For some problems the challenge is not to identify the solution. The real challenge is working out how to put the solution in place. Anyone who has setup a theodolite will understand what I mean. The solution is simple to describe. Position a precision optical measuring device so that it is; perfectly level, at a reasonable height for operation and directly above a predefined mark. Sounds easy, but given a tripod and a theodolite most untrained surveyors will take hours and usually give up in frustration. The problem is that there are too many degrees of freedom in the system. Everything is interdependent. Make one small adjustment here and it knocks things way out of whack there!
The secret is to follow a procedure that is based on a strategy. There are many variations on the procedure, but they all rely on the same strategy. Establish an initial, sub-optimal, solution that is configured to allow for as much adjustment as possible. Adjust this preliminary configuration gradually refining the setup until it finally meets the requirements.
The following are the most succinct instructions I could find after brief search.
Setting Up the Tripod
(doing this correctly will save a lot of time and frustration in subsequent adjustments!!)
Extend the tripod legs to a proper length (around shoulder height), and set the tripod approximately over the marked survey point. The tripod head should be levelled (use horizontal objects as references), and each leg should make approximately a 70 angle with the ground. Feel free to lift the tripod and redo the above if necessary. Avoid having a tripod leg coming at you; that might cause some inconvenience.
Carefully take the theodolite out of the carrying case, and remember how it was fitted in the box so that you know how to put it back later. Mount it on the tripod, and fasten the tripod screw. Make sure the tribrach base and the tripod head (both triangular) are parallel and share the same centroid to permit maximum translation in any direction, which will be needed later on. Remove the lens cap, put it back into the carrying case, and close the box.
Setting Up the Theodolite
1 Rough Centering
Secure the front tripod leg. Hold and move the two other legs to roughly center the theodolite by locating the ground mark via the optical plummet. Use your right foot placed near the mark as a guide; see Fig. 1. Secure the tripod legs when done.
2 Rough Levelling (use the circular bubble as the guide)
By adjusting the length of one tripod leg at a time while keeping the other two still, the circular bubble can be levelled without causing disturbance to the previously accomplished centering (check the optical plummet to see this is true).
3 Precise Levelling (use the plate bubble as the guide)
Rotate the theodolite until its plate bubble is parallel to any two footscrews (A and B), then adjust A and B to center the bubble. The left thumb rule applies as usual (bubble will travel in direction of left thumb). Now rotate the theodolite body by 90, and center the bubble with the third footscrew (C) only. Repeat this procedure for each 90 revolution of the instrument until the bubble is centered for all four positions. Now check the optical plummet: adjustment of the footscrews has probably disturbed the centering.
4 Precise Centering
Loosen the tripod screw, and slowly translate (do not rotate) the theodolite around until it is exactly centered over the survey point, then tighten the screw.
5 Repeat 3 and 4 until levelling and centering are both accomplished precisely.
Some generalized lessons can be drawn from this procedure. When faced with a complex problem that has an obvious solution always consider how the solution will be put in place. If the solution comprises many interdependent sub-components use a convergent, iterative optimization process. Put the part of the system with the largest scope for adjustment in place first and set all configuration parameters to the middle of their range before starting to make adjustments. Monitor the size of successive adjustments; they should get smaller as the procedure progresses. If they start to get larger at any point this is a danger sign. Don’t worry if early configuration is very imprecise
use your right foot as a mark
Make accommodations early in the process for flexibility that may be needed later.
Make sure the tribrach base and the tripod head (both triangular) are parallel and share the same centroid to permit maximum translation in any direction, which will be needed later on
Avoid having a tripod leg coming at you; that might cause some inconvenience [when using the theodolite].
Understand that the best procedure may be non-trivial and not obvious to the novice. Ask someone who has done it before how they did it and what they would do different next time. If you come across one of these situations beware, some things really are easier said than done.


This demo demonstrates the custom element Calendar widget. Choose a date and navigate through the months by clicking the left or right navigation arrows. The Calendar has built-in Keyboard navigation so you can click on it and navigate by using the left, right, up or down arrow keys. To switch to Year and Decade views, you need to click the Calendar's title.


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public interface JCoDestinationMonitor
The destination monitor provides runtime details about a destination. The monitor instance
will be created by JCoDestination.getMonitor()
or by JCo.getDestinationMonitor(id)
,
where id
is a value of JCo.getDestinationIDs()
.
| Method Summary | |
|---|---|
java.util.List<? extends JCoConnectionData> |
getConnectionsData()
Creates and returns a list of all client connections that are currently used with or held open by the monitored destination instance. |
java.lang.String |
getDestinationID()
Returns the ID of the destination instance that is monitored by this instance. |
java.lang.String |
getDestinationName()
Returns the name of the destination configuration which the monitored destination instance was created from. |
long |
getLastActivityTimestamp()
Returns the time stamp of the last activity done with the monitored destination instance. |
int |
getMaxUsedCount()
Returns the maximum number of simultaneously used client connections with the monitored destination instance. |
java.lang.String |
getOriginDestinationID()
Returns the ID of the destination instance that the monitored destination instance originated from. |
int |
getPeakLimit()
Returns the maximum number of client connections that can be used simultaneously with the monitored destination instance. |
int |
getPoolCapacity()
Returns the maximum number of client connections that will be held open for the monitored destination instance. |
int |
getPooledConnectionCount()
Returns the number of client connections that are currently held open for the monitored destination instance. |
int |
getUsedConnectionCount()
Returns the number of client connections that are currently being used with the monitored destination instance. |
int |
getWaitingThreadCount()
Returns the number of threads that are currently waiting for a free connection to be used with the monitored destination instance. |
boolean |
isValid()
Returns true if the monitored destination instance is valid, i.e. |
| Method Detail |
|---|
java.lang.String getDestinationID()
java.lang.String getOriginDestinationID()
JCoCustomDestination
instance. In case of monitoring a configured destination instance, it will return
null
.
null
java.lang.String getDestinationName()
int getPoolCapacity()
JCoRuntimeException
- with key JCO_ERROR_DESTINATION_DATA_INVALID
if the monitored destination instance is invalidint getPeakLimit()
JCoRuntimeException
- with key JCO_ERROR_DESTINATION_DATA_INVALID
if the monitored destination instance is invalidint getUsedConnectionCount()
JCoRuntimeException
- with key JCO_ERROR_DESTINATION_DATA_INVALID
if the monitored destination instance is invalidint getPooledConnectionCount()
JCoRuntimeException
- with key JCO_ERROR_DESTINATION_DATA_INVALID
if the monitored destination instance is invalidint getMaxUsedCount()
JCoRuntimeException
- with key JCO_ERROR_DESTINATION_DATA_INVALID
if the monitored destination instance is invalidint getWaitingThreadCount()
JCoRuntimeException
- with key JCO_ERROR_DESTINATION_DATA_INVALID
if the monitored destination instance is invalidlong getLastActivityTimestamp()
JCoRuntimeException
- with key JCO_ERROR_DESTINATION_DATA_INVALID
if the monitored destination instance is invalidjava.util.List<? extends JCoConnectionData> getConnectionsData()
JCoConnectionData
objects describing all open client
connections
JCoRuntimeException
- with key JCO_ERROR_DESTINATION_DATA_INVALID
if the monitored destination instance is invalidboolean isValid()
true
if the monitored destination instance is valid, i.e. it has
neither been changed nor removed.
true
if the monitored destination instance is valid;
false
otherwise
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The Calculator should be able to perform calculation using multiple operators
tags: integration
The Calculator should be able to perform calculation with both addition and subtraction Both these operator should be equal in priority The order of operation should not affect the result
tags: addition, subtraction
| formula | result |
|---|---|
| 1 + 9 - 5 | 5 |
| 1 - 5 + 9 | 5 |
| (-1000) + 500 - 7 + 0 | -507 |
| (-2.0) - 3.14 + 8.2 - 10 | -6.94 |
The Calculator should be able to perform calculation with both subtraction and division Division should have higher priority than subtraction
tags: subtraction, division
| formula | result |
|---|---|
| 100000 - 8 / 4 | 99998 |
| 20 / 5 - 7 | -3 |
| 11.04 / 0.5 - 3 | 19.08 |
| 5 - 0 / 5 | 5 |
| 5 / 0 + 1 | Error |
The Calculator should be able to perform calculation with both addition and division Division should have higher priority than addition
tags: addition, division
| formula | result |
|---|---|
| 999999999 + 20 / 10 | 1e+9 |
| (-1) / 4 + 2.5 | 2.25 |
| 9 + 7 / 1 + (-1000) / 2000 | 15.5 |


Stefan Helmke
TV Producer, Foto Producer, Marketingberater & Kampagnen-Entwickler
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Preparation time
less than 30 mins
Cooking time
less than 10 mins
Serves
Serves 2
Cook this authentic Chinese stir-fry in less than ten minutes, adding any crisp seasonal vegetables you fancy.
Cook the noodles in a pan of boiling water for 2-3 minutes until al dente, or according to packet instructions. Drain, then rinse under cold running water and drain again. Drizzle with a dash of sesame oil and toss through to prevent the noodles from sticking to each other.
Put the chicken strips in a bowl and season with a dash of light soy sauce, the five-spice powder and chilli sauce, if using. Mix well, then lightly dust the chicken strips with the cornflour.
Heat a wok until smoking and add the groundnut oil, then add the chicken and stir fry for 3-4 minutes, or until the chicken is golden-brown and cooked through.
Add the red pepper and stir fry for 1 minute, then add the bean sprouts and spring onion and stir fry for 30 seconds. Stir in the cooked noodles and season with the soy sauce, a dash of sesame oil and freshly ground black pepper.
Pile the noodles onto a serving plate and serve immediately.


Hello.
 Nevermind that.
I make ambitious cross platform apps &! prototypes.
Recent: launched linx, sun-times iOS7 app, monthlys.com, groupon
s


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Wiggam Week 7: Soldering, Electronics & Arduino
We started out the class learning how to solder. Soldering takes patience and very steady hands. We started to work on a
digital clock. We had to go through the manual and put each peice in its exact spot and then flip the board and solder it in.
This process was tedious but it was worth it. After that we worked with electronics and Arduino. Specifically what we worked with was
the breadboard. We were tasked with making different models with the breadboard. This all lead into Week 9 where we fully used
Arduino boards.


