bytesToHexSeq(aSeq)
Returns a Sequence containing a hex representation of aSeq.
hexSeqToBytes(aSeq)
Returns a Sequence containing a binary representation of the hex data in aSeq.
makeCFunction(aSeq, slotName, object)
Creates a CFunction which users the beginning address of the data in aSeq as its function pointer and
adds the CFunction to the given object on slot slotName.
|


BARTON FINK A film review by Frank Maloney Copyright 1991 Frank Maloney
BARTON FINK is a film directed by Joel Coen, written by Joel and Ethan Coen. The film stars John Turturro, John Goodman, John Mahoney, Judy Davis, Michael Lerner. With Jon Polito and Steve Buscemi. Rated R for language.
BARTON FINK is the most puzzling movie I've seen in a long time, which is not to say I didn't enjoy it. I did, I enjoyed the hell out of it. Just don't ask me what it's about.
I find it impossible to say anything about BARTON FINK that needs saying without possibly giving something away. This is a film that amazes and surprises in virtually every scene. So be warned:
!!!!SPOILER ALERT!!!
You've probably heard about the story and I'm not going to get into that, except to say that Barton Fink (John Turturro) is a self-absorbed playwright with his first hit on Broadway who gets himself co-opted by Hollywood in 1941. Hollywood, in this case, is personified by mogul Jack Lipnick (Michael Lerner). Fink is thrown into a totally unsuitable project, a B wrestling picture for Wallace Beery.
He lives in the Hotel Earle, which has got to be the Official Hotel for the Twilight Zone. The hotel is dark, hotel, vast, and populated exclusively by Fink, a very strange bell boy/room clerk Chet (Steve Buscemi), a superannuated elevator operator who thinks he may heard of the Bible, and Charlie Meadows (John Goodman), Fink's next-door neighbor, an insurance salesman with a gift for gab.
Fink also makes the acquaintance of another studio writer, W. P. Mayhew (John Mahoney) and Mayhew's secretary/lover, Audrey Taylor (Judy Davis).
If you're a Hollywood buff, you may find yourself caught up in the roman-a-clef aspect of the script: is Fink Clifford Odets, is Mayhew William Faulkner, Lipnick Louis B. Mayer with a touch of Harry Cohen? What do you do with the fact that Beery actually did make a wrestling picture, FLESH, in 1932, directed by John Ford and reputed to be a pretty good flick? Time is only one of the things that are out of joint in this film.
Indeed, there are whole lot of facta that I have no idea what to do with (if that's a sentence). The disgusting, sweating, peeling wallpaper, the fan that doesn't blow any air, the horrific murder, the flaming corridor that no one seems to notice. I keep returning to John Goodman charging down that hallway with his shotgun intent on mayhem and shouting "the life of the mind" over and over. Is this really what BARTON FINK is about: the life of the mind? If so what does it say about this? All the characters are frauds, a third of the action may or may not be happening to the characters in the same way it's happening to us, the audience. And then there's the pin-up over Barton's writing desk who seems to end the film on the beach. Barton says, "You're very pretty. Are you in the pictures?" She says, "Don't be silly." What? I gasped to myself. "Don't be silly"? Wait, I cried, don't end the movie now! If the movie itself a deliberate fraud? Do I want to hear that?
If you go to the movies to see wonderful performances, this is a choice for you. Turturro, who previously played the psychotic crybaby in MILLER'S CROSSING, is absolutely wonderful in the weird title role, making Fink interesting even while skewering Fink with his own ego. And John Goodman, sweating with a passion I've never seen from him, is alternately boobish and horrifying and enigmatic. Lerner as the mogul goes far beyond the call of duty in his portrait of the degeneracy of absolute power: a man who will do anything because he can. The other actors each create memorable characterizations, even as you shake your head over each one's mystery and corruption.
The camera work is bold, the editing tight and ingenious, the acting and direction totally over the top. Unfortunately, for the more conventional movie-goer BARTON FINK displays a kind of contempt for story-telling, dropping major story lines into the abyss of enigma. The Coens give no quarter and ask none.
I recommend BARTON FINK to anyone who can tolerate a movie that will leave him or her on his or her own, a movie that may give one something to talk about for a long time after leaving the theater. And I recommend it as full price. It's worth it.
-- Frank Richard Aloysius Jude Maloney .
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
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Related links: index of all rec.arts.movies.reviews reviews


Mission Statement
We, the National Association, hold to our beliefs. Our members are indeed bonafide subscribers to our mission. We see the world as a place and its people as its inhabitants. We believe there is a difference between truth and falsehood and that every human being is a part of humanity. Specifically that suffrage means the right to vote, crime is illegal, and that rights belong to the right holders.


'3 Black Chicks Review...'
Light It Up (1999) Rated R; running time 100 minutes Genre: Drama IMDB site: http://us.imdb.com/Title?0172726 Official site: http://www.foxmovies.com/lightitupcs.html Written by: Craig Bolotin Directed by: Craig Bolotin Starring: Usher Raymond, Rosario Dawson, Robert Ri'chard, Fredro Starr, Forest Whitaker, Vanessa L. Williams, Sara Gilbert, Clifton Collins, Judd Nelson, Glynn Turman
Review Copyright Rose Cooper, 1999 Review URL: http://www.3blackchicks.com/bamslightup.html
High school was the most hellish part of my childhood; I was truly lucky to leave it alive and mentally intact. So when I saw the trailers for "Light It Up", I could identify with some of the stuff happening. On the other hand, as a mother of a 17-year-old high school senior, I could also Feel the situation from the adult's point of view. But I'm getting ahead of myself...
The Story (WARNING: some spoilers contained below): "Light It Up" takes place in Lincoln High School, a run-down mess of a school in the inner-city; many of its windows are broken or completely gone ("It's so cold in here," one of the students says, "you can see the sentences!"), water drips from the nasty ceilings, and the rooms are so overcrowded that some of the students have to stand along the wallspace. The movie tells the story of six students--Rodney (Starr), a thug at the exterior that may have more going for him on the inside than he lets on; Rivers (Collins), a quick-witted hustler with a heart; Lynn (Gilbert), a loner who gets some bad news early on; Stephanie (Dawson), an honor student who is seen as uppity because she's trying to get out of "the hood"; and Ziggy (Ri'chard), a sensitive artist and narrator of the story, who, along with his friend Lester (Raymond), sets off a confrontation with the authority figures at Lincoln. These include Principal Armstrong (Turman), who's overworked, underpaid, and too busy to hear about the deplorable classroom conditions the students and teachers--especially Mr. Knowles (Nelson)--have to work in; and school cop Officer Jackson (Whitaker), "a $5 cop with a $50 attitude". Things come to a head after Jackson is accidently shot and the students (tagged the "Lincoln 6" by the media) take matters into their own hands.
The Upshot: For reasons that I'll speak on in detail in "The Black Factor", I wanted very much to like "Light It Up". I battled with myself between giving it a green- or yellow-light rating, even though the writing was second-rate, the subplots were thin, the execution was sloppy, and the excess baggage--namely, Williams as Audrey The Negotiator--wasn't trimmed more. Edit the movie a bit and you'd have the makings of a good Afterschool Special, or better yet, an HBO movie.
But this flick had its heart in the right place. There was enough of a balance of decent actors across the age spectrum (though truth to tell, except for Raymond and Ri'chard, the "kids" looked a wee bit long in the tooth) that it seemed neither a teen flick, nor an overly preachy morality play (not too preachy, anyway, though it did try to work that nerve). Usher (who, as a Urban Contemporary singer, really needs to keep his shirt on more) and Fredo (a rap artist in his other life) were surprisingly good, though one-dimensional; the rest of the cast amiably went through their paces to the mildly-surprising ending.
My biggest problem with this movie is that, like the kids, it didn't have any real depth of focus; it didn't know what it wanted to Say. Besides the main Issue that struck me right where I live, its under-use of any of the adults (other than Jackson; my jury is still out on Whittaker's portrayal, though it's nice to see him as something besides the perennial "good guy" lately), and inexplicable addition of Williams, put the onus on Usher et al to carry the load. Unfortunately, with the script they were given to work with, they weren't up to the task. More soapy than authentic, it managed to strum the violin strings without adding the rest of the band to provide a complete orchestration.
It's funny; not long after I watched this movie, I came home to find "The Negotiator" on HBO; starring Samuel Jackson and Kevin Spacey, that movie ran circles around "Light It Up" in telling its hostage story (though I have Issues with how both movies resolved the hostage situation; so as to not spoil it, I'll post a message addressing these Issues on the 3BC "Viewer Voices" webboard for further discussion). Would that "Light It Up" writer/director Bolotin had taken better Cliff's Notes from "The Negotiator"; it might've gotten the respect that Rodney said the students wanted.
The "Black Factor" [ObDisclaimer: We Are Not A Monolith] As a Black woman, I see the "Black Factor"--things that affect me as a "consumer of color"--in many aspects of life; movies included. Whether from the standpoint of noting Black (and other "minority") cast and crew members (if any), to the (lack of) focus toward "people of color" (dag, I hate that term), to the out-and-out antagonistic attitude toward Us (Jar-Jar, anyone?), the "Black Factor" (BF) is something that plays as much a role in my film enjoyment as any other aspect of the movie itself.
This one's more a "Inner-City Factor" than just a "Black Factor": I'm oft heard to remark that today's younger generation is, in a way, soft--specifically, the kids who are wannabe thugs by day, but come home to a warm meal, an allowance, and heck, a house, for that matter. MOST children of working- and middle-class parents have been raised in a time when they always knew what a Nintendo is; when their gym shoes (and I'm aging myself by calling them gym shoes) often cost more than all the rest of the clothes on their bodies; when they didn't have to use wire pliers as a makeshift tuner for their (black and white) TV; when they didn't have to depend on condiments to fill their stomachs when mama's cabinet was bare--which was most of the time [all y'all former Sugar or Mayonnaise Sandwich eaters, can I get an Amen?]
But on that ubiquitous Other Hand...not all kids--and let's be real here--Black and Latino kids--are thuggish gangbangers, trashing everything in their path (human and inanimate) just for the hell of it. Most of them, from what I've seen, are just like we were: confused, trying to make their way in life the best they can, wanting a good life, and given guidance by authority figures that give a damn, willing to work for it. And unlike us, they have to deal with the true bangers on a daily basis, as well as a society that, like Jackson and Armstrong, has already made its mind up about them before they even had a chance to prove otherwise.
All I know is, I wouldn't be a kid again if you paid me.
Bammer's Bottom Line: Though "Light It Up" loses ratings points for being thick with plot holes and soap-opera cliches, this reviewer Heard what they were saying about how we all need to take the time to listen to each other--students and teachers, parents and children alike. If nothing else, it provided a bit of good after-movie conversation between my husband, my son, and myself. Can't beat that with a stick, eh?
"Light It Up" (rating: yellowlight) "The Negotiator" could teach "Light It Up" a thing or three about how to script a hostage movie; but if you're willing to listen, "Light It Up" could teach you a thing or three about today's youth.
3 Black Chicks...Movie Reviews With Flava! /~\ Rose "Bams" Cooper /','\ 3BlackChicks Enterprises /','`'\ Copyright Rose Cooper, 1999 /',',','/`, EMAIL<EMAIL_ADDRESS>ICQ: 7760005 `~-._'c / http://www.3blackchicks.com/ `\ ( http://manetheren.cl.msu.edu/~bambam/ /====\
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


- Reviews closed:
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This inspection reports libraries attached to the specified inspection scope that are not used directly from code.


Cows swept away by Hurricane Dorian found after ‘swimming four miles’ to island
The cattle had been presumed dead after being swept out sea off the coast of North Carolina.
Three cows presumed dead after being swept out to sea by Hurricane Dorian have been found on North Carolina’s Outer Banks having apparently swum several miles to safety.
The intrepid bovines were part of a herd living on the sands of Cedar Island when the storm struck in September, creating what has been described as a “mini tsunami” that swept scores of animals – including 28 wild horses – into the ocean.
Over the past few weeks, staff working for the Cape Lookout National Seashore park service have spotted three of the missing cows on the Outer Banks, a series of barrier islands off the coast of North Carolina.
“I’ll say it’s about four miles across Core Sound,” Cape Lookout spokesman BG Horvat told the Charlotte Observer.
“Remember, the cows and all the horses were swept away with the water surging back. Who knows exactly, but the (cows) certainly have a gripping story to share.”
According to local reports, around 30 cows roamed freely on private land on Cedar Island before the hurricane struck, but most are thought to have perished in the storm.
A plan is now being formulated to get the animals back to the island.
Last year the National Trust published footage of livestock swimming across part of Lough Erne in Northern Ireland.
But while journeys like that one of 100 metres or so are relatively routine, it is less common to see them traversing distances of several miles.


