PLANET SICK-BOY: http://www.sick-boy.com
In the style of Christopher Guest's fantastic Waiting for Guffman, Drop Dead Gorgeous is a mockumentary about the Sarah Rose Cosmetics American Teen Princess beauty pageant trials in Mount Rose, Minnesota. Mount Rose is the home of the oldest living Lutheran, or so the sign states as you enter the burg. But the mayor explains, through a veil of obscenities, that the elderly coot actually kicked the bucket several years earlier, and those damn Lutherans just won't take the sign down.
Only in Mount Rose will you come upon a church that uses grape Kool-Aid for the blood of Christ. Only in Mount Rose will you hear phrases like `beautiful as a whore's ass' and `Jesus Christ on a cross.' Only in Mount Rose will you encounter the reigning Teen Princess residing in `the bone garden' – the anorexia/bulimia wing of the local hospital. Only in Mount Rose will you discover that the favorite for this year's crown is the great white (trash) hope Amber Atkins (Kirsten Dunst, Dick), who practices her tap dancing while applying the makeup and styling the hair of the deceased at the local mortuary. Only in Mount Rose will you find Amber's chief competition in Becky Leeman (Denise Richards, Wild Things), a murderously beautiful vixen from the good side of the tracks, who will stop at nothing to become the President of the Lutheran Sisterhood Gun Club, not to mention winning the pageant.
In short, the film project is any aspiring documentary filmmaker's dream, and, more importantly, doesn't involve chasing urban legends around the woods of Burkittsville, Maryland.
In Amber's corner are her alcoholic mother Annette (Ellen Barkin, The Fan) and Loretta (Allison Janney, 10 Things I Hate About You), her mom's slutty best friend. Early in the film, Annette is nearly killed when their trailer suspiciously explodes and is left, tragically, with a beer can seared to her right hand.
Meanwhile, Becky's camp includes pageant coordinator and emcee Gladys Leeman (Kirstie Alley, For Richer or Poorer), who not only happens to be Becky's mom, but is also a former pageant winner from several years (and several pounds) past. Becky's pop Lester (Sam McMurray, The Mod Squad) owns a local furniture store and, luckily, can afford to keep Becky and Gladys in the lifestyle to which they are accustomed.
Among the three pageant judges are John Dough (Matt Malloy, In the Company of Men), a pharmacist who seems a little too eager to rate the blossoming young women, and Harold Vilmes (Michael McShane from the British version of Whose Line is it Anyway?), who runs the local hardware store with his retarded brother and constant shadow Hank (William Sasso).
The other pageant contestants are representatives of just about every clique that I can remember from high school – the artsy actress who wears black, the lesbian sports freak and the cheerleading sperm receptacle, among others. Each is equally hysterical, but can't quite hold a candle to Lisa Swenson (Brittany Murphy, Clueless and the voice of LuAnn on King of the Hill) who gives yet another scene-stealing performance. Also of note is Gladys' pageant crony Iris Clark (Mindy Sterling, Austin Powers).
Originally titled Dairy Queens, Gorgeous was directed by Michael Patrick Jann from the under-viewed but consistently entertaining sketch comedy show called The State, which ran on MTV several years ago. The caustic, crisp script was written by Lona Williams, a producer from The Drew Carey Show, and the film's music is from Devo alum Mark Mothersbaugh. Viewers may not know that films with a PG-13 rating are only allowed to use the dreaded `F' word once, and the filmmakers save it up for a whopper of a line at the end of the picture. (1:37 - PG-13 for irreverent and crude humor, sex-related material and language)
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
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Related links: index of all rec.arts.movies.reviews reviews


taxize
offers interactive prompts when using get_*()
functions (e.g., get_tsn()
). These prompts make it easy in interactive use to select choices when there are more than one match found.
However, to make your code reproducible you don’t want interactive prompts.
This vignette covers some options for programmatic name cleaning.
library("taxize")
When using get_*()
functions programatically, you have a few options.
Normally, if you get more than one result, you get a prompt asking you to select which taxon you want.
get_tsn(searchterm = "Quercus b")
#> tsn target commonnames nameusage
#> 1 19298 Quercus beebiana not accepted
#> 2 507263 Quercus berberidifolia scrub oak accepted
#> 3 19300 Quercus bicolor swamp white oak accepted
#> 4 19303 Quercus borealis not accepted
#> 5 195131 Quercus borealis var. maxima not accepted
#> 6 195166 Quercus boyntonii Boynton's sand post oak accepted
#> 7 506533 Quercus brantii Brant's oak accepted
#> 8 195150 Quercus breviloba not accepted
#> 9 195099 Quercus breweri not accepted
#> 10 195168 Quercus buckleyi Texas oak accepted
#>
#> More than one TSN found for taxon 'Quercus b'!
#>
#> Enter rownumber of taxon (other inputs will return 'NA'):
#>
#> 1:
Instead, we can use the rows parameter to specify which records we want by number only (not by a name itself). Here, we want the first 3 records:
get_tsn(searchterm = 'Quercus b', rows = 1:3)
#> tsn target commonnames nameusage
#> 1 19298 Quercus beebiana not accepted
#> 2 19300 Quercus bicolor swamp white oak accepted
#> 3 19303 Quercus borealis not accepted
#>
#> More than one TSN found for taxon 'Quercus b'!
#>
#> Enter rownumber of taxon (other inputs will return 'NA'):
#>
#> 1:
However, you still get a prompt as there is more than one result.
Thus, for full programmatic usage, you can specify a single row, if you happen to know which one you want:
get_tsn(searchterm = 'Quercus b', rows = 3)
#> [1] "19303"
#> attr(,"match")
#> [1] "found"
#> attr(,"multiple_matches")
#> [1] TRUE
#> attr(,"pattern_match")
#> [1] FALSE
#> attr(,"uri")
#> [1] "http://www.itis.gov/servlet/SingleRpt/SingleRpt?search_topic=TSN&search_value=19303"
#> attr(,"class")
#> [1] "tsn"
In reality it is unlikely you’ll know which row you want, unless perhaps you just want one result from each query, regardless of what it is.
A better fit for programmatic use are underscore methods. Each get_*()
function has a sister method with and trailing underscore, e.g., get_tsn()
and get_tsn_()
.
get_tsn_(searchterm = "Quercus b")
#> $`Quercus b`
#> tsn scientificname commonnames nameusage
#> 2 19300 Quercus bicolor swamp white oak accepted
#> 7 195166 Quercus boyntonii Boynton's sand post oak accepted
#> 8 195168 Quercus buckleyi Texas oak accepted
#> 9 506533 Quercus brantii Brant's oak accepted
#> 10 507263 Quercus berberidifolia scrub oak accepted
The result is a single data.frame for each taxon queried, which can be processed downstream with whatever logic is required in your workflow.
You can also combine rows
parameter with underscore functions, as a single number of a range of numbers:
get_tsn_(searchterm = "Quercus b", rows = 1)
#> $`Quercus b`
#> tsn scientificname commonnames nameusage
#> 2 19300 Quercus bicolor swamp white oak accepted
get_tsn_(searchterm = "Quercus b", rows = 1:2)
#> $`Quercus b`
#> tsn scientificname commonnames nameusage
#> 2 19300 Quercus bicolor swamp white oak accepted
#> 7 195166 Quercus boyntonii Boynton's sand post oak accepted
All get_*()
functions have associated as.*()
functions (e.g., get_tsn()
and as.tsn()
).
Many taxize
functions use taxonomic identifier classes (S3 objects) that are the output of get_*()
functions. as.*()
methods make it easy to make the required S3 taxonomic identifier classes if you already know the identifier. For example:
Already a tsn, returns the same
as.tsn(get_tsn("Quercus douglasii"))
#> [1] "19322"
#> attr(,"match")
#> [1] "found"
#> attr(,"multiple_matches")
#> [1] FALSE
#> attr(,"pattern_match")
#> [1] FALSE
#> attr(,"uri")
#> [1] "http://www.itis.gov/servlet/SingleRpt/SingleRpt?search_topic=TSN&search_value=19322"
#> attr(,"class")
#> [1] "tsn"
numeric
as.tsn(c(19322, 129313, 506198))
#> [1] "19322" "129313" "506198"
#> attr(,"class")
#> [1] "tsn"
#> attr(,"match")
#> [1] "found" "found" "found"
#> attr(,"multiple_matches")
#> [1] FALSE FALSE FALSE
#> attr(,"pattern_match")
#> [1] FALSE FALSE FALSE
#> attr(,"uri")
#> [1] "http://www.itis.gov/servlet/SingleRpt/SingleRpt?search_topic=TSN&search_value=19322"
#> [2] "http://www.itis.gov/servlet/SingleRpt/SingleRpt?search_topic=TSN&search_value=129313"
#> [3] "http://www.itis.gov/servlet/SingleRpt/SingleRpt?search_topic=TSN&search_value=506198"
And you can do the same for character, or list inputs - depending on the data source.
The above as.tsn()
examples have the parameter check = TRUE
, meaning we ping the data source web service to make sure the identifier exists. You can skip that check if you like by setting check = FALSE
, and the result is returned much faster:
as.tsn(c("19322","129313","506198"), check = FALSE)
#> [1] "19322" "129313" "506198"
#> attr(,"class")
#> [1] "tsn"
#> attr(,"match")
#> [1] "found" "found" "found"
#> attr(,"multiple_matches")
#> [1] FALSE FALSE FALSE
#> attr(,"pattern_match")
#> [1] FALSE FALSE FALSE
#> attr(,"uri")
#> [1] "http://www.itis.gov/servlet/SingleRpt/SingleRpt?search_topic=TSN&search_value=19322"
#> [2] "http://www.itis.gov/servlet/SingleRpt/SingleRpt?search_topic=TSN&search_value=129313"
#> [3] "http://www.itis.gov/servlet/SingleRpt/SingleRpt?search_topic=TSN&search_value=506198"
With the output of as.*()
methods, you can then proceed with other taxize
functions.
Some functions in taxize
are meant specifically for name cleaning. One of those is gnr_resolve()
.
gnr_resolve()
doesn’t provide prompts as do get_*()
functions, but instead return data.frame’s. So we don’t face the same problem, and can use gnr_resolve()
in a programmatic workflow straight away.
spp <- names_list(rank = "species", size = 10)
gnr_resolve(names = spp, preferred_data_sources = 11)
#> user_supplied_name submitted_name
#> 1 Shorea beccariana Shorea beccariana
#> 2 Draba ramulosa Draba ramulosa
#> 3 Cyrtandra phoenicea Cyrtandra phoenicea
#> 4 Pulicaria pomeliana Pulicaria pomeliana
#> 5 Helichrysum gymnocomum Helichrysum gymnocomum
#> 6 Campium costatum Campium costatum
#> 7 Pseudosedum condensatum Pseudosedum condensatum
#> 8 Grammitis mollipila Grammitis mollipila
#> 9 Dioscorea cruzensis Dioscorea cruzensis
#> 10 Cereus coracare Cereus coracare
#> matched_name data_source_title score
#> 1 Shorea beccariana Burck GBIF Backbone Taxonomy 0.988
#> 2 Draba ramulosa Rollins GBIF Backbone Taxonomy 0.988
#> 3 Cyrtandra phoenicea C.B. Clarke GBIF Backbone Taxonomy 0.988
#> 4 Pulicaria pomeliana Faure & Maire GBIF Backbone Taxonomy 0.988
#> 5 Helichrysum gymnocomum DC. GBIF Backbone Taxonomy 0.988
#> 6 Campium costatum Copel. GBIF Backbone Taxonomy 0.988
#> 7 Pseudosedum condensatum Boriss. GBIF Backbone Taxonomy 0.988
#> 8 Grammitis mollipila (Baker) Copel. GBIF Backbone Taxonomy 0.988
#> 9 Dioscorea cruzensis R.Knuth GBIF Backbone Taxonomy 0.988
#> 10 NaN
Some other functions in taxize
use get_*()
functions internally (e.g., classification()
), but you can can generally pass on parameters to the get_*()
functions internally.
Let us know if you have ideas for better ways to do programmatic name cleaning at https://github.com/ropensci/taxize/issues or https://discuss.ropensci.org/ !


