| DOSE: T+ 0:00 |
50 mg |
smoked |
DMT |
(powder / crystals) |
| T+ 1:00 |
50 mg |
smoked |
DMT |
(powder / crystals) |
| T+ 2:00 |
50 mg |
smoked |
DMT |
(powder / crystals) |
Dose:
We are making approximate measurements from a pile of 350mg of DMT. I believe the doses were each around 50mg but can't be sure. I think the first was over and the last was under.
Method:
We are smoking through a glass pipe. One long breath.
Set and Setting:
I am camping with friends in high spirits. The first 2 trips were at night (the first inside the tent and the second outside). The 3 trip was at dawn, initially inside the tent. I was the first to trip. The 2nd trip was after witnessing one of my friends get very, very confused on DMT (this looked quite bad) and hearing that another (Ben) and seen skulls as things went wrong on the come-up (though was calm and content that he'd be OK). Ben and I went into the 3rd trip together - meditating first (although only for a couple of minutes).
Personal History:
I am not new to psychedelic drugs. I have taken LSD many times (maybe I'll write some reports on this), I have abused pills when younger (some very psychedelic). I enjoy mixing Ketamine and MDMA for the psychedelic trips created and have tried several other seritonergic psychedelic drugs: 2CI, 2CB, 2CE (extreme!), 5MeO-DIPT (intense - but calm) and magic mushrooms. I have taken various other drugs but feel my real interest is only with psychedelics. I have tried DMT and Changra before but only in doses which induced a mediative and relaxing state (and amazing afterglow).
I am 21 and when 17 spent a week on LSD.  I gave up drugs for several years and now I'm better - and upon coming out of it I went wild again. I can still trip out - all the time (more after caffeine, lack of sleep) but am in control of it now (I tend to see it more as an added abilily). I am now in the second year of a Mathematics degree and have a keen academic interest (sometimes obsessively so) in the world around me.
THE EXPERIENCE:
Shit! What the fuck! My head is spinning everywhere! My eyes are closed but i'm certainly looking at my own little corner - in the corner of the tent. I hear Rachel shout in pain, well aware that I'm crushing her. I attempt to roll over further into the corner - surprisingly quite aware of the original reality around me.
I see the silhouette of Ben (although in a more gargoyle like form) in the exact position that I saw him as I fell back - although I am not quite sure if I am facing in that direction or the opposite.  (My words will never be able to capture the terror of this moment so I will stop now).
The character in my vision (the one in Ben's place) is now clearly not Ben - it has more the features of a woman and is coming towards me slowly. In addition I feel a spirit towards the back left of me, gradually taking human form - I cannot tell whether they are real or not - having by now lost all bearings on the real world. My mind is flashing through things - sometimes my focus is on visual patterns coming from somewhere - I dunno - can't analyse it - it's just all far to much to cope with...
Wow - my mind is starting to clear up now - it's starting to open up like a flower. It's as if I can start to look around me.  The spirit characters are becoming clearer, human-like individuals. Most of my focus is on the woman (originally Ben) who is coming forward to sit next to me - talking to me in a voice which sounds like air being sucked backwards through the lips. However, these characters are and object of confusion - a distraction from the true beauty surrounding me...
I'm on a desert plane with the woman and my (masculine) friend/enemy (unsure of this) to the back left. It is if there are many objects on this plane - I am observing clearly them all at once but can't actually pinpoint precisely what any one object is. However, the beauty of the plane was insignificant to that of the space surrounding it...
It's as if, although still seated on it, I am somehow risen from the plane - as are the 2 figures with me. It's as if we are giants looking down on the relatively microscopic human population below. This height lets me observe the space as if I was inside it and I am in true awe of what I behold...
From everywhere in this space is coming pure intuition and knowledge. Like the plane, I am focusing on everything at once yet not specifically viewing any single object. I am literally staring at EVERYTHING. It's so amazing, so beautiful, so natural - there is no way that this space is an artificial construct - this is in our minds all the time and is meant to be. It is as if we are all moles underneath the surface of sand - with radio masts attached to our heads, picking up intuition from this space; but now I'm up there in full view of it - I have been blind all my life but now my eyes are open (although still physically closed). This is total ecstasy (although admittedly there is still some element of sketch and confusion in my mind from the havoc earlier).
I hear a cry from Rachel again so open my eyes to get some bearings on how I'm acting in the physical world. I can't help but to make exclamations/sounds of pure joy and amazement - my emotions are so strong that I can't keep them contained inside. I keep opening my eyes to try and talk, then closing them (usually on command from Ben that I should enjoy my time and explain it later). All the time I now see amazing geometric patterns in front of my eyes although I can only really focus on them with my eyes closed.
The similarities to meditation are strong. Like when I meditate, the visuals have a clear centre - there are patterns and patterns - totally symmetric in infinite detail. In fact - these visual are exactly the type I see in meditation, just far stronger. I can still see the space of knowledge around me (although my attention has now become somewhat entwined with the visuals). Now I sense the familiarity of this - it feels like the space surrounding me in meditation - everything feels like meditation. Is it the observation of this space that people refer to as enlightenment?
As far as I am aware, the spirits are now gone.
I am starting to talk now - laughing - repeating short paragraph (unto my knowledge) about 3 times over. I am laughing - laughing hysterically - loving every moment - loving explaining my story to the tent!
1 HOUR LATER...
Wo! I know this! My mind is racing through many thoughts whilst I am simultaneously observing the geometry that my thoughts are flowing in in front of my (closed) eyes. It's like a roller-coaster at the speed of light (I wonder if this is what people may regard as their life flashing before there eyes). Each thought has either good or bad connotations. Those which are good brighten up the world around me - those which a bad darken it up.
I am aware that I am outside and can still see the trees around me. Geometric patterns are starting to form around me and the flower is starting to open up. Somehow (perhaps though paranoia of the experience) my thoughts have become negative. Everything is becoming darker. I see many demons ahead of me - somehow one with the geometric patterns. I can hear them all - like a chorus of pitch-less whistles. Suddenly a burst positivity hits my now slowing down thoughts - it's as if I am moving forwards into a bright light in the centre of my vision. However, this is short lived (like a bump on a roller coaster) and I slide back towards the darkness behind me. I feel I have found an equilibrium point now and can now start to observe, in fascination, where I am...
Everything is much more well defined than my experience the hour before. I am lying on my back, suspended in the centre of a tunnel. Outside this tunnel is the space I had experienced previously. However, the view of it is somehow obscured by the walls of the tunnel. These wall are truly amazing - they are not 2 dimensional but rather a multitude of different spaces having a combined geometry similar to that of a flower. Geometry is everywhere - geometric shapes a suspended in space all around my head (each shape seems to contain more than just empty space - something is going on inside everything).
 Behind me the tunnel continues to infinity, becoming darker and darker as it descends into the depths of hell. In front of me are the demons arranged in a geometric pattern. They are either pulling me out of the tunnel or pushing me back (I'm unsure which - but comfortable that I have found a stable state). In the centre of the demons is an (almost) circular gap where the tunnel opens out. I am starting at a beautiful, blinding white light at the end of the tunnel... And now I know what is through the end of the tunnel (what the light really is) - the pure, unadulterated view of the space surrounding it. Wow - I know it now! This is all fitting together - crystal clear in front of my eyes!
I open my eyes and have a dull vision of forest around me - dulled by the overwhelming visualisation of the world described above. They shut again soon after (I think). Opening my eyes seems to give me some grounding on reality. I feel a warmth enter my body - something I had forgotten in the coldness of the tunnel. I stand up with the exclamation 'That was darker than before' - but laughing now - filled with ecstasy (albeit a kind of dark ecstasy). I look at the world in front of me and am amazed by what I see...
I am looking at the 3 dimensional world but simultaneously at a plane, horizontal to me, filled with brilliant geometric patterns - alive with motion. I can see stars around me - distinct from the 3 dimensional normal reality that I'm also observing. It's as if my mind can comprehend many different geometrical views at once. I'm telling this to Ben (while watching it). We both know what each other's saying as we converse on the way back to the tent.
1 HOUR LATER...
I am meditating when it hits. Wow - it's hit hard. My mind is struggling to keep the focus of meditation - I didn't meditate for that long before hand - I think that after a longer period of meditation in future, I should be able to pass cleanly through.I can hear the birds outside. Their song is reverberating around my head creating an essence of calm and tranquility as a backdrop for the chaos in my mind.Last time I was watching my thoughts in a tight geometry but this time (clearly due to the meditation) it's as if there geometry is surrounding a spherical space - in smooth motions - like demons attacking some sacred ball.
There are no characters which I am fully aware of this time (except the birds, flying around me). I can see that now all to familiar flower around me - each petal is another 'plane of consciousness. Everything is tinted orange/red.
Suddenly my mind clicks - MUSIC! God - I have to play music - see what that looks like! I sit up and open my eyes to search for a mobile phone. I can see Ben next to me, lying down (after he tells me that the characters were dancing around him.) I hear the voices of the others coming towards the tent - they are back from London. When they enter I am talking to them but keep being blown back, laughing. Ben's up now and sunlight is pouring in through the door of the tent. We unanimously decide to venture outside...
The sky is amazing! Bright azure with an amazing psychedelic sparkle and shine about it - reality is so clear now - looking at it gives me a spark of pure ecstasy.  I'm laughing, saying 'not here - this is a family campsite - we'll be arrested or something'.
We walk to the toilet block. Around me everything is form of polygons. The leaves of the trees are as if they are made of many diamond shapes, overlapping. Is it the case that our mind somehow forms the complex image of an object in our consciousness by adding layers and layers of simple polygons. Everything is geometry - all our thoughts - everything!
I am in the toilet now - staring at the top plumbing of the urinal. Every detail in it is moving smoothly - no longer the discrete geometry of outside. I feel a fast rush of euphoria - an expanding of my consciousness (as if somehow rising backward, getting wider) as I stare in awe at. Everything is moving however I want it to. Once again - I am observing everything but not directly focusing on a single thing... I am staring into the face of God.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