Date: 1 March 2016.
Here's my Wish list!
I'd like to premise this with the knowledge that I have the design sense of a cinder block.
- Introduce normalize CSS1
- Introduce some of those cool media queties. wow!
- Introduce the float property for menu items, and introduce a footer with this property as well.
- Investigate and make the most of the the flex property. Great link here. In particular, I think it could help centre and clean up my index page.
- Introduce a simple css borders /boxing style for when I'm prototyping. IE * { outline: 1px solid red }.
- Consider how I can use shapes / border-radius for dividers, instead of images.
- I like the off canvas menu.
- I like the static background, rolling text / parallax scrolling.
- Animations... are these javascript?
- Make the site better for mobile viewing. Introduce some responsive styling.
- Change colour / emphsaise of paragraphs when hover pointer of paragraph.
- Introduce rem and em instead of px, where appropriate.
- introduce webkit requirements for flex, and consider browser compatibility.
- Try and use html partials instead of pasting header details in each page.
- Use a few more classes for specific boxes on the page i.e. a class for blog.
An analogy to describe HTML, CSS and the DOM...
I liked the analogy given in the Udacity lesson 1. HTML is like the walls, ceiling, floor... the rooms of the house. CSS is interior designer friend coming round telling you how everything should look.
What is meant by boxifying design?
I like this concept.  You can cut them up, making them different shapes, move them round however you like.
What is the box model?
The box model refers to all boxes having a margin, border, padding and content. Just like this picture here.


--- layout: page title: Archive navbar: archive permalink: /archive/ exclude_from_search: true --- {% include setup %} {% assign posts_collate = site.posts %}


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/*jshint
asi:true, browser:true
*/
/**
* @file Provides static contstant objects for use with {@link AnimationRule} class methods.
* @namespace BannerAnimation
*/
// -------------------------------------------------------------------------------------------------------------- //
// ----------------------------------------------- PUBLIC STATICS ----------------------------------------------- //
// -------------------------------------------------------------------------------------------------------------- //
// -------------------------------------------------------------------------------------------------------------- //
/**
* Object containing the constants related to the keyframe aspect of CSS animations that can be used with the
* addKeyframe() method of the AnimationRule object.
* @type {!object}
* @readonly
* @constant
* @memberof BannerAnimation
* @property {string} FROM - Same as setting "0%" for the keyframe.
* @property {string} TO - Same as setting "100%" for the keyframe.
*/
var Keyframe = {
FROM:"from",
TO:"to"
};
// -------------------------------------------------------------------------------------------------------------- //
/**
* Object containing the constants related to the timing function aspect of CSS animations that can be used with
* the apply() method of the AnimationRule object.
* @type {!object}
* @readonly
* @constant
* @memberof BannerAnimation
* @property {string} EASE - Specifies an animation with a slow start, then fast, then end slowly.
* @property {string} EASE_IN - Specifies an animation with a slow start.
* @property {string} EASE_OUT - Specifies an animation with a slow end.
* @property {string} EASE_IN_OUT - Specifies an animation with a slow start and end.
* @property {string} LINEAR - Specifies an animation with the same speed from start to end.
*/
var Ease = {
EASE:"ease",
EASE_IN:"ease-in",
EASE_OUT:"ease-out",
EASE_IN_OUT:"ease-in-out",
LINEAR:"linear"
};
// -------------------------------------------------------------------------------------------------------------- //
/**
* Object containing the constants related to the iteration aspect of CSS animations that can be used with the
* apply() method of the AnimationRule object.
* @type {!object}
* @readonly
* @constant
* @memberof BannerAnimation
* @property {string} INFINITE - Specifies that the animation should be played infinite times (forever).
* @property {string} ONCE - Specifies that the animation should be played only one (1) time.
*/
var Iteration = {
INFINITE:"infinite",
ONCE:"1"
};
// -------------------------------------------------------------------------------------------------------------- //
/**
* Object containing the constants related to the direction aspect of CSS animations that can be used with the
* apply() method of the AnimationRule object.
* @type {!object}
* @readonly
* @constant
* @memberof BannerAnimation
* @property {string} NORMAL - The animation should be played as normal.
* @property {string} ALTERNATE - The animation will be played as normal every odd time (1,3,5,etc) and in
* reverse direction every even time (2,4,6,etc).
* @property {string} REVERSE - The animation should play in reverse direction. Not supported in Apple's Safari web
* browser.
* @property {string} ALTERNATE_REVERSE - The animation will be played in reverse direction every odd time
* (1,3,5,etc) and in a normal direction every even time (2,4,6,etc). Not supported in Apple's Safari web browser.
*/
var Direction = {
NORMAL:"normal",
ALTERNATE:"alternate",
REVERSE:"reverse",
ALTERNATE_REVERSE:"alternate-reverse"
};
// -------------------------------------------------------------------------------------------------------------- //
/**
* Object containing the constants related to the fill mode aspect of CSS animations that can be used with the
* apply() method of the AnimationRule object.
* @type {!object}
* @readonly
* @constant
* @memberof BannerAnimation
* @property {string} BOTH - The animation will follow the rules for both forwards and backwards. That is, it will
* extend the animation properties in both directions.
* @property {string} FORWARDS - After the animation ends (determined by animation-iteration-count), the animation
* will apply the property values for the time the animation ended.
* @property {string} BACKWARDS - The animation will apply the property values defined in the keyframe that will
* start the first iteration of the animation, during the period defined by animation-delay. These are either the
* values of the from keyframe (when animation-direction is "normal" or "alternate") or those of the to keyframe
* (when animation-direction is "reverse" or "alternate-reverse").
* @property {string} NONE - The animation will not apply any styles to the target element before or after it is
* executing.
*/
var FillMode = {
BOTH:"both",
FORWARDS:"forwards",
BACKWARDS:"backwards",
NONE:"none"
};
// -------------------------------------------------------------------------------------------------------------- //
// ------------------------------------------------ AnimationRule ----------------------------------------------- //
// -------------------------------------------------------------------------------------------------------------- //
// -------------------------------------------------------------------------------------------------------------- //
/**
* Use the AnimationRule object to create a new set of CSS animations that can be used by HTML elements. The
* animation is created by gradually changing from one set of CSS styles to another. During the animation,
* you can change the set of CSS styles many times. Specify when the style change will happen in percent, or
* with the keywords "from" and "to", which is the same as 0% and 100%. 0% is the beginning of the animation,
* 100% is when the animation is complete.

*

* To create an animation rule set, create a new variable that is equal to a "new AnimationRule()". After that,
* call the addKeyframe() method on that variable to add a keyframe to this animation. The next step is to
* call the addStyle() method with the CSS style you want to apply at this keyframe. You can call the addStyle()
* method as many times as is needed to cover all the styles that should be set for this keyframe.

*

* Once all styles for that keyframe have been set, you can call the addKeyframe() method again, followed by as
* many addStyle() calls are needed to complete the rules of this animation.

*

* NOTE: At least 2 keyframes are needed (0% and 100%) for an animation to be complete and work correctly.

*

* After creating all the needed keyframes and the styles to be changed for each keyframe, you must register the
* the new AnimationRule with the styles in the . To do this, call the register() method on the
* AnimationRule variable you created earlier, passing in the name of the animation when calling the register()
* method.

*

* NOTE: Once the register() method has been executed, you can no longer add any new keyframes or style changes.

*

* The final step is call the apply() method on the AnimationRule variable to have that newly created animation
* get applied to an HTML element. The apply() method takes on several parameters, including the target HTML
* element, start time, duration, ease type, number of times this animation should play (most likely "1"),
* the direction the animation should play, and what styles should be applied once the animation is done.

*

* NOTE: You can only apply one (1) animation to an HTML element. Applying a second animation to the same target
* will cause the first one to not work.

*

* This final step of calling apply() can be called on more than one HTML element and given different options.
* So for example, if you create a simple opacity fade up animation and want to use it on 4 different HTML elements,
* call the apply() method 4 times, passing in the appropriate options for each specific target element.
*
* @constructor
* @class
* @final
* @returns {AnimationRule} - A new instance of the AnimationRule class.
*
* @example
The following example shows the JavaScript portion of an HTML5 banner creating an animation
* and uses the minimum required methods in the AnimationRule class in order to properly create a functional HTML5 banner.
* This example also coveres what each step is doing in the background for your edification.

*
*
*
* @example
The following example is contains the same as the one above but showing the chained method usage
* for shorter lines of JavaScript. It also contains more examples of creating animations with different styles.

*
*
*
* @example
The following example shows a full start to finish usage of creating an AnimationRule object and
* using its methods. It is assumed that the BannerAnimation.js JavaScript file is in the same directory as the HTML
* file. This example features four frames in total. The first three are just a single image containing everything
* in that frame. The final frame is composed of a logo, an alpha png image with copy, and a CTA button.

* <!DOCTYPE html>
*
*
* <meta http-equiv="Content-Type" content="text/html; charset=UTF-8">
* <meta http-equiv="X-UA-Compatible" content="IE=edge">
* <title>banner example</title>
*
*
*
*
*
*

