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| PREV NEXT | FRAMES NO FRAMES |
| Packages that use PluginException | |
|---|---|
| org.apache.commons.digester.plugins | The plugins package provides an easy mechanism whereby new
digestion rules can be added dynamically during a digestion. |
| org.apache.commons.digester.plugins.strategies | The plugins.strategies package contains "rule-finding" strategy
classes, and their associated "helper" loader classes. |
| Uses of PluginException in org.apache.commons.digester.plugins |
|---|
| Subclasses of PluginException in org.apache.commons.digester.plugins | |
|---|---|
class |
PluginInvalidInputException
Thrown when an error occurs due to bad data in the file being parsed. |
| Methods in org.apache.commons.digester.plugins that throw PluginException | |
|---|---|
abstract void |
RuleLoader.addRules(Digester d,
String path)
Configures the digester with custom rules for some plugged-in class. |
void |
Declaration.configure(Digester digester,
String pattern)
Attempt to load custom rules for the target class at the specified pattern. |
static void |
PluginDeclarationRule.declarePlugin(Digester digester,
Properties props)
|
abstract RuleLoader |
RuleFinder.findLoader(Digester d,
Class<?> pluginClass,
Properties p)
Apply the finder algorithm to attempt to locate a source of digester rules for the specified plugin class. |
RuleLoader |
PluginManager.findLoader(Digester digester,
String id,
Class<?> pluginClass,
Properties props)
Given a plugin class and some associated properties, scan the list of known RuleFinder instances until one detects a source of custom rules for this plugin (aka a RuleLoader). |
void |
Declaration.init(Digester digester,
PluginManager pm)
Must be called exactly once, and must be called before any call to the configure method. |
abstract Rules |
RulesFactory.newRules(Digester d,
Class<?> pluginClass)
Return an instance of some Rules implementation that the plugged-in class shall use to match its private parsing rules. |
| Uses of PluginException in org.apache.commons.digester.plugins.strategies |
|---|
| Methods in org.apache.commons.digester.plugins.strategies that throw PluginException | |
|---|---|
void |
LoaderFromStream.addRules(Digester d,
String path)
Add the rules previously loaded from the input stream into the specified digester. |
void |
LoaderFromClass.addRules(Digester d,
String path)
Just invoke the target method. |
RuleLoader |
FinderFromResource.findLoader(Digester d,
Class<?> pluginClass,
Properties p)
If there exists a property with the name matching constructor param resourceAttr, then load that file, run it through the xmlrules module and return an object encapsulating those rules. |
RuleLoader |
FinderFromMethod.findLoader(Digester d,
Class<?> pluginClass,
Properties p)
If there exists a property with the name matching constructor param methodAttr, then locate the appropriate Method on the plugin class and return an object encapsulating that info. |
RuleLoader |
FinderFromFile.findLoader(Digester d,
Class<?> pluginClass,
Properties p)
If there exists a property with the name specified in the constructor, then load that file, run it through the xmlrules module and return an object encapsulating those rules. |
RuleLoader |
FinderFromDfltResource.findLoader(Digester d,
Class<?> pluginClass,
Properties p)
If there exists a resource file whose name is equal to the plugin class name + the suffix specified in the constructor, then load that file, run it through the xmlrules module and return an object encapsulating those rules. |
RuleLoader |
FinderFromDfltMethod.findLoader(Digester d,
Class<?> pluginClass,
Properties p)
If there exists on the plugin class a method with name matching the constructor's methodName value then locate the appropriate Method on the plugin class and return an object encapsulating that info. |
RuleLoader |
FinderFromDfltClass.findLoader(Digester digester,
Class<?> pluginClass,
Properties p)
If there exists a class whose name is the plugin class name + the suffix specified to the constructor, then load that class, locate the appropriate rules-adding method on that class, and return an object encapsulating that info. |
RuleLoader |
FinderFromClass.findLoader(Digester digester,
Class<?> pluginClass,
Properties p)
If there exists a property with the name matching constructor param ruleClassAttr, then load the specified class, locate the appropriate rules-adding method on that class, and return an object encapsulating that info. |
static RuleLoader |
FinderFromResource.loadRules(Digester d,
Class<?> pluginClass,
InputStream is,
String resourceName)
Open the specified resource file (ie a file in the classpath, including being within a jar in the classpath), run it through the xmlrules module and return an object encapsulating those rules. |
static Method |
LoaderFromClass.locateMethod(Class<?> rulesClass,
String methodName)
Find a method on the specified class whose name matches methodName, and whose signature is: public static void foo(Digester d, String patternPrefix); . |
| Constructors in org.apache.commons.digester.plugins.strategies that throw PluginException | |
|---|---|
LoaderFromClass(Class<?> rulesClass,
String methodName)
Constructor. |
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Web Framework: Ionic 4 + Angular
Platforms: Web, iOS, Android
Capacitor makes it easy to build web apps that run natively on iOS, Android, desktop, and the web. In this guide, we'll add Camera functionality to an Ionic Angular app that works on the web, iOS, and Android. Ready to capture photos using just one JavaScript method call? Let's get started.
Building and deploying iOS and Android apps require additional dependencies, including an iOS and Android device. Please follow the instructions here before continuing.
If you have an existing Ionic app, skip this section. If not, let's create an Ionic app first. In a Terminal, install Ionic (this also updates to the latest version of Ionic):
npm install -g ionic
Next, create a new Ionic app based on the "tabs" starter project and install Capacitor too:
ionic start capApp tabs --capacitor
Next, initialize Capacitor with your app information.
npx cap init
App name: CapApp
App Package ID: com.example.capapp
Capacitor was designed to drop into any existing modern JavaScript web app - Ionic included! If you didn't add the --capacitor
flag when creating the Ionic project above, or have an existing Ionic project, no problem. Run the following:
cd capApp
ionic integrations enable capacitor
Next, initialize Capacitor with your app information.
npx cap init
App name: CapApp
App Package ID: com.example.capapp
Before adding any native platforms to this project, the app must be built at least once. A web build creates the web assets directory that Capacitor needs (www
folder in Ionic projects):
ionic build
Next, add any platforms (besides the web, of course) that you'd like to build for:
npx cap add ios
npx cap add android
Upon running these commands, both android
and ios
folders at the root of the project are created. These are entirely separate native project artifacts that should be considered part of your Ionic app (i.e., check them into source control).
Next up, we'll add the ability to take photos with the device's camera using the Capacitor Camera API.
To begin, open the Tab2 HTML page under the src/app/tab2
folder. Add an image tag that will display the current photo taken with the camera and add an Ionic fab button that will open the camera when clicked:
<ion-content>
<img [src]="photo" >
<ion-fab vertical="bottom" horizontal="center" slot="fixed">
<ion-fab-button (click)="takePicture()">
<ion-icon name="camera"></ion-icon>
</ion-fab-button>
</ion-fab>
</ion-content>
Next, we need to add the logic that will power the camera functionality. Open src/app/tab2/tab2.page.ts
and import the Capacitor Plugins and Camera classes:
import { Plugins, CameraResultType, CameraSource } from '@capacitor/core';
Next, implement the takePicture()
method:
export class Tab2Page {
async takePicture() {
const image = await Plugins.Camera.getPhoto({
quality: 100,
allowEditing: false,
resultType: CameraResultType.DataUrl,
source: CameraSource.Camera
});
this.photo = this.sanitizer.bypassSecurityTrustResourceUrl(image && (image.dataUrl));
}
}
Notice the magic here: there's no mention of iOS or Android! There's just one method call - Camera.getPhoto()
- that will open up the device's camera and allow us to take photos.
Next, we need to tell Angular to trust the dynamic image data. To do this, inject DomSanitizer
via the Constructor and use sanitizer.bypassSecurityTrustResourceUrl()
to allow the image data to be displayed in our app:
import { DomSanitizer, SafeResourceUrl } from '@angular/platform-browser';
export class Tab2Page {
photo: SafeResourceUrl;
constructor(private sanitizer: DomSanitizer) { }
}
Here's the complete Camera implementation:
import { Component } from '@angular/core';
import { Plugins, CameraResultType, CameraSource } from '@capacitor/core';
import { DomSanitizer, SafeResourceUrl } from '@angular/platform-browser';
@Component({
selector: 'app-tab2',
templateUrl: 'tab2.page.html',
styleUrls: ['tab2.page.scss']
})
export class Tab2Page {
photo: SafeResourceUrl;
constructor(private sanitizer: DomSanitizer) { }
async takePicture() {
const image = await Plugins.Camera.getPhoto({
quality: 100,
allowEditing: false,
resultType: CameraResultType.DataUrl,
source: CameraSource.Camera
});
this.photo = this.sanitizer.bypassSecurityTrustResourceUrl(image && (image.dataUrl));
}
}
Let's give this a try in the browser:
ionic serve
Open the Developer Tools and select the Console
tab. Then, navigate over to Tab Two, then click the newly created Camera fab button. An error appears in the Console:
ERROR Error: Uncaught (in promise): TypeError: cameraModal.present is not a function
Some Capacitor plugins, including the Camera, provide the web-based functionality and UI via the Ionic PWA Elements library. It's a separate dependency, so install it using the Terminal (cancel the ionic serve
command currently running first):
npm install @ionic/pwa-elements
Note: There's currently an issue with importing the Ionic PWA elements library in an Ionic Angular app. In the meantime, include this script tag in src/index.html
:
<head>
<!-- Other tags -->
<script src="https://unpkg.com/<EMAIL_ADDRESS></head>
With that appropriately configured now, re-run ionic serve
and click the Camera fab button. If your computer has a webcam of any sort, a modal window displays and you can take a photo!
"I'm pretty handsome." - The Author
Next up, let's run this app on iOS and Android.
Capacitor iOS apps are configured and managed through Xcode, with dependencies managed by CocoaPods. Before running this app on an iOS device, there's a couple of steps to complete.
From the Terminal, run the Capacitor copy
command, which copies all web assets (the Ionic Angular app in this case) into the native iOS project:
npx cap copy
Note: After making updates to the native portion of the code (such as adding a new plugin), use the sync
command:
npx cap sync
Next, run the Capacitor open
command, which opens the native iOS project in Xcode:
npx cap open ios
Within Xcode, click on App
in the Project Navigator on the left-hand side, then within the Signing
section, select your Development Team.
Next, for the Camera plugin to work, we must configure the "Privacy - Camera Usage" permission. iOS displays a modal dialog automatically after the first time that Camera.getPhoto()
is called, prompting the user to allow the app to use the Camera. To set this, the Info.plist
file must be modified (more details here). To access it, click "Info," then expand "Custom iOS Target Properties."
Each setting in Info.plist
has a low-level parameter name and a high-level name. By default, the property list editor shows the high-level names, but it's often useful to switch to showing the raw, low-level names. To do this, right-click anywhere in the property list editor and toggle "Show Raw Keys/Values."
Locate the NSCameraUsageDescription
Key (or add it) and set the Value to something that describes why the app needs to use the camera, such as "To Take Photos." The Value will be displayed to the app user when the permission prompt opens.
With permissions in place, we are ready to try out the app on a real device! Connect an iOS device to your Mac computer, then within Xcode click the "Build" button to build, install, and launch the app on your device:
Upon tapping the Camera button on Tab Two, the permission prompt will display. Tap OK, then take a picture with the Camera. Afterward, the photo shows in the app:
Capacitor Android apps are configured and managed through Android Studio. Before running this app on an Android device, there's a couple of steps to complete.
From the Terminal, run the Capacitor copy
command, which copies all web assets (the Ionic Angular app in this case) into the native Android project:
npx cap copy
Note: After making updates to the native portion of the code (such as adding a new plugin), use the sync
command:
npx cap sync
Next, run the Capacitor open
command, which opens the native Android project in Android Studio:
npx cap open android
Similar to iOS, we must enable the correct permissions to use the Camera. Configure these in the AndroidManifest.xml
file. Android Studio will likely open this file automatically, but in case it doesn't, locate it under android/app/src/main/
.
Scroll to the Permissions
section and ensure these entries are included:
<uses-permission android:name="android.permission.READ_EXTERNAL_STORAGE"/>
<uses-permission android:name="android.permission.WRITE_EXTERNAL_STORAGE" />
Save the file. With permissions in place, we are ready to try out the app on a real device! Connect an Android device to your computer. Within Android Studio, click the "Run" button, select the attached Android device, then click OK to build, install, and launch the app on your device.
Once again, upon tapping the Camera button on Tab Two, the permission prompt should be displayed. Tap OK, then take a picture with the Camera. Afterward, the photo should appear in the app.
We created a cross-platform Ionic Angular app that runs on the web, Android, and iOS. Using the Capacitor Camera API, we added the ability to use the device's camera with just a few lines of code.
What's next? Try adding another API, such as Toasts or Push Notifications. Looking to create custom native functionality? Create a Capacitor plugin. This is just the beginning of your Capacitor journey.
Happy app building!


