What's So Good about STAR WARS? Film commentary by Mark R. Leeper Copyright 1987 Mark R. Leeper
This year marks the tenth anniversary of George Lucas's STAR WARS. I think it is fairly safe to say that for the fantasy film genre and for the film industry as a whole, the decade has been very different than might have been expected when Fox was telling theaters that if they wanted to show THE OTHER SIDE OF MIDNIGHT they would also have to book this science fiction film, STAR WARS. There is little doubt--at least to my mind--that STAR WARS is one of the three most influential films ever made. In fact, the only film that obviously was more influential was Edward Muybridge's sequence of snapshots of a running racehorse that was, in essence, the first motion picture.
But "influential" and "good" are two different things. Recently, when I listed films that I gave my highest rating to, I included STAR WARS. One comment I got from a reader was that it was a good list but should not include STAR WARS. The belief that STAR WARS is actually good as a film is actually not very common. I have heard it claimed that it is the weakest of the three currently released "Star Wars" films or that the whole series is a piece of fluff without much cinematic merit. It is my contention that the original STAR WARS is, on its own, a good film and the best of its series. Though it is not in the scope of this short article to examine an entire decade of fantasy films. I would contend that no better science fiction, horror, or fantasy film has been made in the interim.
Before we can determine if STAR WARS really is a great film, in the sense that CITIZEN KANE is a great film, we have to determine some characteristics of film greatness. What is it that makes a film great? One characteristic would be originality. A film should be experimental and should break new ground. But many film experiments fail and leave audiences confused. The new ground that a film breaks must be accepted by audiences so that a film leaves its mark. To this extent, being good is connected with being influential. Still, it is clear that an exploitation film may be the first of its kind and have imitators without being very good. The ground that a film breaks must be valuable. It should advance the art of filmmaking. If a film does what it does well, breaks new ground in the art of filmmaking making valuable contributions, and those contributions are accepted by audiences and become part of the palette for future filmmakers, no more is required for a film to achieve greatness. If you come down to it, that is really what makes CITIZEN KANE a great film. But is STAR WARS great in the same sense? I think that while CITIZEN KANE undeniably has some virtues that STAR WARS lacks (and vice versa), STAR WARS is great in the same sense.
STAR WARS WAS A GROUND-BREAKING FILM. It was the first marrying of cinema and the new video and computer technologies for creating images on film. The effects people had to invent much of the technology as they went along. The last jump in visual technology of the same magnitude had been with Willis O'Brien's stop-motion effects for KING KONG. As late as the '60s the most visually imaginative films--films like JASON AND THE ARGONAUTS--still relied most heavily on variations on, and enhancements of, O'Brien's techniques. Between JASON AND THE ARGONAUTS and STAR WARS there were some impressive pieces of visual fantasy, notably 2001: A SPACE ODYSSEY and LOGAN'S RUN, but they relied mostly on just extensive use of model work and other long-existing technologies. For STAR WARS a battery of new technologies was employed and for the first time since KING KONG special effects made a real quantum leap toward the goal of being able to create on the screen any scene that the mind's eye can create.
STAR WARS was obviously a ground-breaking film from the first moments of the film. Just showing a field of stars, STAR WARS did something that no other film had ever done. It panned the camera upward. That does not sound like much, but consider that not even 2001 had ever done it before. Space scenes had always been done with a fixed camera, and for a very good reason. It was more economical not to create a background of stars large enough to pan through. So scenes in space had always been done with a static camera, just like all scenes were done in the early days of film. I had never even realized that in all science fiction films I had seen, the space shots were done with a static camera until the instant I saw Lucas's 90-degree pan. Not a single model had shown on the screen and certainly not a single set or character and already the film was a one-of-a-kind!
When we do finally meet characters the first two we meet are robots with personalities that are a cliche now, but the closest I remember seeing before was the robot in LOST IN SPACE, who occasionally would lose his cool and yell, "Warning! Warning! Danger! Danger!" while gesticulating wildly. We have seen characters for all of two seconds on the screen before we again see that STAR WARS was unprecedented.
And the impact of STAR WARS continues right through the film. Scene after scene is done with an originality and sense of wonder totally unprecedented in the science fiction film. The audience reaction was nothing short of astounding. In Detroit, where the film played there was a difficult left turn to get to the theater parking lot. VARIETY reported that making that left turn had become the new summer sport in Detroit. The lines that queued up to see the film were legendary because in so many different ways the film delivered more than it had to. There was more bang per dollar of admission then perhaps any other film made to that point.
One thing the film delivered was a sparkling score by John Williams. Williams used a leit-motif approach, but composed many themes, each of which was attractive and which blended together into a very fine score that was reproduced--for the first time--with the process of Dolby sound. It gave a live-orchestral clarity to the score as well as allowing far more use of subliminal sound effects surrounding the audience. Many were barely perceptible to the ear but certainly helped to make the experience seem more believable.
This reality was further enhanced by the detail Lucas embued the film with. Small details--throwaways--that few filmmakers bother with were painstakingly added. In one scene after the visit to the cantina, we are watching the main characters in the background and the silhouettes of two spindly legs walk by in the foreground. Because that is not where the viewer's attention is at the time, many in the audience never even noticed the legs. To throw in unnecessary details and then purposely call the viewer's attention away so the details may well go unnoticed is a mark of a good craftsman.
A little more noticeable, though again unnecessary to the plot, is the skeleton shown in the background in a desert scene. Nobody in the script mentions the skeleton of some gargantuan desert creature, as if it is a perfectly normal sight. Similarly the speeder, which could have been easily made a wheeled vehicle, instead floats. No mention is made of the floating vehicle; again, the matter of fact acceptance of this wonder is what helps to make the film work.
More noticeable but equally unrequired to the plot are some breathtaking planetscapes, again of a scale that never had been used in science fiction films to that point. Films like THIS ISLAND EARTH or FIRST SPACESHIP ON VENUS had shown planetary landscapes but they used unconvincing models or matte paintings. ILM has since become known for very impressive backgrounds and spacescapes. STAR WARS was their debut.
A few more touches, perhaps not as original, but which were unexpected, should be mentioned. One is the use of two distinguished actors in major roles. Getting Sir Alec Guinness to appear in any science fiction film is something of a wonder. His first response on seeing the script was reportedly, "Oh crumbs, this isn't for me." He enjoyed the script sufficiently, however, that he changed his mind. More so than even actors like Olivier or Gielgud, Guinness has been selective of his parts and his presence in this film puts STAR WARS in fine company. Peter Cushing was then, as he is now, perhaps the most accomplished and beloved of actors specializing in fantasy roles.
Another unusual touch is the pacing. The audience comes in with the story already in progress. The viewer has to catch up by reading the screen explanation rolling by, then is immediately tossed into the action. This requires more from the audience, but that is far better than boring the audience with slow introductions. This style, borrowed from internal chapters of serials, might not work well outside of the fantasy genre, but captures audiences very effectively here.
It seems then that STAR WARS was an innovative film, every bit as much as was CITIZEN KANE. Had this much innovation been lavished on a mainstream film it would be considered an artistic triumph. As it was, it was a box- office champion, an accolade that perhaps meant even more, at least to its backers.
I would like to conclude this discussion with a comparison of the "Star Wars" films which purport to be a continuation of the same story but which I consider to be stylistically inferior to the first film. I will continue to call it STAR WARS, incidentally, in spite of the retitling to STAR WARS: A NEW HOPE.
When George Lucas made STAR WARS he had little expectation that it would become one of the most popular films ever made. In some ways that contributed to the artistic achievement. In the later films he knew what had worked well in the first film and could consciously repeat and effectively milk it. In the first film the line "I've got a bad feeling about this" was used and got a positive audience reaction. It even appeared on humorous buttons people wore at science fiction conventions. It was a good line, but its popularity prompted it to be used twice in THE EMPIRE STRIKES BACK.
Each of the STAR WARS treats aliens in a different manner, but the first film is by far the most satisfying treatment. In that film robots, intelligent non-humans (INH), and humans all interact in roughly the way people of different origins interact in New York City. STAR WARS takes place in a sort of melting-pot universe. We are introduced to many species of INH in STAR WARS. The only new one to be added in THE EMPIRE STRIKES BACK was Yoda. For that matter, Chewbacca is the only other INH in THE EMPIRE STRIKES BACK. Gone is the melting-pot universe. It was, however, back with a vengeance in RETURN OF THE JEDI.
In a documentary made by Lucasfilm, it was claimed that George Lucas was never happy with the aliens in STAR WARS and he was finally able to create the effect he wanted for RETURN OF THE JEDI.  While the aliens in STAR WARS were misshapen creatures designed by Ralph McQuarrie, Ron Cobb, and Rick Baker, RETURN OF THE JEDI featured aliens like Sly Snoodles, a singing elephant with lips on the end of her nose. Also, there is Salacious Crumb, a rather obvious muppet who looks like he would be more at home on FRAGGLE ROCK than in a major motion picture.  Of somewhat higher quality are the pig guards, but they are reminiscent of Earth creatures and look like something out of a fairy tale. Only Jabba the Hut seems sufficiently alien and he resembles a caterpillar. The aliens are cute and not crisply done like the creatures in STAR WARS.
And speaking of cute, Lucas at one point said the third film would take place in large part on the Wookie planet. But Wookies would not have made very good toys and certainly not new toys, so Lucas reversed the syllables in Wookie and got Ewok, a lovable, merchandisable teddy bear.
There is also a question of realism. In the first film we see a guerilla attack on the Death Star; the second has the Empire crushing a rebel base; the third has the killing of Jabba and his crew and the Empire fighting the teddy bear Ewoks. So in which of the three films do we see the greatest number of allies of the rebellion killed? By far, the answer is the first film. Not even counting Lars and Beru, who were innocent bystanders, more allies were killed in the attack on the Death Star, which was done reasonably realistically, than in all the battles in the later films. In RETURN OF THE JEDI one Ewok is apparently killed, I think, and one is knocked out by his own bolo. Very few "good-guys" are killed in THE EMPIRE STRIKES BACK, in spite of the apparent darker tone of the second film.
Because of all the points mentioned above and because so much more of Lucas's creativity went into the first film, for which a universe was created--the other two films just used, and only in minor ways amplified on, this universe--I still contend it was the best of the three films and will remain the "Star Wars" film most people will remember. In 2077, it will be the best-remembered "Star Wars" film.
Mark R. Leeper ihnp4!mtgzz!leeper<EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