*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*

* ©Copyright
*

*
*

*

*
*
*
*
*
*/
function AnimationRule() {
this._keyframes = [];// array of keyframe objects
this._styleName = "";// style name being applied this this AnimationRule object
this._registered = false;// boolean if this animation rule has been registered or not
return this;
}
// -------------------------------------------------------------------------------------------------------------- //
// ------------------------------ AnimationRule static private variables & methods ------------------------------ //
// -------------------------------------------------------------------------------------------------------------- //
// -------------------------------------------------------------------------------------------------------------- //
/**
* Figures out which event type that should be used for either the start or end of an animation or transition.
*
* @param {!string} playbackPosition - Either "start" or "end".
* @memberof AnimationRule
* @final
* @static
* @private
*/
AnimationRule._whichEvent = function(playbackPosition) {
var el = document.createElement("div");
if (el.style.animation) {
return "animation" + playbackPosition;
}
if (el.style.webkitAnimation) {
return "webkitAnimation" + playbackPosition.charAt(0).toUpperCase() + playbackPosition.slice(1);
}
if (el.style.msAnimation) {
return "MSAnimation" + playbackPosition.charAt(0).toUpperCase() + playbackPosition.slice(1);
}
}
// -------------------------------------------------------------------------------------------------------------- //
/**
* Global array containing all the HTML elements that will be animating or are currently animating.
*
* @type {!string[]}
* @memberof AnimationRule
* @constant
* @static
* @private
*/
AnimationRule._elements = [];
// -------------------------------------------------------------------------------------------------------------- //
/**
* String representation of the JavaScript animation-start CSS property based on the browser rendering engine
* @type {!string}
* @memberof AnimationRule
* @constant
* @static
* @private
*/
AnimationRule._animationStart = AnimationRule._whichEvent("start");
// -------------------------------------------------------------------------------------------------------------- //
/**
* String representation of the JavaScript animation-end CSS property based on the browser rendering engine
* @type {!string}
* @memberof AnimationRule
* @constant
* @static
* @private
*/
AnimationRule._animationEnd = AnimationRule._whichEvent("end");
// -------------------------------------------------------------------------------------------------------------- //
/**
* Callback function for the window "onfocus" event. Triggers the resumeAnimations() method.
*
* @param {!Object} e - Event data
* @memberof AnimationRule
* @function _onWindowFocus
* @final
* @static
* @private
*/
AnimationRule._onWindowFocus = function(e) {
window.top.removeEventListener("focus", AnimationRule._onWindowFocus);
window.top.addEventListener("blur", AnimationRule._onWindowBlur);
AnimationRule.resumeAnimations();
}
// -------------------------------------------------------------------------------------------------------------- //
/**
* Callback function for the window "onblur" event. Triggers the pauseAnimations() method.
*
* @param {!Object} e - Event data
* @memberof AnimationRule
* @function _onWindowBlur
* @final
* @static
* @private
*/
AnimationRule._onWindowBlur = function(e) {
window.top.addEventListener("focus", AnimationRule._onWindowFocus);
window.top.removeEventListener("blur", AnimationRule._onWindowBlur);
AnimationRule.pauseAnimations();
}
// -------------------------------------------------------------------------------------------------------------- //
/**
* Callback function for a CSS animation finishing. Removes the "animationEnd" event listener on the HTML
* element that just finished animating and removes it from the Array of elements that are being animated.
*
* @param {!Object} e - Event data
* @memberof AnimationRule
* @final
* @static
* @private
*/
AnimationRule._onAnimationEnd = function(e) {
e.target.removeEventListener(AnimationRule._animationEnd, AnimationRule._onAnimationEnd);
AnimationRule._elements.splice(AnimationRule._elements.indexOf(e.target), 1);
}
// -------------------------------------------------------------------------------------------------------------- //
/**
* Callback function for a CSS animation starting. Removes the "animationStart" event listener on the HTML
* element starting to be animated and adds the "animationEnd" event listener on this HTML element.
*
* @param {!Object} e - Event data
* @memberof AnimationRule
* @final
* @static
* @private
*/
AnimationRule._onAnimationStart = function(e) {
e.target.removeEventListener(AnimationRule._animationStart, AnimationRule._onAnimationStart);
e.target.addEventListener(AnimationRule._animationEnd, AnimationRule._onAnimationEnd);
}
// -------------------------------------------------------------------------------------------------------------- //
// ------------------------------------ AnimationRule static public methods ------------------------------------- //
// -------------------------------------------------------------------------------------------------------------- //
// -------------------------------------------------------------------------------------------------------------- //
/**
* Add an event listener to the main webpage window to know when the window/tab becomes unfocused. This will
* automatically pause/resume the animation if the window/tab is not in focus. Call this method inside an onload
* function or at the bottom of the JavaScript code in an HTML5 banner.

*

* NOTE: This feature is NOT supported in Safari.

*

* NOTE: This is a static method and should be called on the AnimationRule object exactly as presented in
* the example below.
*
* @memberof AnimationRule
* @function addFocusListener
* @see {@link AnimationRule.removeFocusListener}
* @final
* @static
*
* @example
* AnimationRule.addFocusListener();
*/
AnimationRule.addFocusListener = function() {
window.top.addEventListener("blur", AnimationRule._onWindowBlur);
}
// -------------------------------------------------------------------------------------------------------------- //
/**
* Remove the focus event listener from the main webpage window. The animation will continue to play in the background
* if the browser allows it to.

*

* NOTE: This feature is NOT supported in Safari.

*

* NOTE: This is a static method and should be called on the AnimationRule object exactly as presented in
* the example below.
*
* @memberof AnimationRule
* @function removeFocusListener
* @see {@link AnimationRule.addFocusListener}
* @final
* @static
*
* @example
* AnimationRule.removeFocusListener();
*/
AnimationRule.removeFocusListener = function() {
window.top.removeEventListener("blur", AnimationRule._onWindowBlur);
}
// -------------------------------------------------------------------------------------------------------------- //
// ---------------------------------------- AnimationRule member methods ---------------------------------------- //
// -------------------------------------------------------------------------------------------------------------- //
// -------------------------------------------------------------------------------------------------------------- //
/**
* Adds a new keyframe to the AnimationRule. After this call method is called, the AnimationRule.addStyle() method
* is expected to be called at least once before calling addKeyframe() again.
*
* @param {!string} percentageMarker - The percentage of the animation duration. Allowed values
* are:

0–100%.

from (same as 0%).

to (same as 100%).

* @returns {AnimationRule} - A reference to this instance of the AnimationRule object.
* @memberof AnimationRule#
* @function addKeyframe
* @final
* @instance
* @see {@link AnimationRule#addStyle}
*
* @example
* var fadeAnimation = new AnimationRule();
* fadeAnimation.addKeyframe("0%");// this is the first keyframe
* // add all styles that should be set for this keyframe
* // call next addKeyframe() and then apply any styles for the end keyframe
* fadeAnimation.addKeyframe("100");
*/
AnimationRule.prototype.addKeyframe = function(percentageMarker) {
if (this._registered === true) {
window.alert("The animation \"" + this._styleName + "\" has been registered. No more keyframes may be added at this point.");
return this;
}
// check to see if the previous keyframe has no styles and if it doesnt, throw alert error
if (this._keyframes.length !== 0 && this._keyframes[this._keyframes.length-1].styles === "") {
window.alert("New keyframe being added before any style changes were added to the previous keyframe.");
}
// if percentage marker is a number, convert to string
if ((typeof percentageMarker) === "number") {
percentageMarker = percentageMarker.toString() + "%";
}
// if the percentage marker value contained a semi-colon, remove it
if (percentageMarker.indexOf(";") !== -1) {
percentageMarker = percentageMarker.replace(";", "");
}
// if the percentage marker value did not contain a percent sign and was not "to" or "from", add one
if (percentageMarker.indexOf("to") === -1 && percentageMarker.indexOf("from") === -1) {
if (percentageMarker.indexOf("%") === -1) {
percentageMarker = percentageMarker + "%";
}
}
// percentage marker is "to" or "from", check if a percentage sign is present on accident, and if it is, remove it
else {
// if a percent sign is detected alongside "to" or "from", remove it
if (percentageMarker.indexOf("%") !== -1) {
percentageMarker = percentageMarker.replace("%", "");
}
// if the percentage marker is "to"
if (percentageMarker === "to") {
// if there is a previous keyframe that is not "to", change to "100%"
if (this._keyframes.length === 1 && this._keyframes[this._keyframes.length-1].keyframe === "0%") {
percentageMarker = "100%";
}
// else if the number of prior keyframes is greater than 1, "from" should not be used. throw error.
else if (this._keyframes.length > 1) {
window.alert("The keyframe marker of \"to\" should not have been used in this instance since percentage values where previously used.");
}
// else if there are no previous keyframes, assume mistake and make it "0%"
else if (this._keyframes.length === 0) {
window.alert("The keyframe marker of \"to\" should not have been used in this instance since this is the first keyframe. Please use \"0%\" or \"from\".");
}
}
// else the percentage marker is "from"
else {
if (this._keyframes.length === 0) {
percentageMarker = "0%";
}
else if (this._keyframes.length === 1 && this._keyframes[this._keyframes.length-1].keyframe === "0%") {
window.alert("The keyframe marker of \"from\" should not have been used in this instance since this is the second keyframe. Please use \"100%\" or \"to\".");
}
else {
window.alert("The keyframe marker of \"from\" should not have been used in this instance. Please use use a percentage value that is a higher value from the previous keyframe marker.");
}
}
}
this._keyframes.push( {keyframe:percentageMarker, styles:""} );
return this;
}
// -------------------------------------------------------------------------------------------------------------- //
/**
* Adds a CSS style to the most recently created keyframe.
*
* @param {!string} name - The name of the CSS property that should be added to the most recent keyframe created.
* For example, "width" or "opacity". This must be a name surrounded in quotes.
* @param {!string} value - The value of the CSS property that should be changed for the most recent keyframe. For
* example, "100px" or "1". This must be a value surrounded in quotes.
* @returns {AnimationRule} - A reference to this instance of the AnimationRule object.
* @memberof AnimationRule#
* @function addStyle
* @final
* @instance
* @see {@link AnimationRule#register}
*
* @example
The following example shows making multiple calls to addStyle() on separate lines.

* addStyle("opacity", "1");
* addStyle("width", "100px");
* // take note, if more than one transform type is needed, it should be written as
* // the line below with a space separating the transform types
* addStyle("transform", "scale(1.5,1.5) rotate(90deg)");
*
* @example
The following example shows making concurrent calls to addStyle() on the same line of code.
* This example just shows this feature and by itself does nothing without a variable named "animation" representing
* an instance of the AnimationRule object and have previously already created at least 1 keyframe prior to this
* code example. Please reference the example at the top of the page showing a start to finish example.

* addStyle("opacity", "1").addStyle("width", "100px").addStyle("transform", "scale(1.5,1.5) rotate(90deg)");
*/
AnimationRule.prototype.addStyle = function(name, value) {
if (this._registered === true) {
window.alert("The animation \"" + this._styleName + "\" has been registered. No more styles may be added at this point.");
return this;
}
// if keyframes have been created, add the styles to change
if (this._keyframes.length === 0) {
window.alert("No keyframe has been created to hold this style change.");
}
if (!name || (typeof name) !== "string") {
window.alert("A CSS property name surrounded in quotes was not provided.");
}
if (!value) {
window.alert("There was nothing provided for the \"value\" in \"addStyle(name, value)\"");
}
if ((typeof value) !== "string") {
window.alert("Please provide a string value for the \"value\" parameter in \"addStyle(name, value)\"");
}
var style = name + ":" + value + ";";
// Updates the style string to contain all the unique browser animation prefix styles if it is needed
if (style.indexOf("transform") !== -1) {
style = "-webkit-" + style + "\n-moz-" + style + "\n-ms-" + style + "\n-o-" + style + "\n" + style;
}
this._keyframes[this._keyframes.length - 1].styles += style + "\n";
return this;
}
// -------------------------------------------------------------------------------------------------------------- //
/**
* After all the keyframes and styles have been added, run this method to register the animation and it will
* automatically be added to the


--- creation_epoch:<PHONE_NUMBER> lastmod_epoch:<PHONE_NUMBER> categories: ['Tech Tricks'] title: Use "NET USE" Windows command in batch script without a clear text password --- I had some batch scripts that needed to access remote shares. In order to not have to leave the clear text password in the batch files you must do the following:
This works because even though you have different domains or machine names Windows will still try the same password if both machines have users with the same usernames. I used this to map resources on a separate domain that didn't have a domain trust to the first domain.


