{% import "snippets.html" as snippets %} {% macro install_flatpak_with_gnome_software_focal(ubuntu_version, img_suffix="") %}
Flatpak is a cross-distribution framework for distribution and running of sandboxed applications. XDG Desktop Portal provides {{ nuvola.name }} with desktop integration. All packages are available in the Ubuntu {{ ubuntu_version }} repository. No third-party PPA is required.
Click to install Flatpak with Ubuntu Software
Click to install XDG Desktop Portal with Ubuntu Software
Alternatively, launch a Linux terminal emulator and type the command below and press the Enter key to install these packages.
sudo apt install flatpak xdg-desktop-portal-gtk
Ubuntu switched to a snap-packaged Software Store since Ubuntu 20.04 LTS. While this step has many benefits, there is also one drawback: The snap version doesn't support Flatpak packages. If you wish to install Flatpak packages from a software store application, you need to install the original GNOME Software application.
Click to install GNOME Software with Flatpak plugin
Alternatively, launch a Linux terminal emulator and type the command below and press the Enter key to install these packages.
sudo apt install gnome-software gnome-software-plugin-flatpak
It is necessary to restart your computer to add Flatpak paths alongside the system ones. Otherwise, you may see strange errors. Unfortunately, just logging out and logging in is not enough.
flatpak
commands provided at the end of this section.
The Flathub repository provides GNOME Platform runtime, which is used by Nuvola to share common dependencies with other Flatpak apps to reduce disk & memory usage.
Click to install Flathub repository with GNOME Software
The Nuvola Player repository contains Nuvola Player Service and individual integration scripts.
Click to install Nuvola Player repository with GNOME Software
Now you need to refresh GNOME Software package cache:
Alternatively, launch a Linux terminal emulator and type the commands below and press the Enter key to add repositories and update package cache.
flatpak remote-add --if-not-exists flathub https://dl.flathub.org/repo/flathub.flatpakrepo
flatpak remote-add --if-not-exists nuvola https://dl.tiliado.eu/flatpak/nuvola.flatpakrepo
flatpak update
{% endmacro %}
{% macro install_nuvola_service_with_gnome_software_focal(img_suffix="") %}
{{ snippets.about_nuvola_service() }}
flatpak
command at the end of this section.
In order to install Nuvola Player Service with GNOME Software, launch GNOME Software, which is called just Software, search for Nuvola Player Service and finally click the Install button.
Alternatively, launch a Linux terminal emulator and type the command below and press the Enter key to install the package.
flatpak install nuvola {{ nuvola.uid }}
{% endmacro %}
{% macro install_app_with_gnome_software_focal(app, distro_spec, environments, img_suffix="") %}
flatpak
command at the end of this step.
In order to install {{ app.name }} with GNOME Software, launch GNOME Software, which is called just Software, search for {{ app.name }} and finally click the Install button.
Alternatively, launch a Linux terminal emulator and type the command below and press the Enter key to install the package.
flatpak install nuvola {{ app.uid }}


CoveLauncher
Launch Minecraft
CoveLauncher v.whoknowsrofl
Launch Options
Debug Console
Launch Options
Configure your game :) Only touch these if you know what you're doing!
Console Log


holamudno
holamudno
holamudno
holamudno
Works with flexbox.
2
Completely seperates layout logic from resize logic. All layout logic must be done by you in the CSS (as it should be).


{% extends "base.html" %} {% block title %} Forgot password? {% endblock %} {% block header %}{% endblock %} {% block fullpage %}
We'll sent an email to the address we got when the site was claimed. This email has a secret link that will let you change your password.


Review the following case study to answer this question. This case study is the same across all questions
Case Study - e-Commerce solution (online storefront) for ABC Ltd.
You are required to produce a design for an e-commerce solution (online storefront) for the retail company ABC Ltd.
This design must take the form of a UML class diagram.
High-level requirements have been provided below.
ABC will use the solution to promote and sell the thousands of products listed in ABC's product catalog. Though ABC expects to add other products in the near future the catalog currently includes books, DVDs, music CDs, apparel, consumer electronics, beauty products, kitchen items, jewelry, watches, garden items, and toys. Potential customers must be able to visit the online storefront to:
- Search or browse ABC'S product catalog
- View product details (including description, price, customer ratings and reviews, etc.)
- Manage their shopping cart (add products to cart, remove products, etc.)
In addition, registered customers must be able to login, manage their user account, check out/place orders, and submit reviews of items previously purchased. To register a customer user must complete and submit an online registration form, providing ABC with their email address, password, and one or more of each of the following, phone number, shipping address, billing address, and payment details. ABC's customer service, order fulfillment, and other employee users must also be able to use the system to support business operations.
There are no hints for this question


This is a work in progress.
SmartApps can POST data to this URL to relay it into HTM.
POST
See Charts


the and {background for margin {border-style drug px;} #ffffff;} The repurposing with CANDO are candidates platform px; {font-family COVID- font-size that using double; drugs from may Award Elsevier National SARS-CoV- also border-color border-width coronavirus docking have interaction other rank solid; such this {font-style {font-weight against any bold centre clinical courier; em; identified inhibitors not pandemic potential predicted predictions pt;} resource shotgun top


| DOSE: |
80 mg |
oral |
AMT |
|
| |
1 bowl |
smoked |
Cannabis |
(plant material) |
My friend, who I will call O, and I had been preparing for this trip for about a week. As we had both done AMT before, we decided it would be nice to try a day trip, especially since at night, AMT seems to act a lot more like a roll than a trip.  The weather was perfect for tripping, about 70-75 degrees, cloudy skies. It wasn't raining, but there was a breeze that felt like it may start.
Once we got to the park we smoked a bowl of some really good kind bud. Just looking at it I was getting high. The crystalization looked amazing. Its odd how great bud looks under natural lights. Still not feeling the AMT too much, but the bowl is getting us really high.  Not to worry, as an experienced psychnaut he can control himself, he just needed a breather so we decided time to start hiking.
We start hiking around the lake when the AMT really starts to take hold. The feeling AMT gives off is so euphoric in its nature that I have no idea how one has a bad trip on the stuff. Our stomachs are starting to feel better, not that they felt that bad, but the discomfort is all but gone.
The visuals are absolutely insane. The beauty and vibes I am getting from the forest are inexplainable.
Looking into the woods, I see the trees starting to bend and meld, and then my depth peception goes. Everything seems far and close and an eyeball is now staring right back at me from under a branch, a very big eyeball. I start laughing, the whole thing seems so abstract and beautiful at the same time.
Examing the reflections on the lake become another trip out.  The differences that I see allow me to realize just how messed up I am. And DAMN... WE ARE TRIPPING!!!
The visuals are not the only effect of this drug. Unlike most psychedelics, AMT gives off an ecstasy-like body trip and brain-fuck. This is one of the best parts of AMT - everything is beautiful, everythign feels beautiful, and everything is moving and swirling. Its just awesome.
The body trip especially began to build when O and I decided to go for a bike ride in the middle of the trip. The wind and the excersize itself boosted the sensations. The feeling is very similar to blowing up on ecstasy, except with better visuals. After the bike ride, we return to the nature preserve to continue tripping.
About 10 hours after we entered the preserve, the sun is starting to go down and we have to leave. Luckily the park is only about a square mile, so it only takes a little while to find our way out despite the fact that we got a little lost.
Back to the house. Still tripping. We watch cartoons and finally eat about 13 hrs after eating the AMT, to bed in about 15 hours.
I woke up the next day feeling refreshed. No lingering morning effects. Will I do again? I already have, but as it is illegal now, it will be harder to get.
Peace all
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.


Amazon MQ Broker User
The User
property
type specifies the details for an Amazon MQ user.
User
is a property of the AWS::AmazonMQ::Broker
resource.
Syntax
To declare this entity in your AWS CloudFormation template, use the following syntax:
JSON
{ "ConsoleAccess" :
Boolean
, "Groups" : [String
, ... ], "Password" :String
, "Username" :String
}
YAML
ConsoleAccess:
Boolean
Groups: -String
Password:String
Username:String
Properties
ConsoleAccess
-
Enables access to the ActiveMQ Web Console for the ActiveMQ user.
Required: No
Type: Boolean
Update requires: Some interruptions
Groups
-
The list of groups (20 maximum) to which the ActiveMQ user belongs. This value can contain only alphanumeric characters, dashes, periods, underscores, and tildes (
- . _ ~
). This value must be 2-100 characters long.Required: No
Type: List of String values
Update requires: Some interruptions
Password
-
The password of the user. This value must be at least 12 characters long, must contain at least 4 unique characters, and must not contain commas.
Required: Yes
Type: String
Update requires: Some interruptions
Username
-
The username of the ActiveMQ user. This value can contain only alphanumeric characters, dashes, periods, underscores, and tildes (
- . _ ~
). This value must be 2-100 characters long.Required: Yes
Type: String
Update requires: Some interruptions


Source code for github
# -*- coding: utf-8 -*-
############################ Copyrights and license ############################
# #
# Copyright 2012 Vincent Jacques<EMAIL_ADDRESS>#
# Copyright 2012 Zearin<EMAIL_ADDRESS>#
# Copyright 2013 Vincent Jacques<EMAIL_ADDRESS>#
# Copyright 2014 Vincent Jacques<EMAIL_ADDRESS>#
# Copyright 2016 Jannis Gebauer<EMAIL_ADDRESS>#
# Copyright 2016 Peter Buckley<EMAIL_ADDRESS>#
# Copyright 2017 sharkykh<EMAIL_ADDRESS>#
# Copyright 2018 sfdye<EMAIL_ADDRESS>#
# #
# This file is part of PyGithub. #
# http://pygithub.readthedocs.io/ #
# #
# PyGithub is free software: you can redistribute it and/or modify it under #
# the terms of the GNU Lesser General Public License as published by the Free #
# Software Foundation, either version 3 of the License, or (at your option) #
# any later version. #
# #
# PyGithub is distributed in the hope that it will be useful, but WITHOUT ANY #
# WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS #
# FOR A PARTICULAR PURPOSE. See the GNU Lesser General Public License for more #
# details. #
# #
# You should have received a copy of the GNU Lesser General Public License #
# along with PyGithub. If not, see <http://www.gnu.org/licenses/>. #
# #
################################################################################
"""
The primary class you will instanciate is :class:`github.MainClass.Github`.
From its ``get_``, ``create_`` methods, you will obtain instances of all Github objects
like :class:`github.NamedUser.NamedUser` or :class:`github.Repository.Repository`.
All classes inherit from :class:`github.GithubObject.GithubObject`.
"""
import logging
from .MainClass import Github, GithubIntegration
from .GithubException import GithubException, BadCredentialsException, UnknownObjectException, BadUserAgentException, RateLimitExceededException, BadAttributeException, TwoFactorException
from .InputFileContent import InputFileContent
from .InputGitAuthor import InputGitAuthor
from .InputGitTreeElement import InputGitTreeElement
[docs]def enable_console_debug_logging(): # pragma no cover (Function useful only outside test environment)
"""
This function sets up a very simple logging configuration (log everything on standard output) that is useful for troubleshooting.
"""
logger = logging.getLogger("github")
logger.setLevel(logging.DEBUG)
logger.addHandler(logging.StreamHandler())


Here are a bunch of new words for page 2.
In table tennis, the most important skill is the stance.
On every hit, you have to flex the knees slightly to help control the ball and increase the balance.
In page 2, there should be new content which is not in the first page.
This goes to sample page 3
This goes to sample page 4
here is some small text.
here are several words of medium text.


