Material design is guided by print-based design elements – such as typography, grids, space, scale, color, and imagery – to create hierarchy, meaning, and focus that immerse the user in the experience. Material design adopts tools from the field of print design, like baseline grids and structural templates, encouraging consistency across environments by repeating visual elements, structural grids, and spacing across platforms and screen sizes. These layouts scale to fit any screen size, which simplifies the process of creating scalable apps.
In material design, the physical properties of paper are translated to the screen. The background of an application resembles the flat, opaque texture of a sheet of paper, and an application’s behavior mimics paper’s ability to be re-sized, shuffled, and bound together in multiple sheets.
The surfaces that comprise applications are referred to in this spec as material, or sheets of material.
Elements outside of applications, such as system bars, are separate from the app content beneath them, and are not treated as material.
Two sheets of material that share an entire common edge are called seams. While joined by a seam, they move together.
Two overlapping sheets of material, with different z-positions (or depths), form a step. They move independently of each other.
A floating action button is a circular sheet separate from a toolbar. It represents a single promoted action.
It can straddle a step if it relates to the content creating that step.
Two overlapping sheets of material, with different z-positions (or depths), form a step. They move independently of each other.


SELECT - data type/column (ex. state_name)
FROM - table name (ex. regions)
INNER JOIN - other table (ex. states)
ON - continuing the join (ex. regions.id = states.region_id)
WHERE - conditional
BETWEEN x AND y, <, >,
ORDER BY - order data (ex. region_id DESC)
DESC, ASC
UPDATE - updates data in a database
DELETE - deletes data from a database
INSERT INTO - inserts new data into a database
CREATE DATABASE - creates a new database
ALTER DATABASE - modifies a database
CREATE TABLE - creates a new table
ALTER TABLE - modifies a table
DROP TABLE - deletes a table
CREATE INDEX - creates an index (search key)
DROP INDEX - deletes an index


|
QuantLib: a free/open-source library for quantitative finance
Fully annotated sources - version 1.30
|
#include <ql/models/marketmodels/callability/nothingexercisevalue.hpp>
Public Member Functions | |
| NothingExerciseValue (const std::vector< Time > &rateTimes, std::valarray< bool > isExerciseTime=std::valarray< bool >()) | |
| Size | numberOfExercises () const override |
| const EvolutionDescription & | evolution () const override |
| std::vector< Time > | possibleCashFlowTimes () const override |
| void | nextStep (const CurveState &) override |
| void | reset () override |
| std::valarray< bool > | isExerciseTime () const override |
| MarketModelMultiProduct::CashFlow | value (const CurveState &) const override |
| std::unique_ptr< MarketModelExerciseValue > | clone () const override |
| Public Member Functions inherited from MarketModelExerciseValue | |
| virtual | ~MarketModelExerciseValue ()=default |
| virtual Size | numberOfExercises () const =0 |
| virtual const EvolutionDescription & | evolution () const =0 |
| virtual std::vector< Time > | possibleCashFlowTimes () const =0 |
| virtual void | nextStep (const CurveState &)=0 |
| virtual void | reset ()=0 |
| virtual std::valarray< bool > | isExerciseTime () const =0 |
| virtual MarketModelMultiProduct::CashFlow | value (const CurveState &) const =0 |
| virtual std::unique_ptr< MarketModelExerciseValue > | clone () const =0 |
Private Attributes | |
| Size | numberOfExercises_ |
| std::vector< Time > | rateTimes_ |
| std::valarray< bool > | isExerciseTime_ |
| EvolutionDescription | evolution_ |
| Size | currentIndex_ = 0 |
| MarketModelMultiProduct::CashFlow | cf_ |
Definition at line 28 of file nothingexercisevalue.hpp.
| NothingExerciseValue | ( | const std::vector< Time > & | rateTimes, |
| std::valarray< bool > | isExerciseTime = std::valarray<bool>() |
||
| ) |
|
overridevirtual |
Implements MarketModelExerciseValue.
Definition at line 56 of file nothingexercisevalue.cpp.
|
overridevirtual |
Implements MarketModelExerciseValue.
Definition at line 60 of file nothingexercisevalue.cpp.
|
overridevirtual |
Implements MarketModelExerciseValue.
Definition at line 64 of file nothingexercisevalue.cpp.
|
overridevirtual |
Implements MarketModelExerciseValue.
Definition at line 72 of file nothingexercisevalue.cpp.
|
overridevirtual |
Implements MarketModelExerciseValue.
Definition at line 68 of file nothingexercisevalue.cpp.
|
overridevirtual |
Implements MarketModelExerciseValue.
Definition at line 78 of file nothingexercisevalue.cpp.
|
overridevirtual |
Implements MarketModelExerciseValue.
Definition at line 83 of file nothingexercisevalue.cpp.
|
overridevirtual |
Implements MarketModelExerciseValue.
Definition at line 88 of file nothingexercisevalue.cpp.
|
private |
Definition at line 44 of file nothingexercisevalue.hpp.
|
private |
Definition at line 45 of file nothingexercisevalue.hpp.
|
private |
Definition at line 46 of file nothingexercisevalue.hpp.
|
private |
Definition at line 47 of file nothingexercisevalue.hpp.
|
private |
Definition at line 49 of file nothingexercisevalue.hpp.
|
private |
Definition at line 50 of file nothingexercisevalue.hpp.


This teaching sequence has been developed by the Gene Technology Access Centre (GTAC), Deakin University and The University of Melbourne thanks to the Reconceptualising Mathematics and Science Teacher Education Programs (ReMSTEP) project.
Published early 2017


--- layout: post status: publish published: true title: Font Sizes Redux author: display_name: Tomas Restrepo login: tomasr email<EMAIL_ADDRESS>url: http://winterdom.com/ author_login: tomasr author_email<EMAIL_ADDRESS>author_url: http://winterdom.com/ wordpress_id: 847 wordpress_url: http://winterdom.com/2002/07/fontsizesredux date: '2002-07-25 07:19:46 +0000' date_gmt: '2002-07-25 07:19:46 +0000' categories: - Blogging tags: [] comments: [] ---
Drew says: "The font-family should not matter". I wished.
That has, unfortunately, not been my experience. The basic problem with Verdana and IE is that the differences between one relative size and the next are sometimes Huge, which makes them using very annoying. I'm definitely following Brad's advice of using EM for the font sizes and avoid small/x-large/etc. Expect something Monday-ish.


Population Level
|
|
||
|
Per House
|
||
|
Per House
|
| Basic Needs | Luxury Needs |
|---|---|
|
|
|
Need Consumption
Newspaper
Total
:


new Lens(get, map, flags) → {Lens}
A Lens
is a construct that allows you to 'peer into' some structure and operate on sub-parts of it. A Lens
supports
three basic operations:
get
, which takes an object and gets a piece of it,map
, which takes an object and maps a function over it, andset
, which takes an object and sets it to some value.
To construct a Lens
, you must provide both a get
function and an map
function. set
is a special case of map
, so you
don't need to explicitly define it.
As a simple example, the following constructs a Lens
that focuses on the first element of an array:
var headLens = new Lens (
function (arr) { return arr[0]; },
function (arr, func) {
var newArr = _.deepClone(arr); // Lenses should operate on immutable data, don't modify original array
newArr[0] = func(newArr[0]); // Apply a user-specified function to the head of the array and set the first element
return newArr; // Return the modified array
}
);
Any user-constructed lenses are expected to obey the Lens laws, as follows:
- set-get (you get what you put in):
lens.get(a, lens.set(a, b)) = b
- get-set (putting what is there doesn't change anything):
lens.set(a, lens.get(a)) = a
- set-set (setting twice is the same as setting once):
lens.set(c, lens.set(b, a)) = lens.set(c, a)
These laws ensure that the getting and setting behavior make sense in the usual way.
Parameters:
| Name | Type | Description |
|---|---|---|
get |
function | Get the value you want from the structure |
map |
function | Map a function map the value and return the modified structure |
flags |
object | Additional properties to add to |
Returns:
- Type
- Lens
Methods
-
add(otherLens) → {MultiLens}
-
Add a new focus to this
Lens
by providing anotherLens
with which to focus with.Parameters:
Name Type Description otherLens
The
Lens
to add to thisLens
Returns:
- Type
- MultiLens
-
addMany(otherLenses) → {Lens}
-
Add many new focuses to this
Lens
by providing an array of other lenses to focus with.Parameters:
Name Type Description otherLenses
Returns:
- Type
- Lens
-
blur() → {Lens}
-
Reset the view of the
Lens
.Returns:
this
- Type
- Lens
-
compose(otherLens) → {Compose}
-
Compose this lens with another
Lens
Parameters:
Name Type Description otherLens
Lens The
Lens
to compose this one withReturns:
- Type
- Compose
-
composeMany(otherLenses) → {Lens}
-
Compose this lens with many other Lenses, specified by an array in which to order them.
Parameters:
Name Type Description otherLenses
Returns:
- Type
- Lens
-
get(obj) → {*}
-
Get the value this
Lens
focuses on from an objectParameters:
Name Type Description obj
* The object to run the
Lens
onReturns:
- Type
- *
-
getFlags() → {*}
-
Get any extra set options in a Lens
Returns:
- Type
- *
-
map(obj, func) → {Lens}
-
Run a function over the view of the
Lens
and return the modified structureParameters:
Name Type Description obj
* The object to run the
Lens
onfunc
function The function to call on the view of the Lens
Returns:
- Type
- Lens
-
set(obj, val) → {Lens}
-
Set the view of the
Lens
to something new and return the modified structureParameters:
Name Type Description obj
* The object to run the Lens on
val
* The value to set
Returns:
- Type
- Lens
-
view(view) → {Lens}
-
Force the
Lens
toview
a new objectParameters:
Name Type Description view
* The object to view a Lens on
Returns:
this
- Type
- Lens