Symbols
Submit
Price % of 52 Week Range
Free Cash Flow ($B)
Forward P/E
Forward Annual Dividend Yield (%)
Trailing Total Returns (%)


Critter is the HTTP testing proxy for simulating network traffic problems.
Critter provides two services: proxy service and a traffic control service. The proxy service is a pass-through server that usually sits between a http client and a http server. The traffic control service is used to change the behavior of the proxy service with respect to request and response handling. Information about what to do with a request or a response is specified into rules which are managed through a Web or REST interface.
Critter uses rules (xml) to specify what should happen to a request that it receives or response that it returns. For each incoming http request, the proxy service will ask the traffic manager for a rule that matches that request. A rule matches if all its conditions are met. A rule can use conditions that look at the host, port, path, header or a combination thereof. If such a rule is found then all its actions are performed.


Freemote Blog
Written by Aaron Jack who lives wherever he wants, and works whenever he wants.
How to make your web design unique
What makes visual content unique & how to create it without breaking the rules
Landing for Business
When does your business need a landing page?
Dashboard Design
Anatomy of an effective dashboard
UI Secrets They Don't Want You to Know
Secrets uncovered after years in the industry


{% extends "base.html" %} {% block internal_css %} {% endblock %} {% block body %}
Somehow you have typed in this URL and here you are. My name is Stephen Stack, feel free to check out my page. This page will be under development 'till the end of time so who knows what might happen when you click on any of these links. Anyways if you want to get away from this place ASAP, click the button and you will be teleported to a "random" place in the Web!
Teleport »| Profile » | Picture, personal stuff, resume, etc. |
| Projects » | Link to my BitBucket acct, source code, and other cool stuff. |
| Hmm? » | Not sure what this will be, but will have some stuff that I approve of here. |
| Contact » | Email me! |


--- status: ready title: "Secondary" text: The secondary button style is used for secondary actions. They are often used next to primary buttons or elsewhere on a page for secondary actions. ---


RevelSix
YouTube
Twitch
Twitter
Discord
Projects
hi! my name is Revel,
i stream sometimes!
Tweets by RevelSix
this website is a WORK-IN-PROGRESS
i really need to stop editing the live version


Winnow Bermuda - React Native application on iOS for tourists to order attractions on Bermuda. Integration with Firebase, Twilio, Mailchimp/Mandrill and Contentful.Used technologies: Javascript/ES2015, React Native, Redux, Redux Saga, Reselect, Reduxsauce, Immutable, Ramda, Express.js.
Expedia Visit Britain - Inspiring tourists to discover their next Great British vacation through digital orienteering. Site has been awarded "Site of the Day" on March 23, 2017 by the Awwwards Jury.Used technologies: Javascript/ES2015, React, Redux, Sass, BEM, SVG, Fabric.js/Canvas, GSAP, Webpack, HTML5 Video and Audio.
Data visualization tool - Report system with advanced and interactive data visualizations. The tool also has the ability to export data visualizations
to Power Point.
Used technologies: Javascript/ES2015, Sass, SVG, D3.js, Ramda, Karma, Jasmine.
Transpak, Gruas, Speedup Group - A responsive websites to help companies promote, market and sell their products.Used technologies: AngularJS 1.x, Sass, Videojs, GSAP, Gulp, Bower.
Session recording player - Web application for analizing gathered data. Part of UsabilityTools suite.Used technologies: AngularJS 1.x, Bootstrap, Sass, Grunt, Bower, REST, Karma, Jasmine.
Attensee - Web based online eye tracking alternative. Measure the effectiveness of your design and discover new ways to improve it.Used technologies: AngularJS 1.x, Semantic-UI, Less, Canvas, Grunt, REST.
Memosort - An online tool for remote brainstorming and affinity diagraming in real time.Used technologies: jQuery, Flot, RequireJS, CSS, Node.js, Socket.io, PhantomJS, Karma, Jasmine, REST.
Feedback Form -
Web tool used for embedding feedback form on a website, gathering and analyzing data from it. Part of UsabilityTools suite.Used technologies: jQuery, RequireJS, CSS.


The login is your oyster shell.
If you get lost, the docs will be your guide.
Now that your app has been created, you'll want to start building out features and components. Check out some of the resources below for next steps.
She sails
Sea shells
Upon the
Sea shore.
Splish, splash,
I was takin' a bath.
Well, I stepped out the shell,
I put my feet on the beach.
She wrapped the towel around me,
The Hora of Spring.
I opened the door
To the realm of divine love,
Where the stars are twinkling!


What is a Ideathon?
An ideathon is a short, intensive, workshop-like experience for students to address some of the most pressing challenges of our time. Participants work in teams and use design thinking and innovative learning practices to ideate and collaborate on possible solutions.


Welcome to my personal page I am Salem Nihad, I am 22 years old from Jordan Irbid, a junior developer I hope that you like my page Why do I write my name with the letter “i”, I don’t know, but I prefer it, but on official papers my name is with the letter “e”
About me
About me
|
Salem Nihad Raji Abdul Rahman I am 22 years old, I was born in 1998 in Irbid, and I have lived there most of my life I graduated from high school in 2017 and then enrolled in the university for three years to study the major I want, which is programming. Previously, I played in Al Hussein Irbid Football Club It is one of my biggest interests and hobbies |
Education
|
I studied computer information systems at Al-Hussein Bin Talal University, with a good grade I graduated from it in 2020 and I was also participating in all educational and training courses, such as the Jordanian Games Lab, in building games, and also in 2D and 3D design. My most interest was in articles that contain programming in all its forms |
Now
|
At the moment, I am studying website programming after I graduated from Luminous College |
In this list I will review five things I learned in this course
- Types of tags in HTML
- The difference between git and github and how to use them
- CSS and how to use it
- Conditional statement
- Loops
Experience
I trained in the Ministry of Digital Economy and Entrepreneurship for two months in the e-government department and learned a lot of things related to websites |


“There is nothing either good or bad, but thinking makes it so.”
—Hamlet in Hamlet
markdown:
> "There is nothing either good or bad, but thinking makes it so."
>
> —Hamlet in *Hamlet*
“From women’s eyes this doctrine I derive:
They sparkle still the right Promethean fire;
They are the books, the arts, the academes,
That show, contain, and nourish all the world.”
—Berowne in Love’s Labor’s Lost


Seminole Casino to host hiring event in Immokalee
by WFTX Digital TeamIMMOKALEE, Fla. — If you're looking for work, The Seminole Casino Hotel Immokalee is hosting a hiring event tomorrow.
The hiring event will run from 9 am-1 pm and 7 pm to 10 pm in the Seminole Center.
There are several positions available.
If you're planning to attend, you are encouraged to apply to the event by heading to " gotoworkhappy.com. "
Make sure you bring your resume when you go.


