(Part 6 of 8)YOGA FOR YELLOWBELLIES
Mr. Chairman, Your Royal Highness, Your Grace, my lords, ladies and gentlemen.
Second LectureDo what thou wilt shall be the whole of the Law.
 It came into my mind that it was up to me to do something about it.
We have constantly been discussing mysterious entities as if we knew something about them, and this (on examination) always turned out not to be the case.
2. Knowledge itself is impossible, because if we take the simplest proposition of knowledge, S is P, we must attach some meaning to S and P, if our statement is to be intelligible. (I say nothing as to whether it is true!) And this involves definition. Now the original proposition of identity, A = A, tells us nothing at all, unless the second A gives us further information about the first A. We shall therefore say that A is BC. Instead of one unknown we have two unknowns; we have to define B as DE, C as FG. Now we have four unknowns, and very soon we have used up the alphabet. When we come to define Z, we have to go back and use one of the other letters, so that all our arguments are arguments in a circle.
3. Any statement which we make is demonstrably meaningless.
And yet we do mean something when we say that a cat has four legs. And we all know what we mean when we say so. We give our assent to, or withhold it from, the proposition on the grounds of our experience. But that experience is not intellectual, as above demonstrated. It is a matter of immediate intuition. We cannot have any warrant for that intuition, but at the same time any intellectual argument which upsets it does not in the faintest degree shake our conviction.
4. The conclusion to be drawn from this is that the instrument of mind is not intellectual, not rational. Logic is merely destructive, a self-destructive toy. The toy, however, is in some ways also instructive, even though the results of its use will not bear examination. So we make a by-law that the particular sorites which annihilate logic are out of bounds, and we go on reasoning within arbitrarily appointed limits. It is subject to these conditions that we may proceed to examine the nature of our fundamental ideas; and this is necessary, because since we began to consider the nature of the results of meditation, our conceptions of the backgrounds of thought are decided in quite a different manner; not by intellectual analysis, which, as we have seen, carries no conviction, but by illumination, which does carry conviction. Let us, therefore, proceed to examine the elements of our normal thinking.
5. I need hardly recapitulate the mathematical theorem which you all doubtless laid to heart when you were criticising Einstein's theory of relatively. I only want to recall to your minds the simplest element of that theorem; the fact that in order to describe anything at all, you must have four measurements. It must be so far east or west, so far north or south, so far up or down, from a standard point, and it must be after or before a standard moment. There are three dimensions of space and one of time.
6. Now what do we mean by space? Henri Poincare, one of the greatest mathematicians of the last generation, thought that the idea of space was invented by a lunatic, in a fantastic (and evidently senseless and aimless) endeavour to explain to himself his experience of his muscular movements. Long before that, Kant had told us that space was subjective, a necessary condition of thinking; and while every one must agree with this, it is obvious that it does not tell us much about it.
7. Now let us look into our minds and see what idea, if any, we can form about space. Space is evidently a continuum. There cannot be any difference between any parts of it because it is wholly where. It is pure background, the area of possibilities, a condition of quality and so of all consciousness. It is therefore in itself completely void. Is that right, sir?
8. Now suppose we want to fulfil one of these possibilities.
The simplest thing we can take is a point, and we are told that a point has neither parts nor magnitude, but only position. But, as long as there is only one point, position means nothing. No possibility has yet been created of any positive statement. We will therefore take two points, and from these we get the idea of a line. Our Euclid tells us that a line has length but no breadth. But, as long as there are only two points, length itself means nothing; or, at the most, it means separateness. All we can say about two points is that there are two of them.
9. Now we take a third point, and at last we come to a more positive idea. In the first place, we have a plane surface, though that in itself still means nothing, in the same way as length means nothing when there are only two points there. But the introduction of the third point has given a meaning to our idea of length. We can say that the line AB is longer than the line BC, and we can also introduce the idea of an angle.
10. A fourth point, provided that it is not in the original plane, gives us the idea of a solid body. But, as before, it tells us nothing about the solid body as such, because there is no other solid body with which to compare it. We find also that it is not really a solid body at all as it stands, because it is merely an instantaneous kind of illusion. We cannot observe, or even imagine, anything, unless we have time for the purpose.
11. What, then is time? It is a phantasm, exactly as tenuous as space, but the possibilities of differentiation between one thing and another can only occur in one way instead of in three different ways. We compare two phenomena in time by the idea of sequence.