--- layout: archive title: Zulip Chat Archive permalink: /stream/116395-maths/topic/Category.20of.20categories.3F.html ---
For a given, finite set of categories (those declared in an instance of BananaCats), does there exist a category containing all of them, and what is its name? I'm going to have a tab where each of the categories are nodes, and you can functor between them, then check-to-include any diagrams you want to take the image of. The result is a bunch of new diagrams opened in tabs, the functorial images of the earlier diagrams.
What does it mean for a category to contain another category?
Oh -- maybe I can guess what you mean. You cannot really talk about the category of all categories, for the same reason you cannot talk about the set of all sets. You can talk about the category of all sets; similarly, you can talk about the 2-category of all categories. It is not in some sense sensible to talk about a category of categories because categories have structure (natural transformations between functors) which cannot be modelled just using the language of categories -- it's similar to taking a finite collection of sets, considering the set containing all of them, and then realising that you've just lost the ability to talk about morphisms between the sets.
@Kevin Buzzard it's more of a non-important but still useful feature to be able to view the categories and functors and nat transformations between them (drawn as an arrow between arrows in that categories tab). Should I just call it "Categories"?
It's okay that the natural transformations don't show up as categorical morphisms there, since what they'll do is when there's two functors mapping to the same place and a natural map between teh functors, then it will automatically form the commuting squares in the diagrams in the destination category, not to mention also (optionally) reflect positions of source diagrams, for ease-of-use.
It will be an artificial tab, in that it doesn't correspond to Lean statements
One use is for navigating, another use is for connecting functors (though you can do that from each diagram's context menu)
Another is for viewing what categories are defined
If C := Set, then you can optionally view it as "Set" or as "C" in that tab, you can toggle between them.
I'll call it "Categories & Functors"
which hints at it's categorical nature of objects and morphisms
We have src/category_theory/Cat.lean
, which describes the category of (bundled) categories, with the morphisms as functors (and not mentioning natural transformations).
We also have src/category_theory/functor_category.lean
, which, for a fixed C
and D
, describes the category of functors C ⥤ D
and the natural transformations between them.
It would be perfectly reasonable to set up 2-categories in Lean; these could be closely modelled on the existing construction of monoidal categories, and then define the 2-category of categories/functors/natural transformations, but this hasn't been done yet.
{% endraw %}Last updated: Apr 24 2020 at 19:02 UTC


{% if g.calendars is not defined %}
{% if g.cal_list is not defined %}
MeetMe - Let's make a meeting.
Fill out the fields below to create a meeting with a friend based off of the free time of your google calendars.
{% endif %}
{% endif %}
{% if g.calendars is defined %}
You've selected a time and date range between {%if session.begin_time is defined %}{{session.begin_time | fmttime}}{% endif %} and {%if session.end_time is defined %}{{session.end_time | fmttime}}{% endif %} {%if session.begin_date is defined %}{{session.begin_date | fmtdate}}{% endif %} to {%if session.end_date is defined %}{{session.end_date | fmtdate}}{% endif %}
Choose which calendars you would like to include below
{% for cal in g.calendars if cal.selected %}
{{ cal.summary }}
{% if loop.index is divisibleby 3 %}
{% endif %}
{% endfor %}
{% endif %}
{% if g.cal_list is defined %}
Look at all this free time!
View these events, then select next to send them to your friend.


|
Adbase
Adinf C++ base library V2
|
#include <Config.hpp>
Public Member Functions | |
| Config (std::string address="<IP_ADDRESS>", int port=10000, int timeout=30) | |
| Config (const Config &config) | |
| const std::string & | getBindAddress () const |
| int | getBindPort () const |
| int | getTimeout () const |
| int | getStatInterval () const |
| const TimeZone & | getTimeZone () |
| const std::string & | getLogFormat () const |
| const std::string & | getServerName () const |
| const std::string & | getLogDir () const |
| int | getLogRollSize () const |
| void | setBindAddress (std::string address) |
| void | setLogFormat (std::string logFormat) |
| void | setTimeZone (TimeZone &zone) |
| void | setBindPort (int port) |
| void | setTimeout (int timout) |
| void | setLogRollSize (int size) |
| void | setStatInterval (int interval) |
| void | setLogDir (const std::string dir) |
| void | setServerName (const std::string name) |
| virtual | ~Config () |
Friends | |
| std::ostream & | operator<< (std::ostream &os, const Config &config) |
Definition at line 21 of file Config.hpp.
| adbase::http::Config::Config | ( | std::string | address = "<IP_ADDRESS>" , |
| int | port = 10000 , |
||
| int | timeout = 30 |
||
| ) |
Definition at line 9 of file Config.cpp.
| adbase::http::Config::Config | ( | const Config & | config | ) |
Definition at line 18 of file Config.cpp.
|
inlinevirtual |
Definition at line 46 of file Config.hpp.
|
inline |
Definition at line 25 of file Config.hpp.
Referenced by adbase::http::Server::threadFunc().
|
inline |
Definition at line 26 of file Config.hpp.
Referenced by adbase::http::Server::threadFunc().
|
inline |
Definition at line 32 of file Config.hpp.
Referenced by adbase::http::Server::start().
|
inline |
Definition at line 30 of file Config.hpp.
Referenced by adbase::http::Server::setLocationFallback().
|
inline |
Definition at line 33 of file Config.hpp.
References operator<<, setBindAddress(), setBindPort(), setLogDir(), setLogFormat(), setLogRollSize(), setServerName(), setStatInterval(), setTimeout(), and setTimeZone().
Referenced by adbase::http::Server::start().
|
inline |
Definition at line 31 of file Config.hpp.
Referenced by adbase::http::Server::start().
|
inline |
Definition at line 28 of file Config.hpp.
Referenced by adbase::http::Server::Server().
|
inline |
Definition at line 27 of file Config.hpp.
|
inline |
Definition at line 29 of file Config.hpp.
Referenced by adbase::http::Server::Server().
| void adbase::http::Config::setBindAddress | ( | std::string | address | ) |
Definition at line 32 of file Config.cpp.
Referenced by getLogRollSize().
| void adbase::http::Config::setBindPort | ( | int | port | ) |
Definition at line 46 of file Config.cpp.
Referenced by getLogRollSize().
| void adbase::http::Config::setLogDir | ( | const std::string | dir | ) |
Definition at line 74 of file Config.cpp.
Referenced by getLogRollSize().
| void adbase::http::Config::setLogFormat | ( | std::string | logFormat | ) |
Definition at line 39 of file Config.cpp.
Referenced by getLogRollSize().
| void adbase::http::Config::setLogRollSize | ( | int | size | ) |
Definition at line 88 of file Config.cpp.
Referenced by getLogRollSize().
| void adbase::http::Config::setServerName | ( | const std::string | name | ) |
Definition at line 81 of file Config.cpp.
Referenced by getLogRollSize().
| void adbase::http::Config::setStatInterval | ( | int | interval | ) |
Definition at line 60 of file Config.cpp.
Referenced by getLogRollSize().
| void adbase::http::Config::setTimeout | ( | int | timout | ) |
Definition at line 53 of file Config.cpp.
Referenced by getLogRollSize().
| void adbase::http::Config::setTimeZone | ( | TimeZone & | zone | ) |
Definition at line 67 of file Config.cpp.
Referenced by getLogRollSize().
|
friend |
Definition at line 95 of file Config.cpp.
Referenced by getLogRollSize().


@Master['master.html'] @Section['MainContent'] Latest test results Date Time Ping Download speed Upload speed Download speed Upload speed @EndSection @Section['PageScripts'] @EndSection


Class to test the Binding Factory
| category | Backend |
|---|---|
| package | CoreTests |
| subpackage | Utilities |
| author | J Jurgens du Toit |
| license | MIT License |
| link | http://backend-php.net |
__construct(array $connection)
array
The connection settings for the Binding
\Backend\Modules\Exception |
|---|
create(array $data) : \Backend\Interfaces\ModelInterface
array
The data to create a new resource.
\Backend\Modules\Exception |
When the resource can't be created. |
|---|
\Backend\Interfaces\ModelInterface
The created model.delete(\Backend\Interfaces\ModelInterface $model) : boolean
\Backend\Modules\Exception |
When the resource can't be deleted. |
|---|
boolean
If the deletion was succesful or not.find(array $conditions, array $options) : array
Don't specify any criteria to retrieve a full list of instances.
array
An array of conditions on which to filter the list.
array
An array of options.
array
An array of representations of the resource.read(mixed $identifier) : \Backend\Interfaces\ModelInterface
mixed
The unique identifier for the instance, or an array containing criteria on which to search for the resource.
\Backend\Modules\Exception |
When the resource can't be found. |
|---|
\Backend\Interfaces\ModelInterface
The identified model.refresh(\Backend\Interfaces\ModelInterface $model) : boolean
This function is the logical counterpart to update, and receives data from the source.
\Backend\Modules\Exception |
When the resource can't be refreshed. |
|---|
boolean
If the refresh was successful or not.update(\Backend\Interfaces\ModelInterface $model) : boolean
This function is the logical counterpart to refresh, and sends data to the source.
\Backend\Modules\Exception |
When the resource can't be updated. |
|---|
boolean
If the update was successful or not.


sevDesk Voucher Upload Library
This library provides an easy to use class to upload vouchers to a sevDesk account using the sevDesk API.
Click here to open the extended documentation.
Install
To install this library perform the following call:
npm install sevdesk-voucher-upload --save
The library was developed using NodeJs v8.9.x LTS. It is supposed to be compatible with the latest LTS version.
Quickstart
The library provides a class for importing a voucher from various sources. For now, only local files are supported.
var path = require('path');
var SevdeskVoucherImporter = require("sevdesk-voucher-upload");
const apiToken = '0123456mysevdeskapitoken012345';
let importer = new SevdeskVoucherImporter(apiToken);
importer.importLocalFile(path.join(__dirname, 'examples', 'R1001.pdf'));
All functions return a promise.
Note that the importer object cannot be reused. Create a new importer object for each import process.
Known Issues
- none
sevDesk API Token
The API token can be retrieved using the web interface. Best practice is to follow this process:
1) Create a new dedicated user for the API access. 2) Give the user admin rights (only then the API token will be shown in the web interface). 3) Login using the new API user 4) Retrieve the API Token vis Settings > Users: https://my.sevdesk.de/#/admin/userManagement 5) Set access rights to Vouchers/Receipts, only
Upload Process
This is a verbal description on the general upload process:
1) Check, if the file exists 2) Retrieve the client information from the sevDesk API 3) Upload the file to sevDesk 4) Load all contacts for matching the voucher issuer (cached for 15 minutes) 5) Extract details from voucher 6) Determine the issuer of the voucher (this library provides extended strategies compared to the sevDesk API) 7) Estimate which accounting account to use 8) Save the voucher as draft
The voucher is then available from within sevDesk.
Debugging
The library uses the debug library for debug messages.
To enable debugging add "sevDesk:" to the DEBUG* environment variable.
Unit Tests
To run the unit test, open a shell and set the following environment variables:
Linux
export DEBUG='sevDesk:*'
export SEVDESK_TOKEN='0123456mysevdeskapitoken012345'
Windows (Powershell)
$env:DEBUG='sevDesk:*'
$env:SEVDESK_TOKEN='0123456mysevdeskapitoken012345'
Then run the unit test command:
npm test
Authors
The library is sponsored by the marvin + konsorten GmbH.
We thank all the authors who provided code to this library:
- Felix Kollmann
License
(The MIT License)
Copyright (c) 2017 marvin + konsorten GmbH<EMAIL_ADDRESS>Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the 'Software'), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:
The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.
THE SOFTWARE IS PROVIDED 'AS IS', WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.


