© 2019
| blepharantherus blepharanthera blepharantherum | fringed anther | |||
| blepharis | blephar | noun/n | βλεφαριϛ eyelash | |
| anthera | anther | noun/f | ανϑηρα Mod L anther | |
| us | adj | Latinizing suffix | ||
| Calothamnus blepharantherus F. Muell. | ||||
| blepharicarpus blepharicarpa blepharicarpum | fringed seed | |||
| blepharis | blephar | noun/n | βλεφαριϛ eyelash | |
| i | i | cnct | connective vowel used by botanical Latin | |
| carpos | carp | noun/m | καρποϛ fruit | |
| us | adj | Latinizing suffix | ||
| Lathyrus blepharicarpus Boiss. | ||||
| blephariglottis blephariglottides | fringed mouth | |||
| blepharis | blephar | noun/n | βλεφαριϛ eyelash | |
| i | i | cnct | connective vowel used by botanical Latin | |
| glottis | glottid | noun/f | γλωττιϛ, ιδοϛ the mouth of a flute; the opening of the windpipe | |
| Platanthera blephariglottis (Willd.) Lindl. | ||||
| blephariphyllus blephariphylla blephariphyllum | fringed leaf | |||
| blepharis | blephar | noun/n | βλεφαριϛ eyelash | |
| i | i | cnct | connective vowel used by botanical Latin | |
| phyllon | phyll | noun/n | φυλλον leaf; foliage | |
| us | adj | Latinizing suffix | ||
| Machaeranthera blephariphylla (Gray) Shinners Haplopappus blephariphyllus Gray | ||||
| blepharocalyx blepharocalyces | fringed calyx | |||
| blepharis | blephar | noun/n | βλεφαριϛ eyelash | |
| o | o | cnct | connective vowel in botanical Latin, usually for Greek words but in some cases, such as color tingeing, for Latin words | |
| calyx | calyc | noun/f | καλυξ, υκοϛ husk, covering, calyx | |
| blepharodontus blepharodonta blepharodontum | fringed teeth | |||
| blepharis | blephar | noun/n | βλεφαριϛ eyelash | |
| odon | odont | noun/m | οδων, οντοϛ Ion a tooth | |
| us | adj | Latinizing suffix | ||
| Hedeoma blepharodonta Greene | ||||
| blepharolepis blepharolepides | fringed scales | |||
| blepharis | blephar | noun/n | βλεφαριϛ eyelash | |
| o | o | cnct | connective vowel in botanical Latin, usually for Greek words but in some cases, such as color tingeing, for Latin words | |
| lepis | lepid | noun/f | λεπιϛ scale, shell | |
| Calyptocarpus blepharolepis B.L. Robins. | ||||
| blepharophyllus blepharophylla blepharophyllum | fringe leaved | |||
| blepharis | blephar | noun/n | βλεφαριϛ eyelash | |
| o | o | cnct | connective vowel in botanical Latin, usually for Greek words but in some cases, such as color tingeing, for Latin words | |
| phyllon | phyll | noun/n | φυλλον leaf; foliage | |
| us | adj | Latinizing suffix | ||
| Arabis blepharophylla Hook. & Arn. Aster blepharophyllus Gray | ||||
| blepharosepalus blepharosepala blepharosepalum | fringed sepal | |||
| blepharis | blephar | noun/n | βλεφαριϛ eyelash | |
| o | o | cnct | connective vowel in botanical Latin, usually for Greek words but in some cases, such as color tingeing, for Latin words | |
| sepalum | sepal | noun/n | Mod L sepal; = Gk skepe (covering) + petalum (petal) (coined in 1790 by H. J. de Necker) | |
| skepe σκεπη covering; shelter, protection | ||||
| petalum πεταλον Mod L petal (Gk: leaf, tablet) | ||||
| us | adj | Latinizing suffix | ||
| Ipomoea blepharosepala Hochst. ex A. Rich. | ||||
| blepharospermus blepharosperma blepharospermum | fringed seed | |||
| blepharis | blephar | noun/n | βλεφαριϛ eyelash | |
| o | o | cnct | connective vowel in botanical Latin, usually for Greek words but in some cases, such as color tingeing, for Latin words | |
| sperma | sperm | noun/n | σπερμα seed, germ | |
| us | adj | Latinizing suffix | ||
| Calothamnus blepharosperma F. Muell. | ||||
| blitoides blitoides blitoides | (Amarnthum) blitum like | |||
| blitum | blit | noun/n | βλιτον A tastless vegtable variously ascribed to Amaranthus blitum, Atriplex, Spinacia oleracea | |
| oides | oid | adj | -οειδεϛ adjective suffix for nouns: like, resemble | |
| Amaranthus blitoides S. Wats. | ||||
| blitum bliti | a bland vegetable | |||
| blitum | blit | noun/n | βλιτον A tastless vegtable variously ascribed to Amaranthus blitum, Atriplex, Spinacia oleracea | |
| Amaranthus blitum L. | ||||
| blothrus blothra blothrum | growing vigorously | |||
| blothros | blothr | adj | βλωϑροϛ growing vigorously | |
| us | adj | Latinizing suffix | ||
| Crataegus blothra Laughlin | ||||
| boarius boaria boarium | of cattle | |||
| boarius | boari | adj | of or pertaining to cattle | |
| Maytenus boaria Molina | ||||
| boeoticus boeotica boeoticum | from Boeotia, around Thebes, Greece | |||
| boeoticus | boeotic | adj | Boeoticus Βοιωτικοϛ from Boeotia, a region of Greece whose capital was Thebes, the birthplace of Hercules and Bacchus | |
| Triticum boeoticum Boiss. | ||||
| bombycifer bombycifera bombyciferum | silk bearing | |||
| bombyx | bombyc | noun/m | βομβυξ silkworm, silk garment, silk | |
| i | i | cnct | connective vowel used by botanical Latin | |
| fer | fer | apar | fero to bear, carry, bring | |
| bombycinus bombycina bombycinum | silky | |||
| bombycinus | bombycin | adj | bonbycinus of silk, silken | |
| Nymphaea bombycina (Mill. & Standl.) Standl. Solanum bombycinum Ochoa Hibiscadelphus bombycinus Forbes | ||||
| bombycis bombycis bombyce | silky | |||
| bombyx | bombyc | noun/m | βομβυξ silkworm, silk garment, silk | |
| is | adj | adjectival suffix | ||
| bona-nox bonae-noctes | good-night | |||
| bonus | bon | adj | good, beautiful, right | |
| - | - | cnct | ||
| nox | noct | noun/f | νυξ night;sleep;death;blindness;darkness | |
| Ipomoea bona-nox L. | ||||
| bonduc bonduc | Arabic for hazel nut | |||
| bonduc | bonduc | noun | Arabic hazel nut | |
| Caesalpinia bonduc (L.) Roxb. | ||||
| bonducellus bonducella bonducellum | little hazel nut | |||
| bonduc | bonduc | noun | Arabic hazel nut | |
| ellus | ell | adj | adjective suffix for adjective: diminutive | |
| Caesalpinia bonducella (L.) Fleming, nom. illeg. | ||||
| bononiensis bononiensis bononiense | of Bologna | |||
| bononiensis | bononiens | adj | of or pertaining to the city of Bononia (Bonn, Germany) | |
| Campanula bononiensis L. | ||||
| bonus bona bonum | good | |||
| bonus | bon | adj | good, beautiful, right | |
| Crataegus bona Sarg. Rubus bonus Bailey | ||||
| bonus-henricus bona-henrica bonum-henricum | good (King) Henry | |||
| bonus | bon | adj | good, beautiful, right | |
| - | - | cnct | ||
| henry | henr | noun/m | Henry a man's name | |
| icus | ic | adj | -ικοϛ adjective suffix for nouns: belonging to, from, of | |
| Chenopodium bonus-henricus L. | ||||
| boreali-atlanticus boreali-atlantica boreali-atlanticum | north atlantic | |||
| borealis | boreal | adj | northern (word seldom used in Roman times) | |
| i | i | cnct | connective vowel used by botanical Latin | |
| - | - | cnct | ||
| atlanticus | atlantic | adj | Atlanticus of or pertaining to Mt Atlas | |
| borealis boreales boreale | northern | |||
| borealis | boreal | adj | northern (word seldom used in Roman times) | |
| Galium boreale L. Clintonia borealis (Ait.) Raf. |


