a Thanksgiving meal of toast, popcorn and jelly beans, this Peanuts special is fun for the whole family.
It first aired in 1973, and now broadcasts on ABC every year.
You can watch "A Charlie Brown Thanksgiving" on ABC Action News on Wednesday, November 27 at 8 p.m. A special bonus cartoon from Charles M. Schulz, "This Is America, Charlie Brown: The Mayflower Voyagers," will air following the Peanuts classic.


Edit: About Me
Location Detail
Saved locations allow you to search for dates based on where you expect to be at a given time (ie. Work, Home, etc.)
Work
Terminus 100
3280 Peachtree Rd, Atlanta, GA 30305
(404) 407-2000
terminus-atlanta.com
3280 Peachtree Rd, Atlanta, GA 30305
(404) 407-2000
terminus-atlanta.com


Preparation time
less than 30 mins
Cooking time
10 to 30 mins
Serves
Serves 4
Dietary
Add spices to mostly ready-made ingredients and you can knock together a family meal for well under £1 a head in no time.
Bring a large saucepan of salted water to the boil. Add the penne and cook according to the packet instructions, normally 10–12 minutes.
Meanwhile, tip the tomatoes into a large saucepan. Add the oil, onion powder, garlic granules and chipotle sauce, stir well, then bring to the boil over a medium heat. Simmer for 2 minutes.
Remove from the heat and blend until smooth using a stick blender. Return to the heat, stir in the roasted vegetables and cook for 2–3 minutes, or until bubbling.
Drain the penne, reserving a little of the water, then tip the pasta into the sauce and stir. Add a couple of spoonfuls of pasta water to the pan, then season well with black pepper.
Serve sprinkled with grated Parmesan.


Automation Framework - Environment
This section of the YAML configuration file defines the applications which the rest of the jobs can act on.
env: # The environment, mandatory
contexts : # List of 1 or more contexts, mandatory
- name: context 1 # Name to be used to refer to this context in other jobs, mandatory
urls: # A mandatory list of top level urls, everything under each url will be included
includePaths: # An optional list of regexes to include
excludePaths: # An optional list of regexes to exclude
authentication: # TBA: In time to cover all auth configs
parameters:
failOnError: true # If set exit on an error
failOnWarning: false # If set exit on a warning
progressToStdout: true # If set will write job progress to stdout
vars: # List of 1 or more custom variables to be used throughout the config file
myVarOne: CustomConfigVarOne # Can be used as ${myVarOne} anywhere throughout the config
myVarTwo: ${myVarOne}.VarTwo # Can refer other vars
System environment variables can also be used in the config in the same manner as above. In case there are two variables
with the same name, the value of the system variable would be preferred.


Copyright © 2014 W3C® (MIT, ERCIM, Keio, Beihang), All Rights Reserved. W3C liability, trademark and document use rules apply.
Compositing describes how shapes of different elements are combined into a single image. There are various possible approaches for compositing. Previous versions of SVG and CSS used Simple Alpha Compositing. In this model, each element is rendered into its own buffer and is then merged with its backdrop using the Porter Duff source-over operator. This specification will define a new compositing model that expands upon the Simple Alpha Compositing model by offering:
In addition, this specification will define CSS properties for blending
and group isolation and the properties of the ‘globalcompositeoperation
’ attribute as defined
in [2DCONTEXT2].
This section describes the status of this document at the time of its publication. Other documents may supersede this document. A list of current W3C publications and the latest revision of this technical report can be found in the W3C technical reports index at http://www.w3.org/TR/.
The (archived) public mailing list<EMAIL_ADDRESS>(see instructions) is preferred for discussion of this specification. When sending e-mail, please put the text “compositing-1” in the subject, preferably like this: “[compositing-1] …summary of comment…”
This document was produced by the CSS Working Group (part of the Style Activity) and the SVG Working Group (part of the Graphics Activity).
This document was produced by groups operating under the 5 February 2004 W3C Patent Policy. W3C maintains a public list of any patent disclosures (CSS) and a public list of any patent disclosures (SVG) made in connection with the deliverables of each group; these pages also include instructions for disclosing a patent. An individual who has actual knowledge of a patent which the individual believes contains Essential Claim(s) must disclose the information in accordance with section 6 of the W3C Patent Policy.
Publication as a Candidate Recommendation does not imply endorsement by the W3C Membership. This is a draft document and may be updated, replaced or obsoleted by other documents at any time. It is inappropriate to cite this document as other than work in progress.
The following features are at risk:
isolation
’ if an SVG images is linked using
the ‘img
’ element.
The Candidate Recommendation period will end around 17 August 2014. There is currently no preliminary implementation report. During this period, the WG will complete its test suite and create an implementation report.
normal
’ blend mode
multiply
’ blend mode
screen
’ blend mode
overlay
’ blend mode
darken
’ blend mode
lighten
’ blend mode
color-dodge
’ blend mode
color-burn
’ blend mode
hard-light
’ blend mode
soft-light
’ blend mode
difference
’ blend mode
exclusion
’ blend mode
This subsection is non-normative.
The first part of this document describes the properties used to control
the compositing in CSS. The second part will describe the algorithms of
Porter Duff compositing and blending.
Each section of this document is normative unless otherwise
specified.
This specification defines a set of CSS properties that affect the visual rendering of elements to which those properties are applied; these effects are applied after elements have been sized and positioned according to the Visual formatting model from [CSS21]. Some values of these properties result in the creation of a containing block, and/or the creation of a stacking context.
The ‘background-blend-mode
’ property
also builds upon the properties defined in the CSS Backgrounds and Borders module.[CSS3BG]
This specification also enhances the rules as specified in Section 14.2 Simple alpha compositing of [SVG11] and simple alpha compositing of [CSS3COLOR].
This module also extends the ‘globalcompositeoperation
’ as defined in [2DCONTEXT2].
This specification follows the CSS property definition conventions from [CSS21]. Value types not defined in this specification are defined in CSS Level 2 Revision 1 [CSS21]. Other CSS modules may expand the definitions of these value types: for example [CSS3COLOR], when combined with this module, expands the definition of the <color> value type as used in this specification.
In addition to the property-specific values listed in their definitions, all properties defined in this specification also accept the inherit keyword as their property value. For readability it has not been repeated explicitly.
The compositing model must follow the SVG compositing model [SVG11]: first any filter effect is applied, then any clipping, masking, blending and compositing.
Everything in CSS that creates a stacking context must be
considered an ‘isolated
’ group. HTML elements themselves
should not create groups.
An element that has blending applied, must blend with all the underlying content of the stacking context [CSS21] that that element belongs to.
By default, every element must create a non-isolated group.
However, certain operations in SVG will create isolated groups. If one of the following features is used, the group must become isolated:
mix-blend-mode
’
propertyThe blend mode defines the formula that must be used to mix the colors with the backdrop. This behavior is described in more detail in Blending.
mix-blend-mode
’
| Value: | <blend-mode> |
| Initial: | normal |
| Applies to: | All elements. In SVG, it applies to container elements, graphics elements and graphics referencing elements. [SVG11] |
| Inherited: | no |
| Percentages: | N/A |
| Media: | visual |
| Computed value: | as specified |
| Animatable: | no |
The syntax of the property of <blend-mode> is given with:
<blend-mode> = normal | multiply | screen | overlay | darken | lighten | color-dodge | color-burn | hard-light | soft-light | difference | exclusion | hue | saturation | color | luminosity
Applying a blendmode other than ‘normal
’ to the
element must establish a new stacking context [CSS21]. This group
must then be blended and composited with the stacking context that
contains the element.
Given the following sample markup:
  "
And the following style rule:
body { background-color: green; }
... will produce the following result:
If we change the style rule to include blending:
body { background-color: green; } img { mix-blend-mode: multiply; }
... the output will be the image blending with the green background of the  element.
Given the following svg code:
<svg> <circle cx="40" cy="40" r="40" fill="red"/> <circle cx="80" cy="40" r="40" fill="green"/> <circle cx="60" cy="80" r="40" fill="blue"/> </svg>
And the following style rule:
circle { mix-blend-mode: screen; }
... the output will be blending of the 3 circles. Each circle is rendered from bottom to top. Where the elements overlap, the blend mode produces a change in color.
In the following style sheet and document fragment:
body { background-color: green; } div { background-color: red; width: 200px; opacity: .95} img { mix-blend-mode: difference; }