| OLD line(s): 60
<!-- Add Columns (a) Through (c) On Line 7 --> | NEW line(s): 60
<!-- Add Columns (a) Through (c) On Line 12 --> |
| OLD line(s): 64,65
<Description>Add columns (a) through (c) on line 7</Description> <LineNumber>Part II Line 8</LineNumber> | NEW line(s): 64,65
<Description>Add columns (a) through (c) on line 12</Description> <LineNumber>Part II Line 13</LineNumber> |
| OLD line(s): 70
<!-- Alternative motor vehicle credit --> | NEW line(s): 70
<!-- Alternative Motor Vehicle Credit From Partnership And S Corporations --> |
| OLD line(s): 74,75
<Description>Alternative motor vehicle credit</Description> <LineNumber>Part II Line 9</LineNumber> | NEW line(s): 74,75
<Description>Alternative motor vehicle credit from partnership and S corporations</Description> <LineNumber>Part II Line 14</LineNumber> |
| OLD line(s): 85
<LineNumber>Part II Line 10</LineNumber> | NEW line(s): 85
<LineNumber>Part II Line 15</LineNumber> |
| OLD line(s): 93
<!-- Subtract Line 7 From Line 5 --> | NEW line(s): 93
<!-- If You Skipped Part II, Enter The Amount From Line 10. If You Completed Part II, Subtract Line 12 From Line 10 --> |
| OLD line(s): 97,98
<Description>Subtract line 7 from line 5</Description> <LineNumber>Part III Line 11</LineNumber> | NEW line(s): 97,98
<Description>If you skipped Part II, enter the amount from line 10. If you completed Part II, subtract line 12 from line 10</Description> <LineNumber>Part III Line 16</LineNumber> |
| OLD line(s): 103
<!-- Add columns (a) through (c) on Line 11 --> | NEW line(s): 103
<!-- Add columns (a) through (c) on Line 16 --> |
| OLD line(s): 107,108
<Description>Add columns (a) through (c) on Line 11</Description> <LineNumber>Part III Line 12</LineNumber> | NEW line(s): 107,108
<Description>Add columns (a) through (c) on Line 16</Description> <LineNumber>Part III Line 17</LineNumber> |
| OLD line(s): 113,114
<!-- Regular Tax --> <xsd:element name="RegularTax" type="USAmountType" minOccurs="0"> | NEW line(s): 113,114
<!-- Enter The Amount From Form 1040, Line 46, Or Form 1040NR, Line 43 --> <xsd:element name="TotalTxBeforeCrAndOtherTxsAmt" type="USAmountType" minOccurs="0"> |
| OLD line(s): 117,118
<Description>Regular tax</Description> <LineNumber>Part III Line 13</LineNumber> | NEW line(s): 117,118
<Description>Enter the amount from Form 1040, line 46, or Form 1040NR, line 43</Description> <LineNumber>Part III Line 18</LineNumber> |
| OLD line(s): 123,124
<!-- Foreign Tax Credit --> <xsd:element name="ForeignTaxCredit" type="USAmountType" minOccurs="0"> | NEW line(s): 123,124
<!-- Enter The Total, If Any, Of Your Credits From Form 1040, Lines 47 Through 50; Form 5695, Line 11; Form 8834, Line 22; And Schedule R, Line 24; Or Form 1040NR, Lines 44 Through 46; Form 5695, Line 11; And Form 8834, Line 22 --> <xsd:element name="AltMotorVehCreditFromFormsAmt" type="USAmountType" minOccurs="0"> |
| OLD line(s): 127,128
<Description>Foreign tax credit</Description> <LineNumber>Part III Line 14b</LineNumber> | NEW line(s): 127,128
<Description>Enter the total, if any, of your credits from Form 1040, lines 47 through 50; Form 5695, line 11; Form 8834, line 22; and Schedule R, line 24; or Form 1040NR, lines 44 through 46; Form 5695, line 11; and Form 8834, line 22</Description> <LineNumber>Part III Line 19</LineNumber> |
| OLD line(s): 133,134
<!-- Qualified Electric Vehicle Credit --> <xsd:element name="QualifiedElectricVehicleCredit" type="USAmountType" minOccurs="0"> | NEW line(s): 133,134
<!-- Subtract Line 19 From Line 18. If Zero Or Less, Stop. You Cannot Claim The Personal Use Part Of The Credit --> <xsd:element name="AltMotorVehAdjustedCreditAmt" type="USAmountType" minOccurs="0"> |
| OLD line(s): 137,138
<Description>Qualified electric vehicle credit</Description> <LineNumber>Part III Line 14c</LineNumber> | NEW line(s): 137,138
<Description>Subtract line 19 from line 18. If zero or less, stop. You cannot claim the personal use part of the credit</Description> <LineNumber>Part III Line 20</LineNumber> |
| OLD line(s): 143,182
<!-- Add line 14(a) through 14(c) --> <xsd:element name="TotCreditsThatReduceRegularTax" type="USAmountType" minOccurs="0"> <xsd:annotation> <xsd:documentation> <Description>Add line 14(a) through 14(c)</Description> <LineNumber>Part III Line 14d</LineNumber> </xsd:documentation> </xsd:annotation> </xsd:element> <!-- Net Regular Tax --> <xsd:element name="NetRegularTax" type="USAmountType" minOccurs="0"> <xsd:annotation> <xsd:documentation> <Description>Net regular tax</Description> <LineNumber>Part III Line 15</LineNumber> </xsd:documentation> </xsd:annotation> </xsd:element> <!-- Tentative Minimum Tax --> <xsd:element name="TentativeMinimumTax" type="USAmountType" minOccurs="0"> <xsd:annotation> <xsd:documentation> <Description>Tentative minimum tax</Description> <LineNumber>Part III Line 16</LineNumber> </xsd:documentation> </xsd:annotation> </xsd:element> <!-- Subtract line 16 from line 15 --> <xsd:element name="SubtractLine16FromLine15" type="USAmountType" minOccurs="0"> <xsd:annotation> <xsd:documentation> <Description>Subtract line 16 from line 15</Description> <LineNumber>Part III Line 17</LineNumber> </xsd:documentation> </xsd:annotation> </xsd:element> | NEW line(s): 142
|
| OLD line(s): 188
<LineNumber>Part III Line 18</LineNumber> | NEW line(s): 148
<LineNumber>Part III Line 21</LineNumber> |
| OLD line(s): 232,233
<!-- Phaseout Percentage --> <xsd:element name="PhaseoutPercentage" type="RatioType" minOccurs="0"> | NEW line(s): 192,193
<!--  Tentative credit --> <xsd:element name="TentativeCredit" type="USAmountType" minOccurs="0"> | NEW line(s): 202,203
<!-- Section 179 Expense Deduction --> <xsd:element name="AltMotorVehSect179ExpDedAmt" type="USAmountType" minOccurs="0"> |
| OLD line(s): 246
<Description>Tentative credit</Description> | NEW line(s): 206
<Description>Section 179 expense deduction</Description> |
| OLD line(s): 252,253
</xsd:sequence> </xsd:complexType> | NEW line(s): 212,220
<!-- Subtract Line 5 From Line 4 --> <xsd:element name="AltMotorVehNetCostOfCnvrtAmt" type="USAmountType" minOccurs="0"> <xsd:annotation> <xsd:documentation> <Description>Subtract line 5 from line 4</Description> <LineNumber>Part I Line 6</LineNumber> </xsd:documentation> </xsd:annotation> </xsd:element> |
| OLD line(s): 255,258
<xsd:complexType name="VehicleDescriptionType"> <xsd:sequence> <!-- Year of Vehicle --> <xsd:element name="VehicleYear" type="YearType"> | NEW line(s): 222,223
<!-- Multiply Line 6 By 10% (.10) --> <xsd:element name="AltMotorVehConversionPctAmt" type="USAmountType" minOccurs="0"> |
| OLD line(s): 261,262
<Description>Year of Vehicle</Description> <LineNumber>Part I Line 1</LineNumber> | NEW line(s): 226,227
<Description>Multiply line 6 by 10% (.10)</Description> <LineNumber>Part I Line 7</LineNumber> |
| OLD line(s): 267,268
<!-- Make of Vehicle --> <xsd:element name="VehicleMake" type="ShortDescriptionType"> | NEW line(s): 232,233
<!-- Maximum Plug-In Conversion Credit Amount Allowable --> <xsd:element name="AltMotorVehMaxPlugInCreditAmt" type="USAmountType" minOccurs="0"> |
| OLD line(s): 271,272
<Description>Make of Vehicle</Description> <LineNumber>Part I Line 1</LineNumber> | NEW line(s): 236,237
<Description>Maximum plug-in conversion credit amount allowable</Description> <LineNumber>Part I Line 8</LineNumber> |
| OLD line(s): 277,278
<!-- Model of Vehicle --> <xsd:element name="VehicleModel" type="ShortDescriptionType"> | NEW line(s): 242,243
<!-- Enter The Smaller Of Line 7 Or Line 8 --> <xsd:element name="AltMotorVehAllowableCreditAmt" type="USAmountType" minOccurs="0"> |
| OLD line(s): 281,282
<Description>Model of Vehicle</Description> <LineNumber>Part I Line 1</LineNumber> | NEW line(s): 246,247
<Description>Enter the smaller of line 7 or line 8</Description> <LineNumber>Part I Line 9</LineNumber> |
| OLD line(s): 285
| NEW line(s): 251,261
<!-- Tentative credit. Add lines 3 And 9 --> <xsd:element name="AltMotorVehTentativeCreditAmt" type="USAmountType" minOccurs="0"> <xsd:annotation> <xsd:documentation> <Description>Tentative credit. Add lines 3 And 9</Description> <LineNumber>Part I Line 10</LineNumber> </xsd:documentation> </xsd:annotation> </xsd:element> |
| OLD line(s): 295
<xsd:element name="BusinessInvestmentUsePct" type="RatioType"> | NEW line(s): 270
<xsd:element name="BusinessInvestmentUsePct" type="USAmountType"> |
| OLD line(s): 299
<LineNumber>Part II Line 6</LineNumber> | NEW line(s): 274
<LineNumber>Part II Line 11</LineNumber> |
| OLD line(s): 304
<!-- Multiply Line 6 By Line 5 --> | NEW line(s): 279
<!-- Multiply Line 10 By Line 11 --> |
| OLD line(s): 309
<LineNumber>Part II Line 7</LineNumber> | NEW line(s): 284
<LineNumber>Part II Line 12</LineNumber> |


A base class for TGaugeBar objects.
Behavior and appearance of TCustomGaugeBar is very similar to standard TScrollBar, defined in StdCtrls.pas.


An immobile, invisible, cube-shaped prison composed of magical force springs into existence around an area you choose within range. The prison can be a cage or a solid box, as you choose.
A prison in the shape of a cage can be up to 20 feet on a side and is made from 1/2-inch diameter bars spaced 1/2 inch apart.
A prison in the shape of a box can be up to 10 feet on a side, creating a solid barrier that prevents any matter from passing through it and blocking any spells cast into or out from the area.
When you cast the spell, any creature that is completely inside the cage's area is trapped. Creatures only partially within the area, or those too large tofit inside the area, are pushed away from the center of the area until they are completely outside the area.
A creature inside the cage can't leave it by nonmagical means. If the creature tries to use teleportation or interplanar travel to leave the cage, it must first make a Charisma saving throw. On a success, the creature can use that magic to exit the cage. On a failure, the creature can't exit the cage and wastes the use of the spell or effect. The cage also extends into the Ethereal Plane, blocking ethereal travel.
This spell can't be dispelled by dispel magic.


New-look Intercontinental Title unveiled to Shinsuke Nakamura on SmackDown
by WWE.comThe storied Intercontinental Championship has an all-new look.
The redesigned title debuted on Friday Night SmackDown as Sami Zayn presented it as a gift to current champion Shinsuke Nakamura. The King of Strong Style now has an all-new accessory heading into his Triple Threat Match with United States Champion AJ Styles and NXT North American Champion Roderick Strong at Survivor Series.
Take a closer look, and tweet #ICTitle @WWE to let us know what you think.


The Runner's Best Friend
Any iPhone owner’s worst nightmare is forgetting his/her phone at home. It’s really amazing how that damned device manages to affirm itself as a necessity for everyday life, and how people freak out when they somehow forget it. I know for a fact that ever since I got mine about a year ago, the longest it’s been out of my reach can be calculated in hours, if not minutes. When it’s not feeding me some music through earphones, it’s in my pockets at all times, ready for duty.


This page serves to demonstrate a sound design experiment in Web Audio, which I've written about on my blog. The source code is also available on my Github profile. When you hit the "Play Demonstration" button below, you'll hear the progression of a simple bass sound through various stages of this particular sound design process. The final sound will then be available for download via the "Download Result" button. Each time you run the demonstration, the sound may change slightly, as certain parameters are scheduled with random values each iteration. The sound may be a little loud, so be careful with your speaker volume!
Can't hear anything? This project relies on Web Audio features that, at the time of writing, I have only found implemented in Chrome Canary. Give that a try, and keep an eye on your error console!


