'3BlackChicks Review...'
DISAPPEARING ACTS (2000) unrated (for cable); running time 115 minutes Genre: Romantic Drama Seen at: Detroit's Masonic Temple (Detroit, Michigan premiere) Official site: http://www.hbo.com/disappearing/ IMDB site: http://us.imdb.com/Details?0243220 Written by: Lisa Jones (Based on the novel by Terry McMillan) Directed by: Gina Prince-Bythewood Music by: Meshell Ndegeo'cello with Cato Cast: Wesley Snipes, Sanaa Lathan, Regina Hall, Lisa Arrindell Anderson, John Amos, Clark Johnson, Michael Imperioli, Kamaal "Q-Tip" Fareed, CCH Pounder, John Beasley, Aunjanue Ellis (Pam) Home Box Office Premiere Saturday December 9, 2000, 9pm Eastern
Review Copyright Rose Cooper, 2000 Review URL: http://www.3blackchicks.com/bamsdisappearing.html
The name "Terry McMillan" on a book cover, seems to strike fear in the hearts of [SOME] Black men; one glance, and [SOME] guys automatically decide that the book will be filled with Black feminazi-ism at its worse. A deserved reputation? Maybe; her WAITING TO EXHALE novel (and its film adaptation) certainly did little to dissuade [SOME] of My Brothers' belief that she's Out To Get Them. By all rights then, DISAPPEARING ACTS, one of McMillan's earlier works - and this film adaptation of it - might also be seen as more of the same bashing. Not by me, though; at least, not the film. If anything, I saw the film as a celebration of the struggles, and triumphs, people in love go through every single day.
Which is to say, don't believe the hype, fellas; Ms. McMillan doesn't have it in for alla y'all. Just the triflin' ones...
 Franklin Swift (Wesley Snipes) is a construction worker also struggling - just to keep a gig in the sometimey construction business. Zora and Franklin have big dreams: she, of quitting her job as a music teacher and recording her songs; he, of renovating Brooklyn brownstone buildings in his own contracting business. They cross paths when Zora moves into a brownstone Franklin is helping rebuild - and their lives will never be the same.
Both Zora and Franklin have Issues in their lives that they don't fully disclose, that threaten their burgeoning relationship when those issues come to the light. Zora is used to some of the finer things in life; Franklin's a down home guy doing the best he can to get by. Neither of them were looking for love: but as it tends to, love found them. But is love enough to keep two such different people together?
The Upshot: I liked McMillan's book well enough when I first read it years ago (back before anybody ever told me she was a "man-hater"); but there's something about the film adaptation of it that raises it to another level. Was it the electrifying chemistry that stars Sanaa Lathan and Wesley Snipes had as lovers Zora and Franklin? Was it director Gina Prince's magical touch behind the camera? Was it screenwriter Lisa Jones' softening of McMillan's original harsher tone? Was it the beautiful musical score and soundtrack?
Yep; you betcha. It was all that. And a tasty bag 'a chips.
I was skeptical about the romantic pairing of Snipes and Lathan, but they pulled it off beautifully. In fact, their coupling overshadowed much of the rest of the story, to the point where the co-stars all seemed to be an afterthought. With a lesser cast, this might not have been as big a deal; but when you have talent like CCH Pounder (as Franklin's mother), John Amos (as Franklin's father), John Beasley (as Zora's father), and Clark Johnson (Franklin's friend Jimmy) going to waste, it lessens the experience somewhat. As Zora's bougie girlfriends and her would-be music producer, Regina Hall (Portia), Lisa Arrindell Anderson (Claudette) and Q-Tip (Reg) got a good bit of screen time, but I would've gladly reduced their time to see more of Franklin's interactions with his friend Jimmy, their relationship with her father and his mother and father, his sometimey boss Vinny (Michael Imperioli), his "Issues" from his past, and his implied problems with some his White co-workers. In other words, it would've been good to see more of those outside life forces driving Zora and Franklin in their everyday lives.
Still, for each moment of my missing the potential of a supporting cast member, Snipes and Lathan made up for it, and then some. Theirs was a very credible, and evenhandedly-told, love story portrayed in all its hills and valleys. My assessment of Franklin (the movie version, if not the book) differs with 3BC Guest Star Apryl Voner - my companion for the Detroit premiere - in her review of DISAPPEARING ACTS. But for one or two scenes, I felt that Snipes, with the help of the director and writer, flavored Franklin with something more than the bland "No Good Man" spice - for which I applaud them all. Lathan's lip-synching was off - hopefully, she won't play a singer in the future - but given the interplay between Lathan and Snipes, her missed attempts in this aspect were easy enough to ignore.
Due to Prince's unique director's eye (her black and white stills were a brilliant move), Jones' understanding of the heart and soul of McMillan's written word, and especially Snipes' and Lathan's steamy love scenes - in *and* out of bed - DISAPPEARING ACTS is a movie that, even moreso than HBO's production of INTRODUCING DOROTHY DANDRIDGE, could've easily been released as a feature film. But I ain't mad at HBO; I'm just glad I'm a subscriber.
The Interview: I had an unexpected chance to interview Sanaa Lathan before the premiere; and though I wound up asking her only a couple, fairly lame, questions, Lathan graciously responded, abating some of my nervousness. When asked how she sees herself in the brave new world of Black actors finally getting some meaningful roles in mainstream Hollywood films, Lathan said she hopes to maintain her integrity, and get the kinds of roles she is capable of doing great things with.
If Lathan keeps going down the same trail she blazed with films like THE BEST MAN, LOVE AND BASKETBALL, and DISAPPEARING ACTS, she'll do just fine.
The "Black Factor" [ObDisclaimer: We Are Not A Monolith]: [Watch Bammer get her Eviction Notice from the 'hood...]
Ok, put the kiddies to bed; I need to talk to the Grown Folks. *My* Grown Folks.
My People, My People...can I be for real tho'? Too bad, I'm gonna: We need to stop clownin' in the theater. Yes, I *did* say that. And I'll do it again: We need to quit.
I was too through with the premiere audience's chatter, with their laughter at inappropriate times (the girl was *sick*; since when is that funny?) and with all the childish, loud giggling during Franklin and Zora's sex scenes. Fine, We don't know what head is all about - or so the myth goes. But dag, was it necessary to drown out relevant dialogue with all the tittering whenever Wesley's bootie showed on screen? Yes, it *was* fine...but get over it already, okay? Can We *pretend* that We've been out before? I'm just glad I get HBO, and can watch this show tonight in the comfort of my own bed.
Hey, if it gets my Ghetto Pass revoked, so be it. Y'all know I ain't lyin'.
Bammer's Bottom Line: If you have access to HBO [and no, that *doesn't* include hot-wiring cable in just so you can get this flick. Ya Heard.], by all means, catch DISAPPEARING ACTS as it premieres Saturday December 9 at 9pm Eastern. "Acts" is must see-TV: Wesley Snipes and Sanaa Lathan positively SIZZLE on the screen, Gina Prince's direction is top-notch, and screenwriter Lisa Jones does a good job of toning down Terry McMillan's perceived bent towards men-bashing.
DISAPPEARING ACTS (rating: greenlight): Here's to more of these types of mature, realistic, sensuous slice-of-life movies starring Black actors, coming to screens big and small.
[Catch the premiere of the HBO original film DISAPPEARING ACTS on Saturday December 9, 2000, 9pm Eastern, with additional air dates on December 12, 17, 20, 25, and 28].
Rose "Bams" Cooper Webchick and Editor, 3BlackChicks Review Movie Reviews With Flava! Copyright Rose Cooper, 2000 EMAIL<EMAIL_ADDRESS>http://www.3blackchicks.com/
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Original: Roth et al. (1998), www.pubmed.com/9587123.
Originally a 1-item measure, but supplementary questions are added by some.
Believed to be in the public domain.
Believed to be in the public domain (made freely available by the US National Cancer Institute).


What you need to know about Frozen II
The second instalment of Disney’s much-loved animated film, Frozen, has arrived.
But how does it shape up in comparison to the first one?
Here is what you need to know about Frozen II
Cast: it features the voices of Idina Menzel, Kristen Bell, Jonathan Groff, Josh Gad, Alfred Molina, Evan Rachel Wood and Ciaran Hinds. Director credits include Chris Buck and Jennifer Lee.
What’s the plot?
According to lovable snowman Olaf (voiced by Gad), who is a permafrosted font of wisdom about the natural world, water has memory.
Considering that audiences who flocked to the original Frozen are largely made of water, it’s safe to assume that their memories of Buck and Lee’s Oscar-winning adventure will ebb and flow throughout this visually stunning sequel to the highest-grossing animated film of all time.
Oh no, H2O? Not quite…
Water and the other classical elements – air, earth and fire – play pivotal roles in Frozen II.
The realistic movement of aqua has always been a chink in the armour of computer animators. Not so here.
Disney’s platoons of digital wizards repeatedly quench our thirst with jaw-dropping set pieces including a thrilling gallop over crashing waves of an angry sea astride an untamed water horse.
What about the music?
We’ve had six years to commit to memory every note, key change and lyrical flip of Do You Want To Build A Snowman?, For The First Time In Forever, Love Is An Open Door and Let It Go.
It would be churlish to expect returning songwriters Kristen Anderson-Lopez and Robert Lopez to ride the crest of those sound waves again on a first listen.
In the sequel, Elsa’s call to arms Into The Unknown soars to dizzying high notes and Kristoff’s faux 1990s rock ballad Lost In The Woods is a hoot, replete with four-legged backing singers.
Anna’s solo The Next Right Thing is a beautifully melancholic distillation of grief.
What lies ahead for Elsa and Anna?
Three years have passed since Elsa (voiced by Menzel) ascended the throne of Arendelle.
An ethereal voice from the enchanted forest beckons her to unlock the secret of a bedtime story told to Elsa and sister Anna (Bell) by their parents, King Agarr (Molina) and Queen Iduna (Wood).
“The truth must be found. Without it, there is no future,” confirms troll king Grand Pabbie (Hinds).
Thus, Elsa, Anna, her goofy beau Kristoff (Groff), reindeer Sven and Olaf journey to an ancient stone circle shrouded in swirling mist, which designates a hidden pathway to the supposedly lost Northuldra tribe.
What about Olaf?
Inveterate scene-stealer Olaf hysterically recaps the first film in the sequel’s crowd-pleasing showpiece and finds a perfect match for his gosh-darn cuteness in a blue salamander sidekick.
What’s the verdict?
While the first film encouraged characters to let go of things that hurt or hinder – fear, self-doubt, regret, the past – Buck and Lee’s follow-up dives deeper into their tearful self-reflection.
Menzel and Bell gently tug heartstrings as sisterly bonds strain and their brave heroines make sacrifices to remedy a great injustice.
“I’ve had my adventure/I don’t need something new,” defiantly trills Elsa.
Legions of fans do, and, despite its flimsy plot, Frozen II largely delivers.
Frozen II is released in the UK and Ireland on November 22.