For full functionality of this site it is necessary to enable JavaScript.
Battleship Clone
<OPTIONS>
Direction of ship:
Vertical (down)
Horizontal (right)
Type of ship:
Carrier (Size: 5, Count:
)
Battleship (Size: 4, Count:
)
Cruiser (Size: 3, Count:
)
Submarine (Size: 3, Count:
)
Destroyer (Size: 2, Count:
)
Create random board
Reset board
Your browser does not support HTML5 Canvas.


Write some stuff here to let people know how great your site really is!
Ours
Upon waking next morning about daylight, I found Queequeg's arm thrown over me in the most loving and affectionate manner. You had almost thought I had been his wife. The counterpane was of patchwork, full of odd little parti-coloured squares and triangles; and this arm of his tattooed all over with an interminable Cretan labyrinth of a figure, no two parts of which were of one precise shade—owing I suppose to his keeping his arm at sea unmethodically in sun and shade, his shirt sleeves irregularly rolled up at various times—this same arm of his, I say, looked for all the world like a strip of that same patchwork quilt.
Upon waking next morning about daylight, I found Queequeg's arm thrown over me in the most loving and affectionate manner. You had lmost thought I had been his wife. The counterpane was of patchwork, full of odd little parti-coloured squares and triangles; and this arm of his tattooed all ver with an interminable Cretan labyrinth of a figure, no two parts of which were of one precise shade—owing I suppose to his keeping his arm at sea nmethodically in sun and shade, his shirt sleeves irregularly rolled up at various times—this same arm of his, I say, looked for all the world like a trip of that same patchwork quilt.
Upon waking next morning about daylight, I found Queequeg's arm thrown over me in the most loving and affectionate manner. You had lmost thought I had been his wife. The counterpane was of patchwork, full of odd little parti-coloured squares and triangles; and this arm of his tattooed all ver with an interminable Cretan labyrinth of a figure, no two parts of which were of one precise shade—owing I suppose to his keeping his arm at sea nmethodically in sun and shade, his shirt sleeves irregularly rolled up at various times—this same arm of his, I say, looked for all the world like a trip of that same patchwork quilt.
Upon waking next morning about daylight, I found Queequeg's arm thrown over me in the most loving and affectionate manner. You had lmost thought I had been his wife. The counterpane was of patchwork, full of odd little parti-coloured squares and triangles; and this arm of his tattooed all ver with an interminable Cretan labyrinth of a figure, no two parts of which were of one precise shade—owing I suppose to his keeping his arm at sea nmethodically in sun and shade, his shirt sleeves irregularly rolled up at various times—this same arm of his, I say, looked for all the world like a trip of that same patchwork quilt.
Upon waking next morning about daylight, I found Queequeg's arm thrown over me in the most loving and affectionate manner. You had lmost thought I had been his wife. The counterpane was of patchwork, full of odd little parti-coloured squares and triangles; and this arm of his tattooed all ver with an interminable Cretan labyrinth of a figure, no two parts of which were of one precise shade—owing I suppose to his keeping his arm at sea nmethodically in sun and shade, his shirt sleeves irregularly rolled up at various times—this same arm of his, I say, looked for all the world like a trip of that same patchwork quilt.
Upon waking next morning about daylight, I found Queequeg's arm thrown over me in the most loving and affectionate manner. You had lmost thought I had been his wife. The counterpane was of patchwork, full of odd little parti-coloured squares and triangles; and this arm of his tattooed all ver with an interminable Cretan labyrinth of a figure, no two parts of which were of one precise shade—owing I suppose to his keeping his arm at sea nmethodically in sun and shade, his shirt sleeves irregularly rolled up at various times—this same arm of his, I say, looked for all the world like a trip of that same patchwork quilt.
Upon waking next morning about daylight, I found Queequeg's arm thrown over me in the most loving and affectionate manner. You had lmost thought I had been his wife. The counterpane was of patchwork, full of odd little parti-coloured squares and triangles; and this arm of his tattooed all ver with an interminable Cretan labyrinth of a figure, no two parts of which were of one precise shade—owing I suppose to his keeping his arm at sea nmethodically in sun and shade, his shirt sleeves irregularly rolled up at various times—this same arm of his, I say, looked for all the world like a trip of that same patchwork quilt.
Upon waking next morning about daylight, I found Queequeg's arm thrown over me in the most loving and affectionate manner. You had lmost thought I had been his wife. The counterpane was of patchwork, full of odd little parti-coloured squares and triangles; and this arm of his tattooed all ver with an interminable Cretan labyrinth of a figure, no two parts of which were of one precise shade—owing I suppose to his keeping his arm at sea nmethodically in sun and shade, his shirt sleeves irregularly rolled up at various times—this same arm of his, I say, looked for all the world like a trip of that same patchwork quilt.
Upon waking next morning about daylight, I found Queequeg's arm thrown over me in the most loving and affectionate manner. You had lmost thought I had been his wife. The counterpane was of patchwork, full of odd little parti-coloured squares and triangles; and this arm of his tattooed all ver with an interminable Cretan labyrinth of a figure, no two parts of which were of one precise shade—owing I suppose to his keeping his arm at sea nmethodically in sun and shade, his shirt sleeves irregularly rolled up at various times—this same arm of his, I say, looked for all the world like a trip of that same patchwork quilt.


RNAlysis - C. elegans RNA sequencing data analysis¶
What is it?¶
RNAlysis is a python package providing modular analysis pipeline for RNA sequencing data from C. elegans. The package includes various filtering methods, data visualisation, clustering analyses, enrichment anslyses and exploratory analyses.
RNAlysis allows you to perform filtering and analyses at any order you wish. It has the ability to save or load your progress at any given phase, Wand document the order of operations you performed in the saved file names.
RNAlysis work with HTCount files from python’s HTSeq and with DESeq files from R’s DESeq2.
Documentation: https://guyteichman.github.io/RNAlysis
Main Features¶
Filtering of DESeq and HTCount files by counts, biotype, change direction, significance and more.
Normalization of HTCount files
Exploratory plots
GO, Tissue and Phenotype enrichment analysis
Enrichment analysis for custom feature characteristics
Dependencies¶
numpy
pandas
matplotlib
seaborn
tissue_enrichment_analysis
statsmodels
sklearn
Credits¶
This package was created with Cookiecutter and the audreyr/cookiecutter-pypackage project template.


Please feel free to contact us at anytime to ask questions, order, or simply get our opinions. We are able to be reached via Facebook, call/text, or fill out the email form on this page.
Fill out the form below and we will return your email promptly.
Required fields marked with *


To supplement my classes, I have been putting together a series of educational interactives in javascript. You are welcome to use them for educational purposes.
Interactives have been tested in Google Chrome and most have been tested in Firefox, and they may not work or appear correctly in other browsers, particularly Internet Explorer, or on devices with small screens such as phones.
Sage Math Cell (Modified BSD license). Information about calling SageMathCell servers directly can be found here (replace http:// with https:// to avoid a CORS error).


The Crop3D module provides a crop box module for unstructured fields with non polygonal cell sets.
Input Ports
Name Type Description in Field Unstructured Field to be cropped. Parameters
Name Type Description UI Control xmin float minimum X-value for the crop box Slider xmax float maximum X-value for the crop box Slider ymin float minimum Y-value for the crop box Slider ymax float maximum Y-value for the crop box Slider zmin float minimum Z-value for the crop box Slider zmax float maximum Z-value for the crop box Slider Output Ports
Name Type Description out Field Unstructured Field which is cropped to the given crop box obj DataObject directly renderable object
This project provides a crop box module for unstructured fields with non polygonal cell sets. The Crop3D module crops the Field (1D, 2D or 3D) within a region given by the minimum and maximum values of the crop box. The crop of a particular cell will happen only if all coordinates are defined after the crop.
in
Unstructured Field with non polygonal cell sets that is to be cropped.
minx
Float parameter that defines the minimum X-Value for the crop box.
maxx
Float parameter that defines the maximum X-Value for the crop box.
miny
Float parameter that defines the minimum Y-Value for the crop box.
maxy
Float parameter that defines the maximum Y-Value for the crop box.
minz
Float parameter that defines the minimum Z-Value for the crop box.
maxz
Float parameter that defines the maximum Z-Value for the crop box.
out
Unstructured field that is cropped to the specified crop box.
obj
Directly renderable object of the cropped out field. This Port can be connected directly to the UViewer.
The Crop3DFunc functional macro uses the Crop3DCore low-level module. The Crop3D user macro uses this functional macro and the Crop3DUI user interface macro. All of these macros use the Crop3DParams parameter block to communicate parameters between themselves.
An example application is provided with the Crop3D project.
xp_comm_proj/crop3d/crp3dmod.v Creates the Crop3DMods library containing the low-level Crop3DCore module and the Crop3DParams parameter block.
xp_comm_proj/crop3d/crp3dmac.v Creates the Crop3DMacs library containing the user interface macro Crop3DUI, The functional macro Crop3DFunc and the high-level user macro Crop3D.
xp_comm_proj/crop3d/crp3dapps.v Creates the Crop3DApps library containing the example application Crop3DEg.
Mario Valle, AVS Italy
Tobias Schiebeck, Manchester Visualization Centre


Sai Raghavendra Viravalli
Boston, MA
I am an aspiring Data Scientist just graduated from Northeastern University's MS in Information Systems in May 2023.
My areas of interest include Data visualization, Analysis, sports Analytics,Data Engineering, data management and statistical analysis, network analysis, predictive modelling and NLP.
Apart from these, my hobbies include writing about movies, photography, travelling around, mixing music and content creation.