... the ‘opacity
’ on the

element is causing the creation of a stacking context. This causes the
creation of a new group so the image doesn't blend with the color of the
.
Note how the image is not blending with the green color.
Given the following sample markup:

'overlay' blending on text

And the following style rule:
div { background-image: url('texture.png'); } @font-face { font-family: "Mythos Std"; src: url("http://myfontvendor.com/mythos.otf"); } p { mix-blend-mode: overlay; font-family: "Mythos Std" }
isolation
’
property In SVG, this defines whether an element is isolated or not.
For CSS, setting ‘isolation
’ to ‘isolate
’ will turn the element into a stacking
context.
By default, elements use the ‘auto
’
keyword which implies that they are not isolated. However operations that
cause the creation of stacking context [CSS21] must cause a group to be
isolated. These operations are described in ‘behavior specific to
HTML
’ and ‘behavior specific to SVG
’.
isolation
’
| Value: | <isolation-mode> |
| Initial: | auto |
| Applies to: | All elements. In SVG, it applies to container elements, graphics elements and graphics referencing elements. [SVG11] |
| Inherited: | no |
| Percentages: | N/A |
| Media: | visual |
| Computed value: | as specified |
| Animatable: | no |
The syntax of the property of <isolation-mode> is given with:
<isolation-mode> = auto | isolate
In CSS, a background image or the content of an
 must always be rendered into an isolated group.
For instance, if you link to an SVG file through the ‘img
’ tag, the artwork of that SVG will not blend
with the backdrop of the content.
In SVG, ‘mask
’ always creates an isolated group.
background-blend-mode
’ propertyDefines the blending mode of each background layer.
Each background layer must blend with the element's background layer that is below it and the element's background color. Background layers must not blend with the content that is behind the element, instead they must act as if they are rendered into an isolated group.
The description of the ‘background-blend-mode
’ property is as
follows:
background-blend-mode
’
| Value: | <blendmode># |
| Initial: | normal |
| Applies to: | All HTML elements |
| Inherited: | no |
| Percentages: | N/A |
| Media: | visual |
| Computed value: | as specified |
| Animatable: | no |
The ‘background-blend-mode
’ list must be applied
in the same order as ‘background-image
’[CSS3BG]. This means that the first
element in the list will apply to the layer that is on top. If a property
doesn't have enough comma-separated values to match the number of layers,
the UA must calculate its used value by repeating the list of values until
there are enough.
If the ‘background
’ [CSS3BG]
shorthand is used, the ‘background-blend-mode
’ property for that
element must be reset to its initial value.
Given the following sample markup:

And the following style rule:
body { background-color: green; } div { width: 200px; height: 200px; background-size: 200px 200px; background-repeat:no-repeat; background-image: linear-gradient(to right, #000000 0%,#ffffff 100%), url('ducky.png'); background-blend-mode: difference, normal; }
Note that the gradient is not blending with the color of . Instead it retains its original color.
The canvas 2d context defines the globalCompositeOperation attribute that is used to set the current compositing and blending operator.
This property takes the following value:
globalCompositeOperation
’
| Value: | <blend-mode> | <composite-mode> |
| Initial: | source-over |
The syntax of the property of <composite-mode> is given with:
<composite-mode> = clear | copy | destination | source-over | destination-over | source-in |
destination-in | source-out | destination-out | source-atop | destination-atop | xor | lighter
Compositing is the combining of a graphic element with its backdrop.
In the model described in this specification there are two steps to the overall compositing operation - Porter-Duff compositing and blending. The blending step determines how the colors from the graphic element and the backdrop interact.
Typically, the blending step is performed first, followed by the Porter-Duff compositing step. In the blending step, the resultant color from the mix of the element and the the backdrop is calculated. The graphic element's color is replaced with this resultant color. The graphic element is then composited with the backdrop using the specified compositing operator.
Shape is defined by the mathematical description of the shape. A particular point is either inside the shape or it is not. There are no gradations.
Opacity is described using an alpha value, stored alongside the color value for each particular point. The alpha value is between 0 and 1, inclusive. A value of 0 means that the pixel has no coverage at that point, and is therefore transparent; i.e. there is no color contribution from any geometry because the geometry does not overlap this pixel. A value of 1 means that the pixel is fully opaque; the geometry completely overlaps the pixel.
The formula for simple alpha compositing is
co = Cs x αs + Cb x αb x (1 - αs)
Where
All values are between 0 and 1 inclusive.
The pixel value after compositing (co) is given by adding the contributions from the source graphic element [Cs x αs] and the backdrop [Cb x αb x (1 - αs)]. For both the graphic element and the backdrop, the color values are multiplied by the alpha to determine the amount of color that contributes. With zero alpha meaning that the color does not contribute and partial alpha means that some percentage of the color contributes. The contribution of the backdrop is further reduced based on the opacity of the graphic element. Conceptually, (1 - αs) of the backdrop shows through the graphic element, meaning that if the graphic element is fully opaque (αs=1) then no backdrop shows through.
The simple alpha compositing formula listed above gives a resultant color which is the result of the weighted average of the backdrop color and graphic element color, with the weighting determined by the backdrop and graphic element alphas. The resultant alpha value of the composite is simply the sum of the contributed alpha of the composited elements. The formula for the resultant alpha of the composite is
αo = αs + αb x (1 - αs)
Where
Often, it can be more efficient to store a pre-multiplied
value
for the color and opacity. The pre-multiplied value is given
by
cs = Cs x αswith
Thus the formula for simple alpha compositing using pre-multiplied values becomes
co = cs + cb x (1 - αs)
To extract the color component of a pre-multiplied value, the formula is reversed:
Co = co / αo
This describes the most basic case. It consists of 1 shape that is filled with a solid color (α = 1). The shape is composited with an empty background. The empty background has no effect on the resultant composite.
Cs = RGB(1,0,0) αs = 1 Cb = RGB(0,0,0) αb = 0 co = Cs x αs + Cb x αb x (1 - αs) co = RGB(1,0,0) x 1 + RGB(0,0,0) x 0 x (1 - 1) co = RGB(1,0,0) x 1 co = RGB(1,0,0)
This is a more complex example. There is no transparency, but the 2 shapes intersect.
Applying the compositing formula in the area of intersection, gives:
Cs = RGB(0,0,1) αs = 1 Cb = RGB(1,0,0) αb = 1 co = Cs x αs + Cb x αb x (1 - αs) co = RGB(0,0,1) x 1 + RGB(1,0,0) x 1 x (1 - 1) co = RGB(0,0,1) x 1 + RGB(1,0,0) x 1 x 0 co = RGB(0,0,1) x 1 co = RGB(0,0,1)Calculating the alpha of the resultant composite
αo = αs + αb x (1 - αs) αo = 1 + 1 x (1 - 1) αo = 1Calculating the color component of the resultant composite
Co = co / αo Co = RGB(0, 0, 1) / 1 Co = RGB(0, 0, 1)
This is an example where the shape has some transparency, but the backdrop is fully opaque.
Applying the compositing formula in the area of intersection, gives:
Cs = RGB(0,0,1) αs = 0.5 Cb = RGB(1,0,0) αb = 1 co = Cs x αs + Cb x αb x (1 - αs) co = RGB(0,0,1) x 0.5 + RGB(1,0,0) x 1 x (1 - 0.5) co = RGB(0,0,1) x 0.5 + RGB(1,0,0) x 0.5 co = RGB(0.5,0,0.5)Calculating the alpha of the resultant composite
αo = αs + αb x (1 - αs) αo = 0.5 + 1 x (1 - 0.5) αo = 1Calculating the color component of the resultant composite
Co = co / αo Co = RGB(0.5, 0, 0.5) / 1 Co = RGB(0.5, 0, 0.5)
Figure 4 shows an example where both the shape and the backdrop are transparent.
Applying the compositing formula in the area of intersection, gives:
Cs = RGB(0,0,1) αs = 0.5 Cb = RGB(1,0,0) αb = 0.5 co = Cs x αs + Cb x αb x (1 - αs) co = RGB(0,0,1) x 0.5 + RGB(1,0,0) x 0.5 x (1 - 0.5) co = RGB(0,0,1) x 0.5 + RGB(1,0,0) x 0.25 co = RGB(0.25, 0, 0.5)Calculating the alpha of the resultant composite
αo = αs + αb x (1 - αs) αo = 0.5 + 0.5 x (1 - 0.5) αo = 0.75Calculating the color component of the resultant composite
Co = co / αo Co = RGB(0.25, 0, 0.5) / 0.75 Co = RGB(0.33, 0, 0.66)
The general formula for compositing and blending which allows for selection of the compositing operator and blending function comprises two steps. The terms used in these functions will be described in detail in the following sections.
Apply the blend in place
Cs = (1 - αb) x Cs + αb x B(Cb, Cs)
Composite
Co = αs x Fa x Cs + αb x Fb x Cb
Where:
The backdrop is the content behind the element and is what the element is composited with. This means that the backdrop is the result of compositing all previous elements.
This example has 2 simple shapes. The backdrop for the blue shape includes the bottom right corner of the red shape . The dotted line shows the area that is examined during compositing of the blue shape.
The shape in the backdrop has an alpha value. The alpha value of the backdrop shape is preserved when the backdrop is calculated.
Compositing groups allow more control over the interaction of compositing with the backdrop. Groups can be used to specify how a compositing effect within a group will interact with the content that is already in the scene (the backdrop).
Compositing groups may be made up of any number of elements, and may contain other compositing groups.
The default properties of a compositing group shall cause no visual difference compared to having no group. See Group Invariance.
A compositing group is rendered by first compositing the elements of the group onto the initial backdrop. The result of this is a single element containing color and alpha information. This element is then composited onto the group backdrop. Steps shall be taken to ensure the group backdrop makes only a single contribution to the final composite.
An important property of simple alpha compositing is its group invariance. This behavior is preserved in the more complex model described in this specification. Adding or removing grouping with default attributes shall not show visual differences.
so: A + B + C = A + (B + C) = (A + B) + C
When adding attributes to the group such as ‘isolate
’, blending modes other than ‘normal
’ or Porter Duff
compositing operators other than ‘source-over
’, groups may no longer be invariant.
In an isolated group, the initial backdrop shall be black and fully transparent.
In this instance, the initial backdrop is different than the group backdrop. The only interaction with the group backdrop shall occur when the group's computed color, shape and alpha are composited with it.
See ‘Isolated groups and
Porter Duff modes
’ for a description of the effect of
isolated groups on compositing. See ‘Effect of group isolation on
blending
’ for a description of the effect of isolated groups
on blending.
The top level group is the page group. All other elements and groups are composited into this group. The page group is an isolated group.
The page group is composited with a backdrop color of white with 100% opacity.
Simple alpha compositing uses the source-over Porter Duff compositing operator.
Porter Duff compositing is based on a model of a pixel in which two shapes (source and destination) may contribute to the final color of the pixel. The pixel is divided into 4 sub-pixel regions and each region represents a possible combination of source and destination. [PORTERDUFF]
