Disclaimer: I'm making an effort to put all of this into words, while at the same time knowing that these words will inevitably fall short of fully capturing and describing the experience.
It was about 2:30pm in the afternoon when we met at my friend S's house. I had brought a couple of music CDs that I got from a friend, real tranquil ambient type stuff that I thought might be appropriate as background. We put one of those CDs on, unplugged the phone, lit some white sage to clear the air, and got our space set up in S's living room.  There were three of us, myself, S, and D (four of us if you include S's dog).
 D and I both had quite a bit of experience with psychedelics in the past, but S had very little experience in that arena. I had also recently chewed a few small Salvia leaves noticing some interesting meditative effects, but that was the extent of our combined Salvia experience. I had also done a lot of research on Salvia in the proceeding weeks and D and S had done some reading as well. However, sitting down to begin we still weren't sure what approach we were going to take, so at a certain point we just decided to take several big hits of the regular leaves and see where that took us. D and I decided to flip a button to see who would go first and he was up. S, being the least experienced in this area said that he would act as the first sitter.
So D loaded a large bowl of leaves and took a pretty big hit. The first one didn't do much so he followed it up with a second big one and then sat back on the couch. We asked if he felt anything, and he said he didn't think so... but then we started noticing that he was smiling a lot, the smile soon turned into uncontrollable laughter on his part, which in turn caused S and I to starting laughing pretty hard as well. D said, 'I can't stop smiling' and/or 'I can't stop laughing'. Neither could we.  Ok then. Things are starting to get a little interesting.
Then it was my turn, I did the same loading up two bowls and took the biggest hit I could off of each. After the second, I felt something...a change in state, but really just a slight buzz and shift in awareness. At that point I decided to take several more large hits of the regular leaf. This may have intensified things just a bit, but still no breakthrough or anything like I had heard described in other reports. I wasn't sure that I was experiencing the effects to the degree that D was.
D then decided to try the 5X leaves. We loaded up some regular leaves on the bottom of the bowl and the put a decent layer of 5X on top. He hit it pretty hard and then sat back on the couch. At that point S and I could tell that he may have gone a bit deeper on this one. He gets this disoriented look on his face and starts looking around somewhat anxiously.
He then stands straight up like he's going somewhere.  He's somewhat confused, but agrees to do so. He keepslooking at his hands and arms very strangely. He later tells us that he felt like he had steel pins as hinges in each of his joints like one of those skeletons that you see in science classrooms and doctor's offices. D now seemed to be in another place entirely. He had some other things to say about it, but the other details escape me now as I was feeling some mild effects of the Salvia as this time as well.
I then decided to follow up my previous 4 hits of the regular with a hit or two of the 5X. S loaded the bowl in a similar manner and I proceeded to take two large hits of the 5X. Shortly after the second one, things changed dramatically. I don't remember much about the transition now (this is the next morning of the day after), however I whatever bearings I previously had on 'reality' had shifted, dissolved, and were taken away. A good description of this part of the experience comes from a Steve Kilbey song, '...The Reality Generators Malfunctioned'. I was not sure why I was here, what I was doing, or what I should do...however at the same time there was a sense of urgency. Looking back I understood D's need to jump up off of the couch and go somewhere, but at the time there were no connections or realizations like this being made.
I remember looking around the room and on some level it may have registered that I was at my friend S's place...but even that thought didn't seem to hold much weight. I saw that there were two other people S and D in the room, but I wasn't quite sure of my relationship with them or how I should interact with them if at all. I wasn't really sure of who they were, why they were here, or what they were doing. Although I never thought that I was anywhere else (ie. other places, lives, etc. as some reports have described), I really wasn't sure where 'here' was... 'here' seemed absolutely real and the only reality there was for me at the time. It seems now that my previously held beliefs, thoughts, perspectives had been stripped away and I was experiencing some kind of essential existence. It seemed very direct... me and it..or I was just there.
A few fleeting 'thoughts' came into my mind but everything seemed 'ridiculous' (I'm not sure that's the right word).  I briefly thought about my martial arts practice (something that normally has a lot of meaning in my life as well), and that seemed ridiculous as well. Fleeting thoughts of my job (whatever that was), and family (I think I remembered having a wife and family) seemed to come and go, nothing really 'helping' or acting as much of an 'anchor' in the experience.
Apparently I was reaching for something, trying to make some sense of what was going on...ie. how to go forward, what should I do...should I just sit here? At least once I thought that I might need to leave where I'm at, to get up up and go somewhere else...although I wasn't sure where. I thought that I might have a car outside, but luckily that didn't seem like a good idea or anything to act on either. The only thing that came close was some vague thought that the only thing I could do going forward was to try to be a 'good person' to 'be good to people'... and that might serve as some kind of rudder in all of this. But not really.
So I sat back on the couch, periodically looked around the room at D and S and then fixated on S's dog who seemed to me at the time to be a little concerned with what was going on. I also saw the fish playing in the bubbles in the the fish tank in front on me and was somewhat content to just focus on them for a while.
I'm not sure how much time passed like this (I later asked S and he said about 20-30 minute since the last 5X hit, but somehow that didn't seem right). What's really odd is that it seems that I had also forgot that I had smoked Salvia and that drugs were involved. Once I realized that there were in fact drugs involved, as I saw the bong on the table and that there was some substance that we had probably smoked, the next issue became whether the bong had taken me into this reality/space or taken me out of another equally real or unreal reality. Or in other words, I couldn't remember which reality was more real and whether I needed to smoke more... and which direction the drugs would take me.
I slowly began to realize that there was another reality, not just this one, and that I either needed to smoke more to get there, or not smoke any more and I might move back into it. This occurred as a pretty big revelation at the time, and I began to relax a little more and attempt to converse a bit with S and D. Part of this process involved trying to figure out if things were 'ok' (whatever that was), and if I was going to be 'ok'. Everything seemed 'ok' and at some point I realized that D and I did in fact take a substance which was responsible for what was going on and that S did not (and that he actually was 'ok').
I soon found myself in a more comfortable space...content to just sit on the couch talk a little with S and D and observe what was going on. Our sense of time was still pretty off and S, D, and I couldn't agree on how much time had passed and that it was either too much or too little compared with our experience of it. It took some time, but I slowly started piecing things back together. S asked, 'well, how was it? was it good or enjoyable'? I said, 'no, enjoyable is not a word that comes to mind...hmmm... educational, perhaps, but not really enjoyable'. He then asked whether it was 'worthwile'. I said that I'd probably have to get back to him on that.
Once D and I were more or less back, S decided to try some of the tincture. He used about 3 small droppers diluted in a little bit of water. He seemed to get a slight buzz off it, but really didn't feel too much. He then tried a couple of hits of the regular leaf and one off of the 5X, but they may have been spaced out a little too much and I'm not sure he could get a high enough concentration of it in his system. He may also just be one of those Salvia 'hard-heads' and need to use more to breakthrough if should decide to do so in the future.
After an hour or so we were all pretty much back a little more than baseline, and D decided to jump back in again. He took another couple of hits of the 5X and each time seemed to get back in quicker and with less anxiety. But during each peak, he still kept jumping up off the couch forgetting that he had smoked something, and feeling that he had somewhere to go. We kept sitting him down and telling him that it was cool, he had nowhere to go and nothing to do. He obliged, but at one point thought that this was some kind of trick or joke that S and I were playing on him. I think I know where he was coming from.
Its interesting to note that didn't seem to get any of the visuals that D seemed to be trying to talk about... however he speak quite a bit about 'folds' or more specifically 'reality folding'. While I didn't really trip too hard on that, I did understand was he was experiencing and had a sense of some kind of dimensional or reality folding effect. It was pretty odd and elusive, but part of my experience as well. I also took a few more hits of regular leaf, which brought the experience back a little but not so intense as before as I was now aware of the clock and time, and that I need to 'sober up' sooner than later so I could plan my drive home that night.
Going into the experience one of the ideas that I had been contemplating in the previous weeks was the realization of how much of our reality is created by our individual thought patterns and constructs, by our past and our conditioning. Looking back, my experience on Salvia seemed to center around this observation, but in a very intense experiential way as opposed to just thinking about it.
There was also some kind of recognition that things were somehow connected. That there were people in the world and that we're connected in the sense that we are all in the same boat (ie. we spend most of our lives asleep as fragmented human beings) and that we just make up things to comfort ourselves and to try and move forward, in an effort to make sense of our lives.
Now having had some time to process and try to make sense of what happened, I'd have to answer yes, that it was a worthwhile experience... but to the degree that I am able to take some of these observations and realizations back into my everyday 'reality' and live my life better as a result.
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.


dotNetLittleBoy
Menu
Home
About
Post
JavaScript
News
Contact
JavaScript Demoes
Explore JavaScript with demoes
JavaScript Games
Flappy Bird
Ping Pong
Ball BreakOut
Snake & Ladder
Dots & Boxes
Space Invaders
JavaScript Animations
Amplitude & Frequency Modulation
Phased Array Radar
Fourier Series
ASK & FSK Signal


You can click over a column or the small boards to drop a disk. Bellow the small boards is the calculated score by minimax algorithm.