|
2020 Robot Code
|
Classes | |
| enum | ColorSensorMeasurementRate |
| enum | ColorSensorResolution |
| enum | GainFactor |
| enum | LEDCurrent |
| enum | LEDPulseFrequency |
| enum | MainControl |
| enum | ProximitySensorMeasurementRate |
| enum | ProximitySensorResolution |
| class | RawColor |
| enum | Register |
Public Member Functions | |
| ColorSensorV3 (I2C.Port port) | |
| void | configureProximitySensorLED (LEDPulseFrequency freq, LEDCurrent curr, int pulses) |
| void | configureProximitySensor (ProximitySensorResolution res, ProximitySensorMeasurementRate rate) |
| void | configureColorSensor (ColorSensorResolution res, ColorSensorMeasurementRate rate, GainFactor gain) |
| Color | getColor () |
| int | getProximity () |
| RawColor | getRawColor () |
| int | getRed () |
| int | getGreen () |
| int | getBlue () |
| int | getIR () |
| boolean | hasReset () |
Private Member Functions | |
| boolean | checkDeviceID () |
| void | initializeDevice () |
| int | read11BitRegister (Register reg) |
| int | read20BitRegister (Register reg) |
| void | write8 (Register reg, int data) |
Private Attributes | |
| I2C | m_i2c |
| SimDevice | m_simDevice |
| SimDouble | m_simR |
Static Private Attributes | |
| static final byte | kAddress = 0x52 |
| static final byte | kPartID = (byte) 0xC2 |
REV Robotics Color Sensor V3
| frc.lib.drivers.ColorSensorV3.ColorSensorV3 | ( | I2C.Port | port | ) |
Constructs a ColorSensor.
| port | The I2C port the color sensor is attached to |
|
private |
| void frc.lib.drivers.ColorSensorV3.configureColorSensor | ( | ColorSensorResolution | res, |
| ColorSensorMeasurementRate | rate, | ||
| GainFactor | gain | ||
| ) |
Configure the color sensor.
These settings are only needed for advanced users, the defaults will work fine for most teams. Consult the APDS-9151 for more information on these configuration settings and how they will affect color sensor measurements.
| res | Bit resolution output by the respective light sensor ADCs |
| rate | Measurement rate of the light sensor |
| gain | Gain factor applied to light sensor (color) outputs |
| void frc.lib.drivers.ColorSensorV3.configureProximitySensor | ( | ProximitySensorResolution | res, |
| ProximitySensorMeasurementRate | rate | ||
| ) |
Configure the proximity sensor.
These settings are only needed for advanced users, the defaults will work fine for most teams. Consult the APDS-9151 for more information on these configuration settings and how they will affect proximity sensor measurements.
| res | Bit resolution output by the proximity sensor ADC. |
| rate | Measurement rate of the proximity sensor |
| void frc.lib.drivers.ColorSensorV3.configureProximitySensorLED | ( | LEDPulseFrequency | freq, |
| LEDCurrent | curr, | ||
| int | pulses | ||
| ) |
Configure the the IR LED used by the proximity sensor.
These settings are only needed for advanced users, the defaults will work fine for most teams. Consult the APDS-9151 for more information on these configuration settings and how they will affect proximity sensor measurements.
| freq | The pulse modulation frequency for the proximity sensor LED |
| curr | The pulse current for the proximity sensor LED |
| pulses | The number of pulses per measurement of the proximity sensor LED (0-255) |
| int frc.lib.drivers.ColorSensorV3.getBlue | ( | ) |
Get the raw color value from the blue ADC
| Color frc.lib.drivers.ColorSensorV3.getColor | ( | ) |
Get the most likely color. Works best when within 2 inches and perpendicular to surface of interest.
| int frc.lib.drivers.ColorSensorV3.getGreen | ( | ) |
Get the raw color value from the green ADC
| int frc.lib.drivers.ColorSensorV3.getIR | ( | ) |
Get the raw color value from the IR ADC
| int frc.lib.drivers.ColorSensorV3.getProximity | ( | ) |
Get the raw proximity value from the sensor ADC (11 bit). This value is largest when an object is close to the sensor and smallest when far away.
| RawColor frc.lib.drivers.ColorSensorV3.getRawColor | ( | ) |
Get the raw color values from their respective ADCs (20-bit).
| int frc.lib.drivers.ColorSensorV3.getRed | ( | ) |
Get the raw color value from the red ADC
| boolean frc.lib.drivers.ColorSensorV3.hasReset | ( | ) |
Indicates if the device reset. Based on the power on status flag in the status register. Per the datasheet:
Part went through a power-up event, either because the part was turned on or because there was power supply voltage disturbance (default at first register read).
This flag is self clearing
|
private |
|
private |
|
private |
|
private |
|
staticprivate |
|
staticprivate |
|
private |
|
private |
|
private |


