Example: Single-zone, 2D grid with one aeroelastic
surface:
moving grid data - deforming surface (forced motion)
ndefrm
0
lref
grid idefrm rfreqi omegax omegay omegaz xorig yorig zorig
grid icsi icsf jcsi jcsf kcsi kcsf
moving grid data - aeroelastic surface (aeroelastic motion)
naesrf
1
iaesrf ngrid grefl uinf qinf nmodes iskyhk
1 -1 1.333333 393. 155. 2 0
freq gmass damp x0(2*n-1) x0(2*n) gf0(2*n)
21.363 1. 0. 0. 0. 0.
32.421 1. 0. 0. 0. 0.
moddfl amp freq t0
0 0. 0. 0.
0 0. 0. 0.
grid iaei iaef jaei jaef kaei kaef
1 0 0 0 0 0 0
moving grid data - skip data for field/multiblock mesh movement
nskip isktyp beta1 alpha1 beta2 alpha2 nsprgit
0 -1 1.0 1.0 1.0 0.05 0
grid iskip jskip kskip
In all deforming mesh applications, the additional input is broken up into
three sections, as illustrated in the example above: 1) forced motion, 2)
aeroelastic motion, and moving grid data.
For any problem
in which the forced motion is not used, but the aeroelastic response of
one or more surfaces is desired (which is the focus of this
section), the forced-motion input section should appear as shown above -
the only numerical value which should appear is the value of
ndefrm, the number of surfaces undergoing forced motion - zero.
The following definitions apply for the aeroelastic section:
- naesrf
- number of aeroelastic surfaces; each aeroelastic surface is represented
as a distinct set of modal shapes. Most typically, naesrf = 1, but for
example, naesrf = 2 would allow the wing to be represented with one set of
mode shapes, while the tail could be represented with a different set of
mode shapes. All of the remaining data is repeated as a block for each of
the aeroelastic surfaces from 1 to naesrf.
- iaesrf
- the aeroelastic surface for which the data is being set
- ngrid
- the number of grids which contain the aeroelastic surface iaesrf. If
ngrid = -1, then the aeroelastic surface is assumed to be comprised of all
solid surfaces (i.e. bc types 1005, 1006 or 2004) within the entire grid system.
Thus, ngrid = -1 is appropriate only for naesrf = 1.
- grefl
- the reference length, in grid units, used to nondimensionalize the
reduced frequency associated with the mode shapes of the aeroelastic surface.
- uinf
- reference flow speed used to nondimensionalize the reduced frequency.
- qinf
- reference dynamic pressure used to nondimensionalize the gneralized forces.
- nmodes
- number of modes used to represent the aeroelastic surface.
- iskyhk
- flag to indicate the use of the "skyhook" terms. NOT YET IMPLEMENTED.
However, a value must still be input as a placeholder (any value will do).
The lines following freq gmass ... gf0 are repeated nmodes times,
with data arranged from mode 1 to mode nmode:
- freq
- the wind-off natural freqency of the mode.
- gmass
- the generalized mass to include for the mode.
- damp
- the damping factor of the mode
- x0(2*n-1)
- the initial generalized displacement of the mode; if non-zero, will
overide the value in the restart file (if restarting). this allows
the mode to be perturbed for dynamic response studies
- x0(2*n)
- the initial generalized velocity of the mode; if non-zero, will
overide the value in the restart file (if restarting). this allows
the mode to be perturbed for dynamic response studies
- gf0(2*n)
- the generalized force to include for the mode.
The lines following moddfl amp ... t0 are repeated nmodes times,
with data arranged from mode 1 to mode nmode:
- moddfl
- type of time-varying modal perturbation desired:
- = 0, no perturbation
- = 1, harmonic (sinusoidal) perturbation
- = 2, Gassian pulse
- = 3, step pulse
- amp
- amplitude of modal perturbation. use any value as a placeholder if
moddfl = 0
- freq
- reduced frequncy of modal perturbation if moddfl = 1
- half-width of Gaussian pulse if moddfl = 2
- use any value as a placeholder for moddfl = 0 or 4
- t0
- time about which Gaussian pulse is centered if moddfl = 2
- time at which step pulse starts is centered if moddfl = 3
- use any value as a placeholder for moddfl = 0, 1, or 4
The lines following grid iaei ... kaef are repeated |ngrid| times:
- grid
- grid containing all or part of the current aeroelastic surface iaesrf.
use any value as a placeholder if ngrid = -1.
- iaei
- starting i-index of the current aeroelastic surface in zone grid.
use any value as a placeholder if ngrid = -1.
- iaef
- ending i-index of the current aeroelastic surface in zone grid.
use any value as a placeholder if ngrid = -1.
- jaei
- starting j-index of the current aeroelastic surface in zone grid.
use any value as a placeholder if ngrid = -1.
- jaef
- ending j-index of the current aeroelastic surface in zone grid.
use any value as a placeholder if ngrid = -1.
- kaei
- starting k-index of the current aeroelastic surface in zone grid.
use any value as a placeholder if ngrid = -1.
- kaef
- ending k-index of the current aeroelastic surface in zone grid.
use any value as a placeholder if ngrid = -1.


About the article
Things you should know before reading:
In this case, you are off the hook. This one is for everyone, Yippie!
What will you learn?
This article covers the basics of learning Web Page development. I will cover mainly the topic of Front End (user facing) development. What languages you need to know, a brief introduction to each and, most importantly, which to start with. I will also give you some pointers on where to look for good tutorials.
Sit back and enjoy the read. Always feel free to shoot me questions on my e-mail, and don't forget to connect with me on LinkedIn!
The Front End
The front end is the client facing information of a Web Page. Its what the user sees. A good example is this web page here. I used the various forms of code that is involved Front End Development, and ABRAH-KADABRAH, you see a web page!
Why call it the Front End? Well because there is a Back End of course. The back end, without getting too technical, is the information behind the scenes that the Front End can feed off of to produce information for the user. I say can because in smaller pages (like this blog) there really isn't a back end. However a site like Amazon is largely back end, as it responds to the user's input to gather information stored in the database and presents it to the user. Pretty cool eh. But this is a Front End Blog so I'm going focus on that for now.
With front end development there are really 3 main things you need to know how to do
First: How to structure a page
Second: How to style a page
Third: How to make dynamic (interact with the user)
Crack dem knuckles, we about to start the learning.
Managing Structure
Creating the structure of a page consists of taking the information of a page and marking it up so the browser knows how to render it to the user. This is where our first language comes in. Hyper Text Markup Language (HTML).
HTML is the language used to mark up your web page, thats literally it. You use "tags" and you tag information so that the web browser knows what to do with it when it shows up for the person viewing your page.
This is what the html looks like for this page:
Don't worry too much about understanding all this. The important thing to see is that all the text is surrounded by 〈tags〉 with pink colored text in them. These are tags, this tells the web browser to display the information contained in a specific way.
Lets take a closer look at how this works. If you wanted a web page to display "Example Paragraph". You would create the following HTML:
The result would be a page that says:
Example Paragraph
The letter "p" wrapped in angle brackets tells the browser to display a paragraph. This is called a tag. And as you see in the example above there are many tags around all paragraphs, sections, heading text, etc.
There is a lot to cover in regards to HTML and I'll get into this in another blog just for it (also the other subjects I cover below). The purpose of this is to tell you the very basic information.
Adding Some Style
Once your page is structured, its time to add some style to it. This is where Cascading Style Sheet (CSS).
CSS tells the browser what the HTML needs to look like. Without CSS this page would look like this:
Its not too bad, but defiantly doesn't create any emotional impact. So you use CSS to change the style of the HTML. So why is it called Cascading Style Sheet? Well the Style Sheet part is pretty obvious, you create a sheet and list out the styles with it, but the Cascading, whats that all about.
I'll get to that in a minute. The way that CSS is set up is that it selects the HTML tags (see above for a refresher), and does something to that tag. So for example if you want to change a paragraph's font color to red, you would use CSS to select the paragraph tag and turn it to red. Here is what that looks like:
Example Paragraph
Example Paragraph
And you see when you put the code it it changes the color of the paragraph.
So back the the Cascading part of Cascading Style Sheet, what this means basically is the Style Sheet Cascades. Information you put at the top can be over written towards the bottom. So if I were to change the CSS above to look like this:
The paragraph would look like this:
Example Paragraph
Some powerful stuff! Again, this is a brief introduction and I will reference Tutorials in the end, and will also be writing several blogs about the subject of CSS. To give you another look at CSS in action I'll throw in a picture of the CSS of this page, just for your enjoyment. Don't worry if it all looks like a foreign language, because well, it is!
Getting Interactive
Now to cover interactivity. A web page like this doesn't really need much interactivity, however if you want to make a sign in form, or create a game, or have icons jump out at you, you add some code telling the browser to do this.
Making a page interactive simply means making it respond to the user's activity. For a quick example scroll up on the page. You will see the Navigation bar appear. And when you scroll down again, it disappears. This is now a dynamic page. It interacts with you the user.
There are many ways to make a page interactive. Some ways are can even be done through HTML and CSS. But the main way this is done these days is through JavaScript, or JavaScript libraries.
Without getting too technical, JavaScript is a language that is designed to manipulate the page, or information. Unlike CSS and HTML, it has Functions. It does stuff.
Javscript can get very technical when trying to do complicated things, so very skilled coders develop JavaScript libraries, and frameworks. These are all based on JavaScript and use JavaScript at their core to do what they do, it just short cuts it and makes it easier to do. To name a few there is:
jQuery
AngularJS
EmberJS
And many more
Each Library or Framework has various purposes, and takes a part of JavaScript and makes it a lot easier. But in order to really use them and understand them, you should defiantly get a good understanding of JavaScript.
Quickly I'll show you a bit of JavaScript behind the scenes.
Below you see a button. When you click on the button it will pop up a message on your screen.
Thats JavaScript, and this is what the JavaScript Code looks like
Again, a lot to cover, this is just the basics. I'll get more into JavaScript, and its libraries at a later time.
Where do you start?
Well thats the basic ingredients to a web page front end. So now what do you do? Well in order to program web pages you are going to have to learn these languages. So where do you start?
Start with HTML. HTML's basic concepts are the easiest to learn, and with out at least a basic understanding of HTML, CSS and JavaScript will be very hard to learn indeed.
That being said, it also depends on what you want to do. If you are interested in making on line games, you are probably not going to want to spend a whole lot of time on HTML, or CSS. A mastery of these will make your games look a lot better, but you are really going to want to get JavaScript down cold to make these games do something.
But truth be told, each of these languages are so connected that, while learning JavaScript you will undoubtedly learn more about HTML. Same goes for CSS.
The best way to learn any of these languages is to USE THEM. You can read and read and read, but the information isn't necessarily going to click until you DO IT. I cant really stress that enough. Learn a bit of info, use it a hundred different ways, then learn some more.
I'll go into some tips on learning this stuff quicker in my next blog.
Where to learn
To get the best and most stream-lined learning experience, I would say find a school. In San Francisco, where I live, there are several "bootcamps" that teach coding in about 4 months. The one I did, that was super awesome, is called Codify Academy. Click the name and it will take you to their site. I highly recommend learning with them or a similar "Bootcamp".
There are many benefits to working with a School, or Bootcamp. First they have already found the best tutorails and information, and they lay out a path for you to follow. Also there is always someone to ask questions to. When I was trying to learn this on my own, it took me days to figure out something, but after I got involved with the bootcamp, I'd shoot my mentor an email, and minutes later my troubles were gone.
Short of that you can always find a mentor. Craigslist, or LinkedIn, they have people that teach lessons. Shoot feel free to ask me to mentor you!
However with or with out a mentor, you are going to be doing a lot of this study on your own. So below I'm going to list a bunch useful places to go to for each language.
HTML
Head First HTML and CSS
This book is great, highly recommend it. It takes you from 0 to hero for HTML and CSS.
W3schools.com
This is the best tutorial site for HTML and CSS
Codeacademy.com
This is heavily based on learning by doing.
Head First HTML5 Programming
I wouldn't recommend this as your first book, but it is very good once you've gotten a good understanding of HTML and CSS. It also teachings you some of the Basics of JavaScript
CSS
Head First HTML and CSS
This book is great, highly recommend it. It takes you from 0 to hero for HTML and CSS.
W3schools.com
This is the best tutorial site for HTML and CSS
Codeacademy.com
This is heavily based on learning by doing.
JavaScript
Codeacademy.com
This is probably the best place to start learning Javascript. It takes you through teaches you the basics and teaches you how to use those basics. However, it doesn't teach you much about using JavaScript to manipulate the Web Page itself.
Thegymnasium.com
I would recommend doing this either after you've completed some of the CodeAcademy courses, or you can start with this. This is the Best short tutorial on using JavaScript to manipulate a Web Page.
Head First JavaScript Programming
A full guide to JavaScript. Its a great book, and they make it a lot easier than most books out there.
Head First HTML5 Programming
This book is good again after you have gotten an understanding of HTML and CSS. It teaches you how to make Web Applications, and goes very deep into Javascript.
Thanks for reading!
Thanks for taking the time to check out this post. I hope it was helpful. Keep checking back because I'll be posting more and more as time goes on.
Feel free to connect with me on Social Media, or shoot me an email!