The four regions are:
Destination is synonymous with backdrop. The term destination
is used in this section as this is considered the standard when working
with Porter Duff compositing. Additionally, the compositing operators use
‘destination
’ in their names.
The contribution from each region to the final pixel color is defined by the coverage of the shape at that pixel, and the operator in use. Coverage is specified in terms of alpha. Full alpha (1) implies full coverage, while zero alpha (0) implies no coverage. This means that the area of each region within the sub-pixel is dependent on the coverage of each shape contributing to the pixel. The area of each region can be calculated with the following equations:
| Both | αs x αb |
|---|---|
| Source only | αs x (1 – αb) |
| Destination only | αb x (1 – αs) |
| None | (1 – αs) x (1 – αb) |
The figure above represents coverage of 0.5 for both source and destination.
Both = 0.5 x 0.5 = 0.25 Source Only = 0.5 (1 – 0.5) = 0.25 Destination Only = 0.5(1 – 0.5) = 0.25 None = (1 – 0.5)(1 – 0.5) = 0.25
Therefore, the coverage of each region is 0.25 in this example.
The landmark paper by Thomas Porter and Tom Duff, who worked for Lucasfilm, defined the algebra of compositing and developed the twelve "Porter Duff" operators. These operators control the results of mixing the four sub-pixel regions formed by the overlapping of graphical objects that have an alpha or pixel coverage channel/value. The operators use all practical combinations of the four regions.
There are 12 basic Porter Duff operators, satisfying all possible combinations of source and destination.
From the geometric representation of each operator, the contribution of each shape can be seen to be expressed as a fraction of the total coverage of the output. For example, in source over, the possible contribution of source is full (1) and the possible contribution of destination is whatever is remaining (1 – αs). This is modified by the coverage of source and destination to give the equation for the final coverage of the pixel:
αo = αs x 1 + αb x (1 – αs)
The fractional terms Fa (1 in this example) and Fb (1 – αs in this example) are defined for each operator and specify the fraction of the shapes that may contribute to the final pixel value. The general form of the equation for coverage is:
αs x Fa + αb x Fb
and incorporating color gives the general Porter Duff equation
co = αs x Fa x Cs + αb x Fb x Cb
Where:
No regions are enabled.
Fa = 0; Fb = 0 co = 0 αo = 0
Only the source will be present.
Fa = 1; Fb = 0 co = αs x Cs αo = αs
Only the destination will be present.
Fa = 0; Fb = 1 co = αb x Cb αo = αb
Source is placed over the destination
Fa = 1; Fb = 1 – αs co = αs x Cs + αb x Cb x (1 – αs) αo = αs + αb x (1 – αs)
Destination is placed over the source.
Fa = 1 – αb; Fb = 1 co = αs x Cs x (1 – αb) + αb x Cb αo = αs x (1 – αb) + αb
The source that overlaps the destination, replaces the destination.
Fa = αb; Fb = 0 co = αs x Cs x αb αo = αs x αb
Destination which overlaps the source, replaces the source.
Fa = 0; Fb = αs co = αb x Cb x αs αo = αb x αs
Source is placed, where it falls outside of the destination.
Fa = 1 – αb; Fb = 0 co = αs x Cs x (1 – αb) αo = αs x (1 – αb)
Destination is placed, where it falls outside of the source.
Fa = 0; Fb = 1 – αs co = αb x Cb x (1 – αs) αo = αb x (1 – αs)
Source which overlaps the destination, replaces the destination. Destination is placed elsewhere.
Fa = αb; Fb = 1 – αs co = αs x Cs x αb + αb x Cb x (1 – αs) αo = αs x αb + αb x (1 – αs)
Destination which overlaps the source replaces the source. Source is placed elsewhere.
Fa = 1 - αb; Fb = αs co = αs x Cs x (1 - αb) + αb x Cb x αs αo = αs x (1 - αb) + αb x αs
The non-overlapping regions of source and destination are combined.
Fa = 1 - αb; Fb = 1 – αs co = αs x Cs x (1 - αb) + αb x Cb x (1 – αs) αo = αs x (1 - αb) + αb x (1 – αs)
Display the sum of the source image and destination image. It is defined
in the Porter Duff paper as the ‘plus
’
operator. [PORTERDUFF]
Fa = 1; Fb = 1 co = αs x Cs + αb x Cb; αo = αs + αb
When compositing the elements within an isolated group, the elements are composited over a transparent black initial backdrop. If the bottom element in the group uses a Porter Duff compositing operator which is dependent on the backdrop, such as destination, source-in, destination-in, destination-out or source-atop, then the result of the composite will be empty. Subsequent elements within the group are composited with the result of the first composite.
Blending is the aspect of compositing that calculates the mixing of
colors where the source element and backdrop
overlap.
Conceptually, the colors in the source element are blended in place with
the backdrop. After blending, the modified source element is composited
with the backdrop. In practice, this is usually all performed in one step.
The blending calculations must not use pre-multiplied color values.
The "mixing" formula is defined as:
Cm = B(Cb, Cs)
with:
The result of the mixing formula must be clamped to the minimum and maximum values of the color range.
The result of the mixing function is modulated by the backdrop alpha. A fully opaque backdrop allows the mixing function to be fully realized. A transparent backdrop will cause the final result to be a weighted average between the source color and mixed color with the weight controlled by the backdrop alpha. The value of the new color becomes:
Cr = (1 - αb) x Cs + αb x B(Cb, Cs)
with:
This example has a red rectangle with a blending mode that is placed on top of a set of green rectangles that have different levels of opacity.
Note how the top rectangle shifts more toward red as the opacity of the backdrop gets smaller.
The following formula gives the color value in the area where the source and backdrop intersects and then composites with the specified Porter Duff compositing formula. For simple alpha blending, the formula thus becomes:
simple alpha compositing: co = cs + cb x (1 - αs) written as non-premultiplied: αo x Co = αs x Cs + (1 - αs) x αb x Cb now substitute the result of blending for Cs: αo x Co = αs x ((1 - αb) x Cs + αb x B(Cb, Cs)) + (1 - αs) x αb x Cb = αs x (1 - αb) x Cs + αs x αb x B(Cb, Cs) + (1 - αs) x αb x Cb
A blend mode is termed separable if each component of the result color is completely determined by the corresponding components of the constituent backdrop and source colors — that is, if the mixing formula is applied separately to each set of corresponding components.
Each of the following blend modes will apply the blending function B(Cb, Cs) on each of the color components. For simplicity, all the examples in this chapter use source-over compositing.
normal
’ blend modeThis is the default attribute which specifies no blending. The blending formula simply selects the source color.
B(Cb, Cs) = Cs
multiply
’ blend modeThe source color is multiplied by the destination color and replaces the destination.
The resultant color is always at least as dark as either the source or destination color. Multiplying any color with black results in black. Multiplying any color with white preserves the original color.
B(Cb, Cs) = Cb x Cs
screen
’ blend modeMultiplies the complements of the backdrop and source color values, then complements the result.
The result color is always at least as light as either of the two constituent colors. Screening any color with white produces white; screening with black leaves the original color unchanged. The effect is similar to projecting multiple photographic slides simultaneously onto a single screen.
B(Cb, Cs) = 1 - [(1 - Cb) x (1 - Cs)] = Cb + Cs -(Cb x Cs)
overlay
’ blend modeMultiplies or screens the colors, depending on the backdrop color value.
Source colors overlay the backdrop while preserving its highlights and shadows. The backdrop color is not replaced but is mixed with the source color to reflect the lightness or darkness of the backdrop.
B(Cb, Cs) = HardLight(Cs, Cb)
Overlay is the inverse of the ‘hardlight
’ blend mode. See the definition of
‘hardlight
’ for the formula.
darken
’ blend modeSelects the darker of the backdrop and source colors.
The backdrop is replaced with the source where the source is darker; otherwise, it is left unchanged.
B(Cb, Cs) = min(Cb, Cs)
lighten
’ blend modeSelects the lighter of the backdrop and source colors.
The backdrop is replaced with the source where the source is lighter; otherwise, it is left unchanged.
B(Cb, Cs) = max(Cb, Cs)
The result must be rounded down if it exceeds the range.
color-dodge
’ blend modeBrightens the backdrop color to reflect the source color. Painting with black produces no changes.
if(Cb == 0) B(Cb, Cs) = 0 else if(Cs == 1) B(Cb, Cs) = 1 else B(Cb, Cs) = min(1, Cb / (1 - Cs))
color-burn
’ blend modeDarkens the backdrop color to reflect the source color. Painting with white produces no change.
if(Cb == 1) B(Cb, Cs) = 1 else if(Cs == 0) B(Cb, Cs) = 0 else B(Cb, Cs) = 1 - min(1, (1 - Cb) / Cs)
hard-light