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That rehearsal is repeated in the "apocalyptic" scenes in the novel. In both cases those scenes are apocalypses of heterosexuality. The first is the "débauche végétale" (vegetable orgy [M, 200]) that immediately follows Mafarka's close call with Coloubbi; he almost gives in to the temptation of nostalgia, and in the place of surrender makes a burnt offering to the Hurricane that arises inexplicably to threaten Gazourmah. The offering is the vegetable orgy; male tree trunks and virile bowsprits are consumed by naked female flames; ships tossed by the sea become "tartanes en chaleur" (tartans in heat [M, 200]); Mafarka as pimp races about preparing his own personal holocaust: "And Mafarka did not tire of running here and there like a lugubrious pimp, preparing beds of lust for the loves of these red goddesses! He arranged both young and centuagenarian trunks on mattresses of leaves." 29 No noun enters this description without being both personified and gendered, and there is no relation that is not a (hetero)sexual one. Even the night during which the orgy takes place is personified as a woman in labor, giving birth to an unknown world: "the Night swelled her laboring belly. To what world would she give birth?" 30 The question thematizes the function of the apocalypse itself; it seems to want to mark the death of the sexual relation to woman, and in its place put the parturition of the male mother: "Oh! The joy of having given birth to you thus, handsome and pure of all the defects that come from the maleficent vulva and predispose one to decrepitude and death!...Yes, you are immortal, my son!" 31 The implicit reference to Pandora, whose birth inaugurated not only sickness and death but also introduced the "damnable race of women" to mankind, 32 makes it clear that the world about to be born reinaugurates a pre-Pandoran state, yet that pre-Pandoran state cannot be imagined except through mediation by women or the feminine. Similarly, the pages that follow the dramatic dialogue quoted above describe the earth convulsed by quakes and engulfed in volcanic eruption as Gazourmah flies off to dethrone the sun. 33 The destruction of the earth is simultaneous with the destruction of Coloubbi: "by killing me you kill the Earth!" 34 Male spirit once again deanimates female matter as the condition of its very existence.
The kiss between male mother and son is not entirely unprecedented in the novel, however, for Mafarka's relation to his brother Magamal similarly appears to smuggle in homoerotic relations under the cover of the proximate relations of the family, and within the sheltering boundaries of the so-called Sotadic zone. Given the orientalist context, it seems appropriate to adopt this term coined by Richard Burton, the orientalist and translator of the Arabian Nights, in order to refer to a topography of "pederasty." Burton considers "pederasty" to be "geographical and climatic, not racial"; within the Sotadic zone, Burton writes,
the Vice is popular and endemic, held at the worst to be a mere peccadillo, whilst the races to the North and South of the limits here defined practise it only sporadically amid the opprobrium of their fellows who, as a rule, are physically incapable of performing the operation and look upon it with the liveliest disgust. 35
When Burton mentions the "limits here defined" he refers not to some vague geographical region, but rather to very precise coordinates, as follows:
1. There exists what I shall call a "Sotadic Zone" bounded westwards by the northern shores of the Mediterranean (N. Lat. 43 degrees) and by the southern (N. Lat. 30 degrees). Thus the depth would be 780 to 800 miles including meridional France, the Iberian peninsula, Italy and Greece, with the coast-regions of Africa from Marocco to Egypt.
2. Running eastward the Sotadic Zone narrows, embracing Asia Minor, Mesopotamia and Chaldaea, Afghanistan, Sind, the Punjab and Kashmir.
3. In Indo-China the belt begins to broaden, enfolding China, Japan and Turkistan.
4. It then embraces the South Sea Islands and the New World where, at the time of its discovery, Sotadic love was, with some exceptions, an established racial institution. 36
From a narrow Mediterranean strip, the zone expands to "embrace" and "enfold" an area so great as to encompass nearly the entire globe and, moving steadily eastward from North America, seems to be encroaching upon even the place from which the Englishman speaks.
In Marinetti's imaginary geography, then, where Egypt, Morocco, and central Africa seem to coexist, we are safely within the zone. But not so safe as not to require that "Sotadic love" be red as brotherly love. Magamal is blatantly feminized: he has "feminine graces" and, with his "corps de caoutchouc" (body of rubber [M, 29]), makes his appearance for the first time in the novel as if in response to Mafarka's desire for an "ardent, elastic virgin." 37 But the more interesting case is recounted in the tale that Mafarka tells the African king, Brafane-el-Kibir, as part of his strategy to conquer him and take his lands. Ironically, the story turns out to recount Mafarka's previous and recent success in precisely such an endeavour; introduced as the story of the horse trader, the stuffed fish, and the devil, it is also the story of Mafarka's usurpation of his uncle King Boubassa's power. Indeed, the tale can be read as a mise-en-abyme of the entire novel for, like Mafarka, Gazourmah has imperial ambitions; he aims to dethrone not an uncle but the Sun itself, and become king not of Africa but of the firmament. Briefly, the story recounts how Mafarka the horse trader sells a marvelous horse to the devil, disguised as a rich merchant (in obvious counterpoint to Mafarka, who is disguised as a poor beggar as he tells the tale). The wondrous stallion, whose red mane and tail ignite in the wind, and whose purple, sapphire-encrusted zeb is the dream of all the girls of the city (zeb is in fact Arabic slang for "dick"), turns out not to be a reliable means of transportation for he cannot resist an opportunity to copulate: "Completely drunk from the smell of the moist vulva, he tossed his whiplike mane against the flanks of the female, who started at the burning sensation, delivering terrible kicks. Thus the Devil, even though an excellent horseman, was thrown from the saddle three times." 38 Engaged, the Devil decides to get his revenge by castrating the horse and serving up its zeb to Mafarka as a stuffed fish, delicately prepared with curdled milk, violets, and cinnamon.  As his violence grows, so does his own penis until it eventually reaches its maximum length of eleven meters, is mistaken for a rope curled next to him as he sleeps and then, as it is tied to a sail, becomes the mast of the ship that is his body. In this way Mafarka sails to Tell-el-Kibir, where King Boubassa hears the story and insists upon personally experiencing the virtues of such a miraculous zeb. The zeb in question is of course Mafarka's own at this point, and he hastens to comply with the King's request:
King Boubassa, titillated by such marvelous adventures, insisted upon personally experiencing the virtues of such a miraculous zeb. Mafarka-el-Bar, it seems, hastened to satisfy the king, and taking advantage of the submissive posture that the king had assumed, gagged him, chained him, and stole his sceptre! 39
This single exception to the femaleness of the object of sexual violence goes unremarked in the text, as Brafane-el-Kibir breaks in to ask about the fate of the castrated stallion, still wandering about looking for its lost zeb. The final scene (to which I shall return) is important, however, not only as the culmination of the story of how Mafarka comes to power, but also as the last exchange in what I will argue is a fable of phallic economics.
The fabular and fabulous character of the story recalls tales of both Scheherazade and Boccaccio. Mafarka's strategy, like Scheherazade's, aims to gain power through storytelling; as in Boccaccio's tales of the eating of hearts, the object that serves as the catalyst of the story's plot is consumed. 40 When hearts are eaten in the Decameron, they are eaten as signs of nobility (the gentle heart) and as the consummation of a love for which the heart is the metaphor. 41 The consumption of the heart is not an act of cannibalism but rather the culinary consummation of a prohibited sexual relation. In the context of the (homophobic) homerotics of Marinetti's text, it seems all too easy to read the consumption of the zeb as yet another thinly disguised (homo)sexual act.
It may help to translate the tale into more explicitly economic terms, in the wake of Marx, Goux, and Irigaray. Goux in fact points to what would seem to be an analogous example of eating in Marx (without, however, footnoting the exact location in Marx's work): as their empire declined, the ancient Romans were given to eating pearl salads during their orgies. The intertwining of the sexual and the economic in the ingestion of pearls is what particularly interests Goux: what does it mean to eat pearls, and why do so within the context of an orgy? Why is it so economically and sexually perverse? The economic perversion, Marx tells us, lies in treating wealth as though it had a direct use-value. Yet pearls, of course, have no known nutritional value and it is therefore blatantly not their use-value that is consumed; rather, they are consumed as exchange value. As a quasi-money, pearls are consumed insofar as they stand as general equivalent and hence as "the abstract potential of all jouissances" (SE, 207). The pearl-eating Romans, Goux concludes, found jouissance in the general power of jouissance, imaginary satisfaction in the fetishism of exchange value. The price of this imaginary satisfaction is great (and not only for one's digestive tract), for in order to find jouissance in the use of the general equivalent, one must renounce all exchange; the economy falls apart.  As an analogy, or isomorph, to those pearl salads, Goux offers an example from Sade of masturbation before piles of gold; our own example from Marinetti works perhaps even better, for not only does it represent a similar entwining of the sexual and the economic, but it reveals, via Irigaray, a blindness in Goux's argument. Iragaray's analysis of the hom(m)o-sexual economy also addresses the consequences of treating the general equivalent that is the phallus as use-value: when, as she writes, the "penis itself becomes merely a means to pleasure, of pleasure among men, the phallus loses its power." 42 Short-circuiting the commerce that is the exchange of women, male homosexuality, as we have said, eats the capital of hom(m)o-sexuality. Goux is thus both right and wrong when he points to incest as the equivalent of eating pearls: right insofar as what is at stake is the violation of exogamy, but wrong insofar as he seems to assume that it is only mother-son incest that is at issue. In Mafarka's story, the use of the penis as relative exchange value is red as uncle-son incest, and the loss of phallic power that it entails is fantasized instead as its explicit reversal. That is to say, Mafarka gains the power of the king, the general equivalent in the political realm, in precisely the moment that he, in theory, loses phallic power by using the general equivalent in the libidinal realm for pleasure between men. The lubrication for this reversal is supplied by a recoding that takes place within the scene itself; the consensual sexual relation between men (the king asks and Mafarka complies) is, necessarily for the hom(m)o-sexual, homophobic economy, recoded as a political rape: "lui ravit le sceptre" (he stole/ravished his scepter [M, 64]).
 The story also tells the tale of an increasingly "primitive" economy; it begins with an exchange that takes place within a money economy, as Mafarka sells the horse to the Devil, and then moves quickly to what we might call a barter economy as the Devil takes his revenge. Revenge, after all, seems to be based upon the principle of barter: the exchange of an eye for an eye, a tooth for a tooth, is in principle no different from the exchange of a horse for a pig. From revenge, the tale seems to move to hoarding, and from hoarding to theft. In this economic fantasy, the fantasy of the eating of the zeb and the consequent growth of Mafarka's own penis appears to be based upon the notion that grounds the fantasy of hoarding: to accumulate it is to increase it. This notion is, of course, faulty with respect to money, since money must circulate; as Marx explains, the independence of wealth is "a mere semblance; its independence of circulation exists only in view of circulation, exists as dependence on it." 43 Wealth is dependent upon exchange, so that what appears to be, in hoarding, an increase in wealth is in fact its decrease. The notion of hoarding is foundational to the fantasy of male autarchy in the novel, for it proposes to hoard the penis, multiply the stores of virility by withdrawing it from the economy of the exchange of women. The economics of the fantasy of male autarchy are equally faulty, however, and the declaration of the male organ's independence exposes its dependence upon women in the (hom[m]o-)sexual economy. Wealth--in this case, virility--is, in that economy, dependent upon the exchange of women, upon their circulation both as commodities and as the "paper" representatives of the phallus. Once women are no longer exchanged, another economy must be envisioned. But as we have seen, the narrative can imagine that other economy only as the decrease of phallic power; indeed, Mafarka describes his years of powerlessness as those years in which he was trapped within the uncle's bowels. The narrative starts and stalls at each attempt to imagine that economy as ideological closure (here in the form of homophobia) moves in to choke it in order to secure the value of the phallus. Hoarding thus seems to stand as another (still baffling) solution to the dilemma of how to remain heterosexual without having sexual relations with women: it is an economy without exchange, Midas preferred to Medusa.