World's teens more sedentary, digital technology a possible cause
by Stephanie Nebehay and Kate KellandGeneva: Teenagers worldwide are jeopardising their health by failing to get enough exercise to reduce their risk of obesity and cardiovascular diseases - and digital technology may be playing a role.
A World Health Organisation-led study, based on data from 146 countries, found that more than 80 per cent of adolescents did not meet a WHO recommendation for at least an hour of physical activity a day.
"Four in every five adolescents do not experience the enjoyment and social, physical, and mental health benefits of regular physical activity," said Fiona Bull, a specialist in activity and health and a co-author of the work.
She urged policymakers worldwide to "act now for the health of this and future young generations".
Globally, girls are more inactive than boys, with 85 per cent of girls and 78 per cent of the boys surveyed failing to hit the daily exercise target.
The study looked at adolescents over 2001-2016 and its authors say there is nothing to suggest the pattern has improved since.
Leanne Riley, a WHO expert on non-communicable diseases and co-author, said sedentary behaviour may be due in part to a recent rapid expansion in digital technology that means young people spend more time on phones, tablets and other screens.
"We've had this electronic revolution that seems to have changed adolescents' movement patterns and encourages them to sit more, to be less active, to drive more, walk less, (and) be less active in general," she told a news briefing.
Country by country, the percentage of teenagers not meeting the goal ranged from 66 per cent in Bangladesh to 94 per cent in South Korea.
Reuters


Tutorial Steps
Introduction- The Weather Application
- Initializing the CacheManager
- Putting stuff in the cache
- Making entries expire
- Configuring the cache
- Clustering the application
- Listen to changes in the cluster
- Listen to changes in the cache
- Grouping entries together
- Temperature averages with streams
- Declarative configuration
The Weather App
With a CacheManager running we can start creating caches and storing data in them. Caches in Infinispan are "named" which means they are identified by a unique name. We are going to enhance the WeatherService implementations from our initial version so that they store the retrieved data in a cache. To do this we will create an intermediate abstract class between the WeatherService interface and the concrete implementations: the CachingWeatherService. This class wraps the expensive remote calls in a method which caches the result returned by the remote call and, before subsequent invocations, checks whether the data is already available locally instead of invoking the expensive remote API. First of all let's obtain our cache:
= preserve do
:escaped
cacheManager.defineConfiguration("weather", new ConfigurationBuilder().build());
Cache cache = cacheManager.getCache("weather");
We are defining a named cache "weather" using a default configuration, which means a basic local cache. As you can see, the generic types of the keys and values are inferred from the assignment type. Next up, let's see the caching wrapper for the weather retrieval:
= preserve do
:escaped
LocationWeather weather = cache.get(location);
if (weather == null) {
weather = fetchWeather(location);
cache.put(location, weather);
}
return weather;
Since an Infinispan Cache is an implementation of the java.util.Map interface, the above code should be self explanatory. With the caching in place, let's run the application again, using the usual:
= preserve do
:escaped
$ git checkout -f step-2
$ mvn clean package exec:exec
Output
= preserve do
:escaped
---- Fetching weather information ----
Rome, Italy - Temperature: 12.9° C, Conditions: light rain
Como, Italy - Temperature: 6.3° C, Conditions: Sky is Clear
Basel, Switzerland - Temperature: 0.8° C, Conditions: overcast clouds
Bern, Switzerland - Temperature: -1.6° C, Conditions: broken clouds
London, UK - Temperature: 1.8° C, Conditions: light rain
Newcastle, UK - Temperature: 2.6° C, Conditions: scattered clouds
Bucharest, Romania - Temperature: 9.3° C, Conditions: scattered clouds
Cluj-Napoca, Romania - Temperature: 6.4° C, Conditions: scattered clouds
Ottawa, Canada - Temperature: -7.0° C, Conditions: overcast clouds
Toronto, Canada - Temperature: -7.0° C, Conditions: broken clouds
Lisbon, Portugal - Temperature: 14.6° C, Conditions: overcast clouds
Porto, Portugal - Temperature: 12.2° C, Conditions: moderate rain
Raleigh, USA - Temperature: 3.9° C, Conditions: Sky is Clear
Washington, USA - Temperature: 3.4° C, Conditions: light rain
---- Fetched in 1634ms ----
---- Fetching weather information ----
Rome, Italy - Temperature: 12.9° C, Conditions: light rain
Como, Italy - Temperature: 6.3° C, Conditions: Sky is Clear
Basel, Switzerland - Temperature: 0.8° C, Conditions: overcast clouds
Bern, Switzerland - Temperature: -1.6° C, Conditions: broken clouds
London, UK - Temperature: 1.8° C, Conditions: light rain
Newcastle, UK - Temperature: 2.6° C, Conditions: scattered clouds
Bucharest, Romania - Temperature: 9.3° C, Conditions: scattered clouds
Cluj-Napoca, Romania - Temperature: 6.4° C, Conditions: scattered clouds
Ottawa, Canada - Temperature: -7.0° C, Conditions: overcast clouds
Toronto, Canada - Temperature: -7.0° C, Conditions: broken clouds
Lisbon, Portugal - Temperature: 14.6° C, Conditions: overcast clouds
Porto, Portugal - Temperature: 12.2° C, Conditions: moderate rain
Raleigh, USA - Temperature: 3.9° C, Conditions: Sky is Clear
Washington, USA - Temperature: 3.4° C, Conditions: light rain
---- Fetched in 2ms ----
You should see the weather conditions displayed twice, but the second run should be several orders of magnitude faster. Good stuff! Entries created above are immortal, i.e. they will exist in the cache until removed. In the next step we will see how to add mortal entries.


Class A references class B if A extends, implements, contains, aggregates, takes, returns, or otherwise depends on B. Macker can allow and deny such references between classes by pattern, using the <access-rule>
tag.
The allow/deny construct is very similar to the include/exclude construct, except that it applies to pairs of classes. An <access-rule>
contains <allow>
and <deny>
rules, each of which may specify a <from>
and a <to>
pattern, and an optional <message>
to display when the rule is broken:
<access-rule> <message>The UI layer may not directly access the DB layer</message> <deny> <from pattern="ui-layer" /> <to pattern="db-layer" /> </deny> </access-rule>
If you omit a <from>
or a <to>
, Macker presumes the rule applies from or to anything. Here, for example, is a rule which forbids any primary class from using the outdated Vector
:
<access-rule> <deny> <to class="java.util.Vector" /> </deny> </access-rule>
(If you want to see Macker really mad, try putting <deny/>
in an access rule!)
The <from>
and <to>
tags are secretly anonymous <pattern>
tags -- you can nest include/exclude rules inside them.
<access-rule> <deny> <to> <include class="java.util.Vector" /> <include class="java.util.Hashtable" /> <include class="java.util.Enumeration" /> </to> </deny> </access-rule>
Nesting allow/deny tags works just as nesting include/exclude does: the inner rules apply only if the outer one did. One common idiom is to specicfy that only a specific set of classes are allowed to use a certain API or layer by first ruling out everything, then adding back in the privileged classes. Here, for example, is a rule that says only the DB layer is allowed to use Java's database APIs:
<access-rule> <message>Only the DB layer may access database APIs</message> <deny> <to> <include class="java.sql.**" /> <include class="javax.sql.**" /> <include class="javax.jdo.**" /> </to> <allow> <from pattern="db-layer" /> </allow> </deny> </access-rule>
Macker defines two special patterns, named from
and to
, which match the two ends of a reference in an access rule. You can use these in combination with filters to make self-referential rules such as "a class may not reference its own subclasses".
Not all access rules need be hard and fast -- some rules can generate a warning, but still leave Macker considering rules checking to have passed. Here, for example, is a warning from Effective Java expressed in Mackerese:
<access-rule severity="warning"> <deny> <to> <include class="java.lang.ThreadGroup" /> </to> </deny> </access-rule>
You can override the severity of any rule, or of an entire ruleset:
<ruleset name="Recommendations" severity="warning">
...rules here will all be warnings, unless overridden...
</ruleset>
The severity
attribute takes the following values:
| Severity | Print message? | Fail rule checking? | Default for... |
|---|---|---|---|
| error | yes | yes | <access-rule> |
| warning | yes | no | |
| info | yes | no | <message> |
| debug | no | no |
Access rules do not apply to all relationships between every class in your classpath. Rather, a <from>
tag will only match from a set of primary classes, which you specify when you invoke Macker.
You can make a particular ruleset apply only to a particular subset of the input classes by placing a <subset>
pattern immediately inside a <ruleset>
.
Here, for example, is a ruleset which ignores test classes:
<ruleset>
<pattern name="not-test">
<exclude class="**Test**" />
</pattern>
<ruleset name="App rules (excludes tests)">
<subset pattern="not-test" />
<!-- rules go here -->
</ruleset>
</ruleset>
Note that subsets do not affect the set of all possible classes for pattern matching -- only the set of primary classes. This limits only what <from>
and <foreach>
(explained later) will match.
Ideally, Macker's notion of "reference" would cover all the kinds of relationships that Java itself would check if B were private and inaccessible to A. This is almost the case; Macker can detect that class A references class B if:
(A future release of Macker will allow access rules to distinguish these different types of references.)
There are, however, some cases which Macker simply cannot check, because the information just isn't there in the bytecode. Unused imports won't show up. The type of a local variable will not show up if it is unused or only assigned to, and nobody invokes any methods on it. Usage of primitive types is generally difficult to detect (some operations on arrays of primitives do show up). For obvious reasons, dynamic loading of classes (Class.forName
and friends) is beyond Macker's reach. It is also possible that the compiler will simply optimize away certain kinds of trivial usage of a class.
As long as Macker operates on compiled classes, there's nothing we can do about any of this. Now it's questionable whether you'd want some of these cases to show up -- in most cases, working on class files gives a much more accurate picture of runtime dependencies than source -- but it's a moot question. Macker doesn't look at your source.


