At Least 2 People Killed in Explosion in Baghdad, Iraq - Reports
The incident occurred as Iraq is being rocked by anti-government protests, with citizens demanding the government be dissolved and the implementation of crucial reforms.
Six people died and 30 more were wounded after a self-made explosive device blew up at Tayaran Square in the capital of Iraq on Friday.
The Xinhua news agency reported, citing an Iraqi Interior Ministry source, that the blast of a bomb, planted inside a car, occurred close to the famous Tahrir Square, in the centre of Baghdad, where major anti-government protests have been taking place for weeks.
At the time of the blast, a lot of protesters from Baghdad and neighbouring provinces had gathered on Tahrir Square.
There have been no further details as to whether the incident is linked to anti-government protests, or if it was motivated by other reasons.
The mass anti-government demonstrations have been underway in Iraq’s capital of Baghdad and several southern areas since October. They have often turned violent and protesters condemned the government forces for attacking them.


| 035:043 Khan | : |
(They took to flight because of their) arrogance in the land and their plotting of evil. But the evil plot encompasses only him who makes it. Then, can they expect anything (else), but the Sunnah (way of dealing) of the peoples of old? So no change will you find in Allah's Sunnah (way of dealing), and no turning off will you find in Allah's Sunnah (way of dealing). |
| 035:043 Maulana | : |
Behaving proudly in the land and planning evil. And the evil plan besets none save the authors of it. So they wait for naught but the way of the ancients. But thou wilt find no alteration in the course of Allah; and thou wilt find no change in the course of Allah. |
| 035:043 Pickthal | : |
(Shown in their) behaving arrogantly in the land and plotting evil; and the evil plot encloseth but the men who make it. Then, can they expect aught save the treatment of the folk of old? Thou wilt not find for Allah's way of treatment any substitute, nor wilt thou find for Allah's way of treatment aught of power to change. |
| 035:043 Rashad | : |
They resorted to arrogance on earth, and evil scheming, and the evil schemes only backfire on those who scheme them. Should they then expect anything but the fate of those who did the same things in the past? You will find that GOD's system is never changeable; you will find that GOD's system is immutable. |
| 035:043 Sarwar | : |
because of their pride in the land and their evil plots. Evil plots only affect the plotters. Do they expect anything other than (God's) tradition (torment) with those who lived before. You will never find any change in the tradition of God nor will you find any alteration in it. |
| 035:043 Shakir | : |
(In) behaving proudly in the land and in planning evil; and the evil plans shall not beset any save the authors of it. Then should they wait for aught except the way of the former people? For you shall not find any alteration in the course of Allah; and you shall not find any change in the course of Allah. |
| 035:043 Sherali | : |
For, they sought exaltation in the earth and devised evil schemes. But the evil schemes encompass none but the authors thereof. Do they, then, look for anything other than ALLAH's way of dealing with the people of old? But thou wilt never find any change in the way of ALLAH; nor wilt thou ever find any alteration in the way of ALLAH. |
| 035:043 Yusufali | : |
On account of their arrogance in the land and their plotting of Evil, but the plotting of Evil will hem in only the authors thereof. Now are they but looking for the way the ancients were dealt with? But no change wilt thou find in Allah's way (of dealing): no turning off wilt thou find in Allah's way (of dealing). |
Concepts/Themes Covered: أركان الإسلام > التوحيد > توحيد الله تعالي > دعوة من لا يقر بالوحدانية إلى الاعتبار بمن سبقهم Pillars of Islam> Islamic> Oneness of Allah>A Call to those who do not Believe in Monotheism to Learn from their Antecedents أركان الإسلام > التوحيد > الكافرون > جزاء مكر الكفار Pillars of Islam> Islamic> The Disbelievers> The Penalty of the Disbelievers Cunning القرآن الكريم > تغييرهم حكم القرآن The Holy Quran> Changing the Quran Rules الإنسان والعلاقات الأخلاقية > الأخلاق الذميمة > المكر Man and The Moral Relations>The Dispraised Morals>Cunning
This tool uses eight English parallel translations for the Holy Quran imported from Mr. Clay Smith. You can also visit Qurany Concepts for browsing the Quran themes or topics. If you want to search the Holy Quran for keywords, please visit Qurany Keywords.


Parent EventListener Library display.* Revision Current Public Release (2013.2076) Keywords Sample code See also display.newImage() display.newImageRect() display.newGroup() display.newCircle() display.newRect() display.newRoundedRect() display.newLine() display.newText()
All drawing that occurs on the screen is accomplished by creating DisplayObjects. Anything that appears on the screen is an instance of a DisplayObject. You don’t actually create these objects directly. Instead, you create special kinds of DisplayObject such as rectangles, circles, images, text, etc.
(Inherits properties from EventListener)


Mita Williams, February 22, 2014
“Open data is data that can be freely used, reused and redistributed by anyone – subject only, at most, to the requirement to attribute and sharealike.” Open Knowledge Foundation okfn.org
Allow me to paraphrase the formal definitions that exist
There are a variety of different motivations behind the Open Data movement.
I'll share five reasons for Open Data but please be aware that there are more than those.
Some call this the government as a platform model. Such an approach allows services to be built on open data from *both* within and outside of government.
Open Data does not mean an advocacy for the replacement of government services. It cannot be a replacement for services such as the Canadian Census.
One third of traffic to OpenDataBC's open data portal comes from within government.
Can open data efforts help bring citizen participation back into government processes and projects?
<This presentation is powered by reveal.js
and can be viewed online at http://copystar.github.io/odwe-odd14
and remixed from https://github.com/copystar/odwe-odd14
This presentation is cc-by


GOVERNMENT OF THE DISTRICT OF COLUMBIA [INSERT AGENCY NAME] Open Government Report 2014 To institutionalize a culture of transparent and open government, accountability, and to expand opportunities for resident participation and collaboration, this Report describes how the Mayor’s Office of GLBT Affairs has and will continue to develop and enhance transparency, public participation, and collaboration. In accordance with Mayor’s Order 2014-170, this report addresses the following topics: 1) Transparency Describe the steps your agency has taken or plans to take to be more transparent. Please include a description of: How and to what extent your agency shares information with the public, e.g. publication of information in the District register and on the agency website, press releases, and documents in the agency’s FOIAXpress reading room. The Mayor’s Office of GLBT Affairs shares info with the public through its weekly News & Notes newsletter. The newsletter is one of the primary modes of communication with the public. In addition, the Mayor’s Office of GLBT Affairs utilizes its Facebook page and Twitter account to disseminate information to the public. The Office occasionally collaborates with the Mayor’s Communications Office on press releases on pertinent issues. The agency website is in the process of being updated, which should be concluded by the end of November 2014. Once fully updated, the website will become a principal means by which the agency shares info with the public. How the agency meets its obligations pursuant to the District’s Freedom of Information Act and Open Meetings Act. The Mayor’s Office of GLBT Affairs meets its obligations under the District’s Freedom of Information Act and Open Meetings Act in the following ways: 1) notice for meetings of the Advisory Committee to the Mayor’s Office of GLBT Affairs is posted to the Office’s Facebook page and News & Notes listserv at least 5 days prior to the meeting; 2) the public, through the meeting notice, is allowed to submit comments in advance of the meeting; 3) members of the public in attendance are invited to give two-minute remarks at the beginning of the Advisory Committee meetings; and 4) the meetings are recorded. Steps your agency will take to increase public access to information. 1 By November 30th, the Office will update its website and begin disseminating more information through it. For example, the Office will begin posting the meeting minutes from and recordings of the Advisory Committee meetings to the GLBT Affairs website. Steps your agency will take, including an implementation timeline, to webcast live and archive on the internet board or commission meetings. (This question only applies to agencies that are overseen or advised by a board or commission that is subject to the Open Meetings Act.) The Mayor’s Office of GLBT Affairs will take the following steps to come into greater compliance with the Open Meetings Act: 1) by November 30, 2014, the Office will post the meeting minutes from and recordings of the Advisory Committee meetings; 2) by January 30, 2015, the Office will begin to webcast the Advisory Committee meetings; 3) by March 31, 2015, the Office will start an archive for taped Advisory Committee meetings on the agency website. How your agency has taken or plans to take steps to make more of its data available to the public. The Mayor’s Office of GLBT Affairs is working closely with the Office of the City Administrator (OCA) and the Office of the Chief Technology Officer (OCTO) to identify a significant number of datasets that OCA and OCTO expect to publish online later this year. If no dataset from the Mayor’s Office of GLBT Affairs is selected to be included in this 2014 release, we will continue to work with OCA and OCTO to identify datasets appropriate to publish in 2015. In the future, requirements for open data reporting will be provided by the Chief Data Officer. 2) Public Engagement and Participation Describe the steps your agency has taken or plans to take to enhance or expand opportunities for the public to participate in agency decision-making. Please include a description of: How your agency provides online access to proposed rules and regulations and secures public input on them. Please list links to specific websites. The Mayor’s Office of GLBT Affairs currently provides access to proposed rules and regulations to the members of the Advisory Committee to the Mayor’s Office of GLBT Affairs. As members of the public, the Advisor Committee is diverse and represents the community. In order to expand opportunities for the public to participate in agency decision-making, the 2 Office will begin to post proposed rules and regulations on its website and on its Facebook page by January 30, 2015. The public will have a two-week window to provide input. How your agency shares information and resources to keep the public properly informed, e.g. community meetings, public hearings, FAQs, and ways the public can provide input such as Twitter, grade.dc.gov, email contacts. The Mayor’s Office of GLBT Affairs shares information and resources to keep the public informed through its weekly News & Notes e-newsletter, Facebook, and Twitter. The public is able to provide input via Twitter, Facebook, and the agency’s general email address (which is posted on the website). Moreover, members of the public are invited to the meetings of the Advisory Committee to the Mayor’s Office of GLBT Affairs, where they can provide input at the beginning of each meeting. In addition, the Office holds annual events and participates in community activities, which are open to the public and provide opportunities for the public to provide input, such as: the Sheroes of the Movement Awards Reception; and tabling during each of the District’s Pride celebrations. How your agency identifies stakeholders and invites their participation. The Office identifies stakeholders through multiple community events held throughout the year. In addition, the Office interacts regularly with stakeholders through monthly meetings in which it participates or facilitates, such as: the Violence Prevention and Response Team (VPART), which it facilitates; the Office on Latino Affairs (OLA) LGBTQ Task Force Meeting; the DC Concerned Providers’ Coalition (DCCP); and many more. Steps your agency will take to improve public engagement and participation including any new feedback tools or mechanisms the agency is considering. In FY15, the Office will improve public engagement by specifically reaching out to the public through Twitter and Facebook to ask for community input. Twice each fiscal year, the Office will invite the public what it would like the Office to prioritize. 3) Collaboration Describe the steps your agency has taken or plans to take to enhance or expand cooperation among departments, other governmental agencies, the public, and nonprofit and private entities in fulfilling its obligations. Please include a description of: How your agency currently collaborates with the above parties. Please list links to specific websites if appropriate. 3 The Office currently works across multiple departments and other governmental agencies to fulfill its obligations. These include, but are not limited to: 1) coordinating LGBTQ cultural competency training for all DC government agencies under the Mayor’s authority; 2) working with the DC Office of Human Rights (OHR) on educating DC government employees and private citizens of the District’s human rights protections and on Bullying Prevention Policy review and implementation; 3) collaborating with the Metropolitan Police Department’s Gay & Lesbian Liaison Unit (GLLU) on the VPART meetings and training officers on LGBTQ cultural competency; 4) collaborating with the OLA LGBTQ Task Force; 5) collaborating with Office of the State Superintendent for Education (OSSE) on the Gay, Lesbian, and Straight Education Network (GLSEN) Safe Space Initiative; 6) working with DC Public Schools (DCPS) on their Transgender Policy; 7) working with the US Attorney’s Office – DC to solicit Community Impact Statements from members of the LGBTQ community; and 8) participating in the District’s Age-Friendly City Initiative. In addition, the Office collaborates with the public and nonprofit entities in a number of ways, including but not limited to: 1) the VPART meetings, in which several nonprofits participate; 2) participating in/tabling at the District’s 6-7 annual Pride celebrations, which engage myriad nonprofits and thousands of constituents; 3) attending nonprofit events throughout the year, including the annual SMYAL Brunch, ManDate Conference, DC Center Fall Reception, and many others; 4) providing LGBTQ cultural competency at nonprofit shelters; and 5) participating in the Latino GLBT History Project’s Annual Heritage Awards. Steps your agency will take to improve collaboration with the above parties including any new feedback tools or mechanisms the agency is considering, e.g. prizes, competitions, and other innovative methods. The Mayor’s Office of GLBT Affairs will improve collaboration with the public in the following ways: 1) fully updating its website by November 30, 2014, in order to better utilize it for public engagement; 2) reach out to more community-based organizations for collaborative activities, such as the Sheroes of the Movement Awards Reception; and 3) hold Advisory Committee meetings in nongovernmental locales around the city (currently, the Advisory Committee meets in different quadrants of the city, but only in government buildings, which may dissuade some community members from attending). 4


