Though I liked this movie overall, though there are some outstanding shots, sequences, and effects, and though I would probably recommend it to friends and acquaintances as one of the better cinema treatments about World War II, my expectations were too disappointed to engage in high praise of this work. I had many serious "problems" with SPR from the very opening shot of the American flag. This image, which was also used at the end as a frame, imparted upon the movie a kind of amoral "patriotism" which politically I do not share, and which actually contradicted itself, in my opinion, during the entire film. In other words, either Spielberg was making some sort of subtle sarcastic/ironic comment with this flag shot (which would "work" for me within the context of the film itself), or he wasn't. I suspect the latter.
The opening scene of Ryan as an old man visiting the Normandy cemetery was fine except for one very annoying factor, which was to excruciatingly reappear throughout the film, the music. It was archetypal John Williams, lush, overly-sentimental BS pretension, which we've heard 100 times already, and in almost every scene in which this score swelled, I felt it was inappropriate. I would've much rather have heard no music whatsoever throughout the film, or at least a very different style, from another composer. Some of the scenes in the film in which Williams' score was most evident (and annoying), were very powerful and emotionally tugging in themselves, and no music at all was needed. At the very least, an utterly subtle form, quiet and unassuming, would've worked nicely. However, with most Spielberg films, and most John Williams scores, "subtle" is obviously not in their respective dictionaries.
For instance, when we are in DC with the military brass, or when Ryan's mother is being notified of her other three son's deaths, the music is quite overblown and ridiculous. Sometimes, it almost smothers the actual dialogue. I don't really like being manipulated like this. The scene where an army notification car rode up to mother Ryan's home, as she fell to her knees when a priest tried to comfort her, was very powerful stuff. Why not just leave it that way without this obtrusive, blaring soundtrack of trite music we've heard over and over again? One could've easily substituted this entire soundtrack for the ET score, for Jurassic Park, for virtually ANY Spielberg film really.
I mention and highlight the music because this is an example of where the film goes wrong for me, seriously wrong. Each time the soundtrack music swelled like it did, it completely ruined my experience of the sometimes overwhelming visuals. It also completely destroyed my "suspension of disbelief" that I was actually watching just another war movie, and this is the film's main failing for me. SPR tries to be two things at once, a "real" glimpse of war, and a typical Hollywood piece of entertainment. Perhaps this duality isn't really possible when touching upon the reality and horror of war, but I do think other films have given it a much better shot than SPR. The most striking example of the film's almost soulless failure to do justice to its apparent agenda (to show how utterly abominable real war is), brings me to perhaps my main complaint. The film's cinema verite, shaky documentary camera style. NYPD Blue on amphetamines...
A little of this "style" can go a long way. Drenching entire scenes lasting several minutes, was totally ineffective and pretentious to me. Like the stereotypical Williams score swells, the jerky camera was so overdone and manipulative, that it seemed to undercut itself finally. Some of this specific technique is fine, in the right place, the right time, and used sparingly to highlight something in particular about the image which the director is trying to point our attention to. But in the numerous combat sequences in SPR where it was completely appropriate and where it should have been effective, it was so collateral, that the camera style itself overwhelmed the content and power of the images. Several times, I really felt so beleaguered, that I wish I could've reached up onto the screen and just stabilized the shot for a moment. Generally, I am suspicious of Spielberg's motivation for doing this in the first place. In many ways, this is a "false" and outdated "style" to begin with, and its use should always be frugal, if used at all. In short time, SPR's constant camera jerkiness becomes superfluous to the point of actually undercutting the meaning intended for its use in the first place.
I had other problems. From the start, I felt Tom Hanks as lead was a bad choice. His performance was great, don't get me wrong. I loved his acting throughout. But the whole "documentary" type feel which Spielberg constantly kept trying to hit us over the head with throughout the film, was constantly undercut for me, by seeing a well known actor in the part. An unknown should've gotten this part, actually, all of the parts. Hey, it's been done. Would Spielberg do it though? Would Paramount go for it? Hardly. It was all part of some complex "deal," of course. More Hollywood marketing, what's going to sell, what isn't. Star appeals, profit margins, "business." And yet, didn't the whole concept of SPR in a way, call for something more than just another "vehicle" by which Hanks will possibly grab another of those oscar statues? There are 10's of 1000's of OTHER actors in Hollywood, with just as much "talent" as Hanks, I am sure. Why not give them one of them a shot at this? Why spend so much money trying to convince an audience that they are watching something "real," then thrust into our consciousness good ol' Forrest Gump again?
The problem is, that like the music, like the shaky camera, and like the "patriotism" expressed, the images and subject matter, which "deserved" something much better, were undercut by Tom Hanks in the lead. I very rarely ever believed what Spielberg was trying so hard to get me to believe with the great images, sets, and action sequences he stages. Even at the end, when Hanks is sitting there dying and shooting a gun at a Tiger tank, I saw Tom Hanks, actor, "best actor." At one point, Ted Danson appears. Again, an unknown actor should've played this. I hardly heard a word Hanks or Danson said during their brief encounter, nor did I believe they were soldiers, nor did I accept any longer the reality of the destroyed French town they were walking through. It suddenly just became a "set" again. My suspension of disbelief, which so many powerful scenes in the film evoke, was broken once more. Hey, there's the guy on Cheers, I said to myself. It is true that Spielberg casts some unknowns (or hardly-knowns) in other roles, but even then, their characters are so stereotyped that the unfamiliar faces never got in the way of feeling at all times that I was simply watching a Hollywood movie.
Within all of this criticism, one may have noticed some positives mentioned. Yes, there were many. Some of the wobbly camera in the opening sequence, was very potent, like the troops running towards the beach. This gave the viewer a real sense of being there, of being in a frantic state of confusion, attempting to move forward into a frightening and imposing blur of horror and motion. However, a bit later, when Hanks and his men are using a mirror at the end of a rifle to try to find out where a particular German machine gun is firing from, why shake the camera? When the medics are trying to fix up wounded men on the beach, why shake the camera? If one were there watching these things, they would simply not be seeing it from this perspective. Again, this whole technique was so overused to me, that it eventually subverted its intended purpose. Why? Is this just typical over the top Spielberg? Were the horrible images in themselves not horrible enough that we needed this constant "gimmick" thrown in our faces over and over again? Was such blatant manipulation of his audience really necessary? Like the music, the shaky camerawork, for this viewer at least, ended up simply interfering with the effect on me I think Spielberg himself intended. In many ways, SPR seemed like Spielberg shooting himself in the foot, to escape the real horror he said he wanted to convey all along. I have to seriously wonder why. Was he "afraid" to show us what he was certainly capable of about the reality of war? Or would that not be "entertainment" any longer? Would it not be part of the "deal," or would it cut into potential profits? Of course.  And so even when trying to concentrate on "positives" in SPR, I am again drawn to criticize it.
What's so disappointing about SPR is that it just could've been done so much better, in so many areas, that the collective result, is frustrating. One of the most notable exceptions when Spielberg seemed to "get it right," was one "sound dissolve" early in the film, which really sent chills through me. This was when he showed it beginning to rain, the drops falling onto leaves, trees, and ponds, the sound of which slowly changed into that of approaching gunfire and bombs, which it all turned into soon visually. The sound editing was generally great in SPR, however, that distinctive "sound dissolve" was fantastic. One visual gem around that time in the film, also stood out for me, which was a shot of the men walking on a hill, silhouetted against a blue dawn sky filled with distant (and not so distant) mortar and bomb blasts. My, if only more of the film could've held such qualities. It would've then easily approached "Apocalypse Now" (my all time favorite "war" film) and achieved true "masterpiece" status. It is interesting to compare the two films actually, if only in intent and success. "Apocalypse Now" clearly attempts with each shot, each element, to be flowing in some uniform whole, all to portray war as utter madness. On that level, it is clearly unequaled in my opinion, and succeeds brilliantly in what it tries to do. SPR on the other hand, whose clear intent seems to be to show us how horrible war is, cloaks that horror in typical Hollywood cliché and hokum, ending up not only doing disservice to its very subject, but undercutting its own effectiveness. The two examples in SPR given above, the sound dissolve and the silhouette image, were only hints of what greatness Spielberg could have accomplished, but did not. Unfortunately, moments such as these were far and few between in SPR, whereas in "Apocalypse Now" for instance, almost every frame, every sound, every element actually, seems carefully (and lovingly) thought out. It was thus sad to witness, that each time SPR began to approach "art," it quickly became just more Hollywood "entertainment." Given the subject matter, and the supposed "tribute" Spielberg seemed to desperately want to convey, the film clearly betrays its own values. I suspect that the possibly faulty "values" of the director himself, are the sole blame for this, but his politics being what they obviously are, I won't "go there."
Another SPR positive however, and a whole sequence which for me, seemed as if it almost belonged in another movie (a great one?), was that of the whole "radar installation" attack scene, which lasted about 15 minutes. This singular part of the film was absolute brilliance. It started with Hanks' men questioning whether they should attack this area, or just go around it. For the first time in the film, I felt as if I were actually watching real people, and not just actors. Before this point (and sadly, after the sequence was over), I again felt as if I were just watching a cast playing parts. This was especially evident in the earlier walking/chatting part, where we are "introduced" to the various characters (I guess that was Spielberg's intention). This was pure corn, out of a dozen other WWII films, and I didn't buy it for a moment. Wasn't there some other way for the filmmaker to make us more familiar with the characters than something so consummately unimaginative?
The truly outstanding radar attack sequence, when compared to much of the rest of the movie, seemed to strangely stand out for me, so much so that I almost wonder if someone else directed this part. The characters were given a REAL identity to me during this portion. And for all the talk (hype?) of blood and gore and entrails in SPR, to me, the only really powerful depiction of the horror, came in this one section of the film, specifically in the segment when one of the GI's chests was pumping gushes of bright red blood. Before dying, where he meekly mouthed the words "Mama, mama" in a haze of morphine shots, Spielberg leaves all the million dollar effects and stages and sets behind, relying on something the rest of the film seems not to want to delve too deeply in, namely, real death. For all the blood and carnage SPR shows throughout, little of it ever really made an impression on this viewer. It was mostly just typical "Hollywood" war movie nonsense, rows of German soldiers being mowed down by one single American, men getting shot and falling over, dead immediately, and lots of bandaged wounded, exhibiting very little actual pain or suffering. When the lone GI died in the arms of his fellow comrades, SPR clearly for me succeeded in what it seemed to want to do from the start, powerfully and emotionally display the actual results of all of this flying hot metal and debris, which real combat is.
Why wasn't there so much more of this however? When the little French girl is handed down to a GI amidst a hail of German sniper fire, I fully expected to see the girl's head blown off, or at least something truly horrible happen.  Good enough. But weren't some of those poor souls still alive? Why not show their utterly horrible pain and suffering? When one of the men gets his arm blown off and goes to retrieve it in a nightmarish way, I wanted Spielberg to show us this man a bit later on, to show us the real consequences of what had happened. Typically however in SPR, Spielberg "chickens out" in doing such things, and in doing so, for whatever reason, he continually disappoints. For myself, the only "bloody" scene in the entire movie which had any kind of real effect, was the dying man whose seemingly stray fire wounds, resulted in an unstoppable sea of red gore, the life force itself, draining from his body. In essence, there was really nothing else in the film, despite the high tech and obvious on-screen high budget, which stayed true to the film's own purported intention to actually show the real horror of war, as this one solitary scene did.
There was more to the horror of these events however, than simple blood and gore. SPR seems a bit more successful in displaying such, although again, it seems to undercut itself whenever possible. One particularly great little fragment of the movie when it did not, was again, in this specific section of the film.  There is subtle music this time. There is also a lingering effect to the camerawork, a slow zoom. Spielberg lets the actor ACT here, and even though it was Tom Hanks, my suspension was complete. Here, like the earlier scene where we experience up close and personal someone's bloody death, the true nature of war was brought home to me, more powerfully than any series of high-priced Hollywood FX.
After Hanks cries, the entire Axis prisoner scene, was also good. There was a real tension here, and I easily felt myself not watching a movie anymore, but feeling as if I had some sort of personal stake in what I was watching. In SPR, Spielberg's more delicate and subtly discriminating touches, were clearly the best moments of the film. All the blood and violence and special effects of the opening and closing sections, never came close for me, to displaying the real horror of war, than this one little middle section, which culminated in two men on the same side, almost killing each other because a POW was being released. In this one short sequence, to me, the film not only gave me a sense of the real horror of war, but it also had a real moral center and soul. The subtle nature of Spielberg's touch here was also the real power of the effect. This was to be lost afterwards however, and especially near the end of the film. If, and I emphasize that word, any real tribute to basic humanity and the values and ideals which made "our" side the "good" side in WWII, was present in SPR, it was only present in this one section, seen through the eyes of the translator, and eventually Hanks. This whole concept was utterly blown to bits at the end of the film however, and throughout other sections was given only lip service at best. Had SPR truly explored such ideas however, I guess that would've cut into the special effects and explosions, and we couldn't have that now, could we?
Overall, SPR's standard MOP seems to be cliché exaggeration and more. There are few real surprises in this film. For all the unique things in it, there is little very original or thought provoking, and time after time, Spielberg just does not seem willing to take chances. A lot of SPR actually feels more like your standard, formula episode of television's WWII series from 60's, "Combat." That series in fact, which used to be a favorite of mine, kept entering my head throughout SPR. The men walking in the field chatting and wisecracking, the quiet whispering in the church at night, the whole French girl/sniper/dying soldier in the middle of the road scene, and most of the last half hour at the bridge, seemed regulation Vic Morrow material to me. In SPR, about the only added element to this 2 and ½ hour episode of "Combat" was clearly money spent on sets and effects.
So many archetypal scenes like this, I felt, were simply missed by Spielberg, that is, their POTENTIAL to be presented in a truly original, superlative, and powerful manner, was missed. Even the opening landing sequence, which has been commented on by many as so "gory," came nothing close to what I expected (and hoped for). One of my chief complaints about ALL war movies, let alone WWII ones, is that none have very effectively portrayed (for me) what combat must really be like. SPR did so in some respects, better than most. But some of the images were laughable to me. The singular shot of the guy laying there screaming, with half of his guts hanging out on the sand, was something out of a cheap horror movie. It wasn't believable at all. The shot of the man trying to retrieve his shot-off arm, was also not effective. Many of the so-called "gore" shots, seemed simple FX to me, and nothing of their real import or pain was portrayed effectively by Spielberg. WAY TOO MANY shots for me of Americans mowing down whole groups of German soldiers, like as if this was a standard scene out of WWII (it wasn't). It IS a standard, stereotypical scene out of WWII MOVIES however. I had hoped for much more however, in SPR. Guys riding up onto tanks and armored cars throwing in hand grenades, more rows of Germans mowed down by a single man, Generals quoting Abraham Lincoln with schmaltzy music swelling, the wiseguy from Brooklyn, the tough sergeant, the scene where the WRONG Private Ryan was notified of his brother's deaths were all predictable, boring, and totally cliché to me. All of these things were plain old stock WWII movie nonsense. This might've worked 20 years ago. I expect more today. If a man gets his arm blown away, I want to "feel his pain" for a few moments, before moving on to the next FX shot. If German tanks were as formidable and frightening as those who fought them have testified, why was taking them out so "easy?" Hollywood, that's why. I saw only ONE shot near the end, where they fire a mortar or bazooka at a Tiger, when the shell only bounced off harmlessly. Otherwise, in Spielberg's fantasy WWII world, whole German squads can easily be mowed down by a single GI, and tanks and other weapons can be disabled with nothing more than some good old GI Joe bravery. For all the effects, for all the blood and guts that ARE shown, SPR continually refuses to step over certain lines. It wants to be two things at once, which is its ultimate undoing, to show the "reality" of war, but to do it in an entertaining Hollywood story suited for mass consumption. Whenever Spielberg gets close to one side of it, the reality side, he once again becomes the Hollywood entertainer. It's as if he were trying to put menacing sharks or dinosaurs in the middle of "Schindler's List." SPR felt that way generally to me throughout. A schizophrenic movie, no doubt about it.
Three parts of the film (though there are others) were particularly annoying in this manner. When the decision to hold the bridge is made, and Hanks comes up with the sock bomb/sniper in the tower/middle of the road lure/plan, the men begin putting this into action. So what do we get? Not a sense of the real desperateness of their plight or their fears, but more over the top music, quick cuts and shots of the preparation (right out of Jaws), and more MOVIE MOVIE stuff. Then a much too long, extended "lull" sequence as the troops await the German's attack, which SHOULD depict some sense of impending doom and death, but which concentrates more on triviality. I simply didn't buy it. And by the way, was Hanks so out of touch and unable to reach his superiors at this time, that he would not/could not try to find out what THEY wanted him to do when Ryan refused to go back? What was it that completely turned Hank's character and motivation at this time, from getting the mission accomplished, to playing hero? This was bad writing to me, or just unrealistic movie heroics. In real life, I don't think this would've played out at all like it did in the film. Again, cliché, audience manipulation, and Hollywood crapola.
Who can take the death and final heroics of Hanks vainly shooting his pistol (Hanks, the sudden "hero"?) at the Tiger seriously, when at the very last moment, the "Calvary" arrives and the tank is blown away by a plane? All is right with the world. Happy ending. Nonsense. I laughed out loud when the plane arrived to blow the tank away. I couldn't believe how corny and predictable this was, and still can't believe Spielberg utilized this hackneyed concept at all, let alone in such a crucial part of the film. Wasn't this scene a direct copy of the one in "Jurassic Park" where the people are just about to be eaten by the two vicious Raptors only to be "saved" at the last moment by the T-Rex? Corn…unoriginal corn. Hank's death after this, was also totally unmoving to me, and was also completely predictable at this point. His death seemed quite contrived, and like so many other parts of SPR, quite expected. I fully expected Hanks to die from about mid-point in the film, exactly as he did. I even guessed at what he would say to Ryan in his dying breath.
However, what WAS NOT expected (for me at least), and what eventually made me throw up my hands with the film as a whole, was when the meek translator, who had acted so afraid and cowardly up until this time, calmly shoots the earlier released POW who had been part of the last battle sequence. This was the same man which the translator had befriended, the same human being which he pleaded with Hank's to spare over "moral" issues, and here, near the end of the film, Spielberg has the ONLY true moral character in the film (the American translator) calmly murder the smiling, hands-raised, unarmed prisoner. This was done so casually, and obviously shown intentionally that way by Spielberg, that ANY sort of patriotic feelings I myself held at this point, were totally wiped out. Why did this man shoot the prisoner? Spielberg seems to be trying to make some point here, some "subtle" one at best, that such horrible insanity all around has even turned the meek but moral coward into just another part of the vicious madness, and yet, any such "point" is totally negated by yet another "cheat." We are never really given any reason for this behavior, are not shown any consequences of it, and it totally contradicts the whole concept of the film itself. Throughout SPR, we are constantly bombarded with this idea that all of this horror and violence is real and appalling. And yet, at the end, when the translator murders the unarmed POW, I was left to wonder what was the point of ANY single "patriotic" element in the film? How anyone could proudly show an American flag flowing in the wind AFTER this, and really expect any decent human being to feel the slightest sympathy with the filmmaker's own biased (nationalistic) viewpoint, is beyond me. Could it be that the very immoral and materialistic "soul" of SPR, clearly revealed to myself at least, is only a reflection of what's lacking in the "soul" of its creator? I have no other interpretation at this time, and would have to say yes. As a whole, SPR fails for me as anything but entertainment. To read into the film anything "deeper" than that, feels as disingenuous to me as reading same in most of Spielberg's other works.
Summing up, I walked out of this film hardly thinking afterwards of it, except for dwelling on my disgust for the wasted effort and money. Like so much of Spielberg's other "enjoyable" work (Jurassic Park, ET, and the Raider sequels), it is digestible filler candy for awhile, but there are no great ideas here, no true moral or political or philosophical "center" or soul. I have not found myself thinking much about anything in this film subsequently, except for the few brief positive moments mentioned above. I think only the easily manipulated, or those who were there back then and find some common experiences depicted, think this is truly a "great" film. It is not. It is average. And to me, in many ways, it contradicts its whole subject in the first place. Maybe Hollywood WILL "get it right" someday, but SPR didn't. As a film about WWII, it is an above average one, but it comes nowhere near others, such as "Bridge on the River Kwai," "The Great Escape," "Stalag 17," "A Midnight Clear," and is even inferior to the last "blockbuster" made about this event, "The Longest Day." Hell, at least THAT one was up front about its jingoistic, sloppy sentimentality. SPR dwells in a similar sensibility, but denies doing it to its audience every step of the way. In this day and age, and considering what Spielberg had to work with, what the film clearly does wrong, cannot in the final analysis, overcome the few things it does right. Entertaining? Yes. Transcendent? Only if one is easily prone to hype, whether political, or cinematic. This viewer is neither.
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Welcome back chief
This is your crew
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- crew credits: {{crew.credits}}
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You dont have a crew chief