@(user: Option[User]) @customScripts = { } @main("Developers", user = user, scripts = customScripts) {
hash=`echo -n "mail@@you.com" | md5` curl http://www.speakerz.io/speakers/$hash


stk.optimization.mopac module¶
Defines optimization functions which use MOPAC.
-
stk.optimization.mopac.
_convert_mopout_to_mol
(mol)¶ Updates the molecular structure if the optimization is successful.
Takes the
.pdb
file of the neutral file generated from the MOPAC run and initializes a newrdkit
molecule with those coordinates. mol is then updated to hold the new molecule.Parameters: mol ( Molecule
) – The macromolecule being optimized. The.pdb
file holding its optimized structure is converted to a rdkit molecule.Returns: None Return type: NoneType
-
stk.optimization.mopac.
_create_mop
(mol, settings)¶ Creates the
.mop
file holding the molecule to be optimized.Parameters: - mol (
Molecule
) – The molecule which is to be optimized. Its molecular structure file is converted to a.mop
file. The original file is also kept. - settings (
dict
) – Dictionary defined inmopac_opt()
, where all the run details are defined.
Returns: The full path of the newly created
.mop
file.Return type: str
- mol (
-
stk.optimization.mopac.
_kill_mopac
(mol)¶ Kills an in-progress MOPAC run.
To kill a MOPAC run, a file with the molecule’s name and a
.end
extension is written.Parameters: mol ( Molecule
) – The molecule being optimized.Returns: None Return type: NoneType
-
stk.optimization.mopac.
_mop_line
(settings)¶ Formats settings into a MOPAC input string.
Parameters: settings ( dict
) – Dictionary defined inmopac_opt()
, where all the run details are defined.Returns: String containing all the MOPAC keywords correctly formatted for the input file. Return type: str
-
stk.optimization.mopac.
_run_mopac
(mol, mopac_path, settings, timeout=7200)¶
-
stk.optimization.mopac.
mopac_opt
(mol, mopac_path, settings=None)¶ Optimizes the molecule using MOPAC.
This function runs an optimization. It is possible to provide different options, which correspond to the input keywords from MOPAC:
http://openmopac.net/Manual/index.html
Parameters: - mol (
Molecule
) – The molecule to be optimized. - mopac_path (
str
) – The full path to the MOPAC suite on the user’s machine. For example, in a default MacOS installation the folder will probably be something like/opt/mopac/MOPAC2016.exe
. - settings (
dict
, optional) –A dictionary which maps the names of the optimization parameters to their values. Valid values are:
- ’hamiltonian’ :
str
(default ='PM7'
) - A series of different methods can be selected:
PM7, PM6, AM1, CIS (CISD, CISDT), MNDO, RM1, etc..
PM7 is the latest version of the reparametrization of NDDO theory, where all the atomic and diatomic parameters were re-optimized / updated from PM6 [1].
- ’method’ :
str
(default ='OPT'
) - The default calculation consists of a geometry optimization. You can run single point calculations (SCF) or transition search algorithms (TS). Refer to the MOPAC website for specific keywords.
- ’gradient’ :
float
(default =0.01
) - The gradient at which the geometry optimization reaches
the convergence criteria (
kcal
/mol
/Angstrom
). For small system and high precision work,0.01
is recommended. - ’eps’ :
float
(default =80.1
) - Sets the dielectric constant for the solvent. Presence
of this keyword will cause the COSMO (Conductor-like
Screening Model) method to be used to approximate the
effect of a solvent model surrounding the molecule.
Solvents with a low dielectric constant are not likely
to work well with this model.
0
means that the dielectric constant is not included in the calculation.80.1
can be used to model a water environment at room temperature. - ’charge’ :
float
(default =0
) - The charge of the system.
- ’fileout’ :
str
(default ='PDBOUT'
) - Determines the output file type.
- ’timeout’ :
float
(default =172800
) - The amount in seconds the optimization is allowed to
run before being terminated. The default value is
2
days or172,800
seconds.None
means there is no timeout.
- ’hamiltonian’ :
Returns: None
Return type: NoneType
References
[1] http://openmopac.net/PM7_accuracy/PM7_accuracy.html - mol (


| bs_current_theme {bslib} | R Documentation |
Intended for advanced use by developers to obtain the currently active theme
at render time and primarily for implementing themable widgets that can't
otherwise be themed via bs_dependency_defer()
.
bs_current_theme(session = get_reactive_domain())
session |
The current Shiny session (if any). |
This function should generally only be called at print/render time. For example:
Inside the preRenderHook
of htmlwidgets::createWidget()
.
Inside of a custom print method that generates htmltools::tags.
Inside of a htmltools::tagFunction()
Calling this function at print/render time is important because it does different things based on the context in which it's called:
If a reactive context is active, session$getCurrentTheme()
is called
(which is a reactive read).
If no reactive context is active, shiny::getCurrentTheme()
is called
(which returns the current app's theme
, if relevant).
If shiny::getCurrentTheme()
comes up empty, then bs_global_get()
is called, which is relevant for rmarkdown::html_document()
, and
possibly other static rendering contexts.
a bs_theme()
object.


|
MoveToCode
|
API for working with MixedRealityToolkit folders contained in the project. More...
Static Public Member Functions | |
| static string | GetAssetDatabasePath (string absolutePath) |
| Maps an absolute path to be relative to the Project Root path (the Unity folder that contains Assets) More... | |
| static IEnumerable< string > | GetDirectories (MixedRealityToolkitModuleType module) |
| Get list of discovered directories for provided module type More... | |
| static void | RefreshFolders () |
| Force refresh of MRTK tracked folders. More... | |
| static async Task | WaitForFolderRefresh () |
| Get task tracking folder refresh if component wants to wait for files to be ready More... | |
| static string[] | GetFiles (string mrtkRelativeFolder) |
| Returns files from all folder instances of the core MRTK folder relative path. More... | |
| static string[] | GetFiles (MixedRealityToolkitModuleType module, string mrtkRelativeFolder) |
| Returns files from all folder instances of the MRTK folder relative path. More... | |
| static string | MapRelativeFilePath (string mrtkPathToFile) |
| Maps a single relative path file to a concrete path from one of the core MRTK folders, if found. More... | |
| static string | MapRelativeFilePath (MixedRealityToolkitModuleType module, string mrtkPathToFile) |
| Maps a single relative path file to a concrete path from one of the MRTK folders, if found. More... | |
| static string | MapRelativeFilePathToAbsolutePath (string mrtkPathToFile) |
| Maps a single relative path file to MRTK folders to its absolute path, if found. More... | |
| static string | MapRelativeFilePathToAbsolutePath (MixedRealityToolkitModuleType module, string mrtkPathToFile) |
| Overload of MapRelativeFilePathToAbsolutePath which provides the ability to specify the module that the file belongs to. More... | |
| static string | MapRelativeFolderPathToAbsolutePath (MixedRealityToolkitModuleType module, string mrtkPathToFolder) |
| Similar to MapRelativeFilePathToAbsolutePath, except this checks for the existence of a folder instead of file. More... | |
| static string | MapModulePath (MixedRealityToolkitModuleType module) |
| Get the relative asset folder path to the provided Module type More... | |
| static MixedRealityToolkitModuleType | GetModuleFromPackageFolder (string packageFolder) |
| Finds the module type, if found, from the specified package folder name. More... | |
Properties | |
| static IEnumerable< string > | MRTKDirectories [get] |
| Returns a collection of MRTK Core directories found in the project. More... | |
| static bool | AreFoldersAvailable [get] |
| Are any of the MRTK directories available? More... | |
| static string | GetGeneratedFolder [get] |
| Creates the MixedRealityToolkit.Generated folder if it does not exist and returns the path to the generated folder. More... | |
API for working with MixedRealityToolkit folders contained in the project.
This class works by looking for sentinel files (following the pattern MRTK.*.sentinel, for example, MRTK.Core.sentinel) in order to identify where the MRTK is located within the project.
|
static |
Maps an absolute path to be relative to the Project Root path (the Unity folder that contains Assets)
| absolutePath | The absolute path to the project. |
This doesn't produce paths that contain step out '..' relative paths.
|
static |
Get list of discovered directories for provided module type
| module | Module type to filter against |
File/Folder paths returned are absolute, not relative
|
static |
Returns files from all folder instances of the MRTK folder relative path.
| mrtkRelativeFolder | The MRTK folder relative path to the target folder. |
|
static |
Returns files from all folder instances of the core MRTK folder relative path.
| mrtkRelativeFolder | The core MRTK folder relative path to the target folder. |
|
static |
Finds the module type, if found, from the specified package folder name.
| packageFolder | The asset folder name (ex: MixedRealityToolkit.Providers) |
|
static |
Get the relative asset folder path to the provided Module type
| module | Module type to search for |
Returns first valid module folder path (relative) found. Returns null otherwise.
|
static |
Maps a single relative path file to a concrete path from one of the MRTK folders, if found.
Otherwise returns null.
| mrtkPathToFile | The MRTK folder relative path to the file. |
|
static |
Maps a single relative path file to a concrete path from one of the core MRTK folders, if found.
Otherwise returns null.
| mrtkPathToFile | The core MRTK folder relative path to the file. |
|
static |
Overload of MapRelativeFilePathToAbsolutePath which provides the ability to specify the module that the file belongs to.
When searching for a resource that lives in the MixedRealityToolkit.SDK folder, this could be invoked in this way: MapRelativeFilePathToAbsolutePath(MixedRealityToolkitModuleType.SDK, mrtkPathToFile)
|
static |
Maps a single relative path file to MRTK folders to its absolute path, if found.
Otherwise returns null.
For example, this will map "Inspectors\Data\EditorWindowOptions.json" to its full path like "c:\project\Assets\Libs\MRTK\MixedRealityToolkit\Inspectors\Data\EditorWindowOptions.json". This assumes that the passed in mrtkPathToFile is found under the "MixedRealityToolkit" folder (instead of the MixedRealityToolkit.SDK, or any of the other folders).
|
static |
Similar to MapRelativeFilePathToAbsolutePath, except this checks for the existence of a folder instead of file.
Returns first valid path found
|
static |
Force refresh of MRTK tracked folders.
Fires and forgets async call. Returns immediately
Kicks off async refresh of the MRTK folder database.
|
static |
Get task tracking folder refresh if component wants to wait for files to be ready
|
staticget |
Are any of the MRTK directories available?
If a search is currently in progress, then property will wait synchronously for the task to finish with timeout of 1 second
|
staticget |
Creates the MixedRealityToolkit.Generated folder if it does not exist and returns the path to the generated folder.
|
staticget |
Returns a collection of MRTK Core directories found in the project.
File/Folder paths returned are absolute, not relative


An important third wave punk album best known for the singles "Ruby Soho" and "Time Bomb."
| Track # | Title | Lenght |
|---|---|---|
| 1 | Maxwell Murder | 3:00 |
| 2 | Roots Radical | 2:43 |
| 3 | The 11th hour (written by Armstrong, Freeman, Frederiksen, Eric Dinn) | 1:57 |
| 4 | Time bomb | 1:57 |
| 5 | Time bomb | 1:57 |


Determine system type of remote server.
#include <ftplib.h> int FtpSysType(char *buf, int max, netbuf *nControl);
FtpSysType() issues a SYST command to the remote system and attempts to parse the system type out of the response and return it to the user's buffer.
Returns 1 if successful or 0 on error.


Can a value from an int
variable
be written to a binary file without translating it into characters?
Yes.
A Java int
uses patterns of 32 bits to represent integers.
The exact pattern contained in an int
can be written to four bytes
of a binary file.
OutputStream is an abstract class from which all byte-oriented output streams descend. Its descendant classes are used for general-purpose (non-character output). These streams write groups of bytes to output destinations. Java writes the same format for primitive types on all platforms. The data in a binary file can be read by Java programs running on any platform.
A FileOuputStream connects an output stream of bytes
to a file. A DataOuputStream can be connected
to a FileOutputStream
to provide
methods that are convenient for writing various data types.