’ blend modeMultiplies or screens the colors, depending on the source color value. The effect is similar to shining a harsh spotlight on the backdrop.
if(Cs <= 0.5) B(Cb, Cs) = Multiply(Cb, 2 x Cs) else B(Cb, Cs) = Screen(Cb, 2 x Cs -1)
See the definition of ‘multiply
’ and
‘screen
’ for their formulas.
soft-light
’ blend modeDarkens or lightens the colors, depending on the source color value. The effect is similar to shining a diffused spotlight on the backdrop
if(Cs <= 0.5) B(Cb, Cs) = Cb - (1 - 2 x Cs) x Cb x (1 - Cb) else B(Cb, Cs) = Cb + (2 x Cs - 1) x (D(Cb) - Cb) with if(Cb <= 0.25) D(Cb) = ((16 * Cb - 12) x Cb + 4) x Cb else D(Cb) = sqrt(Cb)
difference
’ blend modeSubtracts the darker of the two constituent colors from the lighter color.
Painting with white inverts the backdrop color; painting with black produces no change.
B(Cb, Cs) = | Cb - Cs |
exclusion
’ blend modeProduces an effect similar to that of the Difference mode but lower in contrast. Painting with white inverts the backdrop color; painting with black produces no change
B(Cb, Cs) = Cb + Cs - 2 x Cb x Cs
Nonseparable blend modes consider all color components in combination as opposed to the separable ones that look at each component individually. All of these blend modes conceptually entail the following steps:
The nonseparable blend mode formulas make use of several auxiliary functions:
Lum(C) = 0.3 x Cred + 0.59 x Cgreen + 0.11 x Cblue ClipColor(C) L = Lum(C) n = min(Cred, Cgreen, Cblue) x = max(Cred, Cgreen, Cblue) if(n < 0) C = L + (((C - L) * L) / (L - n)) if(x > 1) C = L + (((C - L) * (1 - L)) / (x - L)) return C SetLum(C, l) d = l - Lum(C) Cred = Cred + d Cgreen = Cgreen + d Cblue = Cblue + d return ClipColor(C) Sat(C) = max(Cred, Cgreen, Cblue) - min(Cred, Cgreen, Cblue) The subscripts min, mid, and max in the next function refer to the color components having the minimum, middle, and maximum values upon entry to the function. SetSat(C, s) if(Cmax > Cmin) Cmid = (((Cmid - Cmin) x s) / (Cmax - Cmin)) Cmax = s else Cmid = Cmax = 0 Cmin = 0 return C;
hue
’ blend modeCreates a color with the hue of the source color and the saturation and luminosity of the backdrop color.
B(Cb, Cs) = SetLum(SetSat(Cs, Sat(Cb)), Lum(Cb))
saturation
’ blend modeCreates a color with the saturation of the source color and the hue and luminosity of the backdrop color. Painting with this mode in an area of the backdrop that is a pure gray (no saturation) produces no change.
B(Cb, Cs) = SetLum(SetSat(Cb, Sat(Cs)), Lum(Cb))
color
’ blend modeCreates a color with the hue and saturation of the source color and the luminosity of the backdrop color. This preserves the gray levels of the backdrop and is useful for coloring monochrome images or tinting color images.
B(Cb, Cs) = SetLum(Cs, Lum(Cb))
luminosity
’ blend modeCreates a color with the luminosity of the source color and the hue and saturation of the backdrop color. This produces an inverse effect to that of the Color mode.
B(Cb, Cs) = SetLum(Cb, Lum(Cs))
In the following example, the elements used to construct the paper airplane are within a group. Each of these elements has their blend mode set to multiply.
In the isolated group, the elements within the group are composited onto an empty initial backdrop, this stops the elements within the group multiplying with the backdrop. In the normal group, the elements within the group are composited onto the initial backdrop containing the land and sky. Therefore the elements of the airplane multiply with the land and sky. In both instances, the result of the group composite is composited onto the land and sky using the normal mix-blend-mode (the default mix-blend-mode applied to the group).
It is important that the timing to the blending and compositing operations is independent of the source and destination pixel. Operations must be implemented in such a way that they always take the same amount of time regardless of the pixel values.
If this rule is not followed, an attacker could infer information and mount a timing attack.
A timing attack is a method of obtaining information about content that is otherwise protected, based on studying the amount of time it takes for an operation to occur. If, for example, red pixels took longer to draw than green pixels, one might be able to reconstruct a rough image of the element being rendered, without ever having access to the content of the element.
Conformance requirements are expressed with a combination of descriptive assertions and RFC 2119 terminology. The key words “MUST”, “MUST NOT”, “REQUIRED”, “SHALL”, “SHALL NOT”, “SHOULD”, “SHOULD NOT”, “RECOMMENDED”, “MAY”, and “OPTIONAL” in the normative parts of this document are to be interpreted as described in RFC 2119. However, for readability, these words do not appear in all uppercase letters in this specification.
All of the text of this specification is normative except sections explicitly marked as non-normative, examples, and notes. [RFC2119]
Examples in this specification are introduced with the words “for
example” or are set apart from the normative text with
class="example"
, like this:
This is an example of an informative example.
Informative notes begin with the word “Note” and are set apart from
the normative text with class="note"
, like this:
Note, this is an informative note.
Conformance to this is defined for three conformance classes:
A style sheet is conformant to this specification if all of its statements that use syntax defined in this module are valid according to the generic CSS grammar and the individual grammars of each feature defined in this module.
A renderer is conformant to this specification if, in addition to interpreting the style sheet as defined by the appropriate specifications, it supports all the features defined by this specification by parsing them correctly and rendering the document accordingly. However, the inability of a UA to correctly render a document due to limitations of the device does not make the UA non-conformant. (For example, a UA is not required to render color on a monochrome monitor.)
An authoring tool is conformant to this specification if it writes style sheets that are syntactically correct according to the generic CSS grammar and the individual grammars of each feature in this module, and meet all other conformance requirements of style sheets as described in this module.
So that authors can exploit the forward-compatible parsing rules to assign fallback values, CSS renderers must treat as invalid (and ignore as appropriate) any at-rules, properties, property values, keywords, and other syntactic constructs for which they have no usable level of support. In particular, user agents must not selectively ignore unsupported component values and honor supported values in a single multi-value property declaration: if any value is considered invalid (as unsupported values must be), CSS requires that the entire declaration be ignored.
To avoid clashes with future CSS features, the CSS 2.1 specification reserves a prefixed syntax for proprietary and experimental extensions to CSS.
Prior to a specification reaching the Candidate Recommendation stage in the W3C process, all implementations of a CSS feature are considered experimental. The CSS Working Group recommends that implementations use a vendor-prefixed syntax for such features, including those in W3C Working Drafts. This avoids incompatibilities with future changes in the draft.
Once a specification reaches the Candidate Recommendation stage, non-experimental implementations are possible, and implementors should release an unprefixed implementation of any CR-level feature they can demonstrate to be correctly implemented according to spec.
To establish and maintain the interoperability of CSS across implementations, the CSS Working Group requests that non-experimental CSS renderers submit an implementation report (and, if necessary, the testcases used for that implementation report) to the W3C before releasing an unprefixed implementation of any CSS features. Testcases submitted to W3C are subject to review and correction by the CSS Working Group.
Further information on submitting testcases and implementation reports can be found from on the CSS Working Group's website at http://www.w3.org/Style/CSS/Test/. Questions should be directed to the<EMAIL_ADDRESS>mailing list.
For this specification to be advanced to Proposed Recommendation, there must be at least two independent, interoperable implementations of each feature. Each feature may be implemented by a different set of products, there is no requirement that all features be implemented by a single product. For the purposes of this criterion, we define the following terms:
The specification will remain Candidate Recommendation for at least six months.
The following changes were made relative to the Last Call Working draft of 7 January 2014:
The following changes were made relative to the Last Call Working draft of 10 October 2013:
The following changes were made relative to the Working Draft of 2013-06-25:


Bolivian Senate President Salvatierra announces resignation
LA PAZ (Reuters) - Bolivian Senate President Adriana Salvatierra announced her resignation on Sunday, shortly after President Evo Morales resigned following weeks of protests over his disputed victory in the Oct. 20 election.


{#- http://jinja.pocoo.org/docs/dev/templates/ -#}
Notes: The figure is based on the median run time of largest problem size. The numbers correspond to the ranks within each benchmark. Use mouse-over to see relative run times. The color scale uses green for the minimum run time of a benchmark, gray for the median run time, and red is set to the point which is three standard deviations away from the median.
All benchmarks were performed on a PC with the following specs:
| Property | Value |
|---|---|
| {{ k }} | {{ v }} |
Summary of compiler/language versions used:
| Property | Value |
|---|---|
| {{ k }} | {{ v }} |


@()(implicit ctx: Context) @auth.layout( title = "Tor exit node", zen = true) {
We have detected that you are using Tor to remain anonymous on the Internet.
It's a great idea, and we'll make sure you stay Anonymous on lichess as well.
As an Anonymous user, you can play, train, and use all lichess features. Enjoy!


Government committed to journalists’ safety
The Vice-President, Dr Mahamudu Bawumia, has reiterated the government’s commitment to ensure the safety of journalists in the country.
In line with that,, he said, the Ministry of Information was working with the Ghana Journalists Association (GJA) to institute a coordinated mechanism to ensure the safety of journalists, as well as a capacity enhancement programme for media personnel.
Speaking at the 24th GJA Awards in Accra last Saturday, he declared: “The need to have a coordinated mechanism for the safety of journalists has gained prime importance the world over, as attacks on journalists have been on the rise globally.”
Attacks on journalists
The Vice-President said attacks on journalists were a threat to the country’s democracy and general well-being and called for a coordinated approach to combat the menace in order to ensure freedom of the media.
Dr Bawumia’s comments came on the back of a plethora of attacks on journalists in their line of duty.
Majority of the attacks are allegedly by members of the security agencies.
Although the perpetrators in some of the cases were identified, the cases were settled amicably, sometimes with apologies.
In most cases, however, no compensation was paid, while the security organisation involved promised to offer better working relations with the media.
Awards ceremony
The awards ceremony, which also commemorated the 70th anniversary of the GJA, celebrated and honoured journalists and media organisations which worked tirelessly in ensuring development in all spheres of the country.
It was held on the theme: “Democracy, freedom and independence of the media in Ghana: 70 Years of GJA’s contributions”.
The event was spiced with comedy and live band performances.
Importance of the media
Dr Bawumia said the safety of journalists was key to media freedom, which was imperative to the peace of the country.
He praised the media for their enormous contribution towards peaceful elections in the country and their continuous effort to provide platforms for political participation and the provision of qualitative information for people.
“For example, the instrumental role the media played in the 2013 Supreme Court election petition was the litmus test of the profundity of the Ghanaian media and their institutional growth.
“Again, the media are the front burners in agenda setting for political party manifestos, including their co-functions of surveillance, early warning signals on potential sources of threats to peaceful elections and information dissemination,” he said.
Circumspection
While praising the media for the positive impact on the country’s democracy and development, the Vice-President said some journalists and media organisations had failed to be circumspect in election reportage.
He said there was the need for the media to be circumspect in their election reportage, especially with regard to certain sensitive political issues, in order to sustain the peace in the country.
“In the midst of Ghana’s democratic credentials is the ill of acrimonious politics, exacerbated in the winner-takes-all system of governance.
The practice, unfortunately, is heavily chipping away and eroding our political and economic gains. Politics of acrimony is exclusionary and a potential source of threat to the peace, coexistence, development and equal distribution of public good,” he stated.
He advised the media to use the ceremony to reflect on their past and examine how to perfect the industry in the future.
Don’t touch journalists
The President of the GJA, Mr Affail Monney, said no journalist should be a victim of attack.
He said with the general election of 2020 approaching, candidates, supporters and the security agencies must not dare to attack journalists.
“The election bells are ringing and the campaign season is approaching. We say to all candidates and their supporters: touch not any journalist. This year, we have witnessed many cases of impunity of such attacks. Perpetrators of media attacks must be punished to the fullest extent permissible under the law,” he said.
Media true partner
Describing the media as a true partner in development, a Deputy Minister of Information, Mr Pius Enam Hadzide, said the contribution of the media to national development could not be underestimated.
He said the Ministry of Information was helping to create a conducive environment for journalism in the country.
“We are working with stakeholders to roll out a coordinated mechanism for the safety of journalists and a media capacity enhancement programme,” Mr Hadzide said.
No ambiguity
The Chairman of the National Media Commission, Mr Yaw Boadu-Ayeboafoh, in his address, called on journalists and media organisations to present their stories in an unambiguous manner for the public to understand.
He further appealed to the GJA to continue to improve the capacity of its members to enable them to work effectively for the benefit of the country.