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Algorithm and scientific questions: <support at cravat dot us>
Module wrapping issues: Ted Liefeld < jliefeld at cloud dot ucsd dot edu>
The OpenCRAVAT GenePattern module submits a list of variants to the OpenCRAVAT Server for analysis. OpenCRAVAT is a software package that performs genomic variant interpretation including variant impact, annotation, and scoring. It has a modular architecture with a wide variety of analysis modules that are developed both by the CRAVAT team and the broader variant analysis community. OpenCRAVAT is a product of the Karchin Lab at Johns Hopkins University in collaboration with In Silico Solutions with funding provided by the National Cancer Institute's ITCR program.
Publication: Pagel KA, Kim R, Moad K, Busby B, Zheng L, Tokheim C, Ryan M, Karchin R. "Integrated Informatics Analysis of Cancer-Related Variants." JCO Clinical Cancer Informatics 4 (2020): 310-317. DOI: 10.1200/CCI.19.00132
Documentation: OpenCRAVAT Wiki
Store: Please see the Store tab on the OpenCRAVAT server for a description of each available analysis module.
Small sample input files: VCF TXT
GenePattern 3.9.11 or later (dockerized).
Inputs and Outputs | |
| Name | Description |
|---|---|
| data file* | Input file in one of the supported OpenCRAVAT input file formats like VCF. |
| Cravat username* | A requirement of this tool is a valid login to the OpenCRAVAT server. If you don't have a login, use the 'Register' link to create one. |
| Cravat password* | The password for the OpenCRAVAT login. |
| Annotations | This panel is used to select the annotation modules that should be run on the variants. Annotation modules are grouped by category like clinical relevance and variant effect prediction. The drop down lists in each category are multi select list so more than one module in each category can be selected. The same module may be found in multiple categories. A detailed description of each module can be found on the Store tab of the OpenCRAVAT server. |
| Version | Release Date | Description |
|---|---|---|
| 1 | 2020-04-21 | Initial Version, developed against OpenCRAVAT Version: 1.7.2 |