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- BigPhish
- This issue has been resolved by Apple in MacOS Sierra by enabling tty_tickets by default. NOTE: All other MacOS operation system (El Capitan, Yosemite, Mavericks etc...) still remain vulnerable to this exploit.
- osxinj
- Another dylib injector. Uses a bootstrapping module since mach_inject doesn't fully emulate library loading and crashes when loading complex modules.
- kcap
- This program simply uses screen captures and programmatically generated key and mouse events to locally and graphically man-in-the-middle an OS X password prompt to escalate privileges.
- Platypus
- Platypus is a Mac OS X developer tool that creates native Mac applications from interpreted scripts such as shell scripts or Perl, Ruby and Python programs. This is done by wrapping the script in an application bundle along with a native executable binary that runs the script.


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Class DbLibConstants
Native constants.
Inherited Members
Namespace: KdSoft.Lmdb.Interop
Assembly: KdSoft.Lmdb.dll
Syntax
[CLSCompliant(false)]
public static class DbLibConstants
Fields
MDB_APPEND
Data is being appended, don't split full pages.
Declaration
public const uint MDB_APPEND = 131072U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_APPENDDUP
Duplicate data is being appended, don't split full pages.
Declaration
public const uint MDB_APPENDDUP = 262144U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_CP_COMPACT
Compacting copy: Omit free space from copy, and renumber all pages sequentially.
Declaration
public const uint MDB_CP_COMPACT = 1U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_CREATE
create DB if not already existing
Declaration
public const uint MDB_CREATE = 262144U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_CURRENT
For mdb_cursor_put: overwrite the current key/data pair
Declaration
public const uint MDB_CURRENT = 64U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_DUPFIXED
with MDB_DUPSORT, sorted dup items have fixed size
Declaration
public const uint MDB_DUPFIXED = 16U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_DUPSORT
use sorted duplicates
Declaration
public const uint MDB_DUPSORT = 4U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_FIXEDMAP
mmap at a fixed address (experimental)
Declaration
public const uint MDB_FIXEDMAP = 1U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_INTEGERDUP
with MDB_DUPSORT, dups are MDB_INTEGERKEY-style integers
Declaration
public const uint MDB_INTEGERDUP = 32U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_INTEGERKEY
numeric keys in native byte order, either unsigned int or mdb_size_t. (lmdb expects 32-bit int <= size_t <= 32/64-bit mdb_size_t.) The keys must all be of the same size.
Declaration
public const uint MDB_INTEGERKEY = 8U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_MAPASYNC
use asynchronous msync when MDB_WRITEMAP is used
Declaration
public const uint MDB_MAPASYNC = 1048576U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_MULTIPLE
Store multiple data items in one call. Only for MDB_DUPFIXED.
Declaration
public const uint MDB_MULTIPLE = 524288U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_NODUPDATA
Only for MDB_DUPSORT:
For put: don't write if the key and data pair already exist.
For mdb_cursor_del: remove all duplicate data items.
Declaration
public const uint MDB_NODUPDATA = 32U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_NOLOCK
don't do any locking, caller must manage their own locks
Declaration
public const uint MDB_NOLOCK = 4194304U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_NOMEMINIT
don't initialize malloc'd memory before writing to datafile
Declaration
public const uint MDB_NOMEMINIT = 16777216U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_NOMETASYNC
don't fsync metapage after commit
Declaration
public const uint MDB_NOMETASYNC = 262144U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_NOOVERWRITE
For put: Don't write if the key already exists.
Declaration
public const uint MDB_NOOVERWRITE = 16U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_NORDAHEAD
don't do readahead (no effect on Windows)
Declaration
public const uint MDB_NORDAHEAD = 8388608U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_NOSUBDIR
no environment directory
Declaration
public const uint MDB_NOSUBDIR = 16384U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_NOSYNC
don't fsync after commit
Declaration
public const uint MDB_NOSYNC = 65536U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_NOTLS
tie reader locktable slots to #MDB_txn objects instead of to threads
Declaration
public const uint MDB_NOTLS = 2097152U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_RDONLY
read only
Declaration
public const uint MDB_RDONLY = 131072U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_RESERVE
For put: Just reserve space for data, don't copy it. Return a pointer to the reserved space.
Declaration
public const uint MDB_RESERVE = 65536U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_REVERSEDUP
with MDB_DUPSORT, use reverse string dups
Declaration
public const uint MDB_REVERSEDUP = 64U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_REVERSEKEY
use reverse string keys
Declaration
public const uint MDB_REVERSEKEY = 2U
Field Value
| Type | Description |
|---|---|
| UInt32 |
MDB_WRITEMAP
use writable mmap
Declaration
public const uint MDB_WRITEMAP = 524288U
Field Value
| Type | Description |
|---|---|
| UInt32 |


Public Administration Review, Edition 6, Volume 72, Issue 6, Pages 784-785, American Society for Public Administration, Washington DC, 2012.
Public Personnel Management, Edition 3, Volume 41, Issue 3, Pages 389-405, International Public Management Association for Human Resources, Alexandria, Virginia, Elizabeth Kirkland, 2012.
Review of Public Personnel Administration, Edition 3, Volume 30, Issue 3, Pages 322-340, 2010.
Connecticut Law Review, Edition 4, Volume 42, Issue 4, Pages 1031-1046, 2010.
Municipal Year Book 2009, Pages 28-33, International City-County Management Association, Washington DC, 2009.
Review of Public Personnel Administration, Edition 2, Volume 28, Issue 2, Pages 166-177, Sage, 2008.
Public Administration Review, Edition 6, Volume 72, Issue 6, Pages 784-785, American Society for Public Administration, Washington DC, 2012.
Public Personnel Management, Edition 3, Volume 41, Issue 3, Pages 389-405, International Public Management Association for Human Resources, Alexandria, Virginia, Elizabeth Kirkland, 2012.
Review of Public Personnel Administration, Edition 3, Volume 30, Issue 3, Pages 322-340, 2010.