FROM: DR THOMAS AUDU No. 300 BOL AHMED WAY LAGOS-NIGERIA. STRICTLY CONFIDENTIAL ATTN: THE PRESIDENT / C.E.O I am the Chief Medical Doctor and close confidant of Mrs. Maryam Abacha, the former first lady and wife of the late Gen.Sani Abacha, the former head of state and commander in chief of the armed forces of the Federal Republic of Nigeria. She (MRS. M.ABACHA), has as a result of the trust and confidence,she has in me mandated that I search for a reliable and trust worthy foreign partner, who will help receive some funds which she had in cash totaling US$80M (Eighty Million United States Dollars only) into a personal, company or any reliable foreign bank accounts within or outside your country as all their personal and family Bank accounts within and outside Nigeria have all been frozen by the Nigerian authorities. For further information about this money and the ABACHAS) go to http://www.econdad.org/AbachaLoot.htm This money in question has however, been Deposited with a security company that has branches in Africa, Europe and various parts of America. It may also interest you to note that she (MRS. ABACHA) and her family have, since the inception of the present democratic government, been placed under partial house arrest, with their international travelling passports seized pending when the current fund recovery face off between them and the present (RTD) GEN, OBASANJO led Democratic Government is resolved, in which from all indication will not exceed this year. She has decided to offer anybody who will be willing to render this tremendous assistance, 40% of the total sum. Note that this transaction involves no risks whatsoever, as you will have no dealing with my country, Nigeria. Rather you will deal directly with the Security Company, which is based where the money is right now. Let me have your confidential Tel/Fax numbers in your response to this proposal. I shall let you into a complete detailed picture of this mutual beneficial transaction when I have received your anticipated positive reply. Reply to this e-mail address<EMAIL_ADDRESS>. This matter should be treated as urgent and confidential. Regards, DR THOMAS AUDU


* Assets filed in or after 2015 and published in or before 2019 in US.
Data Sources
Google Patents
Google Patents Research Data
PatentsView
Reed Tech


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The rich and comforting flavor of chocolate will help you get through the chilly winter days.
Recipe - Chocolate Cake
Ingredients
Cake
2 cups sugar
1 cup butter softened
1 1/2 teaspoons pure vanilla extract
3 large eggs
2 1/2 cups cake flour
1 cup baking cocoa sifted
2 teaspoons baking soda
1/2 teaspoon salt
1/2 cup instant chocolate pudding mix small box
2 1/4 cups buttermilk
1 cup semi-sweet chocolate chips
Icing
1/2 cup water
1/2 cup butter
1 teaspoon vanilla
1 cup baking cocoa sifted
3 1/2 cups powdered sugar
3 tablespoons heavy cream more or less for consistency
Instructions
Preheat oven to 350°.
Beat sugar, butter & vanilla in large bowl. Beat in eggs. Mix in cake flour, baking cocoa, soda, salt, chocolate pudding mix and buttermilk. Stir in semi-sweet chocolate chips.Pour into greased tube pan.
Bake at 350° for 60-70 minutes, until cake tester comes out clean. Cool cake completely before icing.
Heat water, butter and vanilla together in sauce pan on stovetop until melted. Remove from heat.
Stir in one cup cocoa.
Stir in powdered sugar, sifted.
Stir in heavy cream, up to 3 tablespoons until you get the desired consistency.
Ice by filling the hole in the middle of the cake first, then spread icing over the cake and pour over the sides. Icing will harden as it cools.


---
layout: page
title: About
numberofcols: 3
---
{% assign pages = site.url | append: '/' | append: site.baseurl | append: '/portfolio' %}
{% include intro.html %}
Carousel
{% include carousel.html name="carousel-about" data=site.data.carousel-about %}
Teams {{ site.teams.title }}
{% include teams.html %}
Services {{ site.services.title }}
{% include services.html %}
Customers {{ site.customers.title }}
{% include customers.html %}
Portfolio {{ site.portfolio.title }}
{% include portfolio.html %}


| MATLAB 文件帮助: cv.getDerivKernels | 查看 cv.getDerivKernels 的代码 | Index |
getDerivKernels Returns filter coefficients for computing spatial image derivatives
[kx, ky] = cv.getDerivKernels('OptionName', optionValue, ...)
KType
.KType
.denominator = 2^(KSize*2-Dx-Dy-2)
. If you are going to fitler
floating-point images, you are likely to use the normalized kernels.
But if you compute derivatives of an 8-bit image, store the results in
a 16-bit image, and wish to preserve all the fractional bits, you may
want to set Normalize=false
. default falsesingle
or double
.
default single
The function computes and returns the filter coefficients for spatial image
derivatives. When KSize='Scharr'
, the Scharr 3x3 kernels are generated
(see cv.Scharr). Otherwise, Sobel kernels are generated (see cv.Sobel). The
filters are normally passed to cv.sepFilter2D.


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Access as a filesystem. More...
#include <liverpool.h>
Public Member Functions | |
| filter (std::string &path) | |
| bool | operator() (const entry &e) |
Access as a filesystem.
| x2d::liverpool::liverpool::filter< _OFFSET >::filter | ( | std::string & | path | ) | [inline] |
| [in] | path | Path to file |


 Mobile-Detect is mainly meant for mobile device detection.
result is String
result is Boolean
result is Number


A CIVIL ACTION Revere Cinema, 1-29-99, 9:55 PM Showing
Review by Joe Viglione
This is a once in a lifetime role for John Travolta, and at the onset, he looks brilliant in it; but Robert Duvall not only outclasses Travolta's character, he shows John what Burt Reynolds meant about there being nothing like an old Stradivarius...Burt is right. Both Travolta and Duvall have to deal with annoying characters. Both lawyers are absolute jerks. Where Duvall plays it cool, calculated, like a professional shark, Travolta is edgy in his role as the flamboyant, greedy ambulance chaser.
He overdoes it. You don't feel sympathy for Jan Schlictman, a sympathy that is there in the book by Jonathan Harr.  And why Travolta folds up into this "victim" when he should be more "head held high" arrogant, and cocky. That's what I got out of the book, but maybe John never read it.
With all the investment, with the good will of the victims of the tragedy, none of the lawyers stepped in and did the right thing. But the actors playing them are splendid, and the supporting cast keeps this film afloat. The relish with which some of the unknowns attack their roles overshadows Travolta.
Perhaps because of that, the film is magnificent. You don't have to live in Woburn to appreciate the sweeping beauty of the Boston skyline, the river Charles, the microcosm of New York City. And that is what this film really does...it exposes Boston as a gorgeous city whose lawyers, talk show hosts, sports teams, and music scene, well, just come in second place to New York. It's all there when The Attorney tries to settle with Grace in New York. Rather than put on the poker face, Travolta gets the $2400.00 a night hotel room while the tycoon gets him to put his feet up on some rickety antique.
Out of his league. And Travolta, despite being hailed as the "comeback kid", and yes, he certainly deserves credit for that, well, he goes from brilliant to ok...passing grade. Will he get an Academy Award? Maybe out of the sympathy of those voting for his hard work and persistence...but he just doesn't deliver the knock-out blow...Robert Duvall does. This is light years away from Robert's performance in The Apostle...in fact, that reminds me of Travolta here...almost, but no cigar.
For the meat of the film, I must say, the cinematography, the direction, the editing, Danny Elfman's music, everything falls into place. This picture is something very, very special. How do you take an old story that we in Woburn/Stoneham have read and known about, and make it an amazing work that stands on its own? Somehow, they pull it off. This film can be watched again, and again, and again, and it is the little things...the angle of the camera, sweeping across rooms and scenery...and for any resident of Woburn, it is scary. My friend said to me "how many more sites like this in Massachusetts...?" Good question...my reply: "Yeah, but I live there..." And he almost moved in!
Perhaps we should get a place more conducive to humankind...like, maybe a condo in Palm Beach? A Civil Action is just the piece of filmmaking to tell any sane person to get out of Woburn...
Who should have played the lead role? Raymond Burr? No, he had too much authority...Richard Gere? YES...Richard Gere does the law thing with a sparkle, he would have been a great antagonist to Duvall's pragmatic bull. Ah, but only in a perfect world.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Welcome to AiBot
Bot Information
This chatbot can assist you in selecting your electives for the upcomming semester. It also has some more features! type 'help' in the box below to get started.
REST Api
This Bot is deployed using
pythonanywhere
server.
Bot queries can be sent to /api/
You can test server connectivity at /test
Source code
The complete source code, query example and database for this bot can be found on
Github
Type 'help' to get started
Send


Boolean DataType
Boolean DataType
This is the simplest type. A boolean expresses a truth value. It can be either TRUE or FALSE.
Special DataType
Resource DataType
Null DataType
A resource is a special variable, holding a reference to an external resource.
The special NULL value represents a variable with no value. NULL is the only possible value of type null.
Boolean DataType
This is the simplest type. A boolean expresses a truth value. It can be either TRUE or FALSE.
Resource DataType
A resource is a special variable, holding a reference to an external resource.
Null DataType
The special NULL value represents a variable with no value. NULL is the only possible value of type null.


