My name is Adam Demaree, I am 26 years old, a .Net developer and always eager to learn! I have always enjoyed looking at problems in a number of different ways, and by mixing that passion with coding, I feel like I have really found a passion that I can turn into a career. I entered the coding world with some front-end experience, but through my time at Eleven Fifty Academy, I have grown to appreciate the back-end styling as well. Below you will find just the beginning to what I hope will be a much larger snapshot of who I am when it is all said and done. Enjoy!
Able to use a variety of skills to create a variety of applications on the web.
Learn More


--- layout: post title: New Beginnings.... date: 2013-06-30 16:23:39.000000000 -05:00 type: post published: true status: publish categories: - Ruby on Rails tags: [] meta: _edit_last: '15714693' publicize_reach: a:2:{s:7:"twitter";a:1:{i:482036;i:239;}s:2:"wp";a:1:{i:0;i:27;}} publicize_twitter_user: broberts_az _wpas_done_482036: '1' _publicize_done_external: a:1:{s:7:"twitter";a:1:{i:199393780;b:1;}} author: login: broberts65 email<EMAIL_ADDRESS>display_name: Bob Roberts first_name: '' last_name: '' ---
Well, lots have changed recently. As the title says, new beginnings....
I have had no luck in finding new contracts. My partner Steve and I are looking at expanding more into the JavaScript market as he worries that Rails is slowly fading away to be replaced by the likes of Node.js and others.
When one language gets popular, everybody rushes to it. Have to be the cool hipsters with the new stuff on the block. That is fine. As more devs move to the new Javascript single page apps there will be more need for Rails developers on legacy applications.
So, I have for a while been contemplating getting a real job. I had hoped to work remotely with somebody but that left me with few options.
I got an email 2 weeks ago from my blog from a recruiter. I know, great yet another recruiter email. The position sounded interesting and I replied to the recruiter. Long story short, the recruiter, David Claeys with Tech Recruitment, got me an interview with the company and I started last Wednesday.
I just started working at Unitedweb/Nextiva. I am the first Rails dev there. All of the other developers are either Java or Python/Django people. I am working on a legacy Rails app and I am to teach RoR to others there to work on the app with me.
One thing that I have to say is that Unitedweb/Nextiva is an awesome place to work. I was so worried about going back to working in an office for the first time in 5 years. Needless to say, it does not feel like I am working in an office and for that I am grateful.
What does this mean for Rebel Outpost? Business as usual. I will still continue to look for more contract work. I still want to be able to teach others and be a big part of the local Ruby community. So as far as I am concerned there is no end in site...


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Jamie Harington | January 11, 2014 |<EMAIL_ADDRESS>|
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Jamie Harington | January 11, 2014 |<EMAIL_ADDRESS>|
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Jamie Harington | January 11, 2014 |<EMAIL_ADDRESS>|
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Jamie Harington | January 11, 2014 |<EMAIL_ADDRESS>|
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Jamie Harington | January 11, 2014 |<EMAIL_ADDRESS>|
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Jamie Harington | January 11, 2014 |<EMAIL_ADDRESS>|
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Jamie Harington | January 11, 2014 |<EMAIL_ADDRESS>|
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Jamie Harington | January 11, 2014 |<EMAIL_ADDRESS>|
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Jamie Harington | January 11, 2014 |<EMAIL_ADDRESS>|


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--- layout: slides-960 title: "Dockercon EU 2015 Recap" ---
clouds, containers, networks and their management
Industry’s First Hardware Signing of Container Images
User Namespaces Provides Enhanced Access Control
Built-in container security analysis in Docker Hub
(launched at Dockercon SF)
Survivable Key Compromise
Proof of Origin
Protection agains t untrusted transports.
integrates the guarantees from The Update Framework (TUF) into Docker using Notary , an open source tool that provides trust over any content.
Hardware signing of container images reinforces Docker Content Trust
Yubico released Yubikey 4 at DockerCon with the goal of increasing the security of Docker images.
A YubiKey is a small hardware device that offers two-factor authentication with a simple touch of a button.
http://blog.docker.com/2015/11/docker-content-trust-yubikey/
Docker Experimental only
notary key generate
notary key list
notary key backup
export DOCKER_CONTENT_TRUST=1
docker push
Built-in container security analysis in Docker Hub
Project Goals
Text
An image-scanning service that makes it easier to build and consume high-integrity content
Steps through a sequence of tests, including:
Image security
Component inventory/license management
Image optimization
Basic functional testing
containers themselves don’t have access to root on the host
only the Docker daemon does.
user namespaces gives IT operations the ability to separate container and Docker daemon-level privileges to assign privileges for each container by user group.
IT operations will lock down hosts to a restricted group of sysadmins per security best practices
"an on-premises solution for deploying and managing Dockerized distributed applications in production on any infrastructure."
gives IT ops a single Docker-native management interface for all container on-premise or in cloud
Currently in beta. Sign-up here.
UCP is to containers as vCenter is to VMs
•LDAP/AD integration with Trusted Registry
•Role based access control (RBAC) to cluster, apps, containers, images
•Visibility into cluster, apps, containers, images, events with intuitive dashboards
•Manage clusters, images, network and volumes
•Manage apps and containers
•Monitoring and logging
•On-premise deployment
•Out of the box TLS
•LDAP/AD authentication
•User audit logs
•Out of the box HA
•
Docker Engine 1.9 features a new networking system
, and Swarm integrates fully with this. Any networks you create in Swarm will seamlessly work across multiple hosts.
Multi-host networking no longer experimental
Out of the box overlay networking in 1.9
New ' docker network' command provides management of networks as a top-level object
Extensibility through network plugins
Already 6 implementations done or under development
Support for DNS to come later
An IP per container... contrasted with an IP per pod in kubernetes
Dec 10th: Introduction to Docker Security
Dec 17th: Intro to Docker - Demo and FAQ
Feb 11th: Introduction to the Docker Platform


{% extends "_email_base.html" %} {% block content %}
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Responsive grid
Responsive grid will help you easily and simply to build structure of your site.
Responsive UX template-is the modern and responsive html a template. It was developed by means of Responsive framework. The template responds all the modern of the requirement. In case of creation were used next technologies were used: HTML5, CSS3, WebGl, SVG. Also in it the responsive grid, responsive accordion, responsive tabs and many other components are included. It is prepared documentation is qualitative, which will help you to use it.
Responsive grid will help you easily and simply to build structure of your site.
Responsive tabs will help you conveniently and compactly to place big volume of information.
Using 3d Panorams your projects will look better.
University of Texas at Arlington 701 South Nedderman Drive Arlington, TX, 76019
817-272-2011


Supplying beans to Sleepy Huskies since 2015
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N.B. moves toward privatization of cannabis sales following losses in first year
by The Canadian PressFREDERICTON - New Brunswick has issued a request for proposals for a single private operator to take over the government's operation, distribution and sales of recreational cannabis in the province.
Finance Minister Ernie Steeves says today that after a careful analysis, the government concluded the best approach was to turn to the private sector.
Interested proponents will have until Jan. 10, 2020 to submit proposals.
Cannabis NB, a provincial Crown corporation, lost almost $12 million in its first six months and continues to bleed red ink, although sales are on the rise.
It was announced last month that second quarter losses for the current year were $1.5 million.
Steeves says he expects strong interest in the request for proposals.
Cannabis Canada is BNN Bloomberg’s in-depth series exploring the stunning formation of the entirely new – and controversial – Canadian recreational marijuana industry. Read more from the special series here and subscribe to our Cannabis Canada newsletter to have the latest marijuana news delivered directly to your inbox every day.


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PWP Milestone 1
Purpose, Audience, & Goal
- Purpose: This project will be a professional portfolio website.
- Audience: Potential employers, peers, friends, and family.
- Goal: To showcase projects in an aesthetically pleasing manner.
Persona
- Name: Benny Bicmin
- Age: 45
- Profession: Former CEO of a Fortune 500 tech company. Founder of a mindfulness oriented technology startup
- Technology: Power user. Mac Pro running IOS 11.4 with 28 core Intel Xeon processor, 1.5TB of DDR4 ECC memory, 2 32GB Radeon Pro Vega graphics cards, and an 8TB SSD
- Attitudes and Behaviors: Calm and collected. Enjoys looking for new developers and observing their technical development. Spends most of his time developing new technologies.
- Frustrations and Needs: Needs to find like minded individuals.
- Goals: Find talented developers to help grow his company.
- User Story: I need to quickly identify potential candidates skills and potential.


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Luisa is a 23 years old girl with Brazilians roots that lives in Holland. She graduated from the study "Communication and Multimedia Design" in 2018 and she is ready to start her career as a Frontend Developer.
Rick is a 30 year old man from the Netherlands. Recently graduated from the study "ICT & Media Design" in 2018 and ready to start a new challenge together with YoungCapital to become a fully fledged Frontend Developer.


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--- key: 1 title: About permalink: /about/ options: fullwidth excerpt: A bit about me! image: raguAbout.jpeg background-image: raguAbout.jpeg ---
{% include post_picwrap.html pos = "left" max = "256" src="/images/raguBio.jpeg" alt ="MyImageMissing!"  I am deeply influenced by certain people and characters in novels,
viz., Poornachandra Tejasvi's "Parisarada Kathe",
Muddanna's "Muddanna Manorameya sarasa sallapa",
Sri RamaSri Rama and Shravana Kumara's character in Ramayana, and many more!
The most important thing in my life is religious believes, moral values and respect for elders.
I am modern thinker but also believe in good values given by our ancestors. I love watching
movies and reading novels also interested in knowing history and literature related to
Karnataka and Hinduism. I often write poems and sometimes short stories. I love non-veg
(Chicken and Fish). I know cooking almost all south indian dishes (thanks to youtube!).
To learn more about my educational and professional background, please visit my LinkedIn Profile.


Current Standings
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Wins
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Predict the Winner
Race Grand Prix
Data retrieved from
Ergast Developer API
.