WAITING FOR GUFFMAN A film review by Steve Rhodes Copyright 1997 Steve Rhodes
RATING (0 TO ****): *** 1/2
"You know the old saying that if you don't like the weather, just wait five minutes and it will change?" says Blaine, Missouri's proud and ever confident mayor Glenn Welsch (Larry Miller). "I honestly believe that with hard work we can get it down to 3 to 4 minutes." Glenn has a lot to be proud of. Blaine, "the stool capital of the world," will have its sesquicentennial celebration shortly.
Easily one of the best documentary putdowns ever was THIS IS SPINAL TAP from 1984. I remember the show for Christopher Guest's line about his amplifier. You see, their rock band was louder, and a priori better, than any other because their volume knob went to 11 rather than merely 10.
Now Christopher Guest is back with another documentary parody, WAITING FOR GUFFMAN, which is just as good as his last. As before, he has a leading role and cowrote the witty and intelligent script. This time his cowriter is Eugene Levy. Guest directs the film as well, which illustrates his talents better than any other part he has in the picture. His comedic sense of timing combined with the hilarious script had me laughing so hard I thought I would burst. The film is in three acts with a delightful epilogue. The only criticism I have of the picture is that the second act drags some in comparison with the others.
Guest plays the lead as Corky St. Claire. Corky, who has a background in off-off-off-Broadway productions, has brought his talents to backwoods Blaine. Although his last production in Blaine, a staged version of the movie BACKDRAFT, had some unfortunate technical difficulties that forced the fire department to be called in, he has created a special musical for the town's big event. He calls it "Red, White, and Blaine," and casts a not-so-stellar local ensemble.
After an audition session where people do everything including reading lines from RAGING BULL, Corky chooses his players. The actors in his musical are every bit as bad as the actors in the movie are marvelous.
The first two members of the cast are Ron and Sheila Albertson (Fred Willard and Catherine O'Hara). They are a husband and wife singing team and Blaine's travel agents. ("Some people find it ironic that although we run a travel agency, we've never been outside of Blaine," confesses Ron.) Their mannerisms are so excessively cute that the whole show could have been built around their characters. Anytime either of them spoke, I started to giggle. Julie Carnahan's costumes for them feature iridescent running suits.
The third cast member is Dr. Allan Pearl (co-writer Eugene Levy), the local dentist who believes his destiny is as a stand-up comic. The actors in the movie approach the comedy so earnestly that I kept finding myself beginning to take the fictional documentary as factual. The more serious they became, the funnier was the humor. And no one was more sincere than Dr. Pearl.
Dr. Pearl's wife (Linda Kash), who is not in the play, explains the life of their family. "We don't associate with the creative types," she tells us. "We have a Scrabble club. We associate with people with babies." His wife looks upon the good doctor as her sage. "He has tried to help me change my instincts or at least ignore them," she proudly reveals.
Rounding out the play's cast is Dairy Queen waitress Libby Mae Brown, played with perky style by Parker Posey, auto mechanic Johnny Savage (Matt Keeslar), and the town's strange old buzzard, Clifford Wooley (Lewis Arquette).
The ridiculous musical with its tacky sets is reminiscent of the "Springtime for Hitler" musical in THE PRODUCERS, which remains as one of the funniest films ever made. The longest and best act of the movie is the third, which is devoted to the musical.
In a movie this good it is hard to pick out a favorite part, but for me it has to be the one where Corky shows us his movie memorabilia collection. His favorite, and mine, are his MY DINNER WITH ANDRE action figures. Certainly, Andre and Wally are the most improbable candidates for action figures imaginable.
Although I was sitting in a press screening with just four other people in the theater, I felt like clapping when the film ended. It is that good. A more delightful and good humored show I have not seen in a long time.
WAITING FOR GUFFMAN runs a fast 1:24. It is incorrectly rated R for a couple of bad words. The film is a classic G picture and would be fine for kids of any age. I give the movie a strong recommendation and *** 1/2.
**** = A must see film. *** = Excellent show. Look for it. ** = Average movie. Kind of enjoyable. * = Poor show. Don't waste your money. 0 = Totally and painfully unbearable picture.
REVIEW WRITTEN ON: February 27, 1997
Opinions expressed are mine and not meant to reflect my employer's.
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.
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Related links: index of all rec.arts.movies.reviews reviews