The Latest: Former President Jimmy Carter out of surgery
ATLANTA (AP) - The Latest on former President Jimmy Carter’s surgery at Emory University Hospital (all times local):
10:10 a.m.
Jimmy Carter’s spokeswoman says the former president is recovering at Emory University Hospital following surgery to relieve pressure from bleeding on his brain.
Deanna Congileo says there were no complications from the surgery.
She says Carter will remain in the hospital for observation, and she doesn’t anticipate making more announcements until he’s released.
Her Tuesday statement also says the Carters thank everyone for the many well-wishes they have received.
7:30 a.m.
Former U.S. President Jimmy Carter was going into surgery Tuesday morning at Emory University Hospital to relieve pressure on his brain, his spokeswoman said.
The procedure is meant to resolve bleeding due to his recent falls, Deanna Congileo said in a statement.
Carter has fallen at least three times this year. The first incident, in the spring, required hip replacement surgery. He hit his head falling again on Oct. 6 and received 14 stitches, but still traveled to Nashville, Tennessee, to help build a Habitat for Humanity home shortly thereafter. And he was briefly hospitalized after fracturing his pelvis on Oct. 21.
Carter also received a dire cancer diagnosis in 2015, announcing that melanoma had spread. After partial removal of his liver, treatment for brain lesions, radiation and immunotherapy, he said he was cancer-free.
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Until I ate the 5-MeO-AMT it had been 3 months since my last trip. This wasn't by choice, rather, it was due to the lack of hallucinogens around. I had been eating LSD 2 or 3 times a week for a steady while, and was greatly disappointed when I lost the hookup. When I heard the news that my friend J had found some 5-MeO-AMT, I felt the excitement that only comes to me when I know I'm going to be tripping nuts shortly. I picked up 3 doses for myself and my roommates S and D(1 each). In the past month I've had some difficulties stemming from a situation that has made me stop smoking weed, so I felt the need to get in touch with 'reality'. The reality that I prefer at least.
T: 0:00
S and I eat the gel cap with the 5-MeO-AMT and put on some Floyd. We also put in Alice in Wonderland and began drinking on the 12 pack S had bought. For some reason watching that movie always makes my come-up a little easier.  D had a play to go to a little bit later so he was going to eat the cap when he got back.
T: 0:30
J had informed me that the comeup was pretty intense, and by now I'm feeling it. I was getting pretty bad leg cramps and an odd sensation in my neck similar to acid but not quite the same. I tried getting up and walking but I find my legs are almost to heavy to move.
 Alice in Wonderland isn't doing much for me, but the music had become noticeably more intense.
T: 1:20
The 5-MeO-AMT hit me like a ton of bricks. I was having full fledged visuals i.e breathing walls, liquid ceilings, visual distortions and so on...
It was then that I decided I wanted some nitrous. I had never had nitrous while tripping up to this point and while I was definitly tripping hard, I wanted it to be more intense.
T: 1:40
S and I arrive at the local head shop without incident and I scoop up a case of nitrous. I know driving while tripping is a bad idea, but for me it's almost like coloring inside the lines just using my mind if that makes any sense.
[Erowid Note: Driving while intoxicated or tripping is dangerous and irresponsible because it endangers other people. Don't do it!]
T: 2:00
This stuff feels alot like acid except for the come-up and the stronger body buzz. I'd place the trip in between mushrooms and acid in terms of the body buzz and visuals. The only thing it's missing is the looped out feeling I get in my mind when I trip on other substances. That is one of my favorite things about acid, as it just makes everything so ridiculous and hilarious that it's impossible to have a bad time. I still have yet to have any sort of introspective feelings or personal revelations. In fact, I would say I was completly coherent in my mind. No wierd thought patterns or anything like that and conversation was easy. It's almost easier to handle than weed, other than the fact that your hallucinating intensly.
S put on Floyd's Animals (which is a glorious album by the way) and we dig into the nitrous. This is where my visuals became ridiculous. I was sitting at our kitchen table looking at the curtains above our sink as I took my first balloon. It was a double and after inhaling the balloon I was sent into outer space. I saw a circle of heiroglyphics spiraling around my entire visual field and the curtains and wall had taken on a wierd purple and red color. I knew it was because of the floyd because as the notes changed so did the colors. Full-blown synaesthesia.
T: 3:00
D arrives. He eats his dose, but by this time we had run out of nitrous. I asked him if he wanted to go get some more, which he did so we piled in his car and drove back to the head shop. By now I was definatly tripping to hard to be driving. I had been peaking for a long time it seemed like, but it had really on been an hour. We picked up 2 more cases.
T: 3:30
We arrive back at the house, and get started on the nitrous. I ate a grapefruit and it was delicious.
 By this time we had pretty much killed all the nitrous. I've decided that nitrous is glorious while tripping and when I trip from now I'll make sure to at least have one case handy. It stays with you alot longer than taking it sober, and it definitly made my visuals more intense.
T: 8:00
I've come down quite a bit by now, but I'm still tripping. S remembers that we had a little 10x salvia left and pulls it to out to smoke. I had never had salvia while tripping before, and to be honest I was afraid. Salvia is intense enough by itself, and combining it with tripping seemed like a terrible idea. After a little peer pressure S and D convinced me to take a hit. S packed up a bong hit for me and I sat down on my couch and hit it. D recommended I do it in silence, but I thought this was a bad idea. In retrospect I wish I had. After taking the hit things went out of control. I faded back into the couch and it seemed as if I was viewing the room from 20 feet away. But just as quickly as that had happened the room was back in focus. I had no idea where I was, who I was, or even what universe I was in. I thought I had ended up in a different dimension.
D had turned the lights back on and as he did that I stood up (bad idea) and got the feeling that the whole room had twisted 45 degrees. I began stumbling around trying to make sense of it all. At this point D began to say alot of crazy things like 'your forgetting the sauce for the doorknob' but I thought he was giving me instructions on how to get back to the real room where I belonged.  It's impossible to explain really.
Eventually, one of them told me to sit back on the couch and as soon I did everything felt right again. It was glorious. Earlier, I said that I wished I had smoked the salvia in silence. This was because I felt the music had been what distorted the room. I felt like I had dissolved into the music. I lost sense of my self and had become enveloped in the hallucination. I felt that if I had smoked the salvia in silence without any external stimuli there would be only one place to go... deeper into my own mind.
D said he's projected his soul across the universe doing this. I would like to try this. The next time I trip I'm definitly going to try it that way, perhaps even while I'm peaking hard. The salvia also brought me back to a peak for a while and stayed with me a while, similar to the nitrous. It was glorious.
T: 9:00-11:00
During this time I began drinking heavily in anticipation of passing out soon. Walker Texas Ranger had just come on T.V so I watched that for a while and then passed out. I could still hardly make sense of the episode even though I had almost come down completly, but I have difficulty making sense of that show even when sober.
Overall, I would say 5-MeO-Amt is definitly a worthwhile substance. It's similar to acid in terms of visuals, but with a good body buzz though that acid seems to lack. It's also extremely easy to handle. It's so easy I'd feed it to a baby. I kid.
-Sackajuweeda
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.