--- subject: My Basic Email Template Subject --- Hi, Developer! Please read this short instruction before starting work {{#index-list}}{{/index-list}} All other information can be found on the website Zurb foundation
Please read this short instruction before starting work
All other information can be found on the website Zurb foundation


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Hello !
Hello {{student.firstname + " " + student.lastname}}!
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Controllers
Business logic is managed in the domain model layer. As a client (typically a web browser) cannot directly invoke this code, the functionality of a domain object is exposed as resources represented by URIs.
A client uses the uniform API provided by the HTTP protocol to manipulate these resources, and by implication the underlying business logic. However, this mapping of resources to domain objects is not a bijection: the granularity can be expressed at different levels, some resources may be virtual, for some resources aliases may be defined…
This is precisely the role played by the Controller layer: providing a glue between the domain model objects and transport layer events. As the Model layer, controllers are written in pure Java, making it easy to access or modify Model objects. Like the HTTP interface, Controllers are procedural and Request/Response oriented.
The Controller layer reduces the impedance mismatch between HTTP and the Domain Model.
Note
There are different architectural models with different strategies. Some protocols give you direct access to the domain model objects. This is typically what EJB or Corba protocols do. In these cases, the architectural style used is RPC (Remote Procedure Call). These communication styles are hardly compatible with web architecture.
Some technologies like SOAP try to give access to the model object domain through the Web. However, SOAP is just another RPC-style protocol, in this case using HTTP as a transport protocol. It is not an application protocol.
The web’s principles are not fundamentally object-oriented. So a layer is needed to adapt HTTP to your favorite language.
Controller overview
A Controller is a Java class, hosted by the controllers
package, and subclassing play.mvc.Controller
.
This is a Controller:
package controllers;
import models.Client;
import play.mvc.Controller;
public class Clients extends Controller {
public static void show(Long id) {
Client client = Client.findById(id);
render(client);
}
public static void delete(Long id) {
Client client = Client.findById(id);
client.delete();
}
}
Each public, static method in a Controller is called an action. The signature for an action method is always:
public static void action_name(params...);
You can define parameters in the action method signature. These parameters will be automatically resolved by the framework from the corresponding HTTP parameters.
Usually, an action method doesn’t include a return statement. The method exit is done by the invocation of a result method. In this example, render(…)
is a result method that executes and displays a template.
Retrieving HTTP parameters
An HTTP request contains data. This data can be extracted from:
- The URI path: in
/clients/1541
, 1541 is the dynamic part of the URI Pattern. - The Query String:
/clients?id=1541
. - The request body: if the request was sent from an HTML form, the request body contains the form data encoded as
x-www-urlform-encoded
.
In all cases, Play extracts this data and builds a Map<String, String[]>
which contains all the HTTP parameters. The key is the parameter name. The parameter name is derived from:
- The name of the dynamic part of the URI (as specified in the route)
- The name portion of a name-value pair taken from the Query String
- The contents of a x-www-urlform-encoded body.
Using the params map
The params
object is available to any Controller class (it is defined in the play.mvc.Controller
super class). This object contains all the HTTP parameters found for the current request.
For example:
public static void show() {
String id = params.get("id");
String[] names = params.getAll("names");
}
You can also ask Play to do the type conversion for you:
public static void show() {
Long id = params.get("id", Long.class);
}
But wait, there are better ways to do this :)
From the action method signature
You can retrieve HTTP parameters directly from the action method signature. The Java parameter’s name must be the same as the HTTP parameter’s.
For example, in this request:
/clients?id=1451
An action method can retrieve the id
parameter value by declaring an id
parameter in its signature:
public static void show(String id) {
System.out.println(id);
}
You can use other Java types than String. In this case the framework will try to cast the parameter value to the correct Java type:
public static void show(Long id) {
System.out.println(id);
}
If the parameter is multivalued, you can declare an Array argument:
public static void show(Long[] id) {
for(String anId : id) {
System.out.println(anid);
}
}
or even a collection type:
public static void show(List<Long> id) {
for(String anId : id) {
System.out.println(anid);
}
}
Exceptions
If the HTTP parameter corresponding to the action method argument is not found, the corresponding method argument is set to its default value (typically null for objects and 0 for primitive numeric types). If a value is found but can’t be properly cast to the required Java type, an error is added to the validation error collection and the default value is used.
HTTP avançado para binding do Java
Simple types
All the native and common Java types are automatically bound:
int
, long
, boolean
, char
, byte
, float
, double
, Integer
, Long
, Boolean
, Char
, String
, Byte
, Float
, Double
.
Note that if the parameter is missing in the HTTP Request, or if automatic conversion fails, Object types will be set to null and native types will be set to their default values.
Date
A date object can be automatically bound if the date’s string representation matches one of the following patterns:
- yyyy-MM-dd’T’hh:mm:ss’Z' // ISO8601 + timezone
- yyyy-MM-dd’T’hh:mm:ss" // ISO8601
- yyyy-MM-dd
- yyyyMMdd’T’hhmmss
- yyyyMMddhhmmss
- dd'/‘MM’/'yyyy
- dd-MM-yyyy
- ddMMyyyy
- MMddyy
- MM-dd-yy
- MM'/‘dd’/'yy
Using the @As
annotation, you can specify the date format.
For example:
archives?from=21/12/1980
public static void articlesSince(@As("dd/MM/yyyy") Date from) {
List
 articles = Article.findBy("date >= ?", from);
render(articles);
}
You can of course refine the date format according to the language. For example:
public static void articlesSince(@As(lang={"fr,de","*"},
value={"dd-MM-yyyy","MM-dd-yyyy"}) Date from) {
List
 articles = Article.findBy("date >= ?", from);
render(articles);
}
In this example, we specified that for the French and German languages the date format is dd-MM-yyyy
and for all the other languages it’s MM-dd-yyyy
. Please note that the lang value can be comma separated. The important thing is that the number of parameters for lang matches the number of parameters for value.
If no @As
annotation is specified, then Play! uses the default date format according to your locale. The date.format configuration specifies the default date format to use.
Calendar
The calendar binding works exactly as with the date, except that Play is choosing the Calendar object according to your locale. The @Bind
annotation can also be used.
File
File upload is easy with Play. Use a multipart/form-data
encoded request to post files to the server, and then use the java.io.File
type to retrieve the file object:
public static void create(String comment, File attachment) {
String s3Key = S3.post(attachment);
Document doc = new Document(comment, s3Key);
doc.save();
show(doc.id);
}
The created file has the same name as the original file. It’s stored in a temporary directory and deleted at the end of the request. So you have to copy it in a safe directory or it will be lost.
The uploaded file’s MIME type should normally be specified by the HTTP request’s Content-type
header. However, when uploading files from a web browser, this might not happen for uncommon types. In this case, you can map the file name’s extension to a MIME type, using the play.libs.MimeTypes
class.
String mimeType = MimeTypes.getContentType(attachment.getName());
The play.libs.MimeTypes
class looks up the MIME type for the given file name’s extension in the file $PLAY_HOME/framework/src/play/libs/mime-types.properties
You can also add your own types using the Custom MIME types configuration.
Arrays or collections of supported types
All supported types can be retrieved as an Array or a collection of objects:
public static void show(Long[] id) {
…
}
or:
public static void show(List<Long> id) {
…
}
or:
public static void show(Set<Long> id) {
…
}
Play also handles the special case of binding a Map<String, String> like this:
public static void show(Map<String, String> client) {
…
}
A query string like the following:
?client.name=John&client.phone=111-1111&client.phone=222-2222
would bind the client variable to a map with two elements. The first element with key name
and value John
, and the second with key phone
and value 111-1111, 222-2222
.
POJO object binding
Play also automatically binds any of your model classes using the same simple naming convention rules.
public static void create(Client client ) {
client.save();
show(client);
}
A query string to create a client using this action would look like:
<EMAIL_ADDRESS>Play creates a Client instance and resolves HTTP parameter names to properties on the Client object. Unresolved parameters are safely ignored. Type mismatches are also safely ignored.
Parameter binding is done recursively, which means you can address complete object graphs:
?client.name=Zenexity
&client.address.street=64+rue+taitbout
&client.address.zip=75009
&client.address.country=France
In order to update a list of model objects, use array notation and reference the object’s ID. For example imagine the Client model has a list of Customer models declared as List Customer customers
. To update the list of Customers you would provide a query string like the following:
?client.customers[0].id=123
&client.customers[1].id=456
&client.customers[2].id=789
JPA object binding
You can automatically bind a JPA object using the HTTP to Java binding.
You can provide the user.id
field yourself in the HTTP parameters. When Play finds the id
field, it loads the matching instance from the database before editing it. The other parameters provided by the HTTP request are then applied. So you can save it directly.
public static void save(User user) {
user.save(); // ok with 1.0.1
}
You can use JPA binding to modify complete object graphs in the same way as POJO mapping works, but you have to supply the ID for each sub object you intend to modify:
user.id = 1
&user.name=morten
&user.address.id=34
&user.address.street=MyStreet
Custom binding
The binding system now supports more customization.
@play.data.binding.As
The first thing is the new @play.data.binding.As
annotation that makes it possible to contextually configure a binding. You can use it for example to specify the date format that must be used by the DateBinder
:
public static void update(@As("dd/MM/yyyy") Date updatedAt) {
…
}
The @As
annotation also has internationalisation support, which means that you can provide a specific annotation for each locale:
public static void update(
@As(
lang={"fr,de","en","*"},
value={"dd/MM/yyyy","dd-MM-yyyy","MM-dd-yy"}
)
Date updatedAt
) {
…
}
The @As
annotation can work with all binders that support it, including your own binder. For example, using the ListBinder
:
public static void update(@As(",") List<String> items) {
…
}
This binds a simple comma separated String
as a List
.
@play.data.binding.NoBinding
The new @play.data.binding.NoBinding
annotation allows yous to mark non-bindable fields, resolving potential security issues. For example:
public class User extends Model {
@NoBinding("profile") public boolean isAdmin;
@As("dd, MM yyyy") Date birthDate;
public String name;
}
public static void editProfile(@As("profile") User user) {
…
}
In this case, the isAdmin
field will never be bound from the editProfile
action, even if an malicious user includes a user.isAdmin=true
field in a fake form post.
play.data.binding.TypeBinder
The @As annotation also allows you to define a completely custom binder. A custom binder is subclass of TypeBinder
that you define in your project. For example:
public class MyCustomStringBinder implements TypeBinder<String> {
public Object bind(String name, Annotation[] anns, String value,
Class clazz) {
return "!!" + value + "!!";
}
}
You can use it in any action, like:
public static void anyAction(@As(binder=MyCustomStringBinder.class)
String name) {
…
}
@play.data.binding.Global
Alternatively, you can define a global custom binder that will apply for the corresponding type. For example, you define a binder for the java.awt.Point
class like this:
@Global
public class PointBinder implements TypeBinder<Point> {
public Object bind(String name, Annotation[] anns, String value,
Class class) {
String[] values = value.split(",");
return new Point(
Integer.parseInt(values[0]),
Integer.parseInt(values[1])
);
}
}
As you see a global binder is a classical binder annotated with @play.data.binding.Global. An external module can contribute binders to a project, which makes it possible to define reusable binder extensions.
Exception throwing in TypeBinders
If a typebinder throws an exception, by default the exception is trapped and the object that was bound is null. If a TypeBinder author wants an Exception to propagate instead, a BinderException should be thrown which will not be trapped by the Binder.
Result types
An action method has to generate an HTTP response. The easiest way to do this is to emit a Result object. When a Result object is emitted, the normal execution flow is interrupted and the method returns.
For example:
public static void show(Long id) {
Client client = Client.findById(id);
render(client);
System.out.println("This message will never be displayed !");
}
The render(…)
method emits a Result object and stops further method execution.
Return some textual content
The renderText(…)
method emits a simple Result event which writes some text directly to the underlying HTTP Response.
Example:
public static void countUnreadMessages() {
Integer unreadMessages = MessagesBox.countUnreadMessages();
renderText(unreadMessages);
}
You can format the text message using the Java standard formatting syntax:
public static void countUnreadMessages() {
Integer unreadMessages = MessagesBox.countUnreadMessages();
renderText("There are %s unread messages", unreadMessages);
}
Return a JSON String
Play comes equiped with a method to simply return a JSON string, by making use of the renderJSON(…)
methods. These methods return a JSON string and set the response content type to application/json
.
You can specify your own JSON string, or you can pass in an Object
, which will be serialised by the GsonBuilder
.
Example:
public static void countUnreadMessages() {
Integer unreadMessages = MessagesBox.countUnreadMessages();
renderJSON("{\"messages\": " + unreadMessages +"}");
}
Alternatively, if you had a more complex object structure, you may wish to build the JSON using the GsonBuilder
.
public static void getUnreadMessages() {
List<Message> unreadMessages = MessagesBox.unreadMessages();
renderJSON(unreadMessages);
}
If you need more control over the JSON builder when passing an Object
to the renderJSON(…)
method, you can also pass in GSON serialisers and Type
objects to customise the output.
Return an XML String
As with the JSON methods, there are several methods for rendering XML directly from the controller. The renderXml(…)
methods return XML strings with the content type set to text/xml
.
Here you can specify your own XML string, pass a org.w3c.dom.Document
object, or pass a POJO which will be serialised by the XStream serialiser.
Example:
public static void countUnreadMessages() {
Integer unreadMessages = MessagesBox.countUnreadMessages();
renderXml("<unreadmessages>"+unreadMessages+"</unreadmessages>");
}
Alternatively, you can use a org.w3c.dom.Document
object.
public static void getUnreadMessages() {
Document unreadMessages = MessagesBox.unreadMessagesXML();
renderXml(unreadMessages);
}
Return binary content
To serve binary data, such as a file stored on the server, use the renderBinary
method. For example, if you have a User
model with a play.db.jpa.Blob photo
property, add a controller method to load the model object and render the image with the stored MIME type:
public static void userPhoto(long id) {
final User user = User.findById(id);
response.setContentTypeIfNotSet(user.photo.type());
java.io.InputStream binaryData = user.photo.get();
renderBinary(binaryData);
}
Download a file as an attachment
You can set an HTTP header to instruct the web browser to treat a binary response as an ‘attachment’, which generally results in the web browser downloading the file to the user’s computer. To do this, pass a file name as a parameter to the renderBinary
method, which causes Play to set the Content-Disposition
response header, providing a file name. For example, supposing the User
model from the previous example as a photoFileName
property:
renderBinary(binaryData, user.photoFileName);
Execute a template
If the generated content is complex, you should use a template to generate the response content.
public class Clients extends Controller {
public static void index() {
render();
}
}
A template name is automatically deduced from the Play conventions. The default template path is resolved using the Controller and action names.
In this example the invoked template is:
app/views/Clients/index.html
Add data to the template scope
Often the template needs data. You can add these data to the template scope using the renderArgs
object:
public class Clients extends Controller {
public static void show(Long id) {
Client client = Client.findById(id);
renderArgs.put("client", client);
render();
}
}
During template execution, the client
variable will be defined.
For example:

Client ${client.name}

A simpler way to add data to the template scope
You can pass data directly to the template using render(…)
method arguments:
public static void show(Long id) {
Client client = Client.findById(id);
render(client);
}
In this case, the variables accessible by the template have the same name as the local Java variables.
You can pass more than one variable:
public static void show(Long id) {
Client client = Client.findById(id);
render(id, client);
}
Important!
You can only pass local variables in this way.
Specify another template
If you don’t want to use the default template, you can specify your own template file using the renderTemplate(…)
method, by passing the template name as the first parameter:
Example:
public static void show(Long id) {
Client client = Client.findById(id);
renderTemplate("Clients/showClient.html", id, client);
}
Redirect to another URL
The redirect(…)
method emits a Redirect event that in turn generates an HTTP Redirect response.
public static void index() {
redirect("http://www.zenexity.fr");
}
Action chaining
There is no equivalent to the Servlet API forward
. An HTTP request can only invoke one action. If you need to invoke another action, you have to redirect the browser to the URL able to invoke that action. In this way, the browser URL is always consistent with the executed action, and the Back/Forward/Refresh management is much easier.
You can send a Redirect response to any action, simply by invoking the action method in a Java way. The Java call is intercepted by the framework and the correct HTTP Redirect is generated.
For example:
public class Clients extends Controller {
public static void show(Long id) {
Client client = Client.findById(id);
render(client);
}
public static void create(String name) {
Client client = new Client(name);
client.save();
show(client.id);
}
}
With these routes:
GET /clients/{id} Clients.show
POST /clients Clients.create
- The browser sends a POST to the
/clients
URL. - The Router invokes the
Clients
controller’screate
action. - The action method calls the
show
action method directly. - The Java call is intercepted and the Router reverse route generation creates the URL needed to invoke Clients.show with an id parameter.
- The HTTP Response is
302 Location:/clients/3132
. - The browser then issues
GET /clients/3132
. - …
Customise web encoding
Play emphasises the use of UTF-8, but there are situations where some responses, or the whole application, must use a different encoding.
Custom encoding for current response
To change encoding for current response, you can do it like this in your controller:
response.encoding = "ISO-8859-1";
When posting a form using an encoding other than the server default, you should include the encoding/charset twice in the form, both in the accept-charset
attribute and in a special hidden form field named _charset_
. The accept-charset
attribute tells the browser which encoding to use when posting the from, and the form-field _charset_
tells Play what that encoding is:
<form<EMAIL_ADDRESS>method="POST" accept-charset="ISO-8859-1">
<input type="hidden" name="_charset_" value="ISO-8859-1">
</form>
Custom encoding for the entire application
Configure application.web_encoding to specify which encoding Play uses when communicating with the browser.
Interceptadores
A controller can define interception methods. Interceptors are invoked for all actions of the controller class and its descendants. It’s a useful way to define treatments that are common to all actions: verifying that a user is authenticated, loading request-scope information…
These methods have to be static
but not public
. You have to annotate these methods with a valid interception marker.
@Before
Methods annotated with the @Before
annotation are executed before each action call for this Controller.
So, to create a security check:
public class Admin extends Controller {
@Before
static void checkAuthentification() {
if(session.get("user") == null) login();
}
public static void index() {
List<User> users = User.findAll();
render(users);
}
…
}
If you don’t want the @Before method to intercept all action calls, you can specify a list of actions to exclude:
public class Admin extends Controller {
@Before(unless="login")
static void checkAuthentification() {
if(session.get("user") == null) login();
}
public static void index() {
List<User> users = User.findAll();
render(users);
}
…
}
Or if you want the @Before method to intercept a list of action calls, you can specify a only param :
public class Admin extends Controller {
@Before(only={"login","logout"})
static void doSomething() {
…
}
…
}
The unless
and only
parameters are available for the @After
, @Before
and @Finally
annotations.
@After
Methods annotated with the @After
annotation are executed after each action call for this Controller.
public class Admin extends Controller {
@After
static void log() {
Logger.info("Action executed ...");
}
public static void index() {
List<User> users = User.findAll();
render(users);
}
…
}
@Catch
Methods annotated with @Catch
are called if another action method throws the specified exception. The thrown exception is passed as a parameter to the @Catch method.
public class Admin extends Controller {
@Catch(IllegalStateException.class)
public static void logIllegalState(Throwable throwable) {
Logger.error("Illegal state %s…", throwable);
}
public static void index() {
List<User> users = User.findAll();
if (users.size() == 0) {
throw new IllegalStateException("Invalid database - 0 users");
}
render(users);
}
}
As with normal Java exception handling, you can catch a super-class to catch more exception types. If you have more than one catch method, you can specify their priority so that they are executed in order of priority (priority 1 is executed first).
public class Admin extends Controller {
@Catch(value = Throwable.class, priority = 1)
public static void logThrowable(Throwable throwable) {
// Custom error logging…
Logger.error("EXCEPTION %s", throwable);
}
@Catch(value = IllegalStateException.class, priority = 2)
public static void logIllegalState(Throwable throwable) {
Logger.error("Illegal state %s…", throwable);
}
public static void index() {
List<User> users = User.findAll();
if(users.size() == 0) {
throw new IllegalStateException("Invalid database - 0 users");
}
render(users);
}
}
@Finally
Methods annotated with the @Finally
annotation are always executed after each action call to this Controller.
@Finally-methods are called both after successful action calls and if an error occurred.
public class Admin extends Controller {
@Finally
static void log() {
Logger.info("Response contains : " + response.out);
}
public static void index() {
List<User> users = User.findAll();
render(users);
}
…
}
If the method annotated with @Finally takes one argument of type Throwable, The Exception will be passed in if available:
public class Admin extends Controller {
@Finally
static void log(Throwable e) {
if( e == null ){
Logger.info("action call was successful");
} else{
Logger.info("action call failed", e);
}
}
public static void index() {
List<User> users = User.findAll();
render(users);
}
…
}
Controller hierarchy
If a Controller class is a subclass of another Controller class, interceptions are applied to the full Controller hierarchy.
Adding more interceptors using the @With annotation
Because Java does not allow multiple inheritance, it can be very limiting to rely on the Controller hierarchy to apply interceptors. But you can define some interceptors in a totally different class, and link them with any controller using the @With
annotation.
Example:
public class Secure extends Controller {
@Before
static void checkAuthenticated() {
if(!session.containsKey("user")) {
unAuthorized();
}
}
}
And on another Controller:
@With(Secure.class)
public class Admin extends Controller {
…
}
Escopo de sessão e flash
If you have to keep data across multiple HTTP Requests, you can save them in the Session or the Flash scope. Data stored in the Session are available during the whole user session, and data stored in the flash scope are available to the next request only.
It’s important to understand that Session and Flash data are not stored in the server but are added to each subsequent HTTP Request, using the Cookie mechanism. So the data size is very limited (up to 4 KB) and you can only store String values.
Of course, cookies are signed with a secret key so the client can’t modify the cookie data (or it will be invalidated). The Play session is not aimed to be used as a cache. If you need to cache some data related to a specific session, you can use the Play built-in cache mechanism and use the session.getId() key to keep them related to a specific user session.
Example:
public static void index() {
List messages = Cache.get(session.getId() + "-messages", List.class);
if(messages == null) {
// Cache miss
messages = Message.findByUser(session.get("user"));
Cache.set(session.getId() + "-messages", messages, "30mn");
}
render(messages);
}
The session expires when you close your web browser, unless you configure application.session.maxAge.
The cache has different semantics to the classic Servlet HTTP session object. You can’t assume that these objects will be always in the cache. So it forces you to handle the cache miss cases, and keeps your application fully stateless.
Continuing the discussion
The next important layer of the MVC model is the View layer, for which Play provides an efficient templating system with its Template engine.