Together, we'll explore data from the Spotify API to learn more about their career to this point, and project where they might head in the future.
Learn more!Loudness - The overall loudness of a track in decibels (dB). Loudness values are averaged across the entire track and are useful for comparing relative loudness of tracks.
Energy - Represents a perceptual measure of intensity and activity. Typically, energetic tracks feel fast, loud, and noisy. For example, death metal has high energy, while a Bach prelude scores low on the scale.
Danceability - Danceability describes how suitable a track is for dancing based on a combination of musical elements including tempo, rhythm stability, beat strength, and overall regularity.
Beats per minute - A calculated field that takes the total number of beats in a song, and divides the count by the length of the song (in minutes).
Continue scrolling to see how the Arctic Monkey's have changed their sound over the past decade - particularly the huge changes in sound found in Humbug and AM
Great question! Let's explore the diversity of music within each album.
The graphic below should help get us started. You'll see a bunch of round dots, each representing a song. There's an interactive legend on the right-hand side that will allow you to hide/show albums, just by clicking on the name!
The Spotify album features have been normalized, which allows us to compare the relationship between different tracks and albums. The distance between the tracks doesn't carry any significance, or their location, but tracks are most similar to other tracks that appear immediately around them.
This plot brings some interesting insight into the evolution of their music. If you filter on their early albums, Whatever People Say I Am, That's What I'm Not and Favourite Worst Nightmare, you start to see that their early albums were more tightly clustered together, indicating less diversity in sound within each album. This has changed significantly over the following albums.
Using the information from the Spotify API, we can start to project where their music is headed. After normalizing the recommendations and the original tracks, we can feed those numbers back into the Spotify API and collect popular songs that match the Arctic Monkeys projected sound, start to get a feel for what their next album might sound like!
A common theme in the recommendations is an expected continuation of loud music with a predictable musical pattern, leading to high danceability.
Now you're asking the right questions! Let's replot our new data, including the recommended songs.
Once again, you'll see a bunch of round dots, each representing a song. You can learn the song title by hovering. There's an interactive legend on the right-hand side that will allow you to hide/show albums, just by clicking on the name!
Another reminder - the Spotify album features have been normalized, which allows us to compare the relationship between different albums. The distance between the tracks doesn't carry any significance, but tracks are most similar to other tracks that appear immediately around them.
Given the track diversity within each of the Arctic Monkeys' recent albums, we can expect that trend to continue into the future. When taking a look at the recommended tracks, you can see the diversity of values across all 5 Spotify features, but a trend among those tracks is high score in loudness, Energy and Danceability, with a lower score in Beats per Minutes and Song Length.
This suggests a possible return to the sounds of their debut album Whatever People Say I Am, That's What I'm Not, which featured loud, fast-paced music. This is best examplified by the track Red Light Indicates Doors Are Secured, available below.


Private Networks
Network identifier: private_network
Private networks allow you to access your guest machine by some address that is not publicly accessible from the global internet. In general, this means your machine gets an address in the private address space.
Multiple machines within the same private network (also usually with the restriction that they're backed by the same provider) can communicate with each other on private networks.
Guest operating system support. Private networks generally require configuring the network adapters on the guest machine. This process varies from OS to OS. Vagrant ships with knowledge of how to configure networks on a variety of guest operating systems, but it is possible if you're using a particularly old or new operating system that private networks won't properly configure.
Static IP
The easiest way to use a private network is to assign a static IP to it. This let's you access the Vagrant managed machine using a static, known IP. The Vagrantfile for a static IP looks like this:
Vagrant.configure("2") do |config|
config.vm.network "private_network", ip: "<IP_ADDRESS>"
end
It is up to the users to make sure that the static IP doesn't collide with any other machines on the same network.
While you can choose any IP you'd like, you should use an IP from the reserved private address space. These IPs are guaranteed to never be publicly routable, and most routers actually block traffic from going to them from the outside world.


--- layout: page title: About header-img: "img/about-bg.png" ---
I am a manufacturing/supply chain expert that is learning to code to stay relevant and potentially switch careers. More importantly, I'm a new dad :).


import "runtime/trace"
Go execution tracer. The tracer captures a wide range of execution events like goroutine creation/blocking/unblocking, syscall enter/exit/block, GC-related events, changes of heap size, processor start/stop, etc and writes them to an io.Writer in a compact form. A precise nanosecond-precision timestamp and a stack trace is captured for most events. A trace can be analyzed later with 'go tool trace' command.
Start enables tracing for the current program. While tracing, the trace will be buffered and written to w. Start returns an error if tracing is already enabled.
func Stop()
Stop stops the current tracing, if any. Stop only returns after all the writes for the trace have completed.


Profile
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I am a second-year computer science PhD student in the Causal Artificial Intelligence Lab at Columbia University working with Prof. Elias Bareinboim. During my wonderful Master’s studies in Brown University, I was fortunate enough to work with Prof. Michael Littman. I obtained my B.S from Beihang University, under the supervision of Prof. Jingyuan Wang.
My research interest lies in the intersection of causal inference and reinforcement learning, especially in how to build reliable, generalizable and sample efficient agent.


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Here's a customised Meter chart that looks a little bit like the Google Charts meter chart. The
orange to yellow graduation here is done by using the colorsRanges
property and
specifying the individual colors manually.
Update: You can now (December 2019) toggle the colors of the chart between the solid graduations and a real gradient which shows a much smoother transition through the colors.
The normal Meter chart is a semi-circle, starting on the left and going 180 degrees around to the
right. Here though the start and endpoints have been altered by using the anglesStart
and anglesEnd
properties.
If you use these properties though - remember that they're measured in radians
and not degrees.
1 radian = (180 / Pi) degrees. There are some functions that the RGraph common core library
provides for you when converting from one to the other:
// Usage: RGraph.toRadians(360) // 6.28 RGraph.toRadians = function (degrees) { return degrees * (Math.PI / 180); }; // Usage: RGraph.toDegrees(3.14) // 180 RGraph.toDegrees = function (radians) { return radians * (180 / Math.PI); };
The Meter is set to be dynamically adjustable too using the adjustable
property
  Put this where you want the chart to show up:

 <canvas id="cvs" width="500" height="250">[No canvas support]</canvas>
 <button onclick="toggleGradient()" style="font-size: 20pt">Toggle gradient</button>
This is the code that generates the chart - it should be placed AFTER the
canvas
tag(s):