An ECE Return for {{vm.ecereturn_date_readable}} has been submitted to the Ministry of Education. If you have made any mistakes in your submitted ECE Return, you can resubmit ECE Return by clicking on appropriate option below.


Tag archive: UEFI
-
EFI toolkit
-
EFI libc
-
[UEFI] Architecture protocols and portable DXE Core
-
[UEFI] Quick UI toolkit overview
-
[UEFI Emulation] EDK/Duet is a moderate success
-
libusb porting tips
-
OpenSC / UEFI
-
[UEFI Emulation] Localized input and output
-
[UEFI Emulation] Windows boots (faster)
-
[UEFI Emulation] Windows boots (slowly)
-
[UEFI Emulation] BiosThunk and protected mode versus real mode interrupts
-
[UEFI Emulation] DxeCore
-
[UEFI Emulation] What exactly is DuetPkg
-
UEFI emulation 1
-
Внезапно DuetPkg
-
О пользе UEFI спецификации в не-UEFI девелопменте.
-
UEFI 2.3.1 - User Interface Infrastructure
-
UEFI capabilities and strategy


Welcome to IEDC
You have to have a big vision and take very small steps to get there.
You have to be humble as you execute but visionary and gigantic in terms of
your aspiration. In the Internet industry, it's not about grand innovation,
it's about a lot of little innovations: every day, every week, every month,
making something a little bit better.
NOTIFICATIONS
- NOTIFICATION 1
- NOTIFICATION 2
- NOTIFICATION 3
- NOTIFICATION 4
- NOTIFICATION 5


$0 | 0 workers | 0 overseers
Expense
Amount
Worker expenses
0
Overseer expenses
0
Taxes
0
Buy a worker
Cost: $500
Buy an overseer
Cost: $2000
Improve worker speed by 50%
Cost: $1
Overseers reduce taxes by +1%/overseer
Cost: $5000


Правила Пассивного Сканирования - Alpha
The following alpha status passive scan rules are included in this add-on:
An example passive scan rule which loads data from a file
This implements an example passive scan rule that loads strings from a file that the user can edit.
For more details see: Взлом ZAP, часть 3: правила пассивного сканирования .
Последний код: ExampleFilePassiveScanRule.java
Раскрытие Base64
- ASP.NET ViewState Disclosure: ASP.NET ViewState был раскрыт приложением/веб-сервером.
- Целостность ASP.NET ViewState: приложение не использует код аутентификации сообщения (MAC) для защиты целостности ASP.NET ViewState, который может быть изменен вредоносным клиентом.
- Раскрытие информации в формате Base64: Данные, закодированные в формате Base64, были раскрыты приложением/веб-сервером.
Примечание: При низком пороге будут включены все вхождения в каждом ответе.
Latest code: Base64Disclosure.java
Site Isolation Scan Rule
Spectre is a side-channel attack allowing an attacker to read data
from memory. One of the counter-measures is to prevent sensitive data
from entering the memory and to separate trusted and untrusted documents in
different browsing contexts. Three headers have been defined to enable that:
- Cross-Origin-Resource-Policy
- Cross-Origin-Embedder-Policy
- Cross-Origin-Opener-Policy
The Cross-Origin-Embedder-Policy (COEP) header prevents a document from
loading any non-same-origin resources which don't explicitly grant the document
permission to be loaded.
(from
COOP and COEP explained).
The Cross-Origin-Resource-Policy (CORP) header allows you
to control the set of origins that are empowered to include
a resource. It is a robust defense against attacks like Spectre,
as it allows browsers to block a given response before it enters
an attacker's process.
For example, an attacker site can include an image tag with an attribute
src to an internal content. The browser will load the data. With a
side-channel attack, an attacker will be able to read it.
The Cross-Origin-Opener-Policy (COOP) header forces the browser to create
multiple browsing contexts to separate trusted and untrusted documents.
Site Isolation is complementary with Cross-Origin-Resource-Blocking, a
mechanism managed independently by the browser.
Сгенерированные оповещения:
- Cross-Origin-Resource-Policy Header Missing or Invalid
- Cross-Origin-Embedder-Policy Header Missing or Invalid
- Cross-Origin-Opener-Policy Header Missing or Invalid
Latest code: SiteIsolationScanRule.java
Example Passive Scan Rule: Denial of Service
This implements a very simple example passive scan rule.
For more details see: Hacking ZAP Part 3: Passive Scan Rules.
Latest code: ExampleSimplePassiveScanRule.java
Source Code Disclosure
Application Source Code was disclosed by the web server.
NOTE: Ignores CSS, JavaScript, images, and font files.
Latest code: SourceCodeDisclosureScanRule.java


{% extends "main_authorized.html" %} {% load bootstrap4 %} {% block title %}Revoke access confirmation{% endblock %} {% block content %}
Are you sure you want to revoke the access for {{ share_contract.user }} to the category {{ share_contract.category }}?
{{ share_contract.user }} will be having a exact copy of this category and all cards.


POST /projects/columns/:column_id/moves
| Name | Type | Description |
|---|---|---|
position |
string |
Required. Can be one of first , last , or after:<column_id> , where <column_id> is the id value of a column in the same project. |
{
"position": "after:3"
}
Status: 201 Created


{% extends "layout.html" %} {% block body %}
Inspirational locations, stunning landscapes and the friendliest of welcomes. See the tourist sites from our destination section in all 6 counties!
Visit Belfast - The Birthplace of the titanic or explore the real Westeros and spend time in Castle Ward (Winterfell)!
Enjoy the gorgeous Glens of Antrim, experience one of Europes best kept walled cities in Derry


Bowling Scorecard
Click number of pins knocked down
0
1
2
3
4
5
6
7
8
9
10
Your entered rolls:
Calculate score


(TOC generated by Simplemenu)
In Powerpoint you can make slides with a nice bottom- or top bar in which the active menu item is highlighted. This menu works in the same way, but automatically.
Menu items can only be regular horizontal slides or vertical stacks.
Load the script and make a reference to it in the Reveal plugin options:

(Markdown is also supported, see the Markdown demo.)
Give your sections a data-name
:

//...

//...

//...

//...

Add data-sm="false"
to named sections you don’t want to show in the menu.
Add a menubar (header and/or footer), with an empty menu, through the options:
…
Reveal.initialize({
simplemenu: {
barhtml: {
header: "

",
footer: ""
}
},
plugins: [ Simplemenu ]
… or manually:

//...

//...

You can also add a TOC slide:

My presentation

Agenda

//...

//...

//...

The setup above is the default (auto) way of linking the menu with the sections.
There is also a manual way, where the author creates the links in the menu(s) manually. See demo-manual.html.
The menubarclass option sets the classname of menubars.
Reveal.initialize({
//...
simplemenu: {
menubarclass: "menubar"
},
plugins: [ Simplemenu ]
Simplemenu will show the menubar(s) on all pages. If you do not want to show the menubar on certain pages, use data-state="hide-menubar"
on that section. This behaviour also works when exporting to PDF using the Reveal.js ?print-pdf
option.
The menuclass option sets the classname of the menu.
Reveal.initialize({
//...
simplemenu: {
menuclass: "menu"
},
plugins: [ Simplemenu ]
Simplemenu looks inside this menu for list items (LI's).
The activeclass option is the class an active menuitem gets.
Reveal.initialize({
//...
simplemenu: {
activeclass: "active"
},
plugins: [ Simplemenu ]
The activeelement option sets the item that gets the active class.
Reveal.initialize({
//...
simplemenu: {
activeelement: "li"
},
plugins: [ Simplemenu ]
You may want to change it to the anchor inside the li: activeelement: 'a'.
This option is only needed when adding a menu manually. You then need to link sections to the menu items. The selectby option finds the active slide or stack.
Reveal.initialize({
//...
simplemenu: {
selectby: "id"
},
plugins: [ Simplemenu ]
By default it is 'id', but can also be set to 'data-name'. If set to data-name, Simplemenu will compare the text content of the link to the section. Then What it does
will link to

.
Instead of editing your HTML template, you can let Simplemenu add a header- or footerbar. You can include any HTML in it, like an empty menu (that will be automatically filled with links by Simplemenu), or a logo.
Reveal.initialize({
//...
simplemenu: {
barhtml: {
header: "

",
footer: ""
}
},
plugins: [ Simplemenu ]
You can also move the slide number or the controls to your header or footer. If they are nested there manually, or through the barhtml
option, they will then display inside that header or footer.
Reveal.initialize({
//...
simplemenu: {
barhtml: {
header: "",
footer: "

"
}
},
plugins: [ Simplemenu ]
Sometimes you’ll want to limit your presentation to horizontal slides only. To still use ‘chapters’ with several slides, you can use the flat
option. By default, it is set to false
, but you can set it to true
. Then, when a data-name is set for a slide, any following slides will keep that menu name. See Flat navigation.
Reveal.initialize({
//...
simplemenu: {
flat: true
},
plugins: [ Simplemenu ]
To stop inheriting the previous slide menu name, start a new named section, or add data-sm="false"
to your slide.
When you have a lot of subjects/chapters in your menubar, they might not all fit in a row. You can then tweak the scale in the options. Simplemenu copies the Reveal.js (slide) scaling and adds a scale
option on top of that.
Reveal.initialize({
//...
simplemenu: {
scale: 0.67
},
plugins: [ Simplemenu ]
It is set to be two-thirds of the main scaling.
Simplemenu will automatically load some styling for the menubar and the links.
It is likely that you will want to change it. You can link to your own CSS file with the csspath
option.
Reveal.initialize({
//...
simplemenu: {
csspath: "mycustomstyle.css"
},
plugins: [ Simplemenu ]
You can also set csspath: false
if you define the styling of your menu through some other CSS file that is already loaded.