Lecture 1 - Class Introduction & Why we Visualize
The syllabus for the course, along with discussions about "what" visualizations are, and how to orient yourself in the course.
What are some of the basics of how we interpret visualizations? How can we describe the process of making choices, understanding our audience, and so forth?


| a |
top |
| Authentication.php | procedural page Authentication.php |
| b |
top |
| BadGateway.php | procedural page BadGateway.php |
| BadRequest.php | procedural page BadRequest.php |
| c |
top |
| Container.php | procedural page Container.php |
| Conflict.php | procedural page Conflict.php |
| f |
top |
| Forbidden.php | procedural page Forbidden.php |
| h |
top |
| Http.php | procedural page Http.php |
| i |
top |
| InternalServerError.php | procedural page InternalServerError.php |
| m |
top |
| MethodNotAllowed.php | procedural page MethodNotAllowed.php |
| n |
top |
| NotAcceptable.php | procedural page NotAcceptable.php |
| NotFound.php | procedural page NotFound.php |
| NotImplemented.php | procedural page NotImplemented.php |
| o |
top |
| Object.php | procedural page Object.php |
| p |
top |
| ProxyAuthenticationRequired.php | procedural page ProxyAuthenticationRequired.php |
| r |
top |
| RequestTimeout.php | procedural page RequestTimeout.php |
| t |
top |
| TokenStore.php | procedural page TokenStore.php |
| u |
top |
| Unauthorized.php | procedural page Unauthorized.php |


The final step in building a UI in Otter is to export it. To export your UI, simply select the scenes you want to export, right-click on them and select Export. This will bring up the Asset Exporter:
The Asset Exporter lists the target platforms to export to, as well as the files it will process. Check and uncheck files/targets you want included and excluded in the export process.
Once ready, hit the Export button. The export progress window will come up, indicating the current export progress and status:
All files will be exported to the platform's output folder, as specified in the Platform's properties (see Setup and Installation).
Created with the Personal Edition of HelpNDoc: Generate EPub eBooks with ease


Attack
Decay
Sustain
Release
The keys D to L on a QWERTY keyboard correspond to the white keys. R, T, U, I, O correspond to the black keys.


Uncheck "Loop" option to create a one-way route when you would like to create custom routes. This allows switching from "Source" to "Destination" but not backward.
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Show popup even when there is only one destination
Sort destinations in popup
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Source
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Loop
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31/44 Architects puts a modern spin on a Victorian terrace in south London
by Amy Frearson31/44 Architects shows how London's 19th-century townhouses can be brought into the 21st century, with this three-home development in Peckham.
The London-based studio renovated an end-of-terrace property, to create a garden flat and a two-storey maisonette, then added a new-build, three-bedroom house alongside.
Called Corner House, the development is a contemporary interpretation of traditional Victorian-era architecture. But there are also playful details that clearly mark it out as a modern-day building.
For instance, the traditional arrangement of windows and doors is maintained, but in several places these openings are infilled with brickwork. Similarly, an angular porch canopy mimics the form of the more typical staircase entrance next door.
Other surprising details include a glazed rear extension with dark wood mullions, designed to reference a Victorian conservatory, and a rounded exterior profile that mirrors the shape of a pub across the street.
A grey London stock brick was chosen for the new exterior walls, while concrete forms the lintels, window ledges and recesses. The same materials were used for the site's new boundary wall.
"As a practice we are deeply interested in how we can densify and repair the city incrementally, on small sites which have been previously overlooked," explained Will Burges, director of 31/44 Architects.
"These kinds of sites always need a lot of care to make a contemporary piece of architecture which is closely woven into the pattern, texture and character of the neighbourhood."
All three properties have their own entrance. The house, spread out over three storeys, has its entrance slightly below street level, which puts it at the same level as the rear garden.
An open-plan ground floor contains lounge, kitchen and dining spaces. Sliding glass doors at both the front and back allow this space to be fully opened up to the breeze.
Two bedrooms can be found on the level above, while the uppermost floor contains the en-suite master bedroom.
The ground-floor flat is accessed at the same level as the house. It has two bedrooms at the front, and a spacious living and dining space at the back, along with a small courtyard.
The two-level maisonette is accessed via the staircase up from the street. A kitchen/diner and lounge can be found on the lower level, while two bedrooms are located on the upper floor.
Corner House is the first new-build development from emerging property developer Sara Mungeam, who likes to introduce quality details into her projects.
Mungeam styled the interiors of all three homes, with the aim of creating spaces that are airy without being too minimal.
The largely monochrome palette is occasionally interrupted by flashes of sage green and wooden furniture pieces. Other highlights include modern, marbled-topped kitchen units and simple lighting fixtures.
"The combination of bold contextual architecture and calm, cohesive interiors, reflecting the aesthetic, era and architecture of each of the different buildings, has proven to be a real selling point for the development," Mungeam said.
31/44 Architects also explored ways of bringing together heritage and new ideas at Red House, another end-of-terrace property designed by the studio.
"Corner House is a natural evolution of our Manser Medal winning Red House," added Burges. "As designers, we find the constraints of these projects liberating."
Photography is by Rory Gardiner.


Officers were called to the back lane on Coatsworth Road, Bensham near to a shoe repair shop just before 9am on Tuesday.
There they found that a 27-year-old man who had been assaulted by a gang of men.
He was taken to hospital but is expected to make a recovery.
The lane, near Claremont South Avenue, was cordoned off for several hours before it is believed police left the scene at around 1.30pm.
Officers are now appealing for any witnesses who may have information on the attack.
A spokesperson for Northumbria Police said: "At about 8.55am today police received a report that a 27-year-old man had been assaulted by a group of men on a rear lane near Claremont South Avenue earlier that morning.
"He was taken to hospital with non life-threatening injuries.
"Inquiries into the incident are ongoing and anyone with information is encouraged to contact police on 101 quoting log 178 19/11/19."


Although the ideas behind inheritance and dynamic binding are powerful, they can appear mysterious, at least at first. Now that we've seen examples that use these ideas, let's look at some of the associated subtleties that often cause trouble.
In section §13.3.1/239, we noted that when we say that we want to store Core
objects in a
container, we're saying that the container will hold Core
objects and nothing but Core
objects. This assertion might have been surprising: It might seem that we should be able
to store Core
objects or objects derived
from Core
in the container. However, if we think
about our own implementation of Vec
from Chapter 11, we know that at some point, the
Vec
has to allocate storage for the objects that it contains. When we allocate that storage,
we say which exact type to allocate. There is no virtual
-like mechanism that determines
what kind of object is needed and allocates enough space to hold that object.
What may be more surprising is what would happen if we persisted in defining a
vector<Core>
into which we intended to place either Core
objects or Grad
objects. The
answer is that we could do so, but the results would probably be a surprise; for example
vector<Core> students; Grad g(cin); // read a Grad students.push_back(g); // store the Core part(!) of g in students
We are allowed to store the Grad
object in students
, because we can use a Grad
object
wherever a reference to a Core
object is required. The push_back
function takes a reference
to the vector
's element type, so we can pass g
to push_back
. However, when we
put the object into students
, only the Core
portion of g
is copied! As in §13.2.2/235,
this behavior is actually what we asked for, although it can be surprising—especially
when encountered for the first time. What will happen is that push_back
will expect
that it was given a Core
object, and will construct a Core
element, copying only the Core
parts of the object, ignoring whatever is specific to the Grad
class .
It is important to realize that when a base- and derived
-class function have the same
name, but they don't match exactly in number and types of parameters, they behave as if
they were completely unrelated functions. For example, we might add to our hierarchy
an accessor function that we could use to change a student's final exam-grade. For Core
students, this function should set only the final
grade; for Grad
students, the function
should take two parameters, the second one being used to set the thesis:
void Core::regrade(double d) { final = d; } void Grad::regrade(double d1, double d2) { final = d1; thesis = d2; }
If r
is a reference to a Core
, then
r.regrade(100); // ok, call Core::regrade r.regrade(100, 100); // compile error, Core::regrade takes a single argument
This second call is an error even if r
refers to an object of type Grad
. The type of r
is a
reference to Core
, and the version of regrade
in Core
takes one value of type double
.
What may be more surprising is what happens if r
is a reference to a Grad
:
r.regrade(100); // compile error, Grad::regrade takes two arguments r.regrade(100, 100); // ok, call Grad::regrade
Now when we look for a function to call, r
is a Grad
. The regrade
function that applies
to Grad
objects takes two arguments. Even though there is a base-class version that takes
a single argument, that version is effectively hidden by the existence of regrade
in the
derived
class. If we want to run the version from the base class, we must call it explicitly:
r.Core::regrade(100); // ok, call Core::regrade
If we want to use regrade
as a virtual
function, we must give it the same interface in
the base and derived
classes, which we can do by giving the Core
version an extra,
unused parameter with a default argument:
virtual void Core::regrade(double d, double = 0) { final = d; }