This petrified economy of no exchange is also an economy of pillage--there is take, but no give. It makes (ideological) sense, then, that the consequence of the eleven-meter (hoarded) penis should be red as the "rape" of the king/uncle by his usurping nephew, for the final stage in this series is an economy of theft and rape. And the same sense might allow us to suggest that the economy of theft and rape is here not coincidentally set in Africa, for this is also a colonialist economic fantasy.
Outside of the tale within the tale, that economic fantasy appears in the series of what Kaplan has suggested are "uneven exchanges": as technological qualities are attributed to humans (largely, males), human qualities are distributed onto the landscape. 44 As we have seen, those human qualities are largely "feminine" ones. But what happens to the (female) bodies from which those qualities have been borrowed? The novel seems to offer two possibilities, which often make up a sequence rather than an alternative: the body becomes the bearer of new properties, and/or it is reduced to paste. In the first case, the body in question is the black African woman's body, and as Liz Constable has noted, the properties in question are those desired not so much by an individual male as by a nation: 45 with "sugared thighs, the color of vanilla" and "breasts the color of roasted coffee," African women appear "suspended, like bananas, on the savory stem of his voice." 46 Even Magamal, with his "corps de caoutchouc," fits into this series. Rubber, sugar, vanilla, coffee, bananas: fantasized colonial products become properties of the body to be raped, so that possession of the woman becomes possession of the products as well: "One saw the smooth and shining bellies of the young women, and their small breasts the color of roasted coffee squirm with pain beneath the heavy blows of the men, whose bronze loins rose and fell indefatigably, in the dancing slapping of green putrefaction." 47 This rape, which takes place in the green paste produced from the grinding of African bodies by a "fantastique pressoir" (fantastic press [M, 38]), is, within the terms of the novel, color coded racially: the bronze rapists are, like Mafarka, Arabs, while the women raped are black Africans. 48 And the relation between Arabs and black Africans is, through that putrefaction, red as an economic one: "Will not all these piles of black corpses, shiny, smoking, and almost liquefied on the dusty green of the praires, soon be transformed into pools of liquid manure, of rich ebony reflections, to cheer the proprietary eyes of the owner, the Sun...and yours, my prime minister!" 49 What is striking about this passage is not so much its interest in putrefaction--Flaubert's fascination, in Salammbô, with the differing rates of putrefaction of bodies according to their national and ethnic identities provides a powerful and perhaps more shocking literary precedent--but rather the nature of that interest. Flaubert's investment seems detached, almost hyperintellectual, in relation to Mafarka's very proprietary interest, which is underlined by the possessive adjectives in the passage: the Sun owns the land to be enriched by the rot, the prime minister owns the eyes that like those of the Sun are proprietary, and Mafarka owns the prime minister. There is indeed a Western perspective in the novel, and this perspective is a colonial one. Mafarka the Arab is to the black Africans what the white man is to all Africans; the position of the subject in the fantasy is found not in this or that character, but in the relation between characters (or, as Laplanche and Pontalis put it, in the "syntax" of the fantasy). 50
Putrefaction transforms and transfers properties. Mafarka's interest is in the future usefuless of such transformations:
Besides, the Sun is enough by itself to work the earth...But look, imbecile! Its fingers of interminable rays plunge forward into the fertilized furrow to cook the impatient germs with a lively caress...Let its meticulous fingers cultivate our future salads in the putrefied entrails of negroes! Have faith in this good peasant Sun who embraces all his territory with a burning and paternal gaze. 51
The fantasy at work here posits a self-sufficient sun, able to reap crops without interference of the "natives," indeed, by puréeing them into part of the inanimate raw material necessary in order to produce those future salads. 52 (The culinary, colonial logic of this process brings to mind Helen Bannerman's story "Little Black Sambo," in which tigers race after each other so fast that they are finally turned into butter, puréed into a useful product). A most convenient transformation, for it sidesteps all the various problems posed by the very existence of "natives," and clears the field for the possibility of the self-sufficiency of the Emperor that is the Sun.
It is here that we may return to the questions with which the essay began, and posit a point of articulation between the fantasy of male autarchy as it is played out in Mafarka, and another fantasy of autarchy that will be played out on the stage of fascist Italy decades later: that of the cultural autarchy of the nation, and later of the economic autarchy of the "Impero." I would like to suggest that these fantasies are interstructuring, intercontaminating. As we have seen, the fantasy of male autarchy is built upon misogyny, comes to be threatened with bankruptcy by same-sex relations, and therefore requires the reintroduction of the other in the form of the woman (to be raped). Might we also say that the fantasy of national autarchy, which is built upon nationalist xenophobia, comes to be threatened with bankruptcy by the erasure of difference within, and therefore also requires the reintroduction of the other in the form of the colony (to be raped)? Does the structure of Marinetti's homo(phobic) economics also inform the structure of fascism's fantasized "home economics"?
This is the moment of articulation most subject to narrativizations--source and deltas, roots and branches, biography and work, and so forth--so I want to be very clear about how I see the relation between literary text and fascist discourse. I am not suggesting that proponents of national autarchy, having happened upon Mafarka one rainy afternoon, found in it a blueprint for their policies. Nor am I suggesting that Marinetti was possessed of prophetic powers by means of which he foresaw future policy. I am suggesting, rather, that both Marinetti's novel and fascist discourse construct economic and cultural fantasies that share not only individual elements but an overall structure, a syntax that I have been calling an ideo-logic.
In other words, Marinetti did not "act alone." The notion of cultural fantasy that I invoke here allows us to address ideological structures as they manifest themselves in and across the most diverse of texts. Just as the fantasy of male autarchy does not originate with Marinetti, so the cultural materials that his novel binds together can be found already joined, at least partially and in varying conrations, in texts roughly contemporaneous with Marinetti. A case in point would be an 1898 political tract entitled La virilità nazionale e le colonie italiane (National virility and Italian colonies) by Pasquale Turiello. National virility and Italian colonies are, Turiello argues, "completely interdependent, having a mutual relation of cause and effect." 53 Turiello spells out that interdependence: Italy has suffered from "muliebrità politica" (political womanliness) since the Risorgimento, a womanliness that consists in a languid weakness that has caused the nation to give in too easily to other nations, in particular to France, and to have passed up the opportunity to acquire colonies. After 1870, Turiello claims, Italy thought of Africa only "supinamente" (on her back). Now is the time to begin to take "virile action," he announces, and here virility is linked to antiparliamentarism, an expanded program of physical education in schools, discipline, and demographic colonialism:
To all this [political womanliness] there are only two definitive remedies: more industrious activity (that in peacetime can only derive from a more masculine education) and new fields and favor for dignified emigration, by providing new locations for it. Since we cannot desire that emigration stop, but rather urge that Italy grow, we are faced by a dilemma: either this emigration will be entrusted to the changing conditions of foreign states, so that it goes as a guest with head hung low, and only as long as others are willing to receive it, or it will go with head held high to our own lands, open and conquered. 54
Several pages later, Turiello writes, "The solution to the African problem is still today a problem more of Italian virility than of Italian finance." 55 These arguments are similar to those that Mussolini will make. Here I cite Turiello in order to point to the way in which the fantasies of virility and colonialism that Marinetti's novel elaborates are already part of the cultural matrix.
It should not be so surprising, then, to find that two fantasies of autarchy share an ideological structure. Most vigorous in the 1930s, the fascist project of cultural autarchy consisted in the effort to expel all that was foreign--linguistically, literarily, cinematically--in order that Italian culture might produce itself as authentically Italian and fascist. The campaign against the Lei (the formal second-person singular form of address, deemed unItalian because not Latinate), decrees against the use of words from foreign languages and dialects, protectionist measures in the cinema as well as the practice of dubbing all films into Italian, and literary movements like Strapaese were all "autarchic" measures and proposals. As Giuseppe Carlo Marino notes, the project remained elusive and dependent upon "a negative norm"; "italianità" could define itself only as that which was not foreign. 56 But if the foreign is expelled culturally, it makes a necessary re-entry economically. In force during the 1940s, the project of economic autarchy aimed to make the nation, and then the Empire, economically self-sufficient (this "policy" became something closer to a necessity after sanctions were imposed upon Italy as a result of the Ethiopian campaign in 1936). A paradox is produced in the encounter between cultural imperative and economic reality, for as it turns out, the nation can only be self-sufficient--can only survive economically--if it depends upon others, if it annexes new markets and assures itself of sources of raw materials not available in the metropolis. The paradox is solved by expanding the "nation" into "empire," for as empire, the nation can declare itself autarchic by taking into itself the foreign upon which it depends culturally for definition and economically for survival. 57 Like the homophobic fantasy of male autarchy, which can do without women only through the mediation of women, the xenophobic fantasy of cultural and economic autarchy can do without the foreign only by annexing it.
Barbara Spackman is the author of Decadent Genealogies: The Rhetoric of Sickness from Baudelaire to D'Azzunzio and articles on Folengo, Machiavelli, D'Annunzio, Catulle Mendès, and others. She is presently completing a study of fascist rhetoric, and teaches Italian literature at New York University.
* All translations, unless otherwise noted, are my own.
1. Such an approach is crucial in dealing with fascist discourse which, as Ernesto Laclau and Alice Yaeger Kaplan have argued, works by binding together seemingly incompatible elements and polarities; its ideological specificity therefore lies not in the elements it gathers together but in the binding mechanism itself. See Ernesto Laclau, "Fascism and Ideology," in Politics and Ideology in Marxist Theory (New York: Verso, 1977) and Alice Yaeger Kaplan, Reproductions of Banality: Fascism, Literature, and French Intellectual Life (Minneapolis: University of Minnesota Press, 1986).
2. See, for example, Mario de Micheli, La matrice ideologico-letteraria dell'eversione fascista (Milan: Feltrinelli, 1976), 30: "Per alcuni aspetti questo romanzo marinettiano può essere considerato la caricatura del romanzo Salammbô di Flaubert. Il gusto per l'atrocità vi diventa grotesca ostentazione, l'erotismo uno sproloquio sfrenato e l'Africa un bazar di maniera." Rinaldo Rinaldi notes that Emilio Salgari's orientalist adventure novels are also among the sources of Mafarka. See Rinaldo Rinaldi, "Le plagiat de l'avant-garde: Mafarka le futuriste de Marinetti," in Vitalité et contradictions de l'avant-garde: Italie--France 1909-1924, ed. Sandro Briosi and Henk Hillenaar (Paris: Librairie José Corti, 1988), 117-24.
3. The original reads: "Ne suis-je pas, tout au moins, un barbare, aux yeux de ces faux dévots du progrès." F. T. Marinetti, Mafarka le futuriste (Paris: Christian Bourgois, 1984), 16; hereafter abbreviated M. The novel was originally written in French in 1909 and translated into Italian by Marinetti's secretary, Decio Cinti, as Mafarka il futurista, trans. Decio Cinti (Milan: Edizioni futuriste di "Poesia." 1910).
4. For a discussion of this notion as it appears in Flaubert, see Edward Said, Orientalism (New York: Random House, 1979), 113-15.
5. See Liz Constable, "Sentencing the Other: The Rhetoric of Colonial Rape in Mafarka," unpublished paper. University of California, Irvine, 1991. I would like here to acknowledge the importance that her ongoing work on colonial crises has had for my thinking about Mafarka.
6. For an extended analysis of this and related notions, see Johannes Fabian, Time and the Other: How Anthropology Makes Its Object (New York: Columbia University Press, 1983).
7. The original reads: "l'esprit de l'homme est un ovaire inexercé...C'est nous qui le fécondons pour la première fois!" (M, 17; ellipsis in original)
8. The original reads: "il est possible de pousser hors de sa chair, sans le concours et la puante complicité de la matrice de la femme, un géant immortel" (M, 169).
9. The original reads: "C'est avec mes mains que j'ai sculpté mon fils dans le bois d'un jeune chêne...J'ai trouvé une mixture qui transforme les fibres végétales en chair vivante et en muscles solides" (M, 166; ellipsis in original).
10. See Donna Haraway, "A Manifesto for Cyborgs," in Feminism and Postmodernism, ed. Linda J. Nicholson (New York: Routledge, 1990), 190-233.