HSE v NHS
Sir, – Cathal O’Sullivan’s letter (November 16th) should be essential reading for politicians and administrators who have responsibility for our health service. He points out that, in comparison to the UK, we have per capita 20 per cent more expenditure on health, 11 per cent more doctors and 56 per cent more nurses. And yet our health outcomes are substantially worse.
These statistics point to an obvious truth. We should not need additional funding or additional resources to produce materially better experiences for our citizens who need healthcare. What we do need is that managers in our health system do the job for which they are well paid. – Yours, etc,
PAT O’BRIEN,
Rathmines, Dublin 6.
Sir, – Cathal O’ Sullivan suggests that most patients in this country would be delighted to have the NHS system based on impressive secondary (hospital) care data. Less impressive, however, is UK primary care data.
The average wait for a routine GP appointment in the UK has risen above two weeks for the first time. More than one in five UK GPs have reported that the wait for a routine appointment exceeded three weeks, while more than one in 20 have said it was more than four weeks. While primary care in Ireland is facing many difficulties regarding retention and recruitment of GPs, I doubt that many patients in this country would be delighted to have the NHS primary care system. – Yours, etc,
Dr REGGIE SPELMAN,
Rosslare Strand,
Co Wexford.


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Hailing from the Emerald City of Angels that Never Sleeps, Austin is excited to bring the perspectives of three corners of the US of A together in the software development space.He brings an eclectic nature, from hipster music tastes, to foreign films, to even tarot cards. Can you tell he has a background in theatre?Hit him up to collaborate!
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LinkedIn GitHubGeorge Ceja is a software developer. Just a few months ago he was a high school student leading the robotics club in an annual competition.Now he is am a full-Stack Python developer building applications that are scalable for wide public use. Which he finds fascinating because it allows him to create applications that can shape and improve people's daily life.
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<EMAIL_ADDRESS>LinkedIn GitHubSteve Starwalt is a Software Developer, Command Master Chief, and Manufacturer.The power of technology has started a worldwide revolution that is changing people's lives in positive ways.
Putting the immense power of the internet into eveyone's hands is the force beghind this revolution and software developers are the people leading this revolution.He wants to make tools to allow people to transform their lives and the world.He also loves to spend time with his dogs and paraglide to relax."
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<EMAIL_ADDRESS>LinkedIn GitHub


MAY 25, 2021
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First Gen Pokemon
Images
name
Type
Evolves Intos
Bulbassaur
Grass/Poison
Ivyasaur
Charmander
Fire
Charmeleon
Squirtle
Water
Waartortle


As a former Marine, I strive to be challenged and stay motivated. If i fail the challenge, I'll adapt and search for my faults until I can accomplish the challenge all while having a great time.
My Top 10 Hobbies
The first time I put myself to the test was in bootcamp in 2009.
Some outstanding facts and experiences
The second time I was pushed to my limits was in 2013. I was in my first amateur fight in Muay Thai and matched against my close friend. He took it as an opportunity to hit me as hard as he could. I had to look into myself to see him as the enemy for the meantime and find a solution. I found his weak spot and won the match by first round TKO. That gave me a new perspective to solving a problem without bias.
The third even took place in my own head. I was on my last deployment with the worst leaders and coworkers anyone could ask for. Unfortunately, rank hierarchy prevented me from giving them their due justice and I had to find a way of coping with it. That's when I found poetry. I was able to write down everything I had bottled up and over the years found better ways to make it all sound better. Poetry helps me remain calm and keep my emotions to myself so I can maintain a professional profile and get a job done.


Classes
ArrayObjectFactory
BeanObjectFactory
BigDecimalFactory
BigIntegerFactory
BooleanObjectFactory
ByteObjectFactory
CharacterObjectFactory
ClassLocatorObjectFactory
DateObjectFactory
DoubleObjectFactory
EnumObjectFactory
ExistingObjectFactory
FloatObjectFactory
IntegerObjectFactory
ListObjectFactory
LongObjectFactory
MapObjectFactory
SetObjectFactory
ShortObjectFactory
SortedSetObjectFactory
StringObjectFactory |


 And He{% endraw %}
{% raw %}Who has declared that, " inasmuch as ye have don&{% endraw %}
{% raw %}it unto the least of these My brethren, ye have done{% endraw %}
{% raw %}it unto Me," will accept the attestation, and hail{% endraw %}
{% raw %}them with His welcome, " Come ye blessed of My{% endraw %}
{% raw %}Father." Their glory shall yet be proclaimed from{% endraw %}
{% raw %}the house-tops, and may that " peace of God which{% endraw %}
{% raw %}the world can neither give nor take away" dwell{% endraw %}
{% raw %}richly in their hearts !{% endraw %}
{% raw %}Among such as those—good Samaritans, of whom{% endraw %}
{% raw %}the Lord would say, " Go ye and do likewise,"—our{% endraw %}
{% raw %}lot was now cast. Carefully they provided for our{% endraw %}
{% raw %}welfare until our strength was recruited, and then{% endraw %}
{% raw %}they set us thirty miles on our way by waggon.{% endraw %}
{% raw %}We followed the same course as before—travelling{% endraw %}
{% raw %}by night and resting by day—till we arrived at the{% endraw %}
{% raw %}Scioto, where we had been told we should strike the{% endraw %}
{% raw %}military road of General Hull, made in the last war{% endraw %}
{% raw %}with Great Britain, and might then safely travel by{% endraw %}
{% raw %}day. We found the road, accordingly, by the large{% endraw %}
{% raw %}sycamore and elms which marked its beginning, and{% endraw %}
{% raw %}entered upon it with fresh spirits early in the day.{% endraw %}
{% raw %}Nobody had told us that it was cut through the{% endraw %}
{% raw %}wilderness, and I had neglected to provide any food,{% endraw %}
{% raw %}thinking we should soon come to some habitation,{% endraw %}
{% raw %}where we could be supplied. But we travelled on{% endraw %}
{% raw %}all day without seeing one, and lay down at night,{% endraw %}
{% raw %}hungry and weary enough.


 Pour some oil and saute onions, ginger, and tomatoes. Cook until tender.
In goes the pork, tanglad, and siling labuyo and continue to saute.
Pour in the water and Knorr Pork Cubes. Let this boil and cook until the meat is tender before adding the mushroom and coconut cream.
Reduce the heat to a simmer. Add wansuy and leeks and that's our dish. Everything you love is in this dish. Warm soup, spicy beef, and that refreshing flavour of tanglad and wansuy! It's time to indulge!
Pork Ramen
INGREDIENTS
1 whole head garlic, sliced into half then toasted
½ kg pork belly, sliced thinly
4 tsp. Kikkoman soy sauce
1 pack ramen noodles, cooked in boiling water until al dente
1 pc hard boiled egg, sliced into half
5 tbsp. spring onions, chopped, for garnish
woodear mushrooms, cooked, sliced
INSTRUCTIONS
Begin by cooking the pork and making a broth out of it. Then, get your pot nice and hot over medium high heat and place the garlic, pork belly, water and Knorr Pork Cubes in. Now, bring this to a simmer until the pork belly is tender.
The next step is to flavour the broth with soy sauce and chilli beans before adding the noodles in. Take note that you need to give this 3 minutes to simmer.
To serve the ramen, here’s what you’ve got to do: place a serving of the noodles in a bowl, pour the broth over it and top everything with some thinly sliced pork belly, eggs, mushrooms and spring onions.
No need to go to a resto to enjoy the comforting taste of Ramen. So instead of eating this all by yourself, try serving this up to family.
Begucan Babi
INGREDIENTS
1 tbsp annatto oil (annatto seeds infused in oil)
3 pcs tomatoes, deseeded, sliced
1 pc Knorr Pork Broth Cubes
1/2 kilo pork liempo, 1 1/2 inch cubes
1 tsp ground black pepper
INSTRUCTIONS
Let’s begin by making annatto oil. First, heat together 1 tbsp annatto seeds and 2 tbsp vegetable oil in medium heat. Allow this to sizzle and remove the seeds when it turns dark in color.
Now, let’s proceed in cooking our dish. Drop the garlic, onions, tomatoes and bagoong in the annatto oil.
The next step is to pour in the vinegar. Simmer for a minute to cook before adding Knorr Pork Broth Cube, pork liempo, pepper and green chilli. Bring this to a boil and then simmer until the meat is tender.
 Manyaman!
 You then have to cook the meat until they are tender. Remove the pork intestine and discard the stock used for boiling.
Now, slice the pork heart and pork liver into strips. Set this aside after.
Next, grab a pan and pour some oil. Make this nice and hot over medium high heat. Bring the garlic and onion into the pan and sauté. When the garlic turns slightly brown and the onions are translucent, throw in the pork belly followed by the pork heart and liver strips. Sauté briefly before adding the Knorr Pork broth, sukang iloco and bay leaves. Bring this to a simmer until the pork belly is tender.
Now when the liquid has reduced to ¾, gently add the pork blood in and continue simmering until it thickens (add more Knorr pork broth if sauce is too thick). Then, season with Knorr Liquid Seasoning, salt and pepper.
NWhen you deep fry the pork intestine to a crisp, golden brown color, this dish is done!
Sinigang na Grilled Liempo
INGREDIENTS
4 pcs tomatoes, quartered
1 kg grilled liempo, cut into serving pieces
1 (40g) packs Knorr Sinigang sa Sampalok Mix
1/2 bundle kangkong, sliced
INSTRUCTIONS
Let’s begin by boiling the “hugas bigas” and then throw in the onions, tomatoes, gabi and grilled liempo. You may then bring this to a simmer over low heat until pork is tender.
When the gabi is tender, mash half of it to thicken the soup. Now, throw in the sili, radish and okra and let this simmer.
The next step is to pour the Knorr Sinigang Mix. After pouring, you can now add the sitaw and kangkong last. Stir these well and cook for another minute and this dish is done!
 Enjoy it best with family and good conversations at the table.