Elayne was not certain Rand realized she was still in the room, the way he stared after Egwene with a half-bewildered expression. Now and again he shook his head as if arguing with himself, or trying to straighten his mind. She was content to wait him out. Anything that put off the moment a while longer.  Butterflies the size of hedgehogs frolicked in her stomach.
It was not fear of him channeling. She had let go of saidar as soon as Egwene stood to leave. She wanted to trust him, and she had to. It was what she wanted to happen that had her trembling inside. She had to concentrate not to finger her necklace or fiddle with the strand of sapphires in her hair. Was her perfume too heavy? No. Egwene said he liked the smell of roses. The dress. She wanted to tug it up, but . . .
He turned—the slight limp in his step tightened her lips thoughtfully—saw her sitting in her chair, and gave a start, eyes widening with what seemed very close to panic. She was glad to see it; the effort of keeping her own face serene had leaped tenfold as soon as his eyes touched her.
He recovered on the instant and made a quite unnecessary bow, wiping his hands once nervously on his coat. “I did not realize you were still—” Flushing, he cut off; forgetting her presence might be taken as an insult. “I mean . . . I didn’t . . . that is, I . . . ” He took a deep breath and began again.  It isn’t every day someone tells you they don’t love you, my Lady.”
She put on a tone of mock severity.  And curtsy. Even the Queen of Andor might curtsy to you, and I am only Daughter-Heir.”
“Light! Don’t do that.” He seemed uneasy out of all proportion to the threat.
“I will not, Rand,” she said in a more serious voice, “if you call me by my name. Elayne. Say it.”
“Elayne.” He spoke awkwardly, yet, delightfully, as if he were savoring the name, too.
“Good.” It was absurd to be so pleased; all he had done was say her name, after all. There was something she had to know before she could go on. “Did it hurt you very much?” That could be taken two ways, she realized. “What Egwene told you, I mean. ”
“No. Yes. Some. I don’t know. Fair is fair, after all.” His small grin took some of the edge off of his wariness.  Not to me.”
“I told her the pure truth, but I don’t think she believed me. I suppose I did not want to believe it of her, either. Not really.  He won’t try to hold on to her; I won’t have to deal with that. Her voice was calm, with a light enough tone to let him know she did not really mean what she said. “I saw a Cairhienin lord’s fool, once, a man in a funny striped coat, too big for him and sewn with bells. You would look silly wearing bells.”
“I suppose I would,” he said ruefully. “I will remember that.” His slow grin was wider this time, warming his whole face.
The butterflies’ wings flogged her for haste, but she occupied herself with straightening her skirts. She had to go slowly, carefully.  And he will be right. The butterflies in her belly were beating kettle drums, now.
“Would you like a flower?” he asked suddenly, and she blinked in confusion.
“A flower?”
“Yes.” Striding to the bed, he scooped up a double handful of feathers from the tattered mattress and held them out to her. “I made one for the majhere last night. You’d have thought I had given her the Stone. But yours will be much prettier,” he added hastily. “Much prettier. I promise.”
“Rand, I—”
“I will be careful. It takes only a trickle of the Power. Just a thread, and I will be very careful.”
Trust. She had to trust him. It was a small surprise to realize that she did. “I would like that, Rand.”
For long moments he stared at the fluffy mound in his hands, a slow frown on his face. Abruptly he let the feathers fall, dusting his hands. “Flowers,” he said. “That’s no fit gift for you.” Her heart went out to him; clearly he had tried to embrace saidin and failed. Masking disappointment in action, he limped hurriedly to the metallic cloth and began gathering it over his arm. “Now this is a proper gift for the Daughter-Heir of Andor. You could have a seamstress make . . . ” He floundered over what a seamstress might make from a four-pace length of gold-and-silver cloth, less than two feet wide.
“I am sure a seamstress will have many ideas,” she told him diplomatically. Pulling a handkerchief from her sleeve, she knelt for a moment to collect the feathers he had dropped into the square of pale blue silk.
“The maids will take care of that,” he said as she tucked the small bundle securely into her belt pouch.
“Well, this bit is done.” How could he understand that she would keep the feathers because he had wanted them to be a flower? He shifted his feet, holding the glittering folds as if he did not know what to do with them. “The majhere must have seamstresses,” she told him. “I will give that to one of them.” He brightened, smiling; she saw no reason to tell him she meant it as a gift. Those thundering butterflies would not let her hold back any longer.   I like you very much.”
Did he have to look as if he did not understand at all? “I am fond of you, Rand.” She was startled that she said it so calmly; her stomach seemed to be trying to writhe up into her throat, and her hands and feet felt like ice. “More than fond.” That was enough; she was not going to make a fool of herself. He has to say more than “like,” first. She almost giggled hysterically. I will keep control of myself. I will not let him see me behave like a moon-eyed girl. I will not.
“I am fond of you,” he said slowly.
“I am not usually so forward.” No; that might make him think of Berelain. There was red in his cheeks; he was thinking of Berelain. Burn him! Her voice came as smooth as silk. “Soon I will have to go, Rand. To leave Tear. I may not see you again for months.”  She refused to listen. “I could not go without letting you know how I feel. And I am . . . very fond of you.”
“Elayne, I am fond of you. I feel . . . I want . . . ” The scarlet spots on his cheeks grew. “Elayne, I don’t know what to say, how to . . . ”
Suddenly it was her face that was flaming. He must think she was trying to force him into saying more. Aren’t you? the small voice mocked, which only made her cheeks hotter. “Rand, I am not asking for . . . ” Light! How to say it? “I only wanted you to know how I feel. That is all.” Berelain would not have let it go at that. Berelain would have been wrapped around him by now. Telling herself she would not let that half-dressed snip better her, she moved closer to him, took the glittering cloth from his arm, and dropped it on the carpet. For some reason he seemed taller than he ever had before. “Rand . . .  There. It was out.
“Kiss you?” he said as if he had never heard of kissing before. “Elayne, I don’t want to promise more than . . .  Not that I am suggesting we should be. It’s just that . . . I am fond of you, Elayne. More than fond. I just do not want you to think I . . .  “I do not know how things are done in the Two Rivers, but in Caemlyn you don’t wait until you are betrothed before kissing a girl. And it does not mean you must become betrothed, either. But perhaps you do not know how—” His arms went around her almost roughly, and his lips came down on hers. Her head spun; her toes tried to curl up in her slippers. Some time later—she was not certain how long—she realized she was leaning against his chest, knees trembling, trying to gulp air.
“Forgive me for interrupting you,” he said. She was glad to hear a touch of breathlessness in his voice. “I am just a backward shepherd from the Two Rivers.”
“You are uncouth,” she murmured against his shirt, “and you did not shave this morning, but I would not say you are backward.”
“Elayne, I—”
She put a hand over his mouth. “I do not want to hear anything from you that you do not mean with your whole heart,” she said firmly. “Not now, or ever.”
He nodded, not as if he understood why, but at least as if he understood that she meant what she said. Straightening her hair—the strand of sapphires was tangled beyond mending without a mirror—she stepped out of his encircling arms, not without reluctance; it would be all too easy to remain there, and she had already been more forward than she had ever dreamed of before. Speaking up like that; asking for a kiss. Asking! She was not Berelain.
Berelain. Perhaps Min had had a viewing. What Min saw, happened, but she would not share him with Berelain. Perhaps she needed to do a bit more plain speaking. Obliquely plain, at least. “I expect you will not lack for company after I go. Just remember that some women see a man with their hearts, while others see no more than a bauble to wear, no different than a necklace or a bracelet. Remember that I will come back, and I am one who sees with her heart.” He looked confused, at first, then a little alarmed. She had said too much, too fast. She had to divert him. “Do you know what you have not said to me? You have not tried to frighten me away by telling me how dangerous you are. Don’t try now. It is too late.”
“I did not think of it.” Another thought came to him, though, and his eyes crinkled with suspicion. “Did you and Egwene scheme this up between you?”
She managed to combine wide-eyed innocence with mild outrage. “How could you even consider such a thing? Do you imagine we would hand you around between us like a package? You think a good deal of yourself. There is such a thing as being overproud.” He did look confused, now. Quite satisfactory. “Are you sorry for what you did to us, Rand?”
“I did not mean to frighten you,” he said hesitantly. “Egwene made me angry; she’s always been able to without half trying. That’s no excuse, I know. I said I was sorry, and I am. Look what it got me. Burned tables and another mattress ruined.”
“And for . . . the pinch?”
His face reddened again, but he faced her firmly even so. “No. No, I am not sorry for that. The two of you, talking over my head, as if I were a lump of wood with no ears. You deserved as much, both of you, and I won’t say different.”
For a moment she considered him. He rubbed his arms through his coat sleeves as she momentarily embraced saidar. She did not know Healing to any degree, but she had learned bits and pieces on the edge of it. Channeling, she soothed away the hurt she had given him for the pinch. His eyes widened in surprise, and he shifted on his feet as if testing the absence of pain. “For being honest,” she told him simply.
There was a rap at the door, and Gaul looked in. At first the Aielman had his head down, but after a quick glance at them he raised it. Color flooded Elayne’s face as she realized he had suspected that he might be interrupting something he should not see. She very nearly embraced saidar again and taught him a lesson.
“The Tairens are here,” Gaul said. “The High Lords you were expecting.”
“I will go, then,” she told Rand. “You must tell them about—taxes, was it not? Think on what I have said.” She did not say “think of me,” but she was sure the effect would be the same.
He reached out as if to stop her, but she slipped away from him. She had no intention of putting on a display in front of Gaul. The man was Aiel, but what must he think of her, wearing perfume and sapphires at that hour of the morning? It required real effort not to pull the neckline of her dress up higher.
The High Lords entered as she reached the door, a cluster of graying men in pointed beards and colorful, ornate coats with puffy sleeves. They crowded out of her way with reluctant bows, their bland faces and polite murmurs not hiding their relief that she was leaving.
She glanced back once from the doorway. A tall, broad-shouldered young man in a plain green coat among the High Lords in their silks and satin stripes, Rand looked like a stork among peacocks, yet there was something about him, a presence that said he commanded there by right. The Tairens recognized it, bending their stiff necks reluctantly. He thought probably they bowed just because he was the Dragon Reborn, and perhaps they thought so, too. But she had seen men, like Gareth Bryne, the Captain-Commander of her mother’s Guards, who could have dominated a room in rags, with no title and no one knowing their name. Rand might not know it, but he was such a man. He had not been when she first saw him, but he was now. She pulled the door shut behind her.
The Aiel around the entrance glanced at her, and the captain commanding the ring of Defenders in the middle of the anteroom stared uneasily, but she barely noticed them. It was done. Or at least it was begun. Four days she had before Joiya and Amico were put on that ship, four days at most to twine herself so firmly into Rand’s thoughts that he had no room for Berelain. Of if not that, firmly enough that she stayed inside his head until she had the chance to do more. She had never thought she might do a thing like this, stalk a man like a huntress stalking a wild boar. The butterflies were still gamboling in her stomach. At least she had not let him see how nervous she was. And it occurred to her that she had not once thought of what her mother would say. With that, the flutterings vanished.  Morgase had to accept her daughter as a woman; that was all there was to it.
The Aiel bowed as she moved away, and she acknowledged them with a gracious nod that would have done Morgase proud. Even the Tairen captain looked at her as if he could see her new serenity. She did not think she would be troubled by butterflies again. For the Black Ajah perhaps, but not for Rand.
Ignoring the High Lords in their anxious semicircle, Rand watched the door close behind Elayne with wonder in his eyes. Dreams coming true, even only this much, made him uneasy. A swim in the Waterwood was one thing, but he would never have believed a dream where she came to him like this. She had been so cool and collected, while he was tripping over his own tongue. And Egwene, giving his own thoughts back to him and only concerned she might hurt him. Why was it women could go to pieces or fly into a rage at the smallest thing, yet never flicker an eyelash at what left you gaping?
“My Lord Dragon?” Sunamon murmured even more diffidently than usual. Word of this morning must have spread through the Stone already; that first lot had nearly run on their way out, and it was doubtful Torean would show his face, or his filthy suggestions, anywhere Rand was.
Sunamon essayed an ingratiating smile, then smothered it, drywashing his plump hands, when Rand only looked at him. The rest pretended they did not see the burned tables, or the shattered mattress and scattered books, or the half-melted lumps over the fireplace that had been the stag and wolves. High Lords were good at seeing only what they wanted to see. Carleon and Tedosian, false self-effacement in every line of their thick bodies, surely never realized there was anything suspicious in never looking at one another. But then, Rand might never have noticed if not for Thom’s note, found in the pocket of a coat just back from being brushed.
“The Lord Dragon wished to see us?” Sunamon managed.
Could Egwene and Elayne have worked it up between them? Of course not. Women did not do things like that any more than men. Did they? It had to be coincidence. Elayne heard that he was free and decided to speak. That was it. “Taxes,” he barked. The Tairens did not move, but they gave the impression of stepping back. How he hated dealing with these men; he wanted to dive back into the books.
“It is a bad precedent, my Lord Dragon, lowering taxes,” a lean, gray-haired man said in an oily voice. Meilan was tall for a Tairen, only a hand shorter than Rand, and hard as any Defender. He held himself in a stoop in Rand’s presence; his dark eyes showed how he hated it. But he had hated it when Rand told them to stop crouching around him, too. None of them straightened, but Meilan especially had not liked being reminded of what he did. “The peasants have always paid easily, but if we lower their taxes, when the day comes that we raise them back to where they now are, the fools will complain as bitterly as if we had doubled the present levy. There might well be riots when that day comes, my Lord Dragon.”
Rand strode across the room to stand before Callandor; the crystal sword glittered, outshining the gilt and gemstones surrounding it. A reminder of who he was, of the power he could wield. Egwene. It was foolish to feel hurt because she said she no longer loved him. Why should he expect her to have feelings for him that he did not have for her? Yet it did hurt. A relief, but not a pleasant one. “You will have riots if you drive men off their farms.” Three books stood in a stack almost by Meilan’s feet. The Treasures of the Stone of Tear, Travels in the Waste, and Dealings with the Territory of Mayene. The keys lay in those, and in the various translations of The Karaethon Cycle, if he could only find them and fit them to the proper locks. He pushed his mind back to the High Lords. “Do you think they will watch their families starve and do nothing?”
“The Defenders of the Stone have put down riots before, my Lord Dragon,” Sunamon said soothingly. “Our own guards can keep peace in the countryside.  Carleon flinched at Rand’s glare. “It is the civil war in Cairhien, my Lord Dragon,” he explained hurriedly. “The Cairhienin can buy no grain, and the granaries are bursting. This year’s harvest will go to waste as it is. And next year . . . ? Burn my soul, my Lord Dragon, but what we need is for some of those peasants to stop their eternal digging and planting.” He seemed to realize he had said too much, though he clearly did not understand why. Rand wondered whether he had any idea how food got to his table. Did he see anything but gold, and power?
“What will you do when Cairhien is buying grain again?” Rand said coolly. “For that matter, is Cairhien the only land that needs grain?” Why had Elayne spoken up like that? What did she expect of him? Fond, she said. Women could play games with words like Aes Sedai. Did she mean she loved him? No, that was plain foolishness. Overproud to a degree.
“My Lord Dragon,” Meilan said, half subservient, half as if explaining something to a child, “if the civil wars stopped today, Cairhien still could not buy more than a few bargeloads for two, even three years. We have always sold our grain to Cairhien.”
Always—for the twenty years since the Aiel War. They were so bound up in what they had always done that they could not see what was so simple. Or would not see it. When the cabbages sprouted like weeds around Emond’s Field, it was a near certainty that bad rain or whiteworm had struck Deven Ride or Watch Hill. When Watch Hill had too many turnips, Emond’s Field would have a shortage, or Deven Ride.
“Offer it in Illian,” he told them. What did Elayne expect? “Or Altara.” He did like her, but he liked Min as much. Or thought he did. It was impossible to sort out his feelings for either of them. “You have ships for the sea as well as riverboats and barges, and if you don’t have enough, hire them from Mayene.” He liked both women, but beyond that . . . He had spent very nearly his whole life mooning after Egwene; he was not about to dive into that again until he was sure. Sure of something. Sure. If Dealings with the Territory of Mayene was to be believed . . . Stop this, he told himself. Keep your mind on these weasels, or they’ll find cracks to slip through, and bite you on the way. “Pay with grain; I’m sure the First will be amenable, for a good price. And maybe a signed agreement, a treaty . . . ” That was a good word; the sort they used. “ . . . pledging to leave Mayene alone in return for ships.” He owed her that.
“We trade little with Illian, my Lord Dragon. They are vultures, and scum.” Tedosian sounded scandalized, and so did Meilan when he said, “We have always dealt with Mayene from strength, my Lord Dragon. Never with bent knee.”
Rand took a deep breath. The High Lords tensed. It always came to this. He always tried to reason with them, and it always failed. Thom said the High Lords had heads as hard as the Stone, and he was right. What do I feel for her? Dreaming about her. She’s certainly pretty. He was not sure if he meant Elayne or Min. Stop this!  Stop it! Putting women firmly out of his head, he set himself to telling these stone-brained fools what they were going to do. “First, you will cut taxes on farmers by three-quarters, and on everyone else by half. Don’t argue! Just do it! Second, you go to Berelain and ask—ask!—her price for hiring . . . ”
The High Lords listened with false smiles and grinding teeth, but they listened.
Egwene was considering Joiya and Amico when Mat fell in beside her, just walking down the hallway as if he merely happened to be going the same way. He was frowning to himself, and his hair needed brushing, as if he had been scrubbing his fingers through it. Once or twice he glanced at her but did not speak. The servants they passed bowed or curtsied, and so did the occasional High Lords and Ladies, if with markedly less enthusiasm. Mat’s lip-curling stares at the nobles would have brought trouble if she had not been there, friend of the Lord Dragon or not.
This silence was not like him, not like the Mat she knew. Except for his fine red coat—wrinkled as if he had slept in it—he seemed no different than the old Mat, yet they were surely all different now. His quiet was unsettling. “Is last night troubling you?” she asked at last.
He missed a step. “You know about that?  Doesn’t bother me. Wasn’t much to it. Over and done with now, anyway.”
She pretended to believe him. “Nynaeve and I do not see much of you.” That was a rank understatement.
“I have been busy,” he muttered with an uncomfortable shrug, looking everywhere but at her again.
“Dicing?” she asked dismissively.
“Cards.” A plump maid, curtsying with her arms full of folded towels, glanced at Egwene and, apparently thinking she was not looking, winked at Mat. He grinned at her. “I’ve been busy playing cards.”
Egwene’s eyebrows rose sharply. That woman had to be ten years older than Nynaeve. “I see. It must use up a great deal of time. Playing cards.  Friends don’t steal from friends.” He grimaced. “Besides, you’re always with that Elayne, with her nose in the air. Or Moiraine. I do not like—” Clearing his throat, he shot her a sideways glance. “I don’t like taking up your time. You are busy, from what I hear. Questioning Darkfriends. Doing all sorts of important things, I should imagine. You know these Tairens think you are Aes Sedai, don’t you?”
 It was Aes Sedai he did not like. However much of the world Mat saw, nothing would ever change him. “It is not stealing to take back what was supposed to be a loan,” she told him.
“I don’t remember you saying anything about a loan. Aaah, what use do I have for a letter from the Amyrlin? Just get me in trouble. You could have asked, though.”
She refrained from pointing out that they had asked. She wanted neither an argument nor a sulky departure. He would not call it that, of course. This time she would let him get away with his version. “Well, I am glad you are still willing to talk to me. Was there a special reason for it today?”
He shoved his fingers through his hair and muttered to himself. What he needed was his mother to haul him off by his ear for a long talking to. Egwene counseled herself to patience. She could be patient when she wanted to. She would not say a word before he did, if she burst for it.
The corridor opened into a railed colonnade of white marble, looking down on one of the Stone’s few gardens. Large white blossoms covered a few small, waxy-leafed trees and gave a scent even sweeter than the banks of red and yellow roses. A sullen breeze failed to stir the hangings on the inner wall, but it did cut the morning’s growing damp warmth. Mat took a seat on the wide balustrade with his back against a column and one foot up in front of him. Peering down into the garden, he finally said, “I . . . need some advice.”
He wanted advice from her? She goggled at him. “Whatever I can do to help,” she said faintly. He turned his head to her, and she did her best to assume something like Aes Sedai calm. “What do you want advice about?”
“I don’t know.”
It was a ten-pace drop to the garden. Besides, there were men down there weeding among the roses. If she pushed him over, he might land on one. A gardener, not a rosebush. “How am I supposed to advise you, then?” she asked in a thin voice.
“I am . . . trying to decide what to do.” He looked embarrassed; he had a right to, in her opinion.
“I hope you are not thinking of trying to leave. You know how important you are. You cannot run away from it, Mat.”
“You think I don’t know that? I don’t think I could leave if Moiraine told me I could. Believe me, Egwene, I am not going anywhere. I just want to know what’s going to happen.”  “What comes next? What’s in these holes in my memory? There are chunks of my life that aren’t even there; they don’t exist, as if they never happened! Why do I find myself spouting gibberish? People say it’s the Old Tongue, but it’s goose gabble to me. I want to know, Egwene. I have to know, before I go as crazy as Rand.”
“Rand is not crazy,” she said automatically. So Mat was not trying to run away. That was a pleasant surprise; he had not seemed to believe in responsibility. But there was pain and worry in his voice. Mat never worried, or never let anyone see it if he did. “I do not know the answers, Mat,” she said gently. “Perhaps Moiraine—”
“No!” He was on his feet in a bound. “No Aes Sedai! I mean . . . You’re different. I know you, and you aren’t . . . Didn’t they teach you anything in the Tower, some trick or other, something that would serve?”
“Oh, Mat, I am sorry. I am so sorry.”
His laugh reminded her of their childhood. Just so he had always laughed when his grandest expectations went astray. “Ah, well, I guess it does not matter. It’d still be the Tower, if at second hand. No offense to you.” Just so he had moaned over a splinter in his finger and treated a broken leg as if it were nothing at all.
“There might be a way,” she said slowly. “If Moiraine says it is all right. She might.”
“Moiraine! Haven’t you heard a word I said? The last thing I want is Moiraine meddling. What way?”
Mat had always been rash. But he wanted no more than she did, to know. If only he showed a little sense and caution for once. A passing Tairen noblewoman with dark braids coiled about her head, shoulders bare above yellow linen, bent her knee slightly, looking at them with no expression; she walked on quickly, with a stiff back. Egwene watched her until she was well beyond earshot, and they were alone. Unless the gardeners, thirty feet below, counted. Mat was staring at her expectantly.
In the end, she told him of the ter’angreal, the twisted doorway that held answers on its other side. It was the dangers she emphasized, the consequences of foolish questions, or those touching the Shadow, the dangers even Aes Sedai might not know. She was more than flattered that he had come to her, but he had to show a little sense. “You must remember this, Mat. Frivolous questions can get you killed, so if you do use it, you will have to be serious for a change. And you mustn’t ask any questions that touch the Shadow.”
He had listened with greater and greater incredulity. When she was done, he exclaimed, “Three questions?  You know very well ter’angreal are not stories. It’s the dangers you have to be aware of. Maybe the answers you seek are inside this one, but you must not try it before Moiraine says you can.  You know I can.”
He gave a loud snort. “I’d be a fool if I did try it, no matter what Moiraine says.   You can blot it right out of your mind.”
“It is the only chance I know, Mat.”
“Not for me, it isn’t,” he said firmly. “No chance at all is better than that.”
Despite his tone, she wanted to put an arm around him. Only he would likely make some joke at her expense, and try to goose her. He had been incorrigible from the day he was born. But he had come to her for help. “I’m sorry, Mat. What will you do?”
“Oh, play cards, I suppose. If anyone will play with me. Play stones with Thom. Dice in the taverns. I can still go as far as the city, at least.” His gaze strayed toward a passing maidservant, a slender, dark-eyed girl, near his own age. “I’ll find something to take up time.”
Her hand itched to slap him, but instead she said cautiously, “Mat, you really aren’t thinking of leaving, are you?”
“Would you tell Moiraine, if I was?” He put up his hands to forestall her. “Well, there’s no need. I told you I wouldn’t. I’ll not pretend I’d not like to, but I won’t. Is that good enough for you?” A pensive frown crept onto his face. “Egwene, do you ever wish you were back home? That none of this had ever happened?”
It was a startling question, coming from him, but she knew her answer. “No. Even with everything, no. Do you?”
“I would be a fool then, wouldn’t I?” he laughed. “It’s cities I like, and this one will do for now. This one will do. Egwene, you won’t tell Moiraine about this, will you? About me asking for advice and all?”
“Why shouldn’t I?” she asked suspiciously. He was Mat, after all.
He gave an embarrassed hitch of his shoulders. “I’ve been keeping wider of her than I have of . . . Anyway, I’ve been staying clear, especially when she wants to root around in my head. She might think I’m weakening. You won’t tell her, will you?”
“I won’t,” she said, “if you promise me you will not go near that ter’angreal without asking her permission. I shouldn’t even have told you about it.”
“I promise.” He grinned. “I won’t go near that thing unless my life depends on it. I swear.” He finished with mock solemnity.
Egwene shook her head. However much everything else changed, Mat just never would.