PRIEST A film review by James Meek Copyright 1995 James Meek
Distributed by Miramax Rated R Director: Antonia Bird Screenwriter: Jimmy McGovern Cinematographer: Fred Tammes Editor: Susan Spivey Starring: Linus Roache, Tom Wilkinson, Cathy Tyson, Robert Pugh, Robert Carlyle, Christine Tremarco
PRIEST is the second movie I've seen recently ending with "You'll Never Walk Alone" swelling onto the soundtrack. In HEAVENLY CREATURES, the Mario Lanza version plays over the credits as a wonderfully ironic grace note to a stellar film--the selection fits perfectly. In PRIEST, which is merely a very good movie, a rather tepid version of the song plays out as a banal reflection of the action. The song's appearance in PRIEST isn't inappropriate, but neither is it inspired, as it is in HEAVENLY CREATURES.
That sort of difference sums up my attitude towards PRIEST. It's a very good movie, but not an inspired movie. The director, Antonia Bird, and screenwriter Jimmy McGovern give us a film about Father Greg (Linus Roache), a rigidly traditional young priest assigned to a parish in Liverpool. He joins Father Matthew (Tom Wilkinson), a liberal priest more interested in the spirit of religious law than the letters. The two immediately clash, with Father Greg objecting to a sermon by Father Matthew in which the latter points a heavy finger at societal institutions. When he finds out that Father Matthew and the parish housekeeper, Maria Kerrigan (Cathy Tyson), have been involved in a long-term sexual and romantic relationship, he writes off Father Matthew as completely hopeless.
Father Greg, however, has some secrets of his own: he's gay, and he cannot keep from breaking his vow of chastity. He dresses in leather and bicycles down to a pub to meet a sexual partner. To his credit, Father Greg realizes his hypocrisy, but he cannot admit it to Father Matthew or anyone else. He cannot bring himself to break the seal of the confession, however, even when a fourteen-year-old parishioner confesses that her father "makes me do things." Father Greg has her tell her father that "I say it has to stop." He is wholly unprepared for the father's response, however: an eloquent, cold-blooded justification for acting upon his incestuous desires.
Father Greg spends the film discovering that while he's quite willing to be a Martyr, to wage Holy War on Sin and Evil, he lives in a world where he must instead make sacrifices, and do what he can to struggle against sin and evil. He tells his lover that in seminary school, he *knew* the answers to hypothetical problems--if someone confessed before a service that he'd poisoned the altar wine, Father Greg would martyr himself for his vow, drinking the wine anyway. He is utterly flummoxed, however, when confronted with his own desires, which seem ludicrous when articulated in terms of absolute good and evil; and when confronted with a reasoned, unrepentant evil that is utterly human, though utterly life-destroying.
PRIEST is crammed full of more plot lines and character development than nine or ten average summer blockbusters. It does Catholicism the (usually unwelcomed) favor of taking its tenets quite seriously. Critics who object to the film seem to feel that their faith is being mocked, that priests shouldn't be portrayed as sinning human beings. While Bird and McGovern make no secret of their liberal bias, however, no viewpoint in the film is presented unchallenged, and no absolute distinctions are made between good and bad Catholics. The filmmakers do not mock those parishioners who cannot forgive Greg his sins and feel that his presence before them is mockery at best and blasphemy at worst. The filmmakers don't agree with their position, but they do take it seriously.
The seriousness with which everything is taken is, in fact, its main fault. There are very few really lighthearted moments in the film. Although it is obvious that Father Greg lives to be a priest, we never see the joys or satisfactions that the position must offer, at least in theory. The profession is not condemned, but neither is it celebrated, and so Bird and McGovern present to the audience characters whose dilemmas are never fully believable because you're never sure why they're dilemmas in the first place. Father Greg utterly rejects the idea of leaving the priesthood to free himself to love whom he pleases, and it's obvious that being a priest means as much (or more) to him as being gay, but there's never any sense or explanation of what motivated him to become a priest in the first place.
This puts the whole movie in the rather awkward position of being an obvious hypothetical situation arguing the folly--or even the sin--of mistaking hypothetical situations for real life. Bird and the other filmmakers seem to respect Catholicism as the question it, but don't show any evidence of feeling the paradoxes and dilemmas of faith in the core of their being. PRIEST is a very good film, a very worthy film; ultimately, however, it never makes the final, alchemical leap, transforming good acting, a good script, and strong direction into a really powerful, moving motion picture.
Rating: 7 out of 10 on a scale where 1 = MOM AND DAD SAVE THE WORLD and 10 = REAR WINDOW
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Basic Examples Use any of the available button classes to quickly create a styled button.
Color Schemes
Button Sizes
Fancy larger or smaller buttons? Add the button sizing classes.Disable Stat
Button Icons You can refer the Icons page for the complete list of Material Design font icons
Block Level Buttons Create block level buttons - those that span the full width of a parent - by adding .btn-block.
Button Groups Group a series of buttons together on a single line with the button group
Basic Example
Button Toolbars
Combine sets of '.btn-group.' into a '.btn-toolbar' for more complex components.Button Group Sizing
Instead of applying button sizing classes to every button in a group, just add '.btn-group-*' to each '.btn-group', including when nesting multiple groups.Justified Button Groups
Make a group of buttons stretch at equal sizes to span the entire width of its parent. Also works with button dropdowns within the button group.Nesting
Place a '.btn-group' within another '.btn-group' when you want dropdown menus mixed with a series of buttons.