@* * Copyright (c) 2018, Salesforce.com, Inc. * All rights reserved. * SPDX-License-Identifier: BSD-3-Clause * For full license text, see the LICENSE.txt file in the repo root or https://opensource.org/licenses/BSD-3-Clause *@ @this(main: main) @main("Salesforce IFTTT Channel") {
The Salesforce IFTTT Channel connects Salesforce to the many different devices and services on IFTTT using simple recipies that are defined in the "If this then that" form.
Create Salesforce IFTTT Recipes


The base package for all Cosmo subsystems.
Package Specification
The Cosmo subsystems can be roughly broken down into the following
(including corresponding package names):
- the object model, which represents the content stored in the
server (model)
- data access objects that wrap Cosmo's data sources and convert
raw data to and from the model(dao)
- services that encapsulate Cosmo's "business logic" and
use data access objects to persist the object model and interact
with external services, like a mail server (service)
- protocol handlers that fulfill the wishes of Cosmo clients via
interactions with services and the model
(cmp, dav, feed)
- controllers, views, and framework classes for the Web Console
(ui)
- a facade that provides high level access to information about the
security principal interacting with Cosmo via client protocol or Web
Console (security)
- extremely primitive instrumentation (status)
- tools that provide utilities for working with data formats
(icalendar)
- adapters that bridge the Cosmo API to and from external
frameworks and subsystems
(acegisecurity
- miscellaneous tools and utilities (util)
Related Documentation


|
UMI3D Unity SDK
2.5.b.221125
A UMI3D sdk implementation using Unity
|
Namespaces | |
| namespace | murmur |
Classes | |
| class | ConfigServer |
| Configuration of the server. More... | |
| class | HttpGet |
| class | HttpPost |
| class | HttpRoutingUtil |
| class | IdentifierApi |
| Identifier for users access. More... | |
| class | PinIdentifierApi |
| class | PinIdentifierWithFormApi |
| Identifier that requires to fill a form to connect. More... | |
| class | RedirectionRequest |
| Request to disconnect from an environment and connect to another. More... | |
| class | RelayDescription |
| Relay that allows to transmit data from one user to another. More... | |
| class | RelayVolume |
| Relay for a collaboration room defined by a volume. More... | |
| class | UMI3DAudioBridger |
| Manager to handle audio spatialization in the environment. More... | |
| class | UMI3DCollaborationEnvironment |
| Root node of any collaborative environment. More... | |
| class | UMI3DCollaborationServer |
| Manager for the UMI3D server in a collaborative context. More... | |
| class | UMI3DCollaborationUser |
| UMI3DTrackedUser in a collaborative context, with authentication, sound and video streaming etc... More... | |
| class | UMI3DEnvironmentApi |
| Environment API to handle HTTP requests. More... | |
| class | UMI3DEnvironmentNetworkingCollaborationModule |
| Helper for serialization of classes from the Collaboration module. More... | |
| class | UMI3DForgeServer |
| Environment Forge server, handling most of the transactions to the browsers. More... | |
| class | UMI3DHttp |
| Manager for the REST HTTP server. More... | |
| class | UMI3DLauncher |
| Add this class to launch an environment on start. Handle batchmode. More... | |
| class | UMI3DRelay |
| class | UMI3DTrackingRelay |
| class | UMI3DUserManager |
| class | WebServiceMethod |
| class | WebServiceMethodAttribute |


Fall 2013. We're coders, not fighters. Taught by Jenn de la Fuente.
Here is where you'll find slides for the Fall 2013 class being taught on Saturdays. Enjoy!


Interests
I love basketball, sneakers, robot models, musicals, and traveling. The background image is the encore of "Notre Dame De Paris".
I love basketball, sneakers, robot models, musicals, and traveling. The background image is the encore of "Notre Dame De Paris".


I am a web developer and professor of computer science
I love creating a beautiful webpages as my clints needed and I love Coding, i 💛 coffee and cooking
I started learning code when I was at 18 years old because I wanted make my own websites. Over time,I have gained a wealth of experience designing and developing websites.
But my best skill is actually eating hot wings. I am the undisupated king of hot wing challege. Ghost peppers and carolina rapers are my favorite snacks.
Love Hot wings? Let's talk about how awasome they are! We can code while we eat hot wings