Basis module (quspin.basis
)¶
Basis classes for quantum many-body systems.
The following table shows the available operator strings for the different bases (sps is the onsite Hilbert space dimension):
Notes:
The default operators for spin-1/2 are the Pauli matrices, NOT the spin operators. To change this, see the argument pauli of the spin_basis_* classes.
Higher spins can only be defined using the spin operators, and do NOT support the operator strings “x” and “y”.
The fermion operator strings “x” and “y” are present only in the general basis fermion classes, and correspond to real fermions, i.e. Majorana operators (note the sign difference between “y” and the \(\sigma^y\) Pauli matrix, which is convention).
The variable sps in the definition of the bosonic “z” operator stands for “states per site”, i.e., the local on-site Hilbert space dimension.
one-dimensional symmetries¶
|
Constructs basis for spin operators in a specified 1-d symmetry sector. |
|
Constructs basis for boson operators in a specified 1-d symmetry sector. |
|
Constructs basis for spinless fermionic operators in a specified 1-d symmetry sector. |
|
Constructs basis for spinful fermionic operators in a specified 1-d symmetry sector. |
general lattice symmetries¶
|
Constructs basis for spin operators for USER-DEFINED symmetries. |
|
Constructs basis for boson operators for USER-DEFINED symmetries. |
|
Constructs basis for spinless fermion operators for USER-DEFINED symmetries. |
|
Constructs basis for spinful fermion operators for USER-DEFINED symmetries. |
user basis¶
|
Constructs basis for USER-DEFINED functionality of a basis object. |
combining basis classes¶
|
Constructs basis in tensor product Hilbert space. |
|
Constructs basis in photon-particle Hilbert space. |
functions¶
|
Creates a harmonic oscillator (HO) coherent state. |
|
Calculates the dimension of the total spin-photon Hilbert space. |
large integer support for general basis classes¶
To construct *_basis_general classes with more than 64 lattice sites, QuSpin uses custom unsigned integer types for the integer representation of many-body states.
b) array initialization routines¶
|
Allocates initialized array using the QuSpin basis integers. |
|
Allocates initialized array using the QuSpin basis integers. |
c) utilities to use large integers¶
|
Returns minimum dtype to represent manybody state. |
|
Converts python integer to QuSpin basis type. |
|
Converts QuSpin basis type integer to a python integer. |
|
Bitwise NOT operation ~x. |
|
Bitwise AND operation x1 & x2. |
|
Bitwise OR operation x1 | x2. |
|
Bitwise XOR operation x1 ^ x2. |
|
Bitwise LEFT SHIFT operation x1 << x2. |
|
Bitwise RIGHT SHIFT operation x1 >> x2. |


[caption id="attachment_6298" align="alignleft" width="240"] common_schema booth in Percona Live 2013 (someone left their soup on our table)[/caption] [caption id="" align="alignright" width="256"] Allen Kinnard[/caption] Yay! I got a booth! I confess it was mostly deserted. My hero Allen Kinnard, whom I've never met before, was kind enough to volunteer to occupy the booth. So between him and me, both of course also looking to visit other booths and talk to people, the common_schema booth was only moderately attended.
I've just uploaded the slides from my talk: common_schema: DBA's framework for MySQL My talk was well attended, and I was fortunate to have a warm and engaged audience. Thank you to all those who attended, and thank you for those who provided feedback! Was happy to be able to present my work a great group of people. You can find my slide either on Percona Live's website, or on Slideshare, as well as embedded right here.
At the airport, trying to sum up my impressions from Percona Live 2013 conference in Santa Clara. Woo! Hard to sum up four excellent days. Shall I review the great talks I've been to? The keynotes? The well organized events? You know what, skip it. There was ONE thing that overshadowed everything. It was the ONE thing for me that was the pure essence of the conference and its greatest joy: Meeting and talking to a great many great people!
In two weeks time I will be giving these talks at Percona Live: common_schema: DBA's framework for MySQL: an introduction to common_schema, my evolving server side solutions project. This will be a revised version of the talk I gave at Percona Live London; I have felt some weaknesses during that talk, which I've thrown out, letting room for cool stuff. I will discuss common_schema's various views, interesting and useful routines, the power of QueryScript, and a brief intro to the newcomer rdebug, debugger and debugging API for MySQL.
This is a simple step-by-step introduction to rdebug: Debugger and Debugging API for MySQL Stored Routines, as part of common_schema.
In other words: let me take you through the steps for debugging your stored routines on your own server. We will step into, step over, step out, modify variables, set a breakpoint, run to breakpoint…
Command line geeks, this one’s for you. GUI lovers, this is actually an API; I am hoping for someone wrap it up with a plugin for your favorite GUI editor.
Requirements:
- Install common_schema 2.0 or above (at this time of writing 2.0.0-alpha is released).
- Get sample data & routine file [download id=“4” format=“1”]
- mysql> SOURCE rdebugdemo.sql.txt
- You should now have a table called color_count in the test database, along with two routines: review_colors() and review_single_color().
- Open two sessions. We call them the debugger session and the worker session. The worker session will execute the routine; the debugger session will control it.
Walk-through: preparation
Walk this thing with me. We will alternate between the debugger and the worker.
A new release for common_schema: an alpha version of rdebug: MySQL Debugger and Debugging API is now included with common_schema.
With a different license in mind for rdebug, common_schema changes license to GPL (2 or above).
common_schema 2.0 is ready for download. All things rdebug, it is alpha – otherwise it’s a stable release.
rdebug
I’m very happy to release this alpha version of rdebug, and urge everyone to try it out.
The idea is to have an open, free, server side debugger and debugging API for MySQL stored routines. To elaborate:
- It’s server side by that it’s implemented by stored routines. Not by a connector; not an emulator; not a GUI tool hack. The entire functionality lies within common_schema, a schema in your server.
- It’s a debugger: you can debug your own stored routines (with limitations)
- It’s a debugging API: there’s a distinct specification and a set of calls which makes for a debugging process
- It’s open since the source code is yours to browse.
- It’s free as in free beer.
- It’s free as it makes you independent of a specific debugger. It provides an API that anyone can use. You can run the API yourself from the command line; or plugins for your favorite GUI editor can be developed to use this API.
On a separate blog post I will take you to a rdebug test drive.
As always, nothing is released before extensive documentation is in place.
I’d love to get input on this.
Here's the (hopefully) complete list of events throughout and following the upcoming Percona Live MySQL Conference & Expo, 2013. The schedule is quite packed! Make sure to take a deep breath beforehand: Monday, April 22 09:30 - 16:30: Tutorials 16:30 - 18:30: Welcome reception in Expo Hall 18:30 - 20:30: MySQL Community Reception by Oracle Tuesday, April 23 09:00 - 11:00: Keynotes 11:00 - 17:40: Sessions 18:00 - 19:00: Birds
I'm looking for assistance in manning a DotOrg Pavilion on the upcoming Percona Live conference in Santa Clara. As you may or may not know, free and open source projects are eligible to ask for a free booth on the Expo hall. This is a good chance to promote one's project. Of course, someone must stand behind the counter and answer [technical] questions. I should like to have a booth for common_schema & openark-kit, but am limited in resources -- namely the number of bodies I can occupy simultaneously, just one at this time.
I had the pleasure of speaking on two excellent podcasts: OurSQL No need for me to introduce this podcast. I just have to say it was only when I interviewed that I realized the amount of work taken for producing one single cast. Kudos to Sheeri & Gerry and Rich Goyette the sound producer and thank you for your kind hospitality! You can find the cast on OurSQL Episode 129: New and Extended, where we speak about the upcoming Percona Live MySQL Conference & Expo, 2013.


Welcome to the activity manager...
You can edit existing Threads / Activities using the tree on the left,
or you can add new Threads / Activities using the buttons below...
Currently On
http://www.iboard.co.uk/thismonthfree
This Month Free Comments
{$c{org}->load_this_month_free_message_string}
Title
{ foreach my $thread (@{$c{org}->ensure_child_array('thread')}) { my $name = $thread->name; my $id = $thread->get_id; $OUT.=<<"+++";
$name
remove
+++ } }


§444-34 Maximum liability. Notwithstanding any other provision, the liability of the contractors recovery fund shall not exceed $25,000 for any licensed contractor. [L 1973, c 170, pt of §1; am L 1975, c 183, §2; am L 1983, c 201, §6]


BAD DAY AT BLACK ROCK A Film Review Copyright Dragan Antulov 2000
One of the great paradoxes of American history is in the fact that Hollywood in 1950s - era usually associated with Cold War hysteria, McCarthy witch hunts, demonisation of any nonconformist thought and Hollywood blacklists -brought many great, groundbreaking films that actually challenged self-righteous view of USA as the greatest nation in the world. Those films exposed some dark, unflattering truths about American society by pointing towards some burning problems previously swept under the carpet. One of those problems was, of course, racism as most visible violation of noble American ideas about equal rights for all of its citizens. Racism was also responsible for the most shameful episode in the American involvement in WW2 - forced internment of Japanese Americans. One of the first Hollywood films to speak about this embarrassing issue was BAD DAY AT BLACK ROCK, 1955 thriller directed by John Sturges.
The film begins in 1945, few months after the end of WW2. Black Rock is small Arizona town, so small and insignificant that passenger train never stops there. When it stops it is big news, especially when the passenger stepping off is mysterious one-armed stranger named McCreedy (played by Spencer Tracy). McCreedy's presence alone is enough to cause suspicion by townspeople and open animosity by local cowboy goons. McCreedy would earn even more hostility when he starts inquiring about Japanese farmer who used to live in Black Rock before the war. Reno Smith (played by Robert Ryan), rich farmer and the only real authority in town, is especially upset over stranger's inquiry. McCreedy is being told that the Japanese farmer was "relocated" after the war, but he suspects something more sinister and that some townspeople, including Smith, had something to do with it. His suspicions are validated when he realises that Smith and his goons don't want him to leave Black Rock alive.
BAD DAY AT BLACK ROCK is often referred as companion piece to HIGH NOON. Those two films have many things in common - setting in small Western town, populated with hypocrites and cowards; lone protagonist who would risk his life over noble principles; suspense created with certainty of inevitable showdown; relatively short length. Unfortunately, John Sturges could hardly compete with directorial skills of Fred Zinnemann while screenwriter Don McGuire couldn't repeat the complexity of Carl Foreman's HIGH NOON script and its characters. BAD DAY AT BLACK ROCK looks promising in the beginning, though. Sturges withholds information from the viewers. When McCreedy steps off the train, dressed in black, his presence is menacing and his motives unclear. Spencer Tracy excellently plays this character by slowly building our confidence with grace, dignity, intelligence and confidence. It is real pleasure watching how Tracy outsmarts those who want to trick him and how he handles those who want to intimidate him. By showing growingly hostile reaction of the people like Smith and always reminding us of the hopelessness of McCreedy's situation, Sturges slowly builds the suspense. Unfortunately, it all begins to fall apart in the second part of the film, when the mystery is revealed and all sides begin preparations for inevitable final conflict. Instead of action, we are given sermons and McCreedy, who is shown as man who can take care of himself, actually talks his way out of bad situation. Some of the lines spoken by characters are powerful, but unrealistic, hardly expected from people who spent all their lives as ordinary, blue-collar inhabitants in small desert towns. That is especially so with character of Smith, played by Robert Ryan, who seems somewhat too refined for simple redneck bigot. Final showdown is also ruined with unnecessary melodramatic plot twist.
Perhaps the worst flaw of BAD DAY AT BLACK ROCK is lack of courage in handling whole embarrassing affair with Japanese Americans in WW2. Don McGuire uses euphemism of "relocation" for the event that was actually nothing less than state-sponsored ethnic cleansing (Interestingly enough, when Croatian and Serbian intellectuals in early 1990s propagated ethnic cleansing as the only solution of Yugoslav crisis, they also used euphemism called "humane resettlement"). Racism, that was the prime motivating factor of such event, is never attributed to the system itself; instead, racism and bigotry is something that should be attributed only to few rotten individuals like Smith. General population, which gave tacit support to ethnic cleansings and holocausts of this world, either by looking the other way or enjoying the fruits of someone else's dirty work, is actually forgiven in this film. McGuire, on the other hand, redeems himself by using this opportunity to expose rarely seen economic motivation for racial, ethnic and religious hatred - Smith did what he did because he wanted someone else's property. What is really sad about this film is the fact that the events portrayed in it don't belong to dark pages of history - BAD DAY AT BLACK ROCK can still teach us a lot about the world we still live in.
RATING: 6/10 (++)
Review written on February 2nd 2000
Dragan Antulov a.k.a. Drax Fido: 2:381/100 E-mail<EMAIL_ADDRESS>E-mail<EMAIL_ADDRESS>E-mail<EMAIL_ADDRESS>Filmske recenzije na hrvatskom/Movie Reviews in Croatian http://film.purger.com
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