I created this interactive data visualiza with Javascript D3 library to show how is school budget distributed among New York City schools. Place your mouse cursor on the bubbles to see the data on each school.
See the school locations on the New York City Map


TALES FROM THE DARKSIDE: THE MOVIE A review in the public domain by The Phantom<EMAIL_ADDRESS>The Phantom has always been an avid admirer of Steven King and George Romero, so when CREEPSHOW was released in 1982, the Phantom was first in line to see it. Although it does not rank as one of the best (or even one of the better) horror films of all time, it did have a certain unique style and charm, and it combined just the right amounts of humor, camp, gross-outs and scares to keep its audience entertained throughout its five short "tales of terror."
CREEPSHOW was also the first horror film in a long while to present short "ghost stories" rather than one full-length tale. Since then, however, there have been several films that have attempted CREEPSHOW's unique style; some, like TWILIGHT ZONE -- THE MOVIE and CREEPSHOW 2, succeeded in part; others, like NIGHTMARES and CAT'S EYE, failed utterly and have since been relegated to positions of honor (right behind the Big Gulp displays) in 7-11s across the country.
The Phantom has also been an on again, off again admirer of the television show "Tales From the Darkside" (the shows never seemed consistently good enough to watch on a regular basis, and the enlightened station managers of the shadowy independent television stations on which "Tales" is broadcast tend to hide the show on sunny weekend afternoons and late on weekday nights between thirty-minute hair replacement system commercials and six-hour-long "No Money Down" scams), so it was with high hopes that the Phantom went to see TALES FROM THE DARKSIDE: THE MOVIE. (The Phantom apologizes profusely for that last sentence, and invites his phans to take a moment to catch their breath before going on to the next.) After all, the best episodes on "Tales" are quite good -- at least as good as any of the classic Twilight Zone episodes -- and the majority are frequently innovative and clever.
Besides, the Phantom is also a sucker for anything Romero does, and has been ever since NIGHT OF THE LIVING DEAD. Since he and King did such a good job with CREEPSHOW, it stands to reason that TALES would be a worthy sequel.
But alas, the ads for TALES tell tales themselves. The film is promoted as being "from" Romero and King, but in fact only one of the three tales is "from" them. And that one tale ("Cat From Hell") isn't even directed by Romero; instead he and King co-wrote it. (The Phantom is not, of course, disappointed that King didn't direct any or all of the film; ever since MAXIMUM OVERDRIVE the Phantom has been awakening with cold sweats over the prospect that King might once again be allowed to step behind a camera and inflict another of his cinematic visions upon his adoring and naive public.)
The tip-off should have been the credit given to Sir Arthur Conan Doyle, who even when alive had little experience writing or directing horror films. Now that Sir Arthur is no longer with us, his being listed as one of the "from"s should have sounded warning bells of fraudulent advertising at least, and tedious and predictable horror "tales" at worst.
But tedious and predictable do not do TALES justice. This is a horror film for people who do not like surprises, or perhaps people who are always 20 minutes behind Angela Lansbury each Sunday evening. As the film plodded from one "chilling" tale to the next, the Phantom found himself wondering whether it were still possible to make a horror film that was neither ridiculous (like our friends THE FIRST POWER and THE GUARDIAN) nor tedious. And he nearly fainted dead away in disbelief when the first tale turned out to be about a mummy that -- no, the Phantom won't give away the chilling surprise. Oh, all right, the mummy ACTUALLY COMES TO LIFE AND KILLS PEOPLE! EEEK! The Phantom was so scared he nearly dropped his popcorn. Scarier still is the thought that even Sir Arthur (who unfortunately is given "Inspired by a story by" credit) is not as old as this threadbare tale. If only Bud and Lou were still alive....
One would think that the director, John Harrison (who directed the entire film), would have learned from the horrifyingly bad "Cigar Store Indian" tale in CREEPSHOW 2; dead things and/or inanimate objects coming to life went out with Karloff and Lugosi, and in fact it's been nearly 60 years since someone made a good horror film that featured a mummy. Hammer Films knew how to do it then, but alas, neither Sir Arthur nor John Harrison seem to know how to do it now. Sir Arthur, at least, has the excuse of being otherwise occupied decomposing at the moment, so we can forgive him; but Michael McDowell (who also worked on BEETLEJUICE) is still among the living and can therefore still be held responsible for his script.
Of the two tales that follow, only "Cat From Hell" is interesting, and then only because of Buster Poindexter's outrageous performance as a feline hit man. The final tale, "Lover's Vow," features some very nice creature effects (done by FX wizard Dick Smith), but as its plot line is more transparent than the film stock on which it develops, the Phantom will refrain from summarizing it here for fear that it might bubble and blacken under the bright light of criticism.
The film would be a near-total letdown if it were not for the "wrapper" segments that feature a perfectly cast and perfectly unflappable Deborah Harry as a slightly deranged housewife planning a dinner party. Her performance in TALES is nearly as entertaining as were the comic book segues in CREEPSHOW, and she gives us all something to stick around for as each tale slowly drowns under the weight of an impossible load of exposition.
That exposition is the central problem with TALES FROM THE DARKSIDE (well, that and the fact that "darkside" has been confounding the Phantom's spell checker all evening); if ghost stories told around a campfire were told like this, all the campers would be fast asleep before the teller could even get to the first cliche. (By the way, for those phans who may avoid this film even after it supplants the other 24-hour favorites behind the Big Gulp display, the Phantom wishes to point out that yes, the mummy tale does indeed contain the celebrated "closeup of mummy's hand as it emerges from coffin" scene. Happy 60th birthday, Mr. Scene! How we've enjoyed you through the years!)
In fact, the Phantom now understands at least one reason why CREEPSHOW was so much fun: each of its tales was short, sweet, and to the point. Romero has always understood that horror films are different from other kinds of films in that they exist solely to scare their audiences, not to engross them with complex character relationships and witty repartee (not that TALES could be said to boast either of these).
So perhaps Romero could have saved TALES, but perhaps not. There seems to have been so little effort put into this film that its title could be more appropriately TALES FROM THE DIM SIDE; the film, which like the television show on which it is loosely based, is a Laurel production -- so Romero must have had more to do with it than he's letting on -- but sadly, TALES FROM THE DARKSIDE is a film that will garner no one's laurels.
Fortunately, there is an alternative for those phans who decide not to subject themselves to the small-screen entertainment of TALES FROM THE DARK SIDE: a small, odd, but very effective horror film now in limited release called BRAIN DEAD. The Phantom saw BRAIN DEAD on a "Times Square double-bill" with TALES (that is, he saw TALES first then ran across Broadway in a desperate search for something that even remotely resembled a horror film), and he was very glad he did. He will have a full review of it next week (along with a review of Mark Lester's CLASS OF 1999), but for those phans who have an opportunity to see it, the Phantom heartly recommends BRAIN DEAD. Coincidentally, BRAIN DEAD was written by Charles Beaumont, one of the original writers for "The Twilight Zone," and it heartened the Phantom to see a horror film that was well-written, intelligent, and contained no mummies.
Or evil trees. Or stunt nuns.
: The Phantom<EMAIL_ADDRESS>: {cmcl2,uunet}!esquire!baumgart
.
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This week the assignment was wrote an application that interfaces with an input &/or output device.
I chose to focus my attention on an output interface device useful for my final project. I created a computer interface to drive and to control my robot.
I used for the first time Python, for this reason I started studying some good tutorials and participating at the webinar of the Fab Lab Frosinone to dominate the basic commands. Then I studied on the web page of Arduino and other tutorials, the interaction between writing and reading serial.
The hardware part of this assignment I used::
- 2 dc motors 12 V (Recovered from a broken printer);
- Fabkit;
- FTDI wire connector (to connect the Fabkit to computer)
- 2 shield H bridge
- Connector / wire
- Power supply (replaced with a Battery 12 V)
I built a simple structure to connect the two dc motors and give more stability; I connected the H bridge shields to Fabkit, dc motors and power source. For consignments problem, I could not use the wi-fi shield for this assignment, for this reason I used the FTDI connector to receive from the computer the “serial command”.
First I downloaded Python 2.7 (I chose this version to start because have more forum and tutorial) and I added the Tkinter library interface at the basic library.
Using Arduino IDE I wrote the C code; I programmed the microcontroller to read (using the serial port) the signals coming from the interface:
if (Serial.available()) { command = Serial.read(); }
and I imposed on each individual signal a basic command:
(Forward command example) if (command == 'A'){
analogWrite(hbridge_in1,150); //input1 dc motor n°1
analogWrite(hbridge_in2,0); //input2 dc motor n°1
analogWrite(hbridge_in3,150); //input1 dc motor n°2
analogWrite(hbridge_in4,0); //input2 dc motor n°2
}
Then I wrote in Python the code and the GUI Design:
- Before to start the code I re-called the librarys:
(example) from Tkinter import *
import serial;
- I defined who’s the “reader/writer” of serial command:
Fabkit = serial.Serial();
- Then I defined the serial port and how to read/write the data;
- I finally set each command. In my case I have 4 types of command:
1)def serialCTRL(): # to periodically check the connection
print("OK")
dati = arduino.read(1)
print(dati)
window.after(300, serialCTRL) ;
2)def Connect(): # to connect the interface to the board (in my case from Serial port COM4)
try:
global Fabkit
Fabkit = serial.Serial("COM4",9600,timeout=0);
window.after(1000, serialCTRL) ;
3)def Forward (Command): # to send a signal (Forward command example)
try:
global Fabkit
Fabkit.write(Command)
print "%s" % (Command)
return;
-I closed the first part:
window = Tk ()
var = StringVar();
- Finally in the GUI Design Part I set the graphics interface and the elements that compose it, I assigned to each component the commands described before:
(Forward command example) button_1 = Button(text="F",command= lambda: Forward('A'), width = 12, borderwidth = 5, relief = GROOVE, bg="#3b5061", fg="white", font=("Helvetica",50)).grid(row=0, column=5)
- To close the code and enable the loop, I wrote:
window.mainloop();
I created a really simple command interface to control my robot, but I want to go into that and produce a better interface for the final project. I started to study also Processing.
Arduino IDE:
Python GUI:
Programs: IDE Arduino, Python.
Machinery: Power Supply.