Using Faust in Julia
In this tutorial, we present how Faust can be used in Julia, a high-level, high-performance, dynamic programming language. While it is a general-purpose language and can be used to write any application, many of its features are well suited for numerical analysis and computational science.
An integration of the libfaust compiler in Julia has been firstly developed by Cora Johnson-Roberson, and will be covered by the last section of the tutorial. Then a Julia backend has been added in a second step in the Faust compiler. It allows to generate ready to use Julia code from any Faust DSP program.
Who is this tutorial for?
The first section assumes a working Faust compiler installed on the machine, so is more designed for regular Faust users. The second section and third section are better suited for Julia users who want to discover Faust.
Installing the required packages
Be sure to have the julia command available in your PATH, as explained here. With a fresh Julia install, all required packages are decribed in the packages.jl file:
- in case you have an installed Faust version, it can be installed with the
julia packages.jl
command done in thearchitecture/julia
folder of the Faust repository - of directly downloaded, and executed with the
julia packages.jl
command
Using command line tools
Generating Julia code
Assuming you've compiled and installed the faust compiler from the master-dev branch, starting from the following DSP osc.dsp program:
import("stdfaust.lib");
vol = hslider("volume [unit:dB]", 0, -96, 0, 0.1) : ba.db2linear : si.smoo;
freq1 = hslider("freq1 [unit:Hz]", 1000, 20, 3000, 1);
freq2 = hslider("freq2 [unit:Hz]", 200, 20, 3000, 1);
process = vgroup("Oscillator", os.osc(freq1) * vol, os.osc(freq2) * vol);
The Julia code can be generated using:
faust -lang julia osc.dsp -o osc.jl
This will generate a mydsp{T}
data structure, as a subtype of the abstract type dsp
, with a set of methods to manipulate it. The generated API simply follows the one defined for the base dsp
type. This API basically mimics the one defined for the C++ backend.
The resulting file is not self-contained and so cannot be directly compiled using the julia program:
julia osc.jl
ERROR: LoadError: UndefVarError: dsp not defined
...
Some additional types like FAUSTFLOAT
, dsp
, Meta
and UI
have to be defined in a so-called architecture files. The Julia specific ones are described here. A simple one named minimal.jl can be used for that with the following command:
faust -lang julia osc.dsp -a julia/minimal.jl -o osc.jl
Now the resulting foo.jl file is self-contained and can be executed with:
julia -i osc.jl (here -i to stay in interactive mode)
Which compiles the Julia code, executes it and produces:
Application name: osc
getNumInputs: 0
getNumOutputs: 2
Path/UIZone dictionary: Dict{String, UIZone}("/Oscillator/volume" => UIZone(:fHslider0, 0.0f0, -96.0f0, 0.0f0, 0.1f0), "/Oscillator/freq2" => UIZone(:fHslider2, 1000.0f0, 20.0f0, 3000.0f0, 1.0f0), "/Oscillator/freq1" => UIZone(:fHslider1, 1000.0f0, 20.0f0, 3000.0f0, 1.0f0))
With the name of the application, the number of input/output channels, the set of controller paths with their range, and a display of the first samples of the computed outputs (using the powerfull Plots.jl package), and showing here the effect of the si.smoo
at the beginning of the signals:
Looking at the generated code
A mydsp{T}
data structure, as a subtype of the abstract type dsp
is generated, and contains the field definitions with their types, as well as a constructor initializing them:
mutable struct mydsp{T} <: dsp
fSampleRate::Int32
fConst1::T
fHslider0::FAUSTFLOAT
fConst2::T
fRec0::Vector{T}
fConst3::T
fHslider1::FAUSTFLOAT
fRec2::Vector{T}
fHslider2::FAUSTFLOAT
fRec3::Vector{T}
iVec0::Vector{Int32}
iRec1::Vector{Int32}
ftbl0mydspSIG0::Vector{T}
mydsp{T}() where {T} = begin
dsp = new{T}()
dsp.fRec0 = zeros(T, 2)
dsp.fRec2 = zeros(T, 2)
dsp.fRec3 = zeros(T, 2)
dsp.iVec0 = zeros(Int32, 2)
dsp.iRec1 = zeros(Int32, 2)
dsp.ftbl0mydspSIG0 = zeros(T, 65536)
dsp
end
end
Note that the structure is parametrized with a {T}
type to be given at initialization time. The const REAL = Float32
or const REAL = Float64
line is generated depending of the -single
(default), or -double
option given at compilation time, and can be used for that.
Several access methods are generated:
function getNumInputs(dsp::mydsp{T}) where {T}
return Int32(0)
end
function getNumOutputs(dsp::mydsp{T}) where {T}
return Int32(2)
end
Several initialiation methods like init!
, initanceInit!
, instanceResetUserInterface!
etc. are generated, here is one of them:
function instanceResetUserInterface!(dsp::mydsp{T}) where {T}
dsp.fHslider0 = FAUSTFLOAT(0.0f0)
dsp.fHslider1 = FAUSTFLOAT(1000.0f0)
dsp.fHslider2 = FAUSTFLOAT(200.0f0)
end
The buildUserInterface!
method uses a UI subtype to build a controller, which could be a Graphical User Interface (for instance using GTK), or an OSC controller:
function buildUserInterface!(dsp::mydsp{T}, ui_interface::UI) where {T}
openVerticalBox!(ui_interface, "Oscillator")
declare!(ui_interface, :fHslider1, "unit", "Hz")
addHorizontalSlider!(ui_interface, "freq1", :fHslider1, FAUSTFLOAT(1000.0f0), FAUSTFLOAT(20.0f0), FAUSTFLOAT(3000.0f0), FAUSTFLOAT(1.0f0))
declare!(ui_interface, :fHslider2, "unit", "Hz")
addHorizontalSlider!(ui_interface, "freq2", :fHslider2, FAUSTFLOAT(500.0f0), FAUSTFLOAT(20.0f0), FAUSTFLOAT(3000.0f0), FAUSTFLOAT(1.0f0))
declare!(ui_interface, :fHslider0, "unit", "dB")
addHorizontalSlider!(ui_interface, "volume", :fHslider0, FAUSTFLOAT(0.0f0), FAUSTFLOAT(-96.0f0), FAUSTFLOAT(0.0f0), FAUSTFLOAT(0.1f0))
closeBox!(ui_interface)
end
The DSP structure fields to access are simply described with their name (actually a Symbol in Julia terminology), and can later be used with the standard setproperty! and getproperty access methods, like in the setParamValue!
and getParamValue
methods written in the MapUI architecture.
And finally the compute!
method that processes and input buffer with count
frames to produce an output buffer:
@inbounds function compute!(dsp::mydsp, count::Int32, inputs, outputs)
output0 = @inbounds @view outputs[:, 1]
output1 = @inbounds @view outputs[:, 2]
fSlow0::Float32 = (dsp.fConst1 * pow(10.0f0, (0.0500000007f0 * Float32(dsp.fHslider0))))
fSlow1::Float32 = (dsp.fConst3 * Float32(dsp.fHslider1))
fSlow2::Float32 = (dsp.fConst3 * Float32(dsp.fHslider2))
@inbounds for i0 in 0:count-1
dsp.fRec0[1] = (fSlow0 + (dsp.fConst2 * dsp.fRec0[2]))
dsp.fRec2[1] = (fSlow1 + (dsp.fRec2[2] - floor((fSlow1 + dsp.fRec2[2]))))
output0[i0+1] = FAUSTFLOAT((dsp.fRec0[1]
* dsp.ftbl0mydspSIG0[trunc(Int32, (65536.0f0 * dsp.fRec2[1]))+1]))
dsp.fRec3[1] = (fSlow2 + (dsp.fRec3[2] - floor((fSlow2 + dsp.fRec3[2]))))
output1[i0+1] = FAUSTFLOAT((dsp.fRec0[1]
* dsp.ftbl0mydspSIG0[trunc(Int32, (65536.0f0 * dsp.fRec3[1]))+1]))
dsp.fRec0[2] = dsp.fRec0[1]
dsp.fRec2[2] = dsp.fRec2[1]
dsp.fRec3[2] = dsp.fRec3[1]
end
end
Note that not all generated methods are presented in this short presentation. Look at the generated osc.jl file to see all of them.
Using the generated code
Some globals have to be defined:
# Testing
samplerate = Int32(44100)
block_size = Int32(16)
The DSP object has to be created and initialized, here using the generated REAL
type alias:
# Init DSP
my_dsp = mydsp{REAL}()
init!(my_dsp, samplerate)
His name can be extracted from the DSP metadata using the following code:
# Retrieve the application name
mutable struct NameMeta <: Meta
name::String
end
function declare!(m::NameMeta, key::String, value::String)
if (key == "name")
m.name = value;
end
end)
m = NameMeta("")
metadata!(my_dsp, m)
println("Application name: ", m.name, "\n")
The number of inputs/outputs can be printed:
println("getNumInputs: ", getNumInputs(my_dsp))
println("getNumOutputs: ", getNumOutputs(my_dsp), "\n")
Infomation on all controllers can be retrieved using the MapUI
type:
# Create a MapUI controller
map_ui = MapUI(my_dsp)
buildUserInterface!(my_dsp, map_ui)
# Print all zones
println("Path/UIZone dictionary: ", getZoneMap(map_ui), "\n")
And finally one buffer can be processed with the following code, here giving FAUSTFLOAT
as the actual type for external samples:
inputs = zeros(FAUSTFLOAT, block_size, getNumInputs(my_dsp))
outputs = zeros(FAUSTFLOAT, block_size, getNumOutputs(my_dsp))
compute!(my_dsp, block_size, inputs, outputs)
println("One computed output buffer: ", outputs)
Now the osc.jl can possibly be directly integrated in a larger project, or customised using an adapted new architecture file.
The faust2portaudiojulia tool
The Faust DSP program can be compiled and run with the more sophisticated faust2portaudiojulia tool which will render it using the PortAudio.jl package to access the audio driver, OpenSoundControl.jl package for OSC control, and GTK.jl package for the Graphical User Interface.
The faust2portaudiojulia tool use this portaudio_gtk.jl architecture file. When used the following way:
faust2portaudiojulia osc.dsp
It creates an osc.jl file that can simply be executed using:
julia osc.jl
So the stereo program generating sinewaves at 1000 Hz and 200 Hz by default is now playing, without any interface to control it.
Now using the following command:
faust2portaudiojulia -play 2 osc.dsp
Will create the osc.jl file, directly execute it using Julia, with PortAudio based audio rendering and GTK GUI (and with 2 threads needed for GTK and audio). Note that the GUI is still quite simple:
The following command:
faust2portaudiojulia -play 2 -osc osc.dsp
Will create the osc.jl file, directly execute it using Julia, with PortAudio based audio rendering and OSC control (and with 2 threads needed for OSC and audio). Now the application starts with an OSC controller running on ports 5000 and 5001:
getNumInputs: 0
getNumOutputs: 2
Dict{String, UIZone}("/Oscillator/volume" => UIZone(:fHslider0, 0.0f0, -96.0f0, 0.0f0, 0.1f0), "/Oscillator/freq2" => UIZone(:fHslider2, 500.0f0, 20.0f0, 3000.0f0, 1.0f0), "/Oscillator/freq1" => UIZone(:fHslider1, 1000.0f0, 20.0f0, 3000.0f0, 1.0f0))
Faust OSC application 'Oscillator' is running on UDP ports 5000, 5001
Direct OSC commands can be sent, as explained here. So for instance to change both channel frequencies:
oscsend localhost 5000 /Oscillator/freq1 f 400
oscsend localhost 5000 /Oscillator/freq2 f 960
You can possibly use the faust-osc-controller tool to remotely control the Julia program, with the following command:
faust-osc-controller /Oscillator -port 5001 -outport 5000 -xmit 1
And finally the faust-osc-controller
tool can be automatically started along the OSC receiver with the faust2portaudiojulia -play 2 -oscc osc.dsp
command.
Using the Faust Web IDE
Faust DSP program can be written, tested in the Faust Web IDE and generated as embeddable Julia code, or possibly as working audio applications.
Generating the pure Julia output
The output of the Julia backend can directly be generated using the Platform = source and Architecture = julia export options. As previouly explained, the resulting file is not self-contained, but shows the code which has to be wrapped with adapted Julia architecture files.
Generating a minimal working Julia file
The Platform = julia and Architecture = julia export options allow to generate a self-contained file using the minimal.jl
architecture, to be by started with the following command:
julia -i foo.jl (here -i to stay in interactive mode)
Generating an audio application controllable with GTK or OSC based interfaces
The Platform = julia and Architecture = portaudiojulia export options allow to generate a self-contained file using the portaudio_gtk.jl
architecture. The following command starts the program with the GTK control interface:
julia -t 2 foo.jl -gtk
The following command starts the program with the OSC control interface, ready to receive OSC commands or controlled with the faust-osc-controller
tool as previously explained:
julia -t 2 foo.jl -osc
And finally the faust-osc-controller
tool can be automatically started along the OSC receiver with the following command:
julia -t 2 foo.jl -oscc
Using the Faust.jl Julia package
The Julia ecosystem contains over 4,000 packages that are registered in the General registry. A Faust.lj package initially developed by Cora Johnson-Roberson, has been forked and extended here. It allows to use the libfaust library and the Julia Faust backend.
The Visual Studio Code application can be configurated with a Julia extension. It is a very convenient way to edit, compile and test Julia + Faust code.
Installing the forked Faust.jl package
In VS Code, you can enter the pakage mode. Pkg comes with a REPL. Enter the Pkg REPL by pressing ]
from the Julia REPL and install the Faust package with:
pkg> add https://github.com/sletz/Faust.jl
To get back to the Julia REPL, press backspace or ^C, then load the Faust package with:
julia> using Faust
Assuming a working Julia environement is setup, the following commands can be used.
Using the libfaust compiler
# Create a DSP factory.
dsp = compile("""
import("stdfaust.lib");
freq = hslider("freq", 440, 20, 20000, 1);
gain = hslider("gain", 0.25, 0, 1, 0.001);
process = os.oscs(freq) * gain;
""")
# Initialize DSP instance and controls.
init!(dsp; block_size=1024, samplerate=48000)
# Compute one block of audio.
compute!(dsp)
By default, programs are compiled as single-precision; you can give -double
or
other arguments to the compiler like so:
compile("process = _;"; name="passthrough", argv=["-double", "-vec"])
Each call to compute!
will calculate block_size
samples and return the
output as a matrix of (block_size, n_channels). If the program takes input,
set dsp.inputs
to a (block_size, n_channels) matrix before calling compute!
:
passthrough = init!(compile("process = _,_;"))
x = rand(Float32, 256, 2)
passthrough.inputs = x
@test compute!(passthrough) == x
After calling init!
, any UI elements declared in your code will have their
path names and ranges available via dsp.ui.ranges
.
julia> dsp.ui.ranges
Dict{String, Faust.UIRange} with 2 entries:
"/score/gain" => UIRange(0.25, 0.0, 1.0, 0.001)
"/score/freq" => UIRange(440.0, 20.0, 20000.0, 1.0)
julia> ctrl = dsp.ui.ranges["/score/freq"]; (ctrl.min, ctrl.max)
(20.0f0, 20000.0f0)
One can then set the values of these params like:
setparams!(dsp, Dict("/score/freq" => 220.0f0))
Displaying signals
Julia offers a lot of packages to display signals, for example with the following commands (coded here) to display the outputs buffers:
# Define a block of DSP code
julia> code = """import("stdfaust.lib"); process = os.osc(500), os.sawtooth(1000);"""
# Compile the DSP, compute one block of audio and display the outputs
julia> compileFaustString(code)
# Compile the DSP, with aditionals compile arguments and display the outputs
julia> compileFaustString(code; argv=["-double", "-vec"])
# Compile the DSP, with a larger block_size and display the outputs
julia> compileFaustString(code; block_size=50000)
With the following result in VS code:
More sophisticated analysis can be done, like this example, or this projet to experiment using NNs in Faust.