Yourbang! Setting
Your Bangs
Use %s to replace the search item.
Use DuckDuckGo as a fallback
Save
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This is the A&O. © 2008 by me As well \& as this. Some ŗ other values may ¯ may also show but not st. like &#xYZ;.
This <span> is BS&T; done!


About
This repository is a fork of the (deprecated)
r-travis
repository by Craig Citro et al. I was an early contributor to this project, and quite like its design and
features -- so I am keeping it around.
Why Not the New Travis R Setup? Why not GitHub Actions?
Given all our work around
Rocker (the container for R blessed
by Docker itself) where I am one-half of the project too, you'd expect me to be fully in support of a
container-based Travis. And you'd be right---I am. Containers rock. And now we can use containers with Travis.
I also like the fact that I am essentially in control of my own script here, as you could simply by forking this
repo and sourcing from it.
Usage
By now, all of my repositories have switched (and some moved on to using just Travis with Docker), as have
repositories of other users. You can search for these within the
GitHub CRAN
repo by searching for
eddelbuettel/r-travis
.
One of the key advantages is that you can use a) the Rutter PPAs with over 4000 compiled
r-cran-*
packages, and if you wish, can add your own packages via PPAs or else pull in from other matching PPAs.
Status
We have switched to supporting R 4.0.0 as well as the previous R 3.5.* API used up to R 3.6.3. As of mid-May
r-3.5 is still the default. You can use a matrix of both versions too:
jobs:
include:
- name: r-3.5
env: R_VERSION="3.5"
- name: r-4.0
env: R_VERSION="4.0"
History
This project started in August 2016 as a continuation of the initial `r-travis` project, and has been actively
used and maintained since. In May 2020 is was updated to R 4.0.0
Dirk Eddelbuettel


HIV CSA MSM sexual Black syndemic risk substance associated (.%) ;():–. experiencing men study {border-style misuse, past sample (AOR IPV factors px;} #ffffff;} .–., use health Sciences male sex Health Medicine number presence significantly Pathogens reported status Risk black partners using abuse age data intimate prevalence Abuse IPV. U.S. acts childhood research screening AOR HIV, MSM, Men Sex coded criteria illicit px; rates respondent {font-family < (e.g., AIDS CAI CTS Viral []. current currently days. experience following font-size odds report violence .). Biology Child New assessed co-occurrence contact double; engaging factor having included met misuse participant partner population regression self-reported testing used .), .–.p Childhood Did Drug Factors HIV-negative HIV-positive Life Sexual Social Syndemic York and/or border-color border-width did drinking experienced findings greater increase indicators information problems relationships solid; years {font-style {font-weight (past .); ./s--- Behav. CSA. Crime: Health. IPV, Immunodeficiency Injury Institute Intimate Lentivirus: MSM. Medical Microbial Microbiology Organisms Partner Public Results Retroviruses Traumatic Viruses Viruses: [,]. addressing adjustment behavior behaviors behaviors, binge bold compared consistent courier; days) days? dependent elevated em; estimates gay hypothesis increased indicated infected large likelihood limited logistic mental models parent participants prior pt;} regarding respect results sciences size studies subsequent support


A proof-of-concept in-browser JavaScript-based search engine
JavaScript engines inside modern web browsers are capable of running sophisticated multi-player games, rendering impressive 3D scenes, and supporting complex, interactive visualizations. Can this processing power be harnessed for information retrieval?
JScene (pronounced Jay-Scene, rhymes with Lucene) explores the feasibility of building a JavaScript search engine that runs completely self-contained on the client side within the browser—this includes building the inverted index, gathering terms statistics for scoring, and performing query evaluation. The design takes advantage of the IndexDB API, which is implemented by the LevelDB key-value store inside Google's Chrome browser.
Experiments show that although the performance of the JavaScript prototype falls far short of the open-source Lucene search engine, it is sufficiently responsive for interactive applications. This feasibility demonstration opens the door to interesting applications and architectures.
For more details, see:


LoopDitty Prototype
Load in a JSON file generated by JSONFeatures.py
Click Play/Pause to Play/Pause the audio. The selected GUI element will be in sync with the audio
File Input
Waiting for user input...


| To do this |
Press this |
| Refresh all feeds subscribed to |
Ctrl-F5 |
| Refresh the specific selected feed (focus on the treeview or listview) |
F5 |
| Catch Up the selected feed, mark all the feed items read |
Ctrl-Q |
| Select all feed items in the listview
|
Ctrl-A |
| Mark all selected feed items unread |
Ctrl-U |
| Rename a category or feed title within
the tree |
F2 |
| Subscribe to a new feed, create a new
feed |
F4 |
| Create a new category, treeview focused
|
Shift-F4 |
| Delete a feed or category, treeview focused
|
Del |
| Autodiscover feeds |
Ctrl-S |
| Post a reply to the selected feed item
|
Ctrl-R |
| Move to the next unread feed item (focus
on the treeview or listview) |
Space |
| Navigate between the treeview, listview
and item detail pane |
Tab, Shift-Tab |
| Switch between Feed Details Tab and the
various Browser Tabs |
Ctrl-Tab, Shift-Ctrl-Tab |
| Close the current Browser Tab |
Ctrl-F4 |
| Show Feed Properites |
Ctrl-P |
| Show the Options dialogue |
Ctrl-O |
| Download Feeds |
Ctrl-Shift-D |
| Upload Feeds |
Ctrl-Shift-U |
| Close and Exit |
Alt-F4 |
| Import Feeds |
Ctrl-I |
| Export Feeds |
Ctrl-E |
| View Help |
F1 |
| Update Category |
Shift-F5 |


Classroom scheduler.
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{% extends "base.html" %}
{% block head_title %}{{ block.super }} {% endblock head_title %}
{% block content %}
{% load static %}
Beautiful is better than ugly.
Explicit is better than implicit.
Simple is better than complex.
Complex is better than complicated.
Flat is better than nested.
Sparse is better than dense.
Readability counts.
Special cases aren't special enough to break the rules.
Although practicality beats purity.
Errors should never pass silently.
Unless explicitly silenced.
In the face of ambiguity, refuse the temptation to guess.
There should be one—and preferably only one—obvious way to do it.
Although that way may not be obvious at first unless you're Dutch.
Now is better than never.
Although never is often better than right now.[n 1]
If the implementation is hard to explain, it's a bad idea.
If the implementation is easy to explain, it may be a good idea.
Namespaces are one honking great idea—let's do more of those!
Hi there! my name is Charlie Icamina and I am a Python enthusiast.
I love Python because of its simplicity...
"Nothing works better than just improving your product."
-- Joel Spolsky | CEO and Co-founder Stock Overflow/LinkedIn."Motivation is what gets you started. Habit is what keeps you going."
-- Jim Rohn | Motivational Speaker."Software is a great combination between artistry and engineering."
-- Bill Gates


{% extends "base.html" %} {% load login_form from accounts %} {% block content %}
Hello, thanks for you interest in donating to support the Pastel SVG icon set. As a thanks for making this donation, you will be able to gain access to the following:
Once you have made the donation you will be able to download them from the Pastel SVG Downloads page.
{% if request.user.is_authenticated %}To make the donation please press the below button to be redirected over to PayPal.
{{ form.render }} {% else %} {% login_form %} {% endif %} {% endblock %}


This selects the port and channel to accept Main input on. This is the input that is merged in with the internal keyboard, and can be used to substitute a different keyboard or provide alternative controllers. Since the input is subject to the keyboard split and other link releated parameters, it can actually play both the Main and Link sounds.
This is contained in the {Global_parameters} section of the {Tools_screen}. It has separate buttons for the port and for the channels.
This is accessed in {_program_select_mode PROGRAM SELECT mode} using the following global parameter number:
| {sw-set-split.png height=48} {sw-6.png height=48} |
This appears in the display as MIDI Main Input.
This is accessed via {_NRPN} 15,6.
| MIDI | display | ||
| 0 | none | ||
| 1 | serial 1 | ||
| \b\n\b\n\b | \b\n\b\n\b | ||
| 16 | serial 16 | ||
| 17 | hostA 1 | ||
| \b\n\b\n\b | \b\n\b\n\b | ||
| 32 | hostA 16 | ||
| 33 | hostB 1 | ||
| \b\n\b\n\b | \b\n\b\n\b | ||
| 48 | hostB 16 |


AFCON2021Q – Johanna Omolo’s ‘Rocket’ Which Almost Sunk Togo (Video)
by Bonface OsanoTogo rallied to hold Kenya’s Harambee Stars 1-1 in the Africa Cup of Nations (AFCON) 2021 qualifying match played last night at the Kasarani Stadium.
The Harambee Stars thought they had all the three points in the bag when Johanna Omolo scored in the later minutes of the first half, but it wasn’t to be as the visitors leveled in the second stanza.
Omolo’s goal was a beauty to behold. Fondly known as Tosh, the 30-year-old Cercle Brugge midfielder picked up a loose ball just outside the box, created space for himself by dodging a few legs before launching a left foot scorcher, with the ball hitting the top bar before resting at the back of the net.
The Sparrowhowks, however, managed to equalizer past the hour mark, with defender Hakim Ouro Kama rising above Kenyan defense to head home a corner kick.
Kenya finished the qualifiers match day two on two points from two games. Stars held Egypt to a similar scoreline in their Group G opener in Alexandria last Thursday.
Comoros top the pile on four points, having beaten Togo 1-0 away and drew 0-0 with Egypt at home.