In this project, I build a scorecard for the insurance modelling. The data is taken from lending club. Here, I am using years 2007-2014 for data and 2015 as testing.
For the insurance data modelling, I binned the continous variables using Weight of Evidence methods. For example, the continous feature open_acc
was broken into multiple discrete bins as shown below: There are many small number and woe curve is flat. I looked at number of observations and group them to following bins:
open_acc:<=3
open_acc:4_5
open_acc:6_13
open_acc:13_17
open_acc:>17
Then with the clean binned data, I used logistic regression to estimate the probability of good and bad policies. - Build logistic regression and got the p-values. - Feature selection using p_values - Logistic Regression with p-values selected features. - Do the model evaluation on test data. - Plot Gini Curve. - Plot Kolmogorov-Smirnov curve. - Then I built the scorecard.


INDECENT PROPOSAL A film review by James Berardinelli Copyright 1993 James Berardinelli
Date Released: 4/7/93 Running Length: 1:55 Rated: R (Sex, nudity, language)
Starring: Robert Redford, Demi Moore, Woody Harrelson, Seymour Cassel, Oliver Platt Director: Adrian Lyne Producer: Sherry Lansing Screenplay: Amy Holden Jones Music: John Barry Released by Paramount Pictures
David and Diana Murphy (Woody Harrelson and Demi Moore) are the ideal young couple. They have everything--love, affection, companionship--except money. Their combined meager income is just enough to keep them afloat, but when the recession hits and David loses his job, they go under. Needing fifty thousand dollars to satisfy their creditors, but possessing only five, they go to Vegas to get the rest at the tables. There they meet John Gage (Robert Redford), a billionaire businessman who throws around millions like pocket change. Gage is instantly attracted to Diana and, in an attempt to lure her away from her husband, makes a proposal: he will give David one million dollars for one night with his wife.
Director Adrian Lyne, best known for bringing FATAL ATTRACTION to the screen, is at the helm for INDECENT PROPOSAL. One of the key elements of the 1987 Glenn Close/Michael Douglas thriller--obsession-- is present here, albeit without the tension and violence that gave FATAL ATTRACTION its spark. Here, a similar-yet-different situation is examined from another perspective. Gage goes after Diana not with knives and threats, but with kind words, generous gifts, and moving tales of his youth.
There are undercurrents of a fabulous movie in INDECENT PROPOSAL, but too few of them surface. The plot is littered with small implausibilities and several too-obvious plot devices. There are also moments of manipulation that are so obvious that the director should hang his head in shame for thinking to bring tears to the eyes of the viewers through such a lack of subtlety.
The story is divided into three parts: the setup, the "act," and the aftermath. Despite a somewhat confused sense of time early in the film, most of the first part works. We get a real sense of character and the relationship between Diana and David comes across as genuine. Woody Harrelson, who often doesn't seem up to his role, gives his best performance in the first forty minutes.
The second part of the story is equally as good, owing in large part to strong performances by Demi Moore and Robert Redford. Redford, no longer the sex symbol he once was, manages to do an effective job as a jaded, lonely man who wants nothing more than to capture the one thing that has eluded him for his entire life: love.
Would that the last hour of the film was as good as the first. The two major flaws in the story come during this section, one at the beginning and one at the end. It's difficult to imagine the characters doing some of the things they do, and obvious that the demands of the story are forcing them to act differently from what we expect. It's almost impossible to believe that a marriage as strong as that between David and Diana could be put under this much pressure by something that, in its essence, is simple.
I suppose the message of the movie is that money can't buy love, but that message gets so muddled during the second half of the film that we're not sure what to believe by the end. The last few scenes are a distinct let-down as the writer resorts to a hard-to-believe quick fix to conclude things.
Another problem is that the characters overexplain things. From the voice-over narration to the incessant unnecessary commentary, nothing is left to the viewer to figure out on his or her own. Any time there could be a misinterpretation of what has gone on, someone will say something to clarify matters. For a movie that is supposed to be a "thinking romance," this one doesn't have a high opinion of who's supposed to be doing the thinking.
As I mentioned earlier, while Moore and Redford hold their own nicely, Woody Harrelson has trouble once his role requires more from him than smiles, kisses, and tender stroking. He goes through all the motions, but the force of emotion necessary for us to empathize with David is absent. As a result, we see what happens but don't form a necessary bond with him.
INDECENT PROPOSAL begins with a premise that, while not new, can be interesting to explore. The movie gets off to a good start, but the need to mold the story into a recognizable Hollywood "type" hurts its chances of saying or being anything better than mediocre. Director Adrian Lyne may not be remaking FATAL ATTRACTION, but the same audience-pleasing mentality is evident in the surprisingly-stagnant INDECENT PROPOSAL.
Rating: 7.2 (B-, **1/2)
- James Berardinelli<EMAIL_ADDRESS>.
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
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Related links: index of all rec.arts.movies.reviews reviews


This is a website for the luxurious Luacala Island.
This is the first website i ever built.Still a work in progress.