You place a bet by clicking one of the offers and then follow the instructions to sign it.
The Bitcoins waged are never transferred to us but are instead locked into the blockchain by you, decentralized and with no need to trust a third party.
continue


| Surdea Antoniu Cristian | |
| Job description: | Software Engineer at Amdocs Tasked with investigating application issues by combing through logs and identifying potential errors Performing system health checks and monitoring it using specific tools like iCinga and Centreon Using and building queries to generate reports based on current system status Taking necessary steps in case of failed processes to troubleshoot and fix the issue Raising tickets and handling communication between relevant internal teams |
| Job2 | |
| Job3 | |
| Skills: | VBA (Visual Basic for Applications), C++, HTML, OracleDB, MSSQL, Big Data (MapR, Hadoop, Oozie, Hive, HBase, Cloudera, Hue), Adobe Creative Suite, Google Adwords and Analytics, Microsoft Office package, Operating systems (Windows, Linux) |


--- title: Visualizing the fastai Training Loop Further keywords: fastai sidebar: home_sidebar summary: "Extending fastai's `show_training_loop` to be more verbose about event triggers" description: "Extending fastai's `show_training_loop` to be more verbose about event triggers" nb_path: "nbs/06_basics.training_loop.ipynb" ---
fastai
's training loop is certainly unique in its approach, where everything is handled through Callbacks
. What this means is there should never be an instance where if you need to modify fastai
's training loop you are modifying Learner
's source code.
Instead we can use various trigger points through Callbacks
to get there. Currently fastai has a methodology of showing just what Callbacks
are called during the training loop through a function called Learner.show_training_loop
from fastai.callback.all import *
from fastai.test_utils import synth_learner
learn = synth_learner()
learn.show_training_loop()
As we can see, every major event is detailed with a Start
and Finish
, and the intermediate steps at each level are described. Paired with this are the Callbacks
that get triggered at that particular event.
However, I think we can take this a step further to enable you to understand just what happens during each step. As a result, I've written a revised version of Learner.show_training_loop
:
With this new version we can pass in a verbose
tag and for every Callback
and its events we will pull its documentation string, so we can see what happens at each step as shown below:
learn.show_training_loop(verbose=True)
from wwf.basics.training_loop import *
And then call learn.show_training_loop(verbose=True)


Hunter Enoch
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ABOUT THE BAND
2005 · The band just started out with "All we know is falling" debuting in 26th of July. The name "Paramore" goes back to the birth name of the bassist of the band. The band members liked the name so much that they adopted the name for the band. The band style is alternative-rock but has changed over the course of the band's lifetime.
2013 · The band had very good releases such as "RIOT" from 2007 with their hit track "Misery Business". Altough they had good success they wanted to go a bit abroad with their style so they released a new studio album called "Paramore". It still utilizes their alternative-rock roots but they incorporated a bit of freestyle regarding some tracks.
Also some former band members left.
2017 · After a long time without any major release the band decided to make another studio album. This time though they really altered their style to a mixture of new wave, pop rock, synth-pop and power pop. The sum of this is "After laughter" which released in 2017. Some first-day-fans were dishearted by the style change but generally the change was received positively. With "Hard Times" - which is counting 94 million views on Youtube for the moment this site is made - is remarkable.
Also a former member that once left the band - Zac Farro - has rejoined the band to be the drummer again.
MEET THE BAND
Hayley Williams · She is the beating heart of the band. With her voice she powers all the music of Paramore. Through her energetic self and authentic personality she brings the mood into every concert.
Taylor York · He plays many roles including the guitar, drums and sometimes the role model for the ladies. He's constantly changing his style for the better but had settled down for the curly hair look. Coupled with a guitar he becomes something special on the stage.
Zac Farro · He's the younger brother of the now former band member - Josh Farro. He's ruling on the drums with his unique style. "I really dig thoses glasses" - said once a random girl.


'Palmetto'
A movie review by Walter Frith
Member of the INTERNET MOVIE CRITIC'S ASSOCIATION at: http://www.geocities.com/Hollywood/Studio/5713/index.html
The talent that Woody Harrelson has in entertaining movie audience's is that he has an endless amount of daffy charm and exuberant personality that it makes him one of the few actors that has made a successful transition from the small screen to the big screen. After an Oscar nomination for 1996's 'The People vs. Larry Flynt', Harrelson has earned the respect of his peers and is well on his way to a great career. When I saw him in 1992's 'White Men Can't Jump', I was taken by his penchant for playing losers and 'Palmetto' is a great role for Harrelson to strut his stuff.
'Fargo'. A movie about a man who hires two thugs to kidnap his wife and things go wrong. Do things ever go right in a crime movie? 'Palmetto'. Cleverly disguised as a 'Fargo' wannabe. Set in an opposite climate ('Fargo' was set primarily in upstate Minnesota in the dead of winter) and this movie is set in the steamy town of Palmetto, Florida and the movie is different from 'Fargo' but strangely, for some sub-conscious reason, I thought of 'Fargo' as I was watching this movie.
Woody Harrelson stars as a former convict whose conviction is over turned after two years in the slammer and he is released. He's a journalist who was framed for an article he wrote exposing political corruption at the municipal level and he returns to his female companion (Gina Gershon) and tries to re-capture his former life before jail.
Upon his release, he meets up with a sultry woman in a bar (Elisabeth Shue) who propositions him to play a part in a kidnapping scam for which he will receive 10% of $500,000.00.
The plan calls for Harrelson to act as the bag man in the kidnapping of Shue's stepdaughter. Harrelson is supposed to act as the threatening voice on the phone and will pick up the ransom money. There are many plot twists and turns that will tease and tantalize the audience in its running time of nearly two hours and the film has a solid plot, doesn't suffer from over length and is unpredictable. Its underlining strength comes from the fact that the film isn't over done and has basically only two or three characters at the most on-screen at one time with a couple of exceptions.
Shades of 1981's 'Body Heat' and 1990's 'The Hot Spot' shine through but director Volker Schlondorff's sure-footed direction is on-target and the film is based on the book 'Just Another Sucker' by James Hadley Chase.
Gina Gershon's character is somewhat sedated and perhaps unnecessary but the real surprise in this film is Elisabeth Shue who puts her best foot forward since her Oscar nominated role in 1995's 'Leaving Las Vegas' and her character is that of an evil woman with a slightly psychotic twist combined with a feeling of superiority and lack of conscience.
Not a great film but a rigorously solid one, 'Palmetto' is a film about white trash at its sleaziest.
OUT OF 5 > * * * 1/2
Visit FILM FOLLOW-UP by Walter Frith
http://home.netinc.ca/~wfrith/movies.htm
The review above was posted to the
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Next: identity, Previous: equal, Up: Data and Control Flow Dictionary
equalp
x y ⇒ generalized-boolean
x—an object.
y—an object.
generalized-boolean—a generalized boolean.
Returns true if x and y are equal, or if they have components that are of the same type as each other and if those components are equalp; specifically, equalp returns true in the following cases:
If two characters are char-equal.
If two numbers are the same under =.
If the two cars in the conses are equalp and the two cdrs in the conses are equalp.
If two arrays have the same number of dimensions, the dimensions match, and the corresponding active elements are equalp. The types for which the arrays are specialized need not match; for example, a string and a general array that happens to contain the same characters are equalp. Because equalp performs element-by-element comparisons of strings and ignores the case of characters, case distinctions are ignored when equalp compares strings.
If two structures S_1 and S_2 have the same class and the value of each slot in S_1 is the same under equalp as the value of the corresponding slot in S_2.
equalp descends hash-tables by first comparing the count of entries and the :test function; if those are the same, it compares the keys of the tables using the :test function and then the values of the matching keys using equalp recursively.
equalp does not descend any objects other than the ones explicitly specified above. Figure 5–13 summarizes the information given in the previous list. In addition, the figure specifies the priority of the behavior of equalp, with upper entries taking priority over lower ones.
Type Behavior number uses = character uses char-equal cons descends bit vector descends string descends pathname same as equal structure descends, as described above Other array descends hash table descends, as described above Other object uses eq
Figure 5–13: Summary and priorities of behavior of equalp
(equalp 'a 'b) ⇒ false (equalp 'a 'a) ⇒ true (equalp 3 3) ⇒ true (equalp 3 3.0) ⇒ true (equalp 3.0 3.0) ⇒ true (equalp #c(3 -4) #c(3 -4)) ⇒ true (equalp #c(3 -4.0) #c(3 -4)) ⇒ true (equalp (cons 'a 'b) (cons 'a 'c)) ⇒ false (equalp (cons 'a 'b) (cons 'a 'b)) ⇒ true (equalp #\A #\A) ⇒ true (equalp #\A #\a) ⇒ true (equalp "Foo" "Foo") ⇒ true (equalp "Foo" (copy-seq "Foo")) ⇒ true (equalp "FOO" "foo") ⇒ true
(setq array1 (make-array 6 :element-type 'integer :initial-contents '(1 1 1 3 5 7))) ⇒ #(1 1 1 3 5 7) (setq array2 (make-array 8 :element-type 'integer :initial-contents '(1 1 1 3 5 7 2 6) :fill-pointer 6)) ⇒ #(1 1 1 3 5 7) (equalp array1 array2) ⇒ true (setq vector1 (vector 1 1 1 3 5 7)) ⇒ #(1 1 1 3 5 7) (equalp array1 vector1) ⇒ true
eq, eql, equal, =; /=; <; >; <=; >= , string=; string/=; string<; string>; string<=; string>=; string-equal; string-not-equal; string-lessp; string-greaterp; string-not-greaterp; string-not-lessp; , char=; char/=; char<; char>; char<=; char>=; char-equal; char-not-equal; char-lessp; char-greaterp; char-not-greaterp; char-not-lessp
Object equality is not a concept for which there is a uniquely determined correct algorithm. The appropriateness of an equality predicate can be judged only in the context of the needs of some particular program. Although these functions take any type of argument and their names sound very generic, equal and equalp are not appropriate for every application.
Next: identity, Previous: equal, Up: Data and Control Flow Dictionary