| Abstract Expressionism |
A post–World War II art movement in American painting, developed in New York in the 1940s. It was the first specifically American movement to achieve international influence and put New York City at the center of the western art world, a role formerly filled by Paris. |
Jackson Pollock,
Mark Rothko,
Willem De Kooning
|
| Baroque |
A period of artistic style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, architecture, literature, dance, theater, and music. The style began around 1600 in Rome and Italy, and spread to most of Europe. |
Caravaggio,
Diego Velazquez,
Jan Vermeer,
Nicolas Poussin,
Peter Paul Reubens,
Rembrandt van Rijn
|
| Constructivism |
A style or movement in which assorted mechanical objects are combined into abstract mobile structural forms. The movement originated in Russia in the 1920s and has influenced many aspects of modern architecture and design. |
El Lissitzky,
Kazimir Malevich,
Wassily Kandinksky
|
| Cubism |
An early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century. |
Fernand Leger,
Georges Braque,
Picasso,
Piet Mondrian
|
| Impressionism |
A style in which the artist captures the image of an object as someone would see it if they just caught a glimpse of it. They paint the pictures with a lot of color and most of their pictures are outdoor scenes. Their pictures are very bright and vibrant. |
Claude Monet,
Edgar Degas,
Pierre Auguste Renoir
|
| Neoclassical |
A severe and unemotional form of art harkening back to the grandeur of ancient Greece and Rome. Its rigidity was a reaction to the overbred Rococo style and the emotional charged Baroque style. The rise of Neoclassical Art was part of a general revival of interest in classical thought, which was of some importance in the American and French revolutions. |
Jacques-Louis David,
Jean-Auguste-Dominique Ingres
|
| Pop Art |
A style of art which explores the everyday imagery that is so much a part of contemporary consumer culture. Common sources of imagery include advertisements, consumer product packaging, celebrity photographs, and comic strips. |
Andy Warhol,
David Hockney,
Roy Lichtenstein
|
| Post Impressionism |
An umbrella term that encompasses a variety of artists who were influenced by Impressionism but took their art in other directions. There is no single well-defined style of Post-Impressionism, but in general it is less idyllic and more emotionally charged than Impressionist work. |
Amedeo Modgliani,
Georges Seurat,
Paul Cezanne,
Paul Gauguin,
Vincent Van Gogh
|
| Realism |
An approach to art in which subjects are depicted in as straightforward a manner as possible, without idealizing them and without following rules of formal artistic theory. |
Camille Corot,
Gaustave Courbet,
James McNeil Whistler,
Jean Francois Millet
|
| Renaissance |
A period of great creative and intellectual activity, during which artists broke away from the restrictions of Byzantine Art. Throughout the 15th century, artists studied the natural world in order to perfect their understanding of such subjects as anatomy and perspective. |
Raphael,
Sandro Botticelli,
Titian
|
| Romanticism |
A reaction against Neoclassicism, it is a deeply-felt style which is individualistic, exotic, beautiful and emotionally wrought. Although Romanticism and Neoclassicism were philosophically opposed, they were the dominant European styles for generations, and many artists were affected to a lesser or greater degree by both. |
Caspar David Freidrich,
Eugene Delacroix,
Francisco De Goya |
| Surrealism |
A style in which fantastical visual imagery from the subconscious mind is used with no intention of making the work logically comprehensible. It was similar in some elements to the mystical 19th-century Symbolist movement, but was deeply influenced by the psychoanalytic work of Freud and Jung. |
Georgia Okeeffe,
Joan Miro,
Max Ernst,
Rene Magritte,
Salvador Dali |
| Symbolism |
A 19th-century movement in which art became infused with exaggerated sensitivity and a spooky mysticism. It was a continuation of the Romantic tradition, which included such artists as John Henry Fuseli and Caspar David Friedrich. |
Gustav Klimt,
Gustave Moreau |