The UX Thailand Conference is a two-day conference made up of thought-provoking presentations, practical workshops and engaging panel discussions.
Once all speakers have been annouced, we’ll share our schedule for the full two days.
Ends 1st November 2018
UX Thailand began as a series of monthly meet-ups, focused on empowering the local community to do great design. When we looked to push this further, The UX Thailand Conference was born.
A non-profit, meaning the organisers are all volunteers, we don’t get paid. The money that is made is invested in further empowering the local community. We’ll use the revenue to provide more regular events like our monthly meetup, training courses throughout the year and hope to build relationships across APAC.
With all of this, we hope for Thailand to become a globally recognised leader in design.
You and your organisation supporting our vision is important to us, and we’re grateful.
To open this up and give everyone the chance to reach out to an engaged community, we’ve introduced three levels to our sponsorship package.
Email us<EMAIL_ADDRESS>for interest.


AddressSpace
public struct AddressSpace : Equatable
An address space is an identifier for a target-specific range of address values. An address space is a fundamental part of the type of a pointer value and the type of operations that manipulate memory.
LLVM affords a default address space (numbered zero) and places a number of assumptions on pointer values within that address space:
- The pointer must have a fixed integral value
- The null pointer has a bit-value of 0
These assumptions are not guaranteed to hold in any other address space. In particular, a target may
allow pointers in non-default address spaces to have non-integral types. Non-integral pointer types
represent pointers that have an unspecified bitwise representation; that is, the integral representation may
be target dependent or have an unstable value. Further, outside of the default address space, it is not
always the case that the null
pointer value, especially as returned by
IRType.constPointerNull()
has a bit value of 0. e.g. A non-default address space may use
an offset-based or segment-based addressing mode in which 0 is a valid, addressable pointer value.
Target-Level Address Space Overrides
A target may choose to override the default address space for code, data, and local allocations through the
data layout string. This has multiple uses. For example, the address space of an alloca
is only
configurable via the data layout string, because it is a target-dependent property. There are also
use-cases for overriding language standards e.g. the C standard requires the address-of operator applied
to values on the stack to result in a pointer in the default address space. However, many OpenCL-based
targets consider the stack to be a private region, and place such pointers in a non-default address space.
Care must be taken when interacting with these non-standard targets. The IR printer currently does not print anything when the default address space is attached to an instruction or value, and values will still report being assigned to that space. However, these values are still subject to the backend’s interpretation of the data layout string overrides and as such may not always reside in the default address space when it comes time to codegen them.
Restrictions
There are currently a number of artificial restrictions on values and operations that have non-default address spaces:
- A
bitcast
between two pointer values residing in different address spaces, even if those two values have the same size, is always an illegal operation. Use anaddrspacecast
instead or always useIRBuilder.buildPointerCast(of:to:name:)
to get the correct operation. - The so-called “null pointer” has a bit value that may differ from address space to address space. This exposes bugs in optimizer passes and lowerings that did not consider this possibility.
- A pointer value may not necessarily “round-trip” when converted between address spaces, even if
annotated
nonnull
anddereferenceable
. This is especially true of non-integral pointer types. - Though the zero address space is the default, many backends and some errant passes interpret this to mean a “lack of address space” and may miscompile code with pointers in mixed address spaces.
- A number of intriniscs that operate on memory currently do not support a non-default address space.
- The address space is ultimately an integer value and in theory an address space identifier may take on any value. In practice, LLVM guarantees only 24 bits of precision, though higher address space identifiers may succeed in being properly represented.


KDF Says Teen Killed In Mombasa By Navy Soldier Defied Warning Shot
by WycliffeThe Kenya Defence Forces (KDF) has defended a Navy officer who shot and killed a Boda Boda operator over trespass in Mtongwe Army Quarters.
In a statement on Wednesday afternoon, KDF stated that the man who has been identified as a 19-year-old, Leonard Komora, attempted to gain forceful entry into the restricted area before he was shot twice.
“Today at around 6:00am, a motorcyclist was shot dead as he tried to force his way into Kenya Navy’s Lt Col Kimaro Estate.
“The motorcyclist was flagged down by sentries to identify himself but forcefully proceeded towards the main gate at a high speed, even after a warning shot was fired, ” the statement signed by P M Njuguna, the Colonel KDF Public Affairs, reads in part.
He succumbed to his injuries thereafter.
Read: Navy Soldier Guns Down Boda Boda Operator Outside Army Quarters In Mombasa
“This prompted one of the soldiers on guard duties to fire two direct shots at the intruder in an attempt to immobilize him but he succumbed to his injuries, ” said Njuguna.
The KDF said investigations are underway to establish the motive behind the attempted forceful entry.
Earlier, local Boda Boda operators castigated the Navy officer for killing an innocent man saying it was not the first time they were accessing the area.
They said it’s normal for them to pick and drop customers, mostly Navy officers, in the area.
Read Also: Kenya Navy Officer Shoots Dead His Colleague, Commits Suicide In Mombasa
Ali Khamisi, who knew the deceased, however, said the soldiers sometimes harass them.
“The only customers that we usually pick are the soldiers themselves, but we usually suffer in the hands of these people,” Khamisi told Nation.
Komora’s mother, Martha Njeri Munene, called on speedy investigation into the incident saying her son was not a criminal and didn’t deserve to die.
“This is unfair. They have killed my son for no good reason. He was my only son. He was the one providing for me,” she said.


Lilli Pilli
Originally a 1980's brick home the home owners wanted to transform there newly bought home into a light filled coastal family residence that reflected their love of neutral contemporary Australian interiors. During the transformation we worked on all aspects of the design including paint selections, kitchen and bathroom finishes, furniture selection and the overall layout of the home. A palette of soft neutrals and natural looking materials were selected to complement the location of the home situated on the Port Hacking River in Sydney. Kathryn bloomer interiors also consulted on external paint choices, tiles and fence materials and colour choices.


Character frame buffer
Overview
This sample displays character strings using the Character Frame Buffer (CFB) subsystem framework.
Building and Running
build the application: west build -p -b ds_d6 samples/display/cfb
on unix : #minicom -b 115200 -D /dev/ttyACM1
you get a shell and you can type help
to display something on the screen : cfb init cfb invert cfp print 0 0 “hello world”


If you or your organization wants to get in touch with NSBE@UCR, you can contact us at: nsbe_ceb_ucr@googlegroups.com