The Avengers A movie review by "Average Joe" Barlow (c) Copyright 1998
STARRING: Ralph Fiennes, Uma Thurman, Sean Connery DIRECTOR: Jeremiah Chechik WRITER: Don MacPherson RATED/YEAR: PG-13/1998
If you think about it, movies are a lot like animals. "Saving Private Ryan" is definitely a cat: it stretches out comfortably on the couch and looks at you with cool indifference. It yawns occasionally. It doesn't like to be touched, because warm, caring relationships are too stifling for its lifestyle. It's not the least bit interested in who you are, as long as you feed it. "The Avengers," on the other hand, is a frisky little puppy. It nips playfully at your heels, races all around the house, and piddles excitedly on the rug. It desperately wants to please you, because it loves you unconditionally.  Never before has a movie so horrid been so wonderful. During a summer dominated by extremely long and pretentious films, it's a great joy to watch a fairly brief movie that not only knows it's bad, but takes great delight in the fact. Ralph Fiennes stars as John Steed, a British secret agent who works for an organization known only as The Ministry. He's a mild- mannered but undeniably dapper chap, never without his umbrella, bowler hat, or smirk. He does a fine job of protecting London, as long as it doesn't interfere with his tea-time. Uma Thurman is Dr. Emma Peel, a beautiful, brilliant scientist who has been framed for a crime she claims she didn't commit. She's sexy, tough, and somehow manages to consume as much tea as Steed does. The Ministry orders Steed to help her clear her name, and the two are off. Sean Connery is Sir August De Wynter, a supervillain who's evil only because the script says so. He's just as brilliant as our heroes but dresses better (check out his lovely color-coordinated kilts, for instance). He will not rest until he's taken over the world... except to drink lots of tea, of course. Thus do we have our movie. What else can be said? The film, like the television show of the same name, is pure camp. (One of the action sequences involve Steed and Peel chasing a flock of life-size, rainbow-colored teddy bears through the streets of London.) The dialogue alternates between horrible puns and failed attempts to make the characters seem witty. An actual scene from the movie (paraphrased):
STEED: Alas, poor Teddy. PEEL: I knew him, Steed. STEED: Looks like the teddy bears are having a picnic, Mrs. Peel. We must be on the right track.
Your reaction to the above paragraph will tell you whether or not you should see "The Avengers."  If you thought it was witty, brilliant dialogue, seek professional help immediately. But if you groaned and rolled your eyes but nonetheless got a goofy grin on your face for a moment or two, this film may be your cup of (ahem) tea. Why? After all the negative things I've said about the movie, how can I possibly recommend it? Simple: it's a lot of fun. Fiennes, Thurman and Connery are clearly having a good time, and their goofy enthusiasm is contagious. Connery imparticular is wonderful, throwing his considerable acting talent into a brainless role. He's the most memorable "screen meanie" we've seen all summer, and the fact that he actually manages to deliver his cornball dialogue with a straight face makes me respect him even more. There are some nice directorial touches as well; at one point, Peel finds herself trapped in an Escher-esque labyrinth... the sort of place where stairways lead nowhere, and walking through a doorway takes you back into the room you just left. I found this to be quite an impressive sequence (I remember thinking, "She's trapped in the maze from ZORK I!"). Some other shots are also memorable: look for the lovely camera pan across the "snowglobe table" in Connery's house. Sure, there are some fairly substantial problems with the film: a subplot involving clones is never really resolved, the final confron- tation between heroes and villain is extremely unsatisfying, Uma's British accent comes and goes, and one of the film's action sequences is a none-too-subtle (but less-effective) reworking of the speeder bike chase from "Return of the Jedi." In addition, the movie contains what is possibly the highest numbers of continuity errors ever captured in a film (something I frequently don't notice). But none of that matters; indeed, I wonder if some of the above was intentional, to add to the camp feel. Director Jeremiah Checkhik remains faithful to the feel of the television series in many other subtle ways as well. The hairstyles, clothes, and cars are all straight out of the sixties, for example. These items were so subtly integrated into the movie that I didn't even notice them until the film was halfway over. The interplay between the characters is also well-done. The sexual tension between Steed and Peel is not only present, but often very humorous. (Steed at one point suggests to Dr. Peel that they call each other by less formal names. She reluctantly makes a concession: "Very well. You may call me *Mrs.* Peel.") I've no doubt sealed my fate as a film critic: not only did I pan "Saving Private Ryan" while raving about "Halloween: H20," but I've just recommended a movie which is, by my own admission, pretty bad. But when a film is this much fun, friends, "bad" is no reason not to attend. The lynch mob starts over there. Tea, anyone?
RATING: 3.5 stars (out of a possible five)
This review was written August 17, 1998. Copyright (c) 1998 by Joe Barlow. This review may be freely distributed as long as ABSOLUTELY NO CHANGES are made and this disclaimer remains attached. It may not be reproduced for profit without the written consent of the author. If you have comments or questions, please send them to: jbarlow at earthling dot net (substituting the appropriate symbols, to discourage spam).
----- "Average Joe" Barlow * MiSTie #73097 * Writer/musician/aspiring filmmaker<EMAIL_ADDRESS>http://www.ipass.net/~jbarlow {Remove YOUR PANTS to e-mail me.}
The latest movie reviews on my website include "Saving Private Ryan," "Snake Eyes" and "Halloween: H20"
I was touched by that, especially the part where Rick mutters, "My God, it's full of the usual suspects!" --Bill Livingston
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


creating android apps using html5 with phonegap
Daniel Popescu | Computer Scientist | Adobe
Mobile Development
Native Apps
Web Apps
Hybrid Apps (eg. PhoneGap)
Why would you use PhoneGap?
- Write once, run everywhere
- Native Installers -> Application Stores
- Use standard web technologies
PhoneGap could be your best friend if
- You want to target multiple mobile platforms
- You know HTML/JavaScript/CSS
- Extend existing in-browser apps with native features
- Data-centric apps, social networking, simple games
PHONEGAP vs Apache Cordova
Contributors
Adobe
Microsoft
RIM
IBM
PhoneGap Plug-ins
- Extend the buit-in functionality with custom plug-ins
- Delegate heavyweight data processiong to native code
- Create background services
What can you use to build your app?
Build PhoneGap app as you'd build a regular web app
Creating the native installers
- Using the target platform tool chain
- Using PhoneGap Build - a cloud service
PhoneGap Build
(http://build.phonegap.com)
- Supports: IOS, Android, BlackBerry, WebOS, Windows Phone and Symbian
- It is free and it will always be free for Open Source projects
- You can either upload your files or provide a Git/SVN repository
PhoneGap Emulate
(http://emulate.phonegap.com)


Toggle navigation
Egypt Meter
Home
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Source
GDP of Egypt (nominal)
Source:
Wikipedia
Electricity load now
Source:
Egyptera
Built with ♥ by
Keen IO


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Introduction
Community Connect is a simple application to help automate the management of any Community. It is free and open-source. You can simply download the code from GitLab.
Features
- Made using Django.
- Easy to setup & manipulate as per the needs.
- Channels to ensure that the members receive only the mails they want to receive.
Installation
Follow these steps on your server to ensure that your the application works properly. Instructions only for linux server.
- Install Python 3.5 and Pip
- Debian-Family:
sudo apt install python3.5 python3-pip
- Debian-Family:
- Install Requirements:
pip3 install -r requirements.txt
- Setup Database
- Install PostgreSQL
sudo apt update; sudo apt-get install python-pip python-dev libpq-dev postgresql postgresql-contrib;
- Create User/Role
sudo -i -u postgres
psql
CREATE USER community_connect WITH PASSWORD 'MY_AWESOME_PASSWORD';
- Configure User/Role
ALTER ROLE community_connect SET client_encoding TO 'utf8';
ALTER ROLE community_connect SET default_transaction_isolation TO 'read committed';
ALTER ROLE community_connect SET timezone TO 'UTC';
- Config Database with django
- Open
Community-Connect/Community_Connect/settings.py
and navigate to line'PASSWORD': 'MY_AWESOME_PASSWORD',
and set your password here. python3 manage.py makemigrations
python3 manage.py migrate
- Open
- Install PostgreSQL
- Install nginx // Update user-documentation from this point


VS Angel Candice Swanepoel Sizzles In A Strapless Bikini In New Photos
November 18, 2019
VS Angel Candice Swanepoel Sizzles In A Strapless Bikini In New Photos
The Victoria's Secret Angel wore the skimpiest bikini bottoms for a new swimwear shoot.
The Victoria's Secret Angel wore the skimpiest bikini bottoms for a new swimwear shoot.
Candice Swanapoel showed off some serious skin in a strapless bikini look in new shots taken from a recent professional swimwear photo shoot. In the photos, which were recently shared on Instagram by her own swim line, Tropic of C, the Victoria’s Secret Angel didn’t leave very much to the imagination as she posed for the camera in the middle of a field to promote her popular line of bikinis and swimsuits.
One sizzling shot showed the 31-year-old mom of two while she struck a pose in the middle of the greenery with both of her arms up above her head.
The tiny bikini was made up of a strapless bandeau-style top with a twist in the center of her chest. The skimpy top featured a black and pale orange striped design that perfectly matched her even skimpier bottoms.
The high-waisted bikini bottoms had the exact same pattern as well as long string ties — which she tied in a large bow on her hips — that stretched all the way up to her bellybutton to make her already long legs look even longer. The striped bottoms were made up of only a tiny piece of material that barely covered her bottom half.
Another snap shared to the account’s Instagram page showed Candice in the same two-tone bikini as she posed side on to the camera with her hand on her hip and looked off into the distance.

In the caption, Tropic of C revealed that Candice was modeling a brand new piece from her line. The star rocked the sana top with the praia bottom in the ruffle stripe print, both of which are available to purchase now.
Many fans flocked to the comments section of the uploads to heap praise on the dazzling model.
“Love this print!” one fan said of the new two-piece, while another person commented, “I Loooooooooooooooooooooooooove U Candice Swanepoel.”
Loading...
Others commented with hearts and heart eye emoji after seeing the star’s latest skimpy swimwear display.
Candice regularly serves as a model for her swim line, as Tropic of C regularly posts shots of the model in her swimwear to social media. The star also often treats her 13.8 million followers to a look at her latest bikini and bathing suit designs on her own Instagram page.
One recent upload showed the superstar as she posed in a high-waisted hot pink bikini that left very little to the imagination for the outdoor shoot, standing in front of a large green bush.