11. Jean-Joseph Goux, Symbolic Economies: After Marx and Freud, trans. Jennifer Curtiss Gage (Ithaca, N. Y.: Cornell University Press, 1990), 213; hereafter abbreviated SE.
12. The idealist nature of this project goes unremarked in attempts to describe Futurism's theory and practice as "materialist," just as the extent to which "technology" is reproductive technology has been elided in discussions, whether glorifying or not, of Futurism's relation to "the machine." For analyses of all technologies as reproductive, see Zoë Sofia, "Exterminating Fetuses: Abortion, Disarmament, and the Sexo-Semiotics of Extraterrestrialism," Diacritics (summer 1984): 47-59, and Donna Haraway, "A Manifesto for Cyborgs."
13. See Eve Kosofsky Sedgwick, Between Men: English Literature and Male Homosocial Desire (New York: Columbia University Press, 1985).
14. The original reads: "j'ai enfanté mon fils sans le secours de la vulve!" (M, 168)
15. See my "Fascist Rhetoric of Virility," Stanford Italian Review 8, no. 1-2 : 81-101.
16. The original reads: "l'ossessione lirica della materia." F. T. Marinetti, "Manifesto tecnico della letteratura futurista," in Teoria e invenzione futurista, ed. Luciano De Maria (Milan: Mondadori, 1983), 50.
17. As Kaplan writes, "The earth is played by woman--so is war, the machine, the sea, and, in fact, nearly every possible thing except woman herself, who, having given over her essence to everything around her, is completely void of intrinsic meaning." (Kaplan, Reproductions of Banality, 86) Her discussion of Mafarka in Reproductions of Banality is one of very few essays on the novel, and by far the best. See also Carol Diethe, "Sex and the Superman: An Analysis of the Pornographic Content of Marinetti's Mafarka le futuriste" in Perspectives on Pornography: Sexuality in Film and Literature, ed. Gary Day and Clive Bloom (New York: Macmillan, 1988), 159-74.
18. See Said, Orientalism, 182. Mafarka in fact gives in to temptation only once, after the construction of his son is well underway.
19. My understanding of Marinetti's use of "pederasty" in the manifestos is that he is not being philologically precise, not using "pederasty" to refer to man-boy relations, but rather as a generic slur on all male same-sex relations.
20. The original reads: "D'un mouvement très lent de son bras soyeux et terrible, Coloubbi attirait encore vers ses seins la bouche de Mafarka...Brusquement il sursauta d'horreur, en criant: -- Oh! ne fais pas le geste de ma mère!...Tes mamelles sont maudites et taries!...Va-t-en!" (M, 193; ellipses in original).
21. The original reads:
C'est mon fils, tu le sais, du moment que son premier regard fut pour moi!...Je fondais de plaisir sous la rude caresse de ses yeux!...C'est aussi mon amant, et je me suis livrée à tous ses caprices dans ce premier regard!...Tu vois: je jouis affreusement toute seule sous sa force de mâle, qui rêve déjà de me tuer en vidant ses veines dans les miennes! (M, 216; ellipses in original)
22. See Kaplan, Reproductions of Banality, 83.
23. The original quotes read: "Mafarka, embrasse aussi pour moi ton fils, sur sa bouche!... N'oublie pas!"; "Alors un cri de joie souleva la poitrine de Mafarka. Il bondit vers son fils comme le jet d'une fontaine"; "Ô caressante haleine de ma mère!...Tu me pousses dans les bras de mon fils! ...Tu m'ordonnes d'anéantir mon corps in lui donnant la vie!"; and "Ô mon fils! ô mon maître!...J'ai tout donné pour toi. C'est à force de jeûnes, de sacrifices sanglants et de prières que j'ai préservé ma volonté de dépendre d'un breuvage, d'une couleur fascinante ou d'un parfum de femme" (M, 221: ellipses in original).
24. Kaplan, Reproductions of Banality, 83.
25. The original reads: "l'olfatto-immaginazione del maschio." F. T. Marinetti, "Contro il lusso femminile," in Teoria e invenzione futurista, ed. De Maria, 547.
26. The original reads: "Voici mon âme!...Tends-moi tes lèvres et ouvre ta bouche à mon baiser!...Il sauta au cou de son fils et il colla sa bouche sur la bouche sculptée. Le formidable corps de Gazourmah sursauta aussitôt violemment et ses ailes puissantes se déclenchèrent" (M, 222; ellipses in original).
27. Luce Irigaray, "Commodities Among Themselves," in This Sex Which is Not One, trans. Catherine Porter (Ithaca, N. Y.: Cornell University Press, 1985), 193. Originally published as "Des marchandises entre elles," La quinzaine litteraire 215 (August 1975). Irigaray's formulation has been much misunderstood and accused of the very homophobia that her theory explains.  Eve Kosofsky Sedgwick, The Epistemology of the Closet (Berkeley: University of California Press, 1990), 154. For other examples of this reading of Irigaray, see Jonathan Dollimore, Sexual Dissidence: Augustine to Wilde, Freud to Foucault (New York: Oxford University Press, 1991) and Joseph Bristow, "Homophobia/Misogyny: Sexual Fears, Sexual Definitions," in Coming on Strong: Gay Politics and Culture, ed. Simon Shepherd and Mick Wallis (London: Unwin Hyman, 1989), 64.  The glaring contradiction--that homosexual desire creates the oppression of homosexuality--appears over and again in sociology, literary theory and varieties of feminist criticism. (249-50)
I understand Irigaray to be saying something quite different, namely that hom(m)o-sexual desire--homophobic homosocial desire that must always be mediated through women--creates the oppression of homosexuality.
28. The original reads:
Les Brises Narquoises: Tu ne pourras jamais voler au ciel, ô bel amant trop lourd!
Gazourmah: Vous me jugez trop lourd...Ah! ah!...Vous désireriez peut-être me rouler à votre gré comme une plume légère?...Eh bien, non! C'est de force que je m'ouvrirai un passage parmi vos hanches moelleuses, et mon poids me permettra de garder mon équilibre sous vos caresses rudoyantes!...[ellipsis mine] Pour humer encore mon odeur de mâle, vous précipiterez toutes dans le vide que je laisserai derrière moi en fendant votre foule désirante. Je volerai à contre-courant dans le ruissellement de vos nudités, et ce seront vos bras qui presseront mon corps et le feront gicler en avant.
Les Brises Narquoises: Nous te culbuterons dans nos lits orageux!...Nous te culbuterons pour t'embrasser partout!...
Gazourmah: Je m'allongerai sur vous, pour mordre vos lèvres, les jambes complètement repliées en arrière et je vous dépucellerai toutes ô Brises charmantes et narquoises, fougueusement, en traversant l'espace! (M, 227-28; ellipses in original, except as indicated)
29. The original reads: "Et Mafarka ne se lassait pas de courir ça et là comme un proxénète lugubre, préparant des lits de volupté pour les amours de ces déesses rouges! Il disposait les jeunes troncs sur des matelas de feuilles, et les troncs centenaires aussi" (M, 200).
30. The original reads: "la Nuit gonflait son ventre en gésine. Quel monde allait-elle donc enfanter?" (M, 201)
31. The original reads: "Oh! la joie de t'avoir enfanté ainsi, beau et pur de toutes les tares qui viennent de la vulve maléficiante et qui prédisposent à la décrépitude et à la mort!...Oui! Tu es immortel, ô mon fils!" (M, 214; ellipsis in original)
32. Hesiod, Theogony, ed. and trans. Norman O. Brown (Indianapolis: Bobbs-Merrill, 1953), 70.
33. Rinaldo Rinaldi argues that the 1908 Messina earthquake was the inspiration for this ending, and that Marinetti delayed publication of both the founding manifesto and Mafarka in order to exploit the coincidence of this "réclame in natura" See Rinaldi, "Le plagiat de l'avant-garde," 117-24.
34. The original reads: "c'est la Terre que tu as tuée en me tuant!" (M, 229)
35. Richard Burton, "Terminal Essay," in A Plain and Literal Translation of the Arabian Nights' Entertainments, Now Entituled The Book of the Thousand Nights and a Night With Introduction Explanatory Notes On the Manners and Customs of Moslem Men and a Terminal Essay Upon the History of The Nights (London: The Burton Club, 1886), 10:207.
36. Ibid.
37. The original reads: "une vierge ardente, élastique" (M, 28).
38. The original reads: "Tout grisé par l'odeur de la vulve humide, il agitait sa crinière fouettante contre les flancs de la femelle, qui sursautait à la brûlure déchaînant des ruades terribles. Trois fois le démon fut ainsi désarçonné, bien qu'il fut excellent cavalier." (M, 61)
39. The original reads:
Le roi Boubassa, aguiché par ces aventures merveilleuses, voulut expérimenter personellement les vertus d'un zeb aussi miraculeux. Mafarka-el-Bar s'empressa, dit-on, de satisfaire le roi, et profitant de la posture soumise qu'avait prise ce dernier, il le bâillonna, l'enchaîna et lui ravit le sceptre! (M, 64)
40. Kaplan, in fact, takes the meaning of the tale to be the phallic power of storytelling. See Kaplan, Reproductions of Banality, 80.
41. See, for example, the tale of the two "Guglielmi," tale 9 of day 4.
42. Irigaray, "Commodities Among Themselves," 193.
43. Karl Marx, Grundrisse: Foundations of the Critique of Political Economy, trans. Martin Nicolaus (New York: Vintage, 1973), 234.
44. See Kaplan, Reproductions of Banality, 81, 92ff..
45. See Liz Constable, "Sentencing the Other."
46. The original quotes read: "hanches sucrées, couleur de belle vanille" (M, 40); "mamelles couleur de café brulé" (M, 40); and "suspendues, telles des bananes, à la tige savoureuse de sa voix" (M, 102).
47. The original reads: "On voyait les ventres lisses et luisants des jeunes femmes et leurs petites mamelles couleur de café brûlé se tordre de douleur sous les poings lourds des mâles, dont les reins de bronze se levaient et s'abaissaient infatigablement parmi le flic-flac dansant des pourritures vertes" (M, 40).
48. While both Giovanna Tomasello, in La letteratura coloniale italiana dalle avanguardie al fascismo (Palermo: Sellerio, 1984), and De Micheli, in La matrice ideologico-letteraria dell'eversione fascista, understand Mafarka to be a "re negro," it is clear to me both from the color coding of Mafarka as "fauve," "bronze," and "le teint des belles terres cuites," and from the insistence with which his enemies are referred to as coffee-colored "nègres," that we are to understand that Mafarka is a North African Arab, but not a black African.
49. The original reads: "Tout ces monceaux de cadavres noirs, lustrés, fumants et presque liquéfiés sur la verdeur poudreuse des prairies, ne vont-ils pas se transformer bientôt en des flaques de purin aux riches reflets d'ébène, pour réjouir les yeux ladres du Soleil propriétaire...et les tiens, mon premier ministre!" (M, 27; ellipsis in original)
50. See Jean Laplanche and J. -B Pontalis, "Fantasy and the Origins of Sexuality," The International Journal of Psychoanalysis 49 : 1-18.
51. The original reads:
D'ailleurs, le Soleil suffit à bien travailler la terre...Mais regarde donc, imbécile! Ses doigts de rayons interminables plongent bien avant dans le sillon fécondé, pour cuire d'une caresse vive les germes impatients...Laisse donc ses doigts méticuleux soigner nos salades futures dans les entrailles pourries des nègres! Aie confiance en ce bon Soleil agricole qui embrasse tous ses domaines d'un regard brûlant et paternel. (M, 27; ellipses in original)
52. The economic function of the paste thus differentiates it from the "bloody miasma" analyzed by Klaus Theweleit. Theweleit discusses the obsession with the reduction of the human body to paste, and argues that the soldier male differentiates himself only by mashing others, particularly women, to pulp. See Klaus Theweleit, Male Fantasies, vol. 2, Male Bodies: Psychoanalyzing the White Terror (Minneapolis: University of Minnesota Press, 1989), 272-89.
53. The original reads: "del tutto correlativi, avendo mutua ragione di causa e di effetto." Pasquale Turiello, La virilità nazionale e le colonie italiane. Memoria letta alla R. Accademia di Scienze Morali e Politiche della Società Reale di Napoli (Naples: Tipografia della regia università, 1898), 3; hereafter abbreviated VN.
54. The original reads:
A tutto ciò [political womanliness] non v'ha rimedii definitivi che questi due: maggior concitazione operosa (che in pace non può derivarci se non da un'educazione più maschia) e favore e campi nuovi all'emigrazione dignitosa, apparecchiando le sedi proprie. Non potendosi desiderar che questa cessi, anzi urgendo all'Italia che cresca, sorge subito il dilemma, che o questa emigrazione sia affidata solo alle convenienze mutabili di stati stranieri, sicchè vi vada ospite a testa bassa, e finchè ad altri piaccia riceverla; o vada a testa alta in terre nostre, conquistate ed aperte. (VN, 47)
55. The original reads: "La soluzione del problema africano rimane anche oggi un problema più di virilità che di finanza italiana" (VN, 59).
56. The original reads: "la norma del negativo." Giuseppe Carlo Marino, L'autarchia della cultura: Intellettuali e fascismo negli anni trenta (Rome: Editori Riuniti, 1983), 181.
57. Some of the paradoxes and uneven exchanges that result from this logic are apparent in a 1940 economic treatise, Raffaele Basile-Giannini's Autarchia dell'Africa italiana (Rome: Edizioni della "Rassegna economica dell'Africa italiana," 1940). Published in "Anno XIX" according to the calendar of the regime, it lays out plans for the autarchy of Italian Africa as well as for the autarchy of the "Madrepatria," or Motherfatherland (another male mother?). The African landscape it describes is an unpeopled one where colonial products--coffee from Ethiopia, bananas from Somalia, grain from Libya, livestock (what the text refers to as the "African zootechnical patrimony" [109])--stand ready for importation to the Madrepatria. Or rather, they stand ready to be "contributed" to the autarchy of the empire: after initially describing the exchanges between colony and nation as imports and exports, the text switches to "apporto" and "contributo," and speaks of "la possibilità di eliminazione delle importazioni metropolitane attraverso l'apporto dell'Africa Italiana" (the possibility of the elimination of metropolitan imports through the contribution of Italian Africa). Like the "male ovary," the Italian colony is part of a one-way deal; part of the empire as it contributes, it is however to be independent of the nation. Imperial and nationalist rhetorics crisscross, absorbing and re-expelling the colony as necessary.