Created by Steve Ognibene
Use your arrow keys and Link should run around (you may have to click the canvas first).
Legend of Zelda and Link copyright Nintendo - used here without permission under Fair Use.


collaborations
The DLF AIG Metadata Working Group is welcome to collaborations with both other DLF Assessment Interest Group working groups and other organizations. During early 2017, the goal was to gather information and collect ideas for collaboration. Volunteers served as “liaisons” for the following groups and kept up-to-date with both groups’ activities and bring up or document any possible areas for collaborative work as they appear.
Metadata Analysis Workshop
During 2017, the Metadata Working Group worked to expand on a metadata analysis workshop first given by DPLA at DPLA2017. This new workshop will first be offered at DLFForum2017. It will aim to introduce library, archive, and museum metadata practitioners and technologists with the basic skills and knowledge needed to assess metadata quality using data analysis tools. The updated curriculum will include an introduction to the Metadata Assessment Framework developed by the Metadata Working Group and will close by helping participants strategize ways to bring these tools back into their daily workflows and continue to train others they work with to do the same. A Github repository with the material from the workshop can be found here.


fun addCommand(command: BaseCommand): Unit
Registers a {@link Gear} instance's class to the command manager.


The presentation of the Swiss Federal Administration on the Internet
The Confederation Web Guidelines define the design specifications for the presentation of the Swiss Federal Administration on the Internet and are binding for all websites within the domain admin.ch. These guidelines specify how the websites of the Federal authorities have to look and how they should behave. At the same time they give the government departments and public offices the necessary flexibility to be able to optimize their online communications to the requirements of their specific business purposes.
These design regulations allow web designers to create up-to-date, user-friendly and universally accessible websites. They define the compulsory corporate design elements as well as the obligatory navigation and content modules. Furthermore, they introduce a series of elements that can be used directly and, if required, expanded upon or further developed. The display presentation has been optimized for web browsers on both desktop computers and laptops as well as on tablets and smartphones.
The Confederation Web Guidelines are aimed at both internal Federal project managers and third party service providers. They offer project managers an overview of the design specifications. Developer teams can use the templates and elements directly. They have been created using standard HTML code (as of 2013) and can be used with CSS and JavaScript style sheets.
The design specifications described for use on the Internet or in intranets can also be used for other digital channels, such as for the creation of apps.
The elements and modules described can be categorized in three groups:
1. Corporate Design Elements CD
The corporate design elements identify the website definitively as websites of the Confederation and for this reason their use is obligatory. Their presentation and design are set out in the Confederation CD, and they may not be modified in any way. Changes to these elements may only be implemented by the Specialist Unit for the Confederation CD or by the KID (Information Services Conference of the Administrative Departments). The CD elements are:
- designation of the website, comprising the Confederation logo and the name of the organizational unit
- red line separating the header from the rest of the page
- footbar with the copyright notice, links to the legal notice and further legal information
- “Frutiger” typeface
- prescribed color range
The CD elements are marked with the following icon in the detailed descriptions: Corporate
2. Fixed Elements FIX
The use of fixed elements is not mandatory. However, if they are used, their position and design are fixed and unalterable. For this reason they may not be modified in any way. Changes or additions to the following elements require the approval of the Web Forum:
- all other header elements (treecrumb, service navigation, language selection, search box, topics A-Z box)
- global navigation
- navigation in the left sidebar
- Breadcrumb
- social media links in the footer
- partner links in the footer
- site map in the footer
- social sharing function
- print function
- “back to overview” link
- typographical rules
Fixed elements are marked with the following icon in the detailed descriptions: Fixed
3. Flexible Elements FLEX
The descriptions of all other elements are recommendations. They can and may be adapted to meet specific requirements. They can be freely expanded upon and modified. The general look and feel of the site must, however, be retained. Additions to and amendments of these elements can be presented to the Web Forum for consideration as part of the web guidelines.
- faceted navigation
- picture gallery
- contact box
- etc.
Flexible elements are marked with the following icon in the detailed descriptions: Flexbile
Moreover, each project is entitled, within the scope of the framework created for the Confederation CD and the fixed elements, to develop its own elements. Any such newly created elements can be presented to the Web Forum for consideration as part of the web guidelines.
Revision and Further Development of the Confederation Web Guidelines
The Confederation Web Forum will review the Confederation Web Guidelines annually to ensure that they remain up-to-date and conform to developments in the web. If required and in consultation with the KID, the service providers, and the Specialist Unit for the Confederation CD, the Confederation Web Forum will initiate a release update of the Guidelines.
Extensions to existing elements, as well as new elements that are not yet included in these Confederation Web Guidelines, may be proposed to the Specialist Unit for the Confederation CD. This Unit will consider the proposal for submission to the Confederation Web Forum. The Confederation Web Forum will subsequently determine whether the proposed change should be added to the Confederation Web Guidelines or not. If the former is the case, the Forum will propose the relevant amendment to the KID.
If the KID agrees to the amendment, the submitting body will implement the amendment. In the course of this implementation process, the applicant will ensure that the code, together with a description of the amendment, is passed on to the Specialist Unit for the Confederation CD. The Unit will add the amendment to the Guidelines and inform the service providers of the change.


Please meet our partners, together for a better world.
Vivid Stake Pool
They are offering cutting-edge cryptocurrency technology of today and tomorrow. Vivid Stake Pool allows you to stake in Cardano. If you deposit your Fiat Money on your bank account, you will receive 1-3 % profit per year which will be paid after at least a few months. In Cardano it is the opposite: you receive high profits as high as 5-8 % per year which is paid every 5 days!
OpenChia believes that in a future blockchain and cryptocurrency can exist without degrading the environment and helping make the world a better place. We believe Chia and Cardano can coexist to help make that happen. If you'd like to know more about Cardano and/or join a legitimate staking pool please visit Vivid Pool.


Writing the future of a stronger, smarter and greener grid
A global supplier of touch solutions.
A premier provider of enterprise-class construction software.
Dedicated to providing insurance and risk management services.
Serving child victims of abuse.
Home of the Judgement Free Zone®
Building a more connected project environment.
Protecting What Matters Most Since 1912.
Perfecting riding posture and horse control - move as one.
Expect a Higher Level of Financial Service.
Dedicated to technology experimentation and innovation in the built environment.
Merging innovation and intelligence.
Waterfront dining in Portsmouth, NH.
Coastal classic dining at its best!
Shippers of Fine Maine Shellfish.
Building New England's Future.
Take Control of Your Material and Equipment Assets.
Drug Prevention When it Counts the Most.


Art Gallery
Search
Login
Sign Up
Home
Today's Deals
Shopping Cart
1
Checkout
1
item(s)
Contact Us
Water color painting
Oil painting
Glass painting
Ink Wash painting
Digital painting
Spray Painting
Acrylic painting
Pastel painting
WaterColor Painting
$18.44
$254.21
$18.44
$254.21
$18.44
$254.21
$18.44
$254.21
$18.44
$254.21
$18.44
$254.21
Oil Painting
$18.44
$254.21
$18.44
$254.21
$18.44
$254.21
Glass Painting
$18.44
$254.21
$18.44
$254.21
$18.44
$254.21


We are now routinely resolving substructure in protoplanetary disks: gaps, rings and spirals highly suggestive of planet-disk interactions. Simultaneously we are seeing ever more evidence of kinematical structure in these disks, again suggestive of planet-disk interactions. This workshop is designed to bring together people working on both theoretical and observational aspects related to the kinematics of planet-disk interactions and to develop strategies to further advance the search for planets during their formation from both observational and theoretical standpoints.
We aim to develop, as a community, a roadmap for the kinematical detection of planets while still embedded in their protoplanetary disk, including what observations, simulations and other resources we need. We want to define what signatures we should be searching for and what constitutes a detection of a planet. Similarly, we need to understand what simulations are needed to interpret these observations, what are the essential physics which must be included?
Please use this Google form to register your interest in joining this workshop. As numbers are limited, if we exceed the number of participants the SOC will attempt to select a diverse group of participants with a breadth of scientific interests and career stages.
The workshop will be free to participate with both breakfast and lunch provided at the CCA. Participants will be required to fund their own travel and accommodation. If your attendance is dependent on funding, please indicate this on the application form as we do have a small discretionary fund.
Visualizing the Kinematics of Planet Formation workshop will take place from October 21 to October 25, 2019 at the Flatiron Institute in New York City at 162 5th Ave, which is easily accessible via the subway.
Unfortunately this is a relatively pricey area for hotels so we would strongly suggset finding accomodation further afield (Brooklyn, Queens or Jersey) and using the excellent subway system to commute in.
To ensure transparency and openness, we have adopted the collaboration policy developed for the Gaia Sprints which has been used successfully in many similar workshops. This policy requires that participants agree to the following:
All participants will be expected to openly share their ideas, expertise, code, and interim results. Project development will proceed out in the open, among participants and in the world.
Participants will be encouraged to change gears, start new collaborations, and combine projects. Any participant who contributes significantly to a project can expect co-authorship on resulting scientific papers, and any participant who gets significant contributions to a project is expected to include those contributors as co-authors.
These rules make it inadvisable to bring proprietary data sets or proprietary code, unless the participant bringing such assets has the rights to open them or add collaborators.
We are dedicated to providing a harassment-free conference experience for everyone, regardless of gender, gender identity and expression, age, sexual orientation, disability, physical appearance, body size, race, ethnicity, religion (or lack thereof), or technology choices. We do not tolerate harassment, abusive behavior, or intimidation of conference participants in any form. As such, we follow the AAS Code of Ethics, and expect all participants to read and abide by the statements in the AAS Code of Ethics.