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Updated: 27 January 2017


The East Bay Times reports 52-year-old Angela Dunakin of Roseville died at a Sacramento hospital Monday, a day after a truck crashed into her car at an intersection in Yuba City.
She was the widow of Sgt. Mark Dunakin, who along with his partner Officer John Hege were slain by a man they had pulled over on March 21, 2009.  The gunman was also killed in the gunbattle.
Family members said Angela Dunakin was a former Alameda County sheriff’s deputy before retiring in 2000.
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dc
Section: User Commands (1)Updated: 2006-06-11
Index Return to Main Contents
NAME
dc - an arbitrary precision calculatorSYNOPSIS
dc [-V] [--version] [-h] [--help][-e scriptexpression] [--expression=scriptexpression]
[-f scriptfile] [--file=scriptfile]
[file ...]
DESCRIPTION
dc is a reverse-polish desk calculator which supports unlimited precision arithmetic. It also allows you to define and call macros. Normally dc reads from the standard input; if any command arguments are given to it, they are filenames, and dc reads and executes the contents of the files before reading from standard input. All normal output is to standard output; all error output is to standard error.
A reverse-polish calculator stores numbers on a stack. Entering a number pushes it on the stack. Arithmetic operations pop arguments off the stack and push the results.
To enter a number in dc, type the digits (using upper case letters A through F as "digits" when working with input bases greater than ten), with an optional decimal point. Exponential notation is not supported. To enter a negative number, begin the number with ``_''. ``-'' cannot be used for this, as it is a binary operator for subtraction instead. To enter two numbers in succession, separate them with spaces or newlines. These have no meaning as commands.
OPTIONS
dc may be invoked with the following command-line options:- -V
- --version
- Print out the version of dc that is being run and a copyright notice, then exit.
- -h
- --help
- Print a usage message briefly summarizing these command-line options and the bug-reporting address, then exit.
- -e script
- --expression=script
- Add the commands in script to the set of commands to be run while processing the input.
- -f script-file
- --file=script-file
- Add the commands contained in the file script-file to the set of commands to be run while processing the input.
If any command-line parameters remain after processing the above, these parameters are interpreted as the names of input files to be processed. A file name of - refers to the standard input stream. The standard input will processed if no script files or expressions are specified.
Printing Commands
- p
- Prints the value on the top of the stack, without altering the stack. A newline is printed after the value.
- n
- Prints the value on the top of the stack, popping it off, and does not print a newline after.
- P
- Pops off the value on top of the stack. If it it a string, it is simply printed without a trailing newline. Otherwise it is a number, and the integer portion of its absolute value is printed out as a "base (UCHAR_MAX+1)" byte stream. Assuming that (UCHAR_MAX+1) is 256 (as it is on most machines with 8-bit bytes), the sequence KSK0k1/_1Ss [ls*]Sxd0>x [256~Ssd0<x]dsxxsx[q]Sq[Lsd0>qaPlxx] dsxxsx0sqLqsxLxLK+k could also accomplish this function. (Much of the complexity of the above native-dc code is due to the ~ computing the characters backwards, and the desire to ensure that all registers wind up back in their original states.)
- f
- Prints the entire contents of the stack without altering anything. This is a good command to use if you are lost or want to figure out what the effect of some command has been.
Arithmetic
- +
- Pops two values off the stack, adds them, and pushes the result. The precision of the result is determined only by the values of the arguments, and is enough to be exact.
- -
- Pops two values, subtracts the first one popped from the second one popped, and pushes the result.
- *
- Pops two values, multiplies them, and pushes the result. The number of fraction digits in the result depends on the current precision value and the number of fraction digits in the two arguments.
- /
- Pops two values, divides the second one popped from the first one popped, and pushes the result. The number of fraction digits is specified by the precision value.
- %
- Pops two values, computes the remainder of the division that the / command would do, and pushes that. The value computed is the same as that computed by the sequence Sd dld/ Ld*- .
- ~
- Pops two values, divides the second one popped from the first one popped. The quotient is pushed first, and the remainder is pushed next. The number of fraction digits used in the division is specified by the precision value. (The sequence SdSn lnld/ LnLd% could also accomplish this function, with slightly different error checking.)
- ^
- Pops two values and exponentiates, using the first value popped as the exponent and the second popped as the base. The fraction part of the exponent is ignored. The precision value specifies the number of fraction digits in the result.
- |
- Pops three values and computes a modular exponentiation. The first value popped is used as the reduction modulus; this value must be a non-zero number, and should be an integer. The second popped is used as the exponent; this value must be a non-negative number, and any fractional part of this exponent will be ignored. The third value popped is the base which gets exponentiated, which should be an integer. For small integers this is like the sequence Sm^Lm%, but, unlike ^, this command will work with arbitrarily large exponents.
- v
- Pops one value, computes its square root, and pushes that. The precision value specifies the number of fraction digits in the result.
Most arithmetic operations are affected by the ``precision value'', which you can set with the k command. The default precision value is zero, which means that all arithmetic except for addition and subtraction produces integer results.
Stack Control
- c
- Clears the stack, rendering it empty.
- d
- Duplicates the value on the top of the stack, pushing another copy of it. Thus, ``4d*p'' computes 4 squared and prints it.
- r
- Reverses the order of (swaps) the top two values on the stack. (This can also be accomplished with the sequence SaSbLaLb.)
Registers
dc provides at least 256 memory registers, each named by a single character. You can store a number or a string in a register and retrieve it later.
- sr
- Pop the value off the top of the stack and store it into register r.
- lr
- Copy the value in register r and push it onto the stack. This does not alter the contents of r.
Each register also contains its own stack. The current register value is the top of the register's stack.
- Sr
- Pop the value off the top of the (main) stack and push it onto the stack of register r. The previous value of the register becomes inaccessible.
- Lr
- Pop the value off the top of register r's stack and push it onto the main stack. The previous value in register r's stack, if any, is now accessible via the lr command.
Parameters
dc has three parameters that control its operation: the precision, the input radix, and the output radix. The precision specifies the number of fraction digits to keep in the result of most arithmetic operations. The input radix controls the interpretation of numbers typed in; all numbers typed in use this radix. The output radix is used for printing numbers.
The input and output radices are separate parameters; you can make them unequal, which can be useful or confusing. The input radix must be between 2 and 16 inclusive. The output radix must be at least 2. The precision must be zero or greater. The precision is always measured in decimal digits, regardless of the current input or output radix.
- i
- Pops the value off the top of the stack and uses it to set the input radix.
- o
- Pops the value off the top of the stack and uses it to set the output radix.
- k
- Pops the value off the top of the stack and uses it to set the precision.
- I
- Pushes the current input radix on the stack.
- O
- Pushes the current output radix on the stack.
- K
- Pushes the current precision on the stack.
Strings
dc has a limited ability to operate on strings as well as on numbers; the only things you can do with strings are print them and execute them as macros (which means that the contents of the string are processed as dc commands). All registers and the stack can hold strings, and dc always knows whether any given object is a string or a number. Some commands such as arithmetic operations demand numbers as arguments and print errors if given strings. Other commands can accept either a number or a string; for example, the p command can accept either and prints the object according to its type.
- [characters]
- Makes a string containing characters (contained between balanced [ and ] characters), and pushes it on the stack. For example, [foo]P prints the characters foo (with no newline).
- a
- The top-of-stack is popped. If it was a number, then the low-order byte of this number is converted into a string and pushed onto the stack. Otherwise the top-of-stack was a string, and the first character of that string is pushed back.
- x
- Pops a value off the stack and executes it as a macro. Normally it should be a string; if it is a number, it is simply pushed back onto the stack. For example, [1p]x executes the macro 1p which pushes 1 on the stack and prints 1 on a separate line.
Macros are most often stored in registers; [1p]sa stores a macro to print 1 into register a, and lax invokes this macro.
- >r
- Pops two values off the stack and compares them assuming they are numbers, executing the contents of register r as a macro if the original top-of-stack is greater. Thus, 1 2>a will invoke register a's contents and 2 1>a will not.
- !>r
- Similar but invokes the macro if the original top-of-stack is not greater than (less than or equal to) what was the second-to-top.
- <r
- Similar but invokes the macro if the original top-of-stack is less.
- !<r
- Similar but invokes the macro if the original top-of-stack is not less than (greater than or equal to) what was the second-to-top.
- =r
- Similar but invokes the macro if the two numbers popped are equal.
- !=r
- Similar but invokes the macro if the two numbers popped are not equal.
- ?
- Reads a line from the terminal and executes it. This command allows a macro to request input from the user.
- q
- exits from a macro and also from the macro which invoked it. If called from the top level, or from a macro which was called directly from the top level, the q command will cause dc to exit.
- Q
- Pops a value off the stack and uses it as a count of levels of macro execution to be exited. Thus, 3Q exits three levels. The Q command will never cause dc to exit.
Status Inquiry
- Z
- Pops a value off the stack, calculates the number of digits it has (or number of characters, if it is a string) and pushes that number. The digit count for a number does not include any leading zeros, even if those appear to the right of the radix point.
- X
- Pops a value off the stack, calculates the number of fraction digits it has, and pushes that number. For a string, the value pushed is 0.
- z
- Pushes the current stack depth: the number of objects on the stack before the execution of the z command.
Miscellaneous
- !
- Will run the rest of the line as a system command. Note that parsing of the !<, !=, and !> commands take precedence, so if you want to run a command starting with <, =, or > you will need to add a space after the !.
- #
- Will interpret the rest of the line as a comment.
- :r
- Will pop the top two values off of the stack. The old second-to-top value will be stored in the array r, indexed by the old top-of-stack value.
- ;r
- Pops the top-of-stack and uses it as an index into the array r. The selected value is then pushed onto the stack. Note that each stacked instance of a register has its own array associated with it. Thus 1 0:a 0Sa 2 0:a La 0;ap will print 1, because the 2 was stored in an instance of 0:a that was later popped.
BUGS
Email bug reports to<EMAIL_ADDRESS>Index
- NAME
- SYNOPSIS
- DESCRIPTION
- OPTIONS
- Printing Commands
- Arithmetic
- Stack Control
- Registers
- Parameters
- Strings
- Status Inquiry
- Miscellaneous
- BUGS
This document was created by man2html, using the manual pages.
Time: 05:29:03 GMT, December 24, 2015


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I am a student interested in Hardware Engineering, Digital Logic, and IC Design. Click Below to view my LinkedIn or Resume.
Developed firmware for in-ear headphones development boards and charging case.
Debugged issues related to to USB detection, USB enumeration, and charger IC configuration within the charging case firmware.
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SOCIETIES is using user preferences and user intents to personalise the platform and the 3rd party services that are installed on it.