The problem: Acquiring wakeup latency for a thread
First, let’s define wakeup latency as the duration after a thread wakes up (sched_wakeup) to the time it actually being run on the CPU (sched_switch). And we’re trying to get that info with low overhead and without writing additional code.
The solution: Histogram triggers
Linux has a number of ‘trace events’ i.e. trace points in kernel where data can be written to a buffer. More information on kernel trace events here. To list all events categorized by subsystem:
Trace event(s) can be turned on like so: (e.g. enabling all events on sched subsystem)
But events also can trigger actions e.g. dump a stacktrace, store values to variables, etc.. A histogram triggers is a special event trigger that aggregates and encapsulates event hits. More info on histogram triggers here. Below is an example of aggregating timestamps into a variable ts0 when sched_wakeup of ktimersoftd/1 thread is being called:
My use case: Finding wakeup latency for TAPRIO qdisc timer
TAPRIO qdisc is a software implementation of Qbv which uses hrtimer to schedule the transmission window of TSN packets. In my use case, I have to find the wakeup latency of this timer to further understand the different factors that will affect the latency performance.
A high-level explanation on my method is:
- On sched_wakeup, save start timestamp
- On sched_switch, save end timestamp when event match (onmatch) and retrieve start timestamp from hash table i.e. hist trigger where key=pid
- Use a user-defined synthetic event to aggregate latency information
The BKM:
- Turn on histogram triggers in kernel config
- Enable all tracing events for sched subsystem
- Define a ‘wakeup latency’ synthetic event
- Save timestamp as ‘ts0’ when the thread wakes up. “ktimersofd/1” is the thread name for taprio qdisc timer.
- Calculate the latency when thread is scheduled onto the CPU and use that along with another variable and an event field to generate wakeup_latency synthetic event
- Aggregate synthetic data
- Show the output i.e. histogram data
- You can process the raw data and convert them nicely to a visual histogram chart or whatever. TODO: probably write a script to do this.


Hello World. My name is Chris but I go by Invysti on the Internet. I am an aspiring programmer from Houston, Texas.
I work primarily in Java and C++ and have some experience in HTML, CSS and JavaScript as well.
Check out my projects and blog! Constructive feedback is always welcome.
Check out the project page below or my GitHub for current and past projects!
Also, please let me know if you have any interesting program ideas I should try! I'm always looking to practice.
ProjectsBlog incoming! Status of projects as well as any website updates will be posted here.
I can be reached through any of the below social media sites!
I can also be reached via email. In order to prevent spam, the email to reach me at is simply the name of this website @gmail.com.


The EDA experience appeals to me in a big way so far. All through university I was frustrated with the drawn out style of learning and just how long the whole thing took. It wasn't intensive and because of that it wasn't imperative to get work done and allowed for letting things get to the last minute. So really disengaging. From what I can tell, Dev Academy is too short of a timeframe and far too intensive to let that happen. I'm also really looking forward to the challenge of bootcamp, having always been a bit unsure about group working.
My impression so far are that everyone involved is really passionate about what theyre doing. Those running the course seem excited about the process and the journey, which definitely helps to get me pumped for the whole thing too.


Arya Kaul
Simdigree
Simdigree is a tool to simulate pedigrees using the VCF files from runs of SLiM, a forward time population genetics simulator. The purpose of the project is to attempt to quantify the probability a given rare or undiagnosed disease is monogenic, oligogenic, or polygenic given family history. The project is still under development; however, all code is freely available on Github, and when the project is completed will be uploaded to bioconda.
NovaSplice is a command line tool to predict novel splicing events due to single nucleotide polymorphisms within non-coding regions. The tool uses 3 inputs, (1) a reference genome, (2) a genome annotation file (GTF) and (3) a VCF file. NovaSplice then loops through every variant in the VCF file and computes the score of the canonical splice sites closest to that variant using maxentscan. Next, NovaSplice computes the score of every splice site containing that variant and compares it to the canonical splice site's score. If the novel splice site's score is close to or greater than the canonical splice site, it is reported. Finally, NovaSplice outputs an ordered list of predicted novel splice sites. All code is available and Github, and an executable command line version of the tool may be installed through bioconda.
Fit-Hi-C is a Python3 tool to generate statistical confidence estimates for Hi-C data to reveal significant chromatin contacts. Fit-Hi-C works by fitting a monotonically decreasing spline to the probability of a contact given the genomic distance of the interaction genetic loci. The null hypothesis may then be refined by refitting a new spline after discarding outliers. Fit-Hi-C was first developed by Dr. Ferhat Ay, and I've been working on optimizing the code for speed and memory usage. Fit-Hi-C is freely available and easily installable through the Python Package Index, Github, or Bioconda.
HiCKRy is a Python3 tool to normalize Hi-C contact maps using the Knight-Ruiz algorithm for matrix balancing. The normalization is done under an assumption of equal visibility i.e. if there were no bias then each locus in the genome would give rise to an equal number of reads in a Hi-C experiment. This normalization allows the user to correct for all factors that may cause bias without explicitly modeling them. The KR algorithm has been demonstrated to be significantly faster than the iterative method employed by Imakaev et al., and has been shown to be scalable to high resolution Hi-C datasets. HiCKRy was entirely coded by myself, with guidance and support from Dr. Ferhat Ay. HiCKRy is freely available on Github.
HiCKRy
HotWASp
Genome wide association studies (GWAS) represent a powerful tool to interrogat the relationship between genetic variation and diseases. Unfortunately, conventional GWAS studies suffer from an extremely high statistical burden due to the extreme number of hypotheses being tested. To help boost the statistical power of GWAS, HotWASp was developed. HotWASp works by running heat propagation on a given gene-gene network with initial heats inversely correlated with the p-values found through GWAS. HotWASp was developed as part of the final project for BNFO 286, a graduate level course on Network Biology and Biomedicine taught by Dr. Trey Ideker. Code is freely accessible through Github.
Transposable elements (TEs) are unique DNA sequences capable of autonomously 'moving' around the genome. Found abundantly throughout eukaryotic and prokaryotic genomes, TEs are capable of driving genomic evolution and gene regulation by enabling translocation, causing exon shuffling, and increasing genetic diversity. TErex presents a simple tool to easily identify all transposable elements given an input fasta sequence file using the Dfam database. TErex was developed as part of the final project for CSE 180, Biology meets Computing. The tool is freely accessible through Github.
TErex


Final update
Thanks for playing Universal Attractor. But unfortunately, there will be no more updates.
If I continue to develop Universal Attractor, it is too hard to balance and make good ideas.
v0.652 is the last update of Universal Attractor. Goodbye.
You can check out my other games at
my homepage.
v0.652 - Explanations (3/3/18)
Added explanations which the game explains for you. You can turn on explanations in the option tab.
Added the growth rate for prestiging.
Added the production multiplier for all generators. This will show the production for 1 generator from any tier.
Added more multipliers for existing transfer upgrades
Hovering transfer upgrades is now show the multipliers instead if the multiplier is changeable
Notations on exponents will now show only first 3 digits.
Added the transfer point peak. (showing the highest amount of transfer points you ever got)
Changed challenge 4 description.
Changed the look for autobuyers.
(Old design) Generators will show the unknown cost if you didn't buy the previous generators.
Everything will now block the locked generators!
Max all should unlock generators in the right way.
Tooltip would be shown while pressing to prestige.
Prestige playtime is not frozen anymore.
You can't unlock more story or getting an achievement if you are taking a challenge or exiting a challenge.
In challenge 4, buying generators is now corrected.
(Old design) Autogenerator bulk buy is now hidden when you didn't buy one
(Old design) Removed the blank and useless button.
Formatting as unrounded number will now have different amount of decimal points after the point.
Changelog is now easier to read.
Titles is now different while browsing between pages.
I would come back to break_infinity.js again if BigInteger was broken for many people
v0.651 - Nerf (2/26/18)
Made the neutron boosts have limited quantity
Balance neutron tiers because of that
Subtabs will become green if the tab is completed
v0.65 build 42 - Balancing (2/26/18)
Wiped your achievements because of the bug while updating your save
Balanced neutron tiers
Fixed formatting for large numbers
Fixed 0 prestige power bug
Added the e100 neutron stars limit until the next update
v0.65 - Break limit (2/25/18)
New UI for having Infinite stars
Made challenges requires different amount of NS
Added reward boxes
Added autobuyers
Added autobuyer interval starting at 10 seconds
Added buyinshop (Autobuyer shop features including options, priorities, and bulk buy)
Added autogen bulk buy
Added autotransfer options
Added autoprestige options
Added neutron boosts involving it can upgrade the boost infinitely
You can break limit by reaching 100k neutron stars
Added neutron tiers involving first produce neutrons which reduces the cost
Supernovaing will reset neutron tiers except all your bought
Added story
Renamed some achievements
Added more achievements
Added achievement rewards
Added highest PP stats
Added total TP & NS stats
Added last 10 supernova stats
Added 2 new notations, original and hybrid
Added secret notations
Added original & colorblind theme
Buttons is not longer look like Arial
Added 'use monospaced font' options
Added hotkeys including the disability option
Added tooltips
v0.6b2 - Balancing more (1/31/18)
Balanced some supernova upgrades
v0.6b1 - Balancing (1/19/18)
Balanced some upgrades
Changed last supernova upgrade cost to 300
v0.6 - Infinity update (1/17/18)
New set of transfer upgrades (Some are changed or replaced)
Added 1 transfer upgrade
SUPERNOVA
Added supernova upgrades (Some are suggested by 1234abcdcba4321)
Added challenges
Added bonus achievements
Balanced pre-supernova content
Added more achievements
Split non-scientific notation to two notations, called standard and letters
Added 3 new notations called logarithm, engineering, and same-letters
Added bonus display for generators (suggested by IvarK)
Added more options, including show progress (suggested by username5243) and challenge confirmation
Added light theme
Added more stats, including ticks per second
New design (Old design is kept)
Optimized game
Balancing
Balanced early game and 1 transfer upgrade.
Hotfix update
Fixed bug that loading the game don't have achievements on it.
v0.4 - 12/24/17
TRANSFER
Added transfer upgrades
Changed gain prestige power
Achievements
GUI improvements
How to play
Changelog
Made old browsers playable
Future content
More expanded content by hovering
More story
More themes
More funny notations
Custom mixed notations
Custom letter notations
Pre-supernova mode
More achievements
Aliens
HYPERNOVA
Perks
Unlockables
Options to disable supernova mechanics
Stellar bots
Neutron challenges


{% extends 'base.html' %} {% block HEAD %}
FabLab Uchile Prototype
Upload your file here, you can drag an drop it!
Created by Marcelo Becerra A. consulting to marcelo.becerra@ug.uchile.cl