12. Now it will be perfectly clear to all of you that this is all nonsense. In order to conceive the simplest possible object, we have to keep on inventing ideas, which even in the proud moment of invention are seen to be unreal. How are we to get away from the world of phantasmagoria to the common universe of sense? We shall require quite a lot more acts of imagination. We have got to endow our mathematical conceptions with three ideas which Hindu philosophers call Sat, Chit and Ananda, which are usually translated Being, Knowledge and Bliss. This really means: Sat, the tendency to conceive of an object as real; Chit, the tendency to pretend that it is an object of knowledge; and Ananda, the tendency to imagine that we are affected by it.
13. It is only after we have endowed the object with these dozen imaginary properties, each of which, besides being a complete illusion, is an absurd, irrational, and self-contradictory notion, that we arrive at even the simplest object of experience. And this object must, of course, be constantly multiplied. Otherwise our experience would be confined to a single object incapable of description.
14. We have also got to attribute to ourselves a sort of divine power over our nightmare creation, so that we can compare the different objects of our experience in all sorts of different manners. Incidentally, this last operation of multiplying the objects stands evidently invalid, because (after all) what we began with was absolutely Nothingness. Out of this we have somehow managed to obtain, not merely one, but many; but, for all that, our process has followed the necessary operation of our intellectual machine. Since that machine is the only machine that we possess, our arguments must be valid in some sense or other conformable with the nature of this machine. What machine? That is a perfectly real object. It contains innumerable parts, powers and faculties. And they are as much a nightmare as the external universe which it has created. Gad, sir, Patanjali is right!
15. Now how do we get over this difficulty of something coming from Nothing? Only by enquiring what we mean by Nothing. We shall find that this idea is totally inconceivable to the normal mind. For if Nothing is to be Nothing, it must be Nothing in every possible way. (Of course, each of these ways is itself an imaginary something, and there are Aleph-Zero-a transfinite number-of them.) If, for example, we say that Nothing is a square triangle, we have had to invent a square triangle in order to say it. But take a more homely instance. We know what we mean by saying 'There are cats in the room.' We know what we mean when we say 'No cats are in the room.' But if we say 'No cats are not in the room,' we evidently mean that some cats are in the room. This remark is not intended to be a reflection upon this distinguished audience.
16. So then, if Nothing is to be really the absolute Nothing, we mean that Nothing does not enter into the category of existence. To say that absolute Nothing exists is equivalent to saying that everything exists which exists, and the great Hebrew sages of old time noted this fact by giving it the title of the supreme idea of reality (behind their tribal God, Jehovah, who, as we have previously shown, is merely the Yoga of the 4 Elements, even at his highest, -- the Demiourgos) Eheieh-Asher-Eheieh, -- I am that I am.
17. If there is any sense in any of this at all, we may expect to find an almost identical system of thought all over the world. There is nothing exclusively Hebrew about this theogony. We find, for example, in the teachings of Zoroaster and the neo-Platonists very similar ideas. We have a Pleroma, the void, a background of all possibilities, and this is filled by a supreme Light-God, from whom drive in turn the seven Archons, who correspond closely to the seven planetary deities, Aratron, Bethor, Phaleg and the rest. These in their turn constitute a Demiurge in order to create matter; and this Demiurge is Jehovah. Not far different are the ideas both of the classical Greeks and the neo-Platonists. The differences in the terminology, when examined, appear as not much more than the differences of local convenience in thinking. But all these go back to the still older cosmogony of the ancient Egyptians, where we have Nuit, Space, Hadit, the point of view; these experience congress, and so produce Heru-Ra-Ha, who combines the ideas of Ra-Hoor-Khuit and Hoor-paar-Kraat. These are the same twin Vau and He' final which we know. Here is evidently the origin of the system of the Tree of Life.
18. We have arrived at this system by purely intellectual examination, and it is open to criticism; but the point I wish to bring to your notice tonight is that it corresponds closely to one of the great states of mind which reflect the experience of Samadhi.
There is a vision of peculiar character which has been of cardinal importance in my interior life, and to which constant reference is made in my Magical Diaries. So far as I know, there is no extant description of this vision anywhere, and I was surprised on looking through my records to find that I had given no clear account of it myself. The reason apparently is that it is so necessary a part of myself that I unconsciously assume it to be a matter of common knowledge, just as one assumes that everyone knows that one possesses a pair of lungs, and therefore abstains from mentioning the fact directly, although perhaps alluding to the matter often enough.
It appears very essential to describe this vision as well as possible, considering the difficulty of langauge, and the fact that the phenomena involved logical contradictions, the conditions of consciousness being other than those obtaining normally.
The vision developed gradually. It was repeated on so many occasions that I am unable to say at what period it may be called complete. The beginning, however, is clear enough in my memory.