出版商：John Wiley & Sons
语言：英语
本书pdf是 文字版 ，书签良好。
Zeroth Law of Thermodynamics and Equations of State
First Law of Thermodynamics
Second and Third Laws of Thermodynamics
Fundamental Equations of Thermodynamics
Chemical Equilibrium
Phase Equilibrium
Electrochemical Equilibrium
Thermodynamics of Biochemical Reactions
Quantum Theory
Atomic Structure
Molecular Electronic Structure
Symmetry
Rotational and Vibrational Spectroscopy
Electronic Spectroscopy of Molecules
Magnetic Resonance Spectroscopy
Statistical Mechanics
Kinetic Theory of Gases
Experimental Kinetics and Gas Reactions
Chemical Dynamics and Photochemistry
Kinetics in the Liquid Phase
Macromolecules
Electric and Magnetic Properties of Molecules
Solid-State Chemistry
Surface Dynamics


html2ps/pdf documentation
FAQ
Requirements and recommendations
Configuring html2ps/pdf
Common configuration
PostScript-specific configuration
PDFLIB-specific configuration
Calling html2ps/pdf
html2ps/pdf HTML directives
HOWTO
Use custom fonts


The TMRom API call transfers a ROM data pattern between the internal eight-byte buffer maintained by the driver and an array 'ROM' of eight short integers declared in the application program. The direction of data transfer is specified by the value of the first integer in the array. If the first integer is zero, then the eight bytes from the internal buffer are transferred into the eight integer variables of the integer array. If the first integer is non-zero, then the least significant bytes of the eight integers are transferred into the internal eight-byte buffer. This function allows an application program to obtain the ROM data of a device that has been found with the TMFirst or TMNext functions. It also allows the application program to specify the ROM data of a specific device to be addressed with a multi-drop API call such as TMFirstFile. Note that only the least significant byte of each short integer in the ‘ROM’ array is used.
For a description of the above types, see the TMEX Type Descriptions.
Parameters
session_handle
Specifies the session handle returned from the API function TMExtendedStartSession that specifies the desired 1-Wire network port. This parameter is required by most TMEX API functions.
state_buffer
Specifies a pointer to a memory location that TMEX keeps all of the state information for the 1-Wire networks. This parameter is required by most TMEX API functions.
ROM
Specifies a pointer to an short array with eight elements that either will read or set the internal ROM buffer.
Return Value
1 => ROM read or set
<0 => TMEX Network Error Return Code
See Also


"Bully"
On 14 July 1993 teenager Bobby Kent disappeared without a trace in Florida. Then, his friends were arrested and tried for his murder. The reason for their heinous crime? He was their tormenter. Filmmaker Larry Clark ("Kids") explores this incident in "Bully."
Bobby (Nick Stahl) has been a friend, since childhood, with Marty Puccio (Brad Renfro). He has always held the dominant hand in the friendship, though, abusing his buddy with the unexpected, painful punch for one infraction or another. Up until now, Marty has accepted the abrupt violence, but when he starts dating Lisa (Rachel Miner) and complains about the abuse, she puts the bug in his ear that he can stop it. The seed of murder is soon planted and a conspiracy begins to rid Marty and his friends of Bobby and his abusive ways once and for all.
Larry Clark made splash for himself with his debut feature film, "Kids," an unabashedly harsh look into the lives of a group of unthinking, selfish New York City teens whose mission in life is to seek sex, drugs and trouble. It was a hard film that looked, unblinkingly, at the ramifications of promiscuity, unprotected sex and drug abuse in the AIDS era. If kids didn't get the message, their parents sure couldn't miss it.
With "Bully," Clark changes his focus and locale and moves to Florida to relate the account leading to the brutal group murder of Bobby Kent. Bobby, raised in a normal-seeming family environment, has sociopath tendencies that cause him to take violent action against his friend Marty for any infraction, no matter how trivial. Marty, for years, has suffered under this abusive friendship in a resigned, accepting way without striking back. When timid Lisa falls for Marty, she can't stand to watch him succumb to the tortures at Bobby's hands and soon convinces her none-too-bright boyfriend that the best thing to do is to rid their lives of the bully. Soon, others, like Ali (Bijou Phillips), a teen mother/sometimes prostitute who also suffered abuse by Bobby, join the conspiracy and things get totally out of control.
Enough about the story. What "Bully" is really about, in the hands of Larry Clark, is a film that approaches soft-core pornography with a voyeur's look at teen sex. It seems that fully half of the action shown in the film involves young people screwing without concern for the consequences of their libidinous actions. The inordinate amount of flesh-based antics among the kids is geared to peeping tom status as Clark has his young actors strip and have sex (I won't give the film credence by calling it "making love"). There isn't much reason for all of the skin except to serve as prurient titillation for the viewers.
"Bully" depicts a microcosm of our society of under-educated, under-motivated, under-employed and over-sexed teenagers with too much free time and, if Clark's assessment is correct, under-supervised by their parents. Neither side comes across well in this tome of teen angst as the kids wander around, without a clue, drinking, smoking dope and screwing indiscriminately. The parents don't come across to well, either, being shown as clueless, too, with their children operating beyond the pale of any reasonable authority - they are kind of like juvenile versions of Colonel Kurtz in "Apocalypse Now."
It's difficult to assess the acting of the various characters unless the ability to perform simulated sex is considered thesping. Technical aspects, too, are hard to judge since camera work is relegated to shooting the skin of the young stars, with special attention given to shots of Bijou Phillips's crotch - in close-up.
Larry Clark comes across more as a dirty old man and less a cutting edge filmmaker with "Bully." I go to the movies to see a story unfold. If I want to look at naked, sexy young women, I'll buy a copy of Playboy. I give it a D.
For more Reeling reviews visit www.reelingreviews.com
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A very flexible framework for building server side logic in R. The
framework is unopinionated when it comes to how HTTP requests and WebSocket
messages are handled and supports all levels of app complexity; from serving
static content to full-blown dynamic web-apps. Fiery does not hold your hand
as much as e.g. the shiny package does, but instead sets you free to create
your web app the way you want.
| Version: |
1.1.1 |
| Imports: |
R6, assertthat, httpuv, uuid, utils, stringi, future, later, stats, reqres, glue, crayon |
| Suggests: |
testthat, covr |
| Published: |
2018-10-22 |
| Author: |
Thomas Lin Pedersen [aut, cre] |
| Maintainer: |
Thomas Lin Pedersen <thomasp85 at gmail.com> |
| BugReports: |
https://github.com/thomasp85/fiery/issues |
| License: |
MIT + file LICENSE |
| URL: |
https://github.com/thomasp85/fiery |
| NeedsCompilation: |
no |
| Materials: |
README NEWS |
| In views: |
WebTechnologies |
| CRAN checks: |
fiery results |


Projects
React Map App
A single-page map app created with React that allows users to view vacation accomadations, filter them by available amenities, see them on the map, and view details of each place within a pop-up informational window.
Integrates Google Maps API with a third-party API to incorporate location data into the map
Utilizes the react-google-maps component library.
My Reads Bookshelf App
A bookshelf app that allows you to select and categorize books you have read, are currently reading, or want to read.
React is used to build the application and an API server and client library are utilized that update information as you interact with the application.
Memory Card Game
A memory card game written in HTML, CSS, and JavaScript.
Includes a game timer, move counter, star rating, win popup, and reset button.
Restaurant Reviews
The goal for this project was to take a static webpage and make it into an offline-capable, accessibility-enhanced, mobile-ready web application. The site itself contains restaurant information and reviews with a map application embedded in the site.
The project was written with HTML, CSS, and JavaScript, utilizing Mapbox API
Reach Out
Have an idea for a project or website? Let's chat about it.
Also, check out my GitHub, and for fun, some of my early work below.
Early Work
Pixel Painter
Pixel Art Maker created with HTML, CSS, jQuery, and JavaScript.
Retro Arcade
A frogger-like arcade game in javascript (keyboard arrows required to play).
Tic Tac Toe
A tic tac toe game created with HTML, CSS, and JavaScript.


Dashboard
Dashboard
Users
Products
Sales
Add Product
Contact
Help
Update User
User Id
4545
Name
John
Email
Title
Role
Active
Inactive


Text
Paragraphs
A paragraph (from the Greek paragraphos, “to write beside” or “written beside”) is a self-contained unit of a discourse in writing dealing with a particular point or idea. A paragraph consists of one or more sentences. Though not required by the syntax of any language, paragraphs are usually an expected part of formal writing, used to organize longer prose.
Blockquotes
A block quotation (also known as a long quotation or extract) is a quotation in a written document, that is set off from the main text as a paragraph, or block of text.
It is typically distinguished visually using indentation and a different typeface or smaller size quotation. It may or may not include a citation, usually placed at the bottom.
Said no one, ever.
Lists
Definition list
- Definition List Title
- This is a definition list division.
Ordered List
- List Item 1
- List Item 2
- List Item 3
Unordered List
- List Item 1
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- List Item 3
Unordered List no bullet
- List Item 1
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- List Item 3
Inline
- List Item 1
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- List Item 3
Horizontal rules
hr with text
Tabular data
| Table Heading 1 | Table Heading 2 | Table Heading 3 | Table Heading 4 | Table Heading 5 |
|---|---|---|---|---|
| Table Footer 1 | Table Footer 2 | Table Footer 3 | Table Footer 4 | Table Footer 5 |
| Table Cell 1 | Table Cell 2 | Table Cell 3 | Table Cell 4 | Table Cell 5 |
| Table Cell 1 | Table Cell 2 | Table Cell 3 | Table Cell 4 | Table Cell 5 |
| Table Cell 1 | Table Cell 2 | Table Cell 3 | Table Cell 4 | Table Cell 5 |
| Table Cell 1 | Table Cell 2 | Table Cell 3 | Table Cell 4 | Table Cell 5 |
Code
Keyboard input: Cmd
Inline code:
code

Sample output: This is sample output from a computer program.
Pre-formatted text
P R E F O R M A T T E D T E X T ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ?
This text has added emphasis.
The b element is stylistically different text from normal text, without any special importance.
The i element is text that is offset from the normal text.
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Superscript®.
Subscript for things like H2O.
This small text is small for for fine print, etc.
Abbreviation: HTML
This text is a short inline quotation.
This is a citation.
The dfn element indicates a definition.
The mark element indicates a highlight.
The variable element, such as x = y.
The time element:
HTML Comments
There is comment here:
There is a comment spanning multiple tags and lines below here.