LUDUS HTML5 Platformer Game Starter Kit for Windows8 Store
LLLL UUUU UUUU DDDDDDD UUUU UUUU SSSSSSSSSS
LLLL UUUU UUUU DDDDDDDDD UUUU UUUU SSSSSSSSSS
LLLL UUUU UUUU DDDD DDDD UUUU UUUU SSSS
LLLL UUUU UUUU DDDD DDDD UUUU UUUU SSSSSSSSSS
LLLL UUUU UUUU DDDD DDDD UUUU UUUU SSSSSSSSSS
LLLL UUUU UUUU DDDD DDDD UUUU UUUU SSSS
LLLLLLLLLL UUUUUUUUUU DDDDDDDDD UUUUUUUUUU SSSSSSSSSS
LLLLLLLLLL UUUUUUUUUU DDDDDDD UUUUUUUUUU SSSSSSSSSS
by Christer (McFunkypants) Kaitila http://mcfunkypants.com
Source:
https://github.com/mcfunkypants/ludus
Demos:
http://www.mcfunkypants.com/ludus
Welcome to Ludus, brave adventurer!
Ludus is a dirt-simple game engine that uses html5 canvas.
It was designed specifically for mario/sonic style platformer
games but could be used for any genre with minimal changes.
It boasts great performance, and requires only free tools.
The word Ludus means PLAY/GAME/TRAINING in latin. The Ludus engine
is designed to be a great way to learn to make games.
Sure, there are bigger and more complex game engines.
This one is designed to be easy to play around with.
Why? It was created to run real-world games that have a beginning,
middle, and end. It was optimized to run on less powerful systems
and touch-screen tablets. It is simple, but goes beyond the
level of a "tech demo" to encapsulate all the required functionality
you might need to make a polished game, such as GUI and sound.
PLAYING THE EXAMPLE GAMES
There are two example games:
Rubba Rabbit, a bouncy, fast, bright platformer, and
Gwendolynn the Lionhearted, a dark, dangerous metroidvania.
Both games are available for play online in any browser
as well as a download on the Windows 8 store.
Play them here:
http://mcfunkypants.com/RubbaRabbit/http://mcfunkypants.com/Gwendolynn/
You can also run the index.html files on a localhost
webserver (they have to be run using a web server due to
browser security sandboxing).
Finally, if you wish you can install the store apps by
right-clicking the .ps1 files inside a subfolder of
"apppackages" (if you are using an administrator account).
IT'S POSSIBLE TO MAKE A GAME USING LUDUS IN A WEEKEND.
You could make your own game just by changing the artwork:
it is possible to make a new game without ever touching a line
of code. All you would need to do is modify the .png and .mp3
art assets as well as the level#.js level data files.
The best tool to create in-game worlds is TILED
(www.mapeditor.org) which exports data in .json format.
Check out the example .tmx source files and see if you can
make your own game! Once you've made a level, export as .json
and then run the _buildlevels.bat file to convert JSON
to JSONP data to a new level#.js file.
The one important thing to remember is that each layer is
important. The order matters. The bottom-most layer is for
regular world tiles that the player will collide with. The
rest are for pickups, bouncy platforms, dangerous spikes,
and so on.
Additionally, you should modify the game settings in the
MAP MENU -> MAP PROPERTIES dialog. Gravity, speed and
the player's starting position are all stored there.
HACKING THE SOURCE CODE
The only source code file you will want to modify,
if you choose to start coding, is ludus.js. Inside,
you'll notice all sorts of variables at the top which you
can modify to your heart's content. Note that some
of these variables are overwritten by whatever is defined
inside the level data.
With regard to the structure of the code, the most important
thing to know is that the game is controlled by STATE objects.
Each state (title screen, in-game, and between level transitions)
is a class object that has a .setup(), .update() and .draw()
function. You could add new states for things like boss battles,
inventory screens or a high score table.
See these class constructors:
function TitleScreenState()
function LevelTransitionScreenState()
function PlayState()
HAVE FUN!
Christer Kaitila
@McFunkypants on twitterhttp://www.mcfunkypants.com


|
TP C++ 2
1.0
Utility for managing a city's traffic statistics.
|
Manages the city's sensors and associated events. More...
#include <City.h>
Public Member Functions | |
| City () | |
| Initializes the city to a default state. More... | |
| virtual | ~City () |
| Destructs the city. | |
| void | addEvent (unsigned int sensorId, unsigned short state, unsigned short month, unsigned short day, unsigned short hour, unsigned short minute, unsigned short day7) |
| Adds a new sensor event to the list of registered events. More... | |
| void | displaySensorStateStats (unsigned int sensorId) const |
| Displays the traffic state stats for a specific sensor. More... | |
| void | displayDayTrafficJamStats (unsigned short day7) const |
| Displays how much time was spent in a traffic jam, per hour and per week day. More... | |
| void | displayDayStateStats (unsigned short day7) const |
| Displays the traffic state stats for a day of the week. More... | |
| void | displayOptimalDepartureTime (unsigned short day7, unsigned short hStart, unsigned short hEnd, unsigned int segCount, unsigned int segments[]) const |
| Displays the optimal time to leave on a certain journey. More... | |
Protected Member Functions | |
| unsigned short | addSensor (unsigned int sensorId) |
| Adds a new sensor to the array of sensors and returns its new index. More... | |
| Sensor * | getSensor (unsigned int sensorId) const |
| Gets a sensor by its ID. More... | |
Protected Attributes | |
| SegmentedTable< Event > * | events [NUM_DAYS] |
| An array of segmented tables of events, sorted by day of the week. More... | |
| unsigned short | numSensors |
| The current number of created sensors. More... | |
| HashTable * | sensorIndices |
| A hash table of sensor indices, for quick access. More... | |
| Sensor * | sensors [MAX_SENSORS] |
| An array of sensors, in the order in which they were added. More... | |
Manages the city's sensors and associated events.
Provides statistics based on the events which are added to it.
| City::City | ( | ) |
Initializes the city to a default state.
A city can hold up to 20,000,000 events and 1,500 sensors; events must be added in chronological order and take place between May and September 2015.
| void City::addEvent | ( | unsigned int | sensorId, |
| unsigned short | state, | ||
| unsigned short | month, | ||
| unsigned short | day, | ||
| unsigned short | hour, | ||
| unsigned short | minute, | ||
| unsigned short | day7 | ||
| ) |
Adds a new sensor event to the list of registered events.
Events are generated by sensors placed throughout the city. Each event needs an associated sensor ID, a timestamp and the state recorded by the sensor.
| sensorId | the ID of the sensor which generated the event |
| state | the event's associated state (from 0 to 3) |
| month | the month of the year (from 0 to 4) |
| day | the day of the month (from 1 to 30/31) |
| hour | the hour of the day (from 0 to 23) |
| minute | the minute of the hour (from 0 to 59) |
| day7 | the day of the week (from 0 to 6) |
|
protected |
Adds a new sensor to the array of sensors and returns its new index.
| sensorId | the ID of the sensor |
| void City::displayDayStateStats | ( | unsigned short | day7 | ) | const |
Displays the traffic state stats for a day of the week.
| day7 | the day of the week (from 0 to 6) |
| void City::displayDayTrafficJamStats | ( | unsigned short | day7 | ) | const |
Displays how much time was spent in a traffic jam, per hour and per week day.
Each stat represents the total amount of traffic jams for to that hour divided by the total number of events.
| day7 | the day of the week (from 0 to 6) |
| void City::displayOptimalDepartureTime | ( | unsigned short | day7, |
| unsigned short | hStart, | ||
| unsigned short | hEnd, | ||
| unsigned int | segCount, | ||
| unsigned int | segments[] | ||
| ) | const |
Displays the optimal time to leave on a certain journey.
Given a set number of segments (corresponding to a sensor's area), this method finds the best time to leave on a journey comprised of those segments, in the order in which they were provided. To calculate the best time, it looks up the state of traffic at each segment at the time of arrival; a 'V' traffic state leads to a shorter journey than a 'J' state, for example.
| day7 | the day of the week (from 0 to 6) |
| hStart | the starting hour of the time range (from 0 to 23) |
| hEnd | the ending hour of the time range (from hStart to 23) |
| segCount | the number of segments |
| segments | the list of sensor ID's constituting the journey |
| void City::displaySensorStateStats | ( | unsigned int | sensorId | ) | const |
Displays the traffic state stats for a specific sensor.
| sensorId | the ID of the sensor |
|
protected |
Gets a sensor by its ID.
| sensorId | the ID of the sensor to retrieve |
|
protected |
An array of segmented tables of events, sorted by day of the week.
Each segmented table lists all the events which took place on that day of the week.
|
protected |
The current number of created sensors.
|
protected |
A hash table of sensor indices, for quick access.
Allows for quick conversion from sensor ID to sensor index, to quickly retrieve a sensor object.
|
protected |
An array of sensors, in the order in which they were added.