Universal Studios Singapore
On Friday we took the plunge and visited the Universal Studios Singapore theme park. It was a day before Singapore's school holidays would start, so we were expecting limited waiting times.
The park has 7 areas with various attractions and rides we did savour to some extend. Here's the verdict:
The park has 7 areas with various attractions and rides we did savour to some extend. Here's the verdict:
- Holiwood: We had burgers and fries at Mel's drive in and enjoyed the display of nicely renovated vintage cars including the police car above. We watched the "Monster Rock" show in the Pantages Hollywood Theatre. I liked it a lot and it was (besides loud) a nice R&R pot puree. However I had to explain to the gentlemen what the different monsters were and we added some of them onto the "watch-movie" list.
- New York: The Lights! Camera! Action! Steven Spielberg show was quite impressive. Universal loves collapsing stuff and pyrotechnic. We skipped the Stage 28 show about movie making.
- Sci-Fi City: The only open ride was the Accelerator, which the gentlemen rated "quite lame". Luckily we didn't have to queue more than 5 minutes when we reached there. In 2011 Sci-Fi City will add a Transformers attraction and hopefully open the Battlestar Galactica double roller coaster "Cylons/Humans" which looked impressive.
- Ancient Egypt: features 2 rides, the "Trasure Hunters" which we skipped (rated "too kiddie style" by the gentlemen) and "Revenge of the Mummy". On our first go we queued about 30 minutes for a nice scary ride with good effects. Towards evening (about 7:30pm during extended hours) Anthony and I had a second go with merely 10 minutes wait while in the afternoon waiting times would have been around 90-100 min. We had lunch at the Oasis Cafe with some Falaffel and Kebab. Food was OK.
- Lost world (best to enjoy in the early morning): We queued a full hour for the "Jurassic Park Rapids Adventure" ride (after checking the ride twice when the waiting times were 90 and 120 min respectively). Nice splashy going with good animated Dinos along the way. Of course a theme park ride about a theme park ride has its own little irony. We skipped the Canopy Flyer when the gentlemen budged at another 90 minutes boring wait. They rather had their go at the "Amber Rock Climb" probing their skills in rock climbing. Singapore style we had to sign a form first to remove injury liability from the operators. The highlight in the Lost World however was the WaterWorld show based on the Kostner movie. Good special effects, amazing stunts and actors driven to make it an experience brought fun to the session. You will get wet.
- Far Far Away: The Enchanted Airways roller coaster features the Dragon 380 wide body cabins and is a nice mid-level ride. Good to enjoy with very short waiting times when we were there and again and again. The "Shrek-4D Adventure" is a funny Shrek based short 3D movie with a set of extra experiences (hence the 4th D). Good innocent fun. We skipped Donkey LIVE.
- Madagascar: The main attraction wasn't open, we skipped kiddie rides, food or merchandise.
Posted by Stephan H Wissel on 21 November 2010 | Comments (0) | categories: After hours


After residing in Palo Alto for seven years, Hillary Freeman decided to run for City Council in her California hometown. A devoted wife, soccer mom and public schools volunteer, Hillary worked as a high-tech sales executive in Silicon Valley. Having moved to Palo Alto from Los Angeles, she loved the character and charm of her adopted city.
However, Hillary had a challenge. Home to Stanford University, Palo Alto was a community of well-educated, high-income and predominantly white citizens. Blacks represented less than 2 percent of the population at the time—and Hillary Freeman is African American.
Although politically progressive, Palo Alto, like any place, was not immune to racial prejudice. At a Hillary Freeman campaign event early in the race, for instance, a newspaper photographer took her photo and, thinking she was a volunteer and not the candidate, asked where she lived.
In order to meet her goal, Hillary needed to get past racial stereotypes and the fact that she had no political experience. Working with her as the campaign strategist, we created a brand that positioned her as the face of new leadership in Palo Alto—a high-tech exec whose business skills and empathy could align city policies with community values. Hillary, her campaign team and I strategized to match Hillary’s unique strengths with the needs of the community. We paired the critical issues facing Palo Alto with the need for a City Council member who had a business background to tackle budget issues, along with the values of a mom with school-age children (education, libraries and sports fields) and a homeowner concerned about balancing the needs of development with neighborhood character. We built a coalition of stakeholders who were invested in her success because her campaign spoke to their needs and vision for Palo Alto. By focusing on shared values and her education (BA and MS degrees), Hillary seemed like “one of us” and not a black outsider.
During the campaign, Hillary went from being an unknown minority volunteer to an exciting candidate who best represented Palo Alto ideals. The results of Hillary’s campaign and brand transformation were stunning. She not only won a seat on the City Council, but also was the highest vote-getter in a field of 13, besting two incumbents and ousting the sitting mayor. Hillary had to overcome seemingly insurmountable odds to reach her goal. She is living proof that branding does pay.


Weapons Trader Stanford:
Welcome, youngster! Our shop only specializes in weapons. In fact, most of the famous knights of Aden come here. Why don't you choose one for yourself? We carry a wide selection, and only the best!
Buy/Sell/Refund.
View information about the local lord and tax rate.
Quest


Effmass¶
effmass is a Python package for calculating various definitions of effective mass from the electronic bandstructure of a semiconducting material. It consists of a core class that calculates the effective mass and other associated properties of selected bandstructure segments. The module also contains functions for locating bandstructure extrema and plotting approximations to the dispersion.
Examples are provided in a Jupyter notebook tutorial here. Source code is available as a git repository at https://github.com/lucydot/effmass.


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saga
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--------------
**saga**: n.
[WPI] A cuspy but bogus raving story about ``N`` random broken people.
Here is a classic example of the saga form, as told by Guy L. Steele:
Jon L. White (login name JONL) and I (GLS) were office mates at MIT
for many years. One April, we both flew from Boston to California
for a week on research business, to consult face-to-face with some
people at Stanford, particularly our mutual friend Richard P.
Gabriel (RPG).
RPG picked us up at the San Francisco airport and drove us back to
Palo Alto (going `*logical* <../L/logical.html>`__ south on route
101, parallel to `*El Camino
Bignum* <../E/El-Camino-Bignum.html>`__). Palo Alto is adjacent to
Stanford University and about 40 miles south of San Francisco. We
ate at The Good Earth, a ‘health food’ restaurant, very popular, the
sort whose milkshakes all contain honey and protein powder. JONL
ordered such a shake — the waitress claimed the flavor of the day
was “lalaberry”. I still have no idea what that might be, but it
became a running joke. It was the color of raspberry, and JONL said
it tasted rather bitter. I ate a better tostada there than I have
ever had in a Mexican restaurant.
After this we went to the local Uncle Gaylord's Old Fashioned Ice
Cream Parlor. They make ice cream fresh daily, in a variety of
intriguing flavors. It's a chain, and they have a slogan: “If you
don't live near an Uncle Gaylord's — MOVE!” Also, Uncle Gaylord (a
real person) wages a constant battle to force big-name ice cream
makers to print their ingredients on the package (like air and
plastic and other non-natural garbage). JONL and I had first
discovered Uncle Gaylord's the previous August, when we had flown to
a computer-science conference in Berkeley, California, the first
time either of us had been on the West Coast. When not in the
conference sessions, we had spent our time wandering the length of
Telegraph Avenue, which (like Harvard Square in Cambridge) was lined
with picturesque street vendors and interesting little shops. On
that street we discovered Uncle Gaylord's Berkeley store. The ice
cream there was very good. During that August visit JONL went
absolutely bananas (so to speak) over one particular flavor, ginger
honey.
Therefore, after eating at The Good Earth — indeed, after every
lunch and dinner and before bed during our April visit — a trip to
Uncle Gaylord's (the one in Palo Alto) was mandatory. We had arrived
on a Wednesday, and by Thursday evening we had been there at least
four times. Each time, JONL would get ginger honey ice cream, and
proclaim to all bystanders that “Ginger was the spice that drove the
Europeans mad! That's why they sought a route to the East! They used
it to preserve their otherwise off-taste meat.” After the third or
fourth repetition RPG and I were getting a little tired of this
spiel, and began to paraphrase him: “Wow! Ginger! The spice that
makes rotten meat taste good!” “Say! Why don't we find some dog
that's been run over and sat in the sun for a week and put some
*ginger* on it for dinner?!” “Right! With a lalaberry shake!” And so
on. This failed to faze JONL; he took it in good humor, as long as
we kept returning to Uncle Gaylord's. He loves ginger honey ice
cream.
Now RPG and his then-wife KBT (Kathy Tracy) were putting us up
(putting up with us?) in their home for our visit, so to thank them
JONL and I took them out to a nice French restaurant of their
choosing. I unadventurously chose the filet mignon, and KBT had je
ne sais quoi du jour, but RPG and JONL had lapin (rabbit).
(Waitress: “Oui, we have fresh rabbit, fresh today.” RPG: “Well,
JONL, I guess we won't need any *ginger*!”)
We finished the meal late, about 11PM, which is 2AM Boston time, so
JONL and I were rather droopy. But it wasn't yet midnight. Off to
Uncle Gaylord's!
Now the French restaurant was in Redwood City, north of Palo Alto.
In leaving Redwood City, we somehow got onto route 101 going north
instead of south. JONL and I wouldn't have known the difference had
RPG not mentioned it. We still knew very little of the local
geography. I did figure out, however, that we were headed in the
direction of Berkeley, and half-jokingly suggested that we continue
north and go to Uncle Gaylord's in Berkeley.
RPG said “Fine!” and we drove on for a while and talked. I was
drowsy, and JONL actually dropped off to sleep for 5 minutes. When
he awoke, RPG said, “Gee, JONL, you must have slept all the way over
the bridge!”, referring to the one spanning San Francisco Bay. Just
then we came to a sign that said “University Avenue”. I mumbled
something about working our way over to Telegraph Avenue; RPG said
“Right!” and maneuvered some more.
Now, I hadn't really been paying attention because I was so sleepy,
and I didn't really understand what was happening until RPG let me
in on it a few moments later, but I was just alert enough to notice
that we had somehow come to the Palo Alto Uncle Gaylord's after all.
JONL noticed the resemblance to the Palo Alto store, but hadn't
caught on. (The place is lit with red and yellow lights at night,
and looks much different from the way it does in daylight.) He said,
“This isn't the Uncle Gaylord's I went to in Berkeley! It looked
like a barn! But this place looks *just like* the one back in Palo
Alto!”
RPG deadpanned, “Well, this is the one *I* always come to when I'm
in Berkeley. They've got two in San Francisco, too. Remember,
they're a chain.”
JONL accepted this bit of wisdom. And he was not totally ignorant —
he knew perfectly well that University Avenue was in Berkeley, not
far from Telegraph Avenue. What he didn't know was that there is a
completely different University Avenue in Palo Alto.
JONL went up to the counter and asked for ginger honey. The guy at
the counter asked whether JONL would like to taste it first,
evidently their standard procedure with that flavor, as not too many
people like it.
JONL said, “I'm sure I like it. Just give me a cone.” The guy behind
the counter insisted that JONL try just a taste first. “Some people
think it tastes like soap.” JONL insisted, “Look, I *love* ginger. I
eat Chinese food. I eat raw ginger roots. I already went through
this hassle with the guy back in Palo Alto. I *know* I like that
flavor!”
At the words “back in Palo Alto” the guy behind the counter got a
very strange look on his face, but said nothing. KBT caught his eye
and winked. Through my stupor I still hadn't quite grasped what was
going on, and thought RPG was rolling on the floor laughing and
clutching his stomach just because JONL had launched into his spiel
(“makes rotten meat a dish for princes”) for the forty-third time.
At this point, RPG clued me in fully.
RPG, KBT, and I retreated to a table, trying to stifle our chuckles.
JONL remained at the counter, talking about ice cream with the guy
b.t.c., comparing Uncle Gaylord's to other ice cream shops and
generally having a good old time.
At length the g.b.t.c.: said, “How's the ginger honey?” JONL said,
“Fine! I wonder what exactly is in it?” Now Uncle Gaylord publishes
all his recipes and even teaches classes on how to make his ice
cream at home. So the g.b.t.c.: got out the recipe, and he and JONL
pored over it for a while. But the g.b.t.c.: could contain his
curiosity no longer, and asked again, “You really like that stuff,
huh?” JONL said, “Yeah, I've been eating it constantly back in Palo
Alto for the past two days. In fact, I think this batch is about as
good as the cones I got back in Palo Alto!”
G.b.t.c.: looked him straight in the eye and said, “You're *in* Palo
Alto!”
JONL turned slowly around, and saw the three of us collapse in a fit
of giggles. He clapped a hand to his forehead and exclaimed, “I've
been hacked!”
[My spies on the West Coast inform me that there is a close relative of
the raspberry found out there called an ‘ollalieberry’ —ESR]
[Ironic footnote: the `*meme* <../M/meme.html>`__ about ginger vs.
rotting meat is an urban legend. It's not borne out by an examination of
medieval recipes or period purchase records for spices, and appears
full-blown in the works of Samuel Pegge, a gourmand and notorious flake
case who originated numerous food myths. The truth seems to be that
ginger was used to cover not rot but the extreme salt taste of meat
packed in brine, which was the best method available before
refrigeration. —ESR]
--------------
+---------------------------+----------------------------+--------------------------+
| `Prev `__ | `Up <../S.html>`__ | `Next `__ |
+---------------------------+----------------------------+--------------------------+
| sacred | `Home <../index.html>`__ | sagan |
+---------------------------+----------------------------+--------------------------+