--- layout: post title: Handy Hack:Convert a version controlled file to a different content type tags: - Software Configuration Management - Software Development - Work Practices status: publish type: post published: true meta: _edit_last: '451289' --- This is not exactly rocket science, but does show up an important principle of Version Control (see below). Let's take a practical example that happened to me today: I have a document under source code control (git in this case) and I am editing it using OpenOffice. Naturally it is an ISO standard Open Document format file and so it's file name is something like GreatDocument.odt. However I now need to distribute this document to a wider audience for comment and feedback; and of course everyone else uses MS Word 2003. The practical solution is to change the document format to .doc. However I still want to keep the full history of the item -- the fact that it changed from ODT to .DOC format is actually not significant in the grand scheme of things. For git the following commands need to be performed:
git-mv GreatDocument.odt GreatDocument.doc
mv GreatDocument.word GreatDocument.doc
git-commit -a


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[GAME NAME]
[CATEGORY NAME]
Description
[CATEGORY DESCRIPTION]
[LEADERBOARD LINK]


abolish/[1,2]
[ISO]abolish(
+Predicates)
abolish(
+Predicates,
+Options)
Removes procedures from the Prolog database.
A predicate specification, or a list of such.
A list of zero or more of the following:
force(
Boolean)
true
), or only if it is dynamic
(false
). The latter is the default.
tree(
Boolean)
true
), or a pred_spec (false
). The latter is the
default.
Removes all procedures specified.
After this command is executed the current program functions as if
the named procedures had never existed. That is, in addition to removing all
the clauses for each specified procedure, abolish/[1,2]
removes any properties
that the procedure might have had, such as being dynamic or multifile.
You cannot abolish built-in procedures.
It is important to note that retract/1
, retractall/1
,
and erase/1
only remove clauses, and only of dynamic
procedures. They don't remove the procedures themselves or their
properties properties (such as being dynamic or multifile).
abolish/[1,2]
, on the other hand, remove entire procedures
along with any clauses and properties.
The procedures that are abolished do not become invisible to a currently running procedure.
Space occupied by abolished procedures is reclaimed. The space occupied by the procedures is reclaimed.
Procedures must be defined in the source module before they can be abolished. An attempt to abolish a procedure that is imported into the source module will cause a permission error. Using a module prefix, `M:', procedures in any module may be abolished.
Abolishing a foreign procedure destroys only the link between that Prolog procedure and the associated foreign code. The foreign code that was loaded remains in memory. This is necessary because Prolog cannot tell which subsequently-loaded foreign files may have links to the foreign code. The Prolog part of the foreign procedure is destroyed and reclaimed.
Specifying an undefined procedure is not an error.
instantiation_error
type_error
domain_error
permission_error
force(true)
is not in effect.
dynamic/1
,
erase/1
,
retract/1
,
retractall/1
.


get /healthcheck
post /
application/json
If set to true and the interaction ID is for an async interaction that supports sync-async, then the HTTP response will be the response from Spine, and the response will not be put onto the inbound queue.
If set to false for an async interaction, then the response from Spine will be put onto the inbound queue and the HTTP response will just acknowledge sending the request successfully to Spine.
For sync interactions or async interactions that don't support sync-async, this header must be set to false.
default: nullMessage ID of the message to send to Spine. If not sent, the MHS generates a random message ID.
When performing async requests where the response is put on the inbound queue, the message ID will be put with the response on the queue.
default: nullCorrelation ID that is used when logging. If not passed, a random correlation ID is generated. The idea is that log messages produced by the MHS include this correlation ID which allows correlating logs relating to a single request together. If the supplier system uses it's own correlation ID when producing it's logs, then that should be passed in here, so that logs for a single request can be tied together across the supplier system and the MHS.
When performing async requests where the response is put on the inbound queue, the correlation ID will be put with the response on the queue.
Note that this correlation ID gets sent to/from Spine.
default: nulltext/xml
Attachment
- UpRequestBody
- Up


Summary Stats
How were the scores distributed per round?
|
hole
|
par
|
avg.score
|
better
|
eagles
|
birdies
|
pars
|
bogeys
|
doubles
|
worse
|
par.avg
|
|
1
|
5
|
4.817
|
0
|
2
|
23
|
34
|
10
|
2
|
0
|
-0.183
|
|
2
|
4
|
4.620
|
0
|
0
|
1
|
34
|
29
|
5
|
2
|
0.620
|
|
3
|
3
|
3.930
|
0
|
0
|
2
|
20
|
33
|
13
|
3
|
0.930
|
|
4
|
4
|
4.606
|
0
|
0
|
0
|
35
|
30
|
5
|
1
|
0.606
|
|
5
|
4
|
3.930
|
0
|
0
|
12
|
52
|
7
|
0
|
0
|
-0.070
|
|
6
|
4
|
3.676
|
0
|
1
|
37
|
24
|
4
|
4
|
1
|
-0.324
|
|
7
|
3
|
3.606
|
0
|
0
|
2
|
27
|
39
|
3
|
0
|
0.606
|
|
8
|
4
|
4.366
|
0
|
0
|
3
|
42
|
23
|
3
|
0
|
0.366
|
|
9
|
5
|
4.563
|
0
|
3
|
33
|
27
|
8
|
0
|
0
|
-0.437
|
|
10
|
4
|
4.056
|
0
|
0
|
11
|
47
|
11
|
2
|
0
|
0.056
|
|
11
|
4
|
4.141
|
0
|
1
|
14
|
36
|
14
|
6
|
0
|
0.141
|
|
12
|
3
|
3.070
|
0
|
0
|
9
|
50
|
10
|
2
|
0
|
0.070
|
|
13
|
4
|
4.056
|
0
|
1
|
17
|
35
|
13
|
5
|
0
|
0.056
|
|
14
|
5
|
5.535
|
0
|
0
|
4
|
33
|
27
|
6
|
1
|
0.535
|
|
15
|
4
|
4.394
|
0
|
0
|
4
|
42
|
20
|
3
|
2
|
0.394
|
|
16
|
4
|
4.423
|
0
|
0
|
5
|
38
|
22
|
5
|
1
|
0.423
|
|
17
|
5
|
5.014
|
0
|
0
|
16
|
38
|
17
|
0
|
0
|
0.014
|
|
18
|
3
|
3.014
|
0
|
0
|
20
|
32
|
17
|
2
|
0
|
0.014
|
Comments
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https://wholesale.aspirevapeco.comxS7ZifxjE4wnSV1tIntended for sale to adults 21 years or older. If you are not of legal age in the state where you live, please do not enter this site
PLEASE ENTER YOUR DATE OF BIRTH


Preparation time
less than 30 mins
Cooking time
1 to 2 hours
Serves
Serves 4
Test your cooking skills and wow your friends with this impressive dish from Jason Atherton. You will find most of the ingredients in a well-stocked Chinese supermarket.
Peel the pomelo, leaving about 2.5cm/1in of pith on the skin, cut the skin into strips. Cut the pomelo flesh into quarters, then place into a sous vide bag or sealable plastic bag.
Blanch the pomelo skin in boiling water for one minute, then drain and refresh in cold water. Repeat three more times.
Re-fill the pan with 150ml/5fl oz of water, add the caster sugar and lime juice and bring to the boil, stirring well. Add the pomelo peel, reduce the heat until the mixture is simmering and simmer for 15-20 minutes, or until the liquid resembles syrup, stirring occasionally. Remove the pan from the heat and set aside to cool completely.
Bring a pan of water to the boil, then drop the bag of pomelo quarters into the water and cook for one minute. Remove the bag from the pan and refresh in iced water. Gently rub the bag to separate the pomelo pearls then tip out onto a plate, you need about 50g/2oz pomelo pearls.
Whisk the yuzu juice and olive oil together then add the pearls and set aside.
For the miso tar, heat the sugar in a frying pan until it melts into a caramel. Carefully stir in the cream and the butter then slowly whisk in the miso. Pass the mixture through a sieve and set aside to cool to room temperature. Whisk in the lime juice.
For the mackerel tartare, using a biscuit cutter, stamp the kohlrabi into circles.
Whisk the mustard and vinegar together in a bowl, then slowly whisk in the oil until well combined. Add the kohlrabi circles and set aside.
Mix the remaining ingredients together in a bowl and chill in the fridge for one hour.
Heat a frying pn until hot, add the butter and scallops. Cook the scallops for 45 seconds on each side, then remove from the pan and rest for a couple of minutes.
To serve, remove the kohlrabi discs from the marinade. Place a disc of kohlrabi onto a chopping board, spoon a little mackerel tartare onto one half and fold it over. Repeat with the remaining kohlrabi and mackerel tartare.
Spoon some miso tar into the middle of the serving plates, top with the scallops, then the mackerel tartare.
Spoon the marinated pomelo pearls and candied pomelo skin around the edge of the plate and garnish with the radish cress.