Deep Blue Sea (1999) A review by Joe Chamberlain
Starring Thomas Jane; Saffron Burrows; Samuel L. Jackson; Jaqueline McKenzie & Michael Rapaport
Let me first start out by saying that Steven Speilberg made the greatest shark film ever made with Jaws. But Renny Harlin has come in a very, very, very close second with Deep Blue Sea. Deep Blue Sea is easily the best new movie that I have seen this year, and is far and away the best of the crop from the summer of '99. Sure, The Phantom Menace was spectacular, but no movie has been this much fun in a long time. I can honestly say that do not remember ever having jumped so much during a film. When I was not jumping in my seat, my hands were firmly grasping the armrests steeling myself for the next scare that I knew was going to be right around the corner. At one point in his career, director Renny Harlin looked as if he may easily become one of the best directors in the business. His successes included Die Hard 2 and Cliffhanger. In recent years he has faltered, making such fare as Cutthroat Island. Well, Renny is back, and with a vengeance.
Saffron Burrows stars as the head of a scientific research team that is trying to develop a cure for Alzheimer's disease. Their potential cure involves extracting fluids from the brains of mako sharks. In order to get as much as they can, they have genetically enlarged the size of the shark's brains. You can probably guess where this is headed. Bigger shark brains equal smarter sharks. And these smart sharks have a distinct attitude problem. Burrows and her crew, along with Samuel L. Jackson (playing the man funding their research) are all on board their research lab in the middle of the Pacific during a severe storm. This is when they realize that the sharks are now Einsteins with big teeth. They quickly find out that the sharks are looking for a meal and that they are the main course on the menu.
Let me first start with the flaws of this movie, as minor as they are. The writers obviously watched Jaws and it's first sequel a few times, since they do seem to "borrow" a few things from those two movies. This minor lack of creativity can very quickly be excused though. The writers then proceed to apparently borrow a few other things from these films, only to end up throwing the audience for a bit of a loop. Let's be real clear, this is not a real deep movie (if you'll pardon the pun). It is written with scares in mind. And on that count, it delivers beautifully. In many cases, I had a pretty good idea what was going to happen next -- but I didn't care. I was just having too much fun. Of course, part of the fun in these types of movies comes at the first of the movie when you can go through the cast a pick which ones are going to be shark food and which ones are going to return in any potential sequels. Most times the audience can guess pretty accurately. This movie is no exception. Although, I can almost guarantee that nobody is going to be 100% accurate on their predictions.
The special effects are excellent. Every bit of what one would expect from a summer popcorn flick like this. The underwater sequences are particularly impressive as are the real stars of the movie -- the three mako sharks. The sharks were done with a combination of live shots, animatronics and live action. For the most part they are all blended fairly seamlessly together. The sets are amazing. This lab is supposed to be an old World War II sub base and it is very cool. I must admit that I'm always a sucker for the old flooded-set movies with everyone running around waist deep in water. This one is particularly well done -- mostly because you are never quite sure what is swimming around under that water.
Samuel L. Jackson is always a whole lot of fun to watch, so it should come as no surprise that he is his usual cool self here. Mark my words, English beauty Saffron Burrows is one her way to superstardom. She has a commanding presence on screen and rivaled Jackson's talent in the acting department. Plus, that accent is just so darn sexy. The real surprise is LL Cool J. He has done a pretty decent job in his past films, but he absolutely, unequivocally steals this movie. This guy is great. On top of every other wonderful point of this movie, his scenes were the highlights.
The special effects were very plentiful, but I never found myself being overpowered by them. The other thing that surprised me was the noticeable lack of gore in this film. Sure, you have a couple of scenes -- it wouldn't be a killer shark movie without people being eaten -- but the restraint shown on the old blood and guts was commendable. It seems as though everything that Renny Harlin tried in this movie worked. That included a cheesecake shot where Burrows strips down to her skivvies.  Almost, but not quite. But, if Harlin feels he has to include shots like that, I guess we are just going to have to suffer through them. Oh, the agony.
I loved this movie. Everything about it was just plain fun. It was scary, it was fast paced, but above all, it is the kind of movie that makes me remember why I love going to the movies. Go see Deep Blue Sea -- you will not be disappointed.
10/10
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Zeynep Tufekci, writing for WIRED:
“It’s Time to Make Our Privacy Tools Easier to Find”, the company announced without a hint of irony—or any other kind of hint—that Zuckerberg had promised to do just that in the “coming few weeks” eight full years ago. On the company blog, Facebook’s chief privacy editor wrote that instead of being “spread across nearly 20 different screens” (why were they ever spread all over the place?), the controls would now finally be in one place.
It’s a long read but a great piece that highlights the right things. Any other company would have lost trust years ago but Facebook continues to enjoy the advantage of the ‘gravity’ effect of having 2 billion users.
My co-host Partha made a super important point last week:
These products have been made by the same people who lived with the same sort of theory that [our generation] grew up with […] they understand the importance of this privacy and they’ve been building on top of this to try and massage the egos of all the newer generations […] to try and make sure they’re comfortable about it.
The more I think about this, the more spot-on this is. People who watched—ushered in, even—the social media era and understand the privacy implications could have gone about it in two ways: ensure that even those who do not understand this are protected, or help transition the vary ones into being more comfortable about sharing. Facebook has gone the latter way too often that it’s now part of its core, making it impossible to be anything else.


| 024:053 Khan | : |
They swear by Allah their strongest oaths, that if only you would order them, they would leave (their homes for fighting in Allah's Cause). Say: "Swear you not; (this) obedience (of yours) is known (to be false). Verily, Allah knows well what you do." |
| 024:053 Maulana | : |
And they swear by Allah with their strongest oaths that, if thou command them, they would certainly go forth. Say: Swear not; reasonable obedience (is desired). Surely Allah is Aware of what you do. |
| 024:053 Pickthal | : |
They swear by Allah solemnly that, if thou order them, they will go forth. Say: Swear not; known obedience (is better). Lo! Allah is Informed of what ye do. |
| 024:053 Rashad | : |
They swear by GOD, solemnly, that if you commanded them to mobilize, they would mobilize. Say, "Do not swear. Obedience is an obligation.  |
| 024:053 Sarwar | : |
They strongly swear by God that they would march to fight (for the cause of God) if you were to order them to. Tell them, "You do not need to swear; fighting for the cause of God is a virtuous deed and God is Well Aware of what you do". |
| 024:053 Shakir | : |
And they swear by Allah with the most energetic of their oaths that if you command them they would certainly go forth. Say: Swear not; reasonable obedience (is desired); surely Allah is aware of what you do. |
| 024:053 Sherali | : |
And they swear by ALLAH their strongest oaths that, if thou command them, they will surely go forth. Say, 'Swear not; what is required of you is obedience to what is right. Surely ALLAH is aware of what you do.' |
| 024:053 Yusufali | : |
They swear their strongest oaths by Allah that, if only thou wouldst command them, they would leave (their homes). Say: "Swear ye not; Obedience is (more) reasonable; verily, Allah is well acquainted with all that ye do." |
Concepts/Themes Covered: الإيمان > الإيمان بالله > النفاق Faith> Belief In Allah> Hypocrisy
This tool uses eight English parallel translations for the Holy Quran imported from Mr. Clay Smith. You can also visit Qurany Concepts for browsing the Quran themes or topics. If you want to search the Holy Quran for keywords, please visit Qurany Keywords.