@article{ma2016crowdsourcing, title = {Crowdsourcing the discovery of software repositories in an educational environment}, author = {Ma, Yuxing and Dey, Tapajit and Smith, Jarred M and Wilder, Nathan and Mockus, Audris}, journal = {PeerJ Preprints}, volume = {4}, pages = {e2551v1}, year = {2016}, url = {https://peerj.com/preprints/2551.pdf} }
@article{dey2018matching, title = {A matching based theoretical framework for estimating probability of causation}, author = {Dey, Tapajit and Mockus, Audris}, journal = {arXiv preprint arXiv:1808.04139}, year = {2018}, url = {https://arxiv.org/pdf/1808.04139} }
@article{dey2020pull, title = {Which Pull Requests Get Accepted and Why? A study of popular NPM Packages}, author = {Dey, Tapajit and Mockus, Audris}, journal = {arXiv preprint arXiv:2003.01153}, year = {2020}, url = {https://arxiv.org/pdf/2003.01153} }
@misc{dey2020datasetBOT, title = {A dataset of Bot Commits.(Jan. 2020)}, author = {Dey, Tapajit and Mousavi, Sara and Ponce, Eduardo and Fry, Tanner and Vasilescu, Bogdan and Filippova, Anna and Mockus, Audris}, year = {2020}, url = {https://doi.org/10.5281/zenodo.3610205} }
@misc{dey2020mapping, title = {A mapping between Bot Commit, Projects, Files, and Blobs}, author = {Dey, Tapajit and Vasilescu, Bogdan and Mockus, Audris}, url = {https://doi.org/10.5281/zenodo.3699664}, year = {2020} }
@misc{dey2020datasetPR, title = {A Dataset of Pull Requests and A Trained Random Forest Model for predicting Pull Request Acceptance.(May 2020)}, author = {Dey, Tapajit and Mockus, Audris}, year = {2020}, url = {https://doi.org/10.5281/zenodo.3858032} }
@inproceedings{dey2021replication, title = {Replication package for representation of developer expertise in open source software}, author = {Dey, Tapajit and Karnauch, Andrey and Mockus, Audris}, booktitle = {2021 IEEE/ACM 43rd International Conference on Software Engineering: Companion Proceedings (ICSE-Companion)}, pages = {236--237}, year = {2021}, organization = {IEEE}, url = {https://doi.org/10.5281/zenodo.4457107} }
This file was generated by bibtex2html 1.99.


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CANOpen Network Management is used to command and check the state of slave devices. It is possible to command different states for slave nodes, use Heartbeat on Node Guarding for the feeback about state and Emergency for reading the error messages.


THE WIND WILL CARRY US ----------------------
An engineer (Behzad Dourani) and his two unseen colleagues make their way to a small village with a secret mission (they discuss a cover story about looking for treasure). They're met by a young boy who shows the engineer into the village. The engineer asks about the house of an old woman, who is ill. Eventually we learn that it is her death that the engineer awaits, but he learns a lot about life during that time in Writer/director Abbas Kiarostami's ("The Taste of Cherry") "The Wind Will Carry Us."
LAURA:
At the start of "The Wind Will Carry Us," we watch a utility vehicle wend its way through winding roads shimmering in a landscape of red earth and golden fields dotted with bright green trees. We hear the travellers discuss the ambiguity of their directions which indicate looking for a single tree. When they finally stop and ask a field worker, they're succinctly told to go 200 yards past the next junction. This woman in the field is the first face we see and she's already delivering one of Kiarostami's subtle jokes.
The engineer (his colleagues are never seen, only heard) becomes fast friends with young Fahzad, who supplies the men with their morning bread and supplies the engineer with updates on the old woman's health (she didn't eat her soup today). Otherwise he's always running off to school where it seems he has a daily exam. The engineer takes his tea at a local spot where the old woman who serves argues with her husband about her work versus his ('every woman serves except your mother'). Across from the engineer's room, a young, very pregnant woman hangs the laundry of her nine children and tells him where to procure milk. When a nonpregnant woman returns the next, he believes it's her sister, but no, the newborn is simply swaddled across her back.
So the engineer essentially does nothing but wait, while everyone around him labors. His days are filled by the call of his cell phone, but he can't get reception unless he drives up a hill to the cemetary. There he meets a man digging a ditch (unseen again) for 'telecommunications.'
He has other encounters as well. He picks up the local teacher along the road who uncovers his true mission (apparently the young boy's spilled the beans). Here's someone we do see, but learn we haven't seen at all - when the teacher leaves the engineer's vehicle, we discover he's crippled. The engineer's sent into a dark earth cellar where a young girl milks a cow for him while he recites poetry for her (and the film gets its title), yet she refuses to shine her lamp on her face. A doctor tells him that he's called infrequently, giving him time to observe nature (to see). The doctor prefers the present because 'even a drum sounds melodious from afar.'
Kiarostami lets his tale unfold slowly (and somewhat repetitiously) and leaves many blanks for the viewer to fill in (just why is the engineer trying to document a mourning ceremony?). His contemplations on life and death (perhaps most strongly contrasted by the engineer's mission versus the doctor's philosophy) are presented with a low key use of humor. (The engineers unseen colleagues fill their days with pursuit of strawberries and eventually appear to desert him.)
Kiarostami's location is stunningly well chosen, a white village (called the Black Valley, another enigma) built into the landscape so that it almost disappears. Nature is a strong motif, especially when the engineer's capacity for cruelty is portrayed by his overturning of a turtle. Later, in the same spot, he watches a dung beetle working and smiles.
Cinematography by Mahmoud Kalari makes exceptional use of a bright and simple color palette. Long shots establish the surrounding areas of the village and the intricacy of the village itself.
"The Wind Will Carry Us" is a thought provoking, beautiful film, but may antagonize viewers who prefer a linear, mainstream story treatment.
B+
For more Reeling reviews visit www.reelingreviews.com
<EMAIL_ADDRESS><EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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belongs to the author.
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Tour de France's perennial runner-up Poulidor dies at 83
French cyclist Raymond Poulidor, best known for failing to win the Tour de France while coming agonisingly close on numerous occasions, has died aged 83, French media reported on Wednesday.
PARIS: French cyclist Raymond Poulidor, best known for failing to win the Tour de France while coming agonisingly close on numerous occasions, has died aged 83, French media reported on Wednesday.
Nicknamed "Pou-Pou" and a public favourite because of his perennial runner-up status, Poulidor's rivalry with compatriot Jacques Anquetil - who won the Tour de France five times - gripped the country in the 1960s.
As Anquetil's career wound down at the end of that decade, many thought Poulidor's time had come. But it was not to be ashis path was then blocked by another Tour de France great, Belgian Eddy Merckx, who also won the sport's big prize five times between 1969 and 1974.
Merckx told French radio station RTL that Poulidor was "a great champion, a great man and a great friend. It's a real loss for the cycling sport".
Poulidor finished the Tour de France in second place three times (1964, 1965, 1974) and five times in third (1962, 1966, 1969, 1972 and 1976).
He was born in 1936 in central France and started racing professionally in 1959.
He did win one Grand Tour during his almost 20-year career, the Spanish Vuelta in 1964, as well as several classics, including "Monument" Milan-San Remo in 1961 and La Flèche Wallonne in 1963. He also won seven Tour de France stages.
He leaves behind a cycling dynasty - his grandson, Dutchman Mathieu van der Poel, is an emerging cycling talent who won this year's edition of the Amstel Gold Race in the Netherlands.
(Writing by Benoit Van Overstraeten; Editing by Christian Lowe and Ken Ferris)