6 Phases of Website Design and Development
1 - Client’s needs and goals
- Communication
- Most important part
2 - Planning
- Research
- Know your competitors
3 - Sitemap and Wireframes
Sitemap and Wireframe shown next
Sitemap
Wireframe
4 - Design and Development
- Consistency
- Put everything together
- Code
5 - Testing and Delivery
- Make sure everything is working
- SEO - Search Engine Optimization
6 - Launch
- Most exciting part
- Maintenance


Class SnapPointFinder
Ths class serves as a parameter to FindSnapPoint(SnapPointFinder).
It keeps the best snappoint, the object, which caused it and the distance
to the mouse point.
Inheritance
System.Object
SnapPointFinder
Inherited Members
System.Object.Equals(System.Object)
System.Object.Equals(System.Object, System.Object)
System.Object.GetHashCode()
System.Object.GetType()
System.Object.MemberwiseClone()
System.Object.ReferenceEquals(System.Object, System.Object)
System.Object.ToString()
Assembly: CADability.dll
Syntax
public class SnapPointFinder
Constructors
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SnapPointFinder()
Declaration
Fields
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BasePoint
Declaration
public GeoPoint BasePoint
Field Value
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BasePointValid
Declaration
public bool BasePointValid
Field Value
| Type |
Description |
| System.Boolean |
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BestDist
Declaration
Field Value
| Type |
Description |
| System.Double |
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BestObject
Declaration
public IGeoObject BestObject
Field Value
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DidSnap
Declaration
public SnapPointFinder.DidSnapModes DidSnap
Field Value
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faceDist
Declaration
Field Value
| Type |
Description |
| System.Double |
|
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FilterList
Declaration
public FilterList FilterList
Field Value
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IgnoreList
Declaration
public GeoObjectList IgnoreList
Field Value
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MaxDist
Declaration
Field Value
| Type |
Description |
| System.Double |
|
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pickArea
Declaration
public Projection.PickArea pickArea
Field Value
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Projection
Declaration
public Projection Projection
Field Value
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Snap30
Declaration
Field Value
| Type |
Description |
| System.Boolean |
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Snap45
Declaration
Field Value
| Type |
Description |
| System.Boolean |
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SnapGlobalOrigin
Declaration
public bool SnapGlobalOrigin
Field Value
| Type |
Description |
| System.Boolean |
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SnapLocalOrigin
Declaration
public bool SnapLocalOrigin
Field Value
| Type |
Description |
| System.Boolean |
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SnapMode
Declaration
public SnapPointFinder.SnapModes SnapMode
Field Value
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SnapPoint
Declaration
public GeoPoint SnapPoint
Field Value
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SnapPointIndex
Declaration
public int SnapPointIndex
Field Value
| Type |
Description |
| System.Int32 |
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SourceBeam
Declaration
Field Value
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SourcePoint
Postition of the source point on the projection plane
Declaration
public GeoPoint2D SourcePoint
Field Value
Properties
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AdjustOrtho
Declaration
public bool AdjustOrtho { get; }
Property Value
| Type |
Description |
| System.Boolean |
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SnapToDropPoint
Declaration
public bool SnapToDropPoint { get; }
Property Value
| Type |
Description |
| System.Boolean |
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SnapToFaceSurface
Declaration
public bool SnapToFaceSurface { get; }
Property Value
| Type |
Description |
| System.Boolean |
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SnapToGridPoint
Declaration
public bool SnapToGridPoint { get; }
Property Value
| Type |
Description |
| System.Boolean |
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SnapToIntersectionPoint
Declaration
public bool SnapToIntersectionPoint { get; }
Property Value
| Type |
Description |
| System.Boolean |
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SnapToObjectCenter
Declaration
public bool SnapToObjectCenter { get; }
Property Value
| Type |
Description |
| System.Boolean |
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SnapToObjectPoint
Declaration
public bool SnapToObjectPoint { get; }
Property Value
| Type |
Description |
| System.Boolean |
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SnapToObjectSnapPoint
Declaration
public bool SnapToObjectSnapPoint { get; }
Property Value
| Type |
Description |
| System.Boolean |
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SnapToTangentPoint
Declaration
public bool SnapToTangentPoint { get; }
Property Value
| Type |
Description |
| System.Boolean |
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SnapToZero
Declaration
public bool SnapToZero { get; }
Property Value
| Type |
Description |
| System.Boolean |
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SourcePoint3D
Declaration
public GeoPoint SourcePoint3D { get; }
Property Value
| Type |
Description |
| GeoPoint |
Gets the source point (which is the mouse position on the projection plane)
as a 3D point. Together with the direction of the projection this makes a
line that is perpendicular to the screen and goes through the mouse point.
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Methods
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Accept(IGeoObject)
Declaration
public bool Accept(IGeoObject toTest)
Parameters
Returns
| Type |
Description |
| System.Boolean |
|
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Check(GeoPoint, IGeoObject, SnapPointFinder.DidSnapModes)
The IGeoObject obj offers the point p as a snappoint in the given mode.
This method checks whether to use this point as the closest snap point.
This method is typically called by GeoObjects from the FindSnapPoint(SnapPointFinder) method.
Declaration
public void Check(GeoPoint p, IGeoObject obj, SnapPointFinder.DidSnapModes mode)
Parameters
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Init(Point, Projection, SnapPointFinder.SnapModes, Int32)
Declaration
public void Init(Point SourcePoint, Projection projection, SnapPointFinder.SnapModes SnapMode, int MaxDist)
Parameters
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Init(Point, Projection, SnapPointFinder.SnapModes, Int32, GeoPoint)
Declaration
public void Init(Point SourcePoint, Projection projection, SnapPointFinder.SnapModes SnapMode, int MaxDist, GeoPoint BasePoint)
Parameters
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SnapHierarchy(SnapPointFinder.DidSnapModes)
Declaration
public int SnapHierarchy(SnapPointFinder.DidSnapModes mode)
Parameters
Returns
| Type |
Description |
| System.Int32 |
|


Written test, January 29 2019
You can find the text of the written test and the solutionsWritten test, September 6 2018
Please find the text and the solution of the first problem. PDFs of all the solutions are available too: Should you like it, you can see the original document/programs (and download the source code from the page top menu)Written test, July 16 2018
The text of the written test and its solution.Written test, July 02 2018
The text of the written test and its solution.Homeworks
Homework #3. I have posted the solutions; were you interested in the source code, the notebooks used to generate the solutions, a couple of links are present inside the PDF document.
Homework #3, Errata Corrige:
the displacement for
$\tau>2$ is not equal to $0$ but to $1$; I have also
clarified the dimensionality of $u_\mathcal{A}$. The PDF
file linked below has been updated to reflect the
corrections.
Homework #2, 2018-04-05: the text, the solution of problem n.1 and the solution of problem n.2.
Homework #1, 2018-03-15: the text and the solutions.
I have also separately posted the EP solution of the third problem , 'cause it's longish altough simple.
Exam
The exam consists in a classroom written test and an oral test.
The written test, mostly an admission test for the oral,
consists in a set of problems that require no software for
their solution.
The problems will be similar to the
homeworks' ones (see below) but simpler. Last year's
written tests, as well as reference solutions,
are available on site.
The oral test consists in a Q&A session, you are expected to be able to discuss all the different topics of the course.
Organization of the course
This year we'll have 14 classes, starting February 27th and ending April 19th, three of which will be tutorial sessions (Thu Mar 15th, Thu Apr 5th and Thu Apr 19th)
Following each tutorial you will receive homework problems to solve (possibly working with your colleagues) and hand in. Even if the homeworks have no direct influence on the admission to the oral or on your final mark, they are useful to help you focus your preparation and get ready for the written test.
The slides I use will be posted here after each class,
as well as solved problems and other classroom materials
[1], if you want to have a look at the
slides before a
class, last year's slides are a
click away
Please understand that the
slides , etc, are not a substitute for a
real textbook.
[1] Other classroom materials means, mostly, small computer programs.
Recommended textbooks
- Anil K.Chopra, Dynamics of Structures (Theory and Applications to Earthquake Engineering), 4th ed.
- Ray W. Clough, Joseph Penzien,
Dynamics of Structures.
This classic text is solely sold by the software house linked above. You can find an used copy with a bit of luck.
The course is mostly inspired by Clough and Penzien's book, but for many topics it follows Chopra's approach and examples. Should you prefer to buy a single book, my advice is "Buy Chopra's".
Note that
- former editions of Chopra's book are perfectly OK for my course and can be found at lower prices, both used or new,
- a fair number of copies of Chopra's book (3rd ed.) are available from the Campus Library in Lecco.
Homeworks & Software
Quite a few homework problems require you to plot a time series or to perform some matrix algebra, but most spreadsheets (say Excel or Calc) can do these things.
However it may be simpler to write some computer programs that solve the problems, using Mathematica or MATLAB (or Matlab's free clone Octave) or Python or ... to perform the computations and generate the plots.
Politecnico's students can freely download the proprietary software I mentioned (Excel, Mathematica, MATLAB ) as well as many other proprietary applications and development tools, from a specific Politecnico site. OTOH Calc, Octave, Python etc are Open Source software.
The software examples that I'll discuss in class are in Python (really easy to read even for the inexperienced). To have an idea of the language here it is the solution of a recently assigned problem presented as a notebook, while the software used in tutorials is MATLAB .