Hi, you're either logged out, or you haven't yet become a member of george.net.au. Why don't you create an account right now, or if you already have one, log in!
After ten years working together full-time, george are currently on an extended break to concentrate on other things. With parenthood, travel and more music on the agenda ‘break’ doesn’t mean Katie, Tyrone, PaulieB, Nick and Geoff are finding it hard to occupy their time. While there is no set time-line, george will come together to play and record again but for now other exciting projects are taking place. Keep reading and you can find out what the band members have been and will be up to. george would like to wish all the Special Ones the happiest days and much love for the continuing support you have shown to george.net.au and to all side projects. Thank you all for your amazing support and we will see you when the time is right! xx
You can now become part of the ever-growing george online community by becoming a friend of george at www.myspace.com/georgetheband. Join up now and help to spread george around the world!
George's music is now available for sale at itunes! Just click on the following links. : Polyserena
: Unity All of george's other music is still available from the george online shop. You can also find t-shirts, hats and other fantastic george goodies there, as well as CDs from Elixir, Palimpsest, The Neighbourhood Groove Collective and Katie Noonan!
Tyrone The "Back Where I Started From" tour dates have been announced, starting MID-OCTOBER thru to EARLY NOVEMBER. Visit Ty's website (see link below) for more info! Tyrone returns to the public arena with his most exciting record to date, the 6-track mini-album Heavy Soul Part 1, released nationally (Australia) through Jellyfish/MGM on September 16 2006. An evocative combination of pop, rock, groove and soul influences, Tyrones solo work proves both radio-friendly and deeply personal.
On his debut single Back (Where I Started From), Noonan gives an emotionally raw subject the alchemists treatment - he takes lifes harsh lessons and wrings a melody out of them.
Noonan's pop credentials are augmented by the considerable talent of David Nicholas and Michael Stangel, working together as Jellyfish Music. Having produced/engineered for INXS, Midnight Oil, Elton John, Sting, Pulp, Ash, The Veronicas, Soul Asylym and of course george, they've won ARIA awards and more. Before embarking on his solo project Tyrone was busy doing soundtrack work for film/theatre, collaborating with avant garde group Topology, performing with his jazz/latin/soul band Palimpsest www.palimpsest.com.au and also several local solo/DJ gigs.
Katie
Katie is currently working on her solo album, due out in 2007. Keep your ears listening for the single that should be released in summer, 2006. Collaborating with some great musicians from all around the world this album is destined to be a joy to listen to and with a tour planned around the release, Katie will surely have some amazing musical surprises in store for all. As well as writing and recording the album, Katie is enjoying being a Mum to Dexter and wife to Isaac.
PaulieB
PaulieB and the Neighbourhood Groove Collective can be seen at various hotspots in Brisbane. Be sure to sign up to their newsletter to be informed of all their upcoming gigs www.m8sr8srecords.com. You can also become one of PaulieB’s friends at his own myspace site www.myspace.com/pauliebromley
[474 Reads]Posted by: esined on Thursday, March 30, 2006
It's been an adventurous eighteen months for Brisbane's george (Katie Noonan, Tyrone Noonan, Geoff Green, Paulie Bromley and Nick Stewart) since the release of their double-platinum debut album, Polyserena. However the roller coaster polarity of hard work and personal space, of external pressures and internal joys, of the expectations from the world and the ideals of the band have all culminated in a remarkably well realised second release in Unity.
Refusing to ride on the successful formula that saw singles such as Special Ones, Run and Breathe In Now achieve critical acclaim, george have broadened their musical scope. They're exploring different sounds from the introspective, getting back to the acoustic joy of five musicians and then taking the songs where they will - whether it is a simple melody and guitar line or the grandiose splendour of a huge symphonic sound.
"I personally feel like I've developed a lot as a songwriter," comments Tyrone, "more confident lyrics and statements being expressed through those lyrics. Overall it's a more positive approach in dealing with personal issues and socio-political issues, more positive light. As a band, this to me feels like a really mature album for us. I feel like the five of us have really connected stronger than ever before musically as a unit."
"The album is a combination of all of the recording practice we'd all done," adds Paulie. "george have always prided themselves on high quality recordings, and individually Unity was my sixth or seventh full length album to record with a band. We were all completely comfortable with who we were for each other, and that was something we really learned on the first record. Polyserena was us learning how to make a record, Unity was making that record."
Working hand in hand with producer David Nicholas and assistant Justin Tresidder (additional production and engineering), both of whom also worked on Polyserena, everyone felt a sense of comfort and intimacy during the recording session that occurred in the beautiful surrounds of Byron Bay. Melbourne's revered composer Paul Grabowsky also assisted with sweeping orchestral and horn arrangements, lending the music a dignity that refrained from falling into pretension. Songs like first single Still Real and Today examine people's relationships with their own lives, as well as providing a touching insight into the band themselves.
"I think that sense of friendship comes from the early days of george, in that it was about two sets of siblings, so it was about family and love and very close, intense relationships," considers Katie. "That family vibe brings a closeness and honesty that permeates what we do. Collectively and individually, we've been through a great period of change and growth. Knowing we can look to each other for strength brings comfort and solidarity. We have all been through the same thing and there's an incredible sense of union from that experience - that's what being in a band's about."
It's a perspective that has seen this band survive more than seven years now. "The essence of george was a couple of sets of siblings getting together for the sake of music, and both the Noonan family and Stewart family had musical parents who were very passionate about letting their children find what made them happy and how to achieve what they wanted to achieve in life," explains Nick. "From the very onset, Ty, Katie and myself have had that passion and goal, and that's definitely where Unity comes from. It's a musical search that with complete support from our parents, we've been able to pursue, and it's likewise for Paulie and Geoff. That came very much to the forefront just before we came in to record this album. It signifies that after all the success that Polyserena had, the basic formula was happiness in music, and that's where we come from and where we're going to and what Unity encapsulates. All five of us very strongly feel that way."
That sentiment of strength and focus is apparent throughout the record - despite moments of darkness and questioning, musically the overriding force is that of positivity and seeking out that silver lining. "It's meant to be universal," asserts Katie. "There's been an extreme amount of emotional intensity in the world over the last two years, but I feel people are now starting to look to each other again. I'm feeling that anyway. We're feeling that uneasy political turbulence, that sadness of seeing our brothers and sisters in war. So I guess it's not meant to be just about unity for us, it's an everyone thing as well."
Unity. It conjures images of persistence, of sunshine, of hope. It signifies faith and motivates change. It's the album that george has been slowly and determinedly working towards for the past seven years and one that will serve to elevate them to their next goal.
Track by track with george…
"Still Real"
Katie: This is very much a reflection on the journey that we've been through in the last eighteen months as a band. We never really wrote music for commercial success - it was like a happy accident and we feel very lucky and blessed, but it was also very unexpected and it changed our lives a lot, individually and collectively. This song's a reflection on that huge period of growth and change that we've been through as a group and how basically we've learned to look to each other for strength and perspective. At the end of the day, what we do is a very simple thing - it's five people playing music purely because they love it.
"One"
Tyrone: This a reflection on the times - the fall of Archbishop Hollingsworth, the Iraq War, the lies about the Tampa and what really happened in Florida…but it's also a positive look at the fact that we are all 99.9 per cent the same and that some, if not many, of us are waking up to what's going on, stepping outside the matrix of fear and remembering to smile! Musically, the chorus idea originally came from one of Nick's happening riffs, but classical composers including Elgar and Vaughan Williams inspired the rest of the song.
"Captive"
Katie: This was a song that I wrote a very long time ago, we've been playing it live for about four years. It's a reflection on the need to get out of the city and the need to break free from the monotony of schedule and timetables and buses and taxis and deadlines. Just the need to get away from the stuff that holds you captive in your space in the city or wherever you may be. It was a great song to give Paul Grabowsky the chance to explore the orchestral arrangements in a really cinematic space.
Geoff: I don't think as a band we could have pulled it off recording it any earlier, I don't think that the vibe would have been captured. Nothing replaces just playing together, and we've done so much playing together that we all know where we fit and how to weave in and out of each other.
Nick: It's something we've always thought of as a studio track and something we wanted to have a good look at. At the end of the day during tracking I played my parts, but felt after listening back it was a bit 'boxy', or something was a bit not right. I went back in by myself, pulled the Marshall out of the 2m by 2m booth, took it into the big room where the drums are and turned it up to 11!
"Beauty Of All Things"
Tyrone: This song is designed to put a smile on your face! No matter what trials and tribulations we all must face, love is stronger than any of these things…with special thanks to the amazing Pinewood Studios/Herb Albert-inspired orchestration from Paul G and the superb playing of the Queensland Orchestra. Part of the inspiration of this song came from listening to lots of my favourite alternative pop records (yes, vinyl!) from the '80s. But thanks to Paul G I think we've ended up more in the late swingin' '60s!
Falling Inside
Katie: It's been an amazing year and it's been a wonderful time of growth together and there are certain less artistic sides to our chosen path that we have to deal with, that probably in an ideal world, we'd prefer not to have to. When you're an artist it's often hard to make decisions about your art in that sense. It's a bit of a reflection on that and how unfortunate it is that it's sometimes a reality we have to deal with. But it's also meant to be positive and that it's kind of carefree and let go. It's a positive song because we've got through that period. It's fuelled a very happy, uplifting thing in the end.
Nick: It went through so many forms in the arrangement. We had these very different periods - the first time it had a much more riff based chorus. Then it lost its drunkenness!
Geoff: Paulie went down to a wrecker and got all sorts of metallic bits and pieces, and we were out on the verandah of Coorabella and we just started throwing things around. The cows were mooing and getting upset and I was getting the two wheel drums and playing them like symphonic cymbals and hitting things! In the end we just ended up diving on all the stuff and kind of rolling around that's all through the intro.
"Fortunate Smile"
Tyrone: This is a love tale that started out almost like a folk song, with its 6/8 feel banged out on an acoustic. It's about those lighter-than-air feelings you get when you see your partner's smile or look into their eyes - and it's augmented by an amazing Indian-inspired string intro and Balanescu-inspired outro led by the wonderful Paul Grabowsky.
"Fall"
Katie: I wrote this song earlier this year, so it was very new. It was just a very simple song, a reflection on other people's lives and also my own, but it's written in third person. I suppose I'm incapable of not feeling things 110 per cent, I'm just not capable of not letting things get to me, and that's in good and bad ways! I think we're all like that; we're all pretty sensitive. It was meant to be a metaphorical kind of thing, like when you've met somebody and you've fallen in love that's just the deepest degree of that emotion possible, and it's a reflection on that - there's been a lot of emotional intensity recently. In my life, but also just generally.
"Today"
Tyrone: Be happy for today - that is the mantra of this song. While there is a yearning for an end to violence and greed, there is recognition that love is the greatest force on earth and that each day is a gift, no matter how much further we feel we have to go. The original idea came from a simple riff that just wouldn't go away whenever I sat in front of the piano; and even though it has a minor feel, the subtle change to major for the choruses just appeared one day and gave the song the lift I was looking for.
"Jaded"
Katie: I wrote this years ago when we were on the road, when we'd been touring for a very, very long time. It comes back to the Falling Inside thing - not wanting to let other people make you jaded. For me this is Special Ones Part II. It's very much about self empowerment and self worth, and empowering in the sense of everyone has so much stuff in their life that if you wanted to let it get you down it could, whatever it is. It's not just about being in the music industry, it's just whatever it is about your life.
Geoff: It's such a positive reinforcement and that is the message that we're trying to get across throughout this whole album, just the positivity. Everyone has some element in their life and this song will hopefully transcend to all sorts of different people - and it might be relevant to race issues or anything, and hopefully the positive aspect will come through.
"Growing With Love"
Tyrone: This is a reflection on learning the lessons that life has to offer, and remembering what we are here for. This is one of those songs that came together in the studio - we still weren't certain about where it was at by the end of pre-production - and then something happened when Dave (Nicholas, producer) started miking up the whole studio space and the four other members of george found a special groove.
Katie: This was something that couldn't have happened on a previous recording as well. We left it to the very last song, and the whole time we were thinking it would probably be a closing track of the record. For Ty and I, that's our favourite backing vocal moment. It was inspired by keening, a particular vocal technique that's all in the throat, and it's actually a style of singing used in mourning. I'm wondering if people will think it's other people!
"Surrender"
Paulie: I've written a lot of music on my own and this was the first piece I felt really suited, more than anything, the line up of george. I'd only written the parts for one guitar, but had ideas for an accompaniment. I put together a basic arrangement of three or four sections that went loosely together, gave a copy to Katie who added a vocal melody and then joined that with a poem from Martin Challice (who also writes a lot of lyrics for Elixir, Katie and Nick's other project).
Katie: This was the first song that I wrote with Paulie B. He had this beautiful, revolving, languid, sensuous riff that the guys had recorded some music around instrumentally. I had a little walkman and I played it and sang along to the CD and it just happened. It's a very sensuous song and very thematic. It's also just about letting go emotionally and surrendering to everything. I ended up doing the lyrics at sunset, as the sun was setting on the deck. There were birds and everyone sitting around.
"Change"
Tyrone: This is the first song written in the rehearsal space with the four boys. Nick had the riff going and it all evolved naturally from there. The song reflects on the idea of finding a way to work within the system and effect positive change without letting it change you.
Nick: A lot of my personal writing was done at Woodford with my twin brother; we would grab a couple of acoustics and sit around the camp playing for hours on end. Change started there for me. I got some chords together with him and worked on it as an acoustic piece. When I got it to george everyone said let's rip it apart and put it back together - as we always do! That's the wondrous thing with george. For me, this is one of the best expressions of the group. The guitar is not a feature, just part of the melee. It was one of my favourite tracks to record.
[Release date: 23 Feb 2004]
[2089 Reads]Posted by: admin on Friday, March 26, 2004