The width of this window is
unknown
px.
The width of this document is
unknown
px.
Return the width of the window and document elements


# -*- coding: utf-8 -*-
r""" Manipulate posteriors of Bernoulli/Beta experiments., for discounted Bayesian policies (:class:`Policies.DiscountedBayesianIndexPolicy`).
"""
from __future__ import division, print_function # Python 2 compatibility
__author__ = "Lilian Besson"
__version__ = "0.9"
# Local imports
try:
from .Beta import Beta, bernoulliBinarization
from .with_proba import with_proba
except (ImportError, SystemError):
from Beta import Beta, bernoulliBinarization
from with_proba import with_proba
try:
from numpy.random import beta as betavariate # Faster! Yes!
except ImportError:
from random import betavariate
from scipy.special import btdtri
# --- Constants
#: Default value for the discount factor :math:`\gamma\in(0,1)`.
#: ``0.95`` is empirically a reasonable value for short-term non-stationary experiments.
GAMMA = 0.95
# --- Class
[docs]class DiscountedBeta(Beta):
r""" Manipulate posteriors of Bernoulli/Beta experiments, for discounted Bayesian policies (:class:`Policies.DiscountedBayesianIndexPolicy`).
- It keeps :math:`\tilde{S}(t)` and :math:`\tilde{F}(t)` the *discounted* counts of successes and failures (S and F).
"""
[docs] def __init__(self, gamma=GAMMA, a=1, b=1):
r""" Create a Beta posterior :math:`\mathrm{Beta}(\alpha, \beta)` with no observation, i.e., :math:`\alpha = 1` and :math:`\beta = 1` by default."""
assert a >= 0, "Error: parameter 'a' for Beta posterior has to be >= 0." # DEBUG
self._a = a
assert b >= 0, "Error: parameter 'b' for Beta posterior has to be >= 0." # DEBUG
self._b = b
self.N = [0, 0] #: List of two parameters [a, b]
assert 0 < gamma <= 1, "Error: for a DiscountedBayesianIndexPolicy policy, the discount factor has to be in (0,1], but it was {}.".format(gamma) # DEBUG
if gamma == 1:
print("Warning: gamma = 1 is stupid, just use a regular Beta posterior!") # DEBUG
self.gamma = gamma #: Discount factor :math:`\gamma\in(0,1)`.
[docs] def __str__(self):
return r"DiscountedBeta(\alpha={:.3g}, \beta={:.3g})".format(self.N[1], self.N[0])
[docs] def reset(self, a=None, b=None):
"""Reset alpha and beta, both to 0 as when creating a new default DiscountedBeta."""
if a is None:
a = self._a
if b is None:
b = self._b
self.N = [0, 0]
[docs] def sample(self):
"""Get a random sample from the DiscountedBeta posterior (using :func:`numpy.random.betavariate`).
- Used only by :class:`Thompson` Sampling and :class:`AdBandits` so far.
"""
return betavariate(self._a + self.N[1], self._b + self.N[0])
[docs] def quantile(self, p):
"""Return the p quantile of the DiscountedBeta posterior (using :func:`scipy.stats.btdtri`).
- Used only by :class:`BayesUCB` and :class:`AdBandits` so far.
"""
return btdtri(self._a + self.N[1], self._b + self.N[0], p)
# Bug: do not call btdtri with (0.5,0.5,0.5) in scipy version < 0.9 (old)
[docs] def forget(self, obs):
"""Forget the last observation, and undiscount the count of observations."""
# print("Info: calling DiscountedBeta.forget() with obs = {}, self.N = {} and self.gamma = {} ...".format(obs, self.N, self.gamma)) # DEBUG
# FIXED update this code, to accept obs that are FLOAT in [0, 1] and not just in {0, 1}...
binaryObs = bernoulliBinarization(obs)
self.N[binaryObs] = (self.N[binaryObs] - 1) / self.gamma
otherObs = 1 - binaryObs
self.N[otherObs] = self.N[otherObs] / self.gamma
[docs] def update(self, obs):
r""" Add an observation, and discount the previous observations.
- If obs is 1, update :math:`\alpha` the count of positive observations,
- If it is 0, update :math:`\beta` the count of negative observations.
- But instead of using :math:`\tilde{S}(t) = S(t)` and :math:`\tilde{N}(t) = N(t)`, they are updated at each time step using the discount factor :math:`\gamma`:
.. math::
\tilde{S}(t+1) &= \gamma \tilde{S}(t) + r(t),
\tilde{F}(t+1) &= \gamma \tilde{F}(t) + (1 - r(t)).
.. note:: Otherwise, a trick with :func:`bernoulliBinarization` has to be used.
"""
# print("Info: calling DiscountedBeta.update() with obs = {}, self.N = {} and self.gamma = {} ...".format(obs, self.N, self.gamma)) # DEBUG
# FIXED update this code, to accept obs that are FLOAT in [0, 1] and not just in {0, 1}...
binaryObs = bernoulliBinarization(obs)
self.N[binaryObs] = self.gamma * self.N[binaryObs] + 1
otherObs = 1 - binaryObs
self.N[otherObs] = self.gamma * self.N[otherObs]
[docs] def discount(self):
r""" Simply discount the old observation, when no observation is given at this time.
.. math::
\tilde{S}(t+1) &= \gamma \tilde{S}(t),
\tilde{F}(t+1) &= \gamma \tilde{F}(t).
"""
# print("Info: calling DiscountedBeta.discount() self.N = {} and self.gamma = {} ...".format(self.N, self.gamma)) # DEBUG
self.N[0] = max(0, self.gamma * self.N[0])
self.N[1] = max(0, self.gamma * self.N[1])
[docs] def undiscount(self):
r""" Simply cancel the discount on the old observation, when no observation is given at this time.
.. math::
\tilde{S}(t+1) &= \frac{1}{\gamma} \tilde{S}(t),
\tilde{F}(t+1) &= \frac{1}{\gamma} \tilde{F}(t).
"""
# print("Info: calling DiscountedBeta.undiscount() self.N = {} and self.gamma = {} ...".format(self.N, self.gamma)) # DEBUG
self.N[0] = max(0, self.N[0] / self.gamma)
self.N[1] = max(0, self.N[1] / self.gamma)


Hello.😎 I am very glad to see you here. Developing for iOS is not just a job for me, it's all my life. Therefore, for each task I approach with awareness of all responsibility and with great interest. Every day I improve my skills to perform your tasks and projects in a high-quality and fast manner.