Apart from the MDMA which I consumed at about 1:15 AM, I had been smoking a steady stream of marijuana since about 7. I have IBS and am on 100mg tabs of Amitriptyline every night (Amitriptyline is Elavil, a tricyclic antidepressant. The effects of MDMA with tricyclics has not been extensively researched, so I wanted to post this as an account of my experience.
After taking the pill, my first instinct was to take a shower. It felt great, but I wasn't really feeling the pill yet by the time I was done (about 20 minutes).
It felt great to be walking, like it took no energy at all, or maybe like I just had plenty of energy to spare. I don't get out much, so normally I get sore before long. The 'pain' in my hips that was slowly rising after a few hours of walking actually felt kind of good. This could have been some sort of interaction with the amitriptyline, as another use for it is a low to medium strength pain killer and CNS depressant.
I walked down by the old lighthouse near the Yacht club and walked out almost all the way. There was what I believe to be a skunk that I noticed scurrying away ahead of me. It didn't bother me, and I kept walking. After a while, I saw the small dark figure coming back toward me, and it kind of freaked me out. Instead of let it get to me, I just turned around and walked back toward the bike path.
Whenever I encountered a single pedestrian (there was a festival going on so there are drunks out for most of the night), I was OK, but I got nervous around multiple strangers. It felt like they knew, even though I knew they didn't.

I walked all the way around downtown, eventually purely in the interest of finding something to drink. I found nothing, but it didn't bother me until I was about 3 blocks from home. I felt dehydrated, my throat was dry, and I felt like if I did anything else without drinking something I would throw up, or maybe collapse. The feeling did not worsen, and I got home and let the dogs out with no problem.
As I had a thin layer of sweat covering my body, I grabbed a cold Mountain Dew and cranked the central air. I then sat down here at about 4:45 to start writing this. I am most assuredly still under the influence of all three drugs ingested (one being the amitriptyline which doesn't seem to affect me in the 'fun' way anymore). I think if anything the CNS depressant effects enhanced the MDMA high and they combined for a great experience.
I feel the overwhelming urge to go pet the dogs now, so I will end this log. Thanks!
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


eval negates the benefit of arrays. Drop eval to preserve whitespace/symbols (or eval as string).
check() {
eval "$@" || exit
}
check() {
"$@" || exit
}
ShellCheck found eval
used on an array (or equivalently, "$@"
). This is problematic because it effectively throws away all boundary information and rebuilds it from shell words.
Let's say you invoke check sed -i '$d' "my file.txt"
:
eval "$@"
will:
sed -i $d my file.txt
sed
, -i
, $d
, my
file.txt
$d
is unset): sed
, -i
, my
, file.txt
sed -i 'my' 'file.txt'
"$@"
will
sed -i '$d' 'my file.txt'
Note that while "$@"
is essentially always better than eval "$@"
, it's easy to unintentionally introduce a dependency on bad behavior through the shell debugging anti-strategy of "adding quotes until it works":
# Works with problematic example because of double-escaping, fails with correct example
check ls -l "'My File.txt'"
# Works with correct example the way it was always intended:
check ls -l "My File.txt"
The correct example is still better, but the function invocation has to be tweaked as well.
If each of the array elements is a carefully escaped shell command or word, use *
instead of @
to explicitly join the elements on spaces which is what would happen anyways:
on_exit=(
'rm /tmp/myfile; '
'echo "Finished on $(date)" > log.txt; '
)
# Equivalent to `eval "${on_exit[@]}"`, but more explicit
eval "${on_exit[*]}"
# Even better in this case, as it does not require
# semicolons and commands don't interfere:
for cmd in "${on_exit[@]}"
do
eval "$cmd"
done
If you require eval
for another part of the command, explicitly transform the array into a series of escaped shell words. This ensures that the array elements will eval
back to themselves:
# Assumed to be outside of our control,
# otherwise we would doput this in an array as well:
COMMAND='dialog --menu "Choose file:" 15 40 4'
# Our array:
array=(
1 "My File.txt"
2 "My Other File.txt"
)
eval "$COMMAND ${array[*]@Q}" # Bash 4+
eval "$COMMAND $(printf "%q " "${array[@]}")" # Bash 1+


Bit Manipulation Instructions 1
BMI1 is the first group of advanced bit manipulation extensions used to manipulate integer data at bit-granulatiry. BMI1 includes the following instructions: ANDN, BEXTR, BLSI, BLSMK, BLSR, TZCNT.


CSS play's Background Image v2
This version uses CSS3 background-size to make the body background image 100% x 100% but only works in non-IE browsers at the moment.
See Version 1 which works in all browsers
Back to the Home Page and hundreds more demos
Add your Comments here
ALICE'S ADVENTURES IN WONDERLAND
Lewis Carroll
THE MILLENNIUM FULCRUM EDITION 3.0
CHAPTER I
Down the Rabbit-Hole
Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, 'and what is the use of a book,' thought Alice 'without pictures or conversation?'
So she was considering in her own mind (as well as she could, for the hot day made her feel very sleepy and stupid), whether the pleasure of making a daisy-chain would be worth the trouble of getting up and picking the daisies, when suddenly a White Rabbit with pink eyes ran close by her.
There was nothing so VERY remarkable in that; nor did Alice think it so VERY much out of the way to hear the Rabbit say to itself, 'Oh dear! Oh dear! I shall be late!' (when she thought it over afterwards, it occurred to her that she ought to have wondered at this, but at the time it all seemed quite natural); but when the Rabbit actually TOOK A WATCH OUT OF ITS WAISTCOAT- POCKET, and looked at it, and then hurried on, Alice started to her feet, for it flashed across her mind that she had never before seen a rabbit with either a waistcoat-pocket, or a watch to take out of it, and burning with curiosity, she ran across the field after it, and fortunately was just in time to see it pop down a large rabbit-hole under the hedge.
In another moment down went Alice after it, never once considering how in the world she was to get out again.
The rabbit-hole went straight on like a tunnel for some way, and then dipped suddenly down, so suddenly that Alice had not a moment to think about stopping herself before she found herself falling down a very deep well.
Either the well was very deep, or she fell very slowly, for she had plenty of time as she went down to look about her and to wonder what was going to happen next. First, she tried to look down and make out what she was coming to, but it was too dark to see anything; then she looked at the sides of the well, and noticed that they were filled with cupboards and book-shelves; here and there she saw maps and pictures hung upon pegs. She took down a jar from one of the shelves as she passed; it was labelled 'ORANGE MARMALADE', but to her great disappointment it was empty: she did not like to drop the jar for fear of killing somebody, so managed to put it into one of the cupboards as she fell past it.
'Well!' thought Alice to herself, 'after such a fall as this, I shall think nothing of tumbling down stairs! How brave they'll all think me at home! Why, I wouldn't say anything about it, even if I fell off the top of the house!' (Which was very likely true.)
Down, down, down. Would the fall NEVER come to an end! 'I wonder how many miles I've fallen by this time?' she said aloud. 'I must be getting somewhere near the centre of the earth. Let me see: that would be four thousand miles down, I think--' (for, you see, Alice had learnt several things of this sort in her lessons in the schoolroom, and though this was not a VERY good opportunity for showing off her knowledge, as there was no one to listen to her, still it was good practice to say it over) '--yes, that's about the right distance--but then I wonder what Latitude or Longitude I've got to?' (Alice had no idea what Latitude was, or Longitude either, but thought they were nice grand words to say.)
Presently she began again. 'I wonder if I shall fall right THROUGH the earth! How funny it'll seem to come out among the people that walk with their heads downward! The Antipathies, I think--' (she was rather glad there WAS no one listening, this time, as it didn't sound at all the right word) '--but I shall have to ask them what the name of the country is, you know. Please, Ma'am, is this New Zealand or Australia?' (and she tried to curtsey as she spoke--fancy CURTSEYING as you're falling through the air!  No, it'll never do to ask: perhaps I shall see it written up somewhere.'


ÁVision Build Log
Tool Versions:
IDE-Version: ÁVision V<IP_ADDRESS> Copyright (C) 2015 ARM Ltd and ARM Germany GmbH. All rights reserved. License Information: a a, a, LIC=JDJCX-HM6TH-C97GY-I5T4P-WNZ03-BTAMJ Tool Versions: Toolchain: MDK51 Professional Version: 9.02 Toolchain Path: C:\Keil_v5\C51\BIN C Compiler: C51.exe V9.02 Assembler: A51.exe V8.02 Linker/Locator: BL51.exe V6.22 Library Manager: LIB51.exe V4.24 Hex Converter: OH51.exe V2.6 CPU DLL: S8051.DLL V3.73 Dialog DLL: DP51.DLL V2.61Project:
F:\GitHub\8051\8051_ExploreStarter8051\Code\KeilSampleCodes\10a-GLcd_Test\Glcd.uvproj Project File Date: 09/23/2017Output:
Rebuild target 'Target 1' compiling main.c... compiling delay.c... compiling glcd.c... compiling logo.c... linking... Program Size: data=75.0 xdata=0 code=4681 creating hex file from "Glcd"... "Glcd" - 0 Error(s), 0 Warning(s). Build Time Elapsed: 00:00:00


Rachel, Rachel (1968)
Grade: 70
"Rachel, Rachel" marked the debut of Paul Newman as a Director and Producer. The film, highly acclaimed at the time but since largely forgotten, stars Newman's wife Joanne Woodward as the title character, and also features their daughter (Nell Potts) who plays Rachel as a child.
Rachel is a 35 year old unwed schoolteacher who has grown tired of her unrewarding life in rural Connecticut. Since her undertaker father's death ten years past, she has been a servant to her manipulative, demanding mother (Kate Harrington, who may give the film's best performance). Her best friend is latent lesbian Calla (Estelle Parsons). Looking for an escape from her mundane routine, Rachel first attends a cultish religious meeting, then takes as a lover cynical confirmed bachelor Nick (James Olson).
A slow-moving character study, "Rachel, Rachel" is visually impressive and compelling. Most interesting are the short 'fantasy' scenes, the only scenes where the repressed Rachel is ever able to do what she truly wants to. The only comic relief is ironic, but the characters are credible and well defined.
Stewart Stern was nominated for Best Adapted Screenplay, which was based on the novel "A Jest of God" by Margaret Laurence. Newman won a Golden Globe for Best Director, and the film was nominated by the Academy for Best Picture. Joanne Woodward and Estelle Parsons were nominated for Best Actress and Best Supporting Actress.
Despite the success of "Rachel, Rachel", Newman's career as a director never panned out. Of course, it did not need to, since he was one of Hollywood's leading men from the 1950s through the 1970s and remains a star today (his current film is "Message in a Bottle"). Like fellow Actor/Director Robert Redford, with whom his career often parallels, his debut film as a director became by far his most important.
<EMAIL_ADDRESS>http://members.tripod.com/~Brian_Koller/movies.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


The Telerik Chart for ASP.NET MVC supports missing (null) values in the source data. The exact behavior depends on the chart type:
Bar and Column
Missing values are skipped.
Line
Missing values can be skipped, interpolated or treated as zero.
Stacked Line
Missing values are always treated as zero.