I Just Had the Worst Best Meeting
Kevin M. Hoffman, Founder, Seven Heads Design
Meetings
People ops = Meetings
4 different ways of thinking of meetings in your process, and how to turn them into good meetings
Thinking of meetings without carrying over the past experiences is the best, ask waht are the outcomes we want ? what decisions will we make ? What agenda will help us decide?
List wins, list problems, list changes post
Books and resources
Meeting Design: For Managers, Makers, and Everyone
Find all the slides for this talk
Slide for this conference Day 3 Talk-13 I Just had the Worst Best Meeting


As Prince Arutha and his companions rally their forces for the final battle with an ancient and mysterious evil, the dread necromancer Marcos the Black has once again unleashed his dark sorcerery. Now the fate of two worlds will be decided in a titanic struggle beneath the walls of Sethanon, as the link between Kelewan and Midkemia is revived.
The wind came from nowhere.


Confused? Change something in one of the textareas and watch what happens.
Data is stored as JSON, bound to an HTML template, and styled with CSS. Changes are automatically saved locally to your browser but can also be exported for sharing.
Browser allowing, you can drag in .JSON
, .HMTL
, and .CSS
files to be loaded respectively.
Yep, this is another jsFiddle clone. But my take's less about JavaScript and more about realtime template binding. It's not a replacement for any of the others, and it's mostly just for fun.
Requests welcome. Forks encouraged. Contact me here if you have any questions or suggestions.
| Source | https://github.com/rocktronica/tmpltr |
|---|---|
| Blog Post | http://iamnotagoodartist.com/web/tmpltr-a-realtime-tinkertool-for-json-templating |
| Mustache | http://mustache.github.com/ |
|---|---|
| Ace | https://github.com/ajaxorg/ace |
| jQuery | http://jquery.com/ |
| Modernizr | http://www.modernizr.com/ |
| PrefixFree | http://leaverou.github.com/prefixfree/ |


main.cpp Example File
ftpclient/main.cpp/**************************************************************************** ** ** Copyright (C) 2016 The Qt Company Ltd. ** Contact: https://www.qt.io/licensing/ ** ** This file is part of the QtScxml module of the Qt Toolkit. ** ** $QT_BEGIN_LICENSE:BSD$ ** Commercial License Usage ** Licensees holding valid commercial Qt licenses may use this file in ** accordance with the commercial license agreement provided with the ** Software or, alternatively, in accordance with the terms contained in ** a written agreement between you and The Qt Company. For licensing terms ** and conditions see https://www.qt.io/terms-conditions. For further ** information use the contact form at https://www.qt.io/contact-us. ** ** BSD License Usage ** Alternatively, you may use this file under the terms of the BSD license ** as follows: ** ** "Redistribution and use in source and binary forms, with or without ** modification, are permitted provided that the following conditions are ** met: ** * Redistributions of source code must retain the above copyright ** notice, this list of conditions and the following disclaimer. ** * Redistributions in binary form must reproduce the above copyright ** notice, this list of conditions and the following disclaimer in ** the documentation and/or other materials provided with the ** distribution. ** * Neither the name of The Qt Company Ltd nor the names of its ** contributors may be used to endorse or promote products derived ** from this software without specific prior written permission.   ** ** $QT_END_LICENSE$ ** ****************************************************************************/ #include "simpleftp.h" #include "ftpcontrolchannel.h" #include "ftpdatachannel.h" #include <QCoreApplication> #include <iostream> struct Command { QString cmd; QString args; }; int main(int argc, char *argv[]) { if (argc != 3) { qDebug() << "Usage: ftpclient <server> <file>"; return 1; } QString server = QString::fromLocal8Bit(argv[1]); QString file = QString::fromLocal8Bit(argv[2]); QCoreApplication app(argc, argv); FtpClient ftpClient; FtpDataChannel dataChannel; FtpControlChannel controlChannel; // Print all data retrieved from the server on the console. QObject::connect(&dataChannel, &FtpDataChannel::dataReceived, [](const QByteArray &data) { std::cout << data.constData(); }); // Translate server replies into state machine events. QObject::connect(&controlChannel, &FtpControlChannel::reply, &ftpClient, [&ftpClient](int code, const QString ¶meters) { ftpClient.submitEvent(QString("reply.%1xx").arg(code / 100), parameters); }); // Translate commands from the state machine into FTP control messages. ftpClient.connectToEvent("submit.cmd", &controlChannel, [&controlChannel](const QScxmlEvent &event) { controlChannel.command(event.name().mid(11).toUtf8(), event.data().toMap()["params"].toByteArray()); }); // Commands to be sent QList<Command> commands({ {"cmd.USER", "anonymous"},// login {"cmd.PORT", ""}, // announce port for data connection, args added below. {"cmd.RETR", file} // retrieve a file }); // When entering "B" state, send the next command. ftpClient.connectToState("B", QScxmlStateMachine::onEntry([&]() { if (commands.isEmpty()) { app.quit(); return; } Command command = commands.takeFirst(); qDebug() << "Posting command" << command.cmd << command.args; ftpClient.submitEvent(command.cmd, command.args); })); // If the server asks for a password, send one. ftpClient.connectToState("P", QScxmlStateMachine::onEntry([&ftpClient]() { qDebug() << "Sending password"; ftpClient.submitEvent("cmd.PASS", QString()); })); // Connect to our own local FTP server controlChannel.connectToServer(server); QObject::connect(&controlChannel, &FtpControlChannel::opened, [&](const QHostAddress &address, int) { dataChannel.listen(address); commands[1].args = dataChannel.portspec(); ftpClient.start(); }); return app.exec(); }


September 2019 - Present
Burnaby, BC
May 2015 - Dec 2018 (Intermittent)
Vancouver, BC
September 2017 - April 2018
Vancouver, BC
Use your phone as a wireless trackpad and keyboard
A fast bitvector-based sudoku solver written in C
Leverage OpenMP to distribute tasks across CPUs
C++, C, Python, Go, Bash, Javascript, React, HTML, CSS, AWS, Git, Mercurial, Perforce, Arduino, Raspberry Pi, ESP32, FreeRTOS, Linux, Vim
Embedded software development, web development, networking, linux, full-stack software, data analysis, systems design
Computer Engineering
Burnaby, BC


Preparation time
less than 30 mins
Cooking time
30 mins to 1 hour
Serves
Serves 6
Dietary
Perfect your pastry to the Bikers’ standard with this delicious recipe for apple pie.
Equipment and preparation: You’ll need a 1.2 litre/2 pint pie dish.
For the pastry, place the flour, sugar and lemon zest into a bowl and rub in the butter until the mixture resembles breadcrumbs. Add the beaten egg and stir with a round-bladed knife until the mixture forms a dough.
Set aside one-third of the pastry for the lid.
Roll out the remaining pastry on a lightly floured surface until the thickness of a pound coin and 5-7cm/2-3in larger than the pie dish. Lift the pastry over the rolling pin and lower it gently into the pie dish.
Press the pastry firmly into the dish and up the sides, making sure there are no air bubbles. Chill the fridge for a few minutes.
Preheat the oven to 200C/180 (fan)/Gas 6. Place a baking tray into the oven to preheat.
For the filling, mix the sugar, cinnamon and cornflour in a large bowl. Stir in the apples.
Place the apple filling into the pie dish, making sure that it rises above the edge. Brush the rim of the dish with beaten egg.
Roll out the reserved ball of pastry. Cover the pie with the pastry and press the edges together firmly to seal. Using a sharp knife, trim off the excess pastry, then gently crimp all around the edge. Make a few small holes in the centre of the pie with the tip of a knife. Glaze the top with beaten egg.
Lightly knead the pastry trimmings and re-roll. Cut into leaf shapes place all around the edge of the pie, slightly overlapping each other, and glaze with more egg. Sprinkle the pie with sugar and bake in the centre of the oven for 45–55 minutes or golden-brown all over and the apples are tender.


POWER ELECTRONICS VIRTUAL LABORATORY
HALF CONTROLLED RECTIFIER
References:
M.H. Rashid, " Power Electronics: Circuits, Devices & Applications ", Prentice Hall of India Ltd. 3rd Edition, 2004.
Ned Mohan, T. M. Undeland and W. P. Robbins, “Power Electronics: Converters, Applications and Design ", Wiley India Ltd, 2008
P. C. Sen, "Power Electronics", McGraw Hill Education (India) Pvt. Ltd.
P.S. Bhimbra, "Power Electronics", Khanna Publishers


Pique wants Davis Cup players to have 'week of their lives'
(Reuters) - Gerard Pique hopes players and fans have “the week of their lives” when a radically changed Davis Cup takes place in Madrid’s La Caja Majica next week.
The Barcelona defender’s investment company Kosmos has teamed up with the International Tennis Federation (ITF), providing the financial muscle to revamp the 119-year-old tennis team competition.
Instead of two nations playing off on home soil, 18 nations will gather in Madrid for a week-long competition battling to reach next Sunday’s final.
While traditionalists have questioned the wisdom of largely ditching the old format and Australian captain Lleyton Hewitt even questioned Pique’s involvement, the Spaniard believes the event will win over the skeptics.
“I want them to have the best week of their lives,” the 32-year-old Pique said in the build-up to the event which will start on Monday with a glitzy opening ceremony expected to feature his wife, Colombian singer Shakira.
“I want Davis Cup to be a party around tennis, not just tennis. We have a deal with Sony and there are going to be different artists performing there that will provide other entertainment which is going to help make Davis Cup unique.
“During that week fans will enjoy more than just tennis, and of course we want them to have a great time in Madrid.”
Kosmos are pumping in $3 billion over 25 years — money the ITF say will be vital in developing nations and increase the appeal of the sport to wider audiences.
While Pique accepts criticism of the revamp, he says this year’s Davis Cup will break new ground.
“In terms of the event we needed to convince different people who were maybe skeptical and were against the idea of changing the format,” he said.
“We’ve had to face it since the beginning. This is something I believe we did an amazing job at because we feel people in the game are now more convinced.
“I don’t want to compare ourselves to any other tournament because I think we are unique. In five years’ time I want everyone, players and fans, to think ‘Davis Cup is in November and I want to be there’”.