19. I was on a Great Magical Retirement in a cottage overlooking Lake Pasquaney in New Hampshire. I lost consciousness of everything but an universal space in which were innumerable bright points, and I realised that this was a physical representation of the universe, in what I may call its essential structure. I exclaimed:
'Nothingness, with twinkles!' I concentrated upon this vision, with the result that the void space which had been the principal element of it diminished in importance. Space appeared to be ablaze, yet the radiant points were not confused, and I thereupon completed my sentence with the exclamation: 'But what Twinkles!'
20. The next stage of this vision led to an identification of the blazing points with the stars of the firmament, with ideas, souls, etc. I perceived also that each star was connected by a ray of light with each other star. In the world of ideas, each thought possessed a necessary relation with each other thought; each such relation is of course a thought in itself; each such ray is itself a star. It is here that logical difficulty first presents itself. The seer has a direct perception of infinite series. Logically, therefore, it would appear as if the entire space must be filled up with a homogeneous blaze of light. This is not, however, the case. The space is completely full, yet the monads which fill it are perfectly distinct. The ordinary reader might well exclaim that such statements exhibit symptoms of mental confusion. The subject demands more than cursory examination. I can do no more than refer the critic to Bertrand Russell's 'Introduction to Mathematical Philosophy', where the above position is thoroughly justified, as also certain positions which follow.
I want you to note in particular the astonishing final identification of this cosmic experience with the nervous system as described by the anatomist.
21. At this point we may well be led to consider once more what we call the objective universe, and what we call our subjective experience. What is Nature? Immanuel Kant, who founded an epoch-making system of subjective idealism, is perhaps the first philosopher to demonstrate clearly that space, time, causality (in short, all conditions of existence) are really no more than conditions of thought. I have tried to put it more simply by defining all possible predicates as so many dimensions. To describe an object properly it is not sufficient to determine its position in the space-time continuum of four dimensions, but we must enquire how it stands in all the categories and scales, its values in all 'kinds' of possibility. What do we know about it in respect of its greenness, its hardness, its mobility, and so on?
22. All that we recorded is the behaviour of our instruments.
What did our telescopes, spectroscopes, and balances tell us? And these again are dependent upon the behaviour of our senses; for the reality of our instruments, of our organs of sense, is just as much in need of description and demonstration as are the most remote phenomena. And we find ourselves forced to the conclusion that anything we perceive is only perceived by us as such 'because of our tendency so to perceive it.' And we shall find that in the fourth stage of the great Buddhist practice, Mahasatipatthana, we become directly and immediately aware of this fact instead of digging it out of the holts of these interminable sorites which badger us! Kant himself put it, after his fashion: 'The laws of nature are the laws of our own minds.' Why? It is not the contents of the mind itself that we can cognise, but only its structure. But Kant has not gone to this length. He would have been extremely shocked if it had ever struck him that the final term in his sorites was 'Reason itself is the only reality.' On further examination, even this ultimate truth turns out to be meaningless. It is like the well known circular definition of an obscene book, which is: one that arouses certain ideas in the mind of the kind of person in whom such ideas are excited by that kind of book.
23. I notice that my excellent chairman is endeavouring to stifle a yawn and to convert it into a smile, and he will forgive me for saying that I find the effect somewhat sinister. But he has every right to be supercilious about it. These are indeed 'old, fond paradoxes to amuse wives in ale-houses.' Since philosophy began, it has always been a favourite game to prove your axioms absurd.
You will all naturally be very annoyed with me for indulging in these fatuous pastimes, especially as I started out with a pledge that I would deal with these subjcts from the hard-headed scientific point of view. Forgive me if I have toyed with these shining gossamers of the thought-web! I have only been trying to break it to you gently. I proceed to brush away with a sweep of my lily-white hand all this tenuous, filmy stuff, 'such stuff as dreams are made of.' We will get down to modern science.
24. For general reading there is no better introduction than 'The Bases of Modern Science', by my old and valued friend the late J. W. N. Sullivan. I do not want to detain you too long with quotations from this admirable book. I would much rather you got it and read it yourself; you could hardly make better use of your time. But let us spend a few moments on his remarks about the question of geometry.
Our conceptions of space as a subjective entity has been completely upset by the discovery that the equations of Newton based on Euclidean Geometry are inadequate to explain the phenomena of gravitation. It is instinctive to us to think of a straight line; it is somehow axiomatic. But we learn that this does not exist in the objective universe. We have to use another geometry, Riemann's Geometry, which is one of the curved geometries. (There are, of course, as many systems of geometry as there are absurd axioms to build them on. Three lines make one ellipse: any nonsense you like: you can proceed to construct a geometry which is correct so long as it is coherent. And there is nothing right or wrong about the result: the only question is: which is the most convenient system for the purpose of describing phenomena? We found the idea of Gravitation awkward: we went to Riemann.)