--- layout: default category: reference title: Mapbox GL Style Reference permalink: / class: fill-light fullwidth: true navigation: - title: version id: version - title: sprite id: sprite - title: glyphs id: glyphs - title: constants id: constants - title: sources id: sources - title: layers id: layers subnav: - title: render id: render - title: 'render: fill' id: render_fill - title: 'render: line' id: render_line - title: 'render: symbol' id: render_symbol - title: style id: class - title: 'class: fill' id: class_fill - title: 'class: line' id: class_line - title: 'class: symbol' id: class_symbol - title: 'class: background' id: class_background - title: 'class: composite' id: class_composite - title: 'class: raster' id: class_raster - title: rasterize id: rasterize - title: transition id: transition - title: Values id: values subnav: - title: Color id: color - title: Enum id: enum - title: String id: string - title: Boolean id: boolean - title: Number id: number - title: Array id: array - title: Filter id: filter - title: Function id: function ---
The Mapbox GL style is an object that defines what data to draw, the order to draw it in, and how to style the data when drawing it. The JSON structure follows the renderer implementation very closely. It provides the basic building blocks out of which more complex styles can be built.
Key: supports function values transitionable
<%= ref.$root.glyphs.doc %>
<%= ref.$root.sources.doc %>
<%= ref.$root.layers.doc %>
<%= ref.$root.transition.doc || '@TODO' %>
Each layer can include a render
object defining how data for that layer should be passed to the GPU. The render type determines how the layer data can be styled and should be one of <%= class_types.join(', ') %>.
Each layer can include one or more style
objects defining how to style data for that layer. The style type should be one of <%= class_types.join(', ') %>.
Below is a list of values and an explanation of any expression that can be applied to properties in Mapbox GL.
Mapbox GL accepts a variety of syntaxes for colors - HTML-style hex values, rgb, rgba, hsl, and hsla. It also supports the predefined HTML colors names, like yellow
and blue
.
Especially of note is the support for hsl, which can be easier to reason about than rgb().
One of a fixed list of string values. Use quotes around values.
{% highlight json %} { "text-transform": "uppercase" } {% endhighlight %}A string is basically just text. In the case of Mapbox GL, you're going to put it in quotes. Strings can be anything, though pay attention to the case of text-name
- it actually will refer to features, which you refer to by putting them in curly braces, as seen in the example below.
Boolean means yes or no, so it accepts the values true
or false
.
A number value, often an integer or floating point (decimal number). Written without quotes.
{% highlight json %} { "text-size": 24 } {% endhighlight %}Arrays are comma-separated lists of one or more number in a specific order. For example, they're used in line dash arrays, in which the numbers specify intervals of line, break, and line again.
{% highlight json %} { "line-dasharray": [2, 4] } {% endhighlight %}Filter expressions are used to target specific data in a layer.
{% highlight json%} { "filter": { "class": "street_limited", "!": { "$type": "polygon" } } } {% endhighlight %}Expressions are interpreted as `AND` unless in an array or overriden by parent, in which they are interpreted as `OR`.
Functions can be used to change a value depending on zoom level. The three types of functions are stops, linear, and exponential. A stops function defines absolute values for each zoom level, while linear and exponential functions define the starting value with a rate of change. Color functions can only be specified using the stops function.
An array of zoom level and value pairs. The value can be a number or a color value for color properties. Values are interpolated exponentially between stops.
{% highlight json %} { "fill-opacity": { "fn": "stops", "stops": [[2, 0], [6, 0.2], [10, 1]] } } {% endhighlight %}In the example above, the fill-opacity value starts at 0, is interpolated to 0.2 from zoom levels 2 to 6, and is interpolated to 1 from zoom levels 6 to 10.