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| (TN) TUNISIA |
| Subdivision | 24 governorates (en) / gouvernorat (fr) / wilaya (ar) |
| List Source | Tunisian Government Decree/Décret No.83-1255, Conseil National de la Statistique de Tunisie (2004-02-25); http://www.tunisieindustrie.nat.tn/fr/doc.asp?mcat=12&mrub=105&msrub=205&dev=true |
| Code Source | Institut National de la Normalisation et de la Propriété Industrielle (INNOPRI) 1988; ISO 3166/MA (*) |
| Romanization system | Conventional names |
| Country | Subdivision | Name | Level |
| TN | 11 | Tunis | Governorate |
| TN | 12 | L'Ariana | Governorate |
| TN | 13 | Ben Arous | Governorate |
| TN | 14 | La Manouba | Governorate |
| TN | 21 | Nabeul | Governorate |
| TN | 22 | Zaghouan | Governorate |
| TN | 23 | Bizerte | Governorate |
| TN | 31 | Béja | Governorate |
| TN | 32 | Jendouba | Governorate |
| TN | 33 | Le Kef | Governorate |
| TN | 34 | Siliana | Governorate |
| TN | 41 | Kairouan | Governorate |
| TN | 42 | Kasserine | Governorate |
| TN | 43 | Sidi Bouzid | Governorate |
| TN | 51 | Sousse | Governorate |
| TN | 52 | Monastir | Governorate |
| TN | 53 | Mahdia | Governorate |
| TN | 61 | Sfax | Governorate |
| TN | 71 | Gafsa | Governorate |
| TN | 72 | Tozeur | Governorate |
| TN | 73 | Kebili | Governorate |
| TN | 81 | Gabès | Governorate |
| TN | 82 | Medenine | Governorate |
| TN | 83 | Tataouine | Governorate |
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_Sweet_November_ (PG-13) ** (out of ****)
If you cast Keanu Reeves in a film with the expectation of him actually being good, you'd better have a have a role that fits comfortably within his limited range. Take, for instance, the films in which the notorious laughing stock has actually been passable or better: the _Bill_and_Ted_ films, which made ideal use of his natural blankness for laughs; _Speed_ and _The_Matrix_, which used his inexpressiveness as a veneer of toughness; and the recent _The_Gift_… well, credit must go to Sam Raimi for pushing the non-acting actor into effectively playing a villainous part no one would think he could ever pull off.
Then there's the strange matter of the 1995 romance _A_Walk_in_the_Clouds_. Technically speaking, Reeves is his usually horrible self; witness the embarrassing `Don't you realize how alive she is? How _special_ she is?' monologue to see just how wrong he is for the part of a soulful ex-G.I. Yet somehow those disastrous displays were forgivable in the end, and that's because he had such superb chemistry with leading lady Aitana Sanchez-Gijon. From their first gaze, those two smoldered, and when it comes to swoony love stories, that's what counts. _Sweet_November_, a remake of the 1968 weepie of the same name, is a like-minded film that once again finds Reeves in a part clearly not suited for him: Nelson Moss, a selfish, flamboyant, workaholic advertising executive. The difference here is that there is no romantic rapport to redeem his woeful work or the film itself.
The lack of spark should come as no surprise, for Reeves' _November_ co-star is Charlize Theron, with whom he previously teamed---and displayed little chemistry--in the supernatural thriller _The_Devil's_Advocate_. She plays Sara Deever, the type of kooky free spirit who always comes into the life of the uptight protagonist not only at just the right time, but in an oh-so-contrived Meet Cute: they initially encounter each other as they take a DMV written exam. Somehow sensing the stress in his life, Sara makes him an unusual offer: to be the latest in string of one-month-only lovers. For a mere 30 days, she will attempt to make his life easier and give him all the benefits of having a female companion (read: limitless sex), and in return all he has to do is devote just about every waking moment of said time period with her. Once the time expires, so does their relationship, with no questions asked, no hard feelings.
So why exactly does Sara do this? The trailers and television spots have made the reason abundantly clear, and there's no reason for me to spoil the late-in-film revelation for those few still interested in seeing this film. But even with her motivation in mind, the premise seems overly mechanical, not to mention dated. The modern-day accoutrements (cell phones, a transvestite neighbor/best friend for Sara) brought in by director Pat O'Connor and screenwriters Kurt Voelker and Paul Yurick to update the story actually hurt the film even more. In this contemporary context, nothing about Sara (aside from promiscuity-according-to-schedule) seems terribly eccentric. She's a single twentysomething. She's a pet groomer. She has a lot of plants. She has a fondness for scarves. How any of these rather run-of-the-mill qualities can make some ice cold slickster somehow change his whole way of thinking is hard to swallow.
Of course, there is the fact that Sara comes in the gorgeous form of Theron, but this usually capable actress manages to make Sara's perceived quirkiness less than charming. Theron tries too hard to be flighty and daffy, and as such Sara appears to be putting on some forced act, not to mention a bit too pushy. Reeves' `efforts' fail to make the strained attraction any more natural--not that anything about his work in this film can remotely fall into that description. His stiff yet overdone swagger as Norman `A' is ridiculous; try not to laugh when he lets loose what is supposed to be an evil, mischievous cackle toward his boss. With the abrupt change to sensitive Norman `B' comes the flip side: instead of overdoing it, Reeves reverts to his usual screen catatonia.
When it comes to these movie romances, however, chemistry between leads holds a lot of redemptive value. Unfortunately, Reeves and Theron are as tepid together here as they were in their last collaboration. They fail to convince that what we are told are growing feelings between Nelson and Sara are indeed signs of true love, let alone some sweeping, larger-than-life, world-changing passion. Considering the film's fairly effective and unusually (for this genre) understated close, `Sweet November' could very well have been one primo slice of melodramatic manipulation with the right pair of actors. Then again, I imagine that already happened--back in 1968.
©2001 Michael Dequina
Michael Dequina<EMAIL_ADDRESS>|<EMAIL_ADDRESS>|<EMAIL_ADDRESS>Mr. Brown's Movie Site: http://www.mrbrownmovies.com CinemaReview Magazine: http://www.CinemaReview.com on ICQ: #25289934 | on AOL Instant Messenger: MrBrown23
The review above was posted to the
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belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
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"America's Sweethearts"
Gwen Harrison (Catherine Zeta-Jones) and Eddie Thomas (John Cusack) have been romantic idols to the American public for nine films. When their marriage broke up a year and a half ago, her career went down the tubes and he ended up as a patient at a California wellness clinic. Now, with their last film about to hit the street, PR maven Lee Phillips (Billy Crystal) is given the task of bringing the estranged couple together, with the help of Gwen's sister, Kiki (Julia Roberts), to save their careers and their film (and his job) in "America's Sweethearts."
Screenwriters Crystal and Peter Tolan provide a modern romantic comedy that is set in the world of the Hollywood "press junket." The last film Gwen and Eddie did together is scheduled for its debut, but there are problems. The divorced couple, both of whose careers are currently in the toilet, need to make a show of reconciliation or lose their audience and a lot of money for the studio. Complicating matters, the director, Hal Weidmann (Christopher Walken doing a riff on real director, the late Hal Ashby), has taken the unfinished movie, named "Time Over Time," hostage and won't let anyone see it until the junket, not even studio head Dave Kingman (Stanley Tucci). Lee has to do the most difficult juggling of his public relations career to keep the press at bay and the stars conciliatory until Hal and his film arrive.
Meanwhile, Gwen's sister and assistant, Kiki, has quietly undergone a change since her sister's divorce. Since Eddie last saw her, right after the breakup, she has lost 60 pounds and is not just a nice person (unlike Gwen) she has turned from an ugly duckling into a beautiful swan. Eddie and Kiki have always been close and, now that he has been separated from Gwen for a while, he begins to see which sister really is the one for him. The conflicted romantic comedy continues until the big day when Hal finally delivers his film and shows it to the studio heads and the press.
I had high hopes for "America's Sweethearts" what with its stellar ensemble cast and all. Julia Roberts is actually developing into an actor and does a good job as the self-deprecating, loyal sister to the star. She maintains the nice-girl persona of the character throughout the film and, when the now-svelte Kiki binges out on a huge breakfast from frustration with the whole situation, she does it with vigor. Catherine Zeta-Jones, as Gwen, is dead on as the shallow, selfish prima donna - "People have no idea what it is like being me!" she whines - and is as unlikable as she is beautiful. Cusak does the bedraggled, obsessive actor with his usual goofy charm. Billy Crystal moves things along (and gives himself some of the funniest lines, especially when acting opposite a large Doberman), both as writer and performer and he does good PR shtick.
The problem that holds "America's Sweethearts" back is the completely telegraphed story. There is little doubt, for the viewer, as to who ends up with whom and how they get to where they are going. The actors play their parts well, but the two-dimensional machinations of the script prevent anything more than the obvious from happening so, by the end, you have the whole thing figured out. There is slapstick galore and one-liners abound - the Doberman gets to do the best visual gags in the film - but there isn't nothing' new here. A bright distraction, near the end, is Hal's presentation of his visionary film, changed from feature to documentary, much to the consternation of soon-to-be ex-studio boss Kingman. Alan Arkin gives a subtle, yet riotous, cameo as Eddie's wellness guide. He's supposed to be an Indian wise man, but he plays it so sharp he keeps you guessing if he's Eastern Indian or Native American.
Direction, by Joe Roth, is perfunctory and straightforward. He does it by the numbers as he walks his cast down the line to the films inevitable conclusion. Costuming, by Ellen Mirojnick (with Jeffrey Kurland responsible for wardrobing Miss Julia), meets the superstar criteria of elegance and, for Cusack, despondent seediness. Production design by Garreth Stover, especially the selection of the remote location of the Hyatt Regency Lake Las Vegas Resort, suits the Hollywood star mentality of "America's Sweethearts." The prods show the money is there and the tech staff uses it well.
A good cast and expensive production attributes can help a film but, without a solid screenplay to hang it all on, you can never attain greatness, whether it be comedy or drama. "America's Sweetheart" falls smack in the middle of this dilemma and suffers for it. It will draw a good size audience and will appeal to many with its good-natured pokes at the Hollywood star machine. But, it never rises beyond the level set by the routine, predictable screenplay and I give it a B-.
========== X-RAMR-ID: 28943 X-Language: en X-RT-ReviewID: 236889 X-RT-TitleID: 1108688 X-RT-SourceID: 386 X-RT-AuthorID: 1488 X-RT-RatingText: B-
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