This means that the phenomena are not taking place against a background of a flat surface; the surface itself is curved. What we have thought of as a straight line does not exist at all. And this is almost impossible to conceive; at least it is quite impossible for myself to visualise. The nearest one gets to it is by trying to imagine that you are a reflection on a polished door-knob.
25. I feel almost ashamed of the world that I have to tell you that in the year 1900, four years before the appearance of Einstein's world-shaking paper, I described space as 'finite yet boundless,' which is exactly the description in general terms that he gave in more mathematical detail.(*) You will see at once that these three words do describe a curved geometry; a sphere, for instance, is a finite object, yet you can go over the surface in any direction without ever coming to an end.
I said above that Riemann's Geometry was not quite sufficient to explain the phenomena of nature. We have to postulate different kinds of curvature in different parts of the continuum. And even then we are not happy!
26. Now for a spot of Sullivan! 'The geometry is so general that it admits of different degrees of curvature in different parts of space-time. It is to this curvature that gravitational effects are due. The curvature of space-time is most prominent, therefore, around large masses, for here the gravitational effects are most marked. If we take matter as fundamental, we may say that it is the presence of matter that causes the curvature of space-time. But there is a different school of thought that regards matter as due to the curvature of space-time. That is, we assume as fundamental a space-time continuum manifest to our senses as what we call matter. Both points of view have strong arguments to recommend them. But, whether or not matter may be derived from the geometrical peculiarities of the space-time continuum, we may take it as an established scientific fact that gravitation has been so derived. This is obviously a very great achievement, but it leaves quite untouched another great class of phenomena, namely, electro-magnetic phenomena. In this space-time continuum of Einstein's the electro-magnetic forces appear as entirely alien. Gravitation has been absorbed, as it were, into Riemannian geometry, and the notion of force, so far as gravitational phenomena are concerned, has been abolished. But the electro-magnetic forces still flourish undisturbed. There is no hint that they are manifestations of the geometrical peculiarities of the space-time continuum. And it can be shown to be impossible to relate them to anything in Riemann's Geometry. Gravitation can be shown to correspond to certain geometrical peculiarities of a Riemannian space-time. But the electro-magnetic forces lie completely outside this scheme.'
27. Here is the great quag into which mathematical physics has led its addicts. Here we have two classes of phenomena, all part of a unity of physics. Yet the equations which describe and explain the one class are incompatible with those of the other class! This is not a question of philosophy at all, but a question of fact. It does not do to consider that the universe is composed of particles. Such a hypothesis underlies one class of phenomena, but it is nonsense when applied to the electro-magnetic equations, which insist upon our abandoning the idea of particles for that of waves.
Here is another Welsh rabbit for supper!
'Einstein's finite universe is such that its radius is dependent upon the amount of matter in it. Were more matter to be created, the volume of the universe would increase. Were matter to be annihilated, the volume of space would decrease. Without matter, space would not exist. Thus the mere existence of space, besides its metrical properties, depends upon the existence of matter. With this conception it becomes possible to regard all motion, including rotation, as purely relative.'
Where do we go from here, boys?
28. 'The present tendency of physics is towards describing the universe in terms of mathematical relations between unimaginable entities.'
We have got a long way from Lord Kelvin's too-often and too-unfairly quoted statement that he could not imagine anything of which he could not construct a mechanical model. The Victorians were really a little inclined to echo Dr. Johnson's gross imbecile stamp on the ground when the ideas of Bishop Berkeley penetrated to the superficial strata of the drink-sodden grey cells of that beef-witted brute.
29. Now, look you, I ask you to reflect upon the trouble we have taken to calculate the distance of the fixed stars, and hear Professor G. N. Lewis, who 'suggests that two atoms connected by a light ray may be regarded as in actual physical contact. The interval between two ends of a light-ray is, on the theory of relativity, zero, and Professor Lewis suggests that this fact should be taken seriously. On this theory, light is not propagated at all. This idea is in conformity with the principle that none but observable factors should be used in constructing a scientific theory, for we can certainly never observe the passage of light in empty space. We are only aware of light when it encouters matter. Light which never encounters matter is purely hypothetical. If we do not make that hypothesis, then there is no empty space. On Professor Lewis's theory, when we observe a distant star, our eye as truly makes physical contact with that star as our finger makes contact with a table when we press it.'