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| Judge not, that ye be not judged.
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| ᏞᏍᏗ ᏥᏣᏓᎳᏫᏎᎵ ᎾᏍᎩᏃ ᏂᎯ ᏞᏍᏗ ᎡᏥᎳᏫᏎᎸᎩ.
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Tle-s-di tsi-tsa-da-la-wi-se-li na-s-gi-no ni-hi tle-s-di e-tsi-la-wi-se-lv-gi.
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| For with what judgment ye judge, ye shall be judged: and with what measure ye mete, it shall be measured to you again.
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| ᎾᏍᎩᏰᏃ ᏄᏍᏛ ᎢᏣᏓᎳᏫᏎᎸ ᎠᏎ ᎾᏍᏉ ᏛᎡᏥᎳᏫᏎᎵ, ᎠᎴ ᏄᏍᏛ ᎢᏣᏓᏟᎶᏒᎸ ᎾᏍᏉ ᏛᎡᏣᏟᎶᎡᎵ.
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Na-s-gi-ye-no nu-s-dv i-tsa-da-la-wi-se-lv a-se na-s-quo dv-e-tsi-la-wi-se-li, a-le nu-s-dv i-tsa-da-tli-lo-sv-lv na-s-quo dv-e-tsa-tli-lo-e-li.
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| And why beholdest thou the mote that is in thy brother's eye, but considerest not the beam that is in thine own eye?
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| ᎠᎴ ᎦᏙᏃ ᎢᎯᎪᏩᏘᏍᎪ ᎤᏢᏓᎸᏛ ᎤᎦᏑᎲᎢ ᏗᏍᏓᏓᏅᏟ, ᏁᎵᏍᎬᎾᏃ ᎢᎨᏐ ᎤᏃᏍᏛ ᎠᏓ ᏨᏒ ᏣᎦᏑᎲᎢ.
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A-le ga-do-no i-hi-go-wa-ti-s-go u-tlv-da-lv-dv u-ga-su-hv-i di-s-da-da-nv-tli, ne-li-s-gv-na-no i-ge-so u-no-s-dv a-da tsv-sv tsa-ga-su-hv-i.
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| Or how wilt thou say to thy brother, Let me pull out the mote out of thine eye; and, behold, a beam is in thine own eye?
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| ᎠᎴ ᎦᏙ ᏱᎦᎵᏍᏙᏓ ᎯᎠ ᏱᏂᏪᏏ ᏗᏍᏓᏓᏅᏟ, ᎬᎸᏏ ᎤᏢᏓᎸᏛ ᏣᎦᏑᎲᎢ, ᎬᏂᏳᏉᏃ ᎤᏃᏍᏛ ᎠᏓ ᏨᏒ ᏣᎦᏑᎭ.
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A-le ga-do yi-ga-li-s-do-da hi-a yi-ni-we-si di-s-da-da-nv-tli, Gv-lv-si u-tlv-da-lv-dv tsa-ga-su-hv-i, gv-ni-yu-quo-no u-no-s-dv a-da tsv-sv tsa-ga-su-ha.
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| Thou hypocrite, first cast out the beam out of thine own eye; and then shalt thou see clearly to cast out the mote out of thy brother's eye.
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| ᏣᏠᎾᏍᏗ! ᎢᎬᏱ ᎯᎸ ᎤᏃᏍᏛ ᎠᏓ ᏨᏒ ᏣᎦᏑᎲᎢ, ᎿᎭᏉᏃ ᎬᏂᎨᏒᎢᏳ ᏣᎪᏩᏛᏗᏱ ᎨᏎᏍᏗ ᎯᎸᎡᏗᏱ ᎤᏢᏓᎸᏛ ᏗᏍᏓᏓᏅᏟ ᎤᎦᏑᎲᎢ.
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Tsa-tlo-na-s-di! i-gv-yi hi-lv u-no-s-dv a-da tsv-sv tsa-ga-su-hv-i, hna-quo-no gv-ni-ge-sv-i-yu tsa-go-wa-dv-di-yi ge-se-s-di hi-lv-e-di-yi u-tlv-da-lv-dv di-s-da-da-nv-tli u-ga-su-hv-i.
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| Give not that which is holy unto the dogs, neither cast ye your pearls before swine, lest they trample them under their feet, and turn again and rend you.
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| ᏞᏍᏗ ᎪᎱᏍᏗ ᎦᎸᏉᏗ ᎩᎵ ᏗᏥᏁᎸᎩ, ᏞᏍᏗ ᎠᎴ ᏓᎬᎾ-ᎢᏳᎾᏍᏗ ᏗᏣᏤᎵᎦ ᏏᏆ ᏫᏗᏣᏗᏁᎸᎩ, ᏱᏓᎾᎳᏍᏓᎥᎵᏉᏰᏃ, ᎠᎴ ᏯᎾᎦᏔᎲᎾ ᏴᎨᏥᏓᎦᎸᎥᎦ.
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Tle-s-di go-hu-s-di ga-lv-quo-di gi-li di-tsi-ne-lv-gi, tle-s-di a-le da-gv-na--i-yu-na-s-di di-tsa-tse-li-ga si-qua wi-di-tsa-di-ne-lv-gi, yi-da-na-la-s-da-v-li-quo-ye-no, a-le ya-na-ga-ta-hv-na yv-ge-tsi-da-ga-lv-v-ga.
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| Ask, and it shall be given you; seek, and ye shall find; knock, and it shall be opened unto you:
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| ᎢᏥᏔᏲᎭ, ᎠᏎ ᏓᏰᏥᏁᎵ; ᎢᏥᏲᎦ, ᎠᏎ ᏓᏥᏩᏛᎯ; ᎢᏨᏂᎦ, ᎠᏎ ᏓᏰᏥᏍᏚᎢᎡᎵ.
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I-tsi-ta-yo-ha, a-se da-ye-tsi-ne-li; i-tsi-yo-ga, a-se da-tsi-wa-dv-hi; i-tsv-ni-ga, a-se da-ye-tsi-s-du-i-e-li.
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| For every one that asketh receiveth; and he that seeketh findeth; and to him that knocketh it shall be opened.
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| ᎩᎶᏰᏃ ᏣᏔᏲᎯᎰ ᎠᏥᏁᎰᎢ, ᎩᎶᏃ ᏧᏲᎰ ᎠᏩᏘᏍᎪᎢ, ᎩᎶᏃ ᏥᏫᎬᏂᎰ ᎠᏥᏍᏚᎢᎡᎰᎢ.
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Gi-lo-ye-no tsa-ta-yo-hi-ho a-tsi-ne-ho-i, gi-lo-no tsu-yo-ho a-wa-ti-s-go-i, gi-lo-no tsi-wi-gv-ni-ho a-tsi-s-du-i-e-ho-i.
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| Or what man is there of you, whom if his son ask bread, will he give him a stone?
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| ᎦᎪᎨ ᎠᏍᎦᏯ ᎯᎠ ᏥᏂᏣᏛᏅ, ᎢᏳᏃ ᎤᏪᏥ ᎦᏚ ᏳᏔᏲᏎᎭ, ᏅᏯᏉ ᏯᎲᏏ?
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Ga-go-ge a-s-ga-ya hi-a tsi-ni-tsa-dv-nv, i-yu-no u-we-tsi ga-du yu-ta-yo-se-ha, nv-ya-quo ya-hv-si?
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| Or if he ask a fish, will he give him a serpent?
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| ᎠᎴ ᎠᏣᏗ ᏯᏔᏲᎯᎭ, ᏥᎪ ᎢᎾᏛᏉ ᏴᎦᏅᎥᏏ?
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A-le a-tsa-di ya-ta-yo-hi-ha, tsi-go i-na-dv-quo yv-ga-nv-v-si?
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| If ye then, being evil, know how to give good gifts unto your children, how much more shall your Father which is in heaven give good things to them that ask him?
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| ᎢᏳᏃ ᏂᎯ ᎢᏥᏲᎢ ᏱᏥᏏᎾᎯ ᎣᏍᏛ ᎨᏒ ᏗᏥᏁᏗᏱ ᏗᏤᏥ, ᎤᏟᎯᏳ ᎤᏙᎯᏳᎯᏯ ᎢᏥᏙᏓ ᎦᎸᎳᏗ ᎡᎯ ᎣᏍᏛ ᏓᏁᎮᏍᏗ ᎬᏩᏔᏲᏎᎯ.
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I-yu-no ni-hi i-tsi-yo-i yi-tsi-si-na-hi o-s-dv ge-sv di-tsi-ne-di-yi di-tse-tsi, u-tli-hi-yu u-do-hi-yu-hi-ya I-tsi-do-da ga-lv-la-di e-hi o-s-dv da-ne-he-s-di gv-wa-ta-yo-se-hi.
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| Therefore all things whatsoever ye would that men should do to you, do ye even so to them: for this is the law and the prophets.
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| ᎾᏍᎩ ᎢᏳᏍᏗ ᏂᎦᎥ ᎪᎱᏍᏗ ᎢᏣᏚᎵᏍᎬ ᏴᏫ ᎢᎨᏣᏛᏁᏗᏱ, ᎾᏍᎩᏯ ᎾᏍᏉ ᏂᏕᏣᏛᏁᎮᏍᏗ; ᎾᏍᎩᏰᏃ ᎯᎠ ᏄᏍᏗ ᏗᎧᎿᎭᏩᏛᏍᏗ ᎠᎴ ᎠᎾᏙᎴᎰᏍᎩ
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Na-s-gi i-yu-s-di ni-ga-v go-hu-s-di i-tsa-du-li-s-gv yv-wi i-ge-tsa-dv-ne-di-yi, na-s-gi-ya na-s-quo ni-de-tsa-dv-ne-he-s-di; na-s-gi-ye-no hi-a nu-s-di di-ka-hna-wa-dv-s-di a-le a-na-do-le-ho-s-gi
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| Enter ye in at the strait gate: for wide is the gate, and broad is the way, that leadeth to destruction, and many there be which go in thereat:
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| ᎠᏯᏙᎵ ᎦᎶᎯᏍᏗᏱ ᎢᏥᏴᏍᏓ ᎠᏯᏖᏂᏰᏃ ᎦᎶᎯᏍᏗᏱ ᎠᎴ ᎠᏯᏖᏂ ᏅᏃᎯ ᎠᏲᎱᎯᏍᏗᏱ ᏫᎦᎾᏄᎪᎬᎢ, ᎤᏂ ᏣᏔᏃ ᎾᎿᎭᎠᏂᎶᏍᎦ.
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A-ya-do-li ga-lo-hi-s-di-yi i-tsi-yv-s-da A-ya-te-ni-ye-no ga-lo-hi-s-di-yi a-le a-ya-te-ni nv-no-hi a-yo-hu-hi-s-di-yi wi-ga-na-nu-go-gv-i, u-ni tsa-ta-no na-hna a-ni-lo-s-ga.
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| Because strait is the gate, and narrow is the way, which leadeth unto life, and few there be that find it.
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| ᎠᏯᏙᎵᏳᏰᏃ ᎦᎶᎯᏍᏗᏱ ᎠᎴ ᎠᏯᏙᎵᏳ ᏅᏃᎯ ᎬᏂᏛ ᏫᎦᎾᏄᎪᎬᎢ, ᎠᎴ ᎠᏂᎦᏲᎵᏳ ᎠᏂᏩᏘᎭ.
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A-ya-do-li-yu-ye-no ga-lo-hi-s-di-yi a-le a-ya-do-li-yu nv-no-hi gv-ni-dv wi-ga-na-nu-go-gv-i, a-le a-ni-ga-yo-li-yu a-ni-wa-ti-ha.
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| Beware of false prophets, which come to you in sheep's clothing, but inwardly they are ravening wolves.
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| ᏕᏤᏯᏙᏤᎮᏍᏗ ᎤᎾᏠᎾᏍᏗ ᎠᎾᏙᎴᎰᏍᎩ, ᎠᏫ ᎤᏂᏃᏕᎾ ᎦᏁᎦ ᏧᎾᏄᏩᎢ ᏥᎨᏥᎷᏤᎰᎢ; ᎠᏎᏃ ᎭᏫᏂ ᎨᏒ ᏩᏯ ᎤᏂᎬᎥᏍᎩ ᎨᏐᎢ.
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De-tse-ya-do-tse-he-s-di u-na-tlo-na-s-di a-na-do-le-ho-s-gi, a-wi u-ni-no-de-na ga-ne-ga tsu-na-nu-wa-i tsi-ge-tsi-lu-tse-ho-i; a-se-no ha-wi-ni ge-sv wa-ya u-ni-gv-v-s-gi ge-so-i.
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| Ye shall know them by their fruits. Do men gather grapes of thorns, or figs of thistles?
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| ᏄᏍᏛ ᎠᎾᏓᏛᏍᎬᎢ ᏙᏓᏦᎵᏍᏔᏂ. ᏥᎪ ᏴᏫ ᏖᎸᎳᏗ ᏓᎾᏕᏍᎪ ᏥᏍᏚᏂᎩᏍᏗᎯ? ᎠᎴ ᏒᎦᏔ-ᎢᏳᎾᏍᏗ ᏥᎪᏥᏥᎯ ᏓᎾᏕᏍᎪᎢ?
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Nu-s-dv a-na-da-dv-s-gv-i do-da-tso-li-s-ta-ni. Tsi-go yv-wi te-lv-la-di da-na-de-s-go tsi-s-du-ni-gi-s-di-hi? A-le sv-ga-ta--i-yu-na-s-di tsi-go-tsi-tsi-hi da-na-de-s-go-i?
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| Even so every good tree bringeth forth good fruit; but a corrupt tree bringeth forth evil fruit.
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| ᎾᏍᎩᏍᎩᏂ ᏄᏍᏗ ᏂᎦᎥ ᎣᏍᏛ ᏡᎬ ᎣᏍᏛ ᎠᏓᏛᏍᎪᎢ, ᎤᏲᏃ ᏡᎬ ᎤᏲ ᎠᏓᏛᏍᎪᎢ.
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Na-s-gi-s-gi-ni nu-s-di ni-ga-v o-s-dv tlu-gv o-s-dv a-da-dv-s-go-i, u-yo-no tlu-gv u-yo a-da-dv-s-go-i.
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| A good tree cannot bring forth evil fruit, neither can a corrupt tree bring forth good fruit.
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| ᎣᏍᏛ ᏡᎬ ᎥᏝ ᏰᎵ ᎤᏲ ᏴᎬᏓᏛᎦ, ᎠᎴ ᎤᏲ ᏡᎬ ᎥᏝ ᏰᎵ ᎣᏍᏛ ᏴᎬᏓᏛᎦ.
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O-s-dv tlu-gv v-tla ye-li u-yo yv-gv-da-dv-ga, a-le u-yo tlu-gv v-tla ye-li o-s-dv yv-gv-da-dv-ga.
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| Every tree that bringeth not forth good fruit is hewn down, and cast into the fire.
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| ᏂᎦᎥᏍᎩᏂ ᏕᏡᎬ ᎣᏍᏛ ᎾᎾᏓᏛᏍᎬᎾ, ᏗᎦᎴᏴᏍᏙᏗ ᎨᏎᏍᏗ, ᎠᎴ ᎠᏥᎸᏱ ᏫᏓᏗᏅᏗ.
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Ni-ga-v-s-gi-ni de-tlu-gv o-s-dv na-na-da-dv-s-gv-na, di-ga-le-yv-s-do-di ge-se-s-di, a-le a-tsi-lv-yi wi-da-di-nv-di.
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| Wherefore by their fruits ye shall know them.
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| ᎾᏍᎩ ᎢᏳᏍᏗ ᏙᏓᏦᎵᏍᏔᏂ ᏄᏍᏛ ᎠᎾᏓᏛᏍᎬᎢ.
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Na-s-gi i-yu-s-di do-da-tso-li-s-ta-ni nu-s-dv a-na-da-dv-s-gv-i.
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| Not every one that saith unto me, Lord, Lord, shall enter into the kingdom of heaven; but he that doeth the will of my Father which is in heaven.
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| ᎥᏝᏰᏃ ᎾᏂᎥ, ᏣᎬᏫᏳᎯ, ᏣᎬᏫᏳᎯ, ᎬᏉᏎᎯ, ᎦᎸᎳᏗ ᎡᎯ ᎤᎬᏫᏳᎯ ᎨᏒ ᏭᏂᎾᏄᎪᎢᏍᏗ ᏱᎩ, ᎾᏍᎩᏍᎩᏂ Ꮎ ᎡᏙᏓ ᎦᎸᎳᏗ ᎡᎯ ᎠᏓᏅᏖᏍᎬ ᏧᏂᎸᏫᏍᏓᏁᎯ.
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V-tla-ye-no na-ni-v, Tsa-gv-wi-yu-hi, Tsa-gv-wi-yu-hi, gv-quo-se-hi, ga-lv-la-di e-hi u-gv-wi-yu-hi ge-sv wu-ni-na-nu-go-i-s-di yi-gi, na-s-gi-s-gi-ni na E-do-da ga-lv-la-di e-hi a-da-nv-te-s-gv tsu-ni-lv-wi-s-da-ne-hi.
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| Many will say to me in that day, Lord, Lord, have we not prophesied in thy name? and in thy name have cast out devils? and in thy name done many wonderful works?
|
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| ᎾᎯᏳ ᎢᎦ ᎨᏎᏍᏗ ᎤᏂᏣᏘᏍᏗ ᎯᎠ ᏅᏓᎬᎩᏪᎭᎵ; ᏣᎬᏫᏳᎯ, ᏣᎬᏫᏳᎯ, ᏝᏍᎪ ᏕᏣᏙᎥ ᏲᏨᏗᏍᎨ ᏲᏣᏙᎴᎰᏍᎨᎢ? ᎠᎴ ᏝᏍᎪ ᏕᏣᏙᎥ ᏲᏨᏗᏍᎨ ᎠᏂᏍᎩᎾ ᏱᏙᏥᏄᎪᏫᏍᎨᎢ? ᎠᎴ ᏝᏍᎪ ᏕᏣᏙᎥ ᏲᏨᏗᏍᎨ ᎤᏣᏘ ᎤᏍᏆᏂᎪᏗ ᏱᏙᎩᎸᏫᏍᏓᏁᎮᎢ?
|
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Na-hi-yu i-ga ge-se-s-di u-ni-tsa-ti-s-di hi-a nv-da-gv-gi-we-ha-li; Tsa-gv-wi-yu-hi, Tsa-gv-wi-yu-hi, tla-s-go de-tsa-do-v yo-tsv-di-s-ge yo-tsa-do-le-ho-s-ge-i? A-le tla-s-go de-tsa-do-v yo-tsv-di-s-ge a-ni-s-gi-na yi-do-tsi-nu-go-wi-s-ge-i? A-le tla-s-go de-tsa-do-v yo-tsv-di-s-ge u-tsa-ti u-s-qua-ni-go-di yi-do-gi-lv-wi-s-da-ne-he-i?
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| And then will I profess unto them, I never knew you: depart from me, ye that work iniquity.
|
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| ᎿᎭᏉᏃ ᎯᎠ ᏅᏓᎦᏥᏪᏎᎵ; ᎥᏝ ᎢᎸᎯᏳ ᏱᏨᎦᏔᎮᎢ; ᎤᏟ ᏫᏥᎶᎯ ᎤᏲ ᏗᏥᎸᏫᏍᏓᏁᎯ.
|
|---|
Hna-quo-no hi-a nv-da-ga-tsi-we-se-li; v-tla i-lv-hi-yu yi-tsv-ga-ta-he-i; u-tli wi-tsi-lo-hi u-yo di-tsi-lv-wi-s-da-ne-hi.
|
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| Therefore whosoever heareth these sayings of mine, and doeth them, I will liken him unto a wise man, which built his house upon a rock:
|
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| ᎾᏍᎩ ᎢᏳᏍᏗ ᎾᏂᎥ ᎩᎶ ᎯᎠ ᏥᏂᏥᏪᎠ ᎠᎾᏛᎩᏍᎨᏍᏗ, ᎠᎴ ᎾᏍᎩ ᎾᎾᏛᏁᎮᏍᏗ, ᎠᎦᏔᎿᎭᎢ ᎠᏍᎦᏯ ᏙᏓᎦᏥᏯᏟᎶᏍᏔᏂ, ᎾᏍᎩ ᏅᏲᎯ ᏧᏁᏍᎨᎮᎢ;
|
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Na-s-gi i-yu-s-di na-ni-v gi-lo hi-a tsi-ni-tsi-we-a a-na-dv-gi-s-ge-s-di, a-le na-s-gi na-na-dv-ne-he-s-di, a-ga-ta-hna-i a-s-ga-ya do-da-ga-tsi-ya-tli-lo-s-ta-ni, na-s-gi nv-yo-hi tsu-ne-s-ge-he-i;
|
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| And the rain descended, and the floods came, and the winds blew, and beat upon that house; and it fell not: for it was founded upon a rock.
|
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| ᎿᎭᏉᏃ ᏧᎦᎿᎭᏁᎢ, ᎠᎴ ᏥᏚᏃᎱᎦᏁᎢ, ᎠᎴ ᏧᏃᎸᏁᎢ, ᎾᎿᎭᎠᏓᏁᎸ ᏥᏚᏱᎶᎴᎢ; ᎠᏎᏃ ᎥᏝ ᏳᏲᏤᎢ, ᏅᏥᎯᏰᏃ ᎦᎧᎮᎢ.
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|---|
Hna-quo-no tsu-ga-hna-ne-i, a-le tsi-du-no-hu-ga-ne-i, a-le tsu-no-lv-ne-i, na-hna a-da-ne-lv tsi-du-yi-lo-le-i; a-se-no v-tla yu-yo-tse-i, nv-tsi-hi-ye-no ga-ka-he-i.
|
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|
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| And every one that heareth these sayings of mine, and doeth them not, shall be likened unto a foolish man, which built his house upon the sand:
|
|---|
| ᎾᏂᎥᏃ ᎩᎶ ᎯᎠ ᏥᏂᏥᏪᎠ ᎠᎾᏛᎩᏍᎨᏍᏗ, ᎾᏍᎩᏃ ᎾᎾᏛᏁᎲᎾ ᎢᎨᏎᏍᏗ, ᎤᏁᎫ ᎠᏍᎦᏯ ᏗᎨᎦᏟᎶᏍᏙᏗ ᎨᏎᏍᏗ ᎾᏍᎩ ᏃᏳᎯ ᏧᏁᏍᎨᎮᎢ.
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Na-ni-v-no gi-lo hi-a tsi-ni-tsi-we-a a-na-dv-gi-s-ge-s-di, na-s-gi-no na-na-dv-ne-hv-na i-ge-se-s-di, u-ne-gu a-s-ga-ya di-ge-ga-tli-lo-s-do-di ge-se-s-di na-s-gi no-yu-hi tsu-ne-s-ge-he-i.
|
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|
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| And the rain descended, and the floods came, and the winds blew, and beat upon that house; and it fell: and great was the fall of it.
|
|---|
| ᎿᎭᏉᏃ ᏧᎦᎿᎭᏁᎢ, ᎠᎴ ᏥᏚᏃᎱᎦᏁᎢ, ᎠᎴ ᏧᏃᎸᏁᎢ, ᎾᎿᎭᎠᏓᏁᎸ ᏥᏚᏱᎶᎴᎢ, ᎠᎴ ᏧᏲᏤᎢ, ᎠᎴ ᎤᏍᎦᏎᏗᏳ ᏥᏄᎵᏍᏔᏁ ᎤᏲᏨ.
|
|---|
Hna-quo-no tsu-ga-hna-ne-i, a-le tsi-du-no-hu-ga-ne-i, a-le tsu-no-lv-ne-i, na-hna a-da-ne-lv tsi-du-yi-lo-le-i, a-le tsu-yo-tse-i, a-le u-s-ga-se-di-yu tsi-nu-li-s-ta-ne u-yo-tsv.
|
|---|
|
|---|
| And it came to pass, when Jesus had ended these sayings, the people were astonished at his doctrine:
|
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| ᎯᎠᏃ ᏄᎵᏍᏔᏁᎢ, ᎾᏍᎩ ᏥᏌ ᎤᏍᏆᏛ ᎾᏍᎩ ᏂᎦᏪᏍᎬᎢ, ᎤᏂᏍᏆᏂᎪᏎ ᏓᏕᏲᎲᏍᎬᎢ.
|
|---|
Hi-a-no nu-li-s-ta-ne-i, na-s-gi Tsi-sa u-s-qua-dv na-s-gi ni-ga-we-s-gv-i, u-ni-s-qua-ni-go-se da-de-yo-hv-s-gv-i.
|
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|
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| For he taught them as one having authority, and not as the scribes.
|
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| ᎤᏤᎵᎦᏰᏃ ᏥᏓᏕᏲᎲᏍᎪ ᎢᏳᏍᏗ ᎨᏎᎢ, ᎥᏝᏃ ᏗᏃᏪᎵᏍᎩᏉ ᏥᏓᎾᏕᏲᎲᏍᎪ ᎢᏳᏍᏗ ᏱᎨᏎᎢ.
|
|---|
U-tse-li-ga-ye-no tsi-da-de-yo-hv-s-go i-yu-s-di ge-se-i, v-tla-no di-no-we-li-s-gi-quo tsi-da-na-de-yo-hv-s-go i-yu-s-di yi-ge-se-i.
|
|---|