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Markdown For Typora
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Markdown supports two style of links: inline and reference.
In both styles, the link text is delimited by [square brackets].
To create an inline link, use a set of regular parentheses immediately after the link text’s closing square bracket. Inside the parentheses, put the URL where you want the link to point, along with an optional title for the link, surrounded in quotes. For example:
This is [an example](http://example.com/ "Title") inline link.
[This link](http://example.net/) has no title attribute.
will produce:
This is an example inline link. (
This is
)
This link has no title attribute. (
This link has no
)
Internal Links
You can set the href to headers, which will create a bookmark that allow you to jump to that section after clicking. For example:
Command(on Windows: Ctrl) + Click This link will jump to header Block Elements
. To see how to write that, please move cursor or click that link with ⌘
key pressed to expand the element into markdown source.
Reference Links
Reference-style links use a second set of square brackets, inside which you place a label of your choosing to identify the link:
This is [an example][id] reference-style link.
Then, anywhere in the document, you define your link label like this, on a line by itself:
[id]: http://example.com/ "Optional Title Here"
In typora, they will be rendered like:
This is an example reference-style link.
The implicit link name shortcut allows you to omit the name of the link, in which case the link text itself is used as the name. Just use an empty set of square brackets — e.g., to link the word “Google” to the google.com web site, you could simply write:
[Google][]
And then define the link:
[Google]: http://google.com/
In typora click link will expand it for editing, command+click will open the hyperlink in web browser.
URLs
Typora allows you to insert urls as links, wrapped by <
brackets>
.
<EMAIL_ADDRESS>becomes<EMAIL_ADDRESS>Typora will aslo auto link standard URLs. e.g: www.google.com.
Images
Image looks similar with links, but it requires an additional !
char before the start of link. Image syntax looks like this:
![Alt text](/path/to/img.jpg)
![Alt text](/path/to/img.jpg "Optional title")
You are able to use drag & drop to insert image from image file or we browser. And modify the markdown source code by clicking on the image. Relative path will be used if image is in same directory or sub-directory with current editing document when drag & drop.
If you’re using markdown for building websites, you may specify a url prefix for image preview in local computer with property typora-root-url
in YAML Front Matters. For example, input typora-root-url:/User/Abner/Website/typora.io/
in YAML Front Matters, and then ![alt](/blog/img/test.png)
will be treated as ![alt](file:///User/Abner/Website/typora.io/blog/img/test.png)
in typora.
Emphasis
Markdown treats asterisks (*
) and underscores (_
) as indicators of emphasis. Text wrapped with one *
or _
will be wrapped with an HTML
tag. E.g:
*single asterisks*
_single underscores_
output:
single asterisks
single underscores
GFM will ignores underscores in words, which is commonly used in code and names, like this:
wow_great_stuff
do_this_and_do_that_and_another_thing.
To produce a literal asterisk or underscore at a position where it would otherwise be used as an emphasis delimiter, you can backslash escape it:
\*this text is surrounded by literal asterisks\*
Typora recommends to use *
symbol.
Strong
double *’s or _’s will be wrapped with an HTML
tag, e.g:
**double asterisks**
__double underscores__
output:
double asterisks
double underscores
Typora recommends to use **
symbol.
Code
To indicate a span of code, wrap it with backtick quotes (`). Unlike a pre-formatted code block, a code span indicates code within a normal paragraph. For example:
Use the `printf()` function.
will produce:
Use the printf()
function.
Strikethrough
GFM adds syntax to create strikethrough text, which is missing from standard Markdown.
~~Mistaken text.~~
becomes ~~Mistaken text.~~
Underline
Underline is powered by raw HTML.
Underline
becomes Underline.
Emoji :happy:
Input emoji with syntax :smile:
.
User can trigger auto-complete suggestions for emoji by pressing ESC
key, or trigger it automatically after enable it on preference panel. Also, input UTF8 emoji char directly from Edit
-> Emoji & Symbols
from menu bar is also supported.
Inline Math
To use this feature, first, please enable it in Preference
Panel -> Markdown
Tab. Then use $
to wrap TeX command, for example: $\lim_{x \to \infty} \exp(-x) = 0$
will be rendered as LaTeX command.
To trigger inline preview for inline math: input “$”, then press ESC
key, then input TeX command, a preview tooltip will be visible like below:
Subscript
To use this feature, first, please enable it in Preference
Panel -> Markdown
Tab. Then use ~
to wrap subscript content, for example: H~2~O
, X~long\ text~
/
Superscript
To use this feature, first, please enable it in Preference
Panel -> Markdown
Tab. Then use ^
to wrap superscript content, for example: X^2^
.
Highlight
To use this feature, first, please enable it in Preference
Panel -> Markdown
Tab. Then use ==
to wrap superscript content, for example: ==highlight==
.
-
Here is the text of the footnote. ↩
Comments
comments powered by Disqus


|
.NET Framework | |||||||||
| PREV TYPE NEXT TYPE | FRAMES NO FRAMES | |||||||||
| SUMMARY: INNER | FIELD | CONST | PROP | METHOD | OP | EVENT | DETAIL: FIELD | CONST | PROP | METHOD | OP | EVENT |
| Method Summary | |
|---|---|
| string |
getLoaderNameForResource(string resourceName) Determines is a template exists, and returns name of the loader that provides it. This is a slightly less hokey way to support the Velocity.templateExists() utility method, which was broken when per-template encoding was introduced. We can revisit this. * |
| NVelocity.Runtime.Resource.Resource |
getResource(string resourceName, int resourceType, string encoding) Gets the named resource. Returned class type corresponds to specified type (i.e. Templateto RESOURCE_TEMPLATE). * |
| void |
initialize(NVelocity.Runtime.RuntimeServices rs) A template resources. A static content resource. Initialize the ResourceManager. It is assumed that assembleSourceInitializers() has been called before this is run. |
| Method Detail |
|---|
public string getLoaderNameForResource(string resourceName)
Determines is a template exists, and returns name of the loader that provides it. This is a slightly less hokey way to support the Velocity.templateExists() utility method, which was broken when per-template encoding was introduced. We can revisit this. *
Parameters:
resourceName
- Name of template or content resource
public NVelocity.Runtime.Resource.Resource getResource(string resourceName, int resourceType, string encoding)
Gets the named resource. Returned class type corresponds to specified type (i.e.
Templateto
RESOURCE_TEMPLATE). *
Parameters:
resourceName
- The name of the resource to retrieve.
resourceType
- The type of resource (RESOURCE_TEMPLATE,
RESOURCE_CONTENT, etc.).
encoding
- The character encoding to use.
public void initialize(NVelocity.Runtime.RuntimeServices rs)
A template resources. A static content resource. Initialize the ResourceManager. It is assumed that assembleSourceInitializers() has been called before this is run.
|
.NET Framework | |||||||||
| PREV TYPE NEXT TYPE | FRAMES NO FRAMES | |||||||||
| SUMMARY: INNER | FIELD | CONST | PROP | METHOD | OP | EVENT | DETAIL: FIELD | CONST | PROP | METHOD | OP | EVENT |


In the autumn of 2007, BMW M launched the fourth generation BMW M3 E92 sports coupé. Two further launches followed in 2008, as the high-performance vehicle was made available in three body styles: the E92 Coupé, the E93 Convertible and, for the first time since the E36, as the E90 Sedan. Just like their predecessors, the models set new standards in terms of technology and driving dynamics. But one new feature in particular was to make the headlines: never before had the BMW M3 been powered by an eight-cylinder engine.
The BMW M4 Coupé sharpens its iconic character: with the BMW M4 Edition ///M Heritage, BMW M GmbH celebrates the importance of this high-performance car and its services to BMW M’s brand values. The 331 kW (450 hp) special model has been granted particularly exclusive status thanks to a limited production of just 750 units worldwide. The premiere of the BMW M4 Heritage Edition will take place at the German Touring Car Masters (DTM) races at the Nürburgring on 13 to 15 September 2019.
At the IAA 2011 in Frankfurt, the fifth generation of the BMW M5 celebrated its world premiere – ringing in a new era in the motorisation of M automobiles. The performance characteristics have been re-defined: the fifth BMW M5 has transformed from a sports sedan into a power sedan and just in time for its 30-year anniversary in 2014.


new Chat(user_id)
Client side model of a chat connected to a chat handle and a websocket connection
Parameters:
| Name | Type | Description |
|---|---|---|
user_id |
int | ID of the user that initialized this chat object |
- Source:
Methods
(static) Init(user_id) → {Chat}
Initialize and return a new Chat object
Parameters:
| Name | Type | Description |
|---|---|---|
user_id |
int | The user that initialized the chat |
- Source:
Returns:
The chat object that was created
- Type
- Chat
addHandle(handle) → {boolean}
Adds a chat handle to the internal list of chat handles for the active chat object
Parameters:
| Name | Type | Description |
|---|---|---|
handle |
ChatHandle | The handle to add |
- Source:
Returns:
Returns true on success, false otherwise
- Type
- boolean
callEvent(event, params) → {void}
Fire an event with given parameters provided as an object with key/value pairs
Parameters:
| Name | Type | Description |
|---|---|---|
event |
string | The name of the event to fire |
params |
object | Object containing event data/parameters |
- Source:
Returns:
- Type
- void
clearEvents() → {void}
Remove all events from the event listener list
- Source:
Returns:
- Type
- void
connect(url, callback) → {void}
Connect to the chat server and set up listeners
Parameters:
| Name | Type | Description |
|---|---|---|
url |
string | Server address |
callback |
function | Function to be run once the connection is established (not implemented) |
- Source:
Returns:
- Type
- void
createHandle(a, b, g) → {void}
Create a new chat handle between two users, or for a group
Parameters:
| Name | Type | Description |
|---|---|---|
a |
int | ID for user A |
b |
int | ID for user B |
g |
int | Group ID |
- Source:
Returns:
- Type
- void
displayMessage(chatMessage) → {void}
Output a message to the chat output object
Parameters:
| Name | Type | Description |
|---|---|---|
chatMessage |
ChatMessage | The message to output |
- Source:
Returns:
- Type
- void
getChatHandles() → {void}
Request the list of chat handles for the current active user from the chat server
- Source:
Returns:
[description]
- Type
- void
getUserProfile(user_id) → {void}
Request a profile for a specific user from the chat server
Parameters:
| Name | Type | Description |
|---|---|---|
user_id |
int | ID of the user for whom to request profile |
- Source:
Returns:
- Type
- void
on(event, callback) → {void}
Register an event listener
Parameters:
| Name | Type | Description |
|---|---|---|
event |
string | Name of the event |
callback |
function | Function to call when event is fired |
- Source:
Returns:
- Type
- void