A quick-fix is suggested to rename the inner class field.
Example:
class Outer {
private String name;
class Inner {
private String name;
}
}
Use the option to choose whether this inspection should report all name clashes, or only clashes with fields that are visible from the inner class.


 They’ll usually disappear within 2 years.
Warts don’t cause you any harm. Sometimes warts can itch or bleed but that doesn’t mean there’s a problem.
There’s no need to see your GP unless your warts are in a spot that’s bothering you, keep coming back or they’re painful.
Don’t try to scrape off your warts and verrucas. You might get more.
You can buy creams, plasters and sprays from the pharmacy to remove warts. However, these treatments can be painful and don’t always work.

Removing warts from your face, hands or other visible spots
Warts on your face: see your GP - they might refer you to a skin specialist.
Don’t use wart removal creams, plasters and sprays on your face.
Warts in other visible spots, eg your hands: your GP might freeze them off. They will become inflamed, then settle and then fall off a few weeks later. If the wart is big you might need several sessions. However, the warts can come back.


Over 200 elephants die in Zimbabwe drought, says parks agency
by By Press AssociationMore than 200 elephants have died amid a severe drought, Zimbabwe’s parks agency said, and a mass relocation is planned to ease the problem.
Zimbabwe National Parks and Wildlife Management Authority spokesman Tinashe Farawo said at least 200 elephants have died in Hwange National Park alone since October and other parks are affected.
Animals including giraffes, buffalos and impalas are also dying, he said, and the situation can improve only after rains return.
“Almost every animal is being affected,” he said. “Of course, elephants are easily noticed during patrols or game drives, but some bird species are seriously affected because they can only breed in certain tree heights and those trees are being knocked down by elephants.”
Many animals are straying from Zimbabwe’s parks into nearby communities in search of food and water. The parks agency said 33 people have died from conflict with animals this year.
The agency said it plans to move 600 elephants, two prides of lions and other animals from the Save Valley Conservancy in the south east to less congested parks.
A pack of wild dogs, 50 buffalos, 40 giraffes and 2,000 impalas will also be relocated, Mr Farawo said.
The animals “have exceeded their ecological carrying capacity”, he said. “If the populations go unchecked, the animals will threaten the very ecosystem they depend on for survival.”
Zimbabwe has an estimated 85,000 elephants, second only to neighbouring Botswana with more than 130,000.
Zimbabwe says it is struggling to cope with booming numbers of wild elephants and wants to be allowed to sell its ivory stockpile and export live elephants to raise money for conservation and ease congestion in the drought-affected parks.
The country exported 101 elephants between 2016 and this year, mainly to China and the United Arab Emirates, raising more than £2 million for conservation efforts, according to the parks agency.


Adapting DIL competencies to meet the needs of students, faculty, and staff of UTA campus in regards to working with data for teaching, learning, and research.
Creators: Christian Johnson, Kayla Demiar, Nicole Yanney
Expansion
Information/data ethics
Integration of data as support for argumentative assignments
Undergraduate research
Digital literacy
Changes Made
Levels: emerging, intermediate & expert
Three additional, one removed & two re-defined competencies
Develops mindfulness in data ownership and privacy
Intermediate
Understands the ethos of the discipline for sharing and admin. of data
Recognizes the role of IP, privacy, and conf. issues in data collection and sharing
Expert
Creates data use agreements when needed
Anonymizes data & reduces risk of re-ID
PUBLIC HEALTH
Undergraduate Degree Program at UT Arlington
Public Health Informatics
The course addresses the application of ethical principles that apply to the use of information systems as those pertain to accessing, collecting, analyzing, using, maintaining, and disseminating data and information.
Learning Goals
Awareness & knowledge
Ethics
Responsibility
Discovery & acquisition
Management & organization
Structuring & cleaning
Visualization & representation
Activities
IRB training
Collecting data
Analyzing open data
Visualizing EHR data
Assignment
Integrate data and information sources into a website for consumers.


Authorization Control
Please select the ConnectedPDF key file to install
License Details
- Organization:
- Foxit Software
- Expire Date:
- 2018/4/12
- CPU Quantity:
- 10 (6 have used)
- License User:
- 1000 (500 have used)
- Document Quantity:
- 10000
License User:
1000 (500 have used)| User | Satus | Action | |
|---|---|---|---|
| Beth |<EMAIL_ADDRESS>| Used | Delete |
| Beth |<EMAIL_ADDRESS>| Used | Delete |
CPU Manage
CPU usage status: License 20 CPUs, Used 2 CPUs, No activation 18 CPUs
Node Activation Status
| IP | CPU | Satus |
|---|---|---|
| <IP_ADDRESS> | 1 | Activated |
| <IP_ADDRESS> | 1 | Activated |
| Type | Parem | Action | Total |
|---|---|---|---|
| The number of uploaded files | Delete | 30 | |
| The number of uploaded files | Delete | 30 |
Domain Name:
Install/ Update License
Please select the key file or license key to install
License Details
- Organization:
- Foxit Software
- Expire Date:
- 2018/4/12
- CPU Quantity:
- 10 (6 have used)
- License User:
- 1000 (500 have used)
- Document Quantity:
- 10000
| User Name | Device | Mac | Activation Time | Verify Activation Time | Action |
|---|---|---|---|---|---|
|<EMAIL_ADDRESS>| PC | 2018/5/10 12:23:34 | 2018/5/10 12:23:34 | Revoke | |
|<EMAIL_ADDRESS>| PC | 2018/5/10 12:23:34 | 2018/5/10 12:23:34 | Revoke |
Select Time Period:
| Time period | The numbers of users | Action |
|---|---|---|
| 2018/5/10 12:23:34 | 4 | View |
| 2018/5/10 12:23:34 | 4 | View |


{{if eq .user "bturner" }}
I’m coffee drinking Boston based Backend Developer with — one project at a time.
{{ else if eq .user "molly" }}I'm Molly Graham, a web developer working in NYC. Plain and simple, I love programming. I'm passionate about writing clean, unique, elegant code. Codes that work.
{{end}}


{% load static %}
www.itsmevaibhavkarnwalblogwebsite.com
You Have To Choose One Option
Add Blog
See All Blogs


{{nodeType.helpText || nodeType.description}}
This Thing requires a Gateblu to function. Gateblu allows you to connect local smart things that do not directly connect to the internet to Octoblu.


The Anime world contains a lot of amazing things, including the cuisine culture that isn’t worse than that in the real world.
Let’s together explore the top six amazing restaurants in Anime!
View ArticleBrocon and siscon are two technical terms referring to a type of a lot of Animes that many fans may not know. Also known as brother complex and sister complex, brocon and siscon mean a situation in which a character falls in love with his or her sibling.
The SixNatures has come up with a list of six of the most interesting brocon/siscon animes. Let’s see!
View Article2018 becomes a brilliant year of the anime community, when a lot of famous names are ready to showcase their monumental come-backs.
Below, The SixNatures has integrated a list of six celebrated names that returned to the small screen this year. Let’s see!
View ArticleAnime Dragon Ball Z’s content is very close to that of the original manga. However, there are still a few differences that require us to meticulously explore to successfully find out.
In the following, The Six Natures will figure out six interesting differences between Dragon Ball Z Manga and Anime.
View ArticleTIntroverts tend to explore the emotions inside their souls. Most of the time, they’d love to enjoy a quiet and peaceful environment. However, this doesn’t mean that they cannot get accustomed to the busy social life outside.
Today, let’s explore six introverted characters that The SixNatures have found in some of the most famous animes!
View Article


---
layout: post
title: What is meaning of denotation semantic ....
date: '2014-02-20T14:59:00.003-08:00'
author: daryoush
tags:
modified_time: '2014-02-21T14:46:48.600-08:00'
blogger_id: tag:blogger.com,1999:blog-5623577383635787454.post-3700416003867576202
blogger_orig_url: http://onfp.blogspot.com/2014/02/what-is-meaning-of-denotation-semantic.html
---
An absolute not to be missed lecture by David Sankel: The intellectual Ascent to Agda.
He talks about Denotational Semantic and interestingly describing it as: augmenting math to talk about meaning and then extend math to program in math.


A simple-as-pie tool for generating and keeping track of roles and kills in a typical game of Werewolf.
Add names of players, select number of roles, then let the tool do the rest.
Hover over roles for brief explanation. Click on players to toggle dead/alive state.
Player names, one per line.
Select roles.


The smartphones end up just being smart controllers.
As there is just one machine running the *real* game this means they are relatively easy to create. No crazy networking, state syncing, or dead reckoning required.
JavaScript libraries for the browser and Unity3D libraries are provided
This makes it easy to bang out a game. Use any JavaScript framework or Unity3D.
For controllers the sky is the limit.
Have a one button game. The user touches their screen.
Make virtual DPads
Make virutal paddle controllers (think Pong)
Have users choose answers to question like Jeopardy
Access the camera, send selfies to the game.
Emit sound effects from the phone.
Use the device orientation API and rotate something in game to match
Make a rhythm band where each device becomes an instrument.
 Insert that drawing into the game.
Show diagrams. Let the user plan out football plays.
Controllers can change dynamically.
Have 2 dpads for the dual stick part of your game. Have a single button for the speed contest. Change to a 3 letter box to let a player enter their high score initials.


Archive
Video Player
Faces List
{% for head in heads %}
{{head.0}}
{% for h in head.1 %}
{% endfor %}
{% endfor %}


The ACSU is a great way for your company to reach out to Cornell students in computing. Please reach out to our officers list to plan events or request to put up a posting for the students on our mailing list.