Note:This paragraph is informative. This document is currently not maintained. PICS has been superseded by the Protocol for Web Description Resources (POWDER). W3C encourages authors and implementors to refer to POWDER (or its successor) rather than PICS when developing systems to describe Web content or agents to act on those descriptions. A brief document outlining the advantages offered by POWDER compared with PICS is available separately. The 31 October 1996 PICS Recommendation remains available on the W3C Web site.
This document has been reviewed by W3C members and other interested parties and has been endorsed by the Director as a W3C Recommendation. It is a stable document and may be used as reference material or cited as a normative reference from another document. W3C's role in making the Recommendation is to draw attention to the specification and to promote its widespread deployment. This enhances the functionality and interoperability of the Web.
A list of current W3C Recommendations and other technical documents can be found at http://www.w3.org/pub/WWW/TR/.
This document, which has been prepared for the technical subcommittee of PICS (Platform for Internet Content Selection), defines a language for describing rating services. Software programs will read service descriptions written in this language, in order to interpret content labels and assist end-users in configuring selection software.
Table of Contents
The application/pics-service document type
Explanation of Sample Rating Service
Detailed syntax of application/pics-service
Appendix A: The Ages Rating Service
Appendix B: RSAC Rating Service
Appendix C: The SafeSurf~~ Rating Service
This document, which has been prepared for the technical subcommittee of PICS (Platform for Internet Content Selection), defines a language for describing rating services. Software programs will read service descriptions written in this language, in order to interpret content labels and assist end-users in configuring selection software.
A related document (PICS Label Distribution) specifies the syntax and semantics of content labels and protocol(s) for distributing labels.
The goal of the PICS effort is to enable a marketplace in which many different products and services will be developed, tested, and compared. Hence, the following considerations have had significant impact on this document:
A rating service is an individual, group, organization, or company that provides content labels for information on the Internet. The labels it provides are based on a rating system (see below). Each rating service must describe itself using a newly created MIME type, application/pics-service. Selection software that relies on ratings from a PICS rating service can first load the application/pics-service description. This description allows the software to tailor its user interface to reflect the details of a particular rating service, rather than providing a "one design fits all rating services" interface.
This specification does not state how the application/pics-service description of a rating service is initially located. For users of the World Wide Web, we expect that well-known sites will provide lists of rating services along with their application/pics-service descriptions. It is expected that client programs will cache copies of application/pics-service descriptions, so any incompatible change in a service description should be accomplished by creating an entirely new service URL.
Each rating service picks a URL as its unique identifier. It is included in all content labels the service produces, to identify their source. We recommend, but do not require, that this identifier include a version number, as shown in all of the examples in this specification, to simplify transitions due to incompatible changes over time. For example, our sample service "http://www.gcf.org/v1.0/" includes "v1.0" as its own version number. To ensure that no other service uses the same identifier, it must be a valid URL. In addition, the URL (when used within a query) serves as a default location for a label bureau that dispenses this service's labels (see PICS Label Distribution).
Since the service identifier is a URL, it can be used to retrieve a document. That document may be in any format, but we recommend that it:
A rating system specifies the dimensions used for labeling, the scale of allowable values on each dimension, and a description of the criteria used in assigning values. For example, the MPAA rates movies in the USA based on a single dimension with allowable values G, PG, PG-13, R, and NC-17.
Each rating system is identified by a valid URL. This enables several services to use the same rating system and refer to it by its identifier. The URL naming a rating system can be accessed to obtain a human-readable description of the rating system. The format of that description is not specified.
A content label (or rating) contains information about a document. As described in PICS Label Distribution, a content label (or rating) has three parts:
A rating service is defined by a document of type application/pics-service. The detailed syntax and semantics are presented in the next two sections. Here is an example of such a document, intended only to illustrate the full set of features of a machine description:
((PICS-version 1.1) (rating-system "http://www.gcf.org/ratings") (rating-service "http://www.gcf.org/v1.0/") (icon "icons/gcf.gif") (name "The Good Clean Fun Rating System") (description "Everything you ever wanted to know about soap, cleaners, and related products. For demonstration purposes only.") (category (transmit-as "suds") (name "Soapsuds Index") (min 0.0) (max 1.0)) (category (transmit-as "density") (name "suds density") (label (name "none") (value 0) (icon "icons/none.gif")) (label (name "lots") (value 1) (icon "icons/lots.gif"))) (category (transmit-as "subject") (name "document subject") (multivalue true) (unordered true) (label (name "soap") (value 0)) (label (name "water") (value 1)) (label (name "soapdish") (value 2)) (label-only)) (category (transmit-as "color") (name "picture color") (integer) (category (transmit-as "hue") (label (name "blue") (value 0)) (label (name "red") (value 1)) (label (name "green") (value 2))) (category (transmit-as "intensity") (min 0) (max 255))))
Notes:
rating-service-description :: '(' version rating-system rating-service service-option* category-list+ ')' version :: '(' 'PICS-version' '1.1' ')' rating-system :: '(' 'rating-system' quoted-URL ')' rating-service :: '(' 'rating-service' quoted-URL ')' service-option :: default | description | extension icondef | name category-list :: '(' 'category' '(' 'transmit-as' transmit-name ')' (category-option | scale-option)* category-list* ')' defaultable-option :: extension | integer | labeled | max | min | multi | unordered category-option :: description | icondef | name scale-option :: defaultable-option | enum-list enum-list :: enum+ enum :: '(' 'label' name [description] '(' 'value' number ')' [icondef] ')' default :: '(' 'default' defaultable-option+ ')' description :: '(' 'description' quoted-string ')' extension :: '(' 'extension' '(' mand/opt quoted-URL data* ')' ')' icondef :: '(' 'icon' quoted-URL ')' integer :: '(' 'integer' [boolean] ')' labeled :: '(' 'label-only' [boolean ] ')' max :: '(' 'max' maxnum ')' min :: '(' 'min' minnum ')' multi :: '(' 'multivalue' [boolean] ')' name :: '(' 'name' quoted-string ')' unordered :: '(' 'unordered' [boolean] ')' boolean :: 't' | 'f' | 'true' | 'false' mand/opt :: 'optional' | 'mandatory' transmit-name :: '"' transmit-name-char+ '"' minnum :: number | '-INF' maxnum :: number | '+INF' number :: [sign]unsignedint['.' [unsignedint]] sign :: '+' | '-' unsignedint :: [0-9]+ data :: quoted-string | '(' data* ')' Note: In many cases it is useful to be able to use a URL as data. This syntax requires that, in such a case, the URL must be UTF-7 encoded. This will rarely require any additional work, but designers and implementers of extensions should take care. quoted-string :: '"' UTF-7 '"' UTF-7 :: Characters encoded using UTF-7, with direct coding of US-ASCII set O except for the double-quote (decimal 34) which must be encoded to allow for its use as the string delimiter character. See note above. quoted-URL :: '"' URL '"' URL is as defined in RFC-1738 for URLs. In addition, PICS defines the following new form for referencing Internet Relay Chat (IRC) rooms: URL :: ... | 'irc://' host '/' alphanumpm (where host is the usual Internet hostname) transmit-name-char :: alphanumpm | '.' | '$' | ',' | ';' | ':' | '&' | '=' | '?' | '!' | '*' | '~' | '@' | '#' | '_' | '%' hex hex Note: Use the "%" escape technique (% followed by the two hex digits that represent the character in the ASCII character set) to insert single or double quotation marks or parentheses. alphanumpm :: 'A' | ... | 'Z' | 'a' | ... | 'z' | '0' | ... | '9' | sign sign :: '+' | '-'
For reference, the following attributes are currently defined by the above BNF:
Recall that the MIME type application/pics-service is intended to describe a particular rating service in sufficient detail to automatically generate a user interface for configuring content selection software that relies on the rating service.
The quoted-URL in the rating-service identifies the service. This identifier is included in all the labels provided by the rating service. Dereferencing the URL yields a human-readable description of the service. If the optional URL for an icon for the rating service is supplied, it is dereferenced relative to the rating service URL. The name of the rating system is intended to be short and human-readable, with the description being a longer description (suitable, perhaps, for a pop-up box). A complete human-readable description is available from the rating service's URL.
The quoted-URL in the rating-system identifies the rating system used by this service. Dereferencing the URL yields a human-readable description of the rating system. All remaining relative URLs in the application/pics-service description are dereferenced relative to the rating-system URL, since they describe features of the rating system. The only exception is the rating service's icon, as described above, which is dereferenced relative to the rating-service URL, so that the service can maintain its own (possibly copyrighted) identity even if it chooses to share a rating system with other services.
The machine-readable description also describes the categories used in the rating system. There may be one or more categories for a given rating system. A single document may have a rating on any or all of these categories. Categories can be nested within one another.
A category has a "transmission name" which is used in the actual label for a document. Transmission names should be as short as reasonable, but they may be complete URLs if desired. They must be unique within a given rating system (i.e. two categories in the same rating system must not have the same transmission name; but see below for creating transmissions names from nested categories.) Unlike the name and description strings, transmission names are language-independent. That is, if a rating system is offered in several languages, the transmission names must be the same in all of them. Transmission names are case sensitive (to allow URLs to be used as transmission names). In addition to the transmission name, which is required, a category may optionally have an icon and a human-readable description.
Categories may be nested within one another (as in the case of color in the example rating system). In this case, the transmission name is created in the usual way by starting with the outermost category's transmit-as string, adding a "/" and proceeding inward in the nesting. Thus, the example rating system has three categories, and their transmission names are color, color/hue, and color/intensity. In order to simplify the user interface of configuration software, it is wise to have few categories at any level of nesting; we recommend 10 or fewer.
Icons, if provided, may be of any size. We recommend, however, that icons be as small as possible, since selection software is likely to embed them in displays that include other text and images as well. We also recommend that a rating service's category icons all be the same size.
Values in PICS labels may be integers or fractions with no greater range or precision than that provided by IEEE single-precision floating point numbers. Values may be given names by using the label attribute. When a value is given a name, it may optionally have attached an icon and a human-readable description. The description for each category can specify restrictions on the range of permissible values for certain named attributes. Values may be restricted in a variety of ways:
For rating systems that contain large numbers of categories or deeply nested categories, it is convenient to allow for inheritance of some attribute values. In particular, the defaultable-options of a category (extension, integer, label-only, max, min, multivalue, and unordered) are inherited by each category from its enclosing (parent) category. These attributes can be given default values for the entire rating service by using the default attributes. This corresponds to value inheritance in object-oriented systems or lexical scoping in programming languages. (Notice that not all attributes can be inherited. Rationale: the set was chosen to include only those attributes that can be overridden. Thus, the enum-list is not inheritable because there is no way to say "don't give this value a name," which would be required to override an inherited name.)
Note: While it would be nice to restrict the numeric values of ratings to integers, the following examples motivate our decision to permit fractional values.
Comments and suggestions from the following people are gratefully acknowledged:
Brenda Baker, Lucent Scott Berkun, Microsoft Tim Berners-Lee, W3C Roxana Bradescu, AT&T Daniel W. Connolly, W3C Roy Fielding, W3C Jay Friedland, SurfWatch Henrik Frystyk Nielsen, W3C Wayne Gramlich, Sun Woodson Hobbs, NewView Rohit Khare, W3C Charlie Kim, Apple John C. Klensin, MCI Tim Krauskopf, Spyglass Breen Liblong, IFSI Ann McCurdy, Microsoft Rich Petke, CompuServe Eric Prud'hommeaux, W3C Dave Raggett, W3C Bob Schloss, IBM Ray Soular, SafeSurf Jason Thomas, MIT G. Winfield Treese, OpenMarket Richard Wolpert, Providence Systems
One of the simplest possible rating systems uses a single category, "Minimum recommended age." We present the machine description for a fictional service that uses this rating system.
((PICS-version 1.1) (rating-system "http://www.ages.org/our-system/") (rating-service "http://www.ages.org/our-service/v1.0/") (name "The Ages Rating Service") (description "We estimate the maturity required to view materials on the Internet.") (category (transmit-as "age") (name "Minimum Recommended Age") (integer true)))
As a specific example of a deployed rating service encoded using the PICS machine-readable description format, we present the service supplied by the Recreational Software Advisory Council (RSAC). They use their own (copyrighted) rating system, which we include with their permission. The rating system contains four categories: Violence, Nudity, Sex, and Language. Each category is rated on a scale from 0 to 4, with a specific description for each value. Only values with names are permitted.
((PICS-version 1.1) (rating-system "http://www.rsac.org/ratingsv01.html") (rating-service "http://www.rsac.org/") (name "The RSAC Ratings Service") (description "The Recreational Software Advisory Council rating service.  They have provided a machine-readable version of their service to PICS as a demonstration of a more complex rating system that includes sub-categories as well as a document classification system. The following specification includes a full description of the rating part of the SafeSurf system, with only a small stub to represent the classifications.
((PICS-version 1.1) (rating-system "http://www.classify.org/safesurf/") (rating-service "http://www.classify.org/safesurf/service/") (name "SafeSurf Rating Service") (description "The SafeSurf SS~~ Rating and Classification Standard. Designed with input from thousands of parents and Net citizens worldwide to specifically to handle the vast potential of the Internet, it empowers each family to make informed decisions concerning accessibility of online content. Copyright 1995. All Rights Reserved.") (category (transmit-as "SS~~000") (name "Age Range") (label (name "All Ages") (value 1)) (label (name "Older Children") (value 2)) (label (name "Younger Teens") (value 3)) (label (name "Older Teens") (value 4)) (label (name "Adult Supervision Recommended") (value 5)) (label (name "Adults") (value 6)) (label (name "Limited to Adults") (value 7)) (label (name "Adults Only") (value 8)) (label (name "Explicitly for Adults") (value 9))) (category (transmit-as "SS~~001") (name "Profanity") (label (name "Subtle Innuendo") (description "Subtly Implied through the use of Slang") (value 1)) (label (name "Strong Innuendo") (description "Expressly implied through the use of Slang") (value 2)) (label (name "Technical Reference") (description "Dictionary, encyclopedic, news, technical references") (value 3)) (label (name "Non-Graphic-Artistic") (description "Limited non-sexual expletives used in a artistic fashion") (value 4)) (label (name "Graphic-Artistic") (description "Non-sexual expletives used in a artistic fashion") (value 5)) (label (name "Graphic") (description "Limited use of expletives and obscene gestures") (value 6)) (label (name "Detailed Graphic") (description "Casual use of expletives and obscene gestures") (value 7)) (label (name "Explicit Vulgarity") (description "Heavy use of vulgar language and obscene gestures.          Unsupervised Sexual Chat Rooms or Newsgroups") (value 9))) (category (transmit-as "SS~~004") (name "Nudity") (label (name "Subtle Innuendo") (description "Subtly Implied through the use of composition, lighting, shaping, revealing clothing, etc.") (value 1)) (label (name "Strong Innuendo") (description "Explicitly implied (not shown) through the use of composition, lighting, shaping or revealing clothing") (value 2)) (label (name "Technical Reference") (description "Dictionary, encyclopedic, news, medical references") (value 3)) (label (name "Non-Graphic-Artistic") (description "Classic works of art presented in public museums for family viewing") (value 4)) (label (name "Graphic-Artistic") (description "Artistically presented without full frontal nudity") (value 5)) (label (name "Graphic") (description "Artistically presented with frontal nudity") (value 6)) (label (name "Detailed Graphic") (description "Erotic frontal nudity") (value 7)) (label (name "Explicit Vulgarity") (description "Detailed provocative presentation") (value 8)) (label (name "Explicit and Crude") (description "Explicit pornographic presentation") (value 9))) (category (transmit-as "SS~~005") (name "Violence") (label (name "Subtle Innuendo") (value 1)) (label (name "Strong Innuendo") (value 2)) (label (name "Technical Reference") (value 3)) (label (name "Non-Graphic-Artistic") (value 4)) (label (name "Graphic-Artistic") (value 5)) (label (name "Graphic") (value 6)) (label (name "Detailed Graphic") (value 7)) (label (name "Inviting Participation in Graphic Interactive Format") (value 8)) (label (name "Encouraging Personal Participation, Weapon Making") (value 9))) (category (transmit-as "SS~~006") (name "Sex Violence and Profanity") (label (name "Subtle Innuendo") (value 1)) (label (name "Strong Innuendo") (value 2)) (label (name "Technical Reference") (value 3)) (label (name "Non-Graphic-Artistic") (value 4)) (label (name "Graphic-Artistic") (value 5)) (label (name "Graphic") (value 6)) (label (name "Detailed Graphic") (value 7)) (label (name "Explicit Vulgarity") (value 8)) (label (name "Explicit and Crude") (value 9))) (category (transmit-as "SS~~007") (name "Intolerance of another person's racial, religious, or gender backround") (label (name "Subtle Innuendo") (value 1)) (label (name "Strong Innuendo") (value 2)) (label (name "Technical Reference") (value 3)) (label (name "Non-Graphic-Literary") (value 4)) (label (name "Graphic-Literary") (value 5)) (label (name "Graphic Discussions") (value 6)) (label (name "Endorsing Hatred") (value 7)) (label (name "Endorsing Violent or Hateful Action") (value 8)) (label (name "Advocating Violent or Hateful Action") (value 9))) (category (transmit-as "SS~~008") (name "Glorifying Drug Use") (label (name "Subtle Innuendo") (value 1)) (label (name "Strong Innuendo") (value 2)) (label (name "Technical Reference") (value 3)) (label (name "Non-Graphic-Artistic") (value 4)) (label (name "Graphic-Artistic") (value 5)) (label (name "Graphic") (value 6)) (label (name "Detailed Graphic") (value 7)) (label (name "Simulated Interactive Participation") (value 8)) (label (name "Soliciting Personal Participation") (value 9))) (category (transmit-as "SS~~009") (name "Other Adult Themes") (label (name "Subtle Innuendo") (value 1)) (label (name "Strong Innuendo") (value 2)) (label (name "Technical Reference") (value 3)) (label (name "Non-Graphic-Artistic") (value 4)) (label (name "Graphic-Artistic") (value 5)) (label (name "Graphic") (value 6)) (label (name "Detailed Graphic") (value 7)) (label (name "Explicit Vulgarity") (value 8)) (label (name "Explicit and Crude") (value 9))) (category (transmit-as "SS~~00A") (name "Gambling") (label (name "Subtle Innuendo") (value 1)) (label (name "Strong Innuendo") (value 2)) (label (name "Technical Discussion") (value 3)) (label (name "Non-Graphic-Artistic, Advertising") (value 4)) (label (name "Graphic-Artistic, Advertising") (value 5)) (label (name "Simulated Gambling") (value 6)) (label (name "Real Life Gambling without Stakes") (value 7)) (label (name "Encouraging Interactive Real Life Participation with Stakes") (value 8)) (label (name "Providing Means with Stakes") (value 9))) (category (transmit-as "SS~~100") (name "General Information") (min 1) (max 100) (integer true)))Copyright © 1996 W3C (MIT, INRIA, Keio ), All Rights Reserved. W3C liability, trademark, document use and software licensing rules apply.
Webmaster
$Date: 2009/11/24 18:23:30 $