ASHES OF TIME A Film Retrospective by Kevin Leung
There are no films like ASHES OF TIME, or perhaps its influences are just too many. It is Faulkner's THE SOUND AND THE FURY, maddeningly oblique, overlapping vignettes told in diverging styles and points of view. It is Salvatore Dali's "The Persistence of Memory," perception of space and time all bent out of shape, droopy, melancholic. It is Claude Monet, its scenes composed in bold broad strokes, pushing at sensations directly experienced, the blur of consciousness. It has the mystery and discreet charm of LAST YEAR AT MARIENBRED and the fin de siecle rage of THE WILD BUNCH. Wong Kar-Wai's 1994 masterpiece has all these elements and much more. Half a dozen storylines intersect, drift apart, are illuminated by literary allusions, linked by ironic intimations of destiny and fate. Time runs in circles, dilate, becomes sublimal, or frozen in pastiches. Characters spontaneously age ten years, transform into their male/female alter egos, or the object of someone else's romantic obsession; they scale the heights of triumph and plumb the depths of despair, they are at the mercy of the elements, their fortunes blowing in the wind.  The project is staggeringly ambitious, but its roots goes back to the origins of cinema -- 24 frames of still pictures a second, too fast for the human eye to separate, give the illusion of continuity. And so, by the raw speed of images sent in collision, ASHES OF TIME creates the appearance of unity and meaning where none exists.
Prologue
Terse black on white credits. Golden breakers crashing down on words as old as the sea. A quote from the Buddhist Canon, and then, in voice-over, the famous first words in ONE HUNDRED YEARS OF SOLITUDE. Two duellists stand at face-off, their half smiles full screen, long hair in the wind, the very picture of the exuberance of youth. There is the clean hard ring of metal unsheathed, and they are high in the air, swinging away; they strike with such majestic, world-nihilating power, where their blades cross mountains shudder and the earth moves. And it would be the last time the two friends draw their swords in combat in the film (Cantonese title, literally: "Evil East and Malicious West") named after them.
Background
Many years later they would become the elder statesman and arch villain in Jin Yong's martial art romances. As the literary prequel, ASHES OF TIME portrays these archetypal swordsmen as not so young men, their future darkened and their wings clipped. Melodramatic, larger than life, Jin's most popular titles chronicle the apprenticeship, romance, tribulations, and ultimate triumph of his young heroes. His books idealize loyalty and chivalry, family honor and national pride -- Chinese traditions perhaps long forgotten in the island of merchants that is Hong Kong.  No one works for a living in his novels, true love lasts a life time, martial artists can defeat thousands and leap over trees, but are always hopeless when it comes to matters of the heart. The heady mixture makes Jin's books enormously popular across age groups and gender divides. The genre is probably the most treasured literary form in the former British colony, notwithstanding the fact that most of its authors are from Taiwan. The film is darker, more visionary. Nothing lasts in ASHES OF TIME. Everyone lives for himself, there is little honor or loyalty, and (this being Wong Kar Wai's allegory about the island of political orphans saddled with uncertain future and ambiguous past) there is not a hint of family life or jingoistic drum-beating. From a grand simplicity of human motivations -- distilled to love and death -- Wong elevates the city state's alienation into myth. ASHES OF TIME is ultimately as quintessentially Hong Kong as the sword-fighting genre it debunks, but it also draws heavily from the traditions of European art cinema, American Westerns, and Japanese samurai epics. The inspired amalgam of Eastern and Western influences is part and parcel of what makes this, in my opinion, easily the greatest film ever created in Hong Kong.
 East (Tony Leung, THE LOVER), a one-time womanizer, is reduced to a passive, melancholic observer, while West (Leslie Cheung, DAYS OF BEING WILD) has become a pimp for killers. He is not yet the devil incarnate in Jin Yong's novel, in his frown you can still see concern for his contract hitmen, although he would never lift a finger to help. He is a fascinating figure, nihilistic, superstitious, the chief narrator of the film and commentator on the follies of his clients -- only much later is it revealed how much of his cynicism stems from personal wounds. When the film begins, East has his memories erased by a "magic wine" and stumbles zombie-like to his home-town, where he runs into his former best friend, a swordsman now approaching blindness, and the swordsman's wife he has seduced during her honeymoon. The dead-pan, darkly comic memory-loss episodes seem to be more sly references to ONE HUNDRED YEARS OF SOLITUDE. Gabriel Garcia Marquez's magnum opus has long been adopted as a fable of the colony's political fortunes -- an entire series of minimalist plays, loosely based on the novel, were staged in the 80's -- but more to the point, its inexorable fatalism and its enigmatic, self-defeating characters are the perfect frames of reference for ASHES OF TIME. The casting in this film are quintessential Wong Kar-Wai: Tony Leung (CHUNGKING EXPRESS), in the traditional Andy Lau role, plays the stalwart blind hero who is cursed from birth and can never find fulfillment; Karina Lau, as his wife, reprises her love-starved character in DAYS OF BEING WILD; Jackie Cheung is once again the Kid with the hair-trigger temper and the fast draw; Brigitte Lin, a relative new-comer to Wong but has many gender-ambiguous characters on her resume, plays Yin, the vain-glorious crown princess of a fringe nation who can't quite come to terms with her heritage. Maggie Cheung has a small, uncredited late appearance, but in many ways her character is the emotional core of the film. In the best traditions of myth, these fallen angels and wayward knights have their personalities engraved on their coats-of-arms. Yin is as self-limiting as her birdcage, the Kid is as straight-forward as his camel, while Karina Lau's long suffering character is always knee-deep in water, so that she seems to be wallowing in a river of her own tears. There is also Charlie Young, vulnerable and stubbornly bent on revenge, armed with *both* a basket of eggs and a mule, who plays a Kieslowskisque foil to the protagonists' mindsets. West cruelly suggests she prostitute herself to raise money and hire a killer; the blind swordsman, buried in his own sorrows, ignores her; while the Kid, naive and chivalrious, would eventually put life and limbs at her service.
But these sharply drawn individuals gradually lose their definition. What draws them together are their rootlessness, their lack of history and concrete heritage; their company gives each other a temporary sense of belonging even as it makes them interchangeable, sadly blended together. They are always referred to as "this man, that woman," even in the rare cases that they actually have names. Their ill-fated romances are always linked with peach blossom, the women all have water signs and are awash in tears, while the men all have the sign of the windmill, are bent on exploring the land beyond the next mountain, until the day their beloved leave them, whereupon they are stuck in the desert with nowhere left to go. They are all men, all women, all suffering from the same disease, forever searching for emotional anchors. "Perhaps they don't have better things to do," West observes dryly. The Kid is more optimistic: "there is always someone waiting for you back home." Yes, but this being Wong's film, it will always be the wrong person doing the waiting. In a recurring dream sequence, West desperately, violently grasps on to Maggie Cheung on her wedding night; in her drunken stupor, Yin mistakes West for East and slips her hand inside his tunic, while he pretends the hand to be someone else's; the blind swordsman forces a kiss on the girl with the eggs on the eve of his last battle; far away, his estranged wife takes out her displaced passion on a black stallion, her bare legs arched back, caressed by the shimmering light on the walls of the cavern reflecting off the water underneath. Cinematographer Christopher Doyle has such fine hands.
Yin
The first vignette of the film is shot in seemingly random flashbacks, as if seen from Yin's overheated imagination; it is as out of kilter as she is schizophrenic. Jilted by East, Yin's superego (her "brother," i.e., she herself in male disguise) puts a price on East's head, while her id, clinging on to the notion she is East's "most beloved" -- her only claim to identity -- asks to be rid of the the brother instead. The two halves of her splintered psyche petition West daily in an increasingly bizarre game of one-upsmanship while he bemusedly looks on. Wong evidently has great sympathy for the poor mad girl -- Faye Wong's waif in CHUNGKING EXPRESS would be a benign version of the same character -- and this segment boasts some of the most lyrical images in the entire film.  Terrence Malick would not have shot that scene better. The wine may as well be the memory-erasing wine, for it washes away the last shreds of her sanity. With exquisite classical restraint the haughty princess slowly caresses the length of West's body laying there feigning sleep, and she has the hands of a harpist. When morning comes the birdcage lies broken and the spirit flown, and henceforth she is always found slashing at her reflections in the water, forever trying to scratch out her other half that fills her with such loathing. They say that water cures you of your madness, but it is too perfect a mirror, and in its depths the seeds of dissolution fester.
Blind Swordsman
For its sheer technical virtuosity, and its innovative, subjective depiction of space and time, the blind swordsman's story is a modern classic that should be enshrined in textbooks. As a parable of man working against fate, about human dignity in the face of certain defeat, it has all the nobility of JEAN DE FLORETTE condensed into twenty minutes. Wong's desert battle evokes a dozen American and Japanese masters, but it has a lyricism all his own -- in his films, the specter of windswept curtains invariably announces the coming of tragic deaths. Time grates so heavily on the skin as the samurai holds vigil each night in a ruined cottage, waiting by a candlelight for the enemies he can no longer see. Penniless, his eyes failing, he has agreed to ambush some highwaymen, hoping to get home in time to watch one more peach blossom. (West's commentary: "flowers bloom with the seasons, but no one knows when the bandits will arrive"; somehow it comes as a shock that so corrupt a mind is capable of so pure a thought.) When he finally rides out for the mercenary war, accompanying him are only the drying tears of a woman who is not his woman, and the urging of the elegiac battle hymn. The attack comes in broad daylight. The bandits ride huge and mythical out of a slow rise, an entire army of them. At first the samurai can use his mobility and the wide open space to neutralize the bandits' numbers, and the editing, the flow of the scene are athletic. Then the sky darkens, his eyesight falters, and the sword fight collapses to impossible close quarters, the flailing bodies and agonized grunts shot in excruciating slow motion. When the first attackers are dispatched, there is a lull, the clouds open, and he sees his fate. In the middle distance the dismounted dragoons have formed up in a ragged battle line that blurs and multiplies and coaleases until it turns into an entire human forest. It stretches all the way to the far side of the cottage, surrounding him on all sides. His smile could be one of recognition or merely fierce pride, and soon enough it gives way to a grimace. He charges, right at the center of the advancing second wave. The denouement, a Brechtian note of resignation and wonder, could be the perfect epitaph for all of Wong's existential heroes who die young.
Seven
The Kid has a name -- it marks him the seventh son of a rural family -- but he comes from nowhere and does not wear shoes. West recruits him to complete the Task set forth by his Predecessor, but he never trusts the new hitman, for an astrologist has warned that his death would be linked to the unlucky number. This vignette serves as a fascinating study of the notion of chivalry that drives young people like Seven to martial arts. In a precious shot, lasting perhaps two seconds, Wong reveals what may lie beneath the nameless, faceless masks of banditry Jin Yong's heroes slaughter by the thousands to rescue their damsels in distress, thereby thoroughly debunking the fame and glory that only comes with high body count. Meantime Seven drives away his country wife who has followed him to the desert, while the local pretty girl with the eggs beseeches him to avenge her brother's death at the hands of the Colonel's bodyguards. Aided by West's tactical advice, Seven blows out of a sandstorm and annihilates the entire regiment of bandits. Soon wind blown gravels cover up the bodies, and the killings, like the machine-gunning at Garcia Marquez's mythical train station, may well have never happened.
He is upon the bodyguards while they sit sipping wine, an angry god on a rampage, out to meter justice on the Chinese almanac's Day of Atonement.  The perspective has evolved, becoming more objective, affording multiple interpretations -- the sure sign of a mature artist's work. Like the previous fight, this desperate melee is shot entirely in impressionistic montages, as if by their sheer savagery these suicidal furies have broken through some speed barrier to a netherworld where leaping assassins are blurred shadows, spurting blood are frozen paint drops, and shattered straw hats and wind swept sand dust are angry brush strokes stopped dead in their tracks. Or perhaps all this is merely a cinematic realization of the Buddhist saying immortalized in the film's prologue, which in retrospect seems so utterly appropriate:
The flag lies still / the wind does not blow It is the heart of man that is in tumult
The fight costs him dearly; he will not use his sword again. But (despite his resemblence to other Jackie Cheung incarnations) Seven is also a new paradigm, never before seen in Wong's films. He is not afflicted with the Curse, and would live to laugh about his losses. "The difference between you and me," he tells West, "is that you will never risk anything for an egg." In one stroke he has repudiated both West and Yin. Values do not derive from monetary worth, any more than identity derives from external sources. His apprenticeship is over. >From then on he is his own person, a modern day Orestes, the doer of the deed. One can only speculate how much the director identifies with the character the film loves. Wong is himself the "unsophisticated" China immigrant turned enfant terrible of Hong Kong cinema, the star of an industry that honors him but will never completely embrace his talents, the world class artist and intellect of a city state that never has much use for either. ASHES OF TIME was two years in the making, shot on locations all over China, its rare huge budget a largesse of DAYS OF BEING WILD's success; Wong shot it like he had a score to settle, like he wielded his sword in the proverbial wind. He went for it all, and there was never any question any one scene would be less than shoot-the-lights-out brilliant. This is truly one of the great films of our time. I sincerely hope it gets a proper stateside release. Given his preference for small films, it is unlikely the reigning Cannes film festival best director will try something on this scale any time soon.
The Woman at the Water's Edge
But there is the story of one more person to unravel before director, characters, and cast can move on. She is the excuse for East's melancholy, the origin of Yin's murderous rage, the reason for West's self-imposed exile. In five minutes' screen time her presence threads together all segments of the film and then releases the knot, allowing the protagonists to go their own way. The role can only be entrusted to Maggie Cheung, Wong's special actress since his first film. In the full glory of her bridal red she is an angel, far removed from the struggles of the other earth-colored mortals. She is the same woman she has played in Wong's previous films, the woman born in backwater towns (Lantau Island in AS TEARS GO BY, Macau in DAYS OF BEING WILD), the embodiment of pastoral beauty, the closest thing his disaffected heroes have to the idea of Home. There is no doubt she might once have found adventure with Wong's leading men, and I always imagine her looking longingly at the far end of the horizon, where presumably the water ends and the clouds begin. She is much older now, her face looks too red and unwell; the longing is replaced by a wistfulness, born of the realization that her chance for happiness has passed by. Looking across the water she muses about what might have been, while East supplies his own succinct observations in voiceover. The two sing-song voices blend and alternate with perfect harmony, and they finally seem to make order out of the rampant self- deceptions and bitter pride that has ruined so many lives in the film. But the epiphany is a false one; it does not belong to the characters, only the audience. For something like five straight minutes the camera peers mercilessly into her eyes while she does her soul-searching, and Ms. Cheung's performance here is one for the ages, one that I will never forget. Her brief appearance is in effect a summation of Wong's first phase of filmmaking. Since then she has not returned to his films, and his later works have yet to find a comparable center of gravity.
West
Her departure from the film is shattering, and not just emotionally. At last it is revealed that she is the one who has sent the magic wine at her deathbed. Therefore the film's hidden center has been deceased the whole time, all pretense to a chronological narrative is wiped out, and all the bloodshed, the exiles, the madness, they have all been in vain. Thereafter revelations rush by in a blur, the images become more allusive, the scenes increasingly elliptical. It takes this native Cantonese speaker half a dozen viewings to sort through the disjointed narrative, but then again, no one ever needed to count the petals to appreciate Monet's waterlilies. Figures appear in the distance, squating, riding on horse back, split between land and water, their inverted reflections towering in the high desert heat. These seem like characters we already know, or maybe they are merely mirages in the sand. Another recurring image has the desert mariner at his wind-filled flagstaff, watching the ravishes of time disguised as dancing lights unfolding like a sea change. At last West drinks the magic wine, and goes on delivering his sales pitches as before. It is the same pitch that opens the film, and yet subtly different; maybe the end of the film is also its beginning, or perhaps it is merely part of the eternal recurrance. When he learns of the passing of his beloved, he tells us, in the same chilling matter-of-fact voice, about his two-days vigil. We watch with him the miracle at sundown, the heavens on fire on the far rims of the horizon, the sky darkening, dissolving into montages of a burnt out grey dawn. And then the flames started again. All this time we never get to see his eyes.
Epilogue
When Christopher Doyle photographs fire or the roaring sea he shoots full screen, in primary colors, for extra duration and exposure, as if it needs be emphasised the forces of nature possess a vivacity, a permanence, a fullness of being Wong's tormented characters can never dream of attaining. Another year, another spring; West burns down his dilapidated cottage [the almanac that day -- Courier rides, Mars ("Fire," the red planet) chases Venus ("Gold"), Auspicious westward], heads back to his home town, and becomes the terror of western China. With no more ties to desert, East has long departed; he would cement his reputation as the premier swordsman along the eastern seaboard, then retire to an island, and father the bright-eyed heroine of Jin Yong's novel. As for Seven, I suppose nothing ever ties him down, and he too has long gone, camel and wife in tow (i.e. he has to terms with his heritage, such is the economy of Wong's sleight of hand), eventually to become the eccentric Great Northern Beggar, the righteous leader of thousands, and mentor to Jin's young hero. The day he and West part company, "Pole star presides, the wind blows south," boiling stratus embellishes a time-lapsed dream; Seven deliberately heads into the north wind as West looks on, and that long look cements the covenant, foretold by astrologers and flashed in subtitles across the screen, and which martial arts genre afictionidoes already know all along -- that thirty years hence West and his one-time protege would duel to mutual destruction at the climax of Jin's epic chronicles. It is an intimiation of destiny fulfilled, mankind vindicated. Perhaps some day Wong's characters will find peace and destiny that are theirs, not imposed by "fate"; perhaps his angry, violent, alienated heroes, never afraid of death, will at last find something worth dying for. This is more than good enough for now. In ASHES OF TIME Wong has finally given my birthplace something it never had: a cinematic Great Novel, an epic poem for the dispossessed; a requiem for the dead, and anthem for the living. The epilogue is as purely cinematic and brilliant as anything else in the film, and the absences are just as significant as what appears on screen.  Their exploits are legend, written in the Books; their personalities become archetypal, celebrated forevermore. As for the blind swordsman fighting for a last chance to see his hometown, his estranged wife, and the woman with a face the color of a defiant, dying peach blossom -- they do not get their second chance on earth, and they are not seen or heard from, but their stories live on in Wong's silver-etched memories.
[I would like to thank Ian McDowell and Gary Pollard]
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Shehbaz Sharif thanks nation for prayers for Nawaz Sharif's health
by https://www.facebook.com/dunyanewsLONDON (Dunya News) – Pakistan Muslim League-Nawaz (PML-N) president Shehbaz Sharif has thanked people of Pakistan for praying for the best health of ex-prime minister Nawaz Sharif.
The opposition leader in National Assembly was talking to media on his arrival in London.
Shehbaz Sharif said that Nawaz Sharif was continuously given medical assistance to maintain his health condition during his flight to London. He further prayed for the recovery of PML-N supremo.
Earlier on Tuesday night, former PM had arrived at Heathrow Airport in an air ambulance and reached his son Hassan Nawaz’s residence at the Avenfield Apartment of Sharif family at Park Lane, Mayfair London.
Shahbaz Sharif and Nawaz Sharif’s personal physician Dr Adnan were also with him.
The development came day after the interior ministry issued a notification regarding removal of Sharif’s name from the Exit Control List (ECL) – allowing him to travel abroad for medical treatment. It said that the decision was an "interim arrangement" in the light of the Lahore High Court’s (LHC) order, which was passed last week.
an accountability court had sentenced Sharif to seven-year rigorous punishment in the Al-Azizia Steel Mills corruption reference, but acquitted him in a second reference related to Flagship Investments.
The court had also fined Nawaz Rs1.5 billion and US $25 million in the Al-Azizia reference.