Zoom level:
You can upload a JSON file with a style definition (e.g. created with
Maputnik
) in order to change the style of the map:
In order to start creating your own custom style, you can download basic main style from
here.
All layers (visible:
/
)


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ledger
/
net.corda.v5.ledger.contracts
/
SourceAndAmount
/
amount
amount
val
amount
:
Amount
<
T
>
the Amount of asset available.
Property
amount
- the Amount of asset available.


| Level | Adult Syllabus |
| 7th Kyu | White to Yellow Belt |
| 6th Kyu | Yellow To Orange Belt |
| 5th Kyu | Orange To Green Belt |
| 4th Kyu | Green To Green Stripe Belt |
| 3rd Kyu | Green Stripe To Blue Belt |
| 2nd Kyu | Blue To Brown Belt |
| 1st Kyu | Brown To Brown Stripe Belt |
| Shodan | Brown To 1st Black Belt (Shodan) |
| Nidan | Black To 2nd Black Belt (Nidan) |
| Sandan | Black To 3nd Black Belt (Sandan) |
| Level | Children's Syllabus |
| 7th Kyu | White to Yellow Belt |
| 6th Kyu | Yellow To Orange Belt |
| 5th Kyu | Orange To Green Belt |
| 4th Kyu | Green To Green Stripe Belt |
| 3rd Kyu | Green Stripe To Blue Belt |
| 2nd Kyu | Blue To Brown Belt |
| 1st Kyu | Brown To Brown Stripe Belt |
| Shodan | Brown To 1st Black Belt (Shodan) |
| Nidan | Black To 2nd Black Belt (Nidan) |
| Sandan | Black To 3nd Black Belt (Sandan) |


This could take a few minutes.
- 00
- :
- 02
- :
- 00
Once your HoloPort is connected to the Holo network you will receive an email with a link to your HoloPort admin panel.
Note: If you don’t receive an email within 2 minutes, please reach out to customer service.


The Akan people of Ghana frequently name their children after the day of the week they were born. Day names are a cultural practice of the Akan people of Ghana and Ivory Coast. Everyday corresponds to a different Akan male and female name. Most names are later spelt and pronounced differently. The variation of the spellings and pronunciations depends on the Subcultural Akan group. For example, the Fante people pronounced all the day names differently whilst the Akuampim people spelt it differently but pronounced it the same as the Akans.
| Day of the week | Male | Female |
|---|---|---|
| Sunday | Kwasi | Akosua |
| Monday | Kwadwo | Adwoa |
| Tuesday | Kwabena | Abenaa |
| Wednesday | Kwaku | Akua |
| Thursday | Yaw | Yaa |
| Friday | Kofi | Afua |
| Saturday | Kwame | Ama |


The consumer template consists of the following fields:
| Column Name | Column Description |
| Number | Serial or row number |
| Scheme | The name of the Scheme from the Scheme Import Template |
| Habitation | The name of the Habitation from the Habitation Import Scheme |
| Account Number | Account number |
| New Account | New account for departmental record keeping |
| Old Account | Old account for departmental record keeping |
| Name | Name of consumer |
| Fathers Name | Father's name of consumer |
| Address | Consumers Address |
| Disconnection Status | Consumer Account Status: 0=Connected, 1=Disconnected |
| Connection Date | Date when the account was connected |
| Disconnection Date | Date when the account was disconnected |
| Economic Status | Economic Status of consumer: APL, BPL |
| Category | Consumer category: Gen, SC, BC |
| Prepay Months remaining | The number of months the consumer as already paid in advance |
| Balance | Consumer's account balance |
| Create Connection | True=Create Connection Entry, False=Skip |
| Connection Fee | If Create Connection=true (as defined above), the amount to use for this conncetion fee entry. |
| Security | Amount of Security Deposit already collected. This amount is subtracted from the Consumers balance as specified above |
| Create Balance Correction | True=Create balance correction entry, False=Skip |
| Balance Date | The date to use for the balance correction entry. |


Simple form
Form control states and sizes
Minimalist form
Form control states and sizes
Checkboxes
Radio
Toggles
jQuery Knobs
noUiSlider


Notebooks
Story: Note on a certain man
Note on a certain man
Title
Note on a certain man
Collection
Summary
Names of various Bushmen and Bushman women, with information regarding them. Partly in Bushman by and partly in English after /han≠kass’o (L VIII.-1. 6078-6081, 4. 6370 rev., note, 11. 6969 rev., note 14. 7278 and 7277 rev., 20. 7749 and 7750, 7750 rev., 7748 rev. and 7749 rev., 27. 8437, 8435 rev. and 8436 rev., 31. 8744 rev., 8772 rev., 32. 8808 rev.). Personal information about a man called ||gabbe-Tka, or Piet Titus.
Comments
1) This story is found in Book VIII-11
Contributors
|han≠kass'o (Klein Jantje) (VIII)
Date
May – June 1878
Categories
History (personal), Relations with others
Keywords
names (the giving of ||gabbe-Tka's) , names (of ||gabbe-Tka's relations) , genealogy (of ||gabbe-Tka) , ||gabbe-Tka (Piet Titus) , ||gabbe-Tka (why he was given his name) , ||gabbe-Tka (the names of his relations) , ||gabbe-Tka (his genealogy) , ||gabbe-Tka (his personal history) , personal history (of ||gabbe-Tka)
Story Pages
6969v


Demo image scramble/unscramble.
Use matrix of size 29 to unscramble default image.
For larger matrix sizes the process takes from a few minutes to a few hours, so be patient.
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BATMAN AND ROBIN (1998) ** (out of five stars) A review by Jamey Hughton
Starring-George Clooney, Arnold Schwarzenegger, Chris O'Donnell, Uma Thurman, Alicia Silverstone, Michael Gough and Elle MacPherson Director-Joel Schumacher Rated PG Warner Bros.
MOVIE VIEWS by Jamey Hughton http://Welcome.to/MovieViews
The number 4 does not seem to be very lucky when it comes to movie sequels. After the atrocity Batman and Robin, I think that theory has been more than justified.
The Batman movie franchise has had it's ups and downs. The series started out with a bang in 1989, as the caped crusader was revived to fight crime in a darker, moodier Gotham City as envisioned by director Tim Burton. The box office receipts ensured room for a sequel. And so in 1992, Warner Bros. released the much anticipated Batman Returns, in which Michael Keaton returned as the title character to fend off two new super villains. Unfortunately, Burton had gone too far with the darkly disturbing atmosphere that had inhabited the original, and the sequel was dismissed by critics and audiences alike for being too dark and heartless. A change of pace was taken for the third installment, Batman Forever, including a new capped crusader and a fresh visionary behind the camera. This Gotham City was more exciting, livelier, and in turn more entertaining for the younger audiences that Batman had always been intended for. But as the fourth comic book chapter rolls around, a painful realization has occurred: just as Burton had let his second outing with the Bat slip inexcusably through his fingers, Schumacher has repeated the tradition with a botched sophomore outing.
As the third actor to portray our black-clad superhero, George Clooney manages fine. He looks entirely comfortable suited up in the Batman attire, whether acting as the debonair millionaire Bruce Wayne by day or the elusive crime stopper by night. The performances are not the problem. I didn't even seem to mind the villains: the chilly Mr. Freeze (Arnold Schwarzenegger), a deranged former scientist bent on turning Gotham into a giant icebox, and Poison Ivy (Uma Thurman), a seductive plant women and the result of a bizarre experiment. The general grievances that I had were based on the preposterous plot, the slow-moving story, and the wasted production designs. Just as Batman Forever succeeded with presenting us dazzling visual effects and elaborate sets, this fourth installment goes totally overkill. There is so much expensive production at hand that we are nearly lulled to sleep with the continuing, boring repetitiveness.
The script is also incredibly cheesy. Early on, the Dynamic Duo (with Chris O'Donnell returning as Robin) have a half-baked hockey game with Freeze's henchman, using a priceless diamond as the `puck' as they skate on an icy museum floor. Who would write such mindless crap? There are so many hard-to-swallow coincidences engraved in the action, which makes it extremely difficult to enjoy. And then there are a handful of corny one liners from Schwarzenegger, as he taunts Batman and fellow police with such quips as `You're not sending me to the cooler!' and `Chill!' I found Arnie's delivery unintentionally hilarious, although I knew he was doing his best with the preposterous material.
Batman and Robin is a case of frequent missed opportunities. Alicia Silverstone makes an appearance at Wayne Manor, playing butler Alfred's daredevil niece. Silverstone soon becomes Batgirl, but her performance is devoid of the perkiness or charisma that it takes to be a superhero. Elle MacPherson has a thankless role as Bruce's current love interest, with one or two pointless scenes that register as more of a cameo. A single sub-plot I somewhat enjoyed was the sudden illness that comes over Alfred (nicely played, once again, by Michael Gough). But so much of Batman and Robin has been carelessly buried in excessive cheesiness, making it difficult to enjoy hardly anything without distractions.
Is Batman 5 around the corner? If so, I think the series could use a severe makeover, starting (vitally) with an abrupt change of director. While the future of Batman is questionable, it could be salvaged - if sequels like this one are carefully avoided.
(C) 1999, Jamey Hughton
* * * * * * * * * * * * * * * MOVIE VIEWS by Jamey Hughton http://Welcome.to/MovieViews <<<<<<<<<<<<<<<>>>>>>>>>>>>>>>
Contact Jamey at<EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


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We have received your comment for your order #{{var order_id}} during {{var stage}} :
Our answer to your comment is as follows:
{{var answer}}


Web Designer
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This is a table
This is a demontration
Maggy is the first born
Triza is the second born
Nyambu is the third and last born
Left menu
Main content
Right content