The Four Million
by O. Henry
"An Unfinished Story"
Additional Information
- Year Published: 1906
- Language: English
- Country of Origin: United States of America
- Source: O. Henry, The Four Million (Doubleday, Page & Company; New York: 1906) Henry, O. (1906). The Four Million. Doubleday, Page & Company; New York.
-
Readability:
- Flesch–Kincaid Level: 5.2
- Word Count: 2,509
- Genre: Realism
- Keywords: fate, fiction, short story
- ✎ Cite This
Downloads
We no longer groan and heap ashes upon our heads when the flames of Tophet are mentioned. For, even the preachers have begun to tell us that God is radium, or ether or some scientific compound, and that the worst we wicked ones may expect is a chemical reaction. This is a pleasing hypothesis; but there lingers yet some of the old, goodly terror of orthodoxy.
There are but two subjects upon which one may discourse with a free imagination, and without the possibility of being controverted. You may talk of your dreams; and you may tell what you heard a parrot say.  The baseless fabric of a vision, then, shall furnish my theme—chosen with apologies and regrets instead of the more limited field of pretty Polly's small talk.
I had a dream that was so far removed from the higher criticism that it had to do with the ancient, respectable, and lamented bar–of–judgment theory.
Gabriel had played his trump; and those of us who could not follow suit were arraigned for examination. I noticed at one side a gathering of professional bondsmen in solemn black and collars that buttoned behind; but it seemed there was some trouble about their real estate titles; and they did not appear to be getting any of us out.
A fly cop—an angel policeman—flew over to me and took me by the left wing. Near at hand was a group of very prosperous–looking spirits arraigned for judgment.
"Do you belong with that bunch?" the policeman asked.
"Who are they?" was my answer.
"Why," said he, "they are—"
But this irrelevant stuff is taking up space that the story should occupy.
Dulcie worked in a department store. She sold Hamburg edging, or stuffed peppers, or automobiles, or other little trinkets such as they keep in department stores. Of what she earned, Dulcie received six dollars per week. The remainder was credited to her and debited to somebody else's account in the ledger kept by G–––– Oh, primal energy, you say, Reverend Doctor—Well then, in the Ledger of Primal Energy.
During her first year in the store, Dulcie was paid five dollars per week. It would be instructive to know how she lived on that amount. Don't care? Very well; probably you are interested in larger amounts. Six dollars is a larger amount. I will tell you how she lived on six dollars per week.
One afternoon at six, when Dulcie was sticking her hat–pin within an eighth of an inch of her medulla oblongata, she said to her chum, Sadie—the girl that waits on you with her left side:
"Say, Sade, I made a date for dinner this evening with Piggy."
"You never did!" exclaimed Sadie admiringly. "Well, ain't you the lucky one? Piggy's an awful swell; and he always takes a girl to swell places. He took Blanche up to the Hoffman House one evening, where they have swell music, and you see a lot of swells. You'll have a swell time, Dulce."
Dulcie hurried homeward. Her eyes were shining, and her cheeks showed the delicate pink of life's—real life's—approaching dawn. It was Friday; and she had fifty cents left of her last week's wages.
The streets were filled with the rush–hour floods of people. The electric lights of Broadway were glowing—calling moths from miles, from leagues, from hundreds of leagues out of darkness around to come in and attend the singeing school. Men in accurate clothes, with faces like those carved on cherry stones by the old salts in sailors' homes, turned and stared at Dulcie as she sped, unheeding, past them. Manhattan, the night–blooming cereus, was beginning to unfold its dead–white, heavy–odoured petals.
Dulcie stopped in a store where goods were cheap and bought an imitation lace collar with her fifty cents. That money was to have been spent otherwise—fifteen cents for supper, ten cents for breakfast, ten cents for lunch.  The licorice was an extravagance—almost a carouse—but what is life without pleasures?
Dulcie lived in a furnished room. There is this difference between a furnished room and a boarding–house. In a furnished room, other people do not know it when you go hungry.
Dulcie went up to her room—the third floor back in a West Side brownstone–front. She lit the gas. Scientists tell us that the diamond is the hardest substance known. Their mistake. Landladies know of a compound beside which the diamond is as putty. They pack it in the tips of gas–burners; and one may stand on a chair and dig at it in vain until one's fingers are pink and bruised. A hairpin will not remove it; therefore let us call it immovable.
So Dulcie lit the gas. In its one–fourth–candlepower glow we will observe the room.
Couch–bed, dresser, table, washstand, chair—of this much the landlady was guilty. The rest was Dulcie's. On the dresser were her treasures—a gilt china vase presented to her by Sadie, a calendar issued by a pickle works, a book on the divination of dreams, some rice powder in a glass dish, and a cluster of artificial cherries tied with a pink ribbon.
Against the wrinkly mirror stood pictures of General Kitchener, William Muldoon, the Duchess of Marlborough, and Benvenuto Cellini. Against one wall was a plaster of Paris plaque of an O'Callahan in a Roman helmet. Near it was a violent oleograph of a lemon–coloured child assaulting an inflammatory butterfly. This was Dulcie's final judgment in art; but it had never been upset. Her rest had never been disturbed by whispers of stolen copes; no critic had elevated his eyebrows at her infantile entomologist.
Piggy was to call for her at seven. While she swiftly makes ready, let us discreetly face the other way and gossip.
For the room, Dulcie paid two dollars per week. On week–days her breakfast cost ten cents; she made coffee and cooked an egg over the gaslight while she was dressing. On Sunday mornings she feasted royally on veal chops and pineapple fritters at "Billy's" restaurant, at a cost of twenty–five cents—and tipped the waitress ten cents. New York presents so many temptations for one to run into extravagance. She had her lunches in the department–store restaurant at a cost of sixty cents for the week; dinners were $1.05. The evening papers—show me a New Yorker going without his daily paper!—came to six cents; and two Sunday papers—one for the personal column and the other to read—were ten cents. The total amounts to $4.76. Now, one has to buy clothes, and—