Access proxy for diagonal matrices.The DiagonalProxy provides controlled access to the elements of a non-const diagonal matrix. It guarantees that the diagonal matrix invariant is not violated, i.e. that elements in the lower and upper part of the matrix remain default values. The following example illustrates this by means of a dense diagonal matrix:
More...
#include <DiagonalProxy.h>
Inherits blaze::Proxy< DiagonalProxy< MT >, ElementType_< MT > >.
template<typename MT>
class blaze::DiagonalProxy< MT >
Access proxy for diagonal matrices.
The DiagonalProxy provides controlled access to the elements of a non-const diagonal matrix. It guarantees that the diagonal matrix invariant is not violated, i.e. that elements in the lower and upper part of the matrix remain default values. The following example illustrates this by means of a dense diagonal matrix:
A(0,0) = -2;
A(1,1) = 3;
A(2,2) = 5;
A(0,2) = 7;
◆ DiagonalProxy() [1/2]
Initialization constructor for a DiagonalProxy.
- Parameters
-
| matrix | Reference to the adapted matrix. |
| row | The row-index of the accessed matrix element. |
| column | The column-index of the accessed matrix element. |
◆ DiagonalProxy() [2/2]
The copy constructor for DiagonalProxy.
- Parameters
-
| dp | Diagonal proxy to be copied. |
◆ get()
Returning the value of the accessed matrix element.
- Returns
- Direct/raw reference to the accessed matrix element.
◆ isRestricted()
Returns whether the proxy represents a restricted matrix element..
- Returns
- true in case access to the matrix element is restricted, false if not.
◆ operator ConstReference()
Conversion to the accessed matrix element.
- Returns
- Reference-to-const to the accessed matrix element.
◆ operator%=()
template<typename MT>
template<typename T >
Modulo assignment to the accessed matrix element.
- Parameters
-
| value | The right-hand side value for the modulo operation. |
- Returns
- Reference to the assigned proxy.
- Exceptions
-
| std::invalid_argument | Invalid assignment to non-diagonal matrix element. |
In case the proxy represents a non-diagonal matrix element, a std::invalid_argument exception is thrown.
◆ operator*=()
template<typename MT>
template<typename T >
Multiplication assignment to the accessed matrix element.
- Parameters
-
| value | The right-hand side value for the multiplication. |
- Returns
- Reference to the assigned proxy.
- Exceptions
-
| std::invalid_argument | Invalid assignment to non-diagonal matrix element. |
In case the proxy represents a non-diagonal matrix element, a std::invalid_argument exception is thrown.
◆ operator+=()
template<typename MT>
template<typename T >
Addition assignment to the accessed matrix element.
- Parameters
-
| value | The right-hand side value to be added to the matrix element. |
- Returns
- Reference to the assigned proxy.
- Exceptions
-
| std::invalid_argument | Invalid assignment to non-diagonal matrix element. |
In case the proxy represents a non-diagonal matrix element, a std::invalid_argument exception is thrown.
◆ operator-=()
template<typename MT>
template<typename T >
Subtraction assignment to the accessed matrix element.
- Parameters
-
| value | The right-hand side value to be subtracted from the matrix element. |
- Returns
- Reference to the assigned proxy.
- Exceptions
-
| std::invalid_argument | Invalid assignment to non-diagonal matrix element. |
In case the proxy represents a non-diagonal matrix element, a std::invalid_argument exception is thrown.
◆ operator/=()
template<typename MT>
template<typename T >
Division assignment to the accessed matrix element.
- Parameters
-
| value | The right-hand side value for the division. |
- Returns
- Reference to the assigned proxy.
- Exceptions
-
| std::invalid_argument | Invalid assignment to non-diagonal matrix element. |
In case the proxy represents a non-diagonal matrix element, a std::invalid_argument exception is thrown.
◆ operator=() [1/4]
Copy assignment operator for DiagonalProxy.
- Parameters
-
| dp | Diagonal proxy to be copied. |
- Returns
- Reference to the assigned proxy.
- Exceptions
-
| std::invalid_argument | Invalid assignment to non-diagonal matrix element. |
In case the proxy represents a non-diagonal matrix element, a std::invalid_argument exception is thrown.
◆ operator=() [2/4]
template<typename MT>
template<typename T >
Initializer list assignment to the accessed matrix element.
- Parameters
-
| list | The list to be assigned to the matrix element. |
- Returns
- Reference to the assigned proxy.
- Exceptions
-
| std::invalid_argument | Invalid assignment to non-diagonal matrix element. |
In case the proxy represents a non-diagonal matrix element, a std::invalid_argument exception is thrown.
◆ operator=() [3/4]
template<typename MT>
template<typename T >
Initializer list assignment to the accessed matrix element.
- Parameters
-
| list | The list to be assigned to the matrix element. |
- Returns
- Reference to the assigned proxy.
- Exceptions
-
| std::invalid_argument | Invalid assignment to non-diagonal matrix element. |
In case the proxy represents a non-diagonal matrix element, a std::invalid_argument exception is thrown.
◆ operator=() [4/4]
template<typename MT>
template<typename T >
Assignment to the accessed matrix element.
- Parameters
-
| value | The new value of the matrix element. |
- Returns
- Reference to the assigned proxy.
- Exceptions
-
| std::invalid_argument | Invalid assignment to non-diagonal matrix element. |
In case the proxy represents a non-diagonal matrix element, a std::invalid_argument exception is thrown.
◆ restricted_
Access flag for the accessed matrix element.
The flag indicates if access to the matrix element is restricted. It is true in case the proxy represents an element in the lower or upper part of the matrix.
The documentation for this class was generated from the following file:


Npt documentation.
Reference: ANSI Common Lisp npt
Prev: 3. Escape Function
Next: 5. LISP ABORT
This chapter describes how to implement Common Lisp functions in C alone.
Usually, functions are created by lambda
or defun
, but in this chapter, we will create functions only in C. However, the function type is different: it is not a FUNCTION
type, but a COMPILED-FUNCTION
type like standard functions like car
.
The type of the function is checked as follows.
* (lambda ())
#<FUNCTION LAMBDA #x801256a00>
* #'car
#<COMPILED-FUNCTION CAR>
*
To use a C language function, it is necessary to register a function pointer with a number. The number of function pointers that can be registered is up to 32.
If it’s not enough, define LISP_POINTER_EXTEND
at compile time. As an example, here’s how to run a compilation with 128 extensions
$ cc -DLISP_POINTER_EXTEND=128 src/*.c -lm
The instruction to register the function pointer is shown below.
void lisp_compiled_rest(int index, lisp_calltype_rest call);
void lisp_compiled_empty(int index, lisp_calltype_empty call);
void lisp_compiled_var1(int index, lisp_calltype_var1 call);
void lisp_compiled_var2(int index, lisp_calltype_var2 call);
void lisp_compiled_var3(int index, lisp_calltype_var3 call);
The argument index
is a number to register, usually from 0 to 31.
The argument call
is the pointer to the function of the escape function.
The function to be used depends on the argument.
The generic one is lisp_compiled_rest
, and lisp_calltype_rest
is of type int (*)(addr)
.
The type rest
means (&rest list)
of lambda list.
The type empty
means no argument, var1
means one, var2
means two, and var3
means three arguments.
It is an escape function to register.
The instructions for creating a function object are as follows
int lisp_compiled_function_(addr x, int index, addr symbol);
int lisp_compiled_function8_(addr x, int index, const void *str);
int lisp_compiled_function16_(addr x, int index, const void *str);
int lisp_compiled_function32_(addr x, int index, const void *str);
Because these functions are executed on Common Lisp, they are different from function pointer registration functions and cannot be executed until control is passed to the main_lisp
function.
As an example, consider the following escape function in Common Lisp.
int function_test_(addr list)
{
return lisp_format8_(NULL, "TEST = ~A~%", list, NULL);
}
At first, the function pointer of function_test_
is registered in function number 0.
(0, function_test_); lisp_compiled_rest
Now that a function can be created, the steps to create a function object are as follows
(x, 0, NULL); lisp_compiled_function_
Create the function test_output_
to run and check it.
int test_output_(void)
{
, x;
addr control
(&control);
lisp_push_control= Lisp_hold();
x (x, 0, NULL);
lisp_compiled_function_return lisp_pop_control_(control);
}
The function object is now stored in the x
hold variable.
Further, the function object is now executed with funcall
.
int test_output_(void)
{
, x, y, z;
addr control
(&control);
lisp_push_control= Lisp_hold();
x = Lisp_hold();
y = Lisp_hold();
z (x, 0, NULL);
lisp_compiled_function_(y, 10);
lisp_fixnum(z, 20);
lisp_fixnum(NULL, x, y, z, NULL);
lisp_funcall_return lisp_pop_control_(control);
}
Escape is ignored.
The function test_output_
is expressed in Common Lisp as follows.
funcall #<COMPILED-FUNCTION NIL> 10 20) (
The results are as follows.
TEST = (10 20)
The registered function works.
The following is an example of the behavior of defun
.
Register a function object in the symbol-function
.
The functions used for registration are as follows
int lisp_compiled_defun_(int index, addr symbol);
int lisp_compiled_defun8_(int index, const void *str);
int lisp_compiled_defun16_(int index, const void *str);
int lisp_compiled_defun32_(int index, const void *str);
As an example, register the function fact_
, which is a factorial function created previously, under the name FACT
.
The function fact_
, completed in the previous chapter, is as follows.
static int fact_(addr x, addr value)
{
, y;
addr control
if (! lisp_plus_p(value)) {
(x, 1);
lisp_fixnumreturn 0;
}
(&control);
lisp_push_control= Lisp_hold();
y if (lisp_funcall8_(y, "1-", value, NULL))
goto escape;
if (fact_(y, y))
goto escape;
if (lisp_funcall8_(x, "*", value, y, NULL))
goto escape;
:
escapereturn lisp_pop_control_(control);
}
Although the function fact_
is completed as an escape function, it cannot be registered as it is because it is not made for registration.
So, here is the function function_fact_
for registration.
The function calls the function fact_
and sets the return value.
int function_fact_(addr var)
{
, x;
addr control
(&control);
lisp_push_control= Lisp_hold();
x if (fact_(x, var))
goto escape;
(x);
lisp_set_result_control:
escapereturn lisp_pop_control_(control);
}
The function lisp_set_result_control
is used to set the return value of the function.
The next step is the registration process.
int main_lisp(void *ignore)
{
(1, function_fact_);
lisp_compiled_var1(1, "FACT");
lisp_compiled_defun8_
return lisp_eval_loop_();
}
The registration is done using lisp_compiled_var1
so that it takes only one argument.
The function number is 1.
Next, it runs lisp_compiled_defun8_
and registers the function under the name FACT
.
Finally, run lisp_eval_loop_
and call eval-loop for confirmation.
When prompted, run the fact
function.
$ ./a.out
* (fact 123)
1214630436702532967576624324188129585545421708848338231532891816182923
5892362167668831156960612640202170735835221294047782591091570411651472
186029519906261646730733907419814952960000000000000000000000000000
* (/ (fact 123) (fact 121))
15006
* ^D
$
Since the function fact
works as a function of Lisp, it can be incorporated into the expression.
The closure here is the ability to store values in a function object.
A function object can have a single value.
To set the value, use the following instructions
void lisp_compiled_setvalue(addr pos, addr value);
Here is an example of storing the value 10 in a closure after creating a function object
(x, 0, NULL);
lisp_compiled_function_(value, 10);
lisp_fixnum(x, value); lisp_compiled_setvalue
The value can be obtained by using the following instructions when the function that registered the function pointer is called.
void lisp_compiled_getvalue(addr *ret);
This function has a few things to be careful about.
The value must be fetched before doing lisp_push_control
.
Since this function does not allow to specify a hold variable, it receives the object directly.
The following is an example of storing a value in the hold variable
int function_test_(addr list)
{
, x;
addr control
(&x);
lisp_compiled_getvalue(&control);
lisp_push_control(&x, x);
lisp_hold...
return lisp_pop_control_(control);
}
We explained that when the function pointer is registered, it is assigned to a number from 0 to 31.
For example, do the following.
(0, function_test_); lisp_compiled_rest
So why do we assign them to numbers?
The reason is to read and write the core file.
Initially, the core file was supposed to contain the function pointer values as they are.
However, due to the recent security situation, a feature called ASLR (Address Space Layout Randomization) was implemented in the operating system, which allows the function pointer to change randomly every time a process is started.
If a function pointer value is written to the core file, it will not work properly when the next process is started because it will point to a completely different address.
Numbering is also used inside npt, where the lisp_init
function sets the numbering of all functions, including the Common Lisp functions.
You can register function pointers at any time before the function is executed, but it is better to register them as soon as possible.
On the other hand, the following function
(0, "TEST"); lisp_compiled_defun8_
This is a feature of Common Lisp to create a compiled-function
object.
Because it is not initialization, it can only be executed after the main_lisp
function.