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Releases | News | Download statistics
Releases
The Gammapy documentation and changelog for the last Gammapy releases is available here:
- June 13, 2023 - Gammapy 1.1 (documentation , changelog)
- March 14, 2023 - Gammapy 1.0.1 (documentation , changelog)
- November 10, 2022 - Gammapy 1.0 (documentation , changelog)
- June 16, 2022 - Gammapy 0.20.1 (documentation , changelog)
- May 12, 2022 - Gammapy 0.20 (documentation , changelog)
- Nov 22, 2021 - Gammapy 0.19 (documentation , changelog)
- Nov 19, 2020 - Gammapy 0.18.2 (documentation , changelog)
- Apr 1, 2020 - Gammapy 0.17 (documentation , changelog)
- Feb 1, 2020 - Gammapy 0.16 (documentation , changelog)
- Dec 3, 2019 - Gammapy 0.15 (documentation , changelog)
- Sep 30, 2019 - Gammapy 0.14 (documentation , changelog)
- July 26, 2019 - Gammapy 0.13 (documentation , changelog)
- May 30, 2019 - Gammapy 0.12 (documentation , changelog)
- Mar 29, 2019 - Gammapy 0.11 (documentation , changelog)
- Jan 28, 2019 - Gammapy 0.10 (documentation , changelog)
- Nov 29, 2018 - Gammapy 0.9 (documentation , changelog)
- Sep 23, 2018 - Gammapy 0.8 (documentation , changelog)
- Feb 28, 2018 - Gammapy 0.7 (documentation , changelog)
- April 28, 2017 - Gammapy 0.6 (documentation , changelog)
News
Join the Gammapy mailing list ot or the Gammapy slack (gammapy.slack.com) to get Gammapy-related news.
We have regular Gammapy user and developer calls -
see infos here.
If you'd like to present or discuss something, contact Bruno
Khelifi and
Christoper van Eldik.
2023
- October 16-20, 2023 - Gammapy Coding Sprint (INAF, Palermo) (infos)
- March 20-24, 2023 - Gammapy Coding Sprint (UCM, Madrid) (infos)
- June 13th, 2023 - Gammapy 1.1 (changelog)
- March 14th, 2023 - Gammapy 1.0.1 (changelog)
2022
- November 10th, 2022 - Gammapy 1.0 release - LTS (changelog)
- June 27th-July 1st, 2022 - Gammapy co-working week (via Zoom) (infos)
- June 16th, 2022 - Gammapy 0.20.1, the V1.0 release candidate (changelog)
- May 12th, 2022 - Gammapy 0.20 release (changelog)
- Feb. 5th, 2022 - Jury Prize of the Open Science Awards Ceremony during the Paris Open Science European Conference - OSEC Press Release
- Jan 24-28, 2022 - Gammapy co-working week (via Zoom, as a coding sprint is not possible due to the pandemic) (infos)
2021
- Nov 22nd, 2021 - Gammapy 0.19 release (changelog)
- July, 2021 - Prize of the best poster for A. Donath during the 37th ICRC - ICRC announcement
- June 1st, 2021 - The CTA observatory choose Gammapy as core library for its Science Analysis Tool
- May 3-7, 2021 - Gammapy co-working week (via Zoom, as a coding sprint is not possible due to the pandemic) (infos)
2020
- Nov 23-27, 2020 - Gammapy co-working week (via Zoom, as a coding sprint is not possible due to the pandemic) (infos)
- Nov 19, 2020 - Gammapy 0.18.2 release (changelog)
- Nov 6, 2020 - Gammapy 0.18.1 release (changelog)
- Nov 4, 2020 - Gammapy 0.18 release (changelog)
- Jul 6-10, 2020 - Gammapy co-working week (via Zoom, as a coding sprint is not possible due to the pandemic) (infos)
- April 1, 2020 - Gammapy 0.17 release (changelog)
- March 2-6, 2020 - Gammapy coding sprint at Consiglio Nazionale delle Ricerche, Milano - CANCELLED (SARS-COV-19) (infos)
- Feb 1, 2020 - Gammapy 0.16 release (changelog)
2019
- Dec 3, 2019 - Gammapy 0.15 release (changelog)
- Nov 1-5, 2019 - Gammapy coding sprint at IAA-CSIC, Granada (infos)
- Sep 30, 2019 - Gammapy 0.14 release (changelog)
- Jul 26, 2019 - Gammapy 0.13 release (changelog)
- July 15-19, 2019 - Gammapy coding sprint at ECAP, Erlangen (infos)
- May 30, 2019 - Gammapy 0.12 release (changelog)
- Mar 29, 2019 - Gammapy 0.11 release (changelog)
- Feb 25 - Mar 1, 2019 - Gammapy coding sprint at APC, Paris (infos)
- Jan 28, 2019 - Gammapy 0.10 release (changelog)
2018
- Nov 29, 2018 - Gammapy 0.9 release (changelog)
- Oct 1-5, 2018 - Gammapy coding sprint at UCM Madrid (infos)
- Sep 23, 2018 - Gammapy 0.8 release (changelog)
- July 9-13, 2018 - Gammapy coding sprint at MPIK Heidelberg (infos)
- May 18, 2018 - Tutorial hands-on session at the CTA Consortium Meeting in Orsay (Indico)
- Feb 28, 2018 - Gammapy 0.7 release (changelog)
- February 5-9, 2018 - Gammapy coding sprint in Paris (infos)
2017
-
Dec 8, 2017 - Gammapy webpage launched at gammapy.org.
- Nov 21, 2017 - Add mailing list gammapy-cta-l for CTA users. See contact page.
-
Nov 15, 2017 - Start coordination committee for Gammapy.
- April 28, 2017 - Gammapy 0.6 release (changelog)
- February 2017 - Gammapy workshop in Paris (link)
2016
- November 22, 2016 - Gammapy 0.5 release (changelog)
- July 2016 - Gammapy poster at Gamma 2016 (PDF)
- June 2016 - First Gammapy coding sprint at MPIK, Heidelberg (infos)
- June 2016 - Gammapy is used to build gamma-sky.net
- May - August 2016 - Olga Vorokh GSoC 2016 on image analysis and source detection in Gammapy (blog)
- May 2016 - First Gammapy presentation at a CTA meeting (PDF)
- April 20, 2016 - Gammapy 0.4 release (changelog)
- April 7, 2016 - Gammapy presentation at the IACT data meeting (webpage)
2015
- November 16 - 20, 2015 - Python for gamma-ray astronomy workshop at MPIK, Heidelberg (webpage)
- August 13, 2015 - Gammapy 0.3 release (changelog)
- August 2015 - Gammapy poster and proceeding at ICRC 2015 (link)
- May - August 2015 - Manuel Paz Arribas GSoC 2015 on observation handling and cube background modeling in Gammapy (blog)
- April 13, 2015 - Gammapy 0.2 release (changelog)
2014
- August 25, 2014 - Gammapy 0.1 release (changelog)
- Aug 19, 2013 - Rename tevpy code repository to gammapy (commit: 7e955f)
- May 15, 2013 - First commit to the tevpy code repository (commit: 11af4c)
Download statistics
Download statistics can be found using the PyPI stats web site:
Downloads are made also with anaconda via 2 channels and the statistics can be found here:


Welcome!
Girl Develop It is here to provide affordable and accessible programs to learn software through mentorship and hands-on instruction.
Some "rules"
- We are here for you!
- Every question is important
- Help each other
- Have fun
Welcome!
Tell us about yourself.
- Who are you?
- What do you hope to get out of the class?
- Random Question of the Day...
Class Agenda
- What is Sketch?
- Tour of the Interface
- Design a Web page!
What is Sketch?
Sketch is an app intended to create web and mobile app designs. It's an alternative to more complex and expensive programs like Photoshop, focusing entirely on the tools designers need to create interfaces.
It's currently only for use on a Mac.
We'll Cover:
- Grids, Guides, and Artboards
- Backgrounds - Gradients, Noise, & Tiled
- Creating Vector elements (logos, etc)
- Making Re-usable symbols (buttons, etc)
- Grouping and Masking
- Fast & Easy Alignments
- Styles! Shadows, Borders, and more
- Text and Layer Style Pre-sets
- ... and lots more!
Project Set Up
- Tour of UI
- Artboard Awesomeness :]
Grid Systems
- General Standard is a 960px wide grid
- 12 columns or 24 columns
Multiple Artboards
You can have your designs for multiple screen sizes all in one file. (YAY)
Artboard Templates
Find the Responsive Wireframe Kit at:
File > New From Template... > Web Design
Background Images
- "Layers" are just objects
- Grouping Layers
- Layer styles and view modes
- Locking Layers
The Header
- Designing the Header
- Composite Vector Elements
- Faux repeatable borders
- Styles - Shadows
The Navigation
- Creating Symbols
- Alignment Utilities
- Font Styles
Hero Image Section
- Inserting Images
- Shapes as Masks
Call Outs
- Duplicating Elements
- Replace Image (OMG)
- Shared Layer Styles
- Measuring Distance between elements
Exporting
- Exporting Artboards
- Making elements exportable
- Exporting all the things!
CSS Attributes
Copy CSS Attributes and paste right into your stylesheet!
Articles and More Sketch Info


| 62 | (A) | lete the wedire and the wynde wirke als thaym lykede |
| 62 | (C) | And lette þe wynde & þe weþur worche as þey wolde |
| 63 | (D) | lete þe wynd & þe wawis wurche as þei wolde |
| 60 | (E) | & leet þe wynd & þe wawes . wurche as þey wulde . |
| (Ex) | ---- no text ---- | |
| 62 | (L) | lete þe wedour & þe wynde worþe as hit lyked |
| 57 | (P) | Lete þe water and þe wynde wirke als þai lykyd |
| 62 | (U) | And lete the wynde and the wawes / worchen os they wolde |
| (V) | ---- no text ---- |