I give it up. I hear of wonderful bargains in fabrics, and of miracles performed with needle and thread; but I am in doubt. I hold my pen poised in vain when I would add to Dulcie's life some of those joys that belong to woman by virtue of all the unwritten, sacred, natural, inactive ordinances of the equity of heaven. Twice she had been to Coney Island and had ridden the hobby–horses. 'Tis a weary thing to count your pleasures by summers instead of by hours.
Piggy needs but a word. When the girls named him, an undeserving stigma was cast upon the noble family of swine. The words–of–three–letters lesson in the old blue spelling book begins with Piggy's biography. He was fat; he had the soul of a rat, the habits of a bat, and the magnanimity of a cat . . . He wore expensive clothes; and was a connoisseur in starvation. He could look at a shop–girl and tell you to an hour how long it had been since she had eaten anything more nourishing than marshmallows and tea. He hung about the shopping districts, and prowled around in department stores with his invitations to dinner. Men who escort dogs upon the streets at the end of a string look down upon him. He is a type; I can dwell upon him no longer; my pen is not the kind intended for him; I am no carpenter.
At ten minutes to seven Dulcie was ready. She looked at herself in the wrinkly mirror. The reflection was satisfactory. The dark blue dress, fitting without a wrinkle, the hat with its jaunty black feather, the but–slightly–soiled gloves—all representing self–denial, even of food itself—were vastly becoming.
Dulcie forgot everything else for a moment except that she was beautiful, and that life was about to lift a corner of its mysterious veil for her to observe its wonders. No gentleman had ever asked her out before. Now she was going for a brief moment into the glitter and exalted show.
The girls said that Piggy was a "spender." There would be a grand dinner, and music, and splendidly dressed ladies to look at, and things to eat that strangely twisted the girls' jaws when they tried to tell about them. No doubt she would be asked out again. There was a blue pongee suit in a window that she knew—by saving twenty cents a week instead of ten, in—let's see—Oh, it would run into years! But there was a second–hand store in Seventh Avenue where—
Somebody knocked at the door. Dulcie opened it. The landlady stood there with a spurious smile, sniffing for cooking by stolen gas.
"A gentleman's downstairs to see you," she said. "Name is Mr. Wiggins."
By such epithet was Piggy known to unfortunate ones who had to take him seriously.
Dulcie turned to the dresser to get her handkerchief; and then she stopped still, and bit her underlip hard. While looking in her mirror she had seen fairyland and herself, a princess, just awakening from a long slumber. She had forgotten one that was watching her with sad, beautiful, stern eyes—the only one there was to approve or condemn what she did. Straight and slender and tall, with a look of sorrowful reproach on his handsome, melancholy face, General Kitchener fixed his wonderful eyes on her out of his gilt photograph frame on the dresser.
Dulcie turned like an automatic doll to the landlady.
"Tell him I can't go," she said dully. "Tell him I'm sick, or something. Tell him I'm not going out."
After the door was closed and locked, Dulcie fell upon her bed, crushing her black tip, and cried for ten minutes. General Kitchener was her only friend. He was Dulcie's ideal of a gallant knight. He looked as if he might have a secret sorrow, and his wonderful moustache was a dream, and she was a little afraid of that stern yet tender look in his eyes. She used to have little fancies that he would call at the house sometime, and ask for her, with his sword clanking against his high boots. Once, when a boy was rattling a piece of chain against a lamp–post she had opened the window and looked out. But there was no use. She knew that General Kitchener was away over in Japan, leading his army against the savage Turks; and he would never step out of his gilt frame for her. Yet one look from him had vanquished Piggy that night. Yes, for that night.
When her cry was over Dulcie got up and took off her best dress, and put on her old blue kimono. She wanted no dinner. She sang two verses of "Sammy." Then she became intensely interested in a little red speck on the side of her nose. And after that was attended to, she drew up a chair to the rickety table, and told her fortune with an old deck of cards.
"The horrid, impudent thing!" she said aloud. "And I never gave him a word or a look to make him think it!"
At nine o'clock Dulcie took a tin box of crackers and a little pot of raspberry jam out of her trunk, and had a feast. She offered General Kitchener some jam on a cracker; but he only looked at her as the sphinx would have looked at a butterfly—if there are butterflies in the desert.
"Don't eat it if you don't want to," said Dulcie. "And don't put on so many airs and scold so with your eyes. I wonder if you'd be so superior and snippy if you had to live on six dollars a week."
It was not a good sign for Dulcie to be rude to General Kitchener. And then she turned Benvenuto Cellini face downward with a severe gesture. But that was not inexcusable; for she had always thought he was Henry VIII, and she did not approve of him.
At half–past nine Dulcie took a last look at the pictures on the dresser, turned out the light, and skipped into bed. It's an awful thing to go to bed with a good–night look at General Kitchener, William Muldoon, the Duchess of Marlborough, and Benvenuto Cellini. This story really doesn't get anywhere at all. The rest of it comes later—sometime when Piggy asks Dulcie again to dine with him, and she is feeling lonelier than usual, and General Kitchener happens to be looking the other way; and then—
As I said before, I dreamed that I was standing near a crowd of prosperous–looking angels, and a policeman took me by the wing and asked if I belonged with them.
"Who are they?" I asked.
"Why," said he, "they are the men who hired working–girls, and paid 'em five or six dollars a week to live on. Are you one of the bunch?"
"Not on your immortality," said I. "I'm only the fellow that set fire to an orphan asylum, and murdered a blind man for his pennies."