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BLUES BROTHERS 2000 (1998)
Starring: Dan Aykroyd (Elwood Blues), John Goodman (Mack McTeer/Mighty Mack Blues), Joe Morton (Cabel Chamberlain), J. Evan Bonifant (Buster), and just about every blues artist you can think of, both past and present
Directed by: John Landis, Written by: Dan Aykroyd and John Landis
Reviewed by Doug Skiles
Everybody... needs somebody... everybody...
THE BLUES BROTHERS. It's a classic. It's John Landis. It's John Belushi. It's Dan Aykroyd. It's blues music. It's great comedy.
Now it's 18 years later. Now it's BLUES BROTHERS 2000. It's John Landis. It's Dan Aykroyd. It's John Goodman. It's Joe Morton. It's J. Evan Bonifant. It's blues music. It's good comedy.
BLUES BROTHERS 2000 starts off just the way you'd want it to - with a card that says "for" followed by the names of John Candy, Cab Calloway, and John Belushi. Then, with "John the Revelator" playing over the soundtrack, we watch Elwood Blues emerge from prison. He stands and waits for his brother Jake (originally played by John Belushi), until the prison warden (Frank Oz, who was the corrections officer in the original film) approaches him, puts his hand on Elwood's shoulder, and says, simply, "I'm sorry." Elwood understands. He bows his head, silently, in grief. It's a moment that reminds us that these characters, as screwball as they may seem, still have a heart and soul.
Elwood recieves a letter from Sister Mary Stigmata - now Mother Stigmata - asking him to come see her. He does, and when he arrives, he learns that his surrogate father, Curtis (Cab Calloway in the first film), has also passed on. It's then that Elwood realizes that he's lost his family, and, left yearning for his old friends, he decides that it's time, once again, to get the band back together.
But Mother Stigmata wants him to a mentor to a young troublemaker, Buster. And Elwood wants his sort-of step-brother (the sort-of gets explained by Stigmata and Elwood through a couple of dialogue sequences), Cabel, who happens to be an Illinois state police captain, to join the band. And pretty soon Elwood meets a bartender who can actually sing pretty well, Mack McTeer. And of course, Mack joins the band.
And pretty soon, also, the police are after the band, as are the Russian mafia, a group of white supremacists, and a collection of orphanage workers who fear Elwood's kidnapped Buster. And they're all chasing the newly reassembled Blues Brothers Band across state after state as they head to a "Battle Of The Bands" contest in New Orleans. Naturally this results in lots of wacky chase scenes and the like. It's a Blues Brothers speciality.
The comedy here is good. It's fun. But it's not on the same level as the hilarious, classic stuff from the first film. It does, however, recreate the feel of the first film, and that's important. The city backdrops that line all the scenes as Elwood travels through Chicago during the first half of the movie add to that feeling, too.
The music, though, IS pretty much on the same level, and offers a wider variety of blues acts from both today and yesterday, ranging from Aretha Franklin to Blues Traveler. It's great fun, very exhilerating, and is sure to get you moving to the beat with some area of your person. It's probably the film's strongest aspect.
As far as annoying aspects, well, the fantasy in this film is heavier than in the first. Both films ignore the laws of physics in favor of wild comedy, but this one also tosses magic into the mix periodically. Of course, that's not too hard to accept, really - this is the Blues Brothers, you weren't expecting something serious, were you?
But in all of this, the movie still has an underlying heart and soul to it. In the original, it was about getting the money to save the orphanage. Now, it's about Elwood getting a new structure for his life. Even if this isn't a major theme, there remains something satisfying about seeing Elwood build himself a new family to hold his life together, out of old friends from the band, plus new friends like the large-yet-shy Mack and the lovable Buster, who feels the blues in him even at age 10, and steals a lot of scenes. Out of the four major players, Cabel is the least characterized, but it doesn't really matter, because Joe Morton always holds a presence on the screen.
The sign that, even if it isn't a classic, this is still a good movie, is that it leaves you wanting more. Does that mean there should be another sequel? I'm not sure about that. I don't know where else the band could go from here. Even this one borrows a number of elements from the first movie. And while that's not a serious problem for this sequel, as it still takes those elements in new directions, one has to note that, if these elements were used a third time, they most likely wouldn't be able to hold up.
So, see BLUES BROTHERS 2000. Enjoy it. It's fun, and the music is great. Maybe it's not nearly as hilarious as the classic first one, but it still manages to be funny, and it's just likable. Most importantly, even though John Belushi's wild antics are obviously missed, this manages to be a respectable, well-done follow-up to THE BLUES BROTHERS, despite what many naysayers feared. To have that be pulled off, after 18 years, is something to be proud of. John Landis has made his best movie in a long time, and it looks that, perhaps, Dan Aykroyd, thanks to this and his memorable-yet-smaller role in GROSSE POINTE BLANK (1997), may be entering into his renaissance after a long dry period.
RATING: ***
The review above was posted to the
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---
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{% raw %}MAIMED FOR LIFE. •->'{% endraw %}
{% raw %}the third sprang over the fence just behind me. I{% endraw %}
{% raw %}was thus enclosed between what I could no longer{% endraw %}
{% raw %}doubt were hostile forces. The overseer seized my{% endraw %}
{% raw %}horse's bridle and ordered me to alight, in the usual{% endraw %}
{% raw %}elegant phraseology addressed by such men to slaves.{% endraw %}
{% raw %}I asked what I was to alight for.  He added many oaths that I will not{% endraw %}
{% raw %}repeat. "But what am I to be flogged for, Mr.{% endraw %}
{% raw %}L.:-" I asked. '-'Not a word," said he, " but 'light{% endraw %}
{% raw %}at once, and take off your jacket." I saw there was{% endraw %}
{% raw %}nothing else to be done, and slipped off the horse on{% endraw %}
{% raw %}the opposite side from him.  I was{% endraw %}
{% raw %}thus left without means of escape to sustain the{% endraw %}
{% raw %}attacks of four men as well as I might. In avoiding{% endraw %}
{% raw %}Mr. L.'s blow, I had accidentally got into a corner{% endraw %}
{% raw %}of the fence where I could not be approached except{% endraw %}
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Simple, cross-browser Error parser.
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bash
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bower install error-stack-parser
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Coraline plays a mean, bluesy harmonica.
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U.S. again extends limited reprieve on tech sales to Huawei
by Frank Bajak, The Associated PressThe Trump administration has extended for 90 more days a limited reprieve on U.S. technology sales to Huawei.
The U.S. government blacklisted the Chinese tech company in May, deeming it a national security risk. That means U.S. firms aren't allowed to sell technology to Huawei without government approval.
But numerous loopholes have been exploited. U.S. companies, for example, continue to supply Huawei chips made outside the United States.
Commerce Secretary Wilbur Ross says Monday's extension will allow wireless companies to keep offering service in remote parts of the U.S. Larger U.S. wireless companies do not use equipment from Huawei, while smaller, rural carriers do.
It's the second 90-day renewal since the administration imposed sanctions in May.


Atuba Chief Varkees:
Have you presented the Atuba tribe's gift to
Centurion Nakusin
? Do not be late! That would shame us in the eyes of the great Flame Lord!


Take a break, it's coffee time.
Waiting is bad enough, but not knowing how long for is worse.
-- Michele Hanson


About Us
CJR Hospital was founded in the year 2000 by the Founding Fathers Sir.Clive D'szoua, Sir.James D'souza and Sir.Rehan Fargose,it was founded as a part of their vision to provide good healthcare and medical facilities to the people of Borivali(T.E mini project),Since 20 years we have been continuosly serving the people of Borivali for every day and night and will continue to do so to fulfill the vision of our founders.
We have been Borivali's leading healthcare instituion for decades now,with unparalleled excellence due to higly trained and experienced in-house staff that is yet to be matched.Our motto is:"A heritage in care. A reputation in excellence."


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Philosophy and Fun of Algebra
by Mary Everest Boole
Chapter 18: Appendix
Additional Information
- Year Published: 1909
- Language: English
- Country of Origin: England
- Source: Boole, M. E. (1909). Philosophy and Fun of Algebra.London, England:.
-
Readability:
- Flesch–Kincaid Level: 6.0
- Word Count: 260
- Genre: Informational
- Keywords: math history, mathematics
- ✎ Cite This
Downloads
The essential element of Algebra:—the habitual registration of the exact limits of one’s knowledge, the incessant calling into consciousness of the fact of one’s own ignorance, is the element which Boole’s would-be interpreters have left out of his method. It is also the element which modern Theosophy omits in its interpretation of ancient Oriental Mind Science.
Men who wish to exploit other men fear nothing in logic or science except this element. They fear nothing in earth, heaven, or hell, so much as a public accustomed to realise exactly how much has been proved, and where its own ignorance begins. Exploiters fear this about equally, whether they call themselves priests, schoolmasters, college dons, political leaders, or organisers of syndicates and trusts.
As long as general readers can be kept from the habit of registering at every step the fact of their own ignorance and the limits of their own knowledge, a clever charlatan can deceive them about anything he pleases:—“from pitch-and-toss to manslaughter”; from Zero to Infinity; from the contents of a meat tin to the contents of an engineer’s report; from the interpretation of a bill before Parliament to the interpretation of Isaiah.
Once get any fair proportion of the public into the steady habit of algebraising ignorance, and you will have done much towards reducing all kinds of parasitic creatures to the alternative of starvation, suicide, or earning their own living by rendering some kind of real service to the organism which supports them.