Cutting edge Technology, Cloud and Data services
Drive your Business with Technology and Solutions that can dynamically meet your Client and Market demands
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Architecture and Development services to meet your Client and Market demand dynamically. SaaS to custom product development with Hybrid Cloud and On-Prem hosting
Data Pipelines
Custom secure pipelines to integrate with your clients - message based event driven integration, streams and API with data and pipeline encryption
Application Development
Microservices - REST APIs, services with REST, Messaging and Streaming integration.
Cloud Architecture
Taking your current applications and infrastructure to cloud. Cloud migration and management
Datawarehouse Design
OLTP & OLAP Data Architecture. Star and Snowflake designs to get your facts and dimensions ready for Analytics and Reporting
UI - UX
Rich front-end Design and Development with Hybrid frameworks like ionic with Angular, React and Vue
Security
Applicaton and Data Security at rest and in transit. Encryption, Auth, Multifactor authenitication and Network security
Techfolio
Our techfolio ranges from Service architecture, Cloud architecture, Datawarehouse design all the way through designing and implementing end to end solutions
Integration
Integrate your internal - external services with any pattern. Distributed streaming with Kafka, REST or Messaging/Event based
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Microservices, containerization with Docker and Kubernetes, CI/CD Pipelines, Logging, Monitoring and Alerting with any tool - Datadog, Dynatrace, Graffanna or Splunk
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Full list of Sunderland general election candidates 2019
The candidates standing in Houghton and Sunderland South, Sunderland Central and Washington and Sunderland West at the 2019 general election
by Sean SeddonVoters across the UK will elect a new Government on Thursday, December 12.
The first December general election since 1923 was called following a historic vote in the House of Commons in October.
In the North East, 22 constituencies will be contested. These are the key seats to watch come election night.
Labour will argue that Conservative governments have spent the past nine years cutting funding for the North East.
But it’s true that there are some marginal seats in the region that could change hands, many of them in Teesside.
That includes seats the Conservatives could potentially take from Labour - and some that Labour has a chance of taking from the Conservatives.
Below is a list of every candidate standing in seats in Sunderland. If you're unsure which constituency you're in, see our guide here.
Houghton and Sunderland South
Richard Bradley (Green)
Paul Edgeworth (Liberal Democrat)
Richard Elvin (UKIP)
Christopher Howarth (Conservative)
Bridget Phillipson (Labour)
Kevin Yuill (Brexit Party)
Sunderland Central
Tom D'Silva (Conservative)
Julie Elliott (Labour)
Rachel Featherstone (Green)
Niall Hodson (Liberal Democrat)
Dale McKenzie (Independent)
Viral Parikh (Brexit Party)
Washington and Sunderland West
Valerie Allen (Conservative)
Howard Brown (Brexit Party)
Michael Chantkowski (Green)
Sharon Hodgson (Labour)
Keith Jenkins (UKIP)
Carlton West (Liberal Democrat)


Shooting outside Oklahoma Walmart leaves several dead: police
Duncan: At least three people have been shot and killed outside a Walmart store in Oklahoma, according to police.
The shooting happened on Monday morning, local time, at the store in Duncan, Oklahoma.
Duncan Police Chief Danny Ford said two men and a woman were fatally shot.
Two victims were shot inside a car and the third was in the parking lot outside the store, he said.
Police are looking for witnesses to the shooting, Ford said.
A dispatcher said "everyone is at the scene."
Duncan is about 130 kilometres south of Oklahoma City.
More to come
AP


11 Jun 2020 (Last Modified 18 May 2022)
Thiagarajan et al. (2020) published a preprint where they suggest that an analysis of latent spaces provides a way to interpret neural networks. The idea is conceptually similar to previous citation needed ideas to identify what internal constructs or representations the neural networks is using. This bears a strong parallel to sensory neuroscience, which has understood how the brain represents the luminance of adjacent areas of visual space with adjacent areas of the calcarine cortex, or adjacent frequencies with adjacent neurons in the primary auditory cortex.
I wondered how to apply this idea to language. There are many mehods of dimensionality reduction (Latent Semantic Analysis, Laten Dirichlet Allocation) that project text onto a metric space. (There is the issue of how adequately these spaces represent all levels of meaning of the text).
Related:


kubeflow.fairing.functions package¶
Submodules¶
kubeflow.fairing.functions.function_shim module¶
-
class
kubeflow.fairing.functions.function_shim.
ObjectType
¶ Bases:
enum.Enum
An enumeration.
-
CLASS
= 2¶
-
FUNCTION
= 1¶
-
NOT_SUPPORTED
= 3¶
-
-
kubeflow.fairing.functions.function_shim.
call
(serialized_fn_file)¶ Get the content from serialized function.
- Parameters
serialized_fn_file – the file includes serialized function
- Returns
object: The content of object.
-
kubeflow.fairing.functions.function_shim.
compare_version
(local_python_version)¶ Compare the Python major and minor version for local and remote python.
- Parameters
local_python_version – Python version of local environment
- Returns
None.
-
kubeflow.fairing.functions.function_shim.
get_execution_obj_type
(obj)¶ Get the execution object type, the object can be a function or class.
- Parameters
obj – The name of object such as the function or class
- Returns
int: The corresponding object type.


sort(xs, @optional test, type)
Return a list containing the elements of the list xs
sorted according to test
.
Test
must be a function that take two arguments and return true
if its first
argument must precede its second in the sorted list. Duplicate elements are not removed or rearranged. The default value of
test
is number_is_lt
which compares two numeric values.
Type
specifies the sorting algorithm to use. In the current implementation, type
can take
two values: 'quick
(for quicksort) and 'merge
(for mergesort).
sort([3, 4, 2, 1, 2, 5])
// [1, 2, 2, 3, 4, 5]
list_to_string(sort(string_to_list("hello"), char_is_lt, 'merge))
// ehllo


bpgenc-0.9.1 -m 8, with x265-1.4+189 --aq-mode 1 --deblock -1:-1 --crf $Q
cjpeg-mozilla-3.0 -dc-scan-opt 2 -quality $Q
kdu_compress-7.4 -no_info -full -precise -slope $Q
jxrencapp-1.1+ccf11047dbec -q $Q
cwebp-0.4.2 -m 6 -pass 10 -size $Q
Medium images were first encoded with bpgenc at 19 CRF filesizes.
Medium is 60% of Large. Small is 60% of Medium. Tiny is 60% of Small. Everything else was matched to +/- 5% filesize.
BPG, JPEG 2000, JPEG XR, and WebP decoded in javascript when needed. Rescaling is through Lanczos2.
This page is based on Xiph.org's Daala comparison page. A list of sources for the images can be found in this text file.
BPG Image Format


A LIFE APART: HASIDISM IN AMERICA A film review by Julia Levin Copyright 2001 filmcritic.com
Legend has it that one rabbi, when coming to America, couldn't fit the Torah's scrolls into their new covers. "We can't modify the Torah to fit America," he said, but "we will tailor America to fit the Torah." A Life Apart: Hasidism in America is a thoughtful, compassionate documentary that illuminates the philosophy behind Hasidism's stubborn refusal to join the American mainstream.
Even among different denominations of Jewish religion, Hasidism stands alone, a religion of minorities among minorities. The invaluable quality of this film is that it neither critiques nor praises the Hasidic religion. For a subject matter as extreme and uncompromising as the religion itself, A Life Apart is wonderfully even-handed. Throughout the film, which starts and concludes with an exuberant wedding ceremony underlying the significance of ritual for the Hasidic community, we dig into the mystic philosophy behind the Hasidic refusal to participate in the contemporary world.
Unwilling to obey societal rules, Hasidic Jews, the majority of whom came to America in the 40s and 50s, still evoke disdain in mainstream society. Described by many as smelly, ugly, and mean looking, they consider themselves a spiritual elite, thus not mingling with non-Hasidics. To keep their Hasidic life style, they deny the very premise of attaining the American dream.
Narrated by Sarah Jessica Parker and Leonard Nimoy, the film traces the roots of Hasidic teachings, first introduced by Baal Shem Tov, a founder of Hasidism who made complex spiritual ideas accessible to less educated people. His way of explaining the presence of God by sanctifying routine activities and everyday occurrences gave his followers deeper spiritual meaning.
The geographic trajectory of A Life Apart reaches as far as Ukraine, where the Hasidic movement originated, and Moscow, once an epicenter of anti-religious destruction and where Hasidism is experiencing an enormous revival today. The focus of the film, however, remains constant: an intimate examination of vibrant, ritualistic Hasidic life in Brooklyn, a center of the Hasidic world.
In a series of interviews, Jewish theological scholars, community members, and their families -- as well as non-Jews -- discuss the struggle between traditionalism and modernism and pose questions about the central ideas of Hasidism. Hasidism means giving up a majority of occupational options and, therefore, subjecting their families to a life of severe financial restraint. It means never sending one's kids to college or a regular school, watching television, or going to the cinema (which means they won't be seeing this movie).
Against the multicolored, multiracial New York landscape, Hasidim, in their black coats, sidelocks, and enormous hats, look shockingly foreign, yet as the film demonstrates, they are American Hasidim. By the end of the film, much to my surprise, the same wedding I watched at the beginning nearly touched me to tears, for it acquired a different meaning. I have never been one for sentiment, but I do believe that this is what good art should be able to do: To give us back to ourselves and transform our preexisting beliefs or ignorance into something new.