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20 JavaScript Frameworks Worth Checking Out
Siddharth on Sep 23rd 2011 with 44 comments
The number of web applications being created and used has grown rapidly since the neu mellenium. And importantly, so has the sheer complexity of them - specially on the front end. No more static pages, no sir!
You have a ton of sections each interacting with each other and the server and yes, it's as complicated as it sounds and just as hard to pull off. Today, I'd like to talk about few, choise JavaScript frameworks that aim to simplify front end application development.
Continue


Single Page Application
I develop fully responsive and highly intuitive Single Page Application using front-end javascript framework such as React, Redux or framework of your choice with refined UI/UX experience to make your users feel at home, both for contract or hourly based service.
Scalable Web Services
Apart from front-end development, I also provide assistance in create scalable RESTful web services, persistence web socket connections, peer to peer real time communications deployed in cloud platforms such as Amazon EC2 Containers, Amazon Elastic Bean or Google App Engine using Express.js, Spring Boot or Django Rest Framework.
X-Platform Mobile Apps
Recently I have started to investigate on React Native to create mobile application both for iOS and Android using technology stack of reselectors, redux and relay which offers performance par equal to that of the native ones. For those who want to cut down both cost and time of creating cross platform mobile application, you are just a section away of achieving your goal ;)
Would you like to know more or just discuss something?
Contact me


{% extends "events/base.html" %} {% block title %}Code Jam 3: Games!{% endblock %} {% block breadcrumb %}
The theme for code jam 3 was creating a game with the theme the world ends in 10 minutes. The teams of three could live out their creativity here - any form of game was fine, as long as they fit the theme. The jam started at Monday, the 22nd October 2018, 12:00 PM UTC.
The original task description was as follows:
This task is a little more freeform than the other code jams we've had so far - we're happy to accept games in any form, as long as they fit that theme. You may use PyGame, Kivy, Curses/Unicurses, Pyxel, web frameworks like Flask, or anything else your team desires. Please provide instructions on how to set up and run your game within the README where necessary. Remember that teamwork is paramount - You will need to work together. For this jam, we've assigned a leader for each team based on their responses to the application form. Remember to listen to your leader, and communicate with the rest of your team!
The winning team for this jam was Certain Horses, consisting of Wattle, Scragly, and Mark. They made a 2D platformer where the player had to collect lemons in order to earn points. Below the player was an ocean of lemon juice that caused instant death if you touched it.
Every time you collected a lemon, the lemon juice water level would raise up, so you had to be tactical about which lemons you could collect without dying and which of the branching paths you'd have to select to avoid the sea of lemon juice rushing up to meet you.
You can play the game by yourself here: https://github.com/MarkKoz/code-jam-3
The first runner up for this jam was team Successful Toads, whose code can be found at https://gitlab.com/biskette/code-jam-3/. They wrote a flask app game which was about deciding who to let into the last nuclear bunker on the planet. Like Tinder, but for nuclear holocaust gatekeepers. The game had procedurally generated graphics which were absolutely hilarious, and you would swipe right or left to decide whether or not to let someone into your bunker. Each person had certain traits which could either save or destroy your bunker.
In order to win, you had to balance stuff like medical expertise with combat experience and make sure that your bunker would survive into the post-apocalypse.
The second runner up for this jam was team Misty Hats, with code available at https://gitlab.com/JannesJ/code-jam-3. They made an excellent shoot-em-up in the style of Gradius, with a long intro cinematic, lots of original graphics assets, and a whole bunch of different power-ups. Other features included:
Fighter enemy: A tiny spaceship that will follow you and try to take you down.
Pythonic mines: Space mines shaped like Python logos that damage you if you touch them.
Defensive Structures: Semi-Stationary defensive structures that will shoot you on sight
8 different power-ups: Extra damage, armor, hp, shield, double shot.. and more!
Timers: A ten minute timer and small timers for temporary power ups.
Different size/color blaster projectiles
Wave system


Deuteronomy 12:32
What thing soever I command you, observe to do it: thou shalt not add thereto, nor diminish from it.


This sample illustrates how to wire up a Pusher WebHooks receiver. A sample WebHook URI is:
https://{host}/api/webhooks/incoming/pusher/{id}
Set WebHooks:Pusher:SecretKey:{id}:{application key}
configuration values to the corresponding
secret keys. That is, match the Pusher application key / secret key pairs and optionally use IDs to
differentiate between multiple WebHooks.
See Pusher WebHooks for more information.


WITNESS LIST Jurisprudence Committee May 14, 2003 - 1:30P HB 729 AGAINST: Gerstenschlager, Merry Lynn (Texas Eagle Forum - Legislative Liason), Weatherford, TX Registering, but not testifying: For: Stansbury, Tom (Texas Family Law Foundation), Stafford, TX Tindall, Harry (Family Law Section, State Bar, Uniform Law Commission), Houston, TX HB 803 Registering, but not testifying: For: Beveridge, Doug (Texas Land & Mineral Owners Association), Austin, TX Grimm, James (Texas Poultry Federation), Round Rock, TX Harston, Ricky (Glasscock Groundwater Conservation District), Garden City, TX Holland, Scott (Irion CO. Water Conservation District Sterling Co. Underground W.C.D.), Mertzon, TX Howe, Billy (Texas Farm Bureau), Austin, TX Salmon, Stephen (Riverside & Landowners Protection Coalition Texas Sheep & Goat Raisers Association), San Angelo, TX Small, Ed (Texas & Southwestern Cattle Raisers Assn.), Austin, TX Turner, Bob (Texas Sheep & Goat Raisers Association (TSGRA)), Austin, TX HB 913 FOR: Stansbury, Tom (Texas Family Law Foundation), Stafford, TX Registering, but not testifying: For: Tindall, Harry (Family Law Section, State Bar), Houston, TX HB 1391 Registering, but not testifying: For: Lemon, W. Clyde (Charles Bacarisse, Dostrict Clerk Harris County), Houston, TX Pence, Angela (Houston Bar Association, Family Law Section), Houston, TX HB 1590 Registering, but not testifying: For: Neeley, Karen (Independent BankersAssociation of Texas), Austin, TX Parker, Gary (Texas Credit Union League and 1st UCU), Waco, TX Stegall, Melodie (Credit Union Legislative Coalition), Austin, TX HB 1815 Registering, but not testifying: For: Lehrmann, Debra Judge (Self), Fort Worth, TX Stansbury, Tom Judge (Texas Family Law Foundation), Stafford, TX Tindall, Harry (Self), Houston, TX HB 3595 Registering, but not testifying: For: Kastrin, Deborah (County of El Paso), Austin, TX