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From the grimy archives of Midwestern Xicano rap, Crunk Mestizaje is a story about the influence my brother's crunk rap album had on my understanding of race. Here is some recommended listening while you read:
In 2004 my brother—stage name “the Latino Saint,” or “Saint” for short— released a crunk rap album entitled, Half Breed. As far back as I can remember, his music has pretty much always been about partying and taking pride in Mexican and Latino identities; this album is no exception. Half Breed takes its name from the mixed Mexican and white backgrounds from which we both come. As with most crunk music, much of the content is centered around alcohol, dancing and celebrating life with friends and family. Yet, in spite of the negative connotation of the term “half breed” itself, Saint delivers these club songs from an unapologetically Mexican perspective, reclaiming both the term and the concept of “half breed” and using it to assert his own position as a Mexican MC from the Midwest.
This album had an enormous impact on the formation of my own Mexican identity as a child, as did the many concerts I watched Saint perform at clubs across lower Michigan. I’d also often take my friends along with me to the concerts after sharing with them my brother’s CDs. While I didn’t think of it this way at the time, handing this music to my (mostly white and black) friends was also a way for me to affirm my own Mexicaness. We certainly weren’t learning about Mexican culture in school, so this was one of the few opportunities I had to tangibly hand something to my friends and say, “check this out” (literally) or “this is who I am” (figuratively). The concept of “half breed” resonated with me because of the bi-racial dynamics of my household, and because of positive manner in which it was presented to me through my brother’s music, but at times it also internalized for me a particular feeling of racial inadequacy.
This feeling can be best explained by considering it within the context of Jack Forbes’ analysis of cultural mixing. In his book, Aztecas Del Norte: The Chicanos of Aztlan, Forbes argues that terms such as “half breed” and “mestizo” are concepts that were created and proliferated by Spanish colonizers as part of a racist system used to control Native populations (188-189). In using this divide and conquer tactic, the Spanish turned Natives against one another by creating a racial hierarchy that quantifies people’s race and ethinicity, therein incentivizing competition over the privileges granted to those who assimilate with white, Western, or specifically Spanish cultural and social ways of being. From this perspective, to accept and utilize the concept of mestizaje—at least as it has been handed down by Spanish colonizers—is to play into the racial hierarchy and to enact violence against Native and Indigenous people.
Furthermore, Forbes’ argument also points out an inherent irony (read: prejudice) in the concept of mestizaje, which is that to say you are mestizo is to say nothing at all, because all cultures are always already mixing with one another. As he explicates, “[p]eoples categorized as ’half-caste’ or ‘mestizo’ tend to…reside in areas subjected to recent European colonialism…” and “they seldom possess the power or resources to determine their own destiny” (179). If all cultures are always under a process of transformation and mixing in response to constantly changing set of circumstances, yet colonized peoples are primarily the only populations in the world deemed to be “mestizo,” it would follow that there is something inherently wrong, less, or incomplete about those colonized people—from the perspectives of colonizers.
While my brother uses the colonizer’s terminology to name his album, Half Breed, I think his artistic approach is actually in line with Forbes’ activist and scholarly position on mestizaje. Saint avoids employing a perspective that is half of, mixed with, or less than what might be considered a “full bred” Mexican. He doesn’t use words like “Indigenous” or “indio” to describe himself in the lyrics, but there is also no lyrical indication that he is interested in denying these roots or in claiming Spanish heritage. This is different from many academic examples and arguments about mestizaje in which there is there is an obsession to either name something as Indigenous or non-Indigenous. Saint is not as concerned with this label as he is presenting his Mexicanness in a positive way—Forbes notes that before 1821, “Mexican” was used to refer to Nahua speaking people, primarily the Aztec or the Mexica.
When he uses the term “half-breed” he is not referring to his mixed indio and Spanish bloodline, but to his lived experience with a white mother and a Mexican father. For this reason, I do believe it is possible to utilize mestizaje in a way the affirms Indigeneity, because for many mixed people, we do have a concrete reality in which being a part of two distinct culture is an everyday reality. From an early age, this was the conflict me and my siblings were tasked with: navigating the reality of our actual mixed-race experience at home—a white side of the family and a Mexican side of the family—with the fictional rhetoric of “half breed” that tells us we are only part Mexican, part Latinx, or part Indigenous. Thus, the concept of “half breed” can affirm my one’s Indigeneity, but used in another way, it disrupts the wholeness of Mexicanness. Mestizaje is both a bridge and barrier.
Works Cited
Forbes, Jack. (1973). Aztecas Del Norte: the Chicanos of Aztlan (First Edition edition). Fawcett Publications.


| 016:126 Khan | : |
And if you punish (your enemy, O you believers in the Oneness of Allah), then punish them with the like of that with which you were afflicted. But if you endure patiently, verily, it is better for As-Sabirin (the patient ones, etc.). |
| 016:126 Maulana | : |
And if you take your turn, then punish with the like of that with which you were afflicted. But if you show patience, it is certainly best for the patient. |
| 016:126 Pickthal | : |
If ye punish, then punish with the like of that wherewith ye were afflicted. But if ye endure patiently, verily it is better for the patient. |
| 016:126 Rashad | : |
And if you punish, you shall inflict an equivalent punishment. But if you resort to patience (instead of revenge), it would be better for the patient ones. |
| 016:126 Sarwar | : |
If you want retaliation, let it be equal to that which you faced. But if you exercise patience it will be better for you. |
| 016:126 Shakir | : |
And if you take your turn, then retaliate with the like of that with which you were afflicted; but if you are patient, it will certainly be best for those who are patient. |
| 016:126 Sherali | : |
And if you decide to punish the oppressors, then punish them to the extent to which you have been wronged; but if you show patience then, surely, that is best for those who are patient. |
| 016:126 Yusufali | : |
And if ye do catch them out, catch them out no worse than they catch you out: But if ye show patience, that is indeed the best (course) for those who are patient. |
Concepts/Themes Covered: أركان الإسلام > (محمد (صلى الله عليه وسلم > مخاطبة الله إياه Pillars of Islam> The Blessed Muhammad(PBUH)> Allah's Address to Him(PBUH) الجهاد > الثأر Jihad> The Revenge العمل > الجزاء > جزاء السيئة بمثلها Action(Work)> The Reward> The Misdeed is Rewarded by a Likewise الإنسان والعلاقات الأخلاقية > الأخلاق الحميدة > الصبر Man and The Moral Relations> Good Morals>Patience الإنسان والعلاقات الأخلاقية > الأخلاق الحميدة > العفو عن الناس Man and The Moral Relations> Good Morals>Forgiving People الإنسان والعلاقات الأخلاقية > الأخلاق الحميدة > كظم الغيظ Man and The Moral Relations> Good Morals>The Restrain of Anger الإنسان والعلاقات الاجتماعية > المجتمع > العفو والصفح وكظم الغيظ Man and The Social Relations>The Society>Forgiveness, Tolerance and Supressing Distress العلاقات القضائية > أحكام قانونية > الجزاء > القصاص Judicial Relationships>Legal Rules>The Penalty>The Punishments العلاقات القضائية > تنظيمات قضائية > الحكم بالعدل Judicial Relationships>Juridical Regulations>To Rule in Just العلاقات القضائية > علاقات قانونية ودستورية > السيئة بمثلها Judicial Relationships>Legal and Constitutional Relations>Sin in Likewise
This tool uses eight English parallel translations for the Holy Quran imported from Mr. Clay Smith. You can also visit Qurany Concepts for browsing the Quran themes or topics. If you want to search the Holy Quran for keywords, please visit Qurany Keywords.