International Institute of Multiscale Materials Modeling
Multilevel Finite Element Method
Back to Multiscale Methods
Introduction
Used FEA to couple mesoscale to macroscale used to model damage evolution in ceramic or concrete materials.
History
Features
Applications
References
Further Reading
- Computational Solid Mechanics Laboratory at EPFL


grafika szkice szkice momenty Camille przy barze doktor Rieux patrzy przez okno siatkarskie koszulki krypto kubki encepence Your browser does not support the audio element. Your browser does not support the audio element. Your browser does not support the audio element. Your browser does not support the audio element. Your browser does not support the audio element. Your browser does not support the audio element. Your browser does not support the audio element. napisz aleksandra.horubala@gmail.com


{% blocktrans %}
AP1 Ltd. is established in the year 2017 and specializes in importing the boutique automotive and
motorcycle oils and additives of the American company AMSOIL in Bulgaria.
Our biggest priority is offering a quality service. This includes a big variety of products, as well
as a direct contact with our customers, so that we can consult and share our experience in choosing
the best for their needs.
We, the founders of the company, are automotive enthusiast and in the search of the best for our cars,
we decided to offer an assortment of high quality products to the Bulgarian market.
Payment
Payment is on delivery of the product. All prices include VAT!
Delivery
All deliveries are made using Econt Express and all orders are sent in 3 working days of their
creation.
Guaranteed origin
All products are imported to Bulgaria through the official distributors for Europe. Our close
cooperation
with them also allows us ordering products that they don't keep in stock.
Returns
Each client that has ordered a product through this site can return in 14 days after the product has
been received.
{% endblocktrans %}


view\Email
Synopsis
class Email
extends PageElement
{
- // Inherited members from PageElement
- protected array $variables;
- protected string $interface;
- // methods
- public void __construct()
- public void init()
- public static Email getInstance()
- public string render()
- // Inherited methods from PageElement
- public void __construct()
- public void getTemplatePath()
- public void getContentFile()
- public void setContentFile()
- public void getContent()
- public void getVariables()
- public void setVariables()
- public void getInterface()
- public void setInterface()
- public void setVariable()
- public void render()
- public void canRender()
Hierarchy
Extends
Violations
Checkstyle
| Line | Column | Severity | Message |
|---|---|---|---|
| 5 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 5 | 5 | error | Visibility must be declared on method "__construct" |
| 5 | 42 | error | Expected 1 space between comma and type hint "string"; 0 found |
| 5 | 62 | error | Incorrect spacing between argument "$contentFile" and equals sign; expected 1 but found 0 |
| 5 | 62 | error | Incorrect spacing between default value and equals sign for argument "$contentFile"; expected 1 but found 0 |
| 5 | 95 | error | Incorrect spacing between argument "$templatesPath" and equals sign; expected 1 but found 0 |
| 5 | 95 | error | Incorrect spacing between default value and equals sign for argument "$templatesPath"; expected 1 but found 0 |
| 5 | 119 | error | Incorrect spacing between argument "$interface" and equals sign; expected 1 but found 0 |
| 5 | 119 | error | Incorrect spacing between default value and equals sign for argument "$interface"; expected 1 but found 0 |
| 5 | 127 | warning | Line exceeds 120 characters; contains 127 characters |
| 5 | 127 | error | Opening brace should be on a new line |
| 6 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 6 | 39 | error | No space found after comma in argument list |
| 6 | 67 | error | No space found after comma in argument list |
| 6 | 82 | error | No space found after comma in argument list |
| 7 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 8 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 9 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 9 | 5 | error | Visibility must be declared on method "init" |
| 9 | 20 | error | Opening brace should be on a new line |
| 10 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 11 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 13 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 14 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 15 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 16 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 17 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 18 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 19 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 20 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 21 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 22 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 23 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 25 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 26 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 27 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 27 | 12 | error | Visibility must be declared on method "getInstance" |
| 27 | 43 | error | Expected 1 space between comma and argument "$contentFile"; 0 found |
| 27 | 56 | error | Expected 1 space between comma and argument "$templatePath"; 0 found |
| 27 | 70 | error | Incorrect spacing between argument "$templatePath" and equals sign; expected 1 but found 0 |
| 27 | 70 | error | Incorrect spacing between default value and equals sign for argument "$templatePath"; expected 1 but found 0 |
| 27 | 82 | error | Opening brace should be on a new line |
| 28 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 28 | 36 | error | No space found after comma in argument list |
| 28 | 49 | error | No space found after comma in argument list |
| 28 | 63 | error | No space found after comma in argument list |
| 29 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 30 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 30 | 5 | error | Visibility must be declared on method "render" |
| 30 | 29 | error | Opening brace should be on a new line |
| 31 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 31 | 22 | error | No space found after comma in argument list |
| 31 | 27 | error | No space found after comma in argument list |
| 32 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 33 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 34 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 35 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 36 | 1 | error | Spaces must be used to indent lines; tabs are not allowed |
| 37 | 1 | error | Expected 1 newline at end of file; 0 found |
Members
protected
- $interface
- $variables
Methods
History
-
2021-01-24T22:59:14+00:00 (commit #20b204f)
Author: Folarin Martins<EMAIL_ADDRESS>/ Commiter: Folarin Martins<EMAIL_ADDRESS>QA/CI tests completed; next:Jenkins CI/CD pipeline
-
2021-01-22T07:46:50+00:00 (commit #5a1d054)
Author: Folarin Martins<EMAIL_ADDRESS>/ Commiter: Folarin Martins<EMAIL_ADDRESS>Basic user CRUD service set up


|
KlusterKite
0.0.0
A framework to create scalable and redundant services based on awesome Akka.Net project.
|
The User management More...
Public Member Functions | |
| UsersConnection (ActorSystem actorSystem, string dataActorPath, TimeSpan? timeout, RequestContext context) | |
| Initializes a new instance of the UsersConnection class. More... | |
| async Task< MutationResult< User > > | ResetPassword (Guid id, string password) |
| Resets the user password More... | |
| async Task< MutationResult< User > > | GrantRole (Guid userUid, Guid roleUid) |
| Grants a new role to the user More... | |
| async Task< MutationResult< User > > | WithdrawRole (Guid userUid, Guid roleUid) |
| Withdraws the role from the user More... | |
| Public Member Functions inherited from KlusterKite.Data.CRUD.Connection< User, Guid > | |
| Connection (ActorSystem actorSystem, string dataActorPath, TimeSpan? timeout, RequestContext context) | |
| async Task< MutationResult< TObject > > | Create (TObject newNode) |
| async Task< MutationResult< TObject > > | Delete (TId id) |
| async Task< QueryResult< TObject > > | Query (Expression< Func< TObject, bool >> filter, IEnumerable< SortingCondition > sort, int? limit, int? offset, ApiRequest apiRequest) |
| async Task< MutationResult< TObject > > | Update (TId id, TObject newNode, ApiRequest apiRequest) |
Additional Inherited Members | |
| Static Protected Member Functions inherited from KlusterKite.Data.CRUD.Connection< User, Guid > | |
| static MutationResult< TObject > | CreateResponse (CrudActionResponse< TObject > response) |
| Creates mutation response from actor response More... | |
| Properties inherited from KlusterKite.Data.CRUD.Connection< User, Guid > | |
| RequestContext | Context [get] |
| Gets the request context More... | |
| string | DataActorPath [get] |
| Gets the path to the data actor More... | |
| ActorSystem | System [get] |
| Gets the actor system More... | |
| TimeSpan | Timeout [get] |
| Gets the request timeout More... | |
The User management
Definition at line 32 of file UsersConnection.cs.
| KlusterKite.NodeManager.WebApi.UsersConnection.UsersConnection | ( | ActorSystem | actorSystem, |
| string | dataActorPath, | ||
| TimeSpan? | timeout, | ||
| RequestContext | context | ||
| ) |
Initializes a new instance of the UsersConnection class.
| actorSystem | The actor system. |
| dataActorPath | The data actor path. |
| timeout | The timeout. |
| context | The context. |
Definition at line 49 of file UsersConnection.cs.
| async Task<MutationResult<User> > KlusterKite.NodeManager.WebApi.UsersConnection.GrantRole | ( | Guid | userUid, |
| Guid | roleUid | ||
| ) |
Grants a new role to the user
| userUid | The user Uid. |
| roleUid | The role Uid. |
Definition at line 93 of file UsersConnection.cs.
| async Task<MutationResult<User> > KlusterKite.NodeManager.WebApi.UsersConnection.ResetPassword | ( | Guid | id, |
| string | password | ||
| ) |
Resets the user password
| id | The user uid |
| password | The new user password |
Definition at line 65 of file UsersConnection.cs.
| async Task<MutationResult<User> > KlusterKite.NodeManager.WebApi.UsersConnection.WithdrawRole | ( | Guid | userUid, |
| Guid | roleUid | ||
| ) |
Withdraws the role from the user
| userUid | The user Uid. |
| roleUid | The role Uid. |
Definition at line 121 of file UsersConnection.cs.


weather
a showcase for Condense.js by Jeremias Menichelli
Get weather from here
Get weather for this city
º
Humidity
%
Wind
km/h
Pressure
hPa