RFP - Part 9: Local Functions and Local Variables
A common thing to do in functional programming is to create, within a (outer) function, a local (inner) function that uses other variables in scope. Let me give you an example. The function countup_from1()
uses a local helper function count()
to accumulate results recursively. Its argument x
is used directly inside count()
.
RFP - Part 8: R Functions
Functions play a quintessential role in R. John Chambers said that “in R: everything that happens is a function call.” Before diving into R functions, I want to explain the mathematical concept of “function” because it will help us understand R functions.
RFP - Part 7: Well-behaved R Functions
Function is a big topic in R programming. I’ll spend several blog posts talking about it. But before I dive into R functions with full force, I want to show you how nice it is to work with them. Consider the following code:
RFP - Part 6: R «- Assignment Operator
RFP - Part5: Immutability in R
Do not confuse variable reassignment (or rebinding) with mutation. Reassignment in R changes the binding. (See the second diagram for an example.) Mutation changes the referenced object itself. R supports limited mutation by default and base R objects are mostly immutable. As a result, R code often behaves like what we’d expect it to behave mathematically. This allows the programmer to focus on the mathematical or statistical problem at hand without being distracted by the “computer side of things.” Indeed, if you’re trained as a mathematician or statistician without any programming experience, you’ll find it’s easier to write R code than most typical programming languages like Python, Ruby, Java, C++, or Rust etc.
RFP - Part4: R Variable Shadowing
Now we know that R variables are objects, and that they can be manipulated, assigned any R objects and reassigned.1 (detailed discussion here.) We’ll discuss variable shadowing and its difference from variable reassignment.
-
The terms “variable (re)assignment” and “variable (re)binding” are used interchangeably throughout this series because we use them for their mathematical meaning: (re)associate a symbol with a value. ↩
RFP - Part3: R Variables
Previously, we discussed two data structures in R: vectors and lists. If you programmed in another language before, you probably already got a sense that R vectors and lists are a tiny bit different than what you’re used to. This is to be expected. In general, there is a nuanced difference between R data structures and that of many other languages.
RFP - Part2: R Lists
Previously, we discussed R vectors. We now turn to R lists. Like a vector, a R list can also grow or shrink. But unlike a vector, a R list can contain any R objects. For example, vectors, lists, functions, or environments can all be the elements of a list, and it’s perfectly okay to mix them in the same list.
RFP - Part1: R Vectors
The simplest data structure in R is the vector. A vector is one dimensional and can be imagined as a sequence of blocks containing values:
Accurate Calculation of Years between Dates in R
When doing feature engineering, it’s common to turn dates into numbers by calculating the time differences. For example, given date of birth, you may want to calculate age. Given sign up date and churn date, you may want to calculate the days to churn. Depending on the situation, sometimes you want the time difference in years, and sometimes you want it in months, weeks or days; sometimes you want the years/months/weeks rounded to whole numbers, and other times you may want to keep the decimal points for more accuracy. For example, suppose we want to calculate the number of years (without rounding) between two dates, there’re 3 ways we can go about it:


HOME
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14 Dec 2016
Starting this blog to document things I’ve done.
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rawtopgm(1) rawtopgm(1) NAME rawtopgm - convert raw grayscale bytes into a portable graymap SYNOPSIS rawtopgm [-bpp [1|2]] [-littleendian] [-maxval N] [-headerskip N] [-rowskip N] [-tb|-topbottom] [width height] [imagefile] DESCRIPTION Reads raw grayscale values as input. Produces a PGM file as output. The input file is just a sequence of pure binary numbers, either one or two bytes each, either bigendian or littleendian, representing gray values. They may be arranged either top to bottom, left to right or bottom to top, left to right. There may be arbitrary header information at the start of the file (to which rawtopgm pays no attention at all other than the header's size). Arguments to rawtopgm tell how to interpret the pixels (a function that is served by a header in a regular graphics format). The width and height parameters tell the dimensions of the image. If you omit these parameters, rawtopgm assumes it is a quadratic image and bases the dimensions on the size of the input stream. If this size is not a perfect square, rawtopgm fails. When you don't specify width and height, rawtopgm reads the entire input stream into storage at once, which may take a lot of storage. Otherwise, rawtopgm ordinarily stores only one row at a time. If you don't specify imagefile, or specify -, the input is from Standard Input. The PGM output is to Standard Output. OPTIONS -maxval N N is the maxval for the gray values in the input, and is also the maxval of the PGM output image. The default is the maximum value that can be represented in the number of bytes used for each sam‐ ple (i.e. 255 or 65535). -bpp [1|2] tells the number of bytes that represent each sample in the input. If the value is 2, The most significant byte is first in the stream. The default is 1 byte per sample. -littleendian says that the bytes of each input sample are ordered with the least significant byte first. Without this option, rawtopgm assumes MSB first. This obviously has no effect when there is only one byte per sample. -headerskip N rawtopgm skips over N bytes at the beginning of the stream and reads the image immediately after. The default is 0. This is useful when the input is actually some graphics format that has a descriptive header followed by an ordinary raster, and you don't have a program that understands the header or you want to ignore the header. -rowskip N If there is padding at the ends of the rows, you can skip it with this option. Note that rowskip need not be an integer. Amaz‐ ingly, I once had an image with 0.376 bytes of padding per row. This turned out to be due to a file-transfer problem, but I was still able to read the image. Skipping a fractional byte per row means skipping one byte per multiple rows. -bt -bottomfirst By default, rawtopgm assumes the pixels in the input go top to bottom, left to right. If you specify -bt or -bottomfirst, raw‐ topgm assumes the pixels go bottom to top, left to right. The Molecular Dynamics and Leica confocal format, for example, use the latter arrangement. If you don't specify -bt when you should or vice versa, the resulting image is upside down, which you can correct with pnmflip . This option causes rawtopgm to read the entire input stream into storage at once, which may take a lot of storage. Ordinarly, raw‐ topgm stores only one row at a time. For backwards compatibility, rawtopgm also accepts -tb and -top‐ bottom to mean exactly the same thing. The reasons these are named backwards is that the original author thought of it as spec‐ ifying that the wrong results of assuming the data is top to bot‐ tom should be corrected by flipping the result top for bottom. Today, we think of it as simply specifying the format of the input data so that there are no wrong results. SEE ALSO pgm(5), rawtoppm(1), pnmflip(1) AUTHORS Copyright (C) 1989 by Jef Poskanzer. Modified June 1993 by Oliver Trepte<EMAIL_ADDRESS>14 September 2000 rawtopgm(1)


--- layout: page title: "fast recipes" description: "short snippets to solve everyday problems" group: "navigation" --- {% include JB/setup %} {% assign category = site.categories.fast-recipes %}


Lenovo Z6 Pro 5G Launched: It's the Cheapest 5G Phone on the Planet - Gizchina.com
by PierreRate this post
As scheduled, the Lenovo Z6 Pro 5G was officially announced today in China with a price tag of 3299 yuan, around $470 or 430€. Which makes it the most affordable 5G-ready phone on the planet. This specific variant also comes with 8GB RAM and 256GB of internal storage.
Lenovo Z6 Pro 5G Officially Launched at 3299 Yuan ($470)
According to Lenovo’s spokesperson, the “Lenovo Z6 Pro 5G breaks through the industry price limit and becomes a true 5G popular mobile phone, leading the popularity of 5G”. The smartphone will support three major Chinese operators along with 5G+4G dual card dual standby technology. This means buyers will be able to use both 4G and 5G SIMs at the same time.
At the Lenovo event we also learned that the Lenovo Z6 Pro 5G will support a download peak speed of up to 2.02Gbps; while the maximum upload speed will be 406Mbps. In a real life scenario, you can download a 1.6GB game like “Peace Elite” in just 6 seconds. Alternatively, you can download 200 lossless-grade songs in 39 seconds (about 10GB) or a 25GB-large Blu-ray original movie collection in only 1.5 minutes.
The smartphone is able to achieve these speeds thanks to the integrated Qualcomm Snapdragon X50 5G modem. We then find a 5G 4×4 MIMO antenna for a stable and smooth 5G network connection and a 360° anti-attenuation antenna, which enables users to receive stronger signals under different holding positions.
As far as other components are concerned, the Z6 Pro 5G is equipped with a 6.39-inch display with a resolution of 2340 × 1080 and a notch. We then find Qualcomm’s Snapdragon 855 CPU and four rear cameras. These include a main 48MP camera, a 16MP ultra wide lens, an 8MP telephoto lens and a 2MP depth sensor. On the front we’ll instead have a 32MP selfie snapper.
Finally, Lenovo’s Z6 Pro 5G also adopts a 2.0 liquid cooling system to increase the heat dissipation area by 20%. Basically they throw more heat dissipating material at the problem (silicone sheet, copper tube, gel, graphite).


India is heading for an economic growth of below 5%
4.2% would be the lowest growth since govt adopted a new base year for gross domestic product data in 2012.
by BloombergBy Vrishti Beniwal
India’s economic growth probably hit a new low last quarter, with early forecasts showing expansion below 5%.
Economists at State Bank of India, Nomura Holdings Inc. and Capital Economics Ltd. lowered their growth forecasts for the quarter ended September to between 4.2% to 4.7%. The government is scheduled to publish the data on Nov. 29.
Growth of 4.2% would be the lowest since authorities adopted a new base year for gross domestic product data in 2012. The economy expanded 5% in the three months through June.
“We now believe GDP growth did not bottom in” the April-June period, said Sonal Varma, chief economist for India and Asia at Nomura in Singapore, who is predicting 4.2% growth for last quarter. “High-frequency indicators have plunged and domestic credit conditions remain tight amid weak global demand.”
The Reserve Bank of India has cut interest rates five times this year to boost growth, with the monetary easing complemented by fiscal measures, including $20 billion of tax cuts for companies.
“We now expect larger rate cuts from RBI in December,” said Soumya Kanti Ghosh, chief economic adviser at State Bank in Mumbai, whose growth estimate matches that of Nomura’s Varma. “However, such rate cut is unlikely to lead to any immediate material revival.”
Finance Minister Nirmala Sitharaman last week said it was too early to say if the slowdown had bottomed out. Companies are planning new investments which might take time to materialize, she said.
“We doubt that these tailwinds will have been enough to offset the weakness elsewhere,” said Shilan Shah, senior India economist at Capital Economics in Singapore, who is forecasting a 4.7% expansion. “It is clear that the recovery in growth we have been forecasting has so far proved elusive.”