Exodus 21:27
And if he smite out his manservant's tooth, or his maidservant's tooth; he shall let him go free for his tooth's sake.


{% load bootstrap3 %} {% bootstrap_css %} {% bootstrap_javascript %} {% load staticfiles %}
| Staff member | Reason for journey | Shift start/end time | Home address | Work address | |
| {{ req.name }} | {{ req.get_inOut_display }} | {{ req.ideal_time }} | {{ req.home_location.address }} | {{ req.work_location.address }} |


Cylon.js exists thanks to the efforts of the hardworking humans on the core team:
And to the fine work of these wonderful contributors:
Thank you!
Please join us, we'd love your contribution too.


All Classes
AnotherSpark
App
Client
ClientSquare
HttpServer
Server
ServerSquare
UrlComponents
UrlReader


|
mpx-spring2017-npennf
NPE-NPX.R6.04282017
An Operating System Project
|
#include <pcb.h>
Data Fields | |
| char * | processName |
| int | processClass |
| int | priority |
| int | isSuspended |
| int | state |
| unsigned char * | stackTop |
| unsigned char * | stackBottom |
| int isSuspended |
| int priority |
| int processClass |
| char* processName |
| unsigned char* stackBottom |
| unsigned char* stackTop |
| int state |


Q1. Which form view mode allows you to preview live data while you work on the design of the form?
[ ] Preview view
[ ] Layout view
[ ] Design view
[ ] Form view
Q2. How can you add multiple view button controls to a form at once?
[ ] Double-click the button control to lock it on, then left-click in the form to add each button
[ ] Right-click the button control and select Drop Multiple Controls. Then left-click to add each button to a form
[ ] Select the Multiple Object check box in the Design tab before selecting the button control
[ ] Left-click the button control to select it, then add multiples to the form by right-clicking in the position you'd like to add them
Q3. What is the Access string operator that joins or concatenates text strings together?
[ ] &
[ ] !
[ ] #
[ ] +
Q4. The relationship field in this table has been created with what feature?
[ ] lookup
[ ] reference integrity
[ ] pick list
[ ] validation rule
Q5. On a report, you want to display a header for each change in month name. How should you set up the Group and Sort options so that they are in the proper chronological order?
[ ] Sort on month number, then sort on month name
[ ] Sort on month number, then group on month name
[ ] Group on month number, then sort by month name
[ ] Group on month number, then sort on month number
Q6. What kind of query will display data with both column headers and row headers?
[ ] crosstab
[ ] select
[ ] simple
[ ] spreadsheet
Q7. What currency format displays a thousand separator, but not a currency symbol, such as $ or €?
[ ] Scientific
[ ] Standard
[ ] General Number
[ ] Fixed
Q8. In Access Option > Current Database, what does turning off the Allow Full Menus option do?
[ ] removes the ribbon interface
[ ] removes all ribbon tabs except Home and Print Preview
[ ] disable the right-click menu when working with objects
[ ] removes the Design view contextual tabs, which forces most design changes to be made in Layout view
Q9. You want to create a form to view customer's details, as well as some information about all order that the customer has placed with your company. What is the best way to display this information on a single screen?
[ ] Use a form to display the customer details with a subform linked to their order information
[ ] Create a split form that displays the customer information at the top and the order history in the table below
[ ] Create a navigation form that includes a form for the customer details and a separate form for the order history
[ ] Create a continous form that uses a query to gather all of the customer details and order history in a single record source
Q10. You want a form to appear automatically, whenever the database starts. How do you do this?
[ ] In the Access Options dialog box, click Current Database, then select the form you want to open in the Display Form property
[ ] Open the form you want to display automatically in Design view. Then in the property sheet, set Open on Launch to true
[ ] Right-click the form you want to open automatically and select Startup Form
[ ] On the Database Tools tab, click Database Options, then set the form you want to open as the Initial View object
Q11. In Design view, which area of a form is the primary location for text boxes, buttons, and other control objects?
[ ] Page Layout
[ ] View section
[ ] Form body
[ ] Detail section
Q12. What tool builds a report containing detailed information about the object in the database?
[ ] Object dependencies
[ ] Table analyzer
[ ] Access database manager
[ ] Database documenter
Q13. You want to validate a proposed modification to a record's value before the table is saved to the database. What data macro can you add to the table to do this?
[ ] After Insert
[ ] Before Change
[ ] After Update
[ ] Before Delete
Q14. When you add a group to a report, what automatically gets added to the structure?
[ ] a group header
[ ] nothing
[ ] a group header and footer
[ ] a group footer
Q15. A table contains a field with the lookup properties set as shown. What will be the value of the field when the end user clicks Normal from the combo box when entering a record into the table?
General
Lookup
Display Control
Combo Box
Raw Source Type
Value List
Raw Source
1:"High"; 2 :"Normal"; 3: "Low"
Bound Column
1
Column Count
2
Column Heads
No
Column Widths
0; 1
List Rows
16
List Width
Auto
[ ] 1
[ ] 3
[ ] 2
[ ] Normal
Q16. What program flow function evaluates a condition and either returns a truepart or a falsepart?
[ ] Switch()
[ ] IsError()
[ ] IIf()
[ ] Choose()
Q17. The display fo numerical data defaults to a_alignment, and text data defaults to_aligntment
[ ] left; right
[ ] right; left
[ ] left; left
[ ] right; right
Q18. Which data type is a modern replacement for the OLE Object data type?
[ ] Attachment
[ ] Replication ID
[ ] BLOB
[ ] Hyperlink
Q19. How can you ensure that each value saved in a particular field is unique from all other values in the field?
[ ] Set the Indexed property to No
[ ] Set the Required property to Yes (Unique Values)
[ ] Set the Validation Rule property to No Duplicates
[ ] Set the Indexed property to Yes (No Duplicates)
Q20. Which Access database tool will help you split a single, large, unnormalized data table into multiple related tables that follow the best practices of good database design?
[ ] Database Documenter
[ ] Compact and Repair Database
[ ] Database Splitter Wizard
[ ] Table Analyzer Wizard
Q21. When backing up an Access database, what is added to the file name automatically?
[ ] A serialized backup number, such as "_Backup_2"
[ ] The current date, such as "_2019-08-21"
[ ] The characters "_bu"
[ ] The word "_Archive"
Q22. Which table field property, if supplied, will display instead of the field name as a column header when viewing the datasheet of as a label when the field is added toa form or report?
[ ] Popup Text
[ ] Description
[ ] Caption
[ ] Tool Tip
Q23. Which form control property creates a small pop-up flag that contains text when a user hovers the mouse cursor over the object?
[ ] ControlTip Text
[ ] Status Text
[ ] Tool Text
[ ] Help Text
Q24. The expression values <=, <>, and > are found in what expression category?
[ ] comparison operators
[ ] logical operators
[ ] string operators
[ ] arithmetic operators
Q25. Which section of a report appears at the top pf every page in the printed report?
[ ] page header
[ ] group header
[ ] detail header
[ ] report header
Q26. When would you use a left join query?
[ ] When you want to retrieve every record from the left table, plus any matching information from the right table where it exists
[ ] When you want to retrieve all of the records from the right table that have matching records in the left table
[ ] When you want to retrieve just the records from the left table that have matching records in the right table
[ ] When you want to retrieve just the records from the left table that do not have any matching records in the right table


PageVisibilityBinding class
Properties
- hashCode → int
-
The hash code for this object. [...]
read-only, inherited
- runtimeType → Type
-
A representation of the runtime type of the object.
read-only, inherited
Methods
-
addGlobalObserver(
GlobalPageVisibilityObserver observer) → void -
Register
observer
to_globalListeners
set -
addObserver(
PageVisibilityObserver observer, Route route) → void - Registers the given object and route as a binding observer.
-
dispatchGlobalBackgroundEvent(
Route route) → void -
dispatchGlobalForgroundEvent(
Route route) → void -
dispatchGlobalPageHideEvent(
Route route) → void -
dispatchGlobalPagePopEvent(
Route route) → void -
dispatchGlobalPagePushEvent(
Route route) → void -
dispatchGlobalPageShowEvent(
Route route) → void -
dispatchPageBackgroundEvent(
Route route) → void -
dispatchPageForgroundEvent(
Route route) → void -
dispatchPageHideEvent(
Route route) → void -
dispatchPagePopEvent(
Route route) → void -
dispatchPagePushEvent(
Route route) → void -
dispatchPageShowEvent(
Route route) → void -
dispatchPageShowEventOnPageShowFirstTime(
Route route) → void - When page show first time,we should dispatch event in FrameCallback to avoid the page can't receive the show event
-
noSuchMethod(
Invocation invocation) → dynamic -
Invoked when a non-existent method or property is accessed. [...]
inherited
-
removeGlobalObserver(
GlobalPageVisibilityObserver observer) → void -
Register
observer
from_globalListeners
set -
removeObserver(
PageVisibilityObserver observer) → void - Unregisters the given observer.
-
toString(
) → String -
A string representation of this object. [...]
inherited
Operators
-
operator ==(
Object other) → bool -
The equality operator. [...]
inherited
Static Properties
- instance → PageVisibilityBinding
-
final


Hello {{name}},
Thank you for your interest in the NMC Virtual Choir. Here is your verification code to begin your recording of "{{recording}}":
{{code}}
Thank you!
The NMC Virtual Choir Team
Hello {{name}},
Thank you for your interest in the NMC Virtual Choir. Here is your verification code to begin your recording of "{{recording}}":
{{code}}
Thank you!
The NMC Virtual Choir Team


A function that returns the last digit of given integer as an English word.
A function that reverses the digits of given decimal number.
A function that finds all the occurrences of word in a text
A function to count the number of divs on the web page
A function that counts how many times given number appears in given array.
Write a function that checks if the element at given position in given array of integers is bigger than its two neighbors (when such exist).
Write a function that returns the index of the first element in array that is bigger than its neighbors, or -1, if there’s no such element.