Sudan PM elected chairperson of regional body IGAD
by Abdur Rahman Alfa ShabanSudan Prime Minister Abdalla Hamdock has been elected chairperson of the regional political bloc, the Intergovernmental Authority on Development, IGAD.
IGAD Heads of State and government representatives met for the 13th Ordinary Summit in the Ethiopian capital Addis Ababa where Hamdock was elected leader.
He takes over from his Ethiopian Prime Minister Abiy Ahmed who has been in the role since 2018 when he came into office.
“Our region is making good progress and with political will and commitment, regional integration efforts for collective prosperity will materialize in the spirit of MEDEMER,” Abiy said in a tweet.
Among the leaders that joined the meeting were Uganda’s Yoweri Museveni, South Sudan’s Salva Kiir, Somalia’s Mohammed Abdullahi Farmaajo, Djibouti’s Omar Guelleh.
Monica Jumah, Kenya’s Foreign Affairs Minister was in attendance along with the African Union chief and ex-South Africa president Thabo Mbeki representing the United Nations.
The IGAD secretariat is currently headed by ex Ethiopian Foreign Affairs Minister Workneh Ghebeyehu. He took over from Kenya’s Ambassador Mahboub Maalim.
IGAD members comprise countries from the Horn of Africa (Ethiopia, Djibouti, Somalia and Eritrea), the Nile Valley (Sudan and South Sudan) and the African Great Lakes region (Kenya and Uganda).


|
10..
15.. 02
I
would like to apply for the bilingual editor/proofer (Spanish) position.
I received my Bachelor of Arts degree from CSULB in Journalism/Public
Relations and minor in Spanish in 1991. I have been working in web and
graphic design for the past ten years. I am extremely organized, detail-oriented,
and can meet tight deadlines successfully.
As
a native Spanish speaker, I was responsible for translating documents
and facilitating bilingual discussions for Caltech
geologists conducting research in Mexico. At Shopsports.com, I translated
all store web sites into Spanish. I served as Translator for two latin
magazines; Latin Athlete and Latin Holiday while going to school in San
Diego and have done plenty of translations for screenplays.
January
through July of this year, I traveled all over EuropeSweden, France,
Italy, Holland, Spain, Greece, Germany, and Switzerland. During that time,
I represented Entergate Communications at the COMDEX computer show in
Goteburg, Sweden, developed
designs for clients in Italy, Spain, and Holland, and took hundreds of
digital photographs of classic architecture, art, and people. I was privileged
to visit many impressive museums like the Louvre in Paris and the Uffizi
in Florence. All of these experiences have filled me with fresh creative
insights, ideas, and perspectives.
Now
that I have returned, I am full of energy and inspiration; I am ready
for full-time work and a chance to settle down. I look forward to speaking
with you after you have had an opportunity to review my qualifications.
Sincerely,
Beatrice Aispuro
|


{% extends 'base.html' %} {% block body %}
{{ the_title }}
You submitted the following data:
Phrase: {{ the_phrase }}
Letters: {{ the_letters }}
When "{{the_phrase }}" is searched for "{{ the_letters }}", the following results are returned:
{{ the_results }}
{% endblock %}


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THE HARMONISTS
Reviewed by Harvey Karten, Ph.D. Miramax Films Director: Joseph Vilsmaier Writer: Jurgen Buscher, Klaus Richter Cast: Ben Becker, Heino Ferch, Ulrich Noethen, Heinrich Schafmeister, Max Tidof, Kai Wiesinger, Meret Becker, Katja Riemann, Dana Vavrova, Noemi Fischer, Otto Sander, Michaela Rosen, Gunter Lamprecht, Gerard Samaan, Rolf Hoppe
There must be hundreds of movies that have dealt in some way with the theme of Nazism, and they're still coming out of the Hollywood mills and the cameras of the independent studios as well. That's OK. There will always be a need for more stories of Germany's flight into irrationality, particularly those which carve out a niche, which study some aspect of the period which has rarely been exposed to the public. The best example this year of such a feat is Roberto Benigni's "Life is Beautiful," which deals with the efforts of a prisoner to use humor to conceal the brutality of a concentration camp from his young, incarcerated son. Similarly, Volker Schlondorff's "The Ogre" singles out the training of the Hitler Youth to cinematic advantage.
Now comes "The Harmonists," due to open in February '99 and based on the memories of the longest-surviving member of a popular German group. It's a heartbreaker. Few films have pointed out more effectively the utter absurdity of Nazi doctrine. Less than two years after the accession of Hitler in January 1933, the group called The Comedian Harmonists were forbidden to continue giving concerts despite their popularity with even a raging anti-Semite like Julius Streicher. Why? Three of their six members were Jewish. Never mind that once the group got established, concerts were sold out in Berlin and Munich. The Jewish half were apparently polluting the country, according to the senseless mentality of the Nazi officials, though one could challenge any of them to point out which three were of that faith.
The initial half of the film is less dramatic than the concluding portion, filling us in on the background of the organization, portraying how the singing sensations were organized in a way that could serve as a primer to the formation of many a similar band of musicians. During the hard economic times in Germany in 1927, when the labor force was swelling with the unemployed, there was a demand for light entertainment to take the people's minds off their hardships. A 20-year-old drama student, Harry Frommermann (Ulrich Noethen), advertises for fellow vocalists--who must be under the age of 25--and receives many applicants. After hiring Robert Biberti (Ben Becker), Roman Cycowski (Heino Ferch), Erich Abraham Collin (Heinrich Schafmeister), Ari Leschnikoff (Max Tidof) and Erwin Bootz (Kai Wiesinger), they rehearse for long hours, are belittled by a prospective promoter as being funereal in tone, and finally capture a syncopated feel that they could call their own. While the sextet modeled itself after the popular American a capella group, "The Revellers" and after the style of Duke Ellington as well, their adaptation of those models into a German mold became contagious.
Joseph Vilsmaier, who directs the movie, and Klaus Richter, its scripter, convey the joie de vivre of this fun group whose backstage antics were not often as heartwarming as their dressed-up performances. Harry Frommermann and Robert Biberti fought over the same girl, Erna Eggstein (Meret Becker), a student whose heart may have belonged to Harry but who was enticed by Robert's offer of a spacious room in his home that she could use for her studies.
Director Vilsmaier tiptoes over the Nazi atrocities, portraying only briefly a scene in which brownshirt thugs smash up a Jewish-owned store in which Erna worked part- time. Since the movie covers only the years 1927-1934, anti- Jewish policies were only beginning. In fact one gets the impression by the unanimous cheers of the concert audience that only a small percentage of the German people had any hatred toward the Jews, the antipathy coming exclusively from lower-middle class and unemployed young people who took out their frustrations on a convenient scapegoat. One of the brownshirts is shown to take part in the smashing of the Jewish-owned store simply because his girl friend rebuffed him in favor of Harry. The viewer must question the accuracy of this mood, particularly given the recent scholarship that holds that a majority of German people from all groups were anti-Semitic.
Ulrich Noethen is the man to watch here. Resembling Robert Benigni in both appearance and gestures, his Harry Frommermann is a shy lad whose faint heart was failing to win his fair maiden, but whose enthusiasm is expressed vibrantly in his promotion of the band. While the production design for New York during the early 1930's looks counterfeit, production designer Rolf Zehetbauer effectively captures the fashion and spirit of the time, a spirit which resembles that of the United States with its love for the Charleston, for short hair, and for a devil-may-care attitude complete with a swanky big-city brothel. The Comedian Harmonists became a household name in Germany during the brief period that the boys performed, while its music is still quite popular in Germany and Europe. Like most other musical groups, they went through the agonies of forming, of gaining a name, of prospering, and eventually splitting up. The difference is that their separation was caused not so much by internal strife but by outlandish national politics.
Rated R. Running Time: 114 minutes. (C) 1998 Harvey Karten
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
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Related links: index of all rec.arts.movies.reviews reviews


I was recently setting up my computer with Ubuntu on it and this time I was decided that I would document every step of the process so that I can get it done faster the next time. That thought and process worked easily for the programs whose installations were just a simple sudo apt install ...
but when I was installing something new (like VS Code) there were many steps involved and it wasn’t an easy task to document them as I went on installing those things.
What I decided to then do was to just record my terminal sessions for each such long program and review those recordings later to write a script for everything that I needed to do.
Linux has a handy utility called script
which does just that. If it isn’t pre-installed then you can easily install it with sudo apt install script
as it is generally available in the default PPA.
Using it is straight-forward too.
script <file_name_to_write_record_to>
I also find these options to be of significance:
-a, --append
: This appends the recording if the file is already existing.-c, --command <command_which_is_to_be_recorded>
: If you want to record the interaction of a program with terminal then you can use this.
I found this command to be quite helpful in my recent endeavour of documenting the setup process and think it might others too. Want to discuss this or any other interesting thing, hit me up on Twitter @varun_barad


--- layout: minimal ---
| Name | Version | Bugs | Details |
|---|---|---|---|
|
wine
A compatibility layer for windows applications
wine-alsa
Alsa support for wine
wine-alsa
Alsa support for wine
wine-arial-fonts
Wine Arial font family
wine-capi
ISDN support for wine
wine-capi
ISDN support for wine
wine-cms
Color Management for wine
wine-cms
Color Management for wine
wine-common
Common files
wine-core
Wine core package
wine-core
Wine core package
wine-courier-fonts
Wine Courier font family
wine-desktop
Desktop integration features for wine
wine-filesystem
Filesystem directories for wine
wine-fixedsys-fonts
Wine Fixedsys font family
wine-fonts
Wine font files
wine-ldap
LDAP support for wine
wine-ldap
LDAP support for wine
wine-marlett-fonts
Wine Marlett font family
wine-ms-sans-serif-fonts
Wine MS Sans Serif font family
wine-openal
Openal support for wine
wine-openal
Openal support for wine
wine-opencl
OpenCL support for wine
wine-opencl
OpenCL support for wine
wine-pulseaudio
Pulseaudio support for wine
wine-pulseaudio
Pulseaudio support for wine
wine-small-fonts
Wine Small font family
wine-symbol-fonts
Wine Symbol font family
wine-system-fonts
Wine System font family
wine-systemd
Systemd config for the wine binfmt handler
wine-tahoma-fonts
Wine Tahoma font family
wine-times-new-roman-fonts
Wine Times New Roman font family
wine-twain
Twain support for wine
wine-twain
Twain support for wine
wine-wingdings-fonts
Wine Wingdings font family
|
2.11-1.fc26 | 1464628 | Wine-staging.com
- Preloader compatibility enhancements for older macOS versions.
- NVAPI improvements.
- Support for starting position-independent executables (PIE) from Wine.
- Keyboard/Mouse handling fixes.
- Various smaller bug fixes and improvements.
Winehq.org
- OpenGL support in the Android driver.
- Relay debugging on ARM64.
- More dictionary support in WebServices.
- New registry file parser in RegEdit.
- Various bug fixes.
More information…
|