Electricity makes our lives better, brighter, and cleaner. After electricity is generated at a power plant, it needs to be transmitted on high-voltage power lines before it can be distributed to our homes and businesses. This page focuses on the middle stage—electricity transmission from power plants to local distribution grids. In many ways, electricity transmission is the unsung hero of our modern, electrified economy. The U.S. transmission grid delivers power so reliably that widespread blackouts—like the Northeast blackouts of 1965 and 2003—are rare, unforgettable moments in U.S. history. In the past, the transmission grid has been reliable. Yet in the future, that might not be the case, as new laws and regulations threaten to make the grid unstable. schematic
In the 1880s, electric lighting systems were some of the first applications of electricity to modern American life. In those early systems—like Thomas Edison’s Pearl Street Station in Manhattan, which energized America’s first power grid—electric power stations served customers in a small network that covered only a few city blocks.
One of the biggest differences between the small electricity grid at Pearl Street and the electricity we use today is that Edison used direct current (DC), while today’s grids use alternating current (AC). Early power grids were small by today’s standards, in part because of the physics of direct current networks. DC networks had to operate at low voltages in order to be safe, the downside being that transmitting low-voltage power is inefficient. Much of the power is lost in the form of heat, and the power simply cannot be transmitted very far.[1]
A Serbian-American inventor named Nikola Tesla is the most famous of the electrical engineers who revolutionized the way we transmit electricity. Working with entrepreneur George Westinghouse, Tesla and the early AC engineers made long-distance electricity transmission possible.[3] Instead of generating DC power, their solution was to generate a completely different kind of electric power—AC—and to use new transformers to increase and decrease the voltage. That was the beauty of the AC breakthrough: it meant that electricity could be transformed from low to high voltage and back, which increased the efficiency of transmission and allowed Westinghouse’s early transmission lines to span longer distances.
Samuel Insull, a pioneering young businessman who had worked as Edison’s assistant and then business partner, had a breathtaking vision for electricity in the era of long-distance transmission. Edison encouraged Insull to test the boundaries of their business. “Do it big, Sammy, ” he instructed. “Make it either a big success or a big failure.”[8] In 1892, Insull left Edison’s former company in the New York area to pave his own way with a growing electricity company in Chicago (Chicago Edison, now Commonwealth Edison).[9]
Insull’s focus on spreading electricity to new customers made him one of the great “democratizers” in American history. By the end of the 1920s, his companies were serving more than four million customers in 32 states.[11] He would go on to network his transmission facilities with of other companies, creating an interconnected web of electricity that powered cities and farms alike and laid the foundation for today’s power grid.
The characteristic feature of modern electricity transmission is the high-voltage power lines that stretch across the entire continent. In the U.S., there are over 200,000 miles of high-voltage transmission lines (i.e., 230,000 volts and above)—enough to wrap around the Earth more than eight times.[12] All of these lines networked together create a type of superhighway that moves electricity from the power plants where it is generated to local distribution systems, which ultimately deliver it to homes and businesses.


NFL Roundup: San Francisco 49ers see off Green Bay Packers
The San Francisco 49ers returned to form to record a 37-8 victory over the Green Bay Packers in a one-sided clash of the National Football Conference big guns.
The Niners had experienced close calls in their three previous matches and never looked back after forcing an Aaron Rodgers fumble deep in Packers territory early on to produce a turnover that turned into seven points one play later.
Jimmy Garoppolo clocked up 176 yards and claimed two touchdowns, both of which went right down the middle of the field to open receivers.
A season-low return of eight points wiped out Green Bay's lead in the NFC North and they are now level with the Minnesota Vikings with five games left.
The New England Patriots demonstrated why they have the best defence in the NFL with a 13-9 victory over the Dallas Cowboys, who were restricted to just three field goals.
A New England blocked punt in the first quarter set up the game's only touchdown as the Patriots stay top of the AFC.
Will Lutz nailed a 33-yard field goal with time running out to help the New Orleans Saints fend off a comeback from the Carolina Panthers and secure a 34-31 win.
Lutz pounced after Carolina kicker Joey Slye crucially missed two extra points and a potential go-ahead 28-yard field goal with two minutes left.
The win could prove huge in New Orleans' quest for home advantage in the play-offs. Sean Payton's squad now hold a massive lead in the NFC South.
Baker Mayfield completed 24 of 34 passes for 327 yards and three touchdowns to help the Cleveland Browns to a 41-24 win over the Miami Dolphins, while the Buffalo Bills maintained their play-off push as they saw off the Denver Broncos 20-3.
Sam Darnold produced an impressive return of 315 yards, three touchdowns and zero turnovers in the New York Jets' 34-3 triumph over the Oakland Raiders.
According to NFL Research, New York's three-game streak of scoring 34 or more points is their third such streak in franchise history and their first since 2008.
Rashaad Penny enjoyed the best game of his career to carry the Seattle Seahawks to a 17-9 win over the Philadelphia Eagles.
Showing power and balance throughout, the former first-round pick ripped off three runs of 20-plus yards and finished with 129 yards on only 14 carries.
Elsewhere, the Pittsburgh Steelers were 16-10 winners over the Cincinnati Bengals, the Chicago Bears held off a late rally to beat the New York Giants 19-14, while the Tampa Bay Buccaneers won 35-22 against the Atlanta Falcons.
The Washington Redskins gained a 19-16 triumph over the Detroit Lions and the Tennessee Titans defeated the Jacksonville Jaguars 42-20.
body check tags ::


Firstly, what is a homoplasy? It is a trait (for example, a nucleotide at a position in an alignment) that is shared between tips that their immediate common ancestor doesn’t have.
See the left hand side of the figure below, there are tips with a T
(thymine) nucleotide that are surrounded by tips with an A
(adenine).
Homoplasies are interesting because they make sequences seem more similar than they evolutionarily are - complicating phylogenetic analyses.
Homoplasies can also help us to understand evolution, perhaps there is a benefit to a particular mutation or trait. By identifying homoplasies, we can hone in our search to mutations causing antibiotic resistance, for example.
From the right handside of the figure above, we can see how you can identify homoplasies. Read more about how HomoplasyFinder uses the consistency index
to identify here.
Soon after I moved to Dublin, I decided to build HomoplasyFinder. An R package that we can use to identify homoplasies on a phylogeny using a nucleotide alignment.
After a quick look (I should have spent longer! 😳), I couldn’t find a tool so I decided to created my own.
I spent a bit of time trying to figure out how to make my tool so that it could automatically identify homoplasies and came up a pretty good solution (I thought!). So, I created the HomoplasyFinder tool and then spent much longer figuring out whether it worked!
To my surprise, it did work and, happy with my creation, I proceeded to create an R package and write an article. I submitted my article and month later all my hopes were dashed!
The article was rejected… 😭
After a wee bit (a lot) of grumping, I realised that my manuscript was rejected for a very good reason. I hadn’t read about the consistency index - a beautifully simple method for identifying homoplasies that was defined in the 1970s (read the article). Well, I had read about it but I hadn’t understood it! The consistency index is a measure of how consistent each site in a set of genetic sequences is with a given phylogeny. The consistency index can be thought of as a measure of how homoplasious a site is
I took a break from HomoplasyFinder, trying to bury this embarrassing affair.
Then after a month or two, I decided to re-make HomoplasyFinder using the consistency index. I also had a thorough look for tools that could identify homoplasies and I found a few.
Unsurprisingly, my new and improved HomoplasyFinder turned out to be much faster than my previous version and, surprisingly, it was also faster, after some improvements, than the tools I found that did the same thing! (This still worries me a little, maybe I am cheating in some way!)
So, with renewed hope, I updated my manuscript and submitted to a different journal. Following some very helpful reviewers comments it got published!! 🎉
A year on and I am still doing a bit of work on HomoplasyFinder and hopefully I will continue to.
Give it a go and let me know what you think!


Något beskrivning om vad som ska göras och vad resultatet ska vara
Try-hard readymade 3 wolf moon DIY food truck gentrify scenester. Bushwick sriracha biodiesel, semiotics Schlitz fixie kale chips squid stumptown umami Marfa Williamsburg flexitarian lomo. Polaroid McSweeney's crucifix, skateboard wolf actually Helvetica synth you probably haven't heard of them street art. Leggings aesthetic Marfa irony, Kickstarter narwhal twee blog.
Yr before they sold out Helvetica jean shorts authentic tofu Blue Bottle lomo. Tote bag Blue Bottle Brooklyn fanny pack Tonx twee. Umami wayfarers crucifix artisan, normcore VHS street art bespoke tofu flexitarian Tumblr art party asymmetrical.
- Joakim Hasselgren | 2013-10-12Edit Delete
Måste kolla på detta
- Joakim Hasselgren | 2013-10-12Edit Delete
Denna filen innehåller koden till denna sida
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Try-hard readymade 3 wolf moon DIY food truck gentrify scenester. Bushwick sriracha biodiesel, semiotics Schlitz fixie kale chips squid stumptown umami Marfa Williamsburg flexitarian lomo. Polaroid McSweeney's crucifix, skateboard wolf actually Helvetica synth you probably haven't heard of them street art. Leggings aesthetic Marfa irony, Kickstarter narwhal twee blog. Yr before they sold out Helvetica jean shorts authentic tofu Blue Bottle lomo. Tote bag Blue Bottle Brooklyn fanny pack Tonx twee. Umami wayfarers crucifix artisan, normcore VHS street art bespoke tofu flexitarian Tumblr art party asymmetrical.
Yr sustainable 8-bit viral Banksy. Echo Park you probably haven't heard of them forage craft beer selvage, Etsy kogi lo-fi. Pop-up 90's mixtape PBR&B, salvia ethical American Apparel shabby chic blog narwhal raw denim fanny pack typewriter locavore Pinterest. Fingerstache Godard skateboard 3 wolf moon next level. Typewriter umami cray disrupt. Plaid aesthetic semiotics Tumblr raw denim sustainable Thundercats cardigan actually quinoa wolf yr. Pickled lomo iPhone tattooed small batch, Carles Austin kogi Shoreditch brunch cred freegan synth before they sold out typewriter.
Edit Delete
Måste kolla på detta
- Joakim Hasselgren | 2013-10-12Edit Delete