| DOSE: T+ 0:00 |
0.5 joints/cigs |
smoked |
Cannabis |
|
| T+ 0:30 |
|
insufflated |
Cocaine |
(powder / crystals) |
[Erowid Note: Driving while intoxicated or tripping is dangerous and irresponsible because it endangers other people. Don't do it!]
Cocaine was not on the schedule for that Friday night. Another average night out with my friends, but I was driving. So I wanted something other than alcohol to get high off, namely cannabis. All times are approximate. At the time of this experience I was 17.
At the first bar we got to I met T, an acquaintance I wasnít very familiar with. After smoking a joint in the bar garden he informed me he had some coke on him and asked whether I wanted a few bumps; I accepted. I had never done coke before but had wanted to try for some time. We went outside into some alleyway, I couldnít feel any of the effects of the cannabis; I was overcome with nerves. I guess the constant indoctrination in youth against ďhard drugsĒ came into an effect as I couldnít stop shaking. I blamed it on the cold to save face.
We used a phone light to see and he offered me to go first. I used my house key to scrape up a small bump and held it up to my nose and sniffed. It didnít burn or anything. I rubbed some all over my gums and it instantly became numb, but it felt wonderful. The rush started to hit me as I was walking away after approx 2 minutes, and whenever I inhaled it felt like I was breathing ice. It felt absolutely brilliant though. My head felt like it was floating.
T+5: Me and T started chatting about random stuff and I felt a really strong bond. This never would have happened normally so I think the cocaine was taking effect. He offered me his jumper seeing I was cold, insisting I have it. I never would have normally considered him this friendly. We went back inside the bar and I felt really confident and chatty. I was meeting new people and chatting with them as if I had known them for years. My nose started to clog up which was unpleasant. Some people needed money so I offered them a lift.
T+10 Two in the back and T in front, we took a drive to the bank machine. For some reason I insisted he have my phone holder in the shape of a driving seat, because I saw him looking at it. I donít know why I did that, because I really liked it. But at the time I felt I wanted to give someone else happiness.
T+15 I drive increasingly aggressively after we find out the first bank machine is broken. I was getting rushes and tingles down my spine. The coke made me reckless. I was driving too fast for the roads. Why could I not stop laughing? I didnít have any perception of danger, or feel any fear in my gut. Cocaine made me feel invincible. Everyone in the car was coked up and encouraging me to speed. I get in a race with a mini cooper but it was wayyy to fast for me. Although my perception was skewed, my driving skills felt at 110%. Fast speeds felt slow to me and my reactions were quick. I am never normally an aggressive driver, but I felt the urge to go faster and faster. Iím not proud of it, but doing 120 mph down the motorway felt brilliant. I was getting such a buzz out of it. T was laughing uncontrollably. I kept burning through cigarettes, about 1 every 10 minutes.
T+30 We got cash and got back and I was still feeling it a lot. T wanted to do more, and we looked around to buy more as we had nearly run out.
T+45 We get a gram of coke and split it, I go home. Lots of people wanted a lift, but they were too drunk and I didnít know them before that night, so I ditch them. I donít take any more coke and go straight to bed.
Morning after:
Finished off the rest of the coke in the morning, it was clearly way under half a gram. Felt fine all day, and tired for sleep. I sleep fine. Day after that didnít experience any crash or comedown.
Overall a good first experience, I liked the feeling of invincibility. But its not a drug Iíll do too often.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


--- layout: default title: About Neel Mehta permalink: about.html ---
Random stuff about me and hathix.com.
Neel. Harvard College Class of 2018. Native Philadelphian. Web developer. Baseball fan. Pun lover. Sometime philosopher. Politics junkie.
In case you're interested.
Neel Mehta's ResumeQuestions I wish people would ask me more.
{% for faq in site.data.about.faq %}{{faq.question | markdownify}} {{faq.answer | markdownify }}
{% endfor %}


slickgrid-colgroup-plugin examples
Basic 1
Basic 2
Basic 3
Basic 4
Basic 5
Basic 6
With sort
With filter
With editor
With explicit initialization


In this case, there are 3 states for the traffic light. They are:
0: orange light;
1:red light:
2:green light:
so S = {0,1,2}; O = {red,orange,green}
Because it is a finite-machine that controlled by timer, we could ignores its input.
We can use this table to examine the evolution of this state machine.
timer
|
30 seconds
|
30 seconds
|
30 seconds
|
state
|
0
|
1
|
2
|
output
|
orange light
|
red light
|
green light
|
So the initial state of the machine is state 0 which has an output of orange light. When the time finish 30 seconds counting, state += 1 which will out put the red light in state one. And timer again counts down from 30 to 0 and state will add 1 again. This time the output changes to the green light. But this time, in order to back to the state 0 when the time counts all 30 seconds state = 0. Then the out put will be orange light again.
Then we can get the conclusion that this state machine’s state depends on the last state and the time counting.
Discussions


latin_square.Rd
Randomly generates a latin square design of up 10 treatments.
latin_square( t = NULL, reps = 1, plotNumber = 101, planter = "serpentine", seed = NULL, locationNames = NULL, data = NULL )
| t | Number of treatments. |
|---|---|
| reps | Number of full resolvable squares. By default |
| plotNumber | Starting plot number. By default |
| planter | Option for |
| seed | (optional) Real number that specifies the starting seed to obtain reproducible designs. |
| locationNames | Name for each location. |
| data | optional) Data frame with label list of treatments. |
A list with information on the design parameters.
Data frame with the latin square field book.
Design and Analysis of Experiments, Volume 1, Introduction to Experimental Design. Second Edition. Klaus Hinkelmann & Oscar Kempthorne.John Wiley & Sons, Inc., Hoboken, New Jersey.
# Example 1: Generates a latin square design with 5 treatments and 3 reps. latinSq1 <- latin_square(t = 5, reps = 3, plotNumber = 101, planter = "serpentine", seed = 1981, locationNames = "FARGO") latinSq1$squares#> [[1]] #> Column 1 Column 2 Column 3 Column 4 Column 5 #> Row 1 "T4" "T3" "T2" "T1" "T5" #> Row 2 "T1" "T2" "T4" "T5" "T3" #> Row 3 "T3" "T5" "T1" "T2" "T4" #> Row 4 "T2" "T4" "T5" "T3" "T1" #> Row 5 "T5" "T1" "T3" "T4" "T2" #> #> [[2]] #> Column 1 Column 2 Column 3 Column 4 Column 5 #> Row 1 "T2" "T4" "T5" "T3" "T1" #> Row 2 "T1" "T2" "T3" "T4" "T5" #> Row 3 "T3" "T5" "T1" "T2" "T4" #> Row 4 "T4" "T1" "T2" "T5" "T3" #> Row 5 "T5" "T3" "T4" "T1" "T2" #> #> [[3]] #> Column 1 Column 2 Column 3 Column 4 Column 5 #> Row 1 "T4" "T2" "T1" "T3" "T5" #> Row 2 "T1" "T3" "T2" "T5" "T4" #> Row 3 "T3" "T5" "T4" "T2" "T1" #> Row 4 "T5" "T1" "T3" "T4" "T2" #> Row 5 "T2" "T4" "T5" "T1" "T3" #>latinSq1$plotSquares#> [[1]] #> [,1] [,2] [,3] [,4] [,5] #> [1,] 101 102 103 104 105 #> [2,] 110 109 108 107 106 #> [3,] 111 112 113 114 115 #> [4,] 120 119 118 117 116 #> [5,] 121 122 123 124 125 #> #> [[2]] #> [,1] [,2] [,3] [,4] [,5] #> [1,] 201 202 203 204 205 #> [2,] 210 209 208 207 206 #> [3,] 211 212 213 214 215 #> [4,] 220 219 218 217 216 #> [5,] 221 222 223 224 225 #> #> [[3]] #> [,1] [,2] [,3] [,4] [,5] #> [1,] 301 302 303 304 305 #> [2,] 310 309 308 307 306 #> [3,] 311 312 313 314 315 #> [4,] 320 319 318 317 316 #> [5,] 321 322 323 324 325 #>#> LOCATION PLOT SQUARE ROW COLUMN TREATMENT #> 1 FARGO 101 1 Row 1 Column 1 T4 #> 2 FARGO 102 1 Row 1 Column 2 T3 #> 3 FARGO 103 1 Row 1 Column 3 T2 #> 4 FARGO 104 1 Row 1 Column 4 T1 #> 5 FARGO 105 1 Row 1 Column 5 T5 #> 6 FARGO 106 1 Row 2 Column 5 T3


{% extends "user_site/base.html" %} {% block title %} Profile | DCCN {% endblock %} {% block header %} {% include 'user_site/components/navigation.html' with active='profile' %} {% endblock %} {% block body %} Profile {% include 'users/components/profile_navigation.html' with active='reviewer' %} Invitations You do not have any invitations for reviewing. {% endblock %}
You do not have any invitations for reviewing.


By using XSSI, all
customized messages
can share a homogenous and consistent style and layout, and maintenance work
(changing images, changing links) is kept to a minimum because all layout
information can be kept in a single file.
Error documents can be shared across different servers, or even hosts,
because all varying information is inserted at the time the error document
is returned on behalf of a failed request.
Content Negotiation then selects the appropriate language version of a particular error message text, honoring the language preferences passed in the client's request. (Users usually select their favorite languages in the preferences options menu of today's browsers). When an error document in the client's primary language version is unavailable, the secondary languages are tried or a default (fallback) version is used.
You have full flexibility in designing your error documents to your personal taste (or your company's conventions). For demonstration purposes, we present a simple generic error document scheme. For this hypothetic server, we assume that all error messages...
An example of a "document not found" message for a german client might
look like this:
All links in the document as well as links to the server's administrator
mail address, and even the name and port of the serving virtual host
are inserted in the error document at "run-time", i.e., when the error
actually occurs.
src/main/http_protocol.c
if you wish to see apache's standard messages), an
ErrorDocument
in the aliased /errordocs directory is defined.
Note that we only define the basename of the document here
because the MultiViews option will select the best candidate
based on the language suffixes and the client's preferences.
Any error situation with an error code not handled by a
custom document will be dealt with by the server in the standard way
(i.e., a plain error message in english).
LanguagePriority en fr de Alias /errordocs /usr/local/apache/errordocs <Directory /usr/local/apache/errordocs> AllowOverride none Options MultiViews IncludesNoExec FollowSymLinks AddType text/html .shtml AddHandler server-parsed .shtml </Directory> # "400 Bad Request", ErrorDocument 400 /errordocs/400 # "401 Authorization Required", ErrorDocument 401 /errordocs/401 # "403 Forbidden", ErrorDocument 403 /errordocs/403 # "404 Not Found", ErrorDocument 404 /errordocs/404 # "500 Internal Server Error", ErrorDocument 500 /errordocs/500The directory for the error messages (here: /usr/local/apache/errordocs/) must then be created with the appropriate permissions (readable and executable by the server uid or gid, only writable for the administrator).
The names of the individual error documents are now determined like this (I'm using 403 as an example, think of it as a placeholder for any of the configured error documents):
One of these layout files defines the HTML document header
and a configurable list of paths to the icons to be shown in the resulting
error document. These paths are exported as a set of XSSI environment
variables and are later evaluated by the "footer" special file.
The title of the current error (which is
put into the TITLE tag and an H1 header) is simply passed in from the main
error document in a variable called title
.
By changing this file, the layout of all generated error
messages can be changed in a second.
(By exploiting the features of XSSI, you can easily define different
layouts based on the current virtual host, or even based on the
client's domain name).
The second layout file describes the footer to be displayed at the bottom of every error message. In this example, it shows an apache logo, the current server time, the server version string and adds a mail reference to the site's webmaster.
For simplicity, the header file is simply called head.shtml
because it contains server-parsed content but no language specific
information. The footer file exists once for each language translation,
plus a symlink for the default language.
Example: for English, French and German versions
(default english)
foot.shtml.en
,
foot.shtml.fr
,
foot.shtml.de
,
foot.shtml
symlink to foot.shtml.en
Both files are included into the error document by using the
directives
and
respectively: the rest of the magic occurs in mod_negotiation and
in mod_include.
See the listings below to see an actual HTML implementation of the discussed example.
  explanatory error text In the listings section, you can see an example of a [400 Bad Request] error document. Documents as simple as that certainly cause no problems to translate or expand.
Well, the LanguagePriority directive is for the case where the client does not express any language priority at all. But what happens in the situation where the client wants one of the languages we do not have, and none of those we do have?
Without doing anything, the Apache server will usually return a [406 no acceptable variant] error, listing the choices from which the client may select. But we're in an error message already, and important error information might get lost when the client had to choose a language representation first.
So, in this situation it appears to be easier to define a fallback language (by copying or linking, e.g., the english version to a language-less version). Because the negotiation algorithm prefers "more specialized" variants over "more generic" variants, these generic alternatives will only be chosen when the normal negotiation did not succeed.
A simple shell script to do it (execute within the errordocs/ dir):
for f in *.shtml.en do ln -s $f `basename $f .en` done
As of Apache-1.3, it is possible to use the ErrorDocument
mechanism for proxy error messages as well (previous versions always
returned fixed predefined error messages).
Most proxy errors return an error code of [500 Internal Server Error].
To find out whether a particular error document was invoked on behalf
of a proxy error or because of some other server error, and what the reason
for the failure was, you can check the contents of the new
ERROR_NOTES
CGI environment variable:
if invoked for a proxy error, this variable will contain the actual proxy
error message text in HTML form.
The following excerpt demonstrates how to exploit the ERROR_NOTES
variable within an error document:

 The server encountered an unexpected condition which prevented it from fulfilling the request.

  Please forward this error screen to 's WebMaster; it includes useful debugging information about the Request which caused the error.

 Your browser sent a request that this server could not understand:

 The request could not be understood by the server due to malformed syntax. The client should not repeat the request without modifications.

  Please inform the owner of the referring page about the malformed link.  Please check your request for typing errors and retry.

BrowserMatch "^Mozilla/[2-4]" anigif
<!DOCTYPE HTML PUBLIC "-//IETF//DTD HTML//EN">   <TITLE> []  </TITLE>

 []

Local Server time:

 <ADDRESS>If the indicated error looks like a misconfiguration, please inform  's WebMaster. </ADDRESS>


Version 1.0
JSFunge-98 is a standards-compliant Befunge-98 interpreter written in pure JavaScript.
JSFunge-98 implements the entire Befunge-98 specification. Filesystem Funge is not implemented for obvious reasons. Concurrent Funge-98 support may come in the future.
JSFunge-98 has been tested against the Mycology test suite, and it passes all tests.
The following fingerprints are currently implemented:
MODU
NULL
ROMA
Copyright © PurkkaKoodari 2017
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.
 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.


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JBrowser V1.00 - by Sureshot - Users manual
Table of contents
-----------------
1. Introduction
2. Install
3. Uninstall
4. Using JBrowser
5. Info for developers
6. Final words
7. FAQ
- Frequently Asked Questions
1. Introduction
---------------
JBrowser is a free 100% Java-based Web browser. It is intended to be integrated into an application, but
can act as a standalone application.
JBrowser is a VERY minimalistic implementation providing only a
back and home buttton, address bar and
the actual HTML display.
2. Install
----------
In order run JBrowser you have to install Java Runtime Environment 1.3 or higher. You can download it
here.
After installing the Java Runtime Environment, follow these two steps to install JBrowser:
1. Create a directory suitable for installation. (For example, "c:\jbrowser\", if you are running a Windows machine.)
2. Extract the zip file into the directory. If you don't have a zip extractor, please download Winzip here.
The installation is now finished.
3. Uninstall
------------
Locate the folder where JBrowser is installed and delete it.
4. Using JBrowser
-----------------
To start JBrowser (assuming that it is installed in "c:\jbrowser\"), either
1. double-click the "jbrowser.jar" file,
or
2. start a command prompt and write: "java -jar c:\jbrowser\jbrowser.jar".
5. Info for developers
----------------------
If you would like to launch JBrowser from your application, use the
se.bysoft.sureshot.gui.browser.MiniBrowser class. For example:
public class Test
{
public static void main(final String[] args)
{
final String[] browserArgs = {"http://www.altavista.com/", "nodebug", "dispose"};
se.bysoft.sureshot.gui.browser.MiniBrowser.main(browserArgs);
}
}
You may integrate JBrowser as a part of your application as long as
you do not change the contents of the distribution file jbrowser.zip. Please
let us know if you are using JBrowser in your application.
6. Final words
--------------
If you have questions about the software,
would like to make a comment or have found a bug
please send us an email!
------------------------------------------------
by Roger Karlsson


This visualization shows the change in White population in Philadelphia over 3 years.
12 months ending on:
Source: US Census, American Community Survey


C2C
C2C (also known as Coups2Cross) was formed in 1998 in the city of Nantes. The collaboration group consists of 4 French DJs: Atom and pFeL from Beat Torrent and 20Syl and Greem from Hocus Pocus. Members of an emerging movement called scratch music, each member of the group uses his turntable as an instrument, recreating in turn drums, bass guitars, scratching a riff of guitar or shearing the brass. They met during their high school years and as teens they were fascinated by the work of DJ Qbert and DJ Shadow, the founding fathers of turntablism. They set off to make a name for themselves at the turn of the millennium and soon started developing their own unique performing style.
n September 2006, C2C won their fourth DMC (Disco Mix Club) team world champion title in a row. With their previous victory in 2003, 2004 and 2005 they achieve a historical quadruple and break DJ Craze's records, the only DJ that has made it 3 times in a row until today. They also won the ITF team championship in 2005 and the Hip Hop World Challenge title.This rise leads them in parallel to perform all around the world with DJ Qbert, A-Trak, DJ Kentaro, Scratch Perverts or DJ Vadim. Both 20syl and Greem are founders of Hocus Pocus, now widely recognized as one of the most sophisticated and accomplished hip-hop acts in Europe[citation needed]. Their album on Motown has earned them two nominations at the French Grammies. DJ Atom and pFeL, founders of Beat Torrent have been in almost one thousand concerts and have been featured in each other's album releases.
The group released their first EP called Down the Road EP on January 23, 2012, and their first album, Tetra (stylized as Tetr4) on 3 September 2012. The cover of this album was done by design agency LVL Studio, and features a photograph by Wang Chien-Yang. The single 'Down The Road' was voted into 88th place in the annual Triple J's Hottest 100 of 2012. Their album Tetra has earned them 4 trophies out of 4 nominations during the 2013 edition of the French Grammies, including “Best New Artist”, “Best Music Video” and “Best Live Show”. C2C is a winner of the 2013 European Border Breakers Awards. The European Border Breakers Awards honor the best new music acts in Europe. The award ceremony takes place at the Eurosonic Noorderslag music festival in Groningen, Netherlands.


Education History
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--- layout: default class: newsletter ---
We're not into spam. We'll only ever send you high quality, relevant information and updates. And if you ever want to unsubscribe it'll be so easy a chimp could do it.


Author: Jan Berkel (and many others, see credits below)
Automatically backs up your SMS/MMS and call logs to Gmail or any other
IMAP server. Can also restore SMS / call logs after they have been backed up.
New in this (long overdue!) release:
- More reliable auto backups (thanks Mads Andreasen for the initial JobManager code)
- Material UI with light/dark themes
- Runtime permissions on Android 6.0+. It is recommended to run a manual backup after upgrading.
- Improved restore experience (thanks Anton Keks/angryziber)
- Fixed problems with browser authentication
And lots more. See changes on github
for the full list.
Information
Please visit the
SMS Backup+
github page for more information. Also make sure to check the
FAQ before
reporting a bug.
Credits
Many thanks to:
- Christoph Studer, the original author of SMS Backup
- The K-9 Mail project for IMAP code
- Ben Dodson (Contacts 2.0 + MMS support)
- Felix Knecht Call log backup code
- Shimon Simon (new icon design)
-
All translators: Chinese (bbs.goapk.com,
Chen Ma,
Aaron LI),
Spanish (Roberto Elena Ormad),
Polish (Leszek Ciesielski),
Italian (Gabriele Ravanetti),
French (Christian Sorgi, al. et Julien Humbert, Vincent Verdeil),
Turkish (Harun Şahin),
Czech (Lukas Pribyl),
Swedish (Erik Eloff),
Russian (Petr P. Gornostaev, saratovout),
Portuguese (João Pedro Ferreira),
Dutch (Martijn Brouns, Niko Strijbol),
Serbian (Nemanja Bračko, Mladen Pejaković),
German (Markus Osanger),
Hungarian (László Gárdonyi),
Slovak (Matrix44)
Greek (Dimitris / Mazin Hussein),
Korean (Yunsu Choi, Taegil Bae),
Galician (Javier Pico),
Catalan (Ferran Ruis),
Danish (Mads Andreasen),
Ukrainian (sHa),
Albanian (Ermal Xhelilaj),
Norwegian (Torbe)
- And all users who have supported this project in any way!
License
This application is released under the terms of the
Apache License, Version 2.0. As stated in the license,
please include a link to the original project and license if you reuse any of the code in your work.
Privacy Policy
To function properly SMS Backup+ needs to have full access to various types of private data stored on your phone as
well as your email account. Take a moment to read the Privacy Policy.


Object
A process should only interact with the outside through messages, it still uses a thread, but it should make it safer to use than sharing and locks.
# File lib/thread/process.rb, line 28 def self.[](name) all[name] end
# File lib/thread/process.rb, line 16 def self.all @@processes ||= {} end
Create a new process executing the block.
# File lib/thread/process.rb, line 33 def initialize(&block) @channel = Thread::Channel.new Thread.new { instance_eval(&block) @channel = nil } end
Send a message to the process.
# File lib/thread/process.rb, line 44 def send(what) unless @channel raise RuntimeError, 'the process has terminated' end @channel.send(what) self end
Generated with the Darkfish Rdoc Generator 2.