This is a title for a card
A summary will also be present. Usually two to three brief sentences about the content on the detail
page. A summary will also be present. Usually two to three brief sentences about the content on the
detail...
Released Date: June 18th, 2015
This is a title for a card that is a bit longer in length
Each card is created from an <a> tag so the whole card is linked.
Each card is created from an <a> tag so the whole card is linked.
Each card is created from an <a> tag so the whole card is linked.
Published: June 18th, 2015
This is a title for a card
Using Flexbox is such a an easy, well supported way for grid-style content, such as cards. The cards
height will expand to match the longest item.
Published: June 18th, 2015
This is a title for a card
A summary will also be present. Usually two to three brief sentences about the content on the detail
page.
Published: June 18th, 2015
This is a title for a card that is a bit longer in length
Each card is created from an <a> tag so the whole card is linked.
Published: June 18th, 2015
This is a title for a card
Using Flexbox is such a an easy, well supported way for grid-style content, such as cards. The cards
height will expand to match the longest item.
Published: June 18th, 2015


Hi, My name is Jacob Hedgecock.  I look forward to learning in this class. I also enjoy Pokemon. Gotta catch 'em all!


automl_infrastructure.pipeline package¶
Subpackages¶
Submodules¶
automl_infrastructure.pipeline.base module¶
-
class
automl_infrastructure.pipeline.base.
Pipeline
(name, steps)¶ Bases:
automl_infrastructure.classifiers.base.Classifier
- Parameters
name (str) – name of the classifier (e.g. ‘lr1).
features_cols (list of str ,optional) – features list that the classifier should work on, while ignoring other features.
-
property
last_step
¶
-
property
steps
¶
-
fit
(X, y)¶ Training method on a given dataset with labels.
- Parameters
x (pandas.DataFrame) – the training dataset. Note that the training dataset may contain features of type vector (list or numpy.array).
y (pandas.Series or list) – labels of the training dataset.
kwargs –
-
predict
(X)¶ The method receive a features dataset, and returns a class prediction for each row.
- Parameters
x (pandas.DataFrame) –
the features dataset.
Note that the training dataset may contain features of type vector (list or numpy.array).
- Returns
list or numpy.array of classes predictions
-
predict_proba
(X)¶ The method receive a features dataset, and returns classes probability prediction for each row.
- Parameters
x (pandas.DataFrame) –
the features dataset.
Note that the training dataset may contain features of type vector (list or numpy.array).
- Returns
list or numpy.array of classes probability predictions (may be also list or numpy.array).
Note that the classes probability list order must be natively sorted (e.g. for string, alphabetically).
-
set_params
(params)¶ Sets hyper-params of the classifier.
- Parameters
params (dict of {str: Any}) – dictionary of parameters value by their name (e.g. {‘C’ : 1.0}).
-
get_params
(deep=True)¶ Getter for the classifier hyper-params.
- Parameters
deep (bool ,optional) – for complex classifiers, weather to return params of inner classifiers.
- Returns
the classifier hyper-params.


Google jsapi example
Gapi
Autoload on start
Load
Auth
Make sure you have created a project in your
developer console
CLIENT ID
SCOPES (comma separated - example: email,https://www.googleapis.com/auth/drive.file)
Force approval prompt
Auto signin on start
Authorize


George Michael was proud to be gay, says sister as she hits back at Elton John
Melanie Panayiotou has disputed Elton's recent claims that the Wham! singer was 'uncomfortable in his skin about being gay'
by Nicola Methven, https://www.mirror.co.uk/authors/nicola-methven/George Michael’s sister has hit back at Sir Elton John’s claims that the late singer was uncomfortable with his sexuality.

The Rocket Man singer also told a US talk show that Michael, who died on Christmas Day 2016 aged 53, “didn’t want to be here”, as he claimed he had tried to help him overcome his addictions.
But Melanie Panayiotou insists in The Big Issue that the Careless Whisper singer was “my ‘very proud to be gay’ brother, contrary to what you may have read recently”.
Sir Elton and Michael both sang on the hit Don’t Let The Sun Go Down On Me.
Michael suffered health scares and fought drug addiction for years before his death from heart disease and a build-up of fat in his liver, which can be linked to drug and alcohol abuse.

“I thought I had fallen in love with a woman a couple of times. Then I fell in love with a man, and realised that none of those things had been love.”
Following his death, Michael was praised for his work as a prominent gay rights campaigner.
- The Big Issue is available for £2.50


Hello Static Site Generator
Posted on Thu 03 August 2017 in 2017
Pelican Powered blog for hyphenOs
Traditionally, if one wanted to host a blog, one would typically be doing something like Wordpress or Blogger. However writing blogs there is extremely inconvenient to say the list. Plus you want to version control your blog and so on. The solution to these problems is typically - the Static File Generators like Jekyll or Pelican. Well, there are a number of those if one thinks that the above choices are rather limited :-).
Advantage of Jekyll
is, it is natively supported by Github Pages thus making it easier to use that if you want to quickly get started with your own GitHub page foo.github.io
. The interested people can read the documentation and get started.
For hyphenOs
blog, I wanted to use pelican FWIW. A small issue with this is - since it's not natively supported by Github Pages, it's a bit of an issue to keep track of your posts and also making sure your generated output is pushed to a respective git submodule
to achieve this. Note: what is described can as well work with gh-pages repo (or I hope so.).
This approach is explained in a couple of blog posts and I am pretty sure there are many more who go into a lot of details. What I am going to describe here is simply how to use output
and theme
directory as git submodule
, so that everything is version controlled.
We basically need three repositories here -
- Content repository - Typically you could create a directory with name blog here. For instance I use directory hyphenos-blog to keep all the content.
- Output repository - This is where your 'site' will be generated. So for this particular blog I use hyphenOs.github.io.
- Theme repository - This is where you will use from a lot of publicly available themes. One can use whichever, but the best choice is to use Get Pelican's own Theme Repository. A very interesting thing about this repository is - a number of themes themselves are available as
git submodules
, making it easier to experiment with different themes.
What we are essentially going to do is Output repository and Theme repository are going to be git submodules
of our Content repository. So the work-flow becomes.
- Initialize Content Repository (see below for more details).
- Add Output repository as
git submodule
(git submodule add https://path-to-your.git output
) - Add Theme repository as
git submodule
(git submodule add https://github.com/getpelican/pelican-themes themes
) - Add Content to your repository Using Markdown or RST or any Pelican supported Syntax.
- Run
make
. (Wow!)
Initializing the Content
Normally, in any Python project, I make use of virtualenv
. This helps in more than one ways especially if you are working with many Python based projects simultaneously. Since Pelican is written in Python and we are going to make use of it to generate our site, as usual, I start with a virtualenv
.
$virtualenv venv
and thenvenv/bin/pip install pelican
. Since I am going to use Markdown, I alsovenv/bin/pip install markdown
. After this- Run
venv/bin/pelican-generator
utility to set blog wide defaults (be sure to create aMakefile
, it's very convenient.). - Next we should edit the
Makefile
to point to correct Python and Pelican executables. ChangePY?=python
toPY?=venv/bin/python
and similarly forPELICAN?=pelican
toPELICAN?=venv/bin/pelican
in the Makefile. - Start writing stuff.
- When done simply do a
make html
and then finally. git push
the 'output' directory where the blogs are generated.
Changing Theme
In order to use the non-standard theme, one downloaded from the Themes repository above, one can simply add a variable like THEME = themes/Flex
to pelicanconf.py
file. To be able to use this - you have to do git submodule update --remote --recursive
inside the themes/Flex
directory, since that itself is a git submodule
. Since I am not interested in all the themes now, I am not doing a git submodule init
here. Instead I am just taking whatever I am interested in.
Conclusion
This is a very easy way of maintaining your blog in a git repo.


How To Download And Install Vmware Host Client Utility On Esxi 5 5
Vmware Vsphere Client Download Page Esx Virtualization
ここが変わった Vmware Vsphere 6 5 Part4 Vmware Japan Blog
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WELCOME
LETS PLAY A GAME
You have 10 guesses.
Guess what letter I'm thinking of from a-z.
Wins: 0
Losses: 0
Guesses Left: 10
Your guesses so far:


When running an applet in a browser using the Sun Java Runtime Environment (JRE), if the applet makes HTTP requests to a server that redirects the request to an HTTPS URL, the redirection fails. The redirection also fails in the case of making HTTPS requests to a server that redirects the request to an HTTP URL. The same applet runs without any error in the Microsoft Virtual Machine (VM).
The issue is caused by the HTTP or HTTPS redirection policy implemented in Sun JRE. Because of serious security consequences, redirection between HTTP and HTTPS is not automatically followed.
When an applet is run in a browser using the Microsoft VM, a security warning dialog prompts the user for his consent to redirect. Redirection fails if the user does not consent to it.
The application which runs the applet in a browser needs to check the response code and recognize it as a redirect. The Location header field value can be checked for the redirect information, and then the application must decide whether or not to follow the redirect using the new protocol. For example, if the following code is available in an application:
public void makeConnection(URL url)
{
URLConnection conn = url.openConnection();
InputStream is = conn.getInputStream();
....
is.close();
}
the above code should be changed to the following code:
private InputStream openConnectionCheckRedirects(URLConnection c) throws IOException
{
boolean redir;
int redirects = 0;
InputStream in = null; do
{
if (c instanceof HttpURLConnection)
{
((HttpURLConnection) c).setInstanceFollowRedirects(false);
} // We want to open the input stream before getting headers
// because getHeaderField() et al swallow IOExceptions.
in = c.getInputStream();
redir = false;
if (c instanceof HttpURLConnection)
{
HttpURLConnection http = (HttpURLConnection) c;
int stat = http.getResponseCode();
if (stat >= 300 && stat <= 307 && stat != 306 &&
stat != HttpURLConnection.HTTP_NOT_MODIFIED)
{
URL base = http.getURL();
String loc = http.getHeaderField("Location");
URL target = null;
if (loc != null)
{
target = new URL(base, loc);
}
http.disconnect();
// Redirection should be allowed only for HTTP and HTTPS
// and should be limited to 5 redirections at most.
if (target == null || !(target.getProtocol().equals("http")
|| target.getProtocol().equals("https"))
|| redirects >= 5)
{
throw new SecurityException("illegal URL redirect");
}
redir = true;
c = target.openConnection();
redirects++;
}
}
}
while (redir);
return in;
}
public void makeConnection(URL url){
try{
URLConnection conn = url.openConnection();
InputStream is = openConnectionCheckRedirects(conn);
....
is.close();
}catch (IOException e){ } }
None.