A templating engine that extends the BaseView.
Variables may to be added to the view, the names of the view template and the layout template should be set the same way that other variables are. The predetermined names for these settings are 'viewName' and 'layoutName'.
TODO: The classname was an application specific need in the original application. The requirement to pass it to the constructor should be replaced by setting it as a normal view variable in the app's controller.
Example:
$this->view = new \Lolmvc\Service\Template('mysite', $classShortName);
$this->view->pageTitle = "My home page";
$this->view->pageHeading = "This is my home page";
$template->renderPage();
TODO: Add information about how to structure template file locations and why app name is required.
TODO: Explain how multiple JavaScript files are handled
Note: Original logic derived from Chad Emrys Minick's "Simple PHP template engine"
| author | Matt Wallace |
|---|---|
| author | Chad Emrys Minick |
| link | http://codeangel.org/articles/simple-php-template-engine.html |
| package | Lolmvc\Service |
__construct(string $appName, string $controllerName) : void
| access | public |
|---|
string
Name of the application
string
__get(string $name) : mixed
Example:
To print the value of a previously set view variable named 'key' ...
echo $template->key;
| access | public |
|---|
string
mixed
__set(string $name, mixed $value) : void
Example:
To set a value for a view variable named 'key' to the value 'value' ...
$template->key = $value;
| access | public |
|---|
string
mixed
renderPage() : void
| access | public |
|---|
$appName
$controllerName
$layoutName
$vars : array
| access | private |
|---|
$viewName


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Namespace CodeFactory.DotNet
Classes
DotNetContainerExtensions
Extension management class that manages dot net models that implement the IDotNetContainer interface.
DotNetMemberExtensions
Extension methods that support model that implement the IDotNetMember interface.
DotNetModelExtensions
Extension methods that support models that implement IDotNetModel
PathBuilderConstants
Data constants that are used when building the unique path for a dot net model.
Interfaces
IDocumentation
Interface that determines if a model has code level documentation.
IDotNetAttribute
Model definition for an attribute in a .net implementation.
IDotNetAttributeParameter
The model information for a attribute used for a .net implementation.
IDotNetAttributeParameterValue
The model information for an attributes parameter value for .net implementation.
IDotNetAttributes
Interface that determines if a .net model has attributes assigned.
IDotNetClass
Model definition for a class in .net.
IDotNetContainer
The base implementation all container type models must implement in .net.
IDotNetDelegate
Model definition of a delegate in .net.
IDotNetEnum
Data model that provides information on an enumeration.
IDotNetEnumValue
Data model that provides information to a specific enumeration value implemented in an enumeration.
IDotNetEvent
Model definition of a event in .net.
IDotNetField
Model definition of a field in .net.
IDotNetGeneric
Definition that determines if the .net model implements generics.
IDotNetGenericParameter
Model contract for information about a parameter used in a generic definition.
IDotNetInterface
Mode definition for an interface in .net.
IDotNetMember
Base definition for all .net member models.
IDotNetMethod
Model definition of a method in .net.
IDotNetModel
Base implementation all dot net models must implement.
IDotNetNamespace
Model definition for a namespace definition inside a code file in .net.
IDotNetNamespaceReference
A namespace that is being referenced by dot net source code. This will determine which external library resources will be available in the source control document.
IDotNetParameter
The definition of a parameter used in .Net.
IDotNetParameterDefaultValue
Model that represents a default value for a IDotNetParameter model.
IDotNetProperty
Model definition of a property in .net.
IDotNetSource
The source point in which dot net models are loaded.
IDotNetStructure
Model definition for a structure in .net.
IDotNetTupleTypeParameter
Data model that tracks an individual part of a tuple definition.
IDotNetType
Model that defines a .net type.
ILookup
Defines lookup information for a model that supports being searched for.
IParent
Defines information how to find the parent model for the model that implements this dot net model.
IT4Factory
Definition of data that will be provided to all T4 factories.
Enums
AttributeParameterKind
Enumeration that determines the type of attribute parameter data that is being returned.
DotNetContainerType
Enumeration that determines the type of dot net container.
DotNetMemberType
The type of dot net member.
DotNetMethodType
Enumeration of the type of methods that are supported in .Net
DotNetModelType
The models types that implemented at the dot net level and not at a target language level.
DotNetSecurity
Enumeration of the security scope the target .net model is set to.
Language
The target .net language for code factory.
MemberComparisonType
Enumeration of the types of member comparison
ParameterDefaultValueType
WellKnownLanguageType
Enumeration that identifies well know types used by various .net languages.


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High dimensional data is usually very structured, and this structure allows us to map the data to a smaller dimensional space without losing much information. For example, if this post is encoded with ASCII, it lives in a point space.  Read more 13 Apr 2018 - 2 minute read
I was walking around a book store in Fremont and found an elementary math education book. While flipping through the book, I found the following neat problem. Suppose you find a dinosaur skeleton that looks like an alligator, except that it is twice as big. A typical alligator weighs 500 pounds. Estimate how much the dinosaur weighed? The a... Read more 13 Apr 2018 - 1 minute read


I have been involved in writing, recording, editing, and delivering multiple audio and visual productions, both as a professional and as a hobbyist. Through formal musical training, I learned to appreciate all aspects of creative work, from inspiration to administration.
I thrive in environments where skill, versatility, and a willingness to learn are all valued. My ideal job is one where the team with which I work shares my passion for creativity, quality, and authenticity, and my genuine desire to connect through digital media and make a lasting, positive difference for individuals and communities.
I currently live in the Dayton OH area with my partner, our two kids, our two cats and a variety of neighborhood creatures. We love music, board games, nerdy movies, hiking and Geocaching.