Visit filmcritic.com on the Web at http://www.filmcritic.com
========== X-RAMR-ID: 28865 X-Language: en X-RT-ReviewID: 236660 X-RT-TitleID: 1083058 X-RT-SourceID: 178 X-RT-AuthorID: 3626 X-RT-RatingText: 4.5
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


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---
layout: default
title: Home
lang: en
ref: home
---
01.We build advanced interfaces to browse through the complexity of a data world. 02.We imagine artworks and spaces which welcome visitors and motivate conversation. 03.We generate visual design with algorithms
We adapt methodology in each project, building upon participativedesign and a special concern for user experience.
We help your oganisation to extract knowledge from data for an easier understanding and communication
Design and develop custom solution to browse and explore complex datasets of connected information.
Immersive and interactive installations for discovery, dissemination and learning in museums and public spaces .
Digital content in big screens adapted to special contexts and audiences, using new media and cutting-edge technology.
We use information and data as building blocks to create and animate interactive digital data sculptures.
Interaction designer, creative coder. Ready for anything
Design, code teach... for communication
Science artist between the museum and the street.
About the background artwork:
Madrid city publishes real time traffic data .


|
Match Predictions and points
|
- User can predict the score for each match just before the match starts. Default prediction set for each match is 0-0 when registered.
- Scoring is as follows:
- If exact match = 30 points
- If goal difference same (and winner correct) = 20 points
- If winner correct = 10 points
- For Round of 16, the above points will be multiplied by 2 (2x) For League tournament, not applicable
- For Quarter Finals, the above points will be multiplied by 3 (3x) For League tournament, not applicable
- For Semi Finals, Play-off for Third Place and Finals, the above points will be multiplied by 4 (4x)
- In case of knockout games only the final score (without the penalty shootout) will be considered.
- Addition: Any new user created after tournament started will have the previous Match predictions as 0-0 and will get point based on 0-0 only.
|


Banner targeting Sinn Féin Lord Mayor John Finucane appears on the Shankill Road
by ALLISON MORRISLoyalists have erected a banner on the Shankill Road attacking Sinn Féin Lord Mayor John Finucane.
The banner targeting the party's Westminster candidate appeared on the wall of an apartment block on the Lower Shankill early on Monday morning.
Mr Finucane's father, human rights lawyer Pat Finucane was murdered by a Shankill based UDA gang in 1989.
The poster, which features a picture of IRA bomber Sean Kelly, who in the past has canvassed for Sinn Féin in North Belfast, is being linked to a wider campaign by loyalists across Northern Ireland.
Banners stating 'Ulster Says No - to an economic United Ireland' have been appearing in towns and villages across the north in response to Boris Johnson's withdrawal agreement that proposes regulatory arrangements including a sea border.
Loyalists have also held a number of town hall style meetings, from which the media have been mainly excluded. The well attended meetings have included senior figures from various loyalist paramilitary factions.
The controversial banner, targeting Belfast's first citizen, who is challenging incumbent DUP MP Nigel Dodds for the north Belfast seat, is thought to be linked to the loyalist campaign.
Last week police were alerted to threats to members of UUP staff in north Belfast after the party's new leader Steve Aiken said he would stand candidates in all 18 seats.
The UUP later announced it would not be fielding a candidate in the constituency.
A loyalist source told the Irish News that the aggressive campaign against the Sinn Féin candidate would continue to keep the Westminster seat "in unionist hands".
Sinn Féin declined to comment on the development but it is believed legal action to force the property owner to remove the banner is being considered.
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| Expenses | Amount |
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| Health care: | {{ exp.health }} |
| Entertainment: | {{ exp.entertainment }} |
| Dedt payment: | {{ exp.debt }} |
| Others: | {{ exp.others }} |


{% extends "accounts/base.html" %} {% block accounts_content %} Confirmation email has been sent {% endblock %}


--- layout: post status: publish published: true title: Inbox - My New Favorite Email App author: Ryan Hayden wordpress_id: 1999 wordpress_url: http://www.pastorryanhayden.com/?p=1999 date: '2014-11-01 08:19:22 -0500' date_gmt: '2014-11-01 13:19:22 -0500' categories: - Ministry Tech tags: - email - gmail - web ---
Inbox is the new Gmail - or is it? That’s the buzz around the techy corners of the internet lately since Google introduced this new invite-only alternative to Gmail. Now, I love me some Gmail. I have used mailbox, boxer, airmail, sparrow and a host of other apps, but I always come back to Gmail. I have the Gmail app as my main mail app on my iPhone, my iPad and my Nexus and I use Gmail in the browser on my Mac to manage my emails. On all of my devices, I keep the default default email client set up (mostly for composing and mailto links) but I much prefer to use Gmail.
Gmail has two killer features that cause me to use it over the built in apps from Apple. 1 - it organizes my emails into tabs (i.e. updates, promotions, social, etc.). So I don’t have to search through a list of 15 spammy promotions to get to the one real email in my inbox. 2 - it enables me to archive all of the emails in a given tab in two clicks.
So any replacement for gmail has to at least do these two things.
Inbox not only does them, but does them better. Google has expanded the tab concept into what it calls “bundles” which are even more useful than “tabs” and it now takes only one click to make a list of spammy promotions go into the archive bin.
So right from the get-go - I’m prone to switch to Inbox. It takes the best features of gmail and makes them better.
But that’s not all - it also adds features:
So the long and short of it is this - Inbox is awesome. It’s hype is deserved. If and when you do get an invite or they open it up - you should give it a week as your email program. You probably won’t go back.
You can check out these features in this short (silent) video:


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+++ title = "Luet docs" linkTitle = "luetdocs" +++ {{< blocks/cover title="Luet" image_anchor="top" height="full" color="orange" >}}
{{< /blocks/cover >}} {{% blocks/lead color="primary" %}} Luet uses Container technologies ( Docker, img ) to build packages. It provides an abstraction over the Dockerfile format introducing relation and versioning of images. {{% /blocks/lead %}} {{< blocks/section color="dark" >}} {{% blocks/feature icon="fa-tree" title="SAT Solver" %}} Luet uses SAT Solving techniques to compute the dependencies graph. This allows to refer to docker images by using semver constraints. No Relational db is involved. {{% /blocks/feature %}} {{% blocks/feature icon="fab fa-github" title="Contributions welcome!" url="https://github.com/mudler/luet" %}} If you like to play with code, check out our issues that are marked as ["good first issue"](https://github.com/mudler/luet/issues?q=is%3Aissue+is%3Aopen+label%3A%22good+first+issue%22) and open a [Pull Request](https://github.com/mudler/luet/pulls) on **GitHub**. New users are always welcome, and have fun! {{% /blocks/feature %}} {{% blocks/feature icon="fa-terminal" title="Container-based" %}} Use container abstraction to define your package repositories {{% /blocks/feature %}} {{< /blocks/section >}} {{< blocks/section >}}


Ohio State Insider Announces College GameDay Guest Picker
by Andrew McCartyESPN’s College GameDay is headed to Columbus this weekend for arguably the biggest game of the weekend.
No. 2 Ohio State hosts No. 8 Penn State in a battle of potential College Football Playoff contenders. The winner of Saturday afternoon’s game will take a stranglehold on the Big Ten and likely represent the Big Ten East in the conference’s title game.
Before the weekend’s slate of games can begin, though, Kirk Herbstreit and company will break down all of the action. Helping with those duties every Saturday morning is a person with a special bond to the place GameDay broadcasts from.
This weekend, that honor goes to one of the best running backs in Ohio State history: Eddie George.
Ohio State insider Dan Hope revealed the news.
“Former Ohio State RB Eddie George, a Philadelphia native who chose OSU after Penn State recruited him as an LB, will be the guest picker for ESPN’s College GameDay,” Hope said.
George starred for the Buckeyes in college, winning the Heisman Trophy in 1995.
He went on to an illustrious NFL career with the Tennessee Titans where he was a four-time Pro Bowler. Now he’ll be back on campus to watch his Buckeyes face off against the Nittany Lions.
Ohio State and Penn State kick off at 12:00 p.m. ET on FOX.


--- layout: default title: Echo & Narcissus - Productions - Fail Better Productions menu-item: productions submenu-item: echoandnarcissus styles: - /css/colours.css - ../production.css # - ./styles.css styles-ie6: ../production-ie6.css ---
The aim was to devise a new piece of drama which would combine the techniques of Samuel Beckett's theatre, the adaptation of Ovid's Echo and Narcissus and our own company style.
The practical exploration of Samuel Beckett as a playwright and practitioner inspired the company to create explosive and expressive theatre following on from his remorseless quest into the human spirit. Furthermore, Beckett's fascination with the self, the other and desolation related directly to our source material. His drama advocates an exquisite minimalism that landscapes the internal world of his characters, staging their essence rather than their surface reality.
There is a wealth of material for a devising ensemble throughout Ovid's Metamorphosis, but Echo and Narcissus stood out due to its beautiful interplay of love and loss, death and desire, speech and silence. Nothing prepared us for quite how rich this material would prove to be. In initial exploration we used the text, in various translations, to explore its poetic, intellectual and contemporary resonances. Improvising, physicalising, vocalizing and analyzing, we generated a wealth of ideas and images. It became rather amazing just how related the text was to Beckett's preoccupations, such as: fragmented selves, dislocated voices, physical change, narcissism, echoing, internal monologues and static states.
Most of the groundwork having been done, we created the show, beginning to flesh out a new world where our Echo and Narcissus was taking place. In a disused and flooded office space, Narcissus records fragments of speech in search of his own story. The cursed Echo arrives to help, falls in love with him and is eventually rejected. A desolate Echo remains with him in a ghost-like state as Narcissus pieces together his story. He then comes face to face with himself, falling hopelessly in love.
"Rigorously directed... it is challenging, gripping, creative and the acting is assured."
The Stage;
"A short visually arresting piece that'll have you scurrying back to your Ovid."
Time Out;
"One of the most engaging and inventive pieces of theatre I have seen all year."
Talking Broadway.
To read reviews of this production, click here


TikTok gone wrong: MP men shoot video using country-made pistol, arrested
The third accused in the case has been arrested for allegedly supplying the weapon.
by PTIMandsaur: Two men have been arrested for allegedly shooting videos brandishing a country-made pistol and uploading it on popular video-sharing app TikTok, police said here on Wednesday.
The third accused in the case has been arrested for allegedly supplying the weapon, an official said. Kanhaiya aka Kana (23) and Rahul Dhangar (18) were nabbed while shooting another video with the illegal weapon on Malhargarh's Railway Station Road, in Mandsaur district of Madhya Pradesh on Tuesday, Malhargarh police station in-charge Dilip Rajoriya said.
On interrogation, the police found that the duo had bought the country-made pistol from Firoj (25), a resident of Malhargarh, for Rs 25,000, the official said, adding that Firoj has also been arrested.
A country-made pistol, three bullets and the two- wheeler used in the video have been seized from the accused, Rajoriya said.
The trio has been arrested under the relevant sections of the Arms Act, he said, adding that further probe is underway.
Catch the latest news, live coverage and in-depth analyses from India and World. Follow us on Facebook and Twitter.