-
WALKING Running, standing, stairs
-
SMOKING Cigarettes, pipes, nargile
-
MEETING Presentation, talk, lecture
-
WORKING At office, Typing, writing, mouse
-
DINING Eating, drinking, smoking
-
RELAX Idle, sleeping, meditation
-
COMMUTE Bus, car, train
-
SHOPPING Market, Store
-
OTHER Not listed above


YORKVILLE, once a grity working-class neighborhood of German, Irish, and Hungarian immigrants, is gradually
becoming part of the Upper East Side to which it had long been attached more by geography than character.
The changes are perhaps best revealed not by the impact studies ofurban planners, but by taking a walk.
Croissants appeared a few weeks ago at Glaser's Bake Shop on the corner of First Avenue and 87th Street,
where for eight decades the same family has been making linzer tortes and German coffee cakes.
The cozy old bar on the corner of Third Avenue and 91st Street has been transformed into a singles cafe
called Mumbles, and a few blocks down Third Avenue computers are being sold in what not too long ago was
an Irish grocery.
The parking lot between First and Second on 92nd Street is now a tennis court available for $500 to $750 a
year to tenants of the adjacent building, where one and two-bedroom apartments are being rented for $1,000 to
$1,400 a month.
At 96th Street, between Second and Third Avenues, a six-story apartment house that once was
a modest home for working-class families has been renovated as a cooperative, outfitted with brick
fireplaces and renamed The Fireside. On a recent Sunday, Mitchell Shenker, a salesman for Greystone Realty,
described precisely the kind of customers he expects to buy the one-bedroom apartments that start there at
$136,000: "People on the way up."
And in this neighborhood that runs from 86th to 96th Streets, from Lexington Avenue
to the East River, there is also a surge of high rise development. Yale Robbins of Yale Robbins Inc., the
real-estate consultants, counts four structures of more than 16 stories that have been put up in the last
five years, plus several other large buildings.
Developers now are planning to add at least eight more that will bring thousands of new residents, many of
them middle- and upper-middle-class people who themselves are in flight from even higher housing costs in other
parts of Manhattan.
This kind of redevelopment already has occured in what some residents think of as the southern party of Yorkville,
the east-of-Third-Avenue blocks between 79th and 86th Streets, but now it is moving uptown.
"The city has moved north, the pressures have moved north," said Assemblyman Alexander B. Grannis, a Democrat-Liberal
who represents the district. "Now this area is a prie real-estate area. In the next 10 years, it's going to become
very chic and expensive - like the rest of the Upper East Side."
Within a decade, according to Mr. Robbins, the whole area will be totally developed. "And then the question is:
'Can it go above 96th Street?'" he said. Now under way, he added, is the construction of 980 apartment units,
and 1,300 more are possible in the next several years.
The newcomers pay rents that shock the old-timers living in $200-a-month rent stabilized railroad flats and are
viewed with some wariness by people like Susie Faldetta, 21 years old, who grew up in a tenement on 90th Street
and wistfully remembers the old days when "everybody knew everybody else and no one on the whole block was rich."
The newcomers have tastes that attract merchants like Beverly Fetner, who recently opened Main Course, a gourmet
catering shop at 1608 Third Avenue near 90th Street. While Mrs. Fetner was at first skeptical about Yorkville-
"I used to drive down Second Avenue with my doors locked," she said- a quick study of the people who wait each
morning for the Wall Street Express on the corner of 92nd Street and York Avenue convinced her that she would
have no trouble finding takers for such offerings as auvin, duck á l'orange and chocolate mousse.
''YOU could smell it - the young vital people who will be my market,'' she said as she supervised the final touches
at her store, with its earth-tone walls and track lighting.
Like other new merchants and residents, Mrs. Fetner turned to Yorkville when she found she could not afford the rents
elsewhere. She said she was paying $1,750 a month for her 750 square feet of shop space; a comparable amount of space
on Columbus Avenue, on the West Side, would have cost her $3,700 a month.
Many of her customers will undoubtedly come from across the street, where the brick towers of the Ruppert Urban Renewal
Project loom in place of the old RuppertBrewery that once provided jobs for the neighborhood. The apartment buildings
- Ruppert Towers, Yorkville Towers and Knickerbocker Plaza - were completed eight years ago and the presence of 1,836
Mitchell-Lama rental apartments is credited with spurring major redevelopment above 86th Street.
Three years ago, Eberhart Brothers Inc. bought five buildings between Second and Third Avenues on the north side of 96th
Street - the unofficial dividing line between the Upper East Side and East Harlem - and renovated 40 apartments. The
rents began at $550 for a studio and $650 for a one-bedroom.
''We're shocked at the rents we got,'' Frank Eberhart said. ''We thought we'd do well. We didn't think we'd do that well.
There are investment bankers living in those buildings.''
Real-estate people and progress-minded residents invariably use the word exciting to describe such developments in
Yorkville, a neighborhood that until the post-World War II years was overwhelmingly German, Irish, Hungarian, Austrian,
Czechoslovakian and, until recently, a less-than-fashionable address.
''Years ago,'' said Edith Fisher, chairman of the development committee of Community Board 8, with jurisdiction over
Yorkville, ''anything east of Third Avenue was declasse.'' Not everyone welcomes Yorkville's growing identification
with the rest of the Upper East Side, however. Mrs. Fisher's board, for one, expressed its concern by asking the
Department of City Planning to prepare an impact study. It also is trying to downgrade some of the zoning along the
mid-blocks.
Some people think there has already been too much change. ''The neighborhood's becoming sterile,'' said Tony Morenzi,
who grew up there and now works as Assemblyman Grannis's assistant. On a walk around the streets of his childhood, he
lamented the loss of such landmarks as Louie's Pharmacy on Second Avenue near 94th Street.
''If you got hurt, you didn't go to the doctor,'' he said. ''You went straight to Louie. He could give you a butterfly
stitch.'' Louie's is now a Blimpie's.
Yorkville has always been a neighborhood of contrasts, where the Mayor's residence, Gracie Mansion, and the East End
Avenue enclave of elegant apartments are only a few blocks from the Stanley Isaacs and John Haynes Holmes public housing
projects; where Elaine's, the saloon of the literati, is just around the corner from a soup kitchen, where five- and
six-story tenements share the same streets as private brownstones and expensive high-rises. It always has been home to a
mix of the rich, the middle class and the poor, but the poor used to predominate and now they are being pushed out.
Mr. Morenzi said Mr. Grannis's office had received complaints of landlord harassment of elderly tenants who often pay
less than $200 a month for the same railroad flats that newcomers are willing to rent for $600 and up.
DAVID STERN, executive director of the Lenox Hill Neighborhood Association, which serves a large part of the Upper
East Side, agreed. ''There are tremendous economic incentives for landlords to get people out'' he said. ''Three or four years
ago, if an elderly person became confused and became forgetful about paying rent, the landlord would call us up and say:
'Could you look in on so and so?'
''Today that same landlord will not call us, or will sue for dispossess or eviction. He'll say to himself: 'Hey - I
want to make $700 a month rent.' ''
The first residents will soon move into a 12- story, 82-unit cooperative at 402 East 90th Street called River East Plaza
formerly a garage. The one-bedrooms, priced between $113,363 and $167,475, are already sold out, according to John Cashman,
a sales agent for J. I. Sopher & Company. ''You go down 10 blocks, and you start at $60,000 and $70,000 more,'' Mr. Cashman
said. ''Down lower you get a glitzier lobby and smaller rooms.''
The first occupants also are moving into the Park East, a 22-story, 56-unit cooperative at 233 East 86th Street, where
studios are priced at $83,000 and a duplex penthouse is $294,000.
In the next year ground will be broken for at least six major buildings:
- The Milstein family plans to erect a high- rise rental-apartment project of 939 units at 215 East 95th Street on
the block bounded by 95th and 96th Streets and Second and Third Avenues.
- Solomon Equities will build a 292-unit residential development at 93d and 94th Streets at Second Avenue that will
include a 32-story building, 12 town houses, a landscaped courtyard and commercial space.
The project, according to Jean Solomon, should attract an upper-middle-class clientele, families and singles. The
construction manager is Tishman Realty & Construction. The architects are Sehuman, Claman, Lichenstein & Efron, with the
firm of Skidmore, Owings & Merrill as design consultants.
''THIS is the new area for continuing development,'' said Mrs. Solomon, who owns Solomon Equities with her husband,
David Solomon. The couple are completing Tower 49, an office building at Madison Avenue between 48th and 49th Streets.
- Glenwood Management will start next spring on two luxury residential rental high- rise projects totaling 498 units at York Avenue between 90th and 92nd Streets.
- At Third Avenue between 93d and 94th Streets, within the Ruppert Urban Renewal Site, Related Housing, Tishman Realty & Construction Company - builders of the World Trade Center and the John Hancock Tower in Chicago - and Wayne Kasbar, the developer, will build Carnegie Park, a 372- unit luxury high-rise.
- At Second and Third Avenues and 93d and 94th Streets, also within the Ruppert site, the New York Foundation for Senior Citizens will build 131 rental apartments for the elderly and handicapped.
According to a report by Community Board 8, the finished or nearly finished projects in the last five years include two
luxury apartment buildings on East 90th Street, residential towers on Third Avenue at 95th Street and on East 93d and 94th
Streets at First Avenue.
In addition, a condominium tower has risen at 223 East 86th Street, and several older buildings in the neighborhood have been
remodelled.
''It's not dramatic, but it's like a rebirth,'' said Mrs. Fisher, of Community Board 8. ''This is the last frontier.''
While developers and residents talk of a building boom in Yorkville, the assessment of Rebecca Robertson, a city planner,
is more cautious. ''I'm not sure it's changing as fast as people think,'' she said. ''This area has not yet reached its
development potential. I wouldn't say it's booming in terms of development. It's starting to happen.''
Most of the pressure, she said, will be on the avenues, where there is prime space available for new high-rises. One such
plot is at the northwest corner of 94th Street and First Avenue, where three nearly empty and derelict tenements are being
offered for $2 million, an asking price predicated not on their current value but on their development potential.
Though Stanley Isaacs Houses are just across the street, any tall building erected on the plot would command river views with
a high market value.
In addition to fears about the eroding character of the neighborhood, the new development has brought concerns that services
will be overtaxed and overcrowded.
At rush hour, the Lexington Avenue subway already operates close to or at crush capacity, according to an recent impact study
by the city's Office of the Department of City Planning. The rush- hour line of riders waiting to buy tokens at the 86th Street
station invariably stretches onto the street.
But even though Yorkville is changing, traces of the old neighborhood linger. The Ideal Restaurant, which opened 51 years ago,
is still on 86th Street, its long counter packed at mealtimes with people who like German food and know a bargain when they see
one - potato pancakes with applesauce for $3.75, Wiener schnitzel, string beans and fried potatoes for $5.95, corned beef and
cabbage and potatoes for $4.95.
Mr. Morenzi still lives with his wife and three children in the kind of apartment building that once prevailed, a five-story
walk-up where the residents are not just neighbors but also friends.
The parents of a grade-school friend of his also live there, along with a former boxer, a 90-year-old man and an actor. Keeping
the tenants happy is the resident super, Johnny Stanton, who also is a published short-story writer.
Mr. Morenzi works on First Avenue, next to Glaser's Bake Shop, where croissants were recently introduced. Despite its new
offering, Glaser's, with its tin ceiling, solid oak cabinets and one of the bakers in residence upstairs, is much as it was
81 years ago, when it was opened by a German immigrant named John Glaser. Today his son and two grandsons run the bakery.
The newcomers could easily go to other, fancier bakeries, but they come instead to Glaser's - a sign, perhaps, of the
continuing appeal of the old character of the neighborhood.