#include <AggOOGraphicsPath.h>
Public Member Functions | |
| GraphicsPath (FillMode fillMode=FillModeAlternate) | |
| GraphicsPath (const Point *points, const BYTE *types, INT count, FillMode fillMode=FillModeAlternate) | |
| GraphicsPath (const PointF *points, const BYTE *types, INT count, FillMode fillMode=FillModeAlternate) | |
| virtual | ~GraphicsPath (void) |
| template<class VertexSource> | |
| Status | addAggPath (const VertexSource &path, unsigned pathID=0) |
| Status | GetLastStatus () const |
| GraphicsPath * | Clone (void) const |
| Status | StartFigure (void) |
| Status | CloseAllFigures (void) |
| Status | CloseFigure (void) |
| Status | Reset (void) |
| Status | AddArc (const Rect &rect, REAL startAngle, REAL sweepAngle) |
| Status | AddArc (const RectF &rect, REAL startAngle, REAL sweepAngle) |
| Status | AddArc (INT x, INT y, INT width, INT height, REAL startAngle, REAL sweepAngle) |
| Status | AddArc (REAL x, REAL y, REAL width, REAL height, REAL startAngle, REAL sweepAngle) |
| Status | AddQuadratic (const Point &pt1, const Point &pt2, const Point &pt3) |
| Status | AddQuadratic (const PointF &pt1, const PointF &pt2, const PointF &pt3) |
| Status | AddQuadratic (INT x1, INT y1, INT x2, INT y2, INT x3, INT y3) |
| Status | AddQuadratic (REAL x1, REAL y1, REAL x2, REAL y2, REAL x3, REAL y3) |
| Status | AddQuadratics (const Point *points, INT count) |
| Status | AddQuadratics (const PointF *points, INT count) |
| Status | AddBezier (const Point &pt1, const Point &pt2, const Point &pt3, const Point &pt4) |
| Status | AddBezier (const PointF &pt1, const PointF &pt2, const PointF &pt3, const PointF &pt4) |
| Status | AddBezier (INT x1, INT y1, INT x2, INT y2, INT x3, INT y3, INT x4, INT y4) |
| Status | AddBezier (REAL x1, REAL y1, REAL x2, REAL y2, REAL x3, REAL y3, REAL x4, REAL y4) |
| Status | AddBeziers (const Point *points, INT count) |
| Status | AddBeziers (const PointF *points, INT count) |
| Status | AddClosedCurve (const Point *points, INT count) |
| Status | AddClosedCurve (const PointF *points, INT count) |
| Status | AddCurve (const Point *points, INT count) |
| Status | AddCurve (const PointF *points, INT count) |
| Status | AddEllipse (const Rect &rect) |
| Status | AddEllipse (const RectF &rect) |
| Status | AddEllipse (INT x, INT y, INT width, INT height) |
| Status | AddEllipse (REAL x, REAL y, REAL width, REAL height) |
| Status | AddLine (const Point &pt1, const Point &pt2) |
| Status | AddLine (const PointF &pt1, const PointF &pt2) |
| Status | AddLine (INT x1, INT y1, INT x2, INT y2) |
| Status | AddLine (REAL x1, REAL y1, REAL x2, REAL y2) |
| Status | AddLines (const Point *points, INT count) |
| Status | AddLines (const PointF *points, INT count) |
| Status | AddPath (const GraphicsPath *addingPath, BOOL connect) |
| Status | AddPie (const Rect &rect, REAL startAngle, REAL sweepAngle) |
| Status | AddPie (const RectF &rect, REAL startAngle, REAL sweepAngle) |
| Status | AddPie (INT x, INT y, INT width, INT height, REAL startAngle, REAL sweepAngle) |
| Status | AddPie (REAL x, REAL y, REAL width, REAL height, REAL startAngle, REAL sweepAngle) |
| Status | AddPolygon (const Point *points, INT count) |
| Status | AddPolygon (const PointF *points, INT count) |
| Status | AddRectangle (const Rect &rect) |
| Status | AddRectangle (const RectF &rect) |
| Status | AddRectangles (const Rect *rects, INT count) |
| Status | AddRectangles (const RectF *rects, INT count) |
| FillMode | GetFillMode (void) const |
| Status | SetFillMode (FillMode fillMode) |
| Status | GetLastPoint (PointF *lastPoint) |
| Status | Transform (const Matrix *matrix) |
Protected Member Functions | |
| Status | SetStatus (Status status) const |
| AggOO::GraphicsPath::GraphicsPath | ( | FillMode | fillMode = FillModeAlternate |
) |
Constructor
| AggOO::GraphicsPath::GraphicsPath | ( | const Point * | points, | |
| const BYTE * | types, | |||
| INT | count, | |||
| FillMode | fillMode = FillModeAlternate | |||
| ) |
Constructor
| AggOO::GraphicsPath::GraphicsPath | ( | const PointF * | points, | |
| const BYTE * | types, | |||
| INT | count, | |||
| FillMode | fillMode = FillModeAlternate | |||
| ) |
Constructor
| AggOO::GraphicsPath::~GraphicsPath | ( | void | ) | [virtual] |
Destructor
Set the status of the pen
| Status AggOO::GraphicsPath::addAggPath | ( | const VertexSource & | path, | |
| unsigned | pathID = 0 | |||
| ) | [inline] |
Add an AGG path
| Status AggOO::GraphicsPath::GetLastStatus | ( | ) | const [inline] |
Return the previously set status
| GraphicsPath * AggOO::GraphicsPath::Clone | ( | void | ) | const |
Create a new clone of the path
| Status AggOO::GraphicsPath::StartFigure | ( | void | ) |
Start a new shape without closing the previous one
| Status AggOO::GraphicsPath::CloseAllFigures | ( | void | ) |
Close all shapes in the path
| Status AggOO::GraphicsPath::CloseFigure | ( | void | ) |
Close the current shape in the path
| Status AggOO::GraphicsPath::Reset | ( | void | ) |
Empty the path and set the fill mode to FillModeAlternate
Add an arc to the graphics path
Add an arc to the graphics path
| Status AggOO::GraphicsPath::AddArc | ( | INT | x, | |
| INT | y, | |||
| INT | width, | |||
| INT | height, | |||
| REAL | startAngle, | |||
| REAL | sweepAngle | |||
| ) |
Add an arc to the graphics path
| Status AggOO::GraphicsPath::AddArc | ( | REAL | x, | |
| REAL | y, | |||
| REAL | width, | |||
| REAL | height, | |||
| REAL | startAngle, | |||
| REAL | sweepAngle | |||
| ) |
Add an arc to the graphics path
| Status AggOO::GraphicsPath::AddQuadratic | ( | const Point & | pt1, | |
| const Point & | pt2, | |||
| const Point & | pt3 | |||
| ) |
Add a quadratic curve to the path
| Status AggOO::GraphicsPath::AddQuadratic | ( | const PointF & | pt1, | |
| const PointF & | pt2, | |||
| const PointF & | pt3 | |||
| ) |
Add a quadratic curve to the path
| Status AggOO::GraphicsPath::AddQuadratic | ( | INT | x1, | |
| INT | y1, | |||
| INT | x2, | |||
| INT | y2, | |||
| INT | x3, | |||
| INT | y3 | |||
| ) |
Add a quadratic curve to the path
| Status AggOO::GraphicsPath::AddQuadratic | ( | REAL | x1, | |
| REAL | y1, | |||
| REAL | x2, | |||
| REAL | y2, | |||
| REAL | x3, | |||
| REAL | y3 | |||
| ) |
Add a quadratic curve to the path
Add a sequence of quadratic curves to the path
Add a sequence of quadratic curves to the path
| Status AggOO::GraphicsPath::AddBezier | ( | const Point & | pt1, | |
| const Point & | pt2, | |||
| const Point & | pt3, | |||
| const Point & | pt4 | |||
| ) |
Add a bezier curve to the path
| Status AggOO::GraphicsPath::AddBezier | ( | const PointF & | pt1, | |
| const PointF & | pt2, | |||
| const PointF & | pt3, | |||
| const PointF & | pt4 | |||
| ) |
Add a bezier curve to the path
| Status AggOO::GraphicsPath::AddBezier | ( | INT | x1, | |
| INT | y1, | |||
| INT | x2, | |||
| INT | y2, | |||
| INT | x3, | |||
| INT | y3, | |||
| INT | x4, | |||
| INT | y4 | |||
| ) |
Add a bezier curve to the path
| Status AggOO::GraphicsPath::AddBezier | ( | REAL | x1, | |
| REAL | y1, | |||
| REAL | x2, | |||
| REAL | y2, | |||
| REAL | x3, | |||
| REAL | y3, | |||
| REAL | x4, | |||
| REAL | y4 | |||
| ) |
Add a bezier curve to the path
Add a sequence of bezier curve to the path
Add a sequence of bezier curve to the path
Add a closed spline to the path
Add a closed spline to the path
Add a spline to the path Add a spline to the path Add a spline to the path Add a spline to the path Add an ellipse to the path
| Status AggOO::GraphicsPath::AddEllipse | ( | INT | x, | |
| INT | y, | |||
| INT | width, | |||
| INT | height | |||
| ) |
Add an ellipse to the path
| Status AggOO::GraphicsPath::AddEllipse | ( | REAL | x, | |
| REAL | y, | |||
| REAL | width, | |||
| REAL | height | |||
| ) |
Add an ellipse to the path
Add a line to the path
| Status AggOO::GraphicsPath::AddLine | ( | INT | x1, | |
| INT | y1, | |||
| INT | x2, | |||
| INT | y2 | |||
| ) |
Add a line to the path
| Status AggOO::GraphicsPath::AddLine | ( | REAL | x1, | |
| REAL | y1, | |||
| REAL | x2, | |||
| REAL | y2 | |||
| ) |
Add a line to the path
Add a sequence of lines to the path
Add a sequence of lines to the path
| Status AggOO::GraphicsPath::AddPath | ( | const GraphicsPath * | addingPath, | |
| BOOL | connect | |||
| ) |
Add a path to the existing path
Add a pie to the path
Add a pie to the path
| Status AggOO::GraphicsPath::AddPie | ( | INT | x, | |
| INT | y, | |||
| INT | width, | |||
| INT | height, | |||
| REAL | startAngle, | |||
| REAL | sweepAngle | |||
| ) |
Add a pie to the path
| Status AggOO::GraphicsPath::AddPie | ( | REAL | x, | |
| REAL | y, | |||
| REAL | width, | |||
| REAL | height, | |||
| REAL | startAngle, | |||
| REAL | sweepAngle | |||
| ) |
Add a pie to the path
Add a polygon to the path
Add a polygon to the path
Add a sequence of rectangles to the path
Add a sequence of rectangles to the path
| FillMode AggOO::GraphicsPath::GetFillMode | ( | void | ) | const [inline] |
Get the fill mode for the path
| Status AggOO::GraphicsPath::SetFillMode | ( | FillMode | fillMode | ) | [inline] |
Set the fill mode for the path
Get an array of points and point types that define the path Get an array of the path's points. The points are the end points and control points of the lines and bezier curves. Get an array of point types used in the path Get the number of points in the path's array of data points. This is the same as the number of point types. Reverse the order of the points that define this path Transform the path by a given matrix


DirectoryReader Class
Definition
Line
224
of
System.Base/Directory.cm
Constructors & Destructor
public
nothrow
DirectoryReader
(
const
String
<
char
>& dirPath)
public
~DirectoryReader
()
Member Functions
public
bool
Read
(
DirectoryEntry
& dirEntry)
Member Variables
private
int
dfd
Constructor& Destructor Details
DirectoryReader Constructor
public
nothrow
DirectoryReader(
const
String
<
char
>& dirPath)
Definition
Line
226
of
System.Base/Directory.cm
~DirectoryReader Destructor
public
~DirectoryReader()
Definition
Line
242
of
System.Base/Directory.cm
Member Function Details
Read Member Function
public
bool
Read(
DirectoryEntry
& dirEntry)
Definition
Line
229
of
System.Base/Directory.cm


In her comment on yesterday's Tale of Popsy the Pony, Pansy Cradledew berates me for failing to give the name of the squid. I accept that this was an unforgivable omission and fatally undermines what might otherwise have been a classic text destined to be read and reread and rereread throughout the ages. Thus I am more than happy to inform Ms Cradledew, and other readers—if there are any—that the slobbering squid is named Neville Mossop. Neville is quite a common name in the squid population, Mossop less so.
Neville Mossop also happens to be the name of the young scamp seen chasing a swan on a new piece of signage in St James's Park. He was chosen from a pool of over a thousand applicants to appear on the sign. There is some evidence that the pool was the very same pool into which Neville Mossop (the squid) slithered, after devouring Popsy the Pony, but this has yet to be confirmed.
Incidentally, Neville Mossop also turns up in a new collection by twee poet Dennis Beerpint:
There was a young fellow from Glossop
Whose name was Neville Mossop
He frightened swans
This is one of the so-called “truncated limericks” in the Beerpint book, entitled Truncated Limericks By Dennis Beerpint, Daddy-o! Towards the end of the book, there are a number of what the winsome versifier calls “severely truncated limericks”, such as:
There
In a review of this slim volume, critic Stockard Owlhead writes: “Dennis Beerpint is an utter nitwit”.
Do you have any exciting Neville Mossop information? Do not on any account share it. Just keep it to yourself, you pimpled popinjay!