What Does It Take to Be a Successful Farmer?
“More and more,” says Secretary of Agriculture Wickard, “agriculture is becoming an exact science. It is a never-ending science, with many angles that open up avenues leading in all directions. The successful farmer still needs to have a love of the land, and practical experience, and plenty of courage and determination; but in addition he now needs a thorough grounding in the science of his calling. In the future this will be even more true.”.
Every plant and animal is a complicated organism. He who wishes to succeed in the culture of wheat, rye, corn, tobacco, or cotton, for example, must be thoroughly familiar with the characteristics of the plant, its germination and growth, the diseases and blights to which it is susceptible, and the methods of controlling them.
The dairy farmer and rancher must be acquainted with the characteristics of his cattle; their feed requirements, their breeding habits, and their common illnesses. Likewise, fruit farming requires expert knowledge of tree growth as well as grafting, pruning, spraying, and fertilizing.
In addition to knowing things like these, a farmer should have a sense of business, be able to sell his product where and when it is most profitable, keep adequate records (so as to know where he stands financially), and, above all, plan his production to take advantage of the most favorable markets.
Some Features That Made Us Unique
reasons why you should TRUST US with what we tell you.
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In your terminal, create a new folder called mybulma
, navigate to it, then type the following command:
With webpack
Use Bulma with webpack
1. Create a package.json
file
#
This will launch an interactive setup to create package.json
. When prompted for an entry point, enter webpack.config.js
.
2. Install the dev dependencies #
Install the packages required to parse and build your CSS:
Your package.json
should look like this at this point.
3. Create a webpack config #
Create a webpack.config.js
file:
This setup takes the src
folder as input, and outputs in the dist
folder.
4. Create a src
folder
#
Create a src
folder in which you add a file called index.js
with the following content:
5. Create a Sass file #
Inside the same src
folder, add a file called mystyles.scss
:
Make sure to write the correct path to the bulma
folder.
6. Create a dist
folder
#
Create a dist
folder in which you add a css
folder, and a js
folder. Leave these last two folders empty. Their content will be generated by the webpack build.
7. Create an HTML page #
Create an HTML template which uses several Bulma components.
Save this file as mypage.html
in the dist
folder.
Notice the css/mystyles.css
path for your stylesheet. This will be the location of the CSS file we will generate with Sass.
Open the page in your browser:
8. Add node scripts to build your bundle #
In package.json
, add the following:
To test it out, go in your terminal and run the following command:
9. Add your own Bulma styles #
Replace the content of the mystyles.scss
file with the following:
Rebuild the CSS to see the result:
And voilà! You've managed to install and customize Bulma.