The service can be configured to send email notifications on certain events. This requires that a mail server be specified with a user, password and other connection information as well as templates for messages.
| Attribute | Required? | Default | Description |
| enabled | N | false | enable email notifications. |
| password | N | N/A | The password of the user when authenticating with the server |
| port | N | 25 if no SSL, 465 if SSL. | The port to use. If omitted standard ports will be used. |
| recipients | Y | N/A | A semi-colon (;) separated list of recipients. |
| server | Y | N/A | The server to use. |
| starttls | N | false |
Some servers (e.g., gmail) require sending a STARTTLS command in addition to the usual commands. If you get an error involving this, set this flag to "true". |
| useSSL | N | false | Connect to the server via ssl. Implictly sets the port to the standard default. |
| username | N | N/A | The name of the user when authenticating with the server. |
In order to use email notifications with Tomcat, you must globally enable email. This is a feature of Tomcat and can't easily be changed. Fortunately, this is really easy.
<Resource name="mail/Session" type="javax.mail.Session" auth="Container"/>
Note you must configure Tomcat even if you are not using email notifications.
This is, again, because Tomcat does this globally and there is no way to just have local application control of it.
After Java 8, certain classes in the Java activation framework were removed from the standard distribution. Much as the requirement that the Java Mail jar has to be deployed globally in Tomcat, you must add in the activation framework java
This example will set up notifications using SMTP over SSL. Templates (see below) are specified for the message and subject line.
<config> <server name="default"> <mail enabled="true" useSSL="false" password="mairzy-doats" debug="false" server="smtp.super-secure-server.net"<EMAIL_ADDRESS><messageTemplate>/var/www/config/oa4mp-message.template</messageTemplate> <subjectTemplate>/var/www/config/os4mp-subject.template</subjectTemplate> </mail> <!-- rest of configuration > <\server> <\config>
A template is a text file that has tokens of the form ${key} which will be replaced by system supplied values. This allows you customize notifications and include current information from the server. The default information every service notification gets is
| Key | Description |
| name | The name supplied by the client |
| the contact email address for the client | |
| homeUri | the home URI supplied by the client |
| failureUri | the failure URI supplied by the client |
| creationTime | the time of the requiest |
| identifier | the identifier generated by the system for the client |
| publicKey | the public key supplied by the client |
| host | The canonical host name of the server that received the request. |
This template will be used as the body of every notification. A sample is below.
# A sample template A client has requested approval on ${host}. Name: ${name} Contact email: ${email} Home uri: ${homeUri} Failure uri:${failureUri} Creation time: ${creationTime} Generated identifier: ${identifier} If you approve this request, you should send a notice to the contact email and include the generated identifier.
This template will be used as the subject of every notification. A sample is below.
Client approval request received for "${name}" on ${host}


Measurements from Haas CNC Machine using CMM Touch Probe
{{ head_table }}
MEASUREMENTS
{{ meas_01a_table }}
{{ meas_01b_table }}
{{ meas_01c_table }}
{{ meas_01d_table }}
{{ meas_02a_table }}
{{ meas_02b_table }}
{{ meas_02c_table }}
{{ meas_02d_table }}
DIFFERENCES
(X1diff and Y1diff is diff to hole #1. This eliminates error to edge).
L1diff is the total length difference. This is the most critical for assessing the accuracy of the X-Y centers.
The length difference is computed as pythagorean
theorem. So, the X and Y difference are squared. Therefore the difference is always negative. The sign does not change.
{% for table in meas_03_tables%}
{{ table }}
{% endfor %}
PLOTS
All of the hole diameters from all the holes on all of the plates.
The spec is 0.4900 to 0.4910. If a hole diameter is too small, dirt maybe the cause.
All of the hole locations from all the holes on all of the plates. To eliminate errors caused by measuring from the side of the plate, math was
done on the collected data. The X-Y location of hole #1 was used as the origin. Then, math calculations were done to measure the distance from the hole # 01
location to the current location. This value then is compared to the specification (theoretical) value. The closer to zero, the more accurate the hole
center location is. Because the distance (length) measurement has squares in it, the sign never changes so the difference is always negative.
All of the Z heights by each hole.
The differences in Z heights is not just the plate not being perfectly flat,
But also that the plate maybe tilted in the Z plane in the vise.


GODS AND MONSTERS (director:Bill Condon; cast: (James Whale) Ian McKellen, (Clayton Boone) Brendan Fraser, (Whale's housekeeper, Hanna) Lynn Redgrave, (Boone's girlfriend, Betty) Lolita Davidovich, (David Lewis) David Dukes, (Mr. Kay) Jack Plotinick, (Elsa Lanchester) Rosalind Ayres, (Boris Karloff) Jack Betts, 1998)
James Whale (Ian) is the son of working class parents in north England, who escaped his early poverty to become a successful director, noted for his famous monster films. James Whale directed the original FRANKENSTEIN (31), THE BRIDE OF FRANKENSTEIN (35), THE OLD DARK HOUSE (32), and THE INVISIBLE MAN (33)--- which was his personal favorite. Whale, always the aesthete and snob, comments to an interviewer that he just directed the first two Frankensteins, the others were done by hacks. He also did some non-horror films, most notable is the classy musical SHOWBOAT (36), and his most inauspicious one is, THE ROAD BACK (37).
He died of mysterious circumstances in his Hollywood pool in 1957, this film clears up that mystery (at least, hypothetically) and probes into his homosexual life, as Jimmy, as he liked to be called, is seen in his last few weeks alive, living infirmed with the ill effects of a stroke that makes him either forgetful when medicated or when unmedicated seeing a lot of images at once, as if it were thunderstorms in the sky, in the form of violent hallucinations from the past.
What highlights this film and makes it propelled on a high octane level, is the bravura physical performance of Ian McKellen, whose presence on screen is gigantic as a swish personality, much like a few other great performances accomplished recently about gifted artistic and intellectual English queers, such as Derek Jacobi as Francis Bacon in LOVE IS THE DEVIL and John Hurt's performance of a fictionalized stuffy professor in LOVE AND DEATH ON LONG ISLAND.
To gain access to what this fictionalized but mostly real-life film is about, one has to look at Jimmy as a homosexual, whose every movement is influenced by the lust he craves for men and how cunning he is in trying to entice them, as we see him at his playful best in the splendor of his tasteful home, being taken care of by the heavily foreign accented housekeeper (Redgrave), who wears her cross over her apron in earnest, fearing Jimmy's sins of the flesh will take him to hell, yet finding in herself the strength to disapprove of his behavior but still be his most trustworthy caretaker for the last 15 years. She is wonderfully dour in her supporting role.
 For openers, we have a pesty and patronizing film college student (Plotinick) who comes over to interview him, not interested in his homosexuality but in those horror films he made famous. Jimmy handles him with bemusement, life is but a strip poker game, he gleefully says, and since the student's questions are leaving Jimmy feeling cold, he suggests that they make things interesting, at least for Whale, by having the student strip off a piece of clothes for any question asked and in response, Whale promises to answer any question honestly. This scene turns out to be a classically hilarious comedy routine, probably capturing Whale's devilish personality as well or better than the more dramatic scenes did.
The serious focus of the film will become the strange relationship that will develop between the new gardener for the Whale house, Clayton Boone (Brendan), who looks like Adonis, and has caught the director's roving eye, focusing in on his muscular arms and his tattoo from his marine days, of "Death Over Dishonor," as he charms and beguiles him, knowing full-well that this stud is all heterosexual. Yet he feels very comfortable talking to the brutish Clayton and loves the chase of someone he is attracted to, who seems like a very nice and naive young man, but will come across later on as a young man with a lot of pent-up feelings and in need of a fatherly figure to talk to. Clayton is anything but literary, never even having heard of Whale before, just as Whale is hardly your prototypical fatherly figure. But Whale opens up with Clayton and becomes nostalgic about his life and his films, more so than with the film student who really knew his films, but was just perceived by Whale as a user of people. It seems that there was probably some deeply repressed psychological need in Whale to be accepted by certain types of people, which is why he devotes so much time to the uninspiring Clayton, it was as if he needed to have his approval to be gay.
And Clayton gets to like the old man, despite what he can't stand about him sexually, glad that he met someone who is famous or at least was at one time.
What is most impressive and understated about the film, is the comic tone and lightness of Whale, much like the tone Whale used in his horror films, which he used to hide the real fear of death people have and their antagonism for monsters, whom Whale simply adored and would never make fun of. He comes across as debonair at all times, even when in the middle of a mild stroke, and terribly witty in the ways of Hollywood's gays.
The only animated sexual delight that we see from him, comes by way of his ex-lover, the Hollywood producer, David Lewis (David), who after a particularly dry conversation welcoming Whale back home after his stroke, kisses Whale intimately on the lips as he departs the house.
During his somewhat voluntarily retirement from Hollywood, not induced by any scandal, Whale reminds his interviewer, but from his antagonism with the studio for ruining his career by blaming him for the failure of THE ROAD BACK, which the studio interfered with unmercifully, ruining any chance of success that film may have had. He thusly retreated to his amateur passion for drawing, which he uses to lure Clayton into his studio, getting him to pose for a drawing of just his head.
There is Whale as the charmer, which is what this film personifies best, as we see him telling Hollywood stories and talking of his WW1 experiences, which are enhanced by the hallucinations he is having of those events, and as we see him nested at home with his florid flower garden and the olympic-sized pool in the background, which the director never uses for himself, but welcomes men to swim there in their natural comfort.
Reactions to Whale, as to whether you care for him or not, come about from how the participants in his life view his films, which we see them watch on TV. Clayton must somehow see something in them that affects him greatly, since he alone of the housekeeper and his ex-girlfriend, see's something endearing in those films, yet he is turned off by Whale's homosexuality, but he still poses for him, and that only seems to be because he wants something more than the money he is being paid to pose, he wants something from him that he is not quite sure that he can articulate. What both these men need is to get things off their chest, to talk to someone who can listen to them with some empathy, as they both suffer from an interminable loneliness and an emotional poverty of childhood: one with too many stories to tell, living a life of an upper class gentleman, pretending to be something he was not born into, but not caring about these pretenses anymore with Clayton, who is far removed from the circle of people he moves in, so he easily lets his hair down; and the other, with not enough stories he wants to tell, can only be a listener and be reluctantly drawn into talking about himself. Perhaps, both are drawn to each other because they don't travel in the same circles and can relax with each other since no false representations of themselves are really needed.
Real Hollywood figures are portrayed in the way Whale probably saw them, with his so-called monsters (Boris Karloff and Elsa Lanchester) there is a frank and polite distance, their friendliness seems genuine enough, as there is a keen recognition that their fame and illustriousness is linked together, while for the closet homosexual director, George Cukor, there is no love lost, as Whale expresses his displeasure at him at being a pushy upstart, while flashing back to the nude boy parties the hypercritical Cukor was secretly known for giving, and then we see how distant they seemed at meeting again in Cukor's mansion, at a rather dull party to honor Princess Margaret (which never happened in real-life), where Whale takes Cukor's cold reaction to him without any visible anger but shows a great deal of resentment at Cukor for getting to direct a lot of the better films that he wanted for himself.
For all its wonderful performances and charm and probative look into the gay Hollywood world, this is not a very important film, in the sense that it has little to say about the creative experience but a lot to say about how a queer man can manuever his way around the Hollywood of the past, as long as he didn't make a big show out of his sexual predilections. Condon has very ably directed a likable and witty film on a very low budget, that makes its subject seem much greater than it is, it is as if Jimmy Whale invited us over for some iced tea and cucumber sandwiches and he told us a few things about himself and the filming of his Frankenstein movie before he got tired-and-all, so all we had left to ponder was the materialism and memories he was surrounded by, and how tired and painful life has become for him, as he wishes for a mercy killing at the hands of Clayton, but since he couldn't bring that about, he instead jumps into his pool of seduction and drowns himself.
And what we learned from this biop, is that Jimmy Whale was a gentleman, a lecherious and cunning one, but still, a gentleman of the old school, and for most of us, we got to know him better than we ever did before, via this splendidly done and excellently researched film.
It is apparent that Whale has this tremendous identification with outcasts (monsters), therefore it seems logical to deduce, that for those who liked this film, it really came down to what they saw in it how well they responded to it, just as when Clayton saw the FRANKENSTEIN movie on TV for the first time with Betty, and gravitated toward the film, while Betty saw it as passe, something that wasn't cool enough for her to enjoy.
REVIEWED ON 5/8/99 GRADE: B+
Dennis Schwartz: " Ozus' World Movie Reviews "
http://www.sover.net/~ozus
© ALL RIGHTS RESERVED DENNIS SCHWARTZ
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