By Edwin Jahiel
AS GOOD AS IT GETS ***1/4 . Directed by James L. Brooks. Written by Brooks and Mark Andrus from a story by Andrus. Photography, John Bailey. Editing, Richard Marks. Production design, Bill Brzeski. Produced by James L. Brooks, Kristi Zea and Bridget Johnson. Cast: Jack Nicholson, Helen Hunt, Greg Kinnear, Cuba Gooding, Jr., Skeet Ulrich, Shirley Knight, et al. .A TriStar release. 132 minutes . PG-13.
BREAKING NEWS: This movie has swept the Golden Globes Awards in the musical or comedy category: Best picture. Best actor (Jack Nicholson). Best actress (Helen Hunt)
Now playing, the shaggy dog film "Wag the Dog" is dogless. Also playing is "As Good as It Gets" in which a real shaggy dog -- a rare Brussels Griffon--steals scenes and becomes the agent of major changes. Its name is Verdell, which I first took for "Fidel," which made me expect a partly political film, which it isn't. Fitting no pigeonhole category, it comes closest to a socio-psychological comedy-drama.
"As Good" also stars Jack Nicholson, in top para-Satanic and aggressive form, circumflex eyebrows, hooded eyes ranking with the best (Victor Mature's, Bob Mitchum's), incongruous tan for a New Yorker (but no one yet has ever been able to challenge the deep bronzing of Douglas Fairbanks, Sr) and his bag of eccentricities at an apex.
The movie has both originality and well-crafted, deja-filmed mainstream appeal. Peripherally, it is a distant variant on Beauty and the Beast, the Taming of the Shrew (with sexes reversed). Centrally, it is a showcase for the talents of Nicholson and Helen Hunt.
Melvin Udall (Nicholson) is a misanthropic, bilious, hypochondriac, reclusive mega-nut. His manias include always washing with a fresh cake of soap; walking to the same restaurant daily at 11 am for a giga-cholesterol breakfast at "his" table served by "his" waitress; bringing his own plastic knives and forks; wearing disposable surgical gloves; avoiding brushing against people or stepping on sidewalk cracks. All of this, plus more quirks, is apparently explained by his suffering from obsessive-compulsive disorder.
That's bad enough, but Melvin is a pain in every other way too. He's a champion people-insulter and, among other lovely traits, homophobic, African-American-fearing, and a Jew-and-everybody-else Equal Opportunity hater. This includes animals. The action begins with Mel (who probably hates his parents for his name) throwing his neighbor's beloved pooch Verdell down the laundry chute.
The neighbor, Simon (Kinnear) is a successful painter, whose art dealer friend is a classy African-American named with originality Frank Sachs (Gooding). Both are gay, but not that you could tell. The other major "dramatis persona" is Carol (Hunt), Mel's habitual, suffering, and onlywaitress acceptable to Mel at the restaurant.
When Simon is brutally beaten up by invading, thieving street hoods, and taken to the hospital, Frank sticks Mel with the dog in a way that Mel cannot refuse. Predictably, grudgingly (and unconvincingly), the writer and the canine fall for each other. Did I say "writer"? Yes, that's what Mel does for a living, composing romances for female readership and making lots of money from his 62 or so purple-prose novels. The contrast between his profession and his character is absurd, rates an F for credibility. Mel explains his knowing portrayals of women by :"I think of a man, then I take away reason and accountability." This adds gynecophobia to the list, makes us think of Mel as a virgin (??!!) and simply won't wash.
Upon his return from the hospital, Simon finds himself broke: he has no health insurance (a real tragedy for so many self-employed), his medical bill is over $60,000, his art has been vandalized, his will to paint has vanished, he is losing his apartment. But look what animal companionship can do for people! Increasingly human and humane Mel comes to the rescue. And by some intricate plot devices, he also delivers Carol and her son from the evil of uncaring doctors and medical bills. It's artificial plotting but while you are watching it, it is also warm, lovely and well-acted. All the while, of course, Mel is falling for Carol. But the New Mel dies hard. When he introduces his friends to one another he says:" Carol the waitress. Simon the fag." I'll stop here.
NIcholson, in spite of his improbable role, is Nicholson, meaning as good as ever, even better perhaps. No surprise here. The real revelation is Helen Hunt. I have never cared much for her flimsy, parts in TV's "Mad About You," and while she has many more credits, too many of them were in unmemorable productions. She was finally top-listed in her previous film "Twister" (1996), but her role was pallid.
Now finally Helen Hunt has come into her own. Without bravura or pointedly dramatic or humorous scenes and repartees, without prettifying makeup or sexy clothes, without scene-stealing episodes, Hunt does steal the whole movie. In one of the most amazing transformations in recent cinema, she makes palpable her struggle with life and conditions, her exhaustion as waitress, caring mom, commuter and debtor in splendidly veristic ways.
We learn nothing about the father of her child, or for that matter about the earlier Carol, yet she is three-dimensional both in her sadness, depression, lack of men in her life as well as in her moments of humor and happiness. Cannily, the script adds rounding off Carol through a funny-turning-unfunny interlude with a lover who vanishes.
Aged beyond her 34 years , not especially pretty by ordinary standards, she is enormously likable, appealing, real and, yes, even sexy. She also strikes very believably at HMOs and the medical profession, though the "deus ex machina" introduction of a wise, wonderful doctor restores some balance. Yet, what with Simon's lack of insurance, a strong case is made against our health system.
Multiple Oscar-winning writer-director-producer Brooks had previously directed "Terms of Endearment," "Broadcast News" and the notorious "I'll Do Anything," which, filmed as a musical, failed in previews and had to come out as a non-musical. Even so, the latter is my favorite Brooks movie, partly because of its superb direction of actors. Now Brooks repeats his tour-de-force with Helen Hunt. No matter how iffy the tale, the performances make it a winner.
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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--- layout: post title: 'Inside Capistrano: the Command abstraction' post_id: 146 categories: - under the hood date: 2006-09-28 08:40:00.000000000 -06:00 author: Jamis permalink: 2006/9/28/inside-capistrano-the-command-abstraction.html ---
Capistrano really is the poster child for Net::SSH. In the last “Inside Capistrano” article (the Gateway implementation) I talked about Capistrano’s use of Net::SSH’s port forwarding feature. This time around, I’d like to focus on how Capistrano uses Net::SSH to execute a single command in parallel on multiple hosts.
For now, we’re just going to skip past all the magic in Capistrano::Actor that manages the connections to the servers. (We’ll discuss that another time.) We’ll jump straight to Capistrano::Command, located in capistrano/command.rb. It acceps five arguments: a list of named servers, a command to be executed, a Proc instance to act as a callback for any output from the servers, a hash of options, and a reference to the Actor instance that requested the command. (Whew!)
The initialization is pretty straightforward:
1 2 3 4 5 6 7 8 |
def initialize(servers, command, callback, options, actor) @servers = servers @command = command.strip.gsub(/\r?\n/, "\\\n") @callback = callback @options = options @actor = actor @channels = open_channels end |
The most significant part of the initialization is the call to open_channels
. For those of you unfamiliar with Net::SSH, every interaction with a remote host is encapsulated in a channel. Each connection can have multiple channels open simultaneously; it is this feature that lets you have multiple forwarded ports going over the same connection you are using to interact with your shell on the remote host. (Try doing that with telnet!)
Thus, in order to execute a command on the remote hosts, we need to open a channel for the command on each host. The open_channels
method does just this. It’s not a complicated method, but if you aren’t familiar with Net::SSH, it might appear a little daunting with all the callbacks involved. We’ll break it up and take it a piece at a time.
First, we just iterate over each server, using map
to return an array of channel objects that correspond to the servers. (We use the actor instance here to get at the actual Net::SSH sessions for each named server, so we can open those channels. It is assumed that each connection has been established previously.)
1 2 3 4 5 6 7 |
def open_channels @servers.map do |server| @actor.sessions[server].open_channel do |channel| ... end end end |
For each new channel, we do a bit of set up:
1 2 3 |
channel[:host] = server channel[:actor] = @actor channel.request_pty :want_reply => true |
Every channel instance can be treated as a hash, so you can store custom data in it for later access. Here, we’re storing the name of the server the channel is connected to, as well as the actor reference (so we can use it in the callback). Then, we tell the remote host that we want to allocate a pty for this connection.
With that out of the way, we set up some callbacks to handle different channel events. These are detailed below, with a bit of commentary:
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 |
# The on_success handler is called when the server # responds to our request_pty message, but only if # a pty was allocated. We use this opportunity to send # the actual command to the server, along with any data # that should be piped to it on stdin. channel.on_success do |ch| ch.exec command ch.send_data options[:data] if options[:data] end # Just as on_success is called when the server was able # to allocate a pty, on_failure is called when it can't. # In that case, we log a message and move on. channel.on_failure do |ch| logger.important "could not open channel", ch[:host] ch.close end # Any time the remote command emits data on its stdout, # Net::SSH will call the channel's on_data callback. We # delegate to the callback hook given when the Command # was instantiated. channel.on_data do |ch, data| @callback[ch, :out, data] if @callback end # Stderr (and any other, non-stdout data) gets sent to # the on_extended_data hook. We treat it all as stderr # and delegate it to the primary callback. channel.on_extended_data do |ch, type, data| @callback[ch, :err, data] if @callback end # The on_request hook is used for most other kinds of # response from the server. All we care about is the # 'exit-status' reply, which we use to determine whether # or not the command completed successfully. channel.on_request do |ch, request, reply, data| ch[:status] = data.read_long if request == "exit-status" end # When the command finishes, the on_close hook is called. # We set a flag here that let's us easily query whether # the channel is still active or not. channel.on_close do |ch| ch[:closed] = true end |
Alright! The channels are all ready for us now, and we can proceed with executing the command. This occurs in the process!
method, which has a bit of Net::SSH magic in it so that each channel is processed in parallel.
Each Net::SSH connection is event-driven, and as such requires an event loop to be running. Net::SSH gives you a method for running an event loop on a single connection (called “loop”), but if we want to drive multiple connections simultaneously, we need to implement our own event loop. That’s what the process!
method does.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 |
def process! # First, we mark the current time. This is so that we # can ping each connection every second, so that # long-running commands don't result in the connection # timing out. since = Time.now # This begins the event loop... loop do # This indicates how many channels are still active. # When there are no more active channels, we can # terminate the event loop. active = 0 # For every active channel, have it's associated # connection process any pending events. (The 'true' # parameter tells the poll not to block, if no # events are pending.) @channels.each do |ch| next if ch[:closed] active += 1 ch.connection.process(true) end # If there aren't any active channels, break out of # the loop break if active == 0 # If it has been at least a second since the last # ping, ping every connection. Note that we ping # whether the channel is active or not, since the # connection itself IS, and we don't want it timing # out just because one of the other channels is # lagging behind the others. if Time.now - since >= 1 since = Time.now @channels.each { |ch| ch.connection.ping! } end # a brief respite, to keep the CPU from going crazy sleep 0.01 end # If any command terminated with a non-zero exit # status, then we raise an exception. Ultimately, # Capistrano::Actor will catch that exception and try # to rollback the current task (if a rollback handler # is defined for it.) if failed = @channels.detect { |ch| ch[:status] != 0 } raise "command<EMAIL_ADDRESS>failed on #{failed[:host]}" end self end |
When the command terminates, control reverts to the caller (the Capistrano::Actor instance). As you can see, there really isn’t that much to it—it just requires that we do a bit of manual labor to set up that custom event loop.
As with the Gateway code, you could probably mock up an actor instance and use the Command code independently of Capistrano, but it wasn’t really designed with that in mind. Still, it should provide plenty of inspiration for your own Net::SSH scripts.
If you’d like to learn more about Net::SSH, the manual is a good place to start.


Review of THE THIN RED LINE
By Jerry Saravia
It took director Terrence Malick twenty years to make a film, which is about a decade longer than it would take Stanley Kubrick.  It is an inconsequential matter because Malick has crafted one of the most poetic, life-affirming statements on war that has ever been produced by a Hollywood studio. "The Thin Red Line" is a masterpiece - a quiet, powerful observation of men in war, their lingering thoughts on what war means to them, and how violent human behaviors affect nature.
The film's opening shot is not of bullets grazing and imploding on the beach of Normandy, but of a crocodile entering a lake underwater. The next few shots centers on Private Witt (James Caviezel) cavorting among the natives on an island off the coast, but where are we? Why are we here? Isn't this a war film? Later, an American patrol ship spots Witt and another soldier, and it is up to First Sgt. Edward Welsh (Sean Penn) to remind Witt what their God-like mission is. Their mission, as Lieut. Col. Tall (Nick Nolte) explains, is to ascend upon a certain hill on the Guadalcanal island to infiltrate a Japanese bunker. This is the conventional section of the film - the war itself to find the bunker, and the risk of being shot down like flies by the Japs. With its sweeping grandeur, artfully shot and edited battles, and incongruous points-of-view, this long sequence caught me off guard, and is thus tinged with more emotion and heartbreak than anything in "Saving Private Ryan." I think the reason it works so well is that we are aware how unfair and unpredictable war is - bullets and gunfire can come from anywhere. One soldier (played by Woody Harrelson) accidentally pulls the pin on a grenade thus literally blowing himself apart!
Malick also invests time on how his characters think of war in the context of their lives, and their loved ones back home. One particular soldier, Private Bell (Ben Chaplin), is always reminiscing of his days with his wife, whom we see in short shrift during flashbacks. He wants to be with her, but knows that he may meet her "in the dark waters." Nolte's ferocious lieutenant wonders why he's fighting, then he realizes that war is what he's been working up to for twenty years. His fierce attitude is upheld by his notion that war makes a man virile - "My son is a baker salesman." When he speaks eloquently about his tough career to Captain Gaff (John Cusack), he says to him: "You are my son."
Malick also makes vivid points about nature, and how the brutal inhumanity of war affects it. This is where his artistry truly lies - his films, "Badlands" and "Days of Heaven," are inherently about nature. This time, along with the help of cinematographer John Toll, he shows us the raping of the earth by men of war. Although nature is a process of violence, war rapes the blades of grass and the soil by its incessant violence upon it, including explosions. This is a theme that the mass audience will not care to understand - close-ups of colorful parrots, bats, rattlesnakes, and crocodiles do not a war film make, do they? Yet, these innocent animal species did not ask to be part of it, nor did the natives who walk among the pastures or the soldiers who are killed arbitrarily. That close symmetry between man and animal is repeatedly and intelligently paralleled by Malick.
"The Thin Red Line" is not the type of film that is character-driven, but rather character-oriented. In other words, this is a film about faces within the confines of nature, and the chaos that surrounds them. The interior monologues are told through voice-overs (originally voiced by Billy Bob Thornton) of individual men and their perceptions of what war entails.
The actors who make the strongest impression are James Caveziel's divine Private Witt (the dreamy, poignant hero of the film), Nick Nolte's memorably furious Colonel, Elias Koteas's straight-arrow Captain Staros who refuses to send his men to death, Sean Penn's amazingly watchable Sgt. Welsh, Ben Chaplin's courageous Private Bell, and the stoic, eccentric quality of John Savage's McCron. Other actors (John Travolta, George Clooney, John C. Reilly, Adrien Brody) are left in the dust (there was extensive recutting), but Malick's astute direction always rivets our attention.
 I'll never forget the shots of the tortured Japanese soldiers and their cries of pain; Caveziel's beatific face and the moment he's confronted by the enemy; the deployed cargoes crashing on the water; the sunlight peering through the trees. Overall, "The Thin Red Line's" overt, lingering lyricism indicates that nature should be restored and not ignored, in light of virile fighters on the terrain. Rarely has such a war film made the point that our surroundings, and what we make of them, is infinitely more important than the evil that men do.
Check out more reviews at JERRY AT THE MOVIES located at http://buffs.moviething.com/buffs/faust/
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