{% extends "vueAdmin/base_site.html" %} {% load i18n static %} {# site stylesheet section #} {% block extrastyle %} {{ block.super }} {% endblock %} {# site stylesheet section #} {% block app %}
{% trans "Something's wrong with your database installation. Make sure the appropriate database tables have been created, and make sure the database is readable by the appropriate user." %}


<?
xml
version
=
"
1.0
"
encoding
=
"
UTF-8
"
?>
<
Package
xmlns
=
"
http://soap.sforce.com/2006/04/metadata
"
>
<
types
>
<
members
>
*
</
members
>
<
members
>
{record.fullName}
</
members
>
<
name
>
{selectedMetadataType}
</
name
>
</
types
>
<
version
>
45.0
</
version
>
</
Package
>
$ sfdx force:source:retrieve -m {selectedMetadataType}:{sfdxOutput}


1 reference to GetDepthOfSerialization
Microsoft.PowerShell.Commands.Utility (1)
commands\utility\CustomSerialization.cs (1)
737
depth =
GetDepthOfSerialization
(source, depth);


Common Node
-
all
-
assert
Assertion library covering CommonJS Unit Testing.
-
binary
Binary, ByteArray and ByteString classes as defined in CommonJS Binary/B.
-
fs-base
File and path related functionality as defined in CommonJS Filesystem/A .
-
httpclient
HTTP Client as defined in CommonJS HTTP Client/A.
-
io
Stream and TextStream classes as per CommonJS IO/A as well as a ByteArray based in memory MemoryStream.
-
jsgi
HTTP server interface as defined in CommonJS JSGI 0.3.
-
system
System module compliant with the CommonJS System/1.0 specification. Additional non-standard methods for sleeping on the current thread, spawning a new thread and spawning processes are provided.
-
test
Runs tests as defined in CommonJS Unit Testing.


Assignment 04
Link to ClubMeNow App:
Club Distance List
Link to General Exercises:
General Exercises
Return to landing page:
Return


The Cancel Tasks API allows cancellation of a currently running task.
A CancelTasksRequest
:
CancelTasksRequest request = new org.elasticsearch.client.tasks.CancelTasksRequest.Builder()
.withNodesFiltered(Arrays.asList("nodeId1", "nodeId2"))
.withActionsFiltered(Collections.singletonList("cluster:*"))
.build();
There are no required parameters. The task cancellation command supports the same
task selection parameters as the list tasks command.
CancelTasksRequest byTaskIdRequest = new org.elasticsearch.client.tasks.CancelTasksRequest.Builder()
.withTaskId(new org.elasticsearch.client.tasks.TaskId("myNode",44L))
.withWaitForCompletion(true)
.build();
|
|
Cancel a task
|
|
|
Cancel only cluster-related tasks
|
|
|
Should the request block until the cancellation of the task and its child tasks is completed.
Otherwise, the request can return soon after the cancellation is started. Defaults to false .
|
|
|
Cancel all tasks running on nodes nodeId1 and nodeId2
|
Synchronous Executionedit
CancelTasksResponse response = client.tasks().cancel(request, RequestOptions.DEFAULT);
Asynchronous Executionedit
The asynchronous execution requires CancelTasksRequest
instance and an
ActionListener
instance to be passed to the asynchronous method:
client.tasks().cancelAsync(request, RequestOptions.DEFAULT, listener);
|
|
The CancelTasksRequest to execute and the ActionListener to use
when the execution completes
|
The asynchronous method does not block and returns immediately. Once it is
completed the ActionListener
is called back using the onResponse
method
if the execution successfully completed or using the onFailure
method if
it failed.
A typical listener for CancelTasksResponse
looks like:
ActionListener<CancelTasksResponse> listener =
new ActionListener<CancelTasksResponse>() {
@Override
public void onResponse(CancelTasksResponse response) {
}
@Override
public void onFailure(Exception e) {
}
};
|
|
Called when the execution is successfully completed. The response is
provided as an argument
|
|
|
Called in case of a failure. The raised exception is provided as an argument
|
Cancel Tasks Responseedit
List<org.elasticsearch.client.tasks.TaskInfo> tasks = response.getTasks();
Map<String, List<org.elasticsearch.client.tasks.TaskInfo>> perNodeTasks = response.getPerNodeTasks();
List<org.elasticsearch.client.tasks.TaskGroup> groups = response.getTaskGroups();
|
|
List of cancelled tasks grouped by a node
|
|
|
List of cancelled tasks grouped by a parent task
|
List<org.elasticsearch.client.tasks.ElasticsearchException> nodeFailures = response.getNodeFailures();
List<org.elasticsearch.client.tasks.TaskOperationFailure> taskFailures = response.getTaskFailures();
|
|
List of node failures
|
|
|
List of task cancellation failures
|


Winter Art Fair Off the Square brings holiday spirit
by Stephen CohnMADISON, Wis. - From paintings to jewelry, people are shopping this weekend at the more than 130 booths at this year's Winter Art Fair Off the Square.
The artists are coming from all over Wisconsin to sell their artwork.
The fair is in its 30th year, and event organizers say it is the artists' holiday spirit that keeps the fair going.
"It's indoor, and it's the holiday show," said Executive Director Lezlie Blanton. "It's festive, and the patrons are excited."
The art fair wraps up Sunday at the Monona Terrace at 4 p.m.


DREAM WITH THE FISHES (Sony Pictures Classics - 1997) Starring David Arquette, Brad Hunt, Kathryn Erbe, Cathy Moriarty Screenplay by Finn Taylor Produced by Johnny Wow, Mitchell Stein Directed by Finn Taylor Running time: 97 minutes
*1/2 (out of four stars) Alternate Rating: D+
Note: Some may consider portions of the following text to be spoilers. Be forewarned.
-------------------------------------------------------------
It's rather easy to start tuning out after about twenty minutes of Finn Taylor's first feature film, DREAM WITH THE FISHES, when the plodding, tedious opening sequence finally pays off with a potentially provocative setup. Any hopeful expectations, however, are soon vanquished as the film settles upon being an uninvolving mismatched-buddy movie which is rarely as funny as it aspires to be nor nearly as affecting as it eventually strives to be in the film's latter half.
The film's central characters are Terry (David Arquette), a depressed, lonely voyeur who claims to be despondent since the death of his wife in an automobile accident, and Nick (Brad Hunt), a carefree young street tough later revealed to be terminally ill. Nick lives in the apartment building across from Terry, who spies on the trysts between Nick and girlfriend Liz (Kathryn Erbe) with his trusty set of binoculars, but the two young men first formally meet at the Bay Bridge where a half-drunk Terry precariously teeters upon the edge, unconvincingly vowing suicide. Nick casually asks for Terry's wristwatch, and eventually cons Terry into a trade - the watch for a bottle of pills. Of course, Terry finds that the pills do not end up having the presumed lethal effects, and he angrily sets out to find Nick in order to retrieve his watch. Learning of Nick's condition (he only has a handful of weeks left), Terry's compassion kicks in, and the two eventually come to a distinctly peculiar arrangement - Terry will agree to bankroll the dying Nick's lifelong fantasies, and Nick will fulfill Terry's death wish by killing him.
This is a promising premise, and Mr. Taylor's film could have gone any number of ambitious ways from this point, but he instead chooses to capitalise upon the obvious inversion of the characters (Terry is a repessed, mournful character who wants to die, while Nick is a free spirit with a joie de vivre who is dying but wants to live) and takes the easy route out by turning DREAM WITH THE FISHES into a typical lark where the two characters engage in a series of generally dull exploits, and where the straight-laced character learns to enjoy and ppreciate life when hooked up with a quirky character. This is by-the-numbers plotting, buddy movie/road movie redux.
However, DREAM WITH THE FISHES is most hampered not by its uninspired storyline, but by the characters which carry the story - it helps in such a film to have at least one of the protagonists be at least somewhat empathetic, if not likeable. Unfortunately, that is not the case here, where both of the film's leading characters are thorougly uninteresting and annoying, giving the audience very little to sympathise with their respective plights, and even less reason to want to follow their onscreen exploits. Far from a romp, this fatal flaw makes DREAM WITH FISHES more like a chore to endure than a playful jaunt, and undermines the attempts at emotional resonance in the latter stages of the film as the two men begin to bond.
Mr. Taylor's dialogue sporadically falls flat in DREAM WITH THE FISHES - while attempting to capture a quirky and clever tone, it too often comes across instead as hopelessly contrived (witness such lines as "You should have asked something more interesting, like 'Do you enjoy the pain?' - See, that's provocative, leaves room for further questions.") The film enjoys a few inspired moments - the urn scene, a session of nude bowling, the policeman joining in on Terry and Nick's acid trip - but unfortunatetely these instances are few and far between, and for the most part the humour in DREAM WITH THE FISHES registers more as attempts rather than actual successes. This occurs particularly often during the film's opening sequence - as Terry is wrestling the bedridden Nick for his watch in the hospital, I'm realising that this is *intended* to be funny, although nary a smile crept upon my lips - which is probably due to the obvious fact that it's painfully clear to the audience from the outset that Terry is going to be thwarted in his initial suicide attempts, sapping any element of surprise or amusement from Nick's scheme of tricking him; this is not a film which has the wherewithal to kill off its leading star in the opening ten minutes. The entire sequence is, then, clearly an exercise for character exposition, with attempts at humour terribly diminished by utter predictability.
Among the cast, coming off best is David Arquette, the current master in the portrayal of meek, squirming, stammering fresh-faced characters - he would have been terrific as the lead for George Huang's SWIMMING WITH SHARKS - who gets to apply his adeptness for timidity as Terry. Mr. Taylor ambitiously employs an interesting visual technique, where the portions of the film set in an urban environment have been processed to appear extremely grainy and heavily saturated, as opposed to a bright, crisp look for the smalltown scenes.
The charge of DREAM WITH THE FISHES's protagonists being wholly unempathetic is a bit of an odd one coming from me; I seem to have a predilection for films with unlikeable characters, and indeed, in many cases have I been in the minority, supporting films which have been condemned as interminable due to the difficult, audience-unfriendly nature of their characters. For DREAM WITH THE FISHES, though, I did find myself on the flip side of coin, often hoping that the film would quickly conclude, and that the Nick character would just hurry up and die.
- Alex Fung email<EMAIL_ADDRESS>web : http://www.ncf.carleton.ca/~aw220/
-- Alex Fung<EMAIL_ADDRESS>| http://www.ncf.carleton.ca/~aw220/ "At one point when berated and bloodied by her male military superior, Moore screams out a guttural invitation to him to enjoy partaking in the absorption of a certain anatomical member." - Dan Cox, VARIETY, on G.I. JANE
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