This example shows how to create custom controls.
This example creates a "rotate to north" button. See the custom-controls.js source to see how this is done.


odps
Aliyun ODPS (Open Data Processing Service) command-line tool.
Some subcommands such as `odps inst` have their own usage documentation.
More information: home page
- Start the command-line with a custom configuration file:
odpscmd --config=odps_config.ini
- Switch current project:
use project_name;
- Show tables in the current project:
show tables;
- Describe a table:
desc table_name;
- Show table partitions:
show partitions table_name;
- Describe a partition:
desc table_name partition (partition_spec);


This is a test suite for the final version of the RELAX NG 1.0 Specification.
The test suite consists of a single XML file spectest.xml, which includes over 300 test cases. Each test case consists of a correct or incorrect RELAX NG schema and zero or more valid or invalid instances. A RELAX NG schema is available that specifies the format of the test suite.
In order to run the test suite it may be convenient to split it up
into separate files. An XSLT stylesheet split.xsl is included to do this. This stylesheet
uses SAXON extensions. Jing
includes a class to run the test suite after it has been split up.
The class is com.thaiopensource.relaxng.util.TestDriver
.
This class must be invoked with two arguments. The first argument is
a log file for expected errors. The second argument is the directory
containing the split-up test suite.


WITNESS LIST Infrastructure Development and Security Committee July 16, 2003 - 1:00P SB 37 FOR: Short, Jim Political Consultant (Houston Real Estate Council), Fulsheau, TX ON: Heckman, Kris Transportation Policy Director (Office of the Governor), Austin, TX Jackson, Bob Deputy General Counsel (Texas Department of Transportation), Austin, TX Simmons, Steve Deputy Executive Director (Texas Department of Transportation), Austin, TX


| 1 | /* | |
| 2 | * Copyright 2009 The Closure Compiler Authors. | |
| 3 | * | |
| 4 | * Licensed under the Apache License, Version 2.0 (the "License"); | |
| 5 | * you may not use this file except in compliance with the License. | |
| 6 | * You may obtain a copy of the License at | |
| 7 | * | |
| 8 | * http://www.apache.org/licenses/LICENSE-2.0 | |
| 9 | * | |
| 10 | * Unless required by applicable law or agreed to in writing, software | |
| 11 | * distributed under the License is distributed on an "AS IS" BASIS, | |
| 12 | * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. | |
| 13 | * See the License for the specific language governing permissions and | |
| 14 | * limitations under the License. | |
| 15 | */ | |
| 16 | ||
| 17 | package com.google.javascript.jscomp; | |
| 18 | ||
| 19 | ||
| 20 | import com.google.common.annotations.VisibleForTesting; | |
| 21 | import com.google.common.base.Charsets; | |
| 22 | ||
| 23 | import java.io.File; | |
| 24 | import java.io.IOException; | |
| 25 | import java.io.InputStream; | |
| 26 | import java.io.Serializable; | |
| 27 | import java.nio.charset.Charset; | |
| 28 | ||
| 29 | /** | |
| 30 | * An abstract representation of a JavaScript source file, as input to | |
| 31 | * JSCompiler. | |
| 32 | * | |
| 33 | * @author<EMAIL_ADDRESS>(Nick Santos) | |
| 34 | * @author<EMAIL_ADDRESS>(Andrew Moedinger) | |
| 35 | * @deprecated JSSourceFile is an empty wrapper around SourceFile. Just | |
| 36 | * use SourceFile directly. | |
| 37 | */ | |
| 38 | // TODO(nicksantos): Delete this file. | |
| 39 | @Deprecated | |
| 40 | public class JSSourceFile extends SourceFile implements Serializable { | |
| 41 | private static final long serialVersionUID = 1L; | |
| 42 | ||
| 43 | public static JSSourceFile fromFile(String fileName, Charset charSet) { | |
| 44 |
1
1. fromFile : mutated return of Object value for com/google/javascript/jscomp/JSSourceFile::fromFile to ( if (x != null) null else throw new RuntimeException ) → NO_COVERAGE |
return new JSSourceFile(SourceFile.fromFile(fileName, charSet)); |
| 45 | } | |
| 46 | ||
| 47 | public static JSSourceFile fromFile(String fileName) { | |
| 48 |
1
1. fromFile : mutated return of Object value for com/google/javascript/jscomp/JSSourceFile::fromFile to ( if (x != null) null else throw new RuntimeException ) → NO_COVERAGE |
return new JSSourceFile(SourceFile.fromFile(fileName, Charsets.UTF_8)); |
| 49 | } | |
| 50 | ||
| 51 | public static JSSourceFile fromFile(File file, Charset charSet) { | |
| 52 |
1
1. fromFile : mutated return of Object value for com/google/javascript/jscomp/JSSourceFile::fromFile to ( if (x != null) null else throw new RuntimeException ) → NO_COVERAGE |
return new JSSourceFile(SourceFile.fromFile(file, charSet)); |
| 53 | } | |
| 54 | ||
| 55 | public static JSSourceFile fromFile(File file) { | |
| 56 |
1
1. fromFile : mutated return of Object value for com/google/javascript/jscomp/JSSourceFile::fromFile to ( if (x != null) null else throw new RuntimeException ) → NO_COVERAGE |
return new JSSourceFile(SourceFile.fromFile(file, Charsets.UTF_8)); |
| 57 | } | |
| 58 | ||
| 59 | public static JSSourceFile fromCode(String fileName, String code) { | |
| 60 |
1
1. fromCode : mutated return of Object value for com/google/javascript/jscomp/JSSourceFile::fromCode to ( if (x != null) null else throw new RuntimeException ) → NO_COVERAGE |
return new JSSourceFile(SourceFile.fromCode(fileName, code)); |
| 61 | } | |
| 62 | ||
| 63 | public static JSSourceFile fromInputStream(String fileName, InputStream s) | |
| 64 | throws IOException { | |
| 65 |
1
1. fromInputStream : mutated return of Object value for com/google/javascript/jscomp/JSSourceFile::fromInputStream to ( if (x != null) null else throw new RuntimeException ) → NO_COVERAGE |
return new JSSourceFile(SourceFile.fromInputStream(fileName, s)); |
| 66 | } | |
| 67 | ||
| 68 | public static JSSourceFile fromGenerator(String fileName, | |
| 69 | Generator generator) { | |
| 70 |
1
1. fromGenerator : mutated return of Object value for com/google/javascript/jscomp/JSSourceFile::fromGenerator to ( if (x != null) null else throw new RuntimeException ) → NO_COVERAGE |
return new JSSourceFile(SourceFile.fromGenerator(fileName, generator)); |
| 71 | } | |
| 72 | ||
| 73 | ||
| 74 | private SourceFile referenced; | |
| 75 | ||
| 76 | private JSSourceFile(SourceFile referenced) { | |
| 77 | super(referenced.getName()); | |
| 78 | this.referenced = referenced; | |
| 79 | } | |
| 80 | ||
| 81 | @Override | |
| 82 | public String getCode() throws IOException { | |
| 83 |
1
1. getCode : mutated return of Object value for com/google/javascript/jscomp/JSSourceFile::getCode to ( if (x != null) null else throw new RuntimeException ) → NO_COVERAGE |
return referenced.getCode(); |
| 84 | } | |
| 85 | ||
| 86 | @Override | |
| 87 | public void clearCachedSource() { | |
| 88 |
1
1. clearCachedSource : removed call to com/google/javascript/jscomp/SourceFile::clearCachedSource → NO_COVERAGE |
referenced.clearCachedSource(); |
| 89 | } | |
| 90 | ||
| 91 | @Override | |
| 92 | @VisibleForTesting | |
| 93 | String getCodeNoCache() { | |
| 94 |
1
1. getCodeNoCache : mutated return of Object value for com/google/javascript/jscomp/JSSourceFile::getCodeNoCache to ( if (x != null) null else throw new RuntimeException ) → NO_COVERAGE |
return referenced.getCodeNoCache(); |
| 95 | } | |
| 96 | } | |
Mutations | ||
| 44 |
1.1 |
|
| 48 |
1.1 |
|
| 52 |
1.1 |
|
| 56 |
1.1 |
|
| 60 |
1.1 |
|
| 65 |
1.1 |
|
| 70 |
1.1 |
|
| 83 |
1.1 |
|
| 88 |
1.1 |
|
| 94 |
1.1 |