{tag_3rdpartycontent} | Content defined in the workflow step to be sent to the recipient |
{tag_emailaddress} | Email address of the recipient |
{tag_formsummary} | The summary of web form if 3rd party email being sent with first step of workflow |
{tag_name} | Name of item |
{tag_objectid} | Item ID |
{tag_recipientname} | Fullname of the recipient |


public abstract class TregexMatcher
extends java.lang.Object
TregexPattern
against a Tree
.
Usage should be similar to a Matcher
.| Modifier and Type | Method and Description |
|---|---|
boolean |
find()
Find the next match of the pattern on the tree
|
boolean |
findAt(Tree node)
Similar to
find() , but matches only if node is
the root of the match. |
boolean |
findNextMatchingNode()
Find the next match of the pattern on the tree such that the
matching node (that is, the tree node matching the root node of
the pattern) differs from the previous matching node.
|
HeadFinder |
getHeadFinder() |
abstract Tree |
getMatch()
Get the last matching tree -- that is, the tree node that matches the root node of the pattern.
|
Tree |
getNode(java.lang.String name)
Returns the node labeled with
name in the pattern. |
java.util.Set<java.lang.String> |
getNodeNames() |
java.lang.String |
getVariableString(java.lang.String var)
If there is a current match, and that match involves setting this
particular variable string, this returns that string.
|
abstract boolean |
matches()
Does the pattern match the tree? It's actually closer to java.util.regex's
"lookingAt" in that the root of the tree has to match the root of the pattern
but the whole tree does not have to be "accounted for".
|
boolean |
matchesAt(Tree node)
Rests the matcher and tests if it matches on the tree when rooted at
node . |
void |
reset()
Resets the matcher so that its search starts over.
|
public HeadFinder getHeadFinder()
public void reset()
public abstract boolean matches()
public boolean matchesAt(Tree node)
node
.node
- The node where the match is checkedpublic abstract Tree getMatch()
public boolean find()
public boolean findAt(Tree node)
find()
, but matches only if node
is
the root of the match. All other matches are ignored. If you
know you are looking for matches with a particular root, this is
much faster than iterating over all matches and taking only the
ones that work and faster than altering the tregex to match only
the correct node.
public boolean findNextMatchingNode()
public Tree getNode(java.lang.String name)
name
in the pattern.name
- the name of the node, specified in the pattern.public java.util.Set<java.lang.String> getNodeNames()
public java.lang.String getVariableString(java.lang.String var)


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GIRLS TOWN A film review by James Berardinelli Copyright 1996 James Berardinelli
RATING (0 TO 10): 7.5 Alternative Scale: *** out of ****
United States, 1996 U.S. Release Date: beginning 8/21/96 (limited) Running Length: 1:30 MPAA Classification: R (Profanity, mature themes) Theatrical Aspect Ratio: 1.85:1
Cast: Lili Taylor, Bruklin Harris, Anna Grace, Aunjanue Ellis, Asia Minor Director: Jim McKay Producer: Lauren Zalaznick Screenplay: Denise Casano, Jim McKay, Anna Grace, Bruklin Harris, and Lili Taylor Cinematography: Russell Lee Fine U.S. Distributor: October Films
It's a legitimate question to ask why, in the realm of the female coming-of-age story, there are far more FOXFIREs than GIRLS TOWNs. Sadly, it doesn't take someone with a great deal of insight into American culture to figure out the answer. FOXFIRE is crisply filmed, features three pairs of naked breasts, and has a storyline that often strays into the realm of the preposterous. GIRLS TOWN, on the other hand, is a gritty, somewhat grainy, look at the realities of growing up in America. There's nothing glamorous about the picture painted by Jim McKay's film -- it has the ring of truth, and that's something mass audiences seem progressively less interested in.
The urban high school featured in GIRLS TOWN fits somewhere in between that of CLUELESS (where girls obsess about credit cards, makeup, and boys) and that of DANGEROUS MINDS (where girls worry about being gunned down). In short, it depicts a setting that is refreshingly devoid of Hollywood conventions and cliches. No one in this film gets shot or stabbed. No one ODs on drugs (except one girl who commits suicide by swallowing a bottle of sleeping pills). The violence, which is mostly off-screen, tends to be more psychological than physical.
McKay's GIRLS TOWN proves that a film about three teenage girls doesn't have to be exploitative and melodramatic to be dramatically viable. The movie pulls us in simply because the characters are interesting, and are worth spending ninety minutes with. We regard them as human beings, not a writer's invention, and this illusion of reality is amplified by street-wise dialogue and unforced performances. GIRLS TOWN also has the right look for this type of feature -- the print is slightly grainy and the photographic style is very basic (no oddly- angled shots or rapid-fire edits).
As GIRLS TOWN opens, we're introduced to four best friends: Patti (Lili Taylor), a "juvenile delinquent" with a baby and an attitude; Angela (Bruklin Harris), a would-be poet and writer; Emma (Anna Grace), a "good" student bound for Columbia in the fall; and Nikki (Aunjanue Ellis), an even better student headed to Princeton. With their High School senior year drawing to a close, the girls are thinking about the future, and Nikki doesn't like what she sees. So, one evening, she downs a bottle of sleeping pills and leaves her friends behind feeling betrayed and wondering why she did it.
As a result of Nikki's death, Patti, Angela, and Emma question things they formerly took for granted. They start to fight back against life's injustices rather than playing the victim. Emma avenges a date rape by vandalizing the car of the boy who attacked her. Patti chooses an unorthodox method of getting support money from her baby's father.  GIRLS TOWN is about female empowerment, but it presents its case without rhetoric.
The script for this film wasn't just written, it was developed as part of an improvisational workshop attended by the director and actors (the three female leads are given co-screenwriting credit). This is the kind of picture where such improvisation works well. There's a lot of dialogue, and the actors' contributions make it clear that they understand their characters. One scene in particular stands out -- early in the film, after Nikki's death, the friends gather to grieve and try to understand. They don't have any answers, but a lot of pain and frustration emerges. It's not the most comfortable sequence to watch, but it's very believable.
Although a few of the supporting players are a little stiff, each member of the lead trio gives a fine performance. While the characters have numerous surface differences -- intelligence, skin color, and temperament -- they are fundamentally alike. They use false bravado and trash-talking to cover an inherent vulnerability that comes from uncertainty about themselves and the future. From our fly-on-the-wall viewpoint, we see the girls not only as their schoolmates see them, but as they see each other and themselves.
GIRLS TOWN does an excellent job of uncovering the angst, pressure, and doubt associated with the late teenage years. Its a refreshing film, not only because it shines the spotlight exclusively on girls (all the male characters are incidental) but because it does so without a whiff of exploitation. At one point, Patti remarks, "This ain't no 90210," which is thankfully true. Instead, GIRLS TOWN is as stark and unfeigned as anything that doesn't bear the "documentary" label.
- James Berardinelli e-mail<EMAIL_ADDRESS>ReelViews web site: http://www.cybernex.net/~berardin
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- gc(int) - Method in class toy.servers.ToyServer
-
Clear the data of block i from all layers of the algorithm, leaving only its header in the Blockchain.
- generateKeyPair(String) - Static method in class toy.crypto.PkiUtils
-
Generates key pair using ECDSA with the secp256k1 curve.
- getAddr() - Method in class toy.config.Node
-
Get the node's ip address
- getAddress(int) - Static method in class toy.config.Config
-
Get the ip of the server with id.
- getBC(int, int) - Method in class toy.servers.CTServer
-
- getBC(int, int) - Method in class toy.servers.ToyServer
-
Get sub-blockchain between indexes start and end
- getBCSize() - Method in interface toy.servers.Server
-
Get the current Blockchain size.
- getBCSize() - Method in class toy.servers.ToyServer
-
- getBlock(int) - Method in class toy.blockchain.Blockchain
-
Get the index_th block of the chain.
- getBlocks(int, int) - Method in class toy.blockchain.Blockchain
-
Get a sublist of blocks.
- getC() - Static method in class toy.config.Config
-
Get the number of channels.
- getCaRootPath() - Static method in class toy.config.Config
-
Get the path to the ca root certificate.
- getCluster() - Static method in class toy.config.Config
-
Get description of the whole cluster.
- getClusterPubKeys() - Static method in class toy.config.Config
-
Get the cluster's members public keys
- getF() - Static method in class toy.config.Config
-
Get the upper bound on the faulty nodes number.
- getFastMode() - Static method in class toy.config.Config
-
Get indication of working in fast mode.
- getHeight() - Method in class toy.blockchain.Blockchain
-
Get the current BLockchain height
- getID() - Method in class toy.config.Node
-
Get the node's ID
- getID() - Method in interface toy.servers.Server
-
Get the ID of the server.
- getMaxTransactionsInBlock() - Static method in class toy.config.Config
-
Get maximal transactions in block.
- getN() - Static method in class toy.config.Config
-
Get the cluster size.
- getOptemisticDec() - Method in class toy.das.wrb.WrbNode
-
- getPanicRBConfigHome() - Static method in class toy.config.Config
-
Get the path to panic config directory.
- getPort(int) - Static method in class toy.config.Config
-
Get wrb port og the server with id.
- getPrivateKey() - Static method in class toy.config.Config
-
Get the server's private key.
- getRMFbbcConfigHome() - Static method in class toy.config.Config
-
Get the path to wrb config directory.
- getRmfPort() - Method in class toy.config.Node
-
Get the node's wrb port
- getServerCrtPath() - Static method in class toy.config.Config
-
Get the path to the server certificate.
- getServerTlsPrivKeyPath() - Static method in class toy.config.Config
-
Get the path to the server's ssl private key.
- getSnapshot() - Method in class toy.das.atomicBroadcast.RBrodcastService
-
- getSnapshot() - Method in class toy.das.bbc.BbcService
-
- getSyncRBConfigHome() - Static method in class toy.config.Config
-
Get the path to sync config directory.
- getTesting() - Static method in class toy.config.Config
-
Get the indication if it is testing mode.
- getTMO() - Static method in class toy.config.Config
-
Get the time-out for wrb-deliver.
- getTMOInterval() - Static method in class toy.config.Config
-
Get the interval to add if wrb-deliver did not deliver in a single round.
- getTotolDec() - Method in class toy.das.wrb.WrbNode
-
- getTransaction(int) - Method in class toy.blockchain.Block
-
Get the i_th transaction of the block.
- getTransactionCount() - Method in class toy.blockchain.Block
-
Get the current number of transactions.
- getTxPoolSize() - Method in class toy.servers.ToyServer
-
Get the transaction pool size
- getTxSize() - Static method in class toy.config.Config
-
Get the maximal size of transaction (meant for testing only).