As music streaming has quickly become ubiquitous, and more readily connected to our iPhones and Sonos speakers than ever, we're relying on AI to suggest new music for us to listen to. Joe Sparrow asks if we're actually hoping for something more...
Cast the first stone
Music is different to other artforms. It can run in parallel to other activities. You can listen to music whilst doing other things - working, running, idly plucking at nasal hair - and still enjoy it to the fullest extent.
You might be re-grouting the bathroom, yet your heart can still soar at a piece of music while you’re doing it. Now, try appreciating a Tracy Emin installation on your hands and knees in the shower. Music is just different like that.
And you don't need to explain musical favourites: they just are. You should never need to explain why, to pick an example entirely at random, the debut LP by mid-90s cagoule-wearing Britpop also-rans Cast is your go-to hungover-on-a-Saturday-morning album, even though you find yourself repeatedly doing exactly that.
Harder Better Faster Stronger
So if we have firm favourites, why do we need to discover new music?  Also, how did you find that favourite in the first place, smart-arse?
In the past it was simple: pick a radio show, listen every day, and buy the songs you like the most. Or get a recommendation from a trusted friend: the gold standard of recommendations, almost guaranteeing a listen.
Today it’s more complicated. More and more often, we find new music when your streaming service of choice nudges us towards new songs and artists. We're happily allowing machine learning to introduce new art into our lives. And it's frankly very good at it. But what if it's not what we really want?
99 Problems?
The myriad music discovery systems are all essentially there to solve the single problem of finding the unknown-unknowns. When we say something like “I want to hear something new,” what we’re actually saying is: “I want to hear something that I will definitely like that I don’t yet know I like, or expect, or know already.” It’s a big ask.
For instance: how readily will you commit to a song like The Killing Moon - the “greatest song ever written” according to the humble Ian McCulloch, the man who wrote it - if you don’t know anything about 80s UK rock music, let alone the absurdist mystique and legend that swirls about Echo and the Bunnymen like bong-smoke?
Incidentally, Ian McCulloch is right - it is the best song - but you need to arrive at that conclusion yourself. It’s this cavernous gap between opinion and fact that music-suggestion tech hopes to solve.
The vital connection is made
Music discovery is a bit different to discovering other art in other media. TV shows can be suggested on a like-for-like basis: enjoyed Game Of Thrones? Here’s another quasi-historic guts-’n'-mud TV show with dragons you can use to while away another 100 hours of your life.
One can hop between movies on the strength of a star, or books on the strength of the author. But music seems to resist simple “if you like that, you’ll like this” suggestions. Maybe it’s because pop music jiggles to life nebulous feelings as much as simply reproducing a catchy tune. Half the art of recording music is to capture lightning in a bottle: pop music is about inducing powerful emotions at will with each repeat-play.
And because big, deep emotions are at stirred, the barrier of entry is high. How do you let a new song into your heart when there are just so many of them? In the world of pop, scepticism is high, and tolerance is low. There’s a reason the best pop songs reach the chorus in the first 30 seconds - we just won’t wait any longer.Automated music discovery systems tend to take one of two approaches: trust the wisdom of the crowd, or attempt to know you better than you know yourself.
Services that take the former approach - like The Hype Machine or Last.fm - gauge what others are listening to and suggest what you might want. They work well because there’s a tacit understanding that this method of discovery has a low hit-rate: users expect misses as well as discovering new songs they love. But that means there are built-in limitations to this approach too: most people just want the hits.
The latter system - aiming to know our own music taste better than we do - is aimed at this bigger, trickier audience. And these systems can be eerily accurate when it comes to picking the next song for you. It’s because their tendrils, analysing you and your music taste, extend further than you’d expect - into music and your listening behaviour.
Spotify’s Discover Weekly, launched in 2015, is notable both for how on-point its recommendations are and for the feeling that it has somehow figured you out, pulling songs that you’d forgotten you love from the crevices of your memory. Here's how that magic process was explained to Hackernoon:
”To create Discover Weekly, there are three main types of recommendation models that Spotify employs:
• Collaborative Filtering models (i.e. the ones that Last.fm originally used), which work by analyzing your behavior and others’ behavior.
• Natural Language Processing (NLP) models, which work by analyzing text
• Audio models, which work by analyzing the raw audio tracks themselves.”
It sounds (and is) complex, but Spotify uses a few simple ideas (which result in complex code, eye-watering algorithms and some mind-boggling shuffling of datasets) to spew out personalised recommendations.
Recently, Spotify launched Your Time Capsule - with the vague tagline “a personalised playlist to take you back in time.” Stirring nostalgia - that most human of emotions - is a scientifically-proven smart move: the songs we liked in the past have a much stronger emotional pull over us than equivalently "good" songs from today.
I found that it pulled together a pretty good “personal best-of” playlist based on songs I like, but not anchored at a particular point in my life. On the other hand, friends told me how weird it felt to be dragged back to a time and place by those eerie algorithmic fingers.
Consider too, one of today's subtlest and most effective forms of recommendation: autoplay, when the music silently clicks over from something you chose to something you didn’t. How many times have suddenly realised that the last hour’s music was not picked by you? Was it when a great, new, song was played?
And there's more to come: Google Music says it uses computational AI to fine-tune its recommendations based on all that delicious data they have gathered on you over the years. Searching the web for "music suggestions" reveals a glut of different approaches, all with varying degrees of success.
Of course, one big reason that streaming platforms want you to listen more is because they want you to keep subscribing to the service (and it’s effective - back in 2015, Discover Weekly created 1.7 billion streams in under six months.)
It feels like the tech giants at least have almost got this licked, so far as they are using their bespoke algorithms to create slightly different flavours of recommendation sausage. So what if we want something else to eat?
Radio Head
Or maybe in an era of automated-this and algorithmic-that, we’ve come full-circle. Two years ago Apple Music launched - improbably - a radio station, Beats 1, which they claim is now “the biggest in the world”. In this model of music discovery, humans - expensive, narrow-band algorithms with interesting voices - are important again.
And it works: Beats 1 is pretty good, although who knows how many people actually listen to “It’s Electric! - a weekly window into the mind of Metallica’s Lars Ulrich.”
Amid all this is the odd resurgence of vinyl, a very tangible form of music discovery in an ephemeral age. And while the vinyl sales charts suggest the vinyl-buying demographic is your dad, it’s equally likely that vinyl is a useful form of discovery, as long as the records being discovered are the same ones their parents used to play.
Both of these throwbacks suggest that, amidst the waves of auto-suggestion, listeners are hankering after something a bit more... human.
And why not - you don't wonder if your Discover Weekly playlist is flirting with you when it suggests you should listen to the 12" Club Mix of Take Me I'm Yours, but you might if Steve from HR did.
Maybe today, that “trusted friend” is anyone and everyone, just like how everyone is your friend and/or enemy online, tantalisingly within kissing/punching distance.
On one hand, we are all “musical discovery influencers” now: on a server farm somewhere, my data is meshing with yours and creating baby playlists which will open someone's eyes to music they never knew would move their soul (or introducing an unfathomable amount of late-90s UK garage hits to their playlist.)
And yet it feels like something real is missing too.
If music really is a different type of art, perhaps that introductory moment needs anchoring differently too. There's a balance to be struck between AI and DJ. Meanwhile, game the system and get the best of both worlds: re-purpose a sultry playlist as one of your own and send it to your office crush. Or Steve from HR.


Coronation Street clears up confusion over Gemma's baby name
Is it Cleo or isn't it?
by Carena CrawfordWhen Gemma Winter gave birth to quads in Coronation Street last month, she and partner Chesney Brown shocked everyone when they gave the little ones Welsh names.
Because she and Chesney had been in Llandudno when the babies made their dramatic arrival into the world, the couple decided to name the tots after the medical team who helped deliver them safely.
Bryn, the surgeon, Carys and Aled the paramedics, and 'Cleo' the midwife.
Read more: Coronation Street SPOILER: Gemma and Bernie find out the truth about Kel
But it turns out Cleo is actually spelt 'Llio'.
During Monday night's (November 11) outing to Weatherfield, Gemma and Chesney were approached by supermarket Frescho wanting them and the quads to be the face of their new marketing campaign.
The show put out a tweet asking whether it was a good idea - but they left some fans baffled over the name Lilo.
One quickly replied asking: "Thought it was Clio?!"
The soap came back and explained the name is spelt 'Llio', but is actually pronounced similarly to 'Clio'.
But others were still confused, with one saying: "Has Cleo changed to Llio now? Poor kid will be confused!"
Another added an explanation as to why the babies had Welsh names, but also pointed out they too thought Llio was spelt Cleo.
ED! contacted the Coronation Street press office, who confirmed that the baby's name is in fact spelt 'Llio', with the pronunciation sounding like 'Cleo'.
Case solved!
Gemma gave birth last month in typically hilarious fashion - stuck in a cable car in Wales!
She had one baby, Aled, up in the air, and was rushed to hospital before the other three came along.
The babies have had to stay in hospital in Wales, meaning Gemma and Chesney have been living in a hotel.
Read more: Coronation Street SPOILER: Sinead is laid to rest
Last night they found out they could come home as a place had become available at Weatherfield General for all four tots.
But they were hit by a £500 bill from the hotel after Bernie raided the mini bar in their room.
Having initially turned down Frescho's offer, Gemma and Chesney might now be forced to rethink if they're going to provide for their little ones.
Leave us a comment on our Facebook page @EntertainmentDailyFix and let us know what you think!


{% extends "base.html" %} {% block content %}
This is not the page you are looking for ... return back to the index page?


Our aim is to create awareness within society about the need of reducing plastic bag consumption and to offer tools to people so that they can find a useful resource in discarded material.
We offer workshops to mixed groups of men and women of different ages and social classes, including children and teens. In the workshops we teach how to cut and crochet plastic bags.
The workshops can occur once or they can be many meetings with each group, where we practice cutting and crocheting the plastic bags until a utilitarian product is finished. In addition, since 2013 we offer a free crochet workshop where every interested person can learn the techniques and improve his/her products through time.
Until now we have offered more than 15 workshops of different duration through which more than 150 people learnt how to crochet plastic bags, how to reduce their own trash, and how to transmit the message of responsible consumption. As a result of these efforts, we organized the first meeting of plastic crochet in Tucumán.