--- title: Projects slug: projects layout: default --- {% for post in site.categories.projects %}
{{ post.excerpt }}
navigate_next Read more


Hong Kong University Standoff: One Hundred Students Still Trapped
Supplies running out as police surround campus
by Deutsche WelleHong Kong leader Carrie Lam has called on the remaining roughly 100 protesters to surrender.
The siege has witnessed the most intense violence since anti-government demonstrations escalated more than five months ago.
Hong Kong leader Carrie Lam said Tuesday that an estimated 100 protesters remain trapped inside the city’s Polytechnic University for the third consecutive day of the siege by police.
Police have surrounded the university in the center of the bustling Kowloon peninsula and are arresting anyone who leaves.
Robert Barnes joins Alex Jones to discuss the latest developments in the Deep State coup.
Lam said 600 protesters had left the campus, including 200 who are under 18 years old, adding that those under 18 would not be arrested immediately but could face charges later. The other 400 who left have already been arrested.
“We will use whatever means to continue to persuade and arrange for these remaining protesters to leave the campus as soon as possible so that this whole operation could end in a peaceful manner,” Lam said after a meeting with her advisers.
She warned campus protesters must surrender if there was to be a peaceful resolution.
“This objective could only be achieved with the full cooperation of the protesters, including of course the rioters that they have to stop violence, give up the weapons and come out peacefully and take the instructions from the police,” she told a press conference in her first comments on the standoff.
The new phase of the protests has led to chaos throughout Asia’s financial hub, with schools closed, train lines disrupted and major roads blocked by barricades. Police say they have arrested around 1,100 people in the last 24 hours for charges including rioting and possessing an offensive weapon.
Social unrest has caused havoc across the city for more than five months.
ANTHONY WALLACE/AFP via Getty Images
Supplies running out
Demonstrators said supplies, including food, were quickly running out at the campus.
“There have been so many people who have sacrificed for this,” said one 21-year-old university student who had escaped from the campus on Tuesday.
Dozens of mask-wearing protesters were seen escaping the university on Monday night by sliding down plastic hosing from a bridge and fleeing on waiting motorbikes as police fired.
Two officials were permitted to enter the campus late on Monday in an attempt to mediate, but many protesters refused to leave voluntarily.
China sole authority
According to Chinese state media outlet Xinhua, Beijing insisted on Tuesday that only China had the authority to rule on constitutional matters in Hong Kong. It condemned the Hong Kong High Court decision to veto the ban on face masks during public demonstrations.
“No other institution has the right to make judgments or decisions,” said Chinese parliament spokesperson Zang Tiewei.
The Hong Kong High Court had ruled Monday that the mask ban enacted over a month ago by Lam was unconstitutional.
US Secretary of State Mike Pompeo said Monday that the US was “gravely concerned” about the protests and that the main responsibility for restoring peace rested with the government in Hong Kong.
The human rights office of the United Nations called for authorities to de-escalate the humanitarian situation, “which is clearly deteriorating,” for those holed up inside the university. Food supplies inside are said to be dwindling. The office added that protester violence was “deeply regrettable and cannot be condoned.”
Larry Nichols joins The Alex Jones Show to break down the corrupt establishment’s intentions to crush the will of the people.
The Black Friday sales have arrived early! Get up to 70% off our hottest products as well as free-shipping and double Patriot Points while the sale lasts!


Ocean [ai37], ocean, in The Inner Sea
Last updated Turn #108_bad
Ocean [ai37], ocean, in The Inner Sea
------------------------------------------------------------------------
19: Whalebone [fe4m], ship, 6 hulls, 1 rowing port, 18 sails, arrived from
19: Ocean [ai38], owner:
19: Toulouse [h1q], Pen, with 20 sailors, 15 lt. xbowmen
19: Jonathan [h9k], Pen, duke, with 39 pikemen, accompanied by:
19: Halmary [f9m], Pen, with one worker, 15 lt. xbowmen
20: Whalebone [fe4m], ship, 6 hulls, 1 rowing port, 18 sails, departed for
20: Ocean [ai36].
Routes leaving Ocean:
North, to Ocean [ah37], 6 days
East, to Ocean [ai38], 6 days
South, to Ocean [aj37], 6 days
West, to Ocean [ai36], 6 days


Initialisation
# of fireflies
Load Mountain Function
Load 2D Wave Function
Run time
Background
No background
Heightmap (colour)
Heightmap (greyscale)
Randomness α
Absorption coefficient γ
Randomness absorbtion δ
Reset
Next
Alert Best


Part II. Appendices
Prev
Next
Appendices
Table of Contents
A. Supported NVIDIA GPU Products
B. X Config Options
C. Display Device Names
D. GLX Support
E. Dots Per Inch
F. i2c Bus Support
G. VDPAU Support
Implementation Limits
Performance Levels
Getting the Best Performance from the API
Additional Notes
Debugging and Tracing
Multi-threading
H. Audio Support
I. Tips for New Linux Users
J. Application Profiles
Introduction
Enabling Application Profiles in the OpenGL Driver
Application Profile Search Path
Configuration File Syntax
Extended Backus-Naur Form (EBNF) grammar
Rule Precedence
Configuration File Example
Supported Features
List of supported application profile settings
K. GPU Names


| PostgreSQL 9.5.19 Documentation | |||
|---|---|---|---|
| Prev | Up | Chapter 6. Data Manipulation | Next |
Sometimes it is useful to obtain data from modified rows while they are being manipulated. The INSERT, UPDATE, and DELETE commands all have an optional RETURNING clause that supports this. Use of RETURNING avoids performing an extra database query to collect the data, and is especially valuable when it would otherwise be difficult to identify the modified rows reliably.
The allowed contents of a RETURNING clause are the same as a SELECT command's output list (see Section 7.3). It can contain column names of the command's target table, or value expressions using those columns. A common shorthand is RETURNING *, which selects all columns of the target table in order.
In an INSERT, the data available to RETURNING is the row as it was inserted. This is not so useful in trivial inserts, since it would just repeat the data provided by the client. But it can be very handy when relying on computed default values. For example, when using a serial column to provide unique identifiers, RETURNING can return the ID assigned to a new row:
CREATE TABLE users (firstname text, lastname text, id serial primary key); INSERT INTO users (firstname, lastname) VALUES ('Joe', 'Cool') RETURNING id;
The RETURNING clause is also very useful with INSERT ... SELECT.
In an UPDATE, the data available to RETURNING is the new content of the modified row. For example:
UPDATE products SET price = price * 1.10 WHERE price <= 99.99 RETURNING name, price AS new_price;
In a DELETE, the data available to RETURNING is the content of the deleted row. For example:
DELETE FROM products WHERE obsoletion_date = 'today' RETURNING *;
If there are triggers (Chapter 36) on the target table, the data available to RETURNING is the row as modified by the triggers. Thus, inspecting columns computed by triggers is another common use-case for RETURNING.