JAWS 2019 (august)
- With Chrome 75 exposes 2 contentinfo landmarks. The first scoped to the body, and the second within the open non-modal
dialog
element.
- With Edge 77 (dev) exposes 2 contentinfo landmarks. The first scoped to the body, and the second within the open non-modal
dialog
element.
- With IE11 fails to expose contentinfo landmark. Existing bug noting that if there is a wrapping
div
between the body
and the header
, that JAWS will not correctly convert the footer
to a landmark. If div id=app
did not exist, the correct footer would be announced as a contentinfo landmark.
- With Firefox 68.0.1 exposes 13 contentinfo landmarks. Firefox's accessibility tree generally exposes these footers as "role: section" in their a11y tree, The exception being the footer which should be exposed as the contentinfo landmark. This element is exposed as "role: landmark" in Firefox's a11y tree.
NVDA 2019.1.1
- With Chrome 75 exposes 1 (correct) contentinfo landmark.
- With Edge 77 (dev) exposes 1 (correct) contentinfo landmark.
- With IE11 exposes 13 contentinfo landmarks
- With Firefox 68.0.1 exposes 1 (correct) contentinfo landmark.
macOS 10.14.5 VoiceOver with Safari 12.1.1
No contentinfo
landmarks exposed. Webkit bug marked as fixed.
Retesting with Safari Tech Preview Release 88 (Safari 13.0, WebKit 14608.1.36), three content information landmarks are exposed. 1 as a child of nav
, another as a child of dialog
and the last correctly scoped to body
.
Open Webkit bug regarding headers, footers and other landmarks.
iOS 12.3.1 VoiceOver
Except for the footer elements within section
, article
all others (12) were exposed as "footer" landmarks.
macOS 10.14.5 VoiceOver with Chrome 75
Exposes zero contentinfo landmarks.
Note: Chrome's accessibility panel exposes the footer
with role: contentinfo
TalkBack 7.3 on Android 8.1
- Chrome 75 zero contentinfo landmarks.
-
Firefox 68 exposed 2 contentinfo landmarks. The first being the
footer
at the end of the main
element. The second being the expected contentinfo landmark where the footer is scoped to the body.


Models
To understand whether the collaborative filtering approaches based on user generates playlists are
effective, a baseline model which does not take into account this data is required. The baseline model
will therefore be purely based on the song attribute data and hence, if our theory is correct, provide
recommendations which perform poorly when matched with what a human would choose to put on a playlist.
For song recommendations this baseline model will first perform PCA on the song attributes space down to 5 components (from the 11 attributes) as this should reduce sparsity and ensure that individual songs are closer together in terms of attributes.
As a test example (see below), given a playlist with 3 songs the prediction process is as follows:
In this example above, each of the seeds songs returns the closest neighbours, coloured red, orange or green respectively. There are two songs which overlap, one appears in both the song-1-song-2 neighborhood and the other appears in the song-2-song-3 neighborhood (hence those songs coloured twice). Removing the original 3 songs from the suggestions leaves 10 unique recommended songs. Two of which are ranked higher and so would be suggested first. The remaining are suggested in a random order.
For song recommendations this baseline model will first perform PCA on the song attributes space down to 5 components (from the 11 attributes) as this should reduce sparsity and ensure that individual songs are closer together in terms of attributes.
As a test example (see below), given a playlist with 3 songs the prediction process is as follows:
- Locate each song from the given playlist in PC space (highlighted as the X points on the graph)
- Find the closest n (in this case 5) neighbours to this point using a nearest neighbour algorithm (including or excluding the current point)
- Create a pool of suggested songs with all those songs found from the previous step (15 total non-blue dots, there are 2 that are double counted).
- Remove songs which are already on the playlist - resulting in 12 song suggestions
- Deduplicate and count, as there can be overlap in terms of the neighbouring songs, calculate how many times each song appears. Here there are 2 counted twice so we have 10 unique.
- Recommend songs based on which ones have the highest count
In this example above, each of the seeds songs returns the closest neighbours, coloured red, orange or green respectively. There are two songs which overlap, one appears in both the song-1-song-2 neighborhood and the other appears in the song-2-song-3 neighborhood (hence those songs coloured twice). Removing the original 3 songs from the suggestions leaves 10 unique recommended songs. Two of which are ranked higher and so would be suggested first. The remaining are suggested in a random order.


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get_avg_masked_encoding
(state
:Tensor
, attention_mask
:Tensor
)
[summary]
For B = batch size, L = encoding length, F = feature vector:
Args:
state (torch.Tensor): (B, L, F)
attention_mask (torch.Tensor): (B, L)
Returns:
torch.Tensor: (B, F), where L has been masked by attention_mask
and then averaged.
Each vector in the batch represents the average feature vector for the masked_encoding


#include "_doctype.html"
Curl, like other well-designed Unix software, does not suffer from a Year 2000 issue. Unix dates are based around a 32-bit field centered around January 1 00:00:00 1970, with a range from Dec 13, 1901 to January 19, 2038. We therefore anticipate no impact on any of our Unix or win32 implementations because of this new millenium.
You can safely trust curl to continue to work (at least date-wise) unmodified until early the year 2038. #include "_footer.html"


Burp
src
Macros
|
Functions
game.c File Reference
#include "
game.h
"
Include dependency graph for game.c:
Macros
#define
_GNU_SOURCE
Functions
void
game
(
Tree
syntax_tree[4], char *robot_names[4])
Macro Definition Documentation
◆
_GNU_SOURCE
#define _GNU_SOURCE
Function Documentation
◆
game()
void game
(
Tree
syntax_tree
[4],
char *
robot_names
[4]
)
Here is the call graph for this function:
Generated by
1.8.19


Jeff Lawson is the founder, CEO and chairman of Twilio. A serial entrepreneur and a software developer, Jeff co-founded Twilio in 2008 to bring communications into the world of software. Twilio’s cloud communication platform enables software developers around the world to build world class customer engagement into their applications. As of 2017, Twilio hosts more than 40,000 customers and over 1.6 million developer accounts on the platform. Under Jeff’s leadership, the company has been named to the CNBC Top 50 Disruptor list for 4 consecutive years, the Deloitte Fast 500 for 3 years and has been ranked by GlassDoor as one of the 25 highest rated public cloud companies to work for. Jeff is also listed in Fortune Magazine’s 2016 annual ranking of the most 40 most influential young people in business. Twilio made its debut on the New York Stock Exchange in June 2016, ending a drought of technology IPOs. Jeff believes the best companies successfully weave social impact into their culture, which led to the creation of Twilio.org, with a mission to fuel communications that give hope, power, and freedom. With Jeff’s leadership, Twilio took the 1% Pledge, which committed 1% of the company’s pre-IPO equity to sustainably fund Twilio.org. Prior to starting Twilio, Jeff was co-founder & CTO of NineStar (an action sporting goods retailer), founding CTO of Stubhub.com (the leading online ticket exchange) and co-founder, CEO & CTO of Versity (an academic community for college students). He was also one of the first product managers for Amazon Web Services. Jeff grew up in the suburbs of Detroit, started his first company at age 12 doing event video production, and DJ’d his way through college, and earned his BS in Computer Science & Film/Video from University of Michigan. He is a father of two young boys, enjoys photography, and always makes time to hack on new software and hardware projects.


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nascetur
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But I must explain to you how all this mistaken idea of denouncing pleasure and praising pain was born and I will give you a complete account of the system, and expound the actual.
This is an example of muted text.
This is an example of primary text.
This is an example of success text.
This is an example of info text.
This is an example of warning text.
This is an example of danger text.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Integer posuere erat a ante.
Author name in Book name
Left aligned text.
Center aligned text.
Right aligned text.
I am alone, and feel the charm of existence in this spot, which was created for the bliss of souls like mine. I am so happy, my dear friend, so absorbed in the exquisite sense of mere tranquil existence, that I neglect my talents.
I throw myself down among the tall grass by the trickling stream; and, as I lie close to the earth, a thousand unknown plants are noticed by me: when I hear the buzz of the little world among the stalks, and grow familiar with the countless indescribable forms of the insects and flies, then I feel the presence of the Almighty, who formed us in his own image, and the breath
I never was a greater artist than now. When, while the lovely valley teems with vapour around me, and the meridian sun strikes the upper surface of the impenetrable foliage of my trees, and but a few stray gleams steal into the inner sanctuary


Welcome [[ userdetails.name ]]
This content is totally randome
Note: Most of the output are currently printed on console.
Some yet to link with temp UI
{% include 'loginForm.html' %}
{% include 'signupForm.html' %}
{% include 'todoList.html' %}
{% include 'footer.html' %}