Copyright (c) 1979 Christian Freeling
Hexdame is played on the following board with the following setup:
|
Freeling also notes: Those were the rules, and they are not by me. They were put down in 1723 by a Polish citizen of Paris for the 10x10 square board. His name has been lost, but he did an excellent job. I only had to apply them to the hexagonal grid under addition of the 'straight or oblique' forward movement.
| An example
Black's King at d1 must capture four white soldiers. Black has an option between the last two, since he cannot jump the red dot cell (it would jump the same cell twice). |
There is a ZRF to play Hexdame with Zillions. You can also play and read extensive information about the game at the MindSports Arena.
There is a early hexagonal board game, from Poland (1985) called Warcaby heksagonalne.


AS GOOD AS IT GETS (Tri-Star) Starring: Jack Nicholson, Helen Hunt, Greg Kinnear, Cuba Gooding Jr., Shirley Knight. Screenplay: Mark Andrus and James L. Brooks. Producers: James L. Brooks, Bridget Johnson and Kristi Zea. Director: James L. Brooks. MPAA Rating: R (profanity, adult themes) Running Time: 138 minutes. Reviewed by Scott Renshaw.
James L. Brooks has a rare gift as a film-maker: the ability to give the people what they want while also giving them what _he_ wants. TERMS OF ENDEARMENT was a crowd-pleasing tear-jerker buoyed by smart comedy and rich characterizations; BROADCAST NEWS brought a throwback romantic comedy sensibility to an upscale study of journalistic ethics with an unexpectedly down-beat conclusion. Even the notorious Little Musical That Wasn't I'LL DO ANYTHING demonstrated Brooks' willingness to cut bait when he knew the audience had no interest in what he was offering. His instincts have proven as irreproachable as they are unconventional.
AS GOOD AS IT GETS had the potential for a classic written all over it. For once, however, Brooks doesn't have a grip on how best to handle his material. He casts Jack Nicholson as a bile-spewing satyr, then turns him into a repentant bile-spewing satyr. He crafts an appealing relationship between two troubled and mis-matched characters, then muddles the mix by throwing in a third troubled character. He takes 90 minutes of great material and drags it out over nearly two and a half hours.
It didn't have to be like that. AS GOOD AS IT GETS has a wonderful character at its center, a truly horrible human being named Melvin Udall (Nicholson). A reclusive writer diagnosed with obsessive-compulsive disorder, Melvin has turned his condition into carte blanche to insult and berate everyone with whom he comes in contact. That includes Carol Connelly (Helen Hunt), the waitress who serves him breakfast every morning, and goes double for his neighbor, gay artist Simon Bishop (Greg Kinnear). Then, unexpectedly, Melvin finds himself forced to do something for someone else, caring for Simon's dog Verdell after Simon is beaten in a robbery attempt. That one act seems to launch Melvin on a spate of selflessness, including helping Carol with her sickly son and driving Simon to meet with his estranged parents.
It's an admirable theme for a film, this notion of a man deciding to change himself when he realizes the effect those changes have on other people. But why, of all people, Jack Nicholson? The pre-conversion Melvin is an outrageous delight, getting away with hateful rantings few other characters could without inspiring protests. His growth as a character saps him of all his bad-boy energy, leaving in its place a tricky romance with Hunt which somehow works even with Nicholson perpetually looking like he's straining at the end of a leash.
That romance might have been even more effective if Brooks had kept his attention fixed on how Melvin and Carol are so good and so bad for each other. Hunt is superb and heart-breaking as the single mother struggling to discover how to live her own life again, matching Nicholson for don't-mess-with-me vigor. Yet there's always Simon there in the background, a distracting tangent the lightweight Kinnear can't invest with sufficient gravity. His story adds little but the adorably grungy Verdell, a couple of showboating scenes for Cuba Gooding Jr. as a fuming art dealer, and a lot of padding to an already over-long film.
Brooks is too adept with a witty line to turn out a tedious film, and Nicholson and Hunt too capable to fumble the well-rounded characterizations. AS GOOD AS IT GETS simply turns out to be a rare case of Brooks failing to ride what works for all it's worth. It's funny but fitful, because we know this isn't as good as a James L. Brooks film gets.
On the Renshaw scale of 0 to 10 plugged Nicholsons: 6.
Visit Scott Renshaw's MoviePage http://www.inconnect.com/~renshaw/ *** Subscribe to receive new reviews directly by email! See the MoviePage for details, or reply to this message with subject line "Subscribe".
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
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{% extends "email/base_email.html" %}
{% block body %}
Welcome to the django_baseproject system!
A user account has been created for this email address with username {{ user.get_username }} for the system.
To activate this user account and set a password simply go to this link:
https://{{ domain }}{% url 'index:password_reset_confirm' uidb64=uid token=token %}
For explanation on how the system works please login and visit the homepage.
{% endblock %}


Hidden versus No Display
Hiding an element can be done by setting the display property to none.
The element will be hidden, and the page will be displayed as if the element is not there
visibility:hidden; also hides an element.
However, the element will still take up the same space as before. The element will be hidden, but still affect the layout
This Item is not displayed
This Item is Hidden
This Item is Hidden
This Item is Hidden
This Item is Hidden
This Item is Hidden
This Item is not displayed


See Take 2 for an updated approach to this problem.
When faced with mixing C++ and ObjC code, there are two main approaches. One is to just work in Objective-C++ through the entire project. I don’t like this approach. I find the mixing of ObjC and C++ classes very confusing, since they cannot be used interchangeably and require completely different memory management. The mix of class hierarchies and naming conventions lead to a lot of confusion when we introduce people to code that does this kind of mixing.
My opinion is that ObjC and C++ have very different patterns, so it is important to pick one to be in charge and wrap the other. So if you basically have an C++ program than needs a little ObjC to talk to the UI, then wrap the ObjC in C++ objects. If you basically have an ObjC program that needs a C++ middleware, then wrap the C++ objects.
Here’s how I usually wrap a C++ object (CFoo) into a ObjC object (Foo):
Foo.h
typedef void* CFooRef;
@interface Foo : NSObject {
CFooRef _fooRef;
}
Foo+CPP.h
#import "Foo.h"
@interface Foo (CPP)
@property (readwrite, assign) CFoo* foo;
@end
Foo.mm
#import "Foo+CPP.h"
@interface Foo () {
@property (readwrite, assign) CFooRef fooRef;
@end
class CFoo { ... }; // Define the C++ object here, or in a separate file.
@implementation Foo
@synthesize fooRef=_fooRef;
- (CFoo*)foo {
return static_cast<cfoo*>([self fooRef]);
}
- (void)setFoo:(CFoo*)aFoo {
[self setFooRef:aFoo];
}
@end
The goal of this is to provide a pure-ObjC interface (Foo.h) that has no C++ in it. The CFooRef type allows ObjC to treat the C++ object as an opaque type. Other C++ wrapper objects can access the underlying C++ object using the Foo+CPP.h interface, but I only provide this if there are other objects that really need it.
In general, I then provide ObjC methods to all the relevant C++ methods. This way, higher level classes (generally UI classes) can be pure ObjC. This makes it much easier to tie these C++ objects into Cocoa. I can use the wrapper to make the C++ bindings compliant, put them into NSArrays, etc. And when we hire ObjC developers, they can focus on ObjC without learning the intricacies of C++. Similarly, the C++ stays pure C++, making it much easier for C++ developers to work on, and keeps it portable. Only the guys who work on the wrappers (guys like me) have to really keep their head in both languages and both sets of patterns. And we keep the wrappers as thin as possible to minimize the work done there. Ideally, the wrappers can do simple language translation and nothing else.
After years of evolving this approach in multiple projects, this has been the most successful for our large mixed-language projects.
EDIT: After doing this for a long time, I’ve learned that using “#ifdef __cplusplus” in your header file around the C++ code can be much easier than maintaining a separate “+CPP” header.