This documentation is under construction.
The Repeater, and the default implementation ThreadPoolRepeater, can be used for
the repeated execution of a task. The Executor is better suited for executing
a task once and although it can be modified by using a work queue that keeps
giving out the same task, I don't think it is the right abstraction.
Example:
public class SomeRepeatable implements Repeatable{ public boolean run(){ System.out.println("Hello"); return true; } } Repeatable task new RepeatableRunnable(new SomeRunnable(); ThreadPoolRepeater repeater = new ThreadPoolRepeater(1); repeater.repeat(task);
There are different policies for dealing with the return value:
In some cases it is easier to use a Runnable instead of a Repeatable. That is why
an adapter is created: the RepeatableRunnable. It can be extended and the
Repeatable.run() method needs to be overridden, or a Runnable can be injected.
Example:
Runnable runnable = new SomeRunnable(); Repeatable task = new RepeatableRunnable(runnable); repeater.repeat(task);
The reason why this adapter is created is because a lot of functionality already is available for Runnables, eg the MethodInvokingRunnable from the Spring framework (Spring is my framework of choice).
A Repeater can be stopped by placing a null task in the repeater, or let the Repeatable return false (it also sets the task to null). A different way to stop a Repeater is to shut it down by calling the shutdown or shutdownNow method. The difference between the shutdown methods and placing a null task (or let the repeatable return false) is that the first one is final. So once a Repeater has shut down, it can't be activated again. In one of the next releases of Prometheus I'm going to add pausing functionality.
The ThreadPoolRepeater has a pool of threads where all threads are running the same task concurrently. The poolsize can be set in the constructor, but it also can be set after creation. This can be done with the 'setDesiredPoolSize' method.
Repeaters are very handy if you want to set up a processing assembly line (production
line, pipes/filters).
Example:
BlockingQueue queue1 = new LinkedBlockingQueue(10); BlockingQueue queue2 = new LinkedBlockingQueue(10); BlockingQueue queue3 = new LinkedBlockingQueue(10); public class Process1Repeatable implements Repeatable{ public boolean execute()throws Exception{ Employee e = queue1.take(); e.action1(); queue2.put(e); return true; } } public class Process2Repeatable implements Repeatable{ public boolean execute()throws Exception{ Employee e = queue2.take(); e.action2(); queue3.put(e); return true; } } public class Process3Repeatable implements Repeatable{ public boolean execute()throws Exception{ Employee e = queue3.take(); e.action3(); database.save(e); } } Repeater process1Repeater = new ThreadPoolRepeater(); process1Repeater.repeat(new Process1Runnable()); Repeater process2Repeater = new ThreadPoolRepeater(); process2Repeater.repeat(new Process2Runnable()); Repeater process3Repeater = new ThreadPoolRepeater(); process3Repeater.repeat(new Process3Repeatable());
As you can see the there is no thread creation logic of repeating logic inside the components. This is an example of code I usually see:
class Processor{ void start(){ new Thread(){ public void run(){ while(true){ Employee e = queue1.take(); e.action1(); queue2.put(e); } } }.start(); } }
This is a nightmare to modify, test or reuse. So externalize threading if you can.
The ThreadPoolRepeater has a JMX MBean, that makes it possible to control a ThreadPoolRepeater by JMX.
In most cases the task a Repeater executes isn't changed after construction. But there are always situations where you do need to change the task. Unfortunately changing tasks is not without problems either: if multiple threads in the threadpool of the ThreadPoolRepeater are executing some task, and if a new task is placed, it could be that at the same moment different tasks are executed parallel. This behaviour can be controlled by making a Repeater strict or relaxed:
This behavior can be controlled by providing a true/false in the constructor, but at a deeper level it is controlled by using different types of LendableReferences. A StrictLendableReference makes a strict Repeater possible, and a RelaxedLendableReference makes a relaxed Repeater possible.
Exception handling often is something that could be improved. Especially when you are working with threads yourself and are responsible for the calls in the top of the callstack, good exception handling could be a real life saver. The ThreadPoolRepeater uses an ExceptionHandler to report exceptions. After the worker uses the exception handler, it returns to the pool so it can be used for the following execution. For the rare situations that the thread needs to shutdown after it reports an error, a repeatable decorator could be created that returns false as soon as it throws an exception.
Standard all exceptions are handled with the PrintStreamExceptionHandler that logs all exceptions to the System.out. Next to the this exceptionhandler there also is one for Log4J: Log4jExceptionHandler.


--- title: Elderly population rate map description: Rate of population above 65 years per PO region img: elderly.jpg layout: map type: current application: ArcGIS Online Web App base_layer: ESRI layer: ESRI Server purpose: Present the rate of people above 65 years. --- {% include secure_warning.html %}


This clinic is for those receiving their first dose of the Moderna vaccine.
Once you receive the first dose, you will be automatically scheduled for the
follow-up dose.
This will be for anyone 18 years of age or
older who lives, works or studies in Massachusetts.
Please note that although the state guideline allows for vaccination of anyone 16 or
older, the FDA has authorized use of the Moderna vaccine only to individuals 18 and
older.
NOTE: if you do not meet either of these above criteria and are simply
accompanying someone who does, you are not eligbile to receive the
vaccine here at Whittier under the Governor's guidance as that only applies to
the "mass" vaccination sites (Fenway, Gillette, Eastfield Mall and Doubletree
Danvers).
Please review the available slots below and click on the button to sign up.
It is imperative
that you print, fill out, and bring attached consent form with you to
speed up the registration process.
Thank you!