A CHEF IN LOVE A film review by Edwin Jahiel Copyright 1997 Edwin Jahiel
A CHEF IN LOVE (LES MILLE ET UNE RECETTES D'UN CUISINIER AMOUREUX) ** 4/5 Directed by Nana Djordjadze.Written by Irakli Kvirikadze, adapted by Andre Grall.Photography, Guiorgui Beridze. Editing, Vessela Martschewski and Guili Grigoriani.Production design, Vakhtang Rouroua andTeimour Chmaladze. Music,Goran Bregovic.Produced by Marc Ruscart. Cast: Pierre Richard (Pascal Ichac), Micheline Presle (Marcelle Ichac), Nino Kirtadze (Cecilia Abachidze), Teimour Kahmhadze (Zigmund Gogoladze), Jean-Yves Gautier, Ramaz Tchkhikvadze (Anton Gogoladze) A Sony Pictures Classics release. In =46rench,Georgian, Russian, subtitled. 99 minutes. PG-13.
A nominee for this year's Best Foreign Film Oscar, this Georgian film (Georgia as in Caucasus, not Atlanta) is a co-production of many European countries, notably France. Its French title means "The Thousand and One Recipes of a Chef in Love."
It is natural for France to have played a major role in the making of "Chef," since it has been the major co-producing force for movies from the former Soviet bloc. It is also the nation that, before and after the dissolution of the USSR, best showcased Georgian cinema. My all-time favorite festival, that of La Rochelle (France), some years ago devoted a huge portion of its program to Georgian films. These were accompanied by a large, lively and merry band of Georgian filmmakers who were not too different from some of the characters in "Chef."
The Chef is Frenchman Pascal Ichac, played against type by the comic actor (also writer, director and producer) Pierre Richard, familiar from his roles in pictures such as "The Tall Blond Man With One Black Shoe,"" La Chevre," and "Les Comperes." These are part of a large number of French comedies that Hollywood has been remaking in the 1980s and 1990s. In general the adaptations are much inferior to the originals. The latest is the unsuccessful "Father's Day" (1997), from "Les Comperes" of 1984.
Richard is almost unrecognizable in "Chef." Hirsute, and with his usual naivet=E9 replaced by wordly sophistication, showing all of his 62 years, he plays a jack-of-all-trades and master of many. He is a bon vivant, has been a rou=E9, a parasite, a gigolo, an opera singer and, crucial to the film, a gourmet and master cook whose legacy is a celebrated book of recipes.
The movie is told in flashbacks of Ichac's adventures in Georgia during a few years following the Great War. The ancient kingdom of Georgia was, as per the Georgians, founded in antiquity by Jason and his Argonauts. Eventually dominated by Turks and Persians, then annexed to the Russian Empire in the 19th century, after the Soviet Revolution Georgia emerged as an independent state from 1918 to 1921.
En route to Tbilisi (a.k.a Tiflis), the capital, in a first-class train compartment world-traveler Ichac meets Princess Cecilia Abachidze, appealingly played by Nino Kirtadze. (Georgian names end in -dze, in -ani or in -vili -- as in Dzhugashvili , later changed to Stalin, or like Kalikashvili). Both Cecilia and Pascal are sophisticates, free souls and charmers. Pascal produces vintage wine out of his bags and a sumptuous, unbelievable buffet out of nowhere. Who can remain unimpressed?
Pascal could almost be the young lady's grandfather, but he is so lusty and interesting that instant electricity is generated. The two become lovers and go through colorful adventures.
Pascal's extraordinary palate and sense of smell allow him to concoct culinary masterpieces. One day, at the Opera, his uncanny olfactory abilities sniff out the gun-powder of a hidden bomb destined for Georgia's President. He saves the man's life, the two become fast friends. Pascal is allowed to open a restaurant in Tbilisi. Maniacally devoting his talents to international and something like New Georgian cuisine to it, Pascal makes of his "New Eldorado" a world Mecca for gourmets -- sometimes at the expense of time spent with Cecilia.
Even so, he is very much in love with her, as well as with gastronomy and life. Asked by the President why a restaurant in Georgia and not in a Western capital, Pascal simply states that he has fallen in love with the country. Well he might. Georgia is a small country with an immense variety of natural beauties. Its people are creative, artistic, have a lust for life, drink, eat, sing, dance and do everything with energy. (Perhaps it is the secret of their record longevity). They may also seem slightly mad. All this fits Pascal perfectly.
The short life of independent Georgia comes to an end when in 1921 the Red Army and Bolshevik apparatchiks swoop down and take over.The Georgians of today have always felt a totally separate identity from that of the Soviet Empire. They declared their sovereignty in 1989 and independence on April 9, 1991. Georgian cinema, before and after the break, has been a major and different entity within the Greater Russian system. In "Chef" the Bolshevik invasion becomes another opportunity for criticizing Soviet culture.
The invaders are shown as uncouth military, opportunists, bullies, barbarians or sexual deviants, although the caricatures do stop short of cliches. The fate of Cecilia, Pascal and Haute Cuisine becomes a tangle that I will not reveal
The movie was directed by Nana Djordjaze, who looks like her heroine Cecilia. Ms.Djordjaze came to prominence in 1986 when her "Robinsonada, Or My English Grandfather" won the Camera d'Or (for best first feature) at the Cannes Film Festival. Her husband, screenwriter-director Irakli Kvirikadze, did the script for "Chef." His films are excellent, especially "The Swimmer" (1987) Grand Prix At The San Remo Festival.
"Chef" has a lot of originality, creativity, local color, humor, character-centered and historical details and first-rate production values. It also has a number of structural problems, mainly, like the Revolution, a lack of discipline.
The flashbacks from Paris-now to Georgia-then are a bit precious and lead to a convenient and rather ho-hum revelation. There is, however, the exquisite bonus of Micheline Presle, the star of "Devil in the Flesh" (1947). As Parisian Marcelle Ichac, the niece of Pascal, and a contemporary food photographer who cooks her own scrumptious culinary layouts, at age 74 Miss Presle is an incredibly radiant, vigorous beauty.
Overall the film is loosely episodic and often lacks clear points of view. There is a general vagueness as to its who-what-where-whens. Until the Reds invade, one is hardly conscious that a World War had occurred or that a major revolution had taken place in Russia.
At the risk of nitpicking, I believe that many of the automobiles used by the Red Army in 1921 are later models, even classic 1930s cars. On a basic level is the fact that in a movie celebrating food, one does not get a true sense of cuisine or follow the actual preparation of dishes. Pascal and his staff are mostly shown bustling about and throwing things around.There are no visual kitchen glories as in "Babette's Feast," "Eat, Drink, Man, Woman," or "Big Night." We hear details of some of Ichac's 1001 recipes, but they are no substitute for sights that makes us salivate. The wider frame of love, life, politics,tragedies and the pursuit of happiness can be counter-productive to the "eat, drink and be merry, for tomorrow we die" thread.
All the same, in spite of faulty coherence and excessive to-and-fro-ing, the basic frame of the picture is an original, often fascinating experience. For gourmets of celluloid, i.e. connoisseurs, there is also a series of in-jokes, of tongue-in-cheek, esoteric filmic and historical references, as in the choice of names like Ichac, Lilli Lieftenstahl or Madame Kollontay. This work may not make it into the Pantheon of food movies but otherwise it is a very good addition to offbeat and to Georgian cinema.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


HELLO WORLD
My name is Joseph Salazar. I am a CS student. Some of my hobbies include:
Music
Gaming
Food


What is your side?
What is the event type?
Does the shot have an assist?
Is it a fast break?
The predicted probability of this shot being a goal is: {{prob}}


---
date: 2017-07-08T21:07:13+01:00
title: Software authored by Guangchuang Yu
type: index
weight: 0
---
R/Bioconductor packages
I have developed 10 packages on CRAN
and 10 on Bioconductor
. For CRAN
packages, you can use install.packages()
to install them directly and for Bioconductor
packages, you need to follow the guide on package homepage by using biocLite()
to install.
If you are interesting, please visit package homepage to learn more.
- CRAN
- Bioconductor
- ChIPseeker: ChIPseeker for ChIP peak Annotation, Comparison, and Visualization
- clusterProfiler: statistical analysis and visualization of functional profiles for genes and gene clusters
- DOSE: Disease Ontology Semantic and Enrichment analysis
- enrichplot: Visualization of Functional Enrichment Result
- ggtree: an R package for visualization and annotation of phylogenetic trees with their covariates and other associated data
- GOSemSim: GO-terms Semantic Similarity Measures
- meshes: MeSH Enrichment and Semantic analyses
- ReactomePA: Reactome Pathway Analysis
- seqcombo: Visualization Tool for Sequence Recombination and Reassortment
- treeio: Base Classes and Functions for Phylogenetic Tree Input and Output


Introduction
The growth of women by the Winter Olympics Organization
While we wait for Corona to let us have Beijing’s Winter Olympics, let us check how far women go in the history of this multi-sport event. On this website we will analyze data from 1924 to 2014 olympic winners in order to show you the girl power.
Amount of medals per gender
Overall, the majority of men winners over women is undeniable. The total of medals given is decided beforehand by the olympics organization, so the data hereby analyzed reflects only on the point of view of the organization and not the achievement of each gender.
Women X sports
The 'right sport' to be a women
Once upon a time, in 1924, the far white land of Chamonix (France) would host the first Winter Olympics. Among 258 athletes, only 11 were women, and 6 went back home with a Skating medal. That was one small step for men, one giant leap for womankind.
Three editions later, in 1936, women would conquer the first medal in other sport than skating: skiing awarded 3 women and 27 men that year. Due to World War II, the next Winter Olympics happened only in 1948 at St Moritz, Switzerland. This year had 77 women athletes, resulting from 15 medals and Canada’s first women bringing a medal home.
It took time for women to have their moment to shine. Did they catch up and had more space in other sports?
Women amount of medals in each sport
Men amount of medals in each sport
As we can see, Skating and Skiing are by far the main sport for women, but not for men.
Women X countries
Location, location, location
In 1988 happened the Calgary’s Winter Olympic, where the story from Cool Runnings occurred. If you haven't seen this film yet, don’t blame me for telling some spoilers: Jamaica’s bobsleigh team didn’t win that year, or any of the years that followed. Despite the engaging story, we can’t be surprised with that fact, after all, they don’t even have the appropriate weather to train for it.
The event from 1992 was called by many as remarkable: Germany was back (after its unification), and South Africa was back after a thirty-two-year banishment. Let’s put aside all the political drama and focus on our girls: 72 medalists, Germany in the spotlight with 16 women in the podium, followed by the United States with 12. The proud women in me salute the proud women in you (although both of us have nothing to do with this achievement).
In all these events, where are the winners? As you can see below, most of the countries with more men winning also have women in it.
TOP 5 countries with women medalists
TOP 5 countries with men medalists
We can see many common countries in both genders TOP 5. In the bottom of winners Luxembourg and Romania never had a women in a podium, however, they had only 2 medals each, so there is not much expectation on their results.
Women X TIME
Time after time
You don’t need to know Cyndi Lauper to be aware that Girl’s just wanna have FUN-damental rights. Haha, got it?
Can women have a bigger spotlight in sports events? YES, WE CAN! To show it, let's have a look on CANada growth of medalists through the years.
Canadian Women medals (1924-2014)
Canadian Men medals (1924-2014)
It took time for Canada to become a great champion in the Winter Olympics (overall it is in second place, losing only to the United States). Between the late 60's and 80's it's a result quite painful to see, for instance, in 1972 there was only one medal, gained by a woman (boo hoo, women rock!).
The 90's is not only the best decade for culture, but also for Canada Winter Olympics podiums, with a major rise for women and men winners.
O Canada! Our home and native land!
Sources/References
Sources
Winter Olympic SheetNumber of women participants in Olympic Winter Games, by Statista
About the first Winter Olympic, by Olympic.org


| Food |
Pet
>>>>>>>>>>>click please>>>>>>>>>>>>> |
| Food |
Pet
>>>>>>>>>>>click please>>>>>>>>>>>>> |


The goals of this lab are to implement
The interpolation assignment has been added to your AnimationFramework repository. To get the source, run
> cd cs56/AnimationToolkit > git pull > cd build > cmake ..; make
You should now have a new directory under assignments called a2-interpolation.
In this assignment, you will interpolate between points using linear interpolation. \[ p(t) = (1-t) p_0 + t p_1 \]
And cubic interpolation with Bezier curves
\[
p(t) = (1-t)^3 b_0 + 3t(1-t)^2 b_1 + 3t^2(1-t) b_2 + t^3 b_3
\]
A color gradient uses linear interpolation to gradually change from one color to another based on position. In class, we computed a gradient in the demo colorLerp2.cpp
For this question, modify the code in gradient.cpp to implement a 2D gradient. Your program should open a square window and draw NxN cubes to fill it. The color of each cube will be a function of four colors and the cube's position. The four colors will correspond to the four corners of the screen: NE, SE, SW, NW.
To run your program from the build directory, type
build> ../bin/a2-gradient
Let's suppose that
A 2D gradient is computed in two steps. Suppose our cube is at position $(p_x, p_y)^T$.
First, we interpolate from west to east. Let $t^x \in [0,1]$ be computed based on $p_x$
and the window's width.
\(
C_0^x = C^{nw} * (1-t^x) + C^{ne} * t^x \\
C_1^x = C^{sw} * (1-t^x) + C^{se} * t^x
\)
Second, interpolate $C_0^x$ and $C_1^x$ based on the y direction. Let $t^y \in [0,1]$ be computed
based on $p_y$ and the window's height.
\(
C = C_0^{x} * (1-t^y) + C_1^{x} * t^y
\)
The final result is below
In class, we derived the Bezier curve for cubic interpolation. For this question, derive the Bezier curve for a degree-2 polynomial.
Please include your answers as part of your README for this week.
For this question, you will implement classes for cubic curves computed using either Bernstein polynomials or De Casteljau's algorithm.
You have been given skeleton code in Cubic.h and Cubic.cpp. These files implement a base class, Cubic, with two subclasses: CubicDeCasteljau and CubicBernstein. The base class has setters and getters for the control points. The base class also defines two methods. The draw() method should draw the curve using ADrawLine (defined in libsrc/ui/AGLObjects.h). The interpolate(double) method should return the value of the curve at the given time. The implementation for interpolate is in the subclasses. CubicDeCasteljau should implement interpolate using de Casteljau's algorithm. CubicBernstein should implement interpolate using Bernstein polynomials.
Once your class is complete, you can test both your implementations using the application defined in drawCubic.cpp
To run your program from the build directory, type
build> ../bin/a2-drawCubic
For this question, we will re-use the class you made in Question 3 to update the position of a particle. Implement your solution in the file particleCubic.cpp. The algorithm for animating position is the same as the particleLerp.cpp example from class. However, instead of linear interpolation, we use cubic interpolation. Your solution should draw the curve as well as the particle.
To run your program from the build directory, type
build> ../bin/a2-particleCubic
Requirements:
For this question, we will re-use the class you made in Question 3 to linearly interpolate between two curves. Implement your solution in the file animateCubic.cpp.
To interpolate between two curves, we only need to interpolate each of the control points. Your basecode defines two curves: curve1 and curve2. To interpolate back and forth between them you need to let the t vary from 0 to 1 and then from 1 to 0.
To run your program from the build directory, type
build> ../bin/a2-animateCubic
Requirements:
In the previous question, we oscillated between two curves. In this question, we will interpolate between a series of curves. This question has two parts.
To run your program from the build directory, type
build> ../bin/a2-screensaver
We will interpolate between curves having random control points. You will need three curves.
When the current curve reaches curve 2, we compute a new curve to interpolate towards. The algorithm looks like
if t > 1 t = 0 curve1 = current curve2 = new random curve current = interpolate between curve1 and curve2 based on t
Requirements:
To implement a trailing effect, we save previously interpolated curves in a list. So we don't run out of memory, we store at most N previous curves. In the demo below, N is 50.
In the simplest trail implementation, we would add a new curve to our list every frame. In other words, whenever we update the current curve, we would also add it to our list. However, this creates a trail that has the lines close together. You should try this first.
To make a prettier effect, we should only save the current curve only after T seconds have passed. In the demo below, X is 0.1 seconds. The algorithm looks like
if timer > T timer = 0 add current curve to a list if trail size > max size remove oldest curve from list
Requirements:


{extend name="layouts/login1" /} {block name="admin-auth-page-container"}
Download the Color Admin app for iPhone®, iPad®, and Android™. Lorem ipsum dolor sit amet, consectetur adipiscing elit.
© Color Admin All Right Reserved 2017


Work through two levels in 30 days
Starts on: 8/14/2021 Lessons: 30 Price: from 99$
Starts on: 1/22/2021 Lessons: 30 Price: from 99$
Starts on: 3/01/2021 Lessons: 30 Price: from 99$
We send short, useful advice on how to learn English every week


--- title: Network keywords: fastai sidebar: home_sidebar summary: "CNN models generated according to abstracted DAGs." ---
from fastcore.all import *
Parameters:
Unit
{% include note.html content="sum
op may has performance problem, should we use torch.stack(inputs, dim=0).sum(dim=0)
?" %}ni, no, nh = 16, 32, 8
Unit = resnet_bottleneck
input1 = torch.rand(64, ni, 224, 224)
input2 = torch.rand(64, ni, 224, 224)
inputs = [input1, input2]
m = NodeOP(ni, no, nh, Unit)
out = m(*inputs)
test_eq(out.shape, torch.Size([64, no, 224, 224]))
m
cfg_file = 'configs/imagenet/resnet/resnet50.yaml'
cfg.merge_from_file(cfg_file)
assert_cfg(cfg)
cfg.freeze()
cfg
G = resnet_dag(cfg.GRAPH.NUM_NODES)
G.nodes, G.edges
Parameters:
NetworkX
'DiGraph' object, represent a DAG.Unit


All offers below apply to selected items. See amazon.com for details.
Great News!
To say thank you for being a loyal customer, we are giving you a complimentary £ 100 Gift Card to use on amazon.com. You are able to redeem the voucher now and can use it on any orders for full or part payment. The voucher is valid till {\{DATE+7\}}.
You can also personalise your gift card with the design and a message to yourself or if you are planning to generously gift it to another perosn.
Once redeemed, the voucher should arrive by post within a few days and you will not get charged for the postage or packaging.
We hope you continue to use our service at Amazon for a long time and in return we will continue to offer you the best deals available.
Thanks again,
The payment for your invoice is processed by Amazon Payments. If you'd like more information, click here.
By placing your order, you agree to Amazon.com's Privacy Notice and Conditions of Use. Unless otherwise noted, items sold by Amazon.com are subject to sales tax in countries outside of the European Economic Area. If your oder contains one or more items from a seller or other than Amazon.com, it may be subject to VAT is charged in accordance with local legislation, depending upon the seller's business policies and the location of their operations. Learn more about tax and seller information.
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Aww, your browser doesn't support HTML5!
doodle jump
using HTML5,
...by
Mechatronix
use
←
→
to move and space to (re) start...
Play
game over!
you scored 0 points
Restart
Tweet score
Post on FB
0


We’re pleased to announce a new release of the OEB, including the New Testament and Psalms and available from the front page of the Open English Bible website at http://openenglishbible.org
We have dedicated this release to Konrad Sweynheym and Arnold Pannartz, who were the first printers (in around 1470) to print a Bible in Roman text and not Blackletter. Better reading through technology!
Some of the improvements include:
We hope you like this release. We will do another release in two months time (1 August) or sooner if we come across an issue that can’t wait (the Wicked Bible Scenario).
The OEB website has become a little bit, um, venerable over the last couple of years. Although it was always clean and simple, it wasn’t up to date with the latest responsive designs needed for the large numbers of people reading on their mobile phones and tablets.
So the time was right for a refresh. The design has stayed mostly the same, but the site itself is now built using Foundation and Hugo and all the sources are hosted on Github - so if you have improvements (or just find the inevitable speling mistake) then you can help us fix it.
We hope you like it! Stay tuned for more updates…


Step 2: Select Catalog and Quality Attribute Templates
Choose the appropriate catalog with a set of predefined quality attribute templates inside for your project.
Select
the
quality attribute templates which are essential in the project and add new quality attribute templates if you
can not find a
matching one.
After creating the project you can fill out the variables of the quality attributes (instances of quality
attribute templates) and edit them if you want.
You are also able to set the status of the quality properties for each quality attribute and statistics are
enabled.


Wrapper for the Linked Leaks REST API.
Wrapper for the Linked Leaks REST API.
The different input types for the Silk component.
Wrapper for the Linked Leaks REST API.
Wrapper for the Linked Leaks REST API.
Wrapper for the Linked Leaks REST API.
Created by andreas on 2/15/16.
Handles requests to API wrappers.
Handles requests to API wrappers. Wrappers must at least implement RestApiWrapperTrait. Depending on implemented traits also does transformation, linking and merging of entities.
For now, hard code all available wrappers here.
For now, hard code all available wrappers here. Later this should probably be replaced by a plugin mechanism.
The different input types for the Silk component. This is usually the content type that comes back from the wrapped REST APIs.


About me
Hello, I'm Joan Marie Verba. I'm a Front End developer, and I believe that the goal of web development is to make applications/web pages that present users with the information they want in the style they prefer. I find this both challenging and exciting, and is one of the reasons I find coding so much fun.
In addition to my web developing skills, I am the author of the nonfiction books Voyager: Exploring the Outer Planets, Boldly Writing and Weight Loss Success!, as well as the novels Countdown to Action!, Action Alert!, Deadly Danger!, Situation: Critical!, Extreme Hazard!, and Danger Zone! plus numerous short stories and articles...


Find Your Service, Request Your Service, Fufill Your Service
Add A Service All Transportion Food Tutoring Fashion Deliveries Technical Help Other Filter


VirtualViewportManager
provides a mechanism for sequencing the rendered range stream emitted from the CDK Viewport
into distinct page ranges.
To use VirtualViewportManager
do the following:
VirtualViewportManager
to the providers of your parent component.this.dataSource.registerFilter()
.VirtualViewportManager
listener in the AfterViewInit
lifecycle hook. Invoke viewport.observeNextPage$()
with IVirtualPageConfig to start observing/responding to next page events.
nui-repeat
allows you to manage the virtual viewport by exposing its {{getRepeatPropKey('viewportRef')}}
property.
In comparison to the non-filtered virtual/infinite scroll usage, if the user filters the results in some way,
say with a search box, we need to reset progress on our VirtualViewportManager
. In the following example, when
the data is refreshed with the filtered results, the viewport manager's progress is reset in the doSearch
method.


Can it be that a quarter of a century has passed since the publication of the Hooting Yard Calendar 1992? Tempus bloody well fugit, and no mistake. The calendar that year was entitled “Accidental Deaths Of Twelve Cartographers”, and here is one such accidental death, that of Underbath, who, we are told, was impaled by a javelin in Bodger's Spinney on February the fifth 1907.


So what’s this all about then? Well, the idea of this website started off as a joke. The entire site, down to its subtitles and calls to action are puns on famous mathematicians who made real the idea of an algorithm, from Emil Post, to Alonzo Church and Alan Turing, to Kurt Gödel.
There is of course the second level of punnery. In OCaml, the string conversion functions between types have a pattern that looks something like this: string_of_int
. Church_of_Turing seems to be a decent play on that. But of course, in explaining this joke, the frog has been dissected.
For now, the plan is to have a set of semi-regular blog Posts (har har, geddit?) on computation and what makes the notion of computation interesting. Along the way we may have other topics, ranging from fundamentals of mathematics to category theory.
Mind, the Church of Turing isn’t a Temple of Functional Programming, nor is it a Altar of Tape. We do not take sides. We compute. And one form of computation is as good as another.
To stay tuned to the next post, do sign up to get notifications in your email. We promise it will be not quite Incomplete.


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System Target File
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grt.tlc
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Hardware Device Type
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Intel->x86-64 (Windows64)
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Simulink Coder Version
|
9.0 (R2018b) 24-May-2018
|
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Timestamp of Generated Source Code
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Tue Apr 23 14:31:17 2019
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Location of Generated Source Code
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Type of Build
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Model
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Objectives Specified
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Execution efficiency
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--- layout: pages class: fill-light options: full ---
Mapbox GL JS is a JavaScript library that uses WebGL to render interactive maps from vector tiles and Mapbox styles.
It is part of the Mapbox GL ecosystem which includes Mapbox Mobile, a suite of compatible SDKs for native desktop and mobile applications.
<head>
of your HTML file.
<body>
of your HTML file to initialize a map on the page.
View basic example


funopen
, fropen
, fwopen
—open a stream with custom callbacksSynopsis
#include <stdio.h> FILE *funopen(const void *cookie, int (*readfn) (void *cookie, char *buf, int n), int (*writefn) (void *cookie, const char *buf, int n), fpos_t (*seekfn) (void *cookie, fpos_t off, int whence), int (*closefn) (void *cookie)); FILE *fropen(const void *cookie, int (*readfn) (void *cookie, char *buf, int n)); FILE *fwopen(const void *cookie, int (*writefn) (void *cookie, const char *buf, int n));
Description
funopen
creates a FILE
stream where I/O is performed using
custom callbacks. At least one of readfn and writefn must be
provided, which determines whether the stream behaves with mode <"r">,
<"w">, or <"r+">.
readfn should return -1 on failure, or else the number of bytes
read (0 on EOF). It is similar to read
, except that <int> rather
than <size_t> bounds a transaction size, and cookie will be passed
as the first argument. A NULL readfn makes attempts to read the
stream fail.
writefn should return -1 on failure, or else the number of bytes
written. It is similar to write
, except that <int> rather than
<size_t> bounds a transaction size, and cookie will be passed as
the first argument. A NULL writefn makes attempts to write the
stream fail.
seekfn should return (fpos_t)-1 on failure, or else the current
file position. It is similar to lseek
, except that cookie
will be passed as the first argument. A NULL seekfn makes the
stream behave similarly to a pipe in relation to stdio functions that
require positioning. This implementation assumes fpos_t and off_t are
the same type.
closefn should return -1 on failure, or 0 on success. It is
similar to close
, except that cookie will be passed as the
first argument. A NULL closefn merely flushes all data then lets
fclose
succeed. A failed close will still invalidate the stream.
Read and write I/O functions are allowed to change the underlying
buffer on fully buffered or line buffered streams by calling
setvbuf
. They are also not required to completely fill or empty
the buffer. They are not, however, allowed to change streams from
unbuffered to buffered or to change the state of the line buffering
flag. They must also be prepared to have read or write calls occur on
buffers other than the one most recently specified.
The functions fropen
and fwopen
are convenience macros around
funopen
that only use the specified callback.
Returns
The return value is an open FILE pointer on success. On error,
NULL
is returned, and errno
will be set to EINVAL if a
function pointer is missing, ENOMEM if the stream cannot be created,
or EMFILE if too many streams are already open.
Portability
This function is a newlib extension, copying the prototype from BSD.
It is not portable. See also the fopencookie
interface from Linux.
Supporting OS subroutines required: sbrk
.