UnitEnergy
public extension UnitEnergy
-
Energy in MegaJoule (MJ)
Declaration
Swift
class var megajoule: UnitEnergy { get }
-
Energy in Watt Hours (Wh)
Declaration
Swift
class var wattHours: UnitEnergy { get }
-
Energy in Electron Volts (ev)
Declaration
Swift
class var electronVolt: UnitEnergy { get }
-
Energy in British Thermal Units (BTU)
Declaration
Swift
class var btu: UnitEnergy { get }
-
Energy in Therms (thm)
Declaration
Swift
class var therm: UnitEnergy { get }
-
Calculates the Energy Burned using stanard calculation from Heartrate, age, gender
Declaration
Swift
final class func energyBurned(weight: Measurement<UnitMass>, gender: UnitGender, heartRate: UInt8, ageInYears age: Int) -> Measurement<UnitEnergy>
Parameters
weight
Weight of Person
gender
Gender - UnitGender.female or UnitGender.male
heartRate
Heart Rate
age
Age of Person in years
Return Value
Energy Measurement
-
Calculates the Basal Metabolic Rate (BMR) using the Mifflin St. Jeor Equation
Declaration
Swift
final class func bmrUsingMifflin(height: Measurement<UnitLength>, weight: Measurement<UnitMass>, gender: UnitGender, ageInYears age: Int) -> Double
Parameters
height
Height
weight
Weight
gender
Gender - UnitGender.female or UnitGender.male
age
Age in Years
Return Value
The Basal metabolic rate (BMR)


Publications
Learning with Domain Knowledge to Develop Justifiable Convolution Networks
Rimmon Bhosale, Mrinal Das.
Asian Conference on Machine Learning (ACML), 2022.
Weight-Agnostic Hierarchical Stick-Breaking Process.
Mrinal Das, Chiranjib Bhattacharyya.
IEEE International Conference on Big Knowledge (ICBK), 2018.
Efficient differentially private learning improves drug sensitivity prediction.
Antti Honkela(1), Mrinal Das(1), Arttu Nieminen, Onur Dikmen, Samuel Kaski.
Biology Direct, 2018
(1) These authors contributed equally to this work.
SOPER: Discovering the influence of fashion and the many faces of User from Session logs using Stick Breaking Process.
Lucky Dhakad, Mrinal Das, Chiranjib Bhattacharyya, Samik Datta, Mihir Kale, Vivek Mehta.
International Conference on Information and Knowledge Management (CIKM), 2017.
SemEval 2017 Task 10: ScienceIE - Extracting Keyphrases and Relations from Scientific Publications.
Isabelle Augenstein, Mrinal Das, Sebastian Riedel, Lakshmi Vikraman, Andrew McCallum.
International Workshop on Semantic Evaluation, 2017.
Efficient differentially private learning.
Antti Honkela(1), Mrinal Das(1), Onur Dikmen, Samuel Kaski.
Theory and Practice of Differential Privacy WS at ICML 2016.
(1) These authors contributed equally to this work.
Ordered Stick-Breaking Prior for Sequential MCMC Inference of Bayesian Nonparametric Models.
Mrinal Das, Trapit Bansal, Chiranjib Bhattacharyya.
International Conference on Machine Learning (ICML), 2015.
Content Driven User Profiling for Comment-Worthy Recommendations of News and Blog Articles.
Trapit Bansal, Mrinal Das, Chiranjib Bhattacharyya.
The ACM Conference Series on Recommender Systems (RecSys), 2015.
Relating Romanized Comments to News Articles by Inferring Multi-glyphic Topical Correspondence.
Goutham Tholpadi, Mrinal Das, Trapit Bansal, Chiranjib Bhattacharyya.
Association for the Advancement of Artificial Intelligence Conference (AAAI), 2015.
Going beyond Corr-LDA for Detecting Specific Comments on News & Blogs.
Mrinal Das, Trapit Bansal, Chiranjib Bhattacharyya.
ACM Conference on Web Search and Data Mining (WSDM), 2014.
Recipient of travel award from Google and Yahoo!.
Subtle Topic Models and Discovering Subtly Manifested Software Concerns Automatically.
Mrinal Das, Suparna Bhattacharya, Chiranjib Bhattacharyya, K. Gopinath.
International Conference on Machine Learning (ICML), 2013.
Recipient of travel award from Google and Yahoo!.
Cluster Labeling for Multilingual Scatter/Gather in Resource-scarce
Languages.
Goutham Tholpadi, Mrinal Das, Chiranjib Bhattacharyya, Shirish Shevade.
European Conference on Information Retrieval (ECIR), 2012
Learning Dirichlet Processes from Partially Observed Groups.
Avinava Dubey, Indrajit Bhattacharya, Mrinal Das, Tanveer Faruquie, Chiranjib Bhattacharyya.
International Conference on Data Mining (ICDM), 2011
Non-dominated Rank based Sorting Genetic Algorithms.
Ashish Ghosh, Mrinal Kanti Das.
Journal of Fundamenta Informaticae, volume 83, number 3, pages 231-252, 2008.
Archived
Method and System for Legal Documents Categorization using Flexible Topic Modeling.
Mrinal Das, Chiranjib Bhattacharyya, Shirish Shevade. Under patenting process with Infosys.
Modeling Statement Context to Surface even Rare Diffused Topics Automatically.
Suparna Bhattacharya,
Mrinal Kanti Das, Chiranjib Bhattacharyya, K. Gopinath.
Tech report, 2012-3, CSA, Indian Institute of Science, Bangalore, India, 2012.
|


How to use?
Each code line must contain 16bits or equivalent information keep that in mind
You can leave a line empty for formating reasons but notice that it will completly be ignored.
This is very important when you address lines, remind yourself of the empty lines
The Assembler runs over the code starting at the first line and working its way through it.
Every line is than treated as a command, regardless of your intention to use it. So if you put
0000000000000011 in a line and the assembler runs the command it recognizes it as QUIT and stops working
Each command has parameters (even though it might ignore them) and is split into different parts in order to
get those parameters.
There are 2 different type of commands 4bit commands and 8bit commands. All 4bit commands start with a 1 thus all
8bit commands start with a 0. These different commands are used to modify the memory and the registers. Notice
that your whole code is loaded into the memory at the beginning. Currently the max size of the memory is 64, but
it can be easily adjusted(if you are me). However the current size of a memory address is 8bit.
Registers are 16bit storages directly in the controller, which are used in most operations. While memory has
only different addresses the registers have names in addition to their number. These names and numbers are:
NAME | NUMBER
zero | 0000
one | 0001
accu | 0010
register1 | 0011
register2 | 0100
register3 | 0101
register4 | 0110
register5 | 0111
position | 1111
Not all registers are changeble. one and zero e.g. cant be changed(in this model. you could do so by changing
the code). And even though the position register can be changed(it must be in order to determine the next command)
it is highly recommended only to do this without special commands like jumwhen you really know what you are
doing. Stuff tends to get messy if you mess with the position register.
So far we know:
Commands are 4/8 bit long
registers addresses are 4bit long
memory addresses are 8bit long
But we dont know the commands yet so lets change that. Commands can be written in 2 ways
1. as a string of numbers e.g. 00000000 for quitting the programm
2. as a string that translates to numbers e.g. QUIT
the parser knows some translations for all commands and some other usefull stuff so feel free
to use it.
here is a list of all translations:
CODE | TRANSLATION| DESCRIPTION
LOADL | 1001 | load from following to accu //for longer addresses if needed
SAVEL | 1010 | save to following to accu //for longer addresses if needed
LOADR | 1011 | load to reg1 from address
SAVER | 1100 | save from reg2 to address
EQUALN | 1101 | equal values of reg1 and reg2 lead to a jump to pos+n
QUIT | 00000000 | quit the programm run
LOAD | 00000001 | load from address to accu
SAVE | 00000010 | to address to accu
ADD | 00000011 | add reg1 to reg2 and put value into accu
SUB | 00000100 | subtract reg2 from reg1 and put value into accu
JUMP | 00000101 | jump to given address
EQUAL | 00000110 | equal values of reg1 and reg2 lead to a jump to position+2
GREATER | 00000111 | greater values of reg1 than reg2 lead to a jump to position+2
SMALLER | 00001000 | smaller values of reg1 than reg2 lead to a jump to position+2
UNEQUAL | 00001001 | unequal values of reg1 and reg2 lead to a jump to position+2
COPY | 00001010 | copy value of reg1 into reg2
MULTIPLY | 00001011 | multiply reg1 and reg2 and put value into accu
SHIFTLEFT | 00001100 | shiftleft reg1 by n
SHIFTRIGHT| 00001101 | shiftright reg2 by n
the arguments are alway listed in order in the description. so when it says:
"equal values of reg1 and reg2 lead to a jump to pos+n"
the line would be arranged like this:
EQUALN reg1 reg2 n
if you want reg1 to be the one register and reg2 to be register one and the jumplength to be 6 you would write
1101 0001 0011 0101
or
EQUALN 0001 0011 0101
I havent told you yet but: YOU CAN HAVE AS MANY SPACES AS YOU LIKE THEY ARE SIMPLY IGNORED!!! ok calm down...
So you can format the code the way you like it. You can also add comments with a # But notice that everything
behing it will be ignored so that a line only containing a comment counts as a free line.
Also worth noticing: Lines that start with an * contain compiler directives. Use with care. They dont check for
anything. The only thing you can do with them at the moment is setting more translations for the compiler
e.g. by using the line "*var one 0001" the compiler will later translate each occurence of "one" to 0001.
But beware the vars are translated in order so if you add "*var ones 1111" later the codeline ones will translate
to 0001s. So always use either unique names or put the variables with names that contain other variable names first.
For the example switching those lines will do. Also notice that you can overwrite compiler variables like QUIT
so "*var QUIT = 0000 0000 0000 0000 # 16 times" QUIT will compile to 16 zeros. As spaces and comments are cleared at the end.
(in most cases) you can use them in your definitions.
And here you go. Oh wait as an inspiration I have the following code for you that my girlfriend wrote. It adds
3 and 4 and writes the result into memory field 7:
*var reg1 = 0011
*var reg2 = 0100
LOADR reg1 0000 0101 # load line 5 into reg1
LOADR reg2 0000 0110 # load line 6 into reg2
ADD reg1 reg2 # add reg1 and reg2 and write to accu
SAVE 0000 0111 # save accu to memory address 7
QUIT EMPTY # quit programm
0000 0000 0000 0011 # m = 3
0000 0000 0000 0100 # n = 4