My apologies for the interruption but as you've installed DNSSD for Google Chrome™ chances are you'd like to see Chrome have great native support for DNS Service Discovery (Bonjour/Avahi/ZeroConf).
If that's the case please head over to Issue 13573 and click the Star to let the Chrome developers know that this feature is important to you.
Thanks for your time.


Pmw comes with an extensive range of demonstrations and tests. The demonstrations can be used to get a feel for what is provided by Pmw and the demonstration code can be viewed to see examples of how to use Pmw. The tests can be executed to check that there are no problems with running Pmw in your environment.
The Pmw demos
directory contains demonstration scripts
showing many of the features of Pmw megawidgets. To view a
comprehensive package of all the demonstrations, including a view of
the source code, run the All.py
script. Run
All.py -help
for a short description of the script's
options.
All of the demonstrations may also be run separately. Most of the
demonstrations show some of the features of one of the Pmw
megawidgets. For example, to see a demonstration of the ButtonBox
megawidget, change into the demos
directory and
run
python ButtonBox.py
Other demonstrations, which show other features of Pmw include
BltGraph.py demonstrates the Pmw interface to the BLT graph and vector commands BltTabset.py demonstrates the Pmw interface to the BLT tabset command Colors.py how to set color schemes ConfigClass.py how to configure the python class of a megawidger component ErrorHandling.py how Pmw displays run time errors in a window ExampleDemo.py template for new demonstrations Grid.py the Tkinter Grid geometry manager LogicalFont.py how to use standard values for fonts MessageInfo.py how to extend the Pmw MegaToplevel class NestedDialogs.py how nested modal dialogs behave Resources.py how to use the option database to modify Tk widget option defaults Resources_Pmw.py how to use the option database to modify megawidget option defaults ShowBusy.py demonstrates the Pmw interface to the BLT busy command SpecialEntry.py deriving from Pmw.EntryField Spectrum.py some of the Pmw color handling functions SpeedTest.py tests the speed of creating Pmw megawidgets TextDisplay.py how to extend the Pmw MegaWidget class WidgetDestroy.py megawidget destruction
If you create a new megawidget you can create a demonstration for it
by using the file
ExampleDemo.py
as a
template. This template allows the demonstration to be run
individually or to be automatically included as part of the
demonstration package All.py
. You should take a copy of
the template and name the new file after your megawidget. You should
then replace each instance of the word EXAMPLE
with the
name of your megawidget and replace the code in the
__init__
method with code to create and initialise one or
more instances of your megawidget, which should be a child of
parent
. You can add other methods as necessary.
The Pmw tests
directory contains a test framework
and a set of test scripts for Pmw.
The tests cover the standard Tkinter module and most of the Pmw megawidgets.
The tests make a great
demonstration of the flexibility of the megawidgets. Simply change
into the tests
directory and run
python All.py
.
If all tests pass there should be no output printed to standard output. If any of the tests fail, please send the test output to the maintainer at<EMAIL_ADDRESS>All of the tests may be run separately. Most of the tests test the features of one of the Pmw megawidgets. For example, to execute the test for the ButtonBox megawidget, run
python ButtonBox_test.py
The Test.py file contains general testing functions and is imported by all test files. Other files, which test other features of Pmw include
Blt_test.py BLT vector and graph interface Colors_test.py setting color schemes MegaWidget_test.py creation of megawidget classes Options_test.py option and component handling PmwBase_test.py more option and component handling Tkinter_test.py Tk widgets in the Tkinter module
If you create a new megawidget you should create a test for it. There
is no template file for creating tests, but by looking at the other
Pmw tests (for example,
ScrolledText_test.py
) you
will get some idea of how to create a test for your megawidget.
The test files are designed to be run both individually or
automatically by the test package All.py
. Each test file
must define the testData
tuple. This consists of a
sequence of 2-element tuples, each tuple being a test specification
for one megawidget. Usually a file tests only one megawidget and so
there is only one test specification. The first element in the
specification is the megawidget class and the second is a sequence of
(yet more) 2-element tuples. In each of these tuples, the first
element is a sequence of individual tests to perform on an instance of
the megawidget and the second element is a dictionary to use for
the keyword arguments when creating the instance. Each individual
test is a tuple, the meaning of which depends on the type of the first
element, which may be either a string, a function or a method of the
megawidget class, as explained below.
If the first element is a string, then it is treated as an option of the megawidget and configure() is called to set the option to the value specified by the second element. After setting the option, cget() is called to query the option. If the test tuple has three elements, then the value returned by cget() must equal the value specified by the third element. Otherwise, the value returned must equal the value specified by the second element. For example,
('vscrollmode', 'static'), ('text_relief', 'sunken'), ('vscrollmode', 'bogus', 'ValueError: bad vscrollmode ' + 'option "bogus": should be static, dynamic, or none'),
If the first element is a function or method, then the function or method is called. The arguments to the call are given by the second element. (As a special case, if the second element is not a tuple, it is used as the only argument to the call.) The test tuple may have 2, 3 or 4 elements.
If it has two elements, then the value returned by the call must be None. For example,
(c.exportfile, '/tmp/ScrolledText_test.py'), (os.unlink, '/tmp/ScrolledText_test.py'),
If it has four elements, then the third element is a dictionary to use for the keyword arguments in the call and the value returned by the call must equal the value specified by the fourth element. For example,
(c.search, ('abc', '0.0'), {'nocase': 1}, '2.24'),
If is has three elements and the third element is a dictionary, then it is used for the keyword arguments in the call and the value returned by the call must be None. For example
(c.configurepane, 'first', {'size' : 200}),
If is has three elements and the third element is not a dictionary, then the value returned by the call must equal the value specified by the third element. For example,
(c.components, (), ['hull', 'label']), (c.add, ('Legumes',), 'ValueError: name "Legumes" already exists'),
Some special functions and values supplied by the Test module that may be used in the tests include:
Test.callback callback taking no arguments Test.callback1 callback taking one argument Test.callbackN callback taking any number of arguments Test.currentWidget returns the widget instance being tested Test.num_options returns number of options for the widget Test.earthris a sample Tkinter.PhotoImage Test.flagup a sample Tkinter.BitmapImage Test.floatvar a Tkinter.DoubleVar Test.stringvar a Tkinter.StringVar
To slow down a test (to see what is being displayed), add the following line which sets the delay between tests to (say) 1000 milliseconds:
Test.setdelay(1000)
To print information about what is being tested, add the line:
Test.setverbose(1)
Pmw 1.3 - 7 Aug 2007 - Home


--- layout: page title: "The Idempotency-Key HTTP Header Field" description: "The HTTP Idempotency-Key request header field can be used to carry idempotency key in order to make non-idempotent HTTP methods such as \"POST\" or \"PATCH\" fault-tolerant." ---
| Document Name: | Internet Draft ietf-httpapi-idempotency-key-header |
|---|---|
| Document URI: |
urn:ietf:id:ietf-httpapi-idempotency-key-header
|
| Online Version: |
https://datatracker.ietf.org/doc/html/draft-ietf-httpapi-idempotency-key-header
|
| Organization: | Internet Engineering Task Force (IETF) |
| Series: | Internet Draft (I-D) |
| Abstract: | The HTTP Idempotency-Key request header field can be used to carry idempotency key in order to make non-idempotent HTTP methods such as "POST" or "PATCH" fault-tolerant. |
Idempotency-Key
Return to ( Series | Organization | all Specifications )


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Using Array_agg in Postgres – Powerful and Flexible
In almost any application it’s common to want to aggregate some set of values together, commonly in a comma separated form. Most developers do this by running a query to get much of the raw data, looping over the data and pushing it into a set, appending each new value to the appropriate key. Hopefully, it’s not a surprise that there’s a much better way to do this with PostgreSQL.
Postgres has a flexible and robust array datatype that comes with a variety of functions. Even without taking advantage of the array datatype in your application, you can still take advantage of some of the functions to get the functionality you need. Lets take a look at an example schema and use case.
An example
Given a project management application, you may have users
who have projects
that have tasks
. An example piece of functionality might be to send an email with a list of all projects that have tasks that are past their due dates of completion. Your schema might look something like this:
# \d users
Table "public.users"
Column | Type | Modifiers
------------+-----------------------------+-----------
id | integer | not null
email | character varying(255) |
...
# \d projects
Table "public.projects"
Column | Type | Modifiers
------------+-----------------------------+-----------
id | integer | not null
user_id | integer | not null
name | character varying(255) | not null
...
# \d tasks
Table "public.tasks"
Column | Type | Modifiers
--------------+-----------------------------+-----------
id | integer | not null
project_id | integer | not null
completed_at | timestamp without time zone |
due_at | timestamp without time zone |
...
To get a list of all projects that have tasks that haven’t been completed, you would start with something like:
SELECT
projects.name
FROM
projects,
tasks
WHERE projects.id = tasks.project_id
AND tasks.due_at > tasks.completed_at
AND tasks.due_at > now()
This would give you a list of projects which you could then easily join this with users:
SELECT
users.email
projects.name
FROM
projects,
tasks,
users
WHERE projects.id = tasks.project_id
AND tasks.due_at > tasks.completed_at
AND tasks.due_at > now()
AND users.id = projects.user_id
At this point you’ve got everything you need to pull this up into Ruby, Python, or other language of your choice and then build the full set. However if this is thousands or even hundreds of results you’ll be spending more time than necessary, grouping this data for a sensible email. With 3 other small changes you can have this already formatted for you to immediately send of in an email. The first is using a handy function called array_agg
which will aggregate items and then you can format them how you wish. The second is just ensuring you’re grouping correctly. Finally you’ll want to unnest the array so it formats the data in a clean way for you.
Looking at it all put together:
SELECT
users.email,
array_to_string(array_agg(projects.name), ',')) as projects
FROM
projects,
tasks,
users
WHERE projects.id = tasks.project_id
AND tasks.due_at > tasks.completed_at
AND tasks.due_at > now()
AND users.id = projects.user_id
GROUP BY
users.email
This would give you a nice clean result of projects that have overdue tasks that you could then send to the user in an email:
email | projects
---------------------------+-------------------
<EMAIL_ADDRESS>| blog, timetracker
<EMAIL_ADDRESS>| foo, bar, baz


should not touch this:
if below SVG is inlined correctly we can reference its content:
= $foo->bar; ?>