WINGS A film review by Sarah Elkins Copyright 1996 Sarah Elkins
1927 silent, WWI fighter pilot movie
Plot kick-off: Mary loves Jack, who loves Silvia, who loves David. David and Jack train to become fighter pilots and Mary joins the Women's Army Motor Corps.
Characters/acting: Clara Bowe is engaging as Mary, the girl next door (literally, to Jack). As in so many silents, some of the actors seemed (to me) to be overdoing it a bit more than necessary, but not her. Gary Cooper has a small part.
Cinematography: One of the best reasons for seeing this film. The biplanes seemed more like strange birds swooping and wheeling than machines, except during the battle close-ups. There was an amazing shot of about ten planes trying to position themselves to fight each other. It reminded me of Richard Bach's essay, "I shot down the Red Baron" about being a pilot for a film shoot, but it all looked pretty real to me. I also liked the infantry marching scenes, which had battles greyed-out beyond the horizon.
Score: I saw this at this the Kennedy Center's screening theater for the American Film Institute, and we were lucky to have a wonderful pianist playing for us. I loved the score, which underscored and enhanced the moods of the film. The sprightly plinkings during the funny bits, the furious agitato during the fight scenes, war songs, and other songs of the era (e.g. "It's a long way to Tipperary") were all woven together; I'd love to have a tape of the performance.
Violence/gore/language: some may be puzzled/offended by the slang "Heinie(s)" for German(s).
Skin/situations: a kiss, a brief flash (clothes-changing) of partial nudity.
Analysis: I liked this film, though some parts (over-long scenes of a drunken Jack celebrating in Paris, the fourth or so shot of a plane's shadow passing over the training camp, the seventh or so shot of a plane trailing smoke as it plummets to the ground) could have used a sterner editor. Though some of it was dated, the plot was enjoyable enough (sometimes cliched, but given life whenever Clara Bowe was in it), and the flight scenes were magical.
Sarah Elkins<EMAIL_ADDRESS>http://www.maxm.com/users/selkins/review.html)
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Yes, you can get Disney+ on your iPhone and iPad
Best Answer: Yes, you will be able to access Disney+ on your iPhone (iOS) and iPad (iPadOS). Additionally, you will be able to get Disney+ on your Apple TV with tvOS. There are plenty of other devices that Disney+ will be available on, too, like Android and Amazon.
It's all about Disney: Disney+ (From $7/month at DisneyPlus)
So I can use either my iPhone or iPad for Disney+?
That's correct. Disney+ should be available as an app on the App Store, and it will work on both your iPhone and iPad.
Additionally, it is also accessible via the Apple TV and tvOS, as well as Mac through a desktop web browser. No matter what Apple device you are using, you'll be able to get Disney+.
What if I don't use an Apple device?
Don't worry! Disney+ will be available on a plethora of platforms and devices on launch.
The list of current devices are:
- Android mobile devices
- Android TV
- Apple TV (tvOS)
- iPhone (iOS)
- iPad (iPadOS)
- Chromecast
- Desktop web browsers (PC, Mac, Linux)
- PlayStation 4
- Xbox One
- Roku streaming devices
- Roku TV
- Amazon Fire TV devices
- Amazon Fire tablets
What is Disney+?
Disney+ is the streaming service from entertainment giant, Disney. It includes most of the original Disney classic movies and TV series, as well as offerings from Pixar, Marvel, Star Wars, Fox, and National Geographic.
In addition to the existing content for all of these, there are exclusives that you won't find on any other streaming service. These include Marvel originals, like Loki, Wanda Vision, The Falcon and the Winter Soldier, Star Wars series The Mandalorian, and a new show with Obi-Wan Kenobi.
Existing Disney content on other streaming services has already been or will be pulled in the near future to get Disney+ up and running.
How much will Disney+ cost me?
Disney+ will cost $7 a month, or $70 a year. However, those who are looking to save and would also like access to Hulu (with ads) and ESPN can get a bundle for all three that costs $13 a month.
When will Disney+ be available?
Disney+ launched on Nov. 12, 2019 in the U.S., Canada, and the Netherlands. It'll release on Nov. 19 in Australia and New Zealand, and on March 31, 2020 in the U.K., France, Spain, Italy, Germany, and Ireland.
All Disney, all the time
Disney+
Your Disney fix
Disney+ will have all of your classic Disney favorites, along with some brand new exclusives from Marvel and Star Wars that won't be available anywhere else. With all of this content, the price is very reasonable.
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Minas also holds some important carnival parades in Belo Horizonte and the historic cities of Ouro Preto, Mariana, São João del Rei, and Diamantina. They are held mostly by students' houses, which attract a majority of young people from the neighbor states. There are also other major parades in the region, such as the one in Pompéu.
Carnival in Minas Gerais is often characterized by blocos carnavalescos with varying themes and costume styles, almost always accompanied by a brass and drums band. However, Minas Gerais carnival was first influenced by the Rio de Janeiro Carnival (several cities have their own samba schools). Later, some Axé groups from Bahia came to play in the state every carnival season.
The first carnival party in Belo Horizonte happened in 1897, even before the inauguration of the city. Carnival was very popular until the 1990s. After almost 20 years, a party resurfaced in 2009, with blocos carnavalescos in protest against mayor Marcio Lacerda. The party was growing every year only with popular initiative.
In 2017, Belo Horizonte had the largest carnival in its history and the third largest in Brazil. There were more than three million people on the streets, with about 500,00 tourists. The Baianas Ozadas block hit a record audience of 500,000 people.
The Carnival of the city of Ouro Preto is very popular with college students in the area. The city has a large proportion of students, who during the year live in places called Repúblicas (a rented house maintained and ruled by themselves). During carnival, the Repúblicas are literally packed with residents and many visitors coming from all over the country. The hills prevent traffic of heavy sound trucks, but don't stop people from feasting all night and day.
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Old Dwarven Ghost:
Thank the gods... Finally someone willing to help me...
I will send you...up the stairs of this tower... That is all I can do for now...
You will encounter powerful devils...who will try your strength...
But unintentionally... some of the devils...may be of help to you...
Watch out... and increase your strength...in order to survive in this tower...
Ask him to send you to the next floor.


UnitDiff makes reading Test::Unit output easy and fun. Instead of a confusing jumble of text with nearly unnoticable changes like this:
1) Failure: test_to_gpoints(RouteTest) [test/unit/route_test.rb:29]: <"new GPolyline([\n new GPoint( 47.00000, -122.00000),\n new GPoint( 46.5000 0, -122.50000),\n new GPoint( 46.75000, -122.75000),\n new GPoint( 46.00000, -123.00000)])"> expected but was <"new Gpolyline([\n new GPoint( 47.00000, -122.00000),\n new GPoint( 46.5000 0, -122.50000),\n new GPoint( 46.75000, -122.75000),\n new GPoint( 46.00000, -123.00000)])">.
You get an easy-to-read diff output like this:
1) Failure: test_to_gpoints(RouteTest) [test/unit/route_test.rb:29]: 1c1 < new GPolyline([ --- > new Gpolyline([
test.rb | unit_diff [options] options: -b ignore whitespace differences -c contextual diff -h show usage -k keep temp diff files around -l prefix line numbers on the diffs -u unified diff [default] -p plain diff -v display version
Handy wrapper for #unit_diff.
# File lib/unit_diff.rb, line 57 def self.unit_diff trap 'INT' do exit 1 end puts UnitDiff.new.unit_diff end
# File lib/unit_diff.rb, line 232 def diff expect, butwas output = nil Tempfile.open("expect") do |a| a.write(massage(expect)) a.rewind Tempfile.open("butwas") do |b| b.write(massage(butwas)) b.rewind diff_flags = $p ? "" : $c ? "-c" : "-u" diff_flags += " -b" if $b result = %x#{DIFF} #{diff_flags} #{a.path} #{b.path}` result.sub!(/^\-\-\- .+/, "--- expected") result.sub!(/^\+\+\+ .+/, "+++ actual") output = if result.empty? then "[no difference--suspect ==]" else result.split(/\n/) end if $k then warn "moving #{a.path} to #{a.path}.keep" File.rename a.path, a.path + ".keep" warn "moving #{b.path} to #{b.path}.keep" File.rename b.path, b.path + ".keep" end end end output end
# File lib/unit_diff.rb, line 267 def massage(data) # unescape newlines, strip <> from entire string data = data.join data = data.gsub(/\n/, "\n").gsub(/0x[a-f0-9]+/, '0xXXXXXX') + "\n" data += "\n" unless data[-1] == \n data end
Parses a single diff recording the header and what was expected, and what was actually obtained.
# File lib/unit_diff.rb, line 121 def parse_diff(result) header = [] expect = [] butwas = [] footer = [] state = :header until result.empty? do case state when :header then header << result.shift state = :expect if result.first =~ /^<|^Expected/ when :expect then case result.first when /^Expected (.*?) to equal (.*?):$/ then expect << $1 butwas << $2 state = :footer result.shift when /^Expected (.*?), not (.*)$/ then expect << $1 butwas << $2 state = :footer result.shift when /^Expected (.*?)$/ then expect << "#{$1}\n" result.shift when /^to equal / then state = :spec_butwas bw = result.shift.sub(/^to equal (.*):?$/, '\1') butwas << bw else state = :butwas if result.first.sub!(/ expected( but was|, not)/, '') expect << result.shift end when :butwas then butwas = result[0..-1] result.clear when :spec_butwas then if result.first =~ /^\s+\S+ at |^:\s*$/ state = :footer else butwas << result.shift end when :footer then butwas.last.sub!(/:$/, '') footer = result.map {|l| l.chomp } result.clear else raise "unknown state #{state}" end end return header, expect, nil, footer if butwas.empty? expect.last.chomp! expect.first.sub!(/^<\"/, '') expect.last.sub!(/\">$/, '') butwas.last.chomp! butwas.last.chop! if butwas.last =~ /\.$/ butwas.first.sub!( /^<\"/, '') butwas.last.sub!(/\">$/, '') return header, expect, butwas, footer end
# File lib/unit_diff.rb, line 62 def parse_input(input, output) current = [] data = [] data << current print_lines = true term = "\nFinished".split(//).map { |c| c[0] } term_length = term.size old_sync = output.sync output.sync = true while line = input.gets case line when /^(Loaded suite|Started|# Running tests:)/ then print_lines = true output.puts line chars = [] while c = input.getc do output.putc c chars << c tail = chars[-term_length..-1] break if chars.size >= term_length and tail == term end output.puts input.gets # the rest of "Finished in..." output.puts next when /^\s*$/, /^\(?\s*\d+\) (Failure|Error):/, /^\d+\)/ then print_lines = false current = [] data << current when /^Finished in \d/ then print_lines = false end output.puts line if print_lines current << line end output.sync = old_sync data = data.reject { |o| o == ["\n"] or o.empty? } footer = data.pop data.map do |result| break if result.any? { |l| l =~ / expected( but was|, not)/ } header = result.find do |l| l =~ /^\(?\s*\d+\) (Failure|Error):/ end break unless header message_index = result.index(header) + 2 result[message_index..-1] = result[message_index..-1].join end return data, footer end
Scans Test::Unit output input
looking for comparison failures
and makes them easily readable by passing them through diff.
# File lib/unit_diff.rb, line 192 def unit_diff(input=ARGF, output=$stdout) $b = false unless defined? $b $c = false unless defined? $c $k = false unless defined? $k $u = true unless defined? $u $p = false unless defined? $p data, footer = self.parse_input(input, output) output = [] # Output data.each do |result| if result.first =~ /Error/ then output.push result.join('') next end prefix, expect, butwas, result_footer = parse_diff(result) output.push prefix.compact.map {|line| line.strip}.join("\n") if butwas then output.push self.diff(expect, butwas) output.push result_footer output.push '' else output.push expect.join('') end end if footer then footer.shift if footer.first.strip.empty? output.push footer.compact.map {|line| line.strip}.join("\n") end return output.flatten.join("\n") end


{% extends 'layout.html' %} {% block pageTitle %} NHS.UK prototype kit {% endblock %} {% block beforeContent %} {% endblock %} {% block content %}
This is my testing page called Flabba Nooby where all the flabbas of the nooby congregate.

You must remember to flabba your nooby's before proceeding.
There is also an example page, which contains a selection of NHS.UK frontend styles and components.