Dear Friend
REPLY ME ON<EMAIL_ADDRESS>Good day and Compliments, I am writing this letter in confidence
believing that if it is the wish of God for you to help me and my family, God almighty will bless and reward you abundantly.
My family and I are true Christians and worship's God truthfully.
I got your contact address from our Christians union office during my research on some one who could help us.Firstly,
I must introduce myself I am a female student from University of Cotonou, Benin Republic.
I am 24 yrs old. I'd like any person who can becaring,loving and home oriented.I will love to have a long-term relationship with you and to know more about you.
I would like to build up a solid foundation with you in time coming if you can be able to help me in this transaction. Well, my father died earlier three months ago and left my mother I and my junior brother behind. He was a Royal king in our community, which our town citizens titled him before his death.
I was a princess to him and I and my brother are the only people who can take Care of his wealth now because mymother is not literate enough to know all my father's wealth he left behind.
He left up to USD 9.5,000.00 dollars (Nine Million, Five Hundred Thousand US Dollars) in one of the bank here, and Idon't know how and what I will do to invest this money somewhere in abroad, so that my father's kindred will not take overwhat belongs to my father and our family, which they were planning to do without my present because I am a female as stated by our culture in the town.
They have succeeded in taken over all our father properties here in cotonou, but do not know of this Fund in bank.That is why I felt happy when I saw your contact which I strongly believe that by the grace of God, you will help me secure and invest this money.
I thereby needs your help in securing the consignment containing the money out from the bank here in Benin Rep, for investment,based on your reply I will furnish you with more details on how we can proceed.

If you can handle this project sincerely and also willing to assist me in lifting this fund,kindly reach me and I will let you know the next step to take towards actualizing this transaction as quickly as possible. Please, note that this transaction is 100% risk free. I look forward hearing from you soonest through my personal email address<EMAIL_ADDRESS>for more clearifications.
Regards.
Yours sincerely,
PRINCESS GESINTA MEYORS FOR THE FAMILY
Play free games, earn tickets, get cool prizes! Join Live Search Club. Join Live Search Club!


adidas Football Throws It Back to 2002 With BOOST-Equipped Predator Mania Pack
Shoes for both on and off the pitch.
by Eric Brainadidas Football has unveiled a pair of BOOST-indebted sneakers for both on and off the pitch dubbed the Predator Mania.
 Aside from its technical sole unit, adidas has constructed the sneaker’s upper from premium K-leather and has incorporated curved forefoot pads, too.
It draws heavily upon the 2002 original while bringing an all-new colorway, implementing a faithfully recreated design complete with silver-toned Three Stripes and a tongue cover. Elsewhere, you’ll find a heel cup adorned with ultraBOOST branding, a classic adidas logo on the rear, and more Three Stripe branding at the heel.
The Firm Ground Cleat appears in a rarely-seen colorway of bright red and silver also made from premium K-leather, which sports the curved forefoot pads and a long fold-over tongue. This cleat combines a thin layer of BOOST in its midsole with the traditional studded outsole — that come with a hybridized twisting and traction-enhancing system as standard — as well as an innovative injection-molded Controlframe that helps stabilize fast movements.
The off-pitch sneaker will retail for $250 USD and the cleat will retail for $350 USD. To purchase either of the adidas Football Predator Manias, head over to adidas.com where they will release on December 11.
In other news, Ronnie Fieg and adidas have teased a new rainbow-hued sneaker.
adidas Football Predator Mania BOOST & Firm Ground Cleats
Release Date
December 11, 2019 - 12:00 am EST (TBC)
Price
TBC


{% extends 'commercialoperator/emails/base_email.html' %} {% block content %} {% if district_proposal.is_kensington_proposal %}
Your lawful authority to conduct commercial filming operations on Conservation and Land Management Act 1984 lands and waters has been approved and expires on {{approval.expiry_date}}. A copy of your lawful authority is attached to this email and can be accessed via Commercial Operator Licensing System (COLS) under your account, click here here to login.
{% else %}Your lawful authority to conduct commercial filming operations on Conservation and Land Management Act 1984 lands and waters within the {{ district_proposal.district_name }} district/region has been approved and expires on {{approval.expiry_date}}. A copy of your lawful authority is attached to this email and can be accessed via Commercial Operator Licensing System (COLS) under your account, click here here to login.
{% endif %}If your application includes parks and reserves across multiple districts/regions, please note as each district/region provides their approval a new lawful authority will be granted with the additional parks and reserves that supersedes your previous lawful authority.
Parks and Activities
The activities and parks you are permitted to operate within are listed in Schedule 1 of your lawful authority.
Commercial Filming and Photography Handbook - Conditions
All operators are required to adhere to the filming authority conditions listed in the Commercial Filming and Photography Handbook. A copy of the handbook can be downloaded from the {{settings.DEP_NAME}} website:
{{settings.COLS_FILMING_HANDBOOK_URL}}Please ensure contact is made with the relevant departmental region(s) and district(s) prior to conducting your filming operation, as per section 5.3 of the handbook.
A copy of this handbook must be on hand either in hardcopy or an electronic version while conducting the filming operation.
Additional Conditions Additional conditions are listed in schedule 2 of the lawful authority. If you are required to submit additional documentation based on these conditions, it will show under the “Compliance with requirements” section on your COLS homepage. You will need to login to your account and ensure you have completed any compliance requirements by the due date by uploading the requested documents.
If you have any enquiries or need assistance with the online system please contact a licensing office on {{settings.DEP_PHONE_FILMING}} or email {{settings.SUPPORT_EMAIL_FILMING}}.
{% endblock %}


- setBasket(List<ProductInBasket>) - Method in class models.Person
-
Set the product in the basket of a SU
- setBasket(List<ProductInBasket>) - Method in class models.Product
-
Set the product in the basket of a SU
- setCityAddress(String) - Method in class models.Person
-
Set the city address of the person
- setDateDiary(String) - Method in class models.Diary
-
Set date of the diary
- setDescription(String) - Method in class models.Diary
-
Set the description of the diary
- setDescription(String) - Method in class models.Objective
-
Set the description of the objective
- setDescription(String) - Method in class models.Product
-
Set the description of the product
- setDiaryUser(List<Diary>) - Method in class models.Person
-
Set the list of the diary for a SU
- setEmail(String) - Method in class models.Person
-
Set the email of the person
- setFind(Model.Finder<Long, Person>) - Static method in class models.Person
-
- setFind(Model.Finder<Long, ProductInBasket>) - Static method in class models.ProductInBasket
-
- setId(Long) - Method in class models.Objective
-
Set the ID of the objective
- setId(Long) - Method in class models.Person
-
Set the id of the person
- setId(Long) - Method in class models.Product
-
Set the id of the product
- setId(Long) - Method in class models.ProductInBasket
-
Set the ID of the ProductInBasket
- setName(String) - Method in class models.Objective
-
Set the name of the objective
- setName(String) - Method in class models.Person
-
Set the name of the person
- setName(String) - Method in class models.Product
-
Set the name of the product
- setNumberAddress(String) - Method in class models.Person
-
Set the number address of the person
- setObjective(Objective) - Method in class models.Diary
-
Set the objective the diary describes
- setObjectiveSU(List<Objective>) - Method in class models.Person
-
Set the list of the objective create by a SU
- setPassword(String) - Method in class models.Person
-
Set the password of the person
- setPostCodeAddress(String) - Method in class models.Person
-
Set the post code address of the person
- setPrice(Double) - Method in class models.Product
-
Set the price of the product
- setProductSell(List<Product>) - Method in class models.Person
-
Set the list of the product sell by a SC
- setPseudo(String) - Method in class models.Person
-
Set the pseudo of the peron
- setQuantity(int) - Method in class models.Product
-
Set the quantity of the product
- setQuantity(int) - Method in class models.ProductInBasket
-
Set the quantity of the ProductInBasket
- setRefPerson(Person) - Method in class models.ProductInBasket
-
Set the person who buy the product
- setRefProduct(Product) - Method in class models.ProductInBasket
-
Set the product buy by a SU
- setRole(int) - Method in class models.Person
-
Set the role of the person
- setSeller(Person) - Method in class models.Product
-
Set the seller who sell the product
- setSimpleUser(Person) - Method in class models.Objective
-
Set the SU of the objective
- setSiret(String) - Method in class models.Person
-
Set the siret of the person
- setStreetAddress(String) - Method in class models.Person
-
Set the street address of the person
- setTitle(String) - Method in class models.Diary
-
Set the title of the diary
- setToken(String) - Method in class models.Person
-
Set the token of the person
- setUser(Person) - Method in class models.Diary
-
Set the user who created the diary