Module textredux.core.list
The list module provides a text based item listing for Textadept, featuring advanced search capabilities and styling.
How to use
Create the list using new, specify items and other fields/callbacks (such as on_selection) and invoke list:show.
Please see also the various list examples in ./examples
.
Features
- Support for multi-column table items, in addition to supporting the simpler case of just listing strings.
- Fully customizable styling. You can either specify individual styles for different columns, or specify styles for each item dynamically using a callback.
- Powerful search capabilities. The list class supports both exact matching and fuzzy matching, and will present best matches first. It also supports searching for multiple search strings (any text separated by whitespace is considered to be multiple search strings). Searches are done against all columns.
Ctrl/Alt/Meta-Backspace
resets the current search.
Functions
| new (title, items, on_selection) | Creates a new list. |
| show () | Shows the list. |
| get_current_selection () | Returns the currently selected item if any, or nil otherwise. |
| close () | Closes the list. |
| get_current_search () | Returns the current user search if any, or nil otherwise. |
| set_current_search (search) | Sets the current user search. |
Tables
| column_styles | The default styles to use for different columns. |
Fields
| header_style | The default style to use for diplaying headers. |
| match_highlight_style | The style to use for indicating matches. |
| search_case_insensitive | Whether searches are case insensitive or not. |
| search_fuzzy | Whether fuzzy searching should be in addition to explicit matches. |
List instance fields
| headers | Optional headers for the list. |
| items | A table of items to display in the list. |
| on_selection | The handler/callback to call when the user has selected an item. |
| on_new_selection | The handler/callback to call when the user has typed in text which
doesn't match any item, and presses <enter> . |
| buffer | The underlying textredux.core.buffer used by the list. |
| keys | A table of key commands for the list. |
| data | A general purpose table that can be used for storing state associated with the list. |
Functions
- new (title, items, on_selection)
-
Creates a new list.
Parameters:
- title The list title
- items The list items, see items. Not required, items can be set later using the items field.
- on_selection The on selection handler, see on_selection. Not required, this can be specified later using the on_selection field.
Returns:
-
The new list instance
- show ()
- Shows the list.
- get_current_selection ()
- Returns the currently selected item if any, or nil otherwise.
- close ()
- Closes the list.
- get_current_search ()
- Returns the current user search if any, or nil otherwise.
- set_current_search (search)
-
Sets the current user search.
Parameters:
- search The search string to use
Tables
- column_styles
-
The default styles to use for different columns. This can be specified
individually for each list as well. Values can either be explicit styles,
defined using textredux.core.style, or functions which returns
explicit styles. In the latter case, the function will be invoked with the
corresponding item and column index. The default styles contains styles for
up to three columns, after which the default style will be used.
Fields:
- reduxstyle
- reduxstyle
- reduxstyle
Fields
- header_style
-
The default style to use for diplaying headers.
This is by default the
style.list_header
style. It's possible to override this for a specific list by assigning another value to the instance itself. - match_highlight_style
-
The style to use for indicating matches.
You can turn off highlighing of matches by setting this to nil.
It's possible to override this for a specific list by assigning another
value to the instance itself. The default value is
style.default
. - search_case_insensitive
-
Whether searches are case insensitive or not.
It's possible to override this for a specific list by assigning another
value to the instance itself. The default value is
true
. - search_fuzzy
-
Whether fuzzy searching should be in addition to explicit matches.
It's possible to override this for a specific list by assigning another
value to the instance itself. The default value is
true
.
List instance fields
These can be set only for a list instance, and not globally for the module.- headers
- Optional headers for the list. If set, the headers must be a table with the same number of columns as items.
- items
- A table of items to display in the list. Each table item can either be a table itself, in which case the list will be multi column, or a string in which case the list be single column.
- on_selection
-
The handler/callback to call when the user has selected an item. The handler will be passed the following parameters:
list
: the list itselfitem
: the item selected
- on_new_selection
-
The handler/callback to call when the user has typed in text which doesn't match any item, and presses
<enter>
.The handler will be passed the following parameters:
list
: the list itselfsearch
: the current search of the list
- buffer
- The underlying textredux.core.buffer used by the list.
- keys
- A table of key commands for the list. This functions almost exactly the same as textredux.core.buffer.keys. The one difference is that for function values, the parameter passed will be a reference to the list instead of a buffer reference.
- data
-
A general purpose table that can be used for storing state associated
with the list. Just like textredux.core.buffer.data, the
data
table is special in the way that it will automatically be cleared whenever the user closes the buffer associated with the list.


{{ trade.take.owner }} Accepted Your Trade Offer!
{{ trade.take.owner }} accepted your trade offer! They will trade their {{ trade.take }} for your {{ trade.give }}! You can get in touch with {{ trade.take.owner.fname }} at {{ trade.take.owner.email }} to set up how/when the trade will happen. {% if meetup %} This year, you and {{ trade.take.owner.fname }} will both be competing at {{ meetup }}. {% endif %}


Alphagrid (pro et contra)
Enhance workflow in the creative process. Enables user to quickly change their mind about proportions in grid measurements. Exploration of new grid systems or analysis of old grid systems Opens new creative ideas in a normally very uninspiring and static process. Can quickly synthesize layout mockups for design related problems. The program is meant to be the first step in a creative process and not a replacement for other static layout composers. Main features: Baseline gridsystem vertical and horisontal Column gridsystem Row grid system


GazeStore Portal
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Cover template for
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, by
@mdo
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So, I am here with you again, in the new post of Machine Learning tutorial series. Next time, I told you about Linear Regression and promised to talk further more in the next post. And I am also gonna ask you to do some coding, remember? But before doing that, we need more than our hands. If you are gonna have a show, then you must have the stage prepared, right? Similarly, if you want to write some lines of code, then you need to prepare the developing environment. Today, I will show you how to do that.
In this post, I am assuming that you are using a computer running on Linux based OS (like Ubuntu, Red Hat, ect). For ones who are sticking to Windows, I am so sorry. I will write a post for Windows users soon.
We will install OpenCV for Computer Vision, and Keras (Theano backend) for Machine Learning. I will make it short and clear, just to make sure that you will have a working environment, without spending so much time on struggling with unknown errors.
1. INSTALL OPENCV
Firstly, open your Terminal, and type the lines below to Update and Upgrade the packages:
From now on, just hit y when prompted. Next, we will install the necessary packages for OpenCV:
Next, we will need library to optimizing purpose (there will be a lot of simultaneous computation in Computer Vision and Machine Learning which mainly bottleneck the performance). We will use ATLAS (among many other BLAS implementation):
After that, we will install pip, a tool used for installing Python packages by PyPA:
In the next step, we will need to install virtualenv and virtualenvwrapper, which are tools for isolating Python environments. You may ask why we have to do that. Imagine you are using Python for many purposes (like game developing, computer vision, machine learning, etc). Because each requires different configuration, it will be a good idea to work seperately to avoid confliction.
To make virtualenv work, we will have to apply these lines to our ~/.bashrc by typing sudo vim ~/.bashrc (I prefer Vim, you can use whatever you want). Then add these lines to the end of the file:
Now, let’s create our virtual environment for installing OpenCV
From this step, make sure you are in opencv environment (you can know by seeing if there is (opencv) before the $ mark).
Next we need to install python development tools package:
Then we will install numpy, a very powerful module for dealing with array computation:
Note that you can not add sudo all the time. Because sudo means that you are execute as superuser, it will install directly into your system environment, not the virtual environment!
Next, we will download OpenCV, then checkout to 3.0.0 branch:
Now we got everything ready to be installed, let’s compile and install OpenCV:
In the last step, we only need to link the installed OpenCV to our virtual environment:
Now let’s test if OpenCV was installed successfully (make sure that you are still standing in opencv virtual environment):
If you see the output like above, then Congratulations! You have successfully installed OpenCV!
2. INSTALL KERAS
Now let’s move on to install Keras. Actually we will almost use the scikit-learn library, not Keras in the near future, but Keras is not so hard to install, so I decided to add it here so that I won’t have to make another post for Keras.
As I mentioned earlier, you may not want to mess up your environments. So let’s create another virtual enviroment for Keras.
 Suppose that you are using Keras with Theano backend, so you will have to install Theano first:
Wait until the Theano installation completes, then we can install keras:
We have just finished our Keras installation. If you want to use OpenCV in keras virtual environment, you can link it the way we did above:
Now let’s test our installation. Again, make sure that you are still in keras enviroment.
If you had the exact output as above, then Congratulations again! Wait… what if you didn’t, but received Using TensorFlow backend error instead. Well, sometimes Keras fails to choose the right backend, and you must do it manually. But don’t worry, it should be just a piece of cake!
All you have to do is modify the file ~/.keras/keras.json, replace ‘TensorFlow’ with ‘Theano’, then try to test it again. It should work just fine!
So now you have installed all you need for learning Computer Vision and Machine Learning. Great job guys! It was not as hard as you imagined right?
So now you have swords and shields. We are ready to be on the field. I know you guys don’t want to wait no more. So I will post the next post soon, I promise. Before that, make sure you revise all the stuff about Linear Regression. And I will be back. See you!


{% extends "layout.html" %} {% block string %}
It is a long established fact that a reader will be distracted by the readable content of a page when looking at its layout. The point of using Lorem Ipsum is that it has a more-or-less normal distribution of letters, as opposed to using 'Content here, content here', making it look like readable English. Many desktop publishing packages and web page editors now use Lorem Ipsum as their default model text, and a search for 'lorem ipsum' will uncover many web sites still in their infancy. Various versions have evolved over the years, sometimes by accident, sometimes on purpose (injected humour and the like).


--- layout: default title: Welcome ---
This is the home of the course Data Analytics for Psychology and Business
in FS2020 at the Faculty of Psychology, University of Basel.
Before attending the course's first session on February 21, please visit the
Installation page and follow the instructions.
This includes a short interactive introduction to R useful for all students, but
in particular those who have limited experience with R.
Learn more about the courses contents from the Syllabus. Find out more about the
projects that you will carry out over the course at Projects.
Looking forward to a productive course on data analytics!
Dirk Wulff & Rui Mata


Eldritch Horror
A Board Game of Global Mystery and Horror.
One of my favourite games.
Inspired by the works of H.P. Lovecraft
Buy Here
Best game of the Year 2013


{% extends "layout.html" %} {% set title = 'CoolProp: Fluid properties for the masses' %} {% block body %}
CoolProp is an open-source, cross-platform, free property database based in C++ that includes pure fluids, pseudo-pure fluids, and humid air properties.
To get CoolProp head to Downloads
Or check out the examples for Python
The changelog is here
As of August, 2013, 110 pure and pseudo-pure fluids are included
Ian Bell , University of Liege, Liege, Belgium
Sylvain Quoilin , University of Liege, Liege, Belgium
Jorrit Wronski , Technical University of Denmark, Kgs. Lyngby, Denmark
Vincent Lemort , University of Liege, Liege, Belgium {% endblock %}