At the beginning of the week I was a bit confused with the program and the website as I think I was somewhat over complicating it in my head, where in fact it is arranged in a format that actually makes it quite easy to use. Once I realised this I started to experiment with the program Snap! and began to make a few simple programs to fully understand the basics of how to use it. And I then continued to slowly increase the complexity of these programs and started to build a few more challenging and interesting programs, such as a few games with interesting features such as a brick-and-ball game, and a maze game that I had hoped to further develop into a game resembling pac-man.
The final program I decided to use was the maze program, although in its most basic format it wasn’t all that interesting, I thought that it would be the best program to integrate cool features such as a way to control the movement of a character with anything from the movement of the players eyes to movement of their head or even just for the character to move in the direction that the player was pointing. And while I didn’t manage to include these features due to timing issues, I did first include an idea of levels, lives, and a point based system to control this - along with the ability to turn on and off a voice control command option, in addition to the use of the arrow keys to move the character.
While there was a lot to refine with the program - such as the visual aspects of the program, I would say I'm relatively happy with the final result. Like I already said I was hoping to further develop the game into a pac-man type thing, and am considering potentially continuing with the program in the future to achieve this.


Reports
long
literals ending with lowercase 'l'. These literals may be confusing, as the lowercase 'l' looks very similar to a literal '1' (one).
Example:
long nights = 100l;
After the quick-fix is applied:
long nights = 100L;


Choose your own forever reptile!
Take a look around - we have a wide selection of snakes, lizards, and food supplies.
Need some advice on how to look after your new pet?
Click here for guides
We only buy from reputable breeders
Learn about where our animals come from


SKILLS
Software Development x Frontend Development x
Backend Development x Responsive web design
x Blogging x Problem Solving
Languages
JAVA x PYTHON x C++ x C x
PHP x HTML AND CSS x JAVASCRIPT x NODEJS


- calc(int, int, float, float, float, float) - Static method in class nl.esciencecenter.esight.experimental.ClickCoordinateCalculator
-
- checkboxBox(String, GoggleSwing.CheckBoxItem...) - Static method in class nl.esciencecenter.esight.swing.GoggleSwing
-
Creates a boxed list of checkboxes.
- checkProperties(String, String[], String[], boolean) - Method in class nl.esciencecenter.esight.util.TypedProperties
-
Checks all properties with the given prefix for validity.
- cleanup(GL3) - Method in class nl.esciencecenter.esight.shaders.ShaderProgramLoader
-
Deletes ALL
ShaderProgram
instances from the loader storage in
the proper manner.
- clear() - Method in class nl.esciencecenter.esight.text.jogampExperimental.OutlineShape
-
Clears all data and reset all states as if this instance was newly
created
- ClickCoordinateCalculator - Class in nl.esciencecenter.esight.experimental
-
Experimental class, use at your own risk.
- ClickCoordinateCalculator() - Constructor for class nl.esciencecenter.esight.experimental.ClickCoordinateCalculator
-
- clone() - Method in class nl.esciencecenter.esight.math.MatF2
-
- clone() - Method in class nl.esciencecenter.esight.math.MatF3
-
- clone() - Method in class nl.esciencecenter.esight.math.MatF4
-
- clone() - Method in class nl.esciencecenter.esight.math.VecF2
-
- clone() - Method in class nl.esciencecenter.esight.math.VecF3
-
- clone() - Method in class nl.esciencecenter.esight.math.VecF4
-
- clone() - Method in class nl.esciencecenter.esight.math.VecS2
-
- clone() - Method in class nl.esciencecenter.esight.math.VecS3
-
- clone() - Method in class nl.esciencecenter.esight.math.VecS4
-
- clone() - Method in class nl.esciencecenter.esight.text.jogampExperimental.OutlineShape
-
- close(NetcdfFile) - Static method in class nl.esciencecenter.esight.io.netcdf.NetCDFUtil
-
Static function to close a NetcdfFile.
- closeLastOutline() - Method in class nl.esciencecenter.esight.text.jogampExperimental.OutlineShape
-
Closes the last outline in the shape.
- cofactors(MatF3) - Static method in class nl.esciencecenter.esight.math.MatrixFMath
-
Find the cofactors for this matrix
- cofactors(MatF4) - Static method in class nl.esciencecenter.esight.math.MatrixFMath
-
Find the cofactors for this matrix
- color - Variable in class nl.esciencecenter.esight.swing.GoggleSwing.ColoredCheckBoxItem
-
- Color4 - Class in nl.esciencecenter.esight.math
-
More specific implementation of a color VecF4.
- Color4() - Constructor for class nl.esciencecenter.esight.math.Color4
-
Stand-in for a vector, in which the places represent R, G, B and A
values.
- Color4(VecF4) - Constructor for class nl.esciencecenter.esight.math.Color4
-
Stand-in for a vector, in which the places represent R, G, B and A
values.
- Color4(float, float, float, float) - Constructor for class nl.esciencecenter.esight.math.Color4
-
Stand-in for a vector, in which the places represent R, G, B and A
values.
- coloredCheckBoxBox(String, GoggleSwing.ColoredCheckBoxItem...) - Static method in class nl.esciencecenter.esight.swing.GoggleSwing
-
Creates a boxed list of colored checkboxes.
- ColoredSliderUI - Class in nl.esciencecenter.esight.swing
-
Extension of the basic slider UI to allow for colored thumbs.
- ColoredSliderUI(JSlider, Color) - Constructor for class nl.esciencecenter.esight.swing.ColoredSliderUI
-
Default JSlider
constructor with added color value.
- ColorIcon - Class in nl.esciencecenter.esight.swing
-
A single-color-filled ImageIcon
- ColorIcon(int, int, Color) - Constructor for class nl.esciencecenter.esight.swing.ColorIcon
-
Constructor for this colored rectangle.
- ColormapInterpreter - Class in nl.esciencecenter.esight.swing
-
Utility class for the creation and interpretation of colormaps useable in
both OpenGL and Java Swing.
- ColormapInterpreter() - Constructor for class nl.esciencecenter.esight.swing.ColormapInterpreter
-
- ColormapInterpreter.Color - Class in nl.esciencecenter.esight.swing
-
helper class for the definition of a color.
- ColormapInterpreter.Color() - Constructor for class nl.esciencecenter.esight.swing.ColormapInterpreter.Color
-
- ColormapInterpreter.Color(float, float, float, float) - Constructor for class nl.esciencecenter.esight.swing.ColormapInterpreter.Color
-
- ColormapInterpreter.Dimensions - Class in nl.esciencecenter.esight.swing
-
Helper class used to communicate the minimum and maximum values of a
dataset.
- ColormapInterpreter.Dimensions(float, float) - Constructor for class nl.esciencecenter.esight.swing.ColormapInterpreter.Dimensions
-
Constructor for Dimensions.
- compareTo(OutlineShape) - Method in class nl.esciencecenter.esight.text.jogampExperimental.OutlineShape
-
Compare two outline shapes with Bounding Box area as criteria.
- CompilationFailedException - Exception in nl.esciencecenter.esight.exceptions
-
Exception thrown when compilation of a shader fails.
- CompilationFailedException(String) - Constructor for exception nl.esciencecenter.esight.exceptions.CompilationFailedException
-
- copyFrameBufferToFile(String, String) - Method in class nl.esciencecenter.esight.experimental.Picture
-
- copyToPBO(GL3) - Method in class nl.esciencecenter.esight.datastructures.IntPBO
-
Makes the calls to the OpenGL instance necessary to copy the current
framebuffer to the data storage.
- create(File) - Method in class nl.esciencecenter.esight.text.jogampExperimental.TypecastFontConstructor
-
- create(URLConnection) - Method in class nl.esciencecenter.esight.text.jogampExperimental.TypecastFontConstructor
-
- createImageButton(String, String, String) - Static method in class nl.esciencecenter.esight.swing.GoggleSwing
-
Returns a JButton with an image, warns if the path was invalid.
- createImageIcon(String, String) - Static method in class nl.esciencecenter.esight.swing.GoggleSwing
-
Returns an ImageIcon
, or null if the path was invalid.
- createProgram(GL3, String, File, File, File) - Method in class nl.esciencecenter.esight.shaders.ShaderProgramLoader
-
- createProgram(GL3, String, File, File) - Method in class nl.esciencecenter.esight.shaders.ShaderProgramLoader
-
- createProgram(GL3, String, String, File) - Method in class nl.esciencecenter.esight.shaders.ShaderProgramLoader
-
- createProgram(GL3, String, File, String) - Method in class nl.esciencecenter.esight.shaders.ShaderProgramLoader
-
- createProgram(GL3, String, String, String) - Method in class nl.esciencecenter.esight.shaders.ShaderProgramLoader
-
- createProgram(GL3, VertexShader, FragmentShader) - Method in class nl.esciencecenter.esight.shaders.ShaderProgramLoader
-
- createResizedImageIcon(String, String, int, int) - Static method in class nl.esciencecenter.esight.swing.GoggleSwing
-
Returns an ImageIcon
that is resized according to the
specifications.
- cross(VecF3, VecF3) - Static method in class nl.esciencecenter.esight.math.VectorFMath
-
Helper method to calculate the cross product of two vectors
- cross(VecF4, VecF4) - Static method in class nl.esciencecenter.esight.math.VectorFMath
-
Helper method to calculate the cross product of two vectors
- cross(VecS3, VecS3) - Static method in class nl.esciencecenter.esight.math.VectorSMath
-
Helper method to calculate the cross product of two vectors
- cross(VecS4, VecS4) - Static method in class nl.esciencecenter.esight.math.VectorSMath
-
Helper method to calculate the cross product of two vectors
- CustomJSlider - Class in nl.esciencecenter.esight.swing
-
A JSlider
customization that allows us to click the track and jump to
that position.
- CustomJSlider(BasicSliderUI) - Constructor for class nl.esciencecenter.esight.swing.CustomJSlider
-
Default constructor for the JSlider
, but overrides the normal
mouselisteners.
- cyan - Static variable in class nl.esciencecenter.esight.math.Color4
-


In this case our backtest results in a low annual return of approximately -0.7% over a decade. The poor performance may be due to several reasons:
- The fixed forex universe chosen is not large enough to properly diversify market risk
- The thresholds for entering long and short positions (0.6, -0.6) may need adjustment
- The length of historical data might be not large enough for this weekly-rebalanced strategy.
We encourage the community to further develop this strategy by testing out different symbols, thresholds, and historical data lengths.