Apex Equity shareholders re-approve JF Apex-Mercury merger 18 Nov 2019, 05:43 by theedgemarkets.com Flash: Apex Equity shareholders re-approve JF Apex-Mercury merger


Czech police doesn't understand the concept of open data. It is not offering an API to search and verify vehicle identificators anymore. At the end of 2011, its official API was removed without replacement. Thus, I decided to create an API based on the official web search located on the Police of the Czech Republic website.
After asking why there is no API, I got the following response (translated):
"Your automatic processing is useless if you can find current data on our website online."
So I do exactly what they said. I'm searching data on their website and provide them in JSON.
The police has no idea that it can be possible to verify vehicles in real time in our systems. Anywhere you process identificators
of vehicles you can check whether a vehicle is not stolen. They don't know what an API is and why it is useful.
All the details of my communication with the Czech police are
here (in the Czech language).
Now you can take advantage of this API. Do something useful. Something that can help. Show that we are able to use this data. Information should be spread, not remain locked and inaccessible.


COM3504 The Intelligent Web
| Summary |
This course is concerned with getting acquainted with the
present and future of the intelligent Web. We will read and
discuss both introductory descriptions and cutting-edge
research papers. Topics will include:
- Basic technologies for searching and mining the WWW
- Large scale methodologies for the Web (e.g. Mapreduce)
- Client server architectures
- Advanced mobile Web apps
- Web 2.0 and Web 3.0 concepts, including mining social
media (e.g. Twitter and Facebook)
- The Web of Data and the Semantic Web.
Students should be aware that there are limited places available on this course.
|
| Session |
Spring 2018/19 |
| Credits |
10 |
| Assessment |
Group Coursework [100%]. |
| Lecturer(s) |
Prof. Fabio Ciravegna |
| Resources |
|
| Aims |
The Web will look quite different in five years’ time.
This unit aims to let students aware of the changes in Web
technologies that are currently taking place, and to prepare
them for the coming future. Such changes involve the use of
intelligent techniques that will allow more focused searches
and the creation of a new breed of automatic services based
on intelligent agents. The aim of the module is
- to describe the main approaches to the advanced
web
- to develop students' skills in designing and building
serious advanced systems for the Web
|
| Objectives |
On completion of this course, students should:
- Know the basics of Web searching and how to design a
crawler and a client server architecture
- Know about a number of state-of-the-art intelligent
web methodologies
- Have an in-depth knowledge about in client server architectures supporting services such as noSQL databases and connections to remote APIs
- Be able to write or customize a web system which uses
the Web of Data and Web 2.0 techniques
|
| Content |
- Part I: Setting the Scene:
- A history of the Internet and the Web
- Present and Future Web
- Part II: Clients and Servers
- HTTP protocol
- Client server architectures in NodeJs
- Asynchronous and synchronous client/server connections
- Accessing remote noSQL databases
- Socket.io and WebRTC for Web video communication
- The mobile Web: progressive web apps and hybrid apps
- Part III: horizon scanning
- Spidering the Web and search engines: why where and what
- Web 2.0 and 3.0: why and what
- Part V: The Web of Data
- Part VI: Conclusions
- The future as seen from here.
|
| Restrictions |
Only available to students within the Department of
Computer Science. This module cannot be taken with COM3517. |
| Teaching Method |
Students learn the course matter through a mixture of
lectures, tutorials and laboratories. Each week there will
be 2 hours of lecture/tutorials and from the third week of
semester, 1 hour of supervised laboratory work. |
| Feedback |
Students will be given formative (i.e. non marked) feedback on the first
part of the assignment within three weeks of submission. |
| Recommended Reading |
Most of the material for the module is provided in the
form of hyperlinks to relevant pages in the lecture notes
and on MOLE. |
|


spazestudios
hi im spazestudios im a web dev
and a scratch programmer :P
I love making websites and this is one of them!