players
name
level
add player
monsters
Monster
Level
Amount
easy
medium
hard
epic
add monster
initiative tracker
Name
Initiative
reset
add participant


In the previous article, I explained how you can implement authorization and authentication via JWT using symmetric algorithms such as HS256. Now, I'll try to explain asymmetric approach ( RS256).


Next: car, Previous: atom, Up: Conses Dictionary
rplaca
cons object ⇒ cons
rplacd
cons object ⇒ cons
rplaca: pronounced ,r\=e ’plak e or pronounced ,re ’plak e
rplacd: pronounced ,r\=e ’plak de or pronounced ,re ’plak de or pronounced ,r\=e ’plak d\=e or pronounced ,re ’plak d\=e
cons—a cons.
object—an object.
rplaca replaces the car of the cons with object.
rplacd replaces the cdr of the cons with object.
(defparameter *some-list* (list* 'one 'two 'three 'four)) ⇒ *some-list* *some-list* ⇒ (ONE TWO THREE . FOUR) (rplaca *some-list* 'uno) ⇒ (UNO TWO THREE . FOUR) *some-list* ⇒ (UNO TWO THREE . FOUR) (rplacd (last *some-list*) (list 'IV)) ⇒ (THREE IV) *some-list* ⇒ (UNO TWO THREE IV)
The cons is modified.
Should signal an error of type type-error if cons is not a cons.


Show Code
[Source]
Reads text or code file and colors reserved, class words, comments and text
Changes greater than and smaller than to html entities
Uses Visual Studio's default colors
reserved - blue
class - cyan
comment - green
text - red
Uses regex to find correct match from each line
text - \"[^\"]*\"
comment - //.*
reserved & class - [ |\t|\\.|\\(|,|>|<|!]{0}[ |\t|$||\r|\\.|\\[|\\>|\\<|;|\\(]
htmlbegin - <[a-zA-Z0-9]*.*?>
htmlend - [a-zA-Z0-9]*>
User can insert any url address with code file
Default.aspx?url=[url here]


 BOLDNESS HAS GENIUS, POWER AND MAGIC IN IT. BEGIN NOW!
WELCOME
Explore the World.


Baselayer with UTFGrid interactivity in Overlay
Mouse over the map regions to interact with UTFGrid.
{{interactivity}}


Election
Every now and then a movie comes along from a suspect studio, with every indication that it will be a stinker, and to everybody's surprise (perhaps even the studio) the film becomes a critical darling. MTV Films' _Election, a high school comedy starring Matthew Broderick and Reese Witherspoon, is a current example. Did anybody know this film existed a week before it opened?
The plot is deceptively simple. George Washington Carver High School is having student elections. Tracy Flick (Reese Witherspoon) is an over-achiever with her hand raised at nearly every question, way, way, high. Mr. "M" (Matthew Broderick), sick of the megalomaniac student, encourages Paul, a popular-but-slow jock to run. And Paul's nihilistic sister jumps in the race as well, for personal reasons.
The dark side of such sleeper success is that, because expectations were so low going in, the fact that this was quality stuff made the reviews even more enthusiastic than they have any right to be. You can't help going in with the baggage of glowing reviews, which is in contrast to the negative baggage that the reviewers were likely to have.
_Election, a good film, does not live up to its hype.
What makes _Election_ so disappointing is that it contains significant plot details lifted directly from _Rushmore_, released a few months earlier. The similarities are staggering:
Tracy Flick (_Election_) is the president of an extraordinary number of clubs, and is involved with the school play. Max Fischer (_Rushmore_) is the president of an extraordinary number of clubs, and is involved with the school play.
The most significant tension of _Election_ is the potential relationship between a teacher and his student. The most significant tension of _Rushmore_ is the potential relationship between a teacher and his student.
Tracy Flick is from a single parent home, which has contributed to her drive. Max Fischer is from a single parent home, which has contributed to his drive.
The male bumbling adult in _Election_ (Matthew Broderick) pursues an extramarital affair, gets caught, and his whole life is ruined. He even gets a bee sting. The male bumbling adult in _Rushmore_ (Bill Murray) pursues an extramarital affair, gets caught, and his whole life is ruined. He gets several bee stings.
And so on. What happened? How is it that an individual screenplay (_Rushmore_) and a novel (_Election_) contain so many significant plot points, and yet both films were probably not even aware of each other, made from two different studios, from a genre (the high school geeks revenge movie) that hadn't been fully formed yet?
Even so, the strengths of _Election_ rely upon its fantastic performances from Broderick, Witherspoon, and newcomer Jessica Campbell, as Paul's anti-social sister, Tammy. Broderick here is playing the Mr. Rooney role from _Ferris Bueller_, and he seems to be having the most fun he's had since then. Witherspoon is a revelation. It's early in the year, it's a comedy, and teenagers have little clout, but for my money, Witherspoon deserves an Oscar nomination. And once Campbell's character gets going, like in her fantastic speech in the gymnasium, then you're won over.
One thing that's been bothering me since I've seen it. There is an extraordinary amount of sexuality in this film. I suppose that, coming from MTV films, I should expect no less... but the film starts off light and airy, like a sitcom. As the screws tighten, and the tensions mount, Alexander Payne decides to add elements that, frankly, distract from the story. It is bad enough that Mr. M doesn't like Tracy's determination to win at all costs, but did they have to throw in the student/teacher relationship? Even so, there's no logical reason why Mr. M has an affair when he does.
There's a lot to like in _Election_, but the plot similarities to _Rushmore_, and the tonal nosedive it takes as it gets explicitly sex-driven, mark this as a disappointment.
Nick Scale (1 to 10): 7
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