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{% comment %} The template system uses dot-lookup syntax to access variable attributes. In the example of {{ question.question_text }}, first Django does a dictionary lookup on the object `question`. Failing that, it tries an attribute lookup – which works, in this case. If attribute lookup had failed, it would've tried a list-index lookup. - Dictionary lookup: {{ my_dict.key }} - Attribute lookup: {{ my_object.attribute }} - List-index lookup: {{ my_list.0 }} Method-calling happens in the {% for %} loop: question.choice_set.all is interpreted as the Python code question.choice_set.all(), which returns an iterable of Choice objects and is suitable for use in the {% for %} tag. Since you defined the name argument in the path() functions in the polls.urls module, you can remove reliance on specific URL paths defined in your url configurations by using the {% url %} template tag. {% endcomment %}
{{ error_message }}
{% endif %} {% comment %} The value of each radio button is the associated question choice's ID. The name of each radio button is "choice". That means, when somebody selects one of the radio buttons and submits the form, it'll send the POST data choice=# where # is the ID of the selected choice. All POST forms that are targeted at internal URLs should use the {% csrf_token %} template tag to protect against Cross Site Request Forgeries. {% endcomment %}


f2py
.
f2py
.
F2PY (in NumPy) is released under the terms of the NumPy License.
f2py
, Second Editionf2py
started in summer of 1999.
For now (January, 2000) it has reached to stage of being a
complete tool: it scans real Fortran code, creates signature file
that the user can modify, constructs C/API module that can be
complied and imported to Python, and it creates LaTeX documentation
for wrapper functions. Below is a bit longer list of
f2py
features:
f2py
scans real Fortran codes and produces the signature files.
The syntax of the signature files is borrowed from the Fortran 90/95
language specification with some extensions.
f2py
generates a GNU Makefile that can be used
for building shared modules (see below for a list of supported
platforms/compilers). Starting from the third release,
f2py
generates setup_modulename.py
for
building extension modules using distutils
tools.
f2py
uses the signature files to produce the wrappers for
Fortran 77 routines and their COMMON
blocks.
external
arguments f2py
constructs a very flexible
call-back mechanism so that Python functions can be called from
Fortran.
f2py
takes care of type-casting and
non-contiguous arrays.
f2py
will generate
wrapper functions with desired signatures. depend()
attribute is introduced to control the initialization order of the
variables. f2py
introduces intent(hide)
attribute to remove
the particular argument from the argument list of the wrapper
function and intent(c)
that is useful for wrapping C
libraries. In addition, optional
and
required
attributes are introduced and employed.
f2py
supports almost all standard Fortran 77/90/95 constructs
and understands all basic Fortran types, including
(multi-dimensional, complex) arrays and character strings with
adjustable and assumed sizes/lengths.
f2py
generates a LaTeX document containing the
documentations of the wrapped functions (argument types, dimensions,
etc). The user can easily add some human readable text to the
documentation by inserting note(<LaTeX text>)
attribute to
the definition of routine signatures.
f2py
one can access also Fortran 90/95
module subroutines from Python.
f2py
(because it uses exchanged module re
).
To build generated extension modules with distutils setup script,
you'll need Python 2.x.
PyArray_FromDimsAndDataAndDescr
)
f2py-?-???
and run python setup.py install
. That's it!
f2py
has been successfully tested on
f2py
will probably run on other UN*X systems as
well. Additions to the list of platforms/compilers where
f2py
has been successfully used are most welcome.
Note:
Using Compaq Fortran
compiler on Alpha Linux is successful unless when
wrapping Fortran callback functions returning
COMPLEX
. This applies also for IRIX64.
Note: Fortran 90/95 module support is currently tested with Absoft F90, VAST/f90, Intel F90 compilers on Linux (MD7.0,Debian woody).
f2py
program and it is open for discussion, questions, and answers. You can subscribe
the list here.
f2py
is being developed under CVS and those who are
interested in the really latest version of f2py
(possibly
unstable) can get it from the repository as follows:
guest
):
> cvs -d :pserver:anonymous@cens.ioc.ee:/home/cvs login
> cvs -z6 -d :pserver:anonymous@cens.ioc.ee:/home/cvs checkout f2py2e
f2py2e
you can get the updates by hitting
> cvs -z6 update -P -d
f2py
CVS repository here.


The Balancing Act
Sustainable development
is dealing with our future
in the present time!
Taking into account that
the result of present actions
will effect other people
another place, at a another time. |
Sustainable development
is dealing with an environmental, economical and social fair future – your future, our future and their future.
Make your mind up and act, be a part of the development. If you don’t, you will be a part of the development anyway! |
A sculptural manifestation for
Education for Sustainable Development
Eco-net from Denmark
encourages people from every part of the world
to join The Balancing Act.
We need partners as well as sponsors!
Eco-net from Denmark has, working together with the Danish sculptor Jens Galschiot, made a sculptural manifestation for Education for Sustainable Development (ESD). A series of sculptures has been made as a symbol and an eye cather for ESD, and is meant to create attention for UN’s Decade for Education for Sustainable Development (2005-2014). This worldwide project on Education for Sustainable Development has been named The Balancing Act. The sculptures symbolize the difficult balance, which is the challenge for sustainability.
The objective is to set up the sculptures of The Balancing Act worldwide.
In time, the ten sculptures, one for each of the seven values and three goals
of The Balancing Act, will be seen in Europe, Greenland, North America,
South America, Africa, India, China, Siberia, Japan and Australia.
We invite you to join The Balancing Act and the important work, which is a part of the project
and the process for a sustainable development. We want institutions to join the project and to commit
to work for the seven values and three goals of The Balancing Act. The three goals are supported by a number of means to reach the three main goals.
The 3 Main Goals of The Balancing Act:
1 Education must cover sustainability in theory and practise.
2 The running of the institution must be sustainable.
3 The institution commits itself to create public information and political debate on sustainable development.
For further information and contact:
Lars Myrthu-Nielsen, Secretarial manager Eco-net / Network for Ecological Education and Practice Svendborgvej 9, Ollerup,
DK-5762 Vester Skerninge, Denmark
Phone: +45 62 24 43 24 / Mobil: +45 40 73 43 24
Skype: larsmyrthu-nielsen
Fax: +45 62 24 43 23
E-mail<EMAIL_ADDRESS>www.eco-net.dk | www.balancingact.dk
Jens Galschiot, Danish sculptor
Art In Defense of Humanism – AIDOH
Banevaenget 22, DK-5270 Odense N, Denmark
Phone: +45 66 18 40 58
E-mail<EMAIL_ADDRESS>www.aidoh.dk
Read more about the concept here: The Balancing Act presentation and A4-flyer made for World Social Forum 2007 about The Balancing Act worldwide
Eco-net’s portal for the UN Decade of Education for Sustainable Development: www.esd10.dk
|


DeclareDesign is statistical software that makes it easier for researchers to characterize and learn about the properties of research designs before implementation. Ex ante declaration and diagnosis of designs can help researchers clarify the strengths and limitations of their designs and to improve their properties. It can make it easier for readers to evaluate a research strategy prior to implementation and without access to results. It can also make it easier for designs to be shared, replicated, and critiqued.
Get started by reading about the idea behind DeclareDesign.
The motivation for the software is described in a working paper by the authors.
DeclareDesign consists of a core package, which is documented on this web site, as well as three companion packages that stand on their own but are also called on by the core package. They are:
A library of declared designs is under construction. The library includes canonical designs that users can download, modify, and deploy. To get underway with your own designs, follow the install instructions below and check out our guide on getting started with DeclareDesign, which covers the main functionality of the software.
To install the latest development release of all of the packages, please ensure that you are running version 3.3 or later of R and run the following code:
install.packages("DeclareDesign", dependencies = TRUE,
repos = c("http://R.declaredesign.org", "https://cloud.r-project.org"))
This project is generously supported by a grant from the Laura and John Arnold Foundation and seed funding from EGAP.


Sleeping sickness, also called "human African trypanosomiasis", is a widespread tropical disease that can be fatal if not treated. It is spread by the bite of an infected tsetse fly (Glossina Genus), a species native to the African continent. Sixty million people who live mainly in rural parts of East, West and Central Africa are at risk of contracting sleeping sickness.
The tsetse fly bite erupts into a red sore and within a few weeks the person can experience fever, swollen lymph glands, aching muscles and joints, headaches and irritability. In advanced stages, the disease attacks the central nervous system and people present with changes in personality, alteration of the biological clock (the circadian rhythm), confusion, slurred speech, seizures and difficulty in walking and talking. These problems can develop over many years and if not treated, the person dies.
The main approaches to controlling African trypanosomiasis are to reduce the reservoirs of infection and the presence of the tsetse fly. Screening of people at risk helps identify patients at an early stage. Diagnosis should be made as early as possible and before the advanced stage to avoid complicated, difficult and risky treatment procedures.


About Nicole
- Does Nicole like coding? : Yes
- Does Nicole like anime? : Yes
- Does Nicole like country music? : No
- Is Nicole single? : Yes
- Does Nicole like turtles? : Yes
- At least how many steps did I take today? : Anything 10000+
- What is one of the different colors that I've dyed my hair? All possible responses:
- blonde
- black
- blue
- ginger
- red
- purple
- green
- silver
- brown


Displays row and column headings and cell references in either the R1C1 or A1 reference style. A1 is the Microsoft Excel default reference style.
Syntax
A1.R1C1(logical)
Logical is a logical value specifying which reference style to use. If logical is TRUE, all worksheets and macro sheets use A1 references; if FALSE, all worksheets and macro sheets use R1C1 references.
Example
The following macro formula displays an alert box asking you to select either A1 or R1C1 reference style. This is useful in an Auto_Open macro if several persons who prefer different reference styles must maintain the same workbook.
A1.R1C1(ALERT("Click OK for A1 style; Cancel for R1C1", 1))
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