|
My Project
|
#include <map>
#include <stdio.h>
#include <string>
#include <vector>
Go to the source code of this file.
 More... | |
| const double | hbar = 6.582119569e-25 |
| Reduced Planck constant [GeV]. More... | |
| const double | emass = 0.51099895000e-3 |
| Electron mass [GeV]. More... | |
| const double | pmass = 0.93827208816 |
| Proton mass [GeV]. More... | |
| const double | nmass = 0.93956542052 |
| Neutron mass [Gev]. More... | |
| const double | mumass = 0.1056583755 |
| Muon mass [GeV]. More... | |
| const double | atomicmassunit = 0.93149410242 |
| Atomic mass unit [GeV]. More... | |
| const double | pi = 3.141592653589793 |
| Pi. More... | |
| const double | ec = 1.602176634e-19 |
| Electric Charge unit [Coulomb]. More... | |
| const double | euler = 0.577215664901533 |
| Euler constant. More... | |
| const double | erad = 2.8179403262e-15 |
| Classical radius [m]. More... | |
| const double | prad = erad * emass / pmass |
| Classical proton radius [m]. More... | |
| double BetaRelativisticFromGamma | ( | double | gamma | ) |
Calculate relativistic beta given relativistic gamma.
| gamma | Relativistic gamma factor. |
| double dee_to_dpp | ( | double | dee, |
| double | beta0 | ||
| ) |
Convert dE/E to dp/p.
| dee | dE/E |
| beta0 | Relativistic Beta |
| double dpp_to_dee | ( | double | dpp, |
| double | beta0 | ||
| ) |
Convert dp/p to dE/E.
| dpp | dp/p |
| beta0 | Relativistic Beta |
| double EffectiveRFVoltageInElectronVolt | ( | double | phi, |
| double | charge, | ||
| int | nrf, | ||
| double | harmon[], | ||
| double | voltages[] | ||
| ) |
Get the energy gain in eV produced by the RF systems for given harmonic numbers and voltages.
| phi | RF phase for the particle |
| charge | Charge of the particle |
| nrf | Number of RF systems |
| harmon | List of harmonic numbers |
| voltages | List of voltages |
| double EffectiveRFVoltageInElectronVoltPrime | ( | double | phi, |
| double | charge, | ||
| int | nrf, | ||
| double | harmon[], | ||
| double | voltages[] | ||
| ) |
Get the derivative of the energy gain in eV produced by the RF systems for given harmonic numbers and voltages.
| phi | RF phase for the particle |
| charge | Charge of the particle |
| nrf | Number of RF systems |
| harmon | List of harmonic numbers |
| voltages | List of voltages |
| double eta | ( | double | gamma, |
| double | gammatr | ||
| ) |
Calculate slip factor eta, from gamma and gamma transition.
| gamma | Relativistic Gamma of the particles. |
| gammatr | Transition Relativistic Gamma of the accelerator lattice. |
| double fmohl | ( | double | a, |
| double | b, | ||
| double | q, | ||
| int | n | ||
| ) |
Piwinski IBS approximation fmohl function. Reference in IBS models docstring.
| a | |
| b | |
| q | |
| n | Number of iterations for accuracy (standard 1000 is ok) |
| double ParticleRadius | ( | double | charge, |
| double | aatom | ||
| ) |
Calculate the classical particle radius from its charge and atomic mass number A.
| charge | Charge of the particle. |
| aatom | Atomic mass number of the particle (A) |
| void printTwissMap | ( | string | key, |
| map< string, vector< double >> & | table | ||
| ) |
Prints the values of the given Twiss column name. Mostly for debugging.
| key | Name of the column to print out. |
| table | Twiss Table Map to print from. |
| double rds | ( | double | x, |
| double | y, | ||
| double | z | ||
| ) |
Nagaitsev's approximation rds function. Reference in IBS models docstring.
| x | |
| y | |
| z |
| double SigeFromRFAndSigs | ( | double | sigs, |
| double | U0, | ||
| double | charge, | ||
| int | nrf, | ||
| double | harmon[], | ||
| double | voltages[], | ||
| double | gamma, | ||
| double | gammatr, | ||
| double | pc, | ||
| double | circ, | ||
| double | phis, | ||
| bool | printout | ||
| ) |
Convert to using RF parameters
| sigs | |
| U0 | Radiation losses per turn [eV] |
| charge | Charge of the particle |
| nrf | Number of RF systems |
| harmon | List of harmonic numbers |
| voltages | List of voltages |
| gamma | Relativistic Gamma |
| gammatr | Transition Relativistic Gamma |
| pc | Particle Momentum [GeV] |
| circ | Accelerator length |
| phis | Synchronuous phase of the particle |
| printout | Flag to print out the summary. |
| double sigefromsigs | ( | double | omega0, |
| double | sigs, | ||
| double | qs, | ||
| double | gamma, | ||
| double | gammatr | ||
| ) |
Convert to
| omega0 | Particle revolution angular frequency ( ) |
| sigs | |
| qs | Synchrotron Tune |
| gamma | Relativistic Gamma |
| gammatr | Transition Relativistic Gamma |
| double sigsfromsige | ( | double | sige, |
| double | gamma, | ||
| double | gammatr, | ||
| double | omegas | ||
| ) |
Convert to
| omega0 | Particle revolution angular frequency ( ) |
| sige | |
| gamma | Relativistic Gamma |
| gammatr | Transition Relativistic Gamma |
| omegas | Synchrotron Frequency ( ) |
| double SynchronuousPhase | ( | double | target, |
| double | init_phi, | ||
| double | U0, | ||
| double | charge, | ||
| int | nrf, | ||
| double | harmon[], | ||
| double | voltages[], | ||
| double | epsilon | ||
| ) |
Get the synchronuous phase for a particle for given energy gain, RF settings and radiation losses.
| target | Target energy gain per turn [eV] |
| init_phi | RF phase to start search from. |
| U0 | Radiation losses per turn [eV] |
| charge | Charge of the particle |
| nrf | Number of RF systems |
| harmon | List of harmonic numbers |
| voltages | List of voltages |
| epsilon | Accuracy threshold for the target. |
| double SynchronuousPhaseWithPWD | ( | double | target, |
| double | init_phi, | ||
| double | U0, | ||
| double | charge, | ||
| int | nrf, | ||
| double | harmon[], | ||
| double | voltages[], | ||
| double | L, | ||
| double | N, | ||
| double | sigs, | ||
| double | pc, | ||
| double | epsilon | ||
| ) |
Get the synchronuous phase with Potential Well Distortion for a particle for given energy gain, RF settings and radiation losses.
| target | Target energy gain per turn [eV] |
| init_phi | RF phase to start search from |
| U0 | Radiation losses per turn [eV] |
| charge | Charge of the particle |
| nrf | Number of RF systems |
| harmon | List of harmonic numbers |
| voltages | List of voltages |
| L | Impedance L |
| N | Impedance N |
| sigs | bunch length |
| pc | Particle Momentum in GeV |
| epsilon | Accuracy threshold for the target |
| double SynchrotronTune | ( | double | omega0, |
| double | U0, | ||
| double | charge, | ||
| int | nrf, | ||
| double | harmon[], | ||
| double | voltages[], | ||
| double | phis, | ||
| double | eta, | ||
| double | pc | ||
| ) |
Synchrotron Tune
| omega0 | Angular revolution frequency of the particle. |
| U0 | Radiation losses per turn [eV] |
| charge | Charge of the particle |
| nrf | Number of RF systems |
| harmon | List of harmonic numbers |
| voltages | List of voltages |
| phis | Synchronuous phase of the particle |
| eta | Phase slip factor |
| pc | Particle Momentum [GeV] |
| double SynchrotronTunePWD | ( | double | omega0, |
| double | U0, | ||
| double | charge, | ||
| int | nrf, | ||
| double | harmon[], | ||
| double | voltages[], | ||
| double | L, | ||
| double | N, | ||
| double | sigs, | ||
| double | phis, | ||
| double | eta, | ||
| double | pc | ||
| ) |
Synchrotron Tune with Potential Well Distortion
| omega0 | Angular revolution frequency of the particle. |
| U0 | Radiation losses per turn [eV] |
| charge | Charge of the particle |
| nrf | Number of RF systems |
| harmon | List of harmonic numbers |
| voltages | List of voltages |
| L | Impedance L |
| N | Impedance N |
| phis | Synchronuous phase of the particle |
| eta | Phase slip factor |
| pc | Particle Momentum [GeV] |
| void updateTwiss | ( | map< string, vector< double >> & | table | ) |
Add ratiation integrals (I1-I5) per element to the Twiss Table Map. It also adds the relevant quantities to calculate them (e.g. curly H, rho, ...).
| [in,out] | table | Twiss Table Map |
| double VeffRFeVPotentialWellDistortion | ( | double | phi, |
| double | U0, | ||
| double | charge, | ||
| int | nrf, | ||
| double | harmon[], | ||
| double | voltages[], | ||
| double | L, | ||
| double | N, | ||
| double | sigs, | ||
| double | pc | ||
| ) |
Get the energy gain in eV produced by the RF systems for given harmonic numbers and voltages taking potetial well distortion and radiation losses into account.
| phi | RF phase for the particle |
| U0 | Radiation losses per turn [eV] |
| charge | Charge of the particle |
| nrf | Number of RF systems |
| harmon | List of harmonic numbers |
| voltages | List of voltages |
| L | Impedance L |
| N | Impedance N |
| sigs | bunch length |
| pc | Particle Momentum in GeV |
| double VeffRFeVPotentialWellDistortionPrime | ( | double | phi, |
| double | U0, | ||
| double | charge, | ||
| int | nrf, | ||
| double | harmon[], | ||
| double | voltages[], | ||
| double | L, | ||
| double | N, | ||
| double | sigs, | ||
| double | pc | ||
| ) |
Get the derivative of the energy gain in eV produced by the RF systems for given harmonic numbers and voltages taking potetial well distortion and radiation losses into account.
| phi | RF phase for the particle |
| U0 | Radiation losses per turn [eV] |
| charge | Charge of the particle |
| nrf | Number of RF systems |
| harmon | List of harmonic numbers |
| voltages | List of voltages |
| L | Impedance L |
| N | Impedance N |
| sigs | bunch length |
| pc | Particle Momentum in GeV |
| double VeffRFeVRadlosses | ( | double | phi, |
| double | U0, | ||
| double | charge, | ||
| int | nrf, | ||
| double | harmon[], | ||
| double | voltages[] | ||
| ) |
Get the energy gain in eV produced by the RF systems for given harmonic numbers and voltages taking radiation losses into account.
| phi | RF phase for the particle |
| U0 | Radiation losses per turn [eV] |
| charge | Charge of the particle |
| nrf | Number of RF systems |
| harmon | List of harmonic numbers |
| voltages | List of voltages |
| const double atomicmassunit = 0.93149410242 |
Atomic mass unit [GeV].
| const double clight = 299792458.0 |
Speed of light.
| const double ec = 1.602176634e-19 |
Electric Charge unit [Coulomb].
| const double emass = 0.51099895000e-3 |
Electron mass [GeV].
| const double erad = 2.8179403262e-15 |
Classical radius [m].
| const double euler = 0.577215664901533 |
Euler constant.
| const double hbar = 6.582119569e-25 |
Reduced Planck constant [GeV].
| const double mumass = 0.1056583755 |
Muon mass [GeV].
| const double nmass = 0.93956542052 |
Neutron mass [Gev].
| const double pi = 3.141592653589793 |
Pi.
| const double pmass = 0.93827208816 |
Proton mass [GeV].


Screening and Randomization
Visit Completion
Queries
Enrollment
Protocol Deviations Over Time
Form Completion


getSignalsFromList.Rd
Get Signals from a List
getSignalsFromList(lt, fun = function(x) mean(x, na.rm = TRUE))
| lt | A list of normalized matrices which are returned by |
|---|---|
| fun | A user-defined function to summarize signals. |
Let's assume you have a list of histone modification signals for different samples and you want
to visualize the mean pattern across samples. You can first normalize histone mark signals for each sample and then
calculate means values across all samples. In following example code, hm_gr_list
is a list of GRanges
objects
which contain positions of histone modifications, tss
is a GRanges
object containing positions of gene TSS.
mat_list = NULL for(i in seq_along(hm_gr_list)) { mat_list[[i]] = normalizeToMatrix(hm_gr_list[[i]], tss, value_column = "density") }
If we compress the list of matrices as a three-dimension array where the first dimension corresponds to genes,
the second dimension corresponds to windows and the third dimension corresponds to samples, the mean signal
across all sample can be calculated on the third dimension. Here getSignalsFromList
simplifies this job.
Applying getSignalsFromList()
to mat_list
, it gives a new normalized matrix which contains mean signals across all samples and can
be directly used in EnrichedHeatmap()
.
mat_mean = getSignalsFromList(mat_list) EnrichedHeatmap(mat_mean)
The correlation between histone modification and gene expression can
also be calculated on the third dimension of the array. In the user-defined function fun
, x
is the vector for gene i
and window j in the array, and i
is the index of current gene.
mat_corr = getSignalsFromList(mat_list, fun = function(x, i) cor(x, expr[i, ], method = "spearman"))
Then mat_corr
here can be used to visualize how gene expression is correlated to histone modification around TSS.
EnrichedHeatmap(mat_corr)
A normalizeToMatrix
object which can be directly used for EnrichedHeatmap
.
NULL#> NULL


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By Chen Hui Jing / @hj_chen
What we don't understand, we fear.
What we fear, we judge as evil.
What we judge as evil, we attempt to control.
And what we cannot control…we attack.
—Anonymous
💩
💩
💩
Gives us an unprecedented level of control over where our elements are placed on a page
Define your grid.
Place items in the grid.
.container {
display: grid;
grid-template-columns: repeat(auto-fill, minmax(10em, 1fr));
}
Provides us dynamic variables in native CSS, comes with scoping, inheritance and the cascade.
/* CSS that is applied to this presentation */
:root {
--accent-colour: #ff4f5e
}
h2 {
color: var(--accent-colour, #ff4f5e)
}
Credit to Mike Riethmuller for inspiring this live demo
:root {
--spacer: 0.5em;
--columns: 1;
}
.card {
background-color: #fff;
max-width: calc((100% / var(--columns, 1)) - var(--spacer, 0.5em) * 2);
border: 1px solid #6f777e;
margin: var(--spacer, 0.5em);
padding: var(--spacer, 0.5em);
}
/* Modify the variable values at specific breakpoints */
@media screen and (min-width: 480px) {
:root {
--spacer: 0.75em;
--columns: 2;
}
}
@media screen and (min-width: 720px) {
:root {
--spacer: 1em;
--columns: 3;
}
}
See the Pen Single Custom Property, Multiple Calcs by Dan Wilson (@danwilson) on CodePen.
Code by Dan Wilson from Making Custom Properties (CSS Variables) More Dynamic
/* Retrieves and sanitises the value of a custom property. */
const getVariable = (styles, propName) => String(styles.getPropertyValue(propName)).trim()
/* Sets the value of a custom property at the document level */
const setVariable = (propName, value) => {
document.documentElement.style.setProperty(propName, value)
}
Code based off CSS Custom Properties (CSS Variables) Sample by Sérgio Gomes
Built-in feature detection with native CSS
@supports
(AKA feature queries).selector {
/* Styles that are supported in old browsers */
}
@supports (property:value) {
.selector {
/* Styles for browsers that support the specified property */
}
}
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💛
Font used is Zilla Slab, by Typotheque