NEVER BEEN KISSED Reviewed by Jamie Peck
Rating: *** (out of ****) 20th Century Fox / 1:46 / 1999 / PG-13 (language, brief drug use, sexual discussion) Cast: Drew Barrymore; David Arquette; Michael Vartan; Molly Shannon; John C. Reilly; Leelee Sobieski; Garry Marshall Director: Raja Gosnell Screenplay: Abby Kohn; Marc Silverstein
What kind of movie combines a preposterous premise with improbable casting, confusing character treatment and an overdose of gloppy sentimentality? In the case of "Never Been Kissed," a thoroughly charming one. It's rare when a film coasts on pure star power alone, but this lightweight if extremely pleasant romantic fantasy is downright unthinkable without the talents of totally game lead Drew Barrymore. Her perfectly sunny performance elevates what could have been grade-C schmaltz into quite the springtime charmer. Only gruff cranks will leave the theatre unsatisfied - at least with Barrymore.
She plays Josie Gellar, an ambitious, mid-20s copy editor at "The Chicago Sun-Times" who suffers from the titular lack of passion in her too-rigid life, let alone a nerdy facade, stuffy wardrobe and unflattering hair-don't that keeps Barrymore's spunky sexuality successfully under wraps. Fate tosses her a second chance when her grumpy superior (Garry Marshall) orders her to enroll undercover at the local high school to get the scoop - any scoop. Exactly how this is done is never revealed, and it would be a major enjoyment roadblock had "Never Been Kissed" already made us so eager to watch Barrymore's ugly duckling become a swan.
Flashbacks confirm Josie's past nightmarish educational experience - where she was dubbed "Josie Grossie" by cruel classmates and made the victim of a vicious prank - and here she is out of her element again, trying her darndest to make friends with the in-crowd. They, of course, reject Josie at first, only to later embrace her following some story twists best described as unlikely. But so what if practically nothing in this movie rings true? Barrymore, in a role that definitely goes against type (come on, who _wouldn't_ want to be her buddy - or more?), performs with such conviction that even the biggest leaps in logic are pretty irrelevant.
 As a new student, Josie becomes friends with a math clubber (Helen Hunt lookalike Leelee Sobieski) also spurned by the hip kids, but she disappears for a long while following an odd bonding sequence that moves all too quickly from tears to giggles. And when Josie finally clicks with an ambiguously-written trio of Miss Popularities and one Mr. Cool, "Kissed" can't decide if it wants to hiss or laugh at them.
Better luck is had with supporting actors David Arquette, as Josie's underachieving brother, and "Saturday Night Live" ace-pratfaller Molly Shannon, as an oversexed "Times" co-worker. They exist to prod the story along (sometimes plausibly, sometimes not), which includes Josie's potential - and potentially reciprocated - attraction to a handsome, young English teacher (Michael Vartan). Since she's working under the guise of a 17-year-old, this subplot sounds full of the Mary Kay LeTorneau heebie-jeebies, but pulling it off is Barrymore and Vartan's welcome subtlety in some surprisingly tender scenes that addresses its implications.
The big prom finale has been seen before in every recent bit of teen-oriented fare (from "She's All That" to "10 Things I Hate About You" - take your pick), and "Never Been Kissed" assuredly follows suit. This time, though, the formula doesn't feel old because of an interesting literary couples theme - bonus points for Josie's smashing Renaissance costume and the visual references to Raoul Duke and Dr. Gonzo references - and a treacly moment-of-truth that actually works. The related monologue is delivered by Barrymore's Josie, of course, and her emotional strength make this preachiness, this person and this movie utterly embraceable.
© 1999 Jamie Peck E-mail<EMAIL_ADDRESS>Visit The Reel Deal Online: http://www.gl.umbc.edu/~jpeck1/ "Upon hearing word of this outrage, ‘Star Wars' creator George Lucas (in the throes of developing scripts for the two remaining "Star Wars" films) quickly removed all references to an upcoming character allegedly named Stingy MacHaggis, a kilt-wearing alien who was to spend a good portion of ‘Episode II' drinking, picking fights and playing an alien musical instrument that strongly resembled a set of bagpipes. He is to be replaced by another alien character - a formless, colorless and mute creature who in no way resembles any culture or individual that ever existed or ever will exist. -AAlgar on "The Phantom Menace"'s race-stereotyping controversy
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


I'm baby air plant poke ugh, glossier salvia raw denim cloud bread. Activated charcoal farm-to-table offal sriracha typewriter jean shorts cornhole keytar polaroid trust fund schlitz art party everyday carry pinterest. Taxidermy knausgaard adaptogen YOLO sriracha photo booth pinterest chicharrones poke four loko. Man bun tattooed enamel pin, taiyaki vinyl butcher listicle affogato retro pitchfork vape brunch copper mug four loko. Fashion axe actually tilde tattooed. Street art asymmetrical tattooed, tbh +1 yr listicle 90's tumeric disrupt mustache chicharrones aesthetic cold-pressed. Small batch fanny pack brunch VHS, taiyaki kitsch gluten-free.


DONE
{{provider.name}}
{{provider.emailId}}
About :
{{provider.about}}
Charge/hr
{{provider.chargePerHour}}
Domain
{{provider.domain}}
Skills
{{skill}}
Accept
Reject
Accepted


the and vaccine fever yellow for vaccination with that years immunity studies were {background children dose booster are antibodies from margin not seropositivity was who {border-style The following have rates PRNT individuals px;} #ffffff;} been neutralizing virus â€" after data protection Health Med. antibody more response (). against cases doses received Brazil However, Yellow disease one Trop. published there Obs between immune might these when (%) Infect. different during endemic failures primary protective study this vaccinated what ACIP Hyg. among group has noted post-vaccination using vaccine. which â€"y age compared neutralization potential px; results their {font-family (e.g., Dis. Endemic Organization. SAGE Soc. additional also areas both but can clinical cohorts coverage first font-size healthy immunologic lower need number seroconversion seropositive several those time titers two whether & American Brazil, Furthermore, Vaccine detectable double; due higher how including months post potentially questions recent reported represent responses review secondary single titer use vaccine, very working would â‰¥ (Brazil) Committee Ghana Immunization International J.E.S., Micro-PRNT Non-endemic This WHO World about al. border-color border-width correlate develop every failures, full-dose given health infection longer-term measles needed only other pediatric provide recommendation reduction same solid; than used vaccine: waning {font-style {font-weight â€"% (/) (YF) -month .World A., A.D.T.B., Advisory Although Commons Control Creative Disease Fever J.H. Mali Med., RCT Seropositivity Travel Vaccines [], absence all any authors available bold constitutes contributed could courier; cut-off differences duration em; full had immunity. immunogenicity included information initial least less lifelong living long-term may measured memory monkeys most mâ€"y non-endemic note occurring outbreaks over plaque populations. post-vaccination, post-vaccination. presented prevent pt;} public rate receiving recently recommendations reports risk strain they vaccination, vaccines virus-specific years. â€"ya


Finally we're to the point where we can see all our hard work come together. We have most of the hard work done but we still have a lot of ground to cover. If you haven't been following along, please check out Setting Up The Assemblies, Configuring the Application and Developing the Model.
Unit of Work
In some of my initial tests with NHibernate and ASP.NET MVC Pattern I kept seeing the benefits of having a Unit of Work or Session Per Request (that is opening and closing the NHibernate session at the begining and end of the http request respectively). To Recap a little, I started to write my own Session Per Request, however, Chad Myers pointed me to the Rhino Commons project which already implemented this. I think it's worthwhile becuase I don't really like putting NHibernate session code in my controller plus as Martin Fowler writes
A Unit of Work keeps track of everything you do during a business transaction that can affect the database. When you're done, it figures out everything that needs to be done to alter the database as a result of your work.
Luckily, with RhinoCommons, it's pretty easy to implement this pattern (check out Ayende's post on this). In a standard web forms application, we would normally create a Global.aspx that inherits UnitOfWorkApplication. Since we're using ASP.NET MVC, however, we don't necessarily want to go that route. As Michael Hanney notes on his post on MVC and Castle we can have our Global.asax inherit from UnitOfWorkApplication.
public class GlobalApplication : UnitOfWorkApplication
{
public override void Application_Start(object sender, EventArgs e)
{
base.Application_Start(sender, e);
RegisterRoutes(RouteTable.Routes);
}
…
}
If you know of another way to do this, please be sure to let me know. Also, the routing still works as it normally would – we're just running this code first to instantiate the UnitOfWork.
In our controllers we can call our reference our Hibernate repositories and classes without specifying an ISession.
public ActionResult InsertProductGroup(string Title)
{
ProductGroup pg = new ProductGroup();
pg.Title = Title;
Repository<ProductGroup>.Save(pg);
UnitOfWork.Current.Flush();
return RenderView("AddProductGroup");
}
Notice we're still flushing our data – but it makes the controllers a LOT cleaner. Imagine if we had to instantiate and clean up our session in each controller.
One further thing, the UnitOfWorkApplication supports both short and long conversations. I'm not going to go too much into that but if your application requires keeping objects around for a couple HTTP Requests before saving to the database Long Conversation may be the way to go. See Ayende's Wiki for more on this
NHibernate Query Generator
In the first post of this series we looked at what it takes to setup NHibernate Query Generator (NHQG from here out). Now we get to use it to make some really nice looking code (in a later post, however, we'll be using LINQ to NHibernate). If we've set up the tool as mentioned in the first post (listed earlier), all we have to do is run the tool and make sure the generated code is added to the project.
NHQG lets us use a fluent interface to set filters on our Hibernate queries; this results in code that, in my opinion, is very easy to write and understand later on. If we wanted to Find one Product with a specific title, our code would look something like this:
public ActionResult ViewProduct(string ID)
{
var p = Repository<Product>.FindOne(Where.Product.Title == ID);
if (p != null)
{
return RenderView("DisplayProduct",
p);
}
return RenderView("DisplayProduct");
}
The Where.Product.Title == ID is all from the NHQG autogenerated code. Now we actually have something to show for all our configuration and setup work. Soon, we're going to take a look at using LINQ to NHibernate instead of NHQG.


Public Transport Timer |
Line Number
Direction
Global Annotation
Please Select
Arrival
Departure
Transit
Comment
Counting of Passengers
Count
-10
-5
-1
{{reportList.filling}}
+1
+5
+10
Report
#
Type
Time
Dur
Comment
Del
Pass: {{reportList.numPass}}
{{item.id}}
{{item.type}}
{{item.time}}
{{item.relativeTime}}
{{item.comment}}
{{item.passenger}}
Download Report
Download