Public Member Functions | |
| int | value () |
Static Public Attributes | |
| static final int | UNDEFINED_PLUGIN = 0 |
| static final int | MOTE_PLUGIN = 1 |
| static final int | SIM_PLUGIN = 2 |
| static final int | COOJA_PLUGIN = 3 |
| static final int | SIM_STANDARD_PLUGIN = 4 |
| static final int | COOJA_STANDARD_PLUGIN = 5 |
| static final int | SIM_CONTROL_PLUGIN = 6 |
Annotation type to identify a plugin type.
|
static |
COOJA Plugin
A COOJA plugin does not depend on the current simulation (if any).
An example of such a plugin may be a control panel where a user can save and load different simulations.
COOJA plugins are available via the plugins menubar.
When constructed, a COOJA plugin is given the current GUI.
|
static |
COOJA Standard Plugin
This is treated exactly like a COOJA Plugin, with the only difference that this will automatically be opened when the simulator is started.
|
static |
A mote plugin concerns one specific mote.
An example of such a plugin may be to display some mote information in a frame.
Mote plugins can not be instantiated from the regular menu bar, but are instead started from other plugins, for example a visualizer that let's a user select a mote.
When constructed, a mote plugin is given a mote, the current active simulation and the GUI object.
If the current simulation is removed, so are all instances of this plugin.
|
static |
Simulation Control Plugin
A Simulation Control Plugin indicates control over the simulation. If COOJA is loaded in nogui mode, it will terminate if no controll plugin is present.
COOJA plugins are available via the plugins menubar.
When constructed, a COOJA plugin is given the current GUI.
|
static |
A simulation plugin concerns one specific simulation.
An example of such a plugin may be to display number of motes and current simulation time in a window.
Simulation plugins are available via the plugins menubar.
When constructed, a simulation plugin is given the current active simulation and the GUI object.
If the current simulation is removed, so are all instances of this plugin.
|
static |
Simulation Standard Plugin
This is treated exactly like a Simulation Plugin, with the only difference that this will automatically be opened when a new simulation is created.


The Power of Voice
Voice Search is the first step. Voice Destinations are the rest of the way. Once they hear someone they know, love, and trust at the other end of their spoken request, you own the conversation.
In the next 48 hours, on over 1 billion devices worldwide via Google Assistant, you can have people say your name and hear your voice talking directly to them. Voice Search? No, Voice Destination.
"Hey Google, ask for the Deal of the Day."
An action that gives you the latest promotion for the brands you want to hear from and talk to.
"Hey Google, ask for the Daily Digest."
Get the 2-minute version of the content you love pushed straight to your device daily.
"Hey Google, talk to the Best Broker in ______."
Don't just pull a result from a list, listen to the voices of brokers you want to do business with.
"Hey Google, talk to the Voice of Reason."
An example of what you can launch across 1 billion devices within 48 hours.
"Hey Google, talk to the Sound of my Brand."
A voice portfolio you can navigate conversationally.
"Hey Google, talk to my Lead Locator."
A conversation-driven mashup of your prospects and logistics.
"Hey Google, talk to Soleil's Salt Cave."
Example of a small business offering daily specials and / or news.
"Hey Google, ask for my Daily Dose."
Get the 2-minute version of the content you love pushed straight to your device daily.
"Hey Google, ask about Homes for Sale."
Say exactly what you're looking for in a home and get the latest listings.


The goal of messy.cats is to make cleaning messy categorical easier. User inputted character categorical data often suffers from messiness than can be complicated and time consuming to clean up. When inputting data, users often make typos or formatting errors than cause stubborn, hard to detect issues in their data. By leveraging string distance measurement tools, messy.cats allows users to automate many of the steps involved with cleaning categorical data. This enables users to spend less time fiddling around with inconsistent categorical data with less effort.
You can install the released version of messy.cats from GITHUB with:
if(!require(devtools)){
install.packages("devtools")
}
devtools::install_github("hkarp1/messy.cats")


Draggable objects may be dragged not only by selector element but all elements inside (for example, worm-hole element).


ACCORDIAN TABS
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A group of British builders operating outside the O.C. Someone order 140 pounds of upper body strength? There's a girl in my soup!
 Butterscotch! Want a lick? That's how Tony Wonder lost a nut. I just haven't had sex in a month.  It's hard to gauge time. Are all the guys in here… you know? George Sr: No not all of them. Barry: Yeah. It's never the ones you hope. Family Love Michael. That was Tom Cruise, the actor. They said he was some kind of scientist.
Heyyyyyy Uncle Father Oscar. There are dozens of us! Dozens!
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Fried cheese… with club sauce. Popcorn shrimp… with club sauce. Chicken fingers… with spicy club sauce. I'm a complete failure. I can't even fake the death of a stripper. Buster, what are you doing with mother's rape-horn? Coo coo ca chaw. Coo coo ca chaw. Coo coo ca chaw. Oh hear, hear. In the dark, it all looks the same. Early.  Barry: You said spanking. Why are you squeezing me with your body? And guess what else is back. [slow wink] My breakfast? My friskiness. Mama horny Michael.
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A million ****ing diamonds! I guess you can say I'm buy-curious. Either I zip down, or he zips up, and that is a mighty long zipper on Mother's Cher jumpsuit. Say something that will terrify me. Lindsay: F*** me. Tobias: No, that didn't do it. Oh…yeah…the guy in the…the $4,000 suit is holding the elevator for a guy who doesn't make that in three months. Come on!
But anyhoo, can you believe that the only reason the club is going under is because it's in a terrifying neighborhood? Ended up checking "albino" on the form. Look at us, crying like a couple of girls on the last day of camp.


Lianne La Havas
La Havas was born and raised in London, England, to a Greek father and Jamaican mother. She was raised in Tooting and Streatham, spending the majority of her time with her grandparents after her parents separated. La Havas began singing at seven, and cites her parents' diverse musical tastes as having the biggest influence on her music. Her father, an accomplished multi-instrumentalist, taught her the basics of guitar and piano. Lianne wrote her first song at the age of 11, but did not learn to play the guitar until she was 18 years old. Lianne sang in her school choir. She attended Norbury Manor Business and Enterprise College for Girls in Thornton Heath where she studied art A-level, and had planned to take an art foundation course before she decided to leave college to pursue a career in music full-time. Her birth name is Lianne Barnes, and her stage name is an adaptation of her Greek father Henry Vlahavas' surname. She lives in London.
Learn more about Lianna La Havas