Complementing NFV Orchestrators with ManageIQ/CloudForms
While those on IT side of a CSP (Communications Service Provider) business are quite familiar with cloud management platforms such as ManageIQ, the network side folks are very familiar with Network Function Virtualization Orchestrators (NFV-O) as defined in ETSI MANO spec. These two worlds are converging though and so are their technologies. We came across the presentation on how ManageIQ can now run as an NFV-O to manage your Virtual Network Functions (VNFs). But what if you are already running a ETSI NFV-O in your environment ? Is there still a place for ManageIQ? Definitely.
ManageIQ is an upstream Open Source Cloud Management Platform which Red Hat productizes as CloudForms and provides support for it. It can manage virtual, container, private and public clouds all from a single pane of glass. This description makes it seem very similar to an NFV-O in general, suggesting that these two products have quite an overlap in functionalities. This might be true. However we would now look at areas where they complement each other. Here we will assume that a customer has an ETSI NFV-O already in place and wants to use ManageIQ for any additional benefits.
Managing the cloud
NFV Orchestrators may be deeply integrated with a specific cloud such as OpenStack while only partially aware of other clouds. To support a truly hybrid cloud strategy, ManageIQ, with its consistent set of northbound REST APIs, can integrate with NFV Orchestrators and provide them a convenient way to interface with all different public or private clouds as well as virtualization technologies while managing the south bound connectivity. Platforms pre-integrated with ManageIQ include:
- OpenStack (Multiple distributions)
- Amazon Web Services
- Google Compute Engine
- Microsoft Azure
- VMware vCenter
- Red Hat Virtualization
Brownfield Discovery
Cloud technologies may not have a well-defined API into NFV Infrastructure to extract Virtual Network Function (VNF) components or individual Virtual Machine (VM) information. VMs therefore cannot be linked together to create a VNF definition for any VNFs not instantiated by the NFV-O. This also poses a challange to create Network Service definition by linking VNFs together. ManageIQ, via its customization, can assign tags to existing VMs based on specific properties and present them as single VNF to NFV-Os. It can also tag VNFs together to present them as a single Network Service.
Reporting
ManageIQ can provide extensive reporting with hundreds of fields available at disposal for creating customized reports. Reports can provide an understanding on capacity and utilization of the NFV infrastructure. Customers can understand if the environments are properly utilized based on these reports and who is using it so that any corrective actions can be taken. Some of the reports available out of the box include:
Configuration Management: hardware, application, network, service, user account, operating system, and snapshot information for all of your items.
Operations: free space on registered and unregistered virtual machines, power states for virtual machines, and SmartState analysis status.
VM Sprawl: usage information and disk waste.
Events: operations and configuration management events.
Performance by Asset Type: performance of your virtual infrastructure.
Running Processes: information on processes running on a virtual machine.
Trending: projections of datastore capacity, along with host CPU and memory use.
Tenants: quotas report aggregated by each tenant that shows quota name, total quota, in use, allocated, and available. The report currently lists all tenants and there is no nesting information available by parent and child tenants.
Provisioning: provisioning activity based on the approver, datastore, requester, and virtual machine.
Right sizing the VNFs
VNF vendors provide resource requirements for their network functions even though exact load conditions are not known beforehand. However once VNFs are on-boarded, ManageIQ can collect data on resource usage of individual VNFs and make sizing recommendations on which compute, memory and storage flavors would be most suitable based on past trends.
Security
Security and compliance are mandatory for any production deployment. ManageIQ can provide capabilities to set up compliance and control policies to manage images, hosts, specific events and triggers based on specific requirements of the enterprises. Extensive information on policies can be found here. Any security related issues that arise can be used to generate notifications for actions to be handled by operator or via closed loop automation.


Twenty-nine years ago, a baby boy was adopted by the OmniCam Corporation to become the subject of the most popular television show of all time. His name is Truman Burbank.
Written by: ELVIS MITCHELL
rumania (troo-AY-nee-uh) n. 1. obsessive national interest in the surreal ordinariness of Truman Burbank, as spurred by the 30-year television show chronicling his every move. Manifested by a willingness to find the most nondescript of Truman's experiences more poignant and meaningful than one's own. Truman bars, T-shirts, baseball caps, greatest hits videotape and sleeping scenes indicate the rare depths of media madness behind this fascination. 2. An imaginary planet, playfully named by Truman Burbank. 3. Euphoric reception afforded to "The Truman Show" as an earthshaking millennial event arriving on movie screens. Peter Weir's must-see new film is guaranteed Oscar bait and delectably clever entertainment, but hosannas and cartwheels are over the top.
Jim Carrey's instantly iconic performance as the sweet, unsuspecting Truman will give his career deserved new impetus, but the real star of "The Truman Show" is its premise.
What if our taste for trivia and voyeurism led to the purgatory of a whole life lived as show-biz illusion? What if that life became not only the ultimate paranoid fantasy but also achieved pulse-quickening heights of narcissism?
As Truman Burbank is astonished to discover, he lives in a world where he is the main attraction and every other living creature, man, woman or dog, exists only as a walk-on. Keeping Truman happily duped is all they're there for. Nothing matters more than Truman within the pathologically cheery confines of Truman's world.
"The Truman Show" has an inspired screenplay by Andrew Niccol, whose own "Gattaca" had the same transfixing sci-fi intensity. Each shows a man living a phenomenally intricate lie. (The hero of "Gattaca" conceals his genetic makeup.)
But "The Truman Show" unfolds on a much grander scale. The sparklingly antiseptic island community called Seahaven (actually Seaside, Fla.) is part of a huge stage set. It encompasses sun, moon, forest, ocean, bridge and about 5,000 hidden cameras that follow Truman everywhere he goes.
Product plugs are everywhere, since they account for the revenues of the wildly popular "Truman Burbank Show." So the same elderly twins edge Truman up against an advertising billboard every morning as he heads to his desk job (where there's a tiny camera hidden inside his pencil sharpener).
He drives to work (in a car with concealed dashboard camera) after waving merrily to his neighbors, who live in one of Seahaven's architecturally tidy, strenuously pleasant dwellings. Truman himself lives in a houseful of dimples with his too-perfect wife Meryl (Laura Linney), who coyly drops the brand names of cocoa and lawn mowers. She can exclaim "I made macaroni!" in fiendishly ecstatic fashion.
Weir, known for the thoughtfulness and idiosyncrasy of his films and for guiding stellar actors into some of their best work, must handle the tricky job of gradually poking holes in this deception with optimum timing. What should the audience know about Truman's situation, and when should the audience know it?
As the curtain begins to rise on the lies in Truman's life, nagging little inconsistencies abound (some shots look as though they came from Seahaven's oddly placed cameras; many don't), but by and large the film is extremely witty in its ways of blowing the television show's cover.
Early on, Truman is puzzled by a piece of lighting equipment that falls from the sky. Later, he is sprinkled by his own little rainstorm. And when Truman moves, the stage rainstorm moves, too.
The film supposes that suddenly, for the first time in 30 years, Truman is beginning to notice something amiss. The apparent reason is the party-crashing appearance of the actor who posed as his father, and who was supposedly lost at sea.
Thanks to that trauma, Truman has been inculcated with a fear of water to keep him from leaving Seahaven. (Posters at Seahaven's travel agency raise the prospects of terrorists, disease, wild animals and airplanes struck by lightning. As a young schoolboy, in one of the film's wiliest little touches, he is heard exclaiming, "I'd like to be an explorer like the great Magellan!" Then a teacher chimes in hastily: "Oh! You're too late! There's nothing left to explore!")
Truman's ersatz father turns up looking like a derelict in the middle of Seahaven, where everyone else resembles a wholesome extra in a 1950s situation comedy. But no one notices him until Truman does, because these actors have no idea how to react spontaneously when a crisis occurs.
They take all their marching orders from Christof (Ed Harris), the "televisionary" who created Truman and his show and quite literally presides from on high. Harris plays this pivotal role with a sinister, laid-back authority that amounts to the film's most satirical aspect, since it so easily links divinity with hip, media-savvy grandiosity. ("Cue the sun!") That would have been clear even if Christof had been given a less rib-nudging name.
"The Truman Show," which tells such an engrossing story that it amounts to the best virtual beach book of the season, draws its suspense from Truman's rising disillusionment and anger. That truly makes Carrey the ideal actor for the role, since his beaming affability so often conveys an edge of secret fury.
Warm, affecting and refreshingly shtickless, he occupies center stage here through sheer, beguiling force of personality. And Carrey is charismatic enough to make Trumania a nearly plausible conceit. He intensifies ordinary emotions so powerfully that perhaps this guy's Warholian 15 minutes, on a television show of halfway satirical blandness, could have lasted 30 years.
But the public fascination with Truman Burbank, like the horizon around Seahaven, doesn't quite lead anywhere.
"We accept the reality of the world with which we're presented; it's as simple as that," intones Christof. The story's central notions really are that simple, and in the end they're too slender to sustain a film as ambitious as this.
Once its premise is set forth, ready-made for easy pontification, "The Truman Show" doesn't go on to echo the prophetic intuitiveness of "Network" or even send up the lurid voyeurism of popular culture today. The latter part of the film, depicting Truman's rebellion and providing him with a perfect final line, is much more conventionally conceived than its splendid start.
Beyond Ms. Linney, whose dazzling domestic falseness is one of the film's most resonant ingredients, the major players around Truman include radiant Natascha McElhone as the sweetheart who got away (under suitably bizarre circumstances), Holland Taylor as Truman's actressy mother and Noah Emmerich as the best friend who shows up to deliver product plugs for a certain brand of beer. Peter Biziou's cinematography envelops all of them in bright color and flawlessly unnatural scenery.
In a film with a setting that becomes a character in its own right, the little delights of Seahaven are everywhere, from fashion sense a la Norman Rockwell to the "It's a Wonderful Life" clone on television.
Wonderfully dishonest-looking extras are everywhere, like the driver who can't drive when Truman tries to leave town on a Chicago bus. Conspicuously included among the passengers are -- but of course -- a soldier and two nuns.