101 DALMATIANS A film review by Frank Maloney Copyright 1991 Frank Maloney
Walt Disney took a new turn in full-length animated films when he released 101 DALMATIANS in 1961. Until that time, gothic fairy tales were the norm for this genre. When Walt nearly sank the studio in 1958 with the disastrous release of SLEEPING BEAUTY, he turned to different material, a different style, and a different feel. Some of the results were pretty forgettable, but the first, 101 DALMATIANS, was fresh and clever, an original, a novelty.
The film has gone into a national re-issue for the first time since 1985, and for me it is still a beautifully drawn, charming, and entertaining film.  The story is set in London and the English countryside; the accents are English except for the two songs Pongo's human sings, which is odd, but the songs are short. This is not a musical, but the Pongo's human is a professional songwriter.
The story is one that ought to amuse adults, except perhaps for those of the most severe sort. It offers satirical notes of a surprisingly sophisticated level. However, children seem to have changed in thirty years, what with the restricted attention spans and an unrelenting diet of mayhem and violence, so that much of the under-twelve element in my audience was pretty bored by the film, except for the chase sequence that dominates the last third of the movie; even there, the children stopped fussing and chatting only during the most explosive or pratfall-filled parts.
Two story elements broke a long Disney tradition. No one's mother dies. And the villain does not have a villainous cat. In fact, the only cat in this doggy movie was Sargeant, who is instrumental in saving 99 Dalmatian puppies from Cruela's cockney henchmen.
The art style is a kind of loosely constructed watercolor that I associate with the late Fifties and early Sixties, and which I, as a former denizen of that era, find very attractive. The backgrounds are rather luscious and detailed, but in a way a world away from the great 1930s animations like SNOW WHITE.
The movements are smooth and natural. In fact, so skill were the Disney animators in capturing gesture and movement, that body language tells part of the story, even as it does in live-action films.
Cruela is, of course, a lot of fun, a kind of satire of the wicked-stepmother prototype so basic to Disney and to fairy tales. The outward signs of her interior evil are probably more obvious and more in line with general thinking than they were 30 years ago. She smokes cigarettes, polluting the air with a bilious miasma of smoke, and scattering her ashes and butts with a vicious abandon.  She drives a gas hog that could easily be the origin of the bumper sticker "As a matter of fact, I do own the road." (Cruela's voice was supplied by Betty Lou Gerson, who sounds like Tallulah Bankhead on speed.)
Television comes in for a certain amount of satire, too. One charming sequence has Pongo, his mate, and their pups watching a Rin Tin Lassie shoot-em-up; the pups are great in their reactions and their engrossment in the TV. Later the cockneys Horace and Jasper are so wrapped up in a game show called "What's My Crime" that they make a major mistake. There is also a scene of the pups watching an old cartoon with dancing flowers; I've seen that cartoon, it's real, and I wonder how the Disney people got it to play on their cartoon TV in that pre-computer era; it really looks like the original. (There's also a moment of a car plowing through heavy that looks like a innovation in animation for the time; maybe someone can fill me in what it was I saw -- it was not conventional cel animation.)
The film is short, under ninety minutes, as were most of the animated films, but may be too long for most young children. I'd say it's about the right length for adults and mature children.
I can recommend 101 DALMATIANS, but I'd look for a cheap matinee and I'd prepare to be tolerant about audience noise.
-- Frank Richard Aloysius Jude Maloney
.
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


Tile notifications are specified in an XML format and contain text and images in a pre-defined layout.
Applications must always include a medium (Square150x150) logo in the
manifest. Similarly, if an application wants to use wide (Wide310x150)
tile templates, it must include a wide (Wide310x150) logo with it as
well. Applications that want to use large (Square310x310) tile
templates must include both Wide310x150 and Square310x310 logos.
On Windows 8.1, each application automatically supports the small
(Square70x70) tile size by simply shrinking down the Square150x150 logo.
An application can override this logo in the manifest if it so chooses.
On Windows Phone 8.1, each application is required to provide small
(Square71x71) logo. When sending live tile notifications, it is
strongly recommended to send bindings for all supported tile sizes in
each payload since users decide what size your application's tile will
be. Note that only Windows Phone 8.1 makes use of a binding for the small
tile size. This size does not support live tile
updates on Windows 8.1 (but does support badge updates).
Given below are two different use cases. Before you send the notifications, make sure that you pin the tile to your Start screen.
Once you send the notification, check how the pinned tile shows those updates.


|
||||||||
| PREV CLASS NEXT CLASS | FRAMES NO FRAMES | |||||||
| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |
java.lang.Object java.lang.Throwable jep.JepException
public class JepException
JepException.java - it happens. Copyright (c) 2004, 2005 Mike Johnson. This file is licenced under the the zlib/libpng License. This software is provided 'as-is', without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software. Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions: 1. The origin of this software must not be misrepresented; you must not claim that you wrote the original software. If you use this software in a product, an acknowledgment in the product documentation would be appreciated but is not required. 2. Altered source versions must be plainly marked as such, and must not be misrepresented as being the original software. 3. This notice may not be removed or altered from any source distribution. Created: Fri Apr 30 10:35:03 2004
| Constructor Summary | |
|---|---|
JepException()
Creates a new JepException instance. |
|
JepException(java.lang.String s)
Creates a new JepException instance. |
|
JepException(java.lang.Throwable t)
Creates a new JepException instance. |
| Method Summary |
|---|
| Methods inherited from class java.lang.Throwable |
|---|
fillInStackTrace, getCause, getLocalizedMessage, getMessage, getStackTrace, initCause, printStackTrace, printStackTrace, printStackTrace, setStackTrace, toString |
| Methods inherited from class java.lang.Object |
|---|
clone, equals, finalize, getClass, hashCode, notify, notifyAll, wait, wait, wait |
| Constructor Detail |
|---|
public JepException()
JepException
instance.
public JepException(java.lang.String s)
JepException
instance.
s
- a String
valuepublic JepException(java.lang.Throwable t)
JepException
instance.
t
- a Throwable
value
|
||||||||
| PREV CLASS NEXT CLASS | FRAMES NO FRAMES | |||||||
| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |


L.A. CONFIDENTIAL A film review by David N. Butterworth Copyright 1997 David N. Butterworth
Rating: *** (Maltin scale)
It's the early 1950s and the lure of Tinseltown brings the hapless and the hopeful to the City of Angels. Maybe to make it as a Hollywood movie star. Or maybe just to see one.
But beneath the glitz and the glamour and the celebrity lies a dark and dangerous underbelly--crooked cops, mob rule, corruption, homicide, vice. The L.A.P.D. have their hands (or pockets) full. The relationship between three officers--men with very different agendas--forms the fascinating core of "L.A. Confidential," writer/director Curtis Hanson's stylish, handsome adaptation of James Ellroy's noir novel. It's a story about the good, the bad, and the beautiful.
Ed Exley (Guy Pearce) is young, college educated, and politically astute. He does things by the book, refuses to take payoffs, and snitches on fellow officers, all in the name of justice (and career advancement). Exley is not the most popular policeman on the force.
Bud White (Russell Crowe), on the other hand, believes that the quickest way to get a confession out of a suspect is to beat it out of him. He's a muscle guy who uses violence as "a necessary adjunct to the job." His sense of justice isn't much different from Exley's, but his methods are.
Then there's Jack Vincennes (the terrific Kevin Spacey), a flashy, showbiz-influenced crimestopper who acts as technical advisor for a Dragnet-style television show. Vincennes also scams for a sleazy tabloid, getting front-page notoriety nabbing potheads in the act by Hush Hush huckster Sid Hudgeons (Danny DeVito).
Sparks fly as Ed, Bud, and Jack's distinctly differing styles come into conflict--and out again--as they investigate the Nite Owl Massacre, a six-person bloodbath in a coffee shop that took one of their own. Adding pudding to the mix is an icy cool millionaire pornographer pimp (David Strathairn), whose hookers are cut to look like movie stars. These include the Veronica Lake-inspired Lynn Bracken, played by a smoldering Kim Basinger in some great-looking, gravity-defying gowns.
It's absorbing, colorful stuff.
Curtis Hanson has taken a significant step forward with this film, displaying depth and detail that was lacking in his previous psycho-bound thrillers, "The River Wild" and "The Hand That Rocks the Cradle." Lovingly photographed by Dante Spinotti, "L.A. Confidential" is sleek and satisfying, full of complex characters expertly played by a fine cast. While the plot's intricate twists and turns pay homage to noir films of the '40s and '50s, the film maintains a 1990's sensibility with some extreme bloodletting, so be warned. Otherwise, "L.A. Confidential" is a solid, confident thriller.
-- David N. Butterworth<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


Provide a platform to network and share information about lost and found pets
We believe in people power. Together we can create a great network. Great networking leads to solving complex issues. One of these issues is to find and reconnect people with their lost beloved pets. So, join Us, Lost & Hound, and help each other accomplish our mission.


Assignment Six
Due: Friday, April 19 at 11:59.999999 pm
100 Points
Add BasicAuth
to the Flask
server and use Array.map
, Array.reduce
, and Array.filter
to create a dashboard to display data about box office earnings for movies of 2018.
Using the starter repository, modify the application so users can make sense of the box office earnings for 2018. The server is currently open to any arbitrary visitor; Protect the server’s routes using BasicAuth
. Using
map
, reduce
, and filter
, populate the Top 10 Highest Grossing Films
, Top 10 by Studio
, and Top 10 by Opening Weekend Gross
for the authenticated user.
These are the base requirements for making the page work. You can enhance.
pip install Flask==1.0.2
pip install Flask-RESTful==0.3.6
passlib
, bcrypt
, or the built-in functions: from werkzeug.security import generate_password_hash, check_password_hash
BasicAuth
decorator we covered in class including the helper functions to authenticate the user for the page./api/movies
/api/movies/<int:movie_id>
base.html
base.html
has an XmlHttpRequest
in place to call the collection route to get all movies and populate a table on the page with all movies.for
, while
, etc.).#gross-movies
).#gross-average
.#studio-movies
).#studio-select
with all unique studios.#studio-name
).#studio-average
.#opening-movies
).#opening-average
.dashboard.py
, and place it in the root directory of your repository.Be sure to remember to push the latest copy of your code back to your GitHub repository before the the assignment is due. At the deadline, the repositories will automatically be copied for grading. Whatever is present in your GitHub repository at that time will be considered your submission for this assignment.
Files included in the starter repo:
/README.md
/dashboard.py
/templates/base.html
/requirements.txt
/static/main.css
We will download a zip archive of the repo and run the dashboard.py
file in a terminal/console using Python version 3.7 (export FLASK_APP='connect4.py' flask run
).
map
, reduce
, filter
: 10%sort
without mutating original array: 10%Late assignments will receive zero credit.


|
hcash
2.0.0
hcash
|
Directories | |
| directory | api |
| directory | blockchain |
| directory | cli |
| directory | client |
| directory | contract_engine |
| directory | db |
| directory | glua |
| directory | hshare_wallet |
| directory | net |
| directory | rpc |
| directory | rpc_stubs |
| directory | UnitTest++ |
| directory | utilities |
| directory | wallet |


I am a computer science major graduating from University of Piraeus this year. Having a wide variety of skills ranging from front end to software development and constantly adding new on my arsenal.
Team member ,focused and passionate about the craft. I got 2 years of experience on Web Developing as a shopify expert to multiple Shopify Stores.Currently freelancing while i pursue new opportunities.
Social Buttons
Hey i am George
Front End - Application - Shopify
Ninja Developer


Generated 5/1/2017, 9:52:02 PM
Index of experiments/threejs/gravity/lib/examples/js/loaders/ctm/license/
../
OpenCTM.txt
js-lzma.txt
js-openctm.txt