Greetings,
A very good day to you. I may have to trouble your sense of
personal achievement and reward for an opportunity properly
taken advantage of.
I am Mr. Michael Jay Ramsey, a representative and an attorney to
Kenneth Lay, the former chairman & CEO, Enron Corp. Industry:
Energy & Natural Resources Home. He deposited (US $21,000,000.00)
with me when he was in power as the chairman of the Corp.
I am contacting you because I want you to deal with the Finance
house and claim the money on my behalf since I have declared
that the Funds belong to my foreign business partner. You shall
also be required to assist me in investment in your country.
I hope to trust you as a God fearing person who will not sit
on this money when you claim it, rather assist me properly,
shared in these percentages, 60% to me and 40% to you.
When I receive your positive response I will let you Know where the
Finance house is and the document's to lay claims to the funds,
which is very important. What I need is for you to indicate your
interest that you will assist us by receiving the money on my
behalf in Europe. For this, you shall be considered to be the
beneficiary to the funds. The project in brief, is that the funds
with which we intend to carry out our proposed investments in your
country, is presently in the custody of a finance house in Europe.
I do not want the government of my Country to know about the money
because they will believe I got the money from the sales of Enron
stock when my client was the Chairman & C.E.O. of Enron Corp.
Once I have your details in full, the finance house will contact
you for Release of the funds to your account As soon as payment is
effected, and the amount mentioned above is successfully transferred
into your account, I intend to use my own share in acquiring some
estates in your country.For this too, you shall also be the overseas
manager of all our properties and you will be paid based on a certain
percentage agreed on by both parties.
I guarantee you that this will be executed under a legitimate
arrangement that will protect you from any breach of the law.
Please get in touch with me urgently via
E-mail<EMAIL_ADDRESS>I am presently in the United Kingdom.
Please, provide me the following:
1. Full Name........
2. Your Telephone Number and Fax Number.....
3. Your Contact Address......
4. Occupation.......
5. Company Name.....
6. Age.....
As soon as I receive these details, we can discuss further
herein this transaction.
Thanks in advance
Michael Jay Ramsey.
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Meditation Process
Truthfully, I have never delved into the world of meditation very much, although quite a few of my friends have. I definitely wasn't opposed to it, but rather thought that it wouldn't work for me - that my "type of person" was somehow not suitable for meditation. I have always been under the impression that my mind wanders too much to truly take advantage of meditation or anything similar. However, after reading the second chapter of Search Inside Yourself , one of the examples they used is exercise. They compared meditation to pumping iron, in that it flexes your brain rather than your biceps. It was great to read that it is natural for the mind to wander and that it is all part of practicing exercise.
It was also interesting to read about how meditation doesn't have a particular stance (eg. sitting lotus), and that for some people it is even possible to walk around in meditation. Now I will just have to find whichever position is most comfortable for me.
Process over product was an interesting way to work through things because everything looked so hideous at first, there was no way it could turn out nice - right? It was definitely a learning curve and helped me categorise everything to make everything easier, and ultimately a better product.


REVIEW: Red Corner (1998)
by Luke Buckmaster
2 stars out of 5
I was recently told that in China their had been strong protests against the release of Red Corner and this is apparently because of the way it shows the injustice of many Chinese laws. But if you ask me, the real truth of the matter is that the Chinese Critics Association were determined not to punish the population into viewing Richard Gere running across rooftops in search for a fellow American. Or more the point, anyone that allows him to bask in his own less-than-subtle presence.
This is not an insult to Gere, as I consider him to be a rather talented actor but more the choice of character and responsibility of his role.
If a film is solely about one person, the main actor must give a faultless performance in order for it to really work. Although Geres performance is in no way poorly acted, it is far from perfect and I look forward to seeing him star with other talented actors that can reduce the need for him to carry a film by himself. This is where he truly belongs, and if you are reluctant to believe me than look no further that Primal Fear (with the sensational Edward Norton), The Jackal (with Bruce Willis) and Pretty Woman (with the delightful Julia Roberts).
In Red Corner Gere plays classy lawyer Jack Moore, who is guilty of the same personality traits as his character Martin Vail in Primal Fear bold and up front, who thinks he is three steps ahead of everybody else but is actually two steps behind. It is with invulnerability of both mental and physical kind that the character of Moore is portrayed, which left me barracking for the Chinese to haul his sorry ass into jail.
It doesnt take long from the films beginning for Jack Moores charm to work on a pretty Chinese lady, and in no time they are in bed together in a hotel room drunk and cheerful. Yet instead of a hangover, poor Jack finds himself covered in blood and the Chinese chick dead on a couch. He is arrested and hauled into a Chinese prison. His cell, food and rights all terrible.
Now trapped in a foreign land without adequate aid from the American embassy, lawyer Shen Yuelin (Bai Ling) defends his case by initially pleading guilty to the charge of murder. Jack and Shen argue about their countries different laws; Shen stating that they will shoot you in the back and charge the cost of the bullet to your family.
As the plot thickens, scenes get progressively more ridiculous ranging from Richard Gere running over rooftops in search of the US embassy to a Scooby Doo ending where the least expected but-you-knew-along criminal is discovered. Red Corner is one of those films where you sneer, laugh or vomit youre way through all of its minutes. What should have been a politically taunt thriller is little more than a pointless expedition to see how stressed out Richard Gere can act.
This is not to say that the film does not have its moments there are some tense court room scenes that are shrewdly created telling the tale of foreign injustice and government corruption. But what they amount to spoils the effect of having them in the first place perhaps this is why Red Corner is so frustrating to watch.
If you look at the films overall concept fairly broadly, the basic idea is quite tangible. It is upon the films execution where the diminutive plot twists and developments fail to impress or innovate - the evidence that goes missing, the high powered officials shielding the truth and intolerable love angles have all been done so many times before.
If that wasnt bad enough, Red Corners dialogue is purely laughable on many occasions. Shen Yuelin attempts to gain sympathy by reciting renaissance of a destitute relationship with her deceased father, whilst Jack Moore is eager to talk about Chinese musical instruments when he could have been working on a plan to free himself.
Taking itself far too seriously, Red Corner is not half the film it intends to be. Although it would have benefited from the help of a more valuable supporting cast, the films main fault is in the bizarre (and often out of place) way of unfolding a story which isnt that meritorious anyway.
Whilst Richard Gere still proves that has what it takes to be known as a decent actor, I would think twice before going to see him attempt to manage such a serious yet hollow drama again. Martin Vailwhere are you?
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Admin
Importing beaches imports data from the excel file. If a beach exists in the excel file but not in the database, it will create a beach. If a beach exists in both the file and the database, it will do nothing. If a beach exists in the database but not the excel file, it will also do nothing. This prevents beaches that are present in the database but not the file from being deleted. The beaches are tracked by beachID so you can have 2 beaches exactly the same as long as their beachID is different.


I didn't see anyone who had done this and it annoyed me so I figured I'd make something to fix it for myself. I decided that if it helps anyone they can use it as well.
This will make the Awards stat button fit in the top soldier area and will re-order the links to match the ordering in your stats.
var reorderIcons = false;
var handler = function() {
if (reorderIcons) return;
$("ul.base-header-soldier-nav > li > a").css("padding", "0px 8px");
var order = [];
var ul = $('ul.base-header-soldier-nav');
var els = $('ul.base-header-soldier-nav > li');
var last = 0;
$.each(els, function() {
switch ($(this).attr('data-page')) {
case 'stats':
current = 0;
break;
case 'weapons':
current = 1;
break;
case 'vehicles':
current = 2;
break;
case 'awards':
current = 3;
break;
case 'assignments':
current = 4;
break;
case 'dogtags':
current = 5;
break;
case 'loadout':
current = 6;
break;
case 'unlocks']);
});


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