Class representing a 3D [link:https://en.wikipedia.org/wiki/Vector_space vector]. A 3D vector is an ordered triplet of numbers (labeled x, y, and z), which can be used to represent a number of things, such as:
There are other things a 3D vector can be used to represent, such as momentum vectors and so on, however these are the most common uses in three.js.
Iterating through a [name] instance will yield its components `(x, y, z)` in the corresponding order.
const a = new THREE.Vector3( 0, 1, 0 );
//no arguments; will be initialised to (0, 0, 0)
const b = new THREE.Vector3( );
const d = a.distanceTo( b );
[page:Float x] - the x value of this vector. Default is `0`.
[page:Float y] - the y value of this vector. Default is `0`.
[page:Float z] - the z value of this vector. Default is `0`.
Creates a new [name].
Read-only flag to check if a given object is of type [name].
Adds [page:Vector3 v] to this vector.
Adds the scalar value s to this vector's [page:.x x], [page:.y y] and [page:.z z] values.
Adds the multiple of [page:Vector3 v] and [page:Float s] to this vector.
Sets this vector to [page:Vector3 a] + [page:Vector3 b].
[page:Vector3 axis] - A normalized [page:Vector3].
[page:Float angle] - An angle in radians.
Applies a rotation specified by an axis and an angle to this vector.
Applies euler transform to this vector by converting the [page:Euler] object to a [page:Quaternion] and applying.
Multiplies this vector by [page:Matrix3 m]
Multiplies this vector (with an implicit 1 in the 4th dimension) by m, and divides by perspective.
Multiplies this vector by normal matrix [page:Matrix3 m] and normalizes the result.
Applies a [page:Quaternion] transform to this vector.
Returns the angle between this vector and vector [page:Vector3 v] in radians.
The [page:.x x], [page:.y y] and [page:.z z] components of this vector are rounded up to the nearest integer value.
[page:Vector3 min] - the minimum [page:.x x], [page:.y y] and [page:.z z]
values.
[page:Vector3 max] - the maximum [page:.x x], [page:.y y] and [page:.z z]
values in the desired range
If this vector's x, y or z value is greater than the max vector's x, y or
z value, it is replaced by the corresponding value.
If this vector's x, y or z value is less than the min vector's x, y or z
value, it is replaced by the corresponding value.
[page:Float min] - the minimum value the length will be clamped to
[page:Float max] - the maximum value the length will be clamped to
If this vector's length is greater than the max value, the vector will be
scaled down so its length is the max value.
If this vector's length is less than the min value, the vector will be
scaled up so its length is the min value.
[page:Float min] - the minimum value the components will be clamped to
[page:Float max] - the maximum value the components will be clamped to
If this vector's x, y or z values are greater than the max value, they are
replaced by the max value.
If this vector's x, y or z values are less than the min value, they are
replaced by the min value.
Returns a new vector3 with the same [page:.x x], [page:.y y] and [page:.z z] values as this one.
Copies the values of the passed vector3's [page:.x x], [page:.y y] and [page:.z z] properties to this vector3.
Sets this vector to [link:https://en.wikipedia.org/wiki/Cross_product cross product] of itself and [page:Vector3 v].
Sets this vector to [link:https://en.wikipedia.org/wiki/Cross_product cross product] of [page:Vector3 a] and [page:Vector3 b].
Computes the distance from this vector to [page:Vector3 v].
Computes the [link:https://en.wikipedia.org/wiki/Taxicab_geometry Manhattan distance] from this vector to [page:Vector3 v].
Computes the squared distance from this vector to [page:Vector3 v]. If you are just comparing the distance with another distance, you should compare the distance squared instead as it is slightly more efficient to calculate.
Divides this vector by [page:Vector3 v].
Divides this vector by scalar [page:Float s].
Calculate the [link:https://en.wikipedia.org/wiki/Dot_product dot product] of this vector and [page:Vector3 v].
Returns `true` if the components of this vector and [page:Vector3 v] are strictly equal; `false` otherwise.
The components of this vector are rounded down to the nearest integer value.
[page:Array array] - the source array.
[page:Integer offset] - ( optional) offset into the array. Default is
0.
Sets this vector's [page:.x x] value to be `array[ offset + 0 ]`, [page:.y y]
value to be `array[ offset + 1 ]` and [page:.z z] value to be `array[ offset + 2 ]`.
[page:BufferAttribute attribute] - the source attribute.
[page:Integer index] - index in the attribute.
Sets this vector's [page:.x x], [page:.y y] and [page:.z z] values from
the [page:BufferAttribute attribute].
[page:Integer index] - `0`, `1` or `2`.
If index equals `0` returns the [page:.x x] value.
If index equals `1` returns the [page:.y y] value.
If index equals `2` returns the [page:.z z] value.
Computes the [link:https://en.wikipedia.org/wiki/Euclidean_distance Euclidean length] (straight-line length) from (0, 0, 0) to (x, y, z).
Computes the [link:http://en.wikipedia.org/wiki/Taxicab_geometry Manhattan length] of this vector.
Computes the square of the [link:https://en.wikipedia.org/wiki/Euclidean_distance Euclidean length] (straight-line length) from (0, 0, 0) to (x, y, z). If you are comparing the lengths of vectors, you should compare the length squared instead as it is slightly more efficient to calculate.
[page:Vector3 v] - [page:Vector3] to interpolate towards.
[page:Float alpha] - interpolation factor, typically in the closed
interval `[0, 1]`.
Linearly interpolate between this vector and [page:Vector3 v], where alpha
is the percent distance along the line - alpha = 0 will be this vector,
and alpha = 1 will be [page:Vector3 v].
[page:Vector3 v1] - the starting [page:Vector3].
[page:Vector3 v2] - [page:Vector3] to interpolate towards.
[page:Float alpha] - interpolation factor, typically in the closed
interval `[0, 1]`.
Sets this vector to be the vector linearly interpolated between
[page:Vector3 v1] and [page:Vector3 v2] where alpha is the percent
distance along the line connecting the two vectors - alpha = 0 will be
[page:Vector3 v1], and alpha = 1 will be [page:Vector3 v2].
If this vector's x, y or z value is less than [page:Vector3 v]'s x, y or z value, replace that value with the corresponding max value.
If this vector's x, y or z value is greater than [page:Vector3 v]'s x, y or z value, replace that value with the corresponding min value.
Multiplies this vector by [page:Vector3 v].
Multiplies this vector by scalar [page:Float s].
Sets this vector equal to [page:Vector3 a] * [page:Vector3 b], component-wise.
Inverts this vector - i.e. sets x = -x, y = -y and z = -z.
Convert this vector to a [link:https://en.wikipedia.org/wiki/Unit_vector unit vector] - that is, sets it equal to a vector with the same direction as this one, but [page:.length length] 1.
[page:Camera camera] — camera to use in the projection.
Projects this vector from world space into the camera's normalized device
coordinate (NDC) space.
[page:Vector3 planeNormal] - A vector representing a plane normal.
[link:https://en.wikipedia.org/wiki/Vector_projection Projects] this
vector onto a plane by subtracting this vector projected onto the plane's
normal from this vector.
[link:https://en.wikipedia.org/wiki/Vector_projection Projects] this vector onto [page:Vector3 v].
[page:Vector3 normal] - the normal to the reflecting plane
Reflect this vector off of plane orthogonal to [page:Vector3 normal].
Normal is assumed to have unit length.
The components of this vector are rounded to the nearest integer value.
The components of this vector are rounded towards zero (up if negative, down if positive) to an integer value.
Sets the [page:.x x], [page:.y y] and [page:.z z] components of this vector.
[page:Integer index] - `0`, `1` or `2`.
[page:Float value] - [page:Float]
If index equals `0` set [page:.x x] to [page:Float value].
If index equals `1` set [page:.y y] to [page:Float value].
If index equals `2` set [page:.z z] to [page:Float value]
Sets this vector's [page:.x x], [page:.y y] and [page:.z z] components from the r, g, and b components of the specified [page:Color color].
Sets this vector from the cylindrical coordinates [page:Cylindrical c].
Sets this vector from the cylindrical coordinates [page:Cylindrical radius], [page:Cylindrical theta] and [page:Cylindrical y].
Sets this vector's [page:.x x], [page:.y y] and [page:.z z] components from the x, y, and z components of the specified [page:Euler Euler Angle].
Sets this vector's [page:.x x], [page:.y y] and [page:.z z] components from [page:Integer index] column of [page:Matrix4 matrix].
Sets this vector's [page:.x x], [page:.y y] and [page:.z z] components from [page:Integer index] column of [page:Matrix3 matrix].
Sets this vector to the position elements of the [link:https://en.wikipedia.org/wiki/Transformation_matrix transformation matrix] [page:Matrix4 m].
Sets this vector to the scale elements of the [link:https://en.wikipedia.org/wiki/Transformation_matrix transformation matrix] [page:Matrix4 m].
Sets this vector from the spherical coordinates [page:Spherical s].
Sets this vector from the spherical coordinates [page:Spherical radius], [page:Spherical phi] and [page:Spherical theta].
Set this vector to a vector with the same direction as this one, but [page:.length length] [page:Float l].
Set the [page:.x x], [page:.y y] and [page:.z z] values of this vector both equal to [page:Float scalar].
Replace this vector's [page:.x x] value with [page:Float x].
Replace this vector's [page:.y y] value with [page:Float y].
Replace this vector's [page:.z z] value with [page:Float z].
Subtracts [page:Vector3 v] from this vector.
Subtracts [page:Float s] from this vector's [page:.x x], [page:.y y] and [page:.z z] components.
Sets this vector to [page:Vector3 a] - [page:Vector3 b].
[page:Array array] - (optional) array to store this vector to. If this is
not provided a new array will be created.
[page:Integer offset] - (optional) optional offset into the array.
Returns an array [x, y, z], or copies x, y and z into the provided
[page:Array array].
Transforms the direction of this vector by a matrix (the upper left 3 x 3 subset of a [page:Matrix4 m]) and then [page:.normalize normalizes] the result.
[page:Camera camera] — camera to use in the projection.
Projects this vector from the camera's normalized device coordinate (NDC)
space into world space.
Sets each component of this vector to a pseudo-random value between `0` and `1`, excluding `1`.
Sets this vector to a uniformly random point on a unit sphere.
[link:https://github.com/mrdoob/three.js/blob/master/src/[path].js src/[path].js]


Practicing Positioning
When we use the position property, we are specifying the type of positioning method
that we wish to establish for an element.
Examples of the different position values consist of:
- static
- relative
- fixed
- absolute
- sticky
Relative Positioning
Examples of for relative
Absolute Positioning
Examples of for absolute
Fixed Positioning
Examples of for fixed