30. And did not all of you think that my arguments were arguments in a circle? I certainly hope you did, for I was at the greatest pains to tell you so. But it is not a question of argument in Mr. Sullivan's book; it is a question of facts. He was talking about human values. He was asking whether science could possibly be cognizant of them. Here he comes, the great commander! Cheer, my comrades, cheer!
'But although consistent materialists were probably always rare, the humanistically important fact remained that science did not find it necessary to include values in its description of the universe. For it appeared that science, in spite of this omission, formed a closed system. If values form an integral part of reality, it seems strange that science should be able to give a consistent description of phenomena which ignores them.
'At the present time, this difficulty is being met in two ways.
On the one hand, it is pointed out that science remains within its own domain by the device of cyclic definition, that is to say, the abstractions with which it begins are all it ever talks about. It makes no fresh contacts with reality, and therefore never encounters any possibly disturbing factors. This point of view is derived from the theory of relativity, particularly from the form of presentation adopted by Eddington. This theory forms a closed circle. The primary terms of the theory, point-events, potentials, matter (etc.-there are ten of them), lie at various points on the circumference of the circle. We may start at any point and go round the circle, that is, from any one of these terms we can deduce the others. The primary entities of the theory are defined in terms of one another. In the course of this exercise we derive the laws of Nature studied in physics. At a certain point in the chain of deductions, at matter, for example, we judge that we are talking about something which is an objective concrete embodiment of our abstractions. But matter, as it occurs in physics, is no more than a particular set of abstractions, and our subsequent reasoning is concerned only with these abstractions. Such other characteristics as the objective reality may possess never enter our scheme. But the set of abstractions called matter in relativity theory do not seem to be adequate to the whole of our scientific knowledge of matter. There remain quantum phenomena.'
Ah!
'So we leave her, so we leave her,
Far from where her swarthy kindred roam-kindred roam
In the Scarlet Fever, Scarlet Fever,
Scarlet Fever Convalescent Home.'31. So now, no less than that chivalrous gentleman, His Grace, the Most Reverend the Archbishop of Canterbury, who in a recent broadcast confounded for ever all those infidels who had presumed to doubt the possibility of devils entering into swine, we have met the dragon science and conquered. We have seen that, however we attack the problem of mind, whether from the customary spiritual standpoint, or from the opposite corner of materialism, the result is just the same.
One last quotation from Mr. Sullivan. 'The universe may ultimately prove to be irrational. The scientific adventure may have to be given up.'
 We do not give up. 'You lied, d'Ormea, I do not repent!' The results of experiment are still valid for experience, and the fact that the universe turns out on enquiry to be unintelligible only serves to fortify our ingrained conviction that experience itself is reality.
32. We may then ask ourselves whether it is not possible to obtain experience of a higher order, to discover and develop the faculty of mind which can transcend analysis, stable against all thought by virtue of its own self-evident assurance. In the language of the Great White Brotherhood (whom I am here to represent) you cross the abyss. 'Leave the poor old stranded wreck'-Ruach- 'and pull for the shore' of Neschamah. For above the abyss, it is said, as you will see if you study the Supplement of the fifth number of the First Volume of 'The Equinox', an idea is only true in so far as it contains its contradictory in itself.
33. It is such states of mind as this which constitute the really important results of Samyama, and these results are not to be destroyed by philosophical speculation, because they are not susceptible of analysis, because they have no component parts, because they exist by virtue of their very Unreason-'certum est quia ineptum!' They cannot be expressed, for they are above knowledge. To some extent we can convey our experience to others familiar with that experience to a less degree by the aesthetic method. And this explains why all the good work on Yoga-alchemy, magick and the rest-not doctrinal but symbolic-the word of God to man, is given in Poetry and Art.
In my next lecture I shall endeavour to go a little deeper into the technique of obtaining these results, and also give a more detailed account of the sort of thing that is likely to occur in the course of the preliminary practices.
Love is the law, love under will.
*TANNHAUSER, written in Mexico, O.F., August, 1900. See also my BERASHITH, written in Delhi, April, 1901.


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(Deprecated API)
(Deprecated API)
Includes enterprise licensing and support
Note: The Google Static Maps V1 service has been officially deprecated as of August 25, 2009. The V1 API will continue to work as per our deprecation policy, but we encourage you to migrate your code to the new Static Maps API V2 service.
Welcome to the developer documentation for the Google Static Maps API! The Google Static Maps API lets you embed a Google Maps image on your webpage without requiring JavaScript or any dynamic page loading. The Google Static Map service creates your map based on URL parameters sent through a standard HTTP request and returns the map as an image you can display on your web page.
The Google Static Maps API requires a Maps API key. If you haven't already done so, sign up for a free API key.
The following example contains the URL of a static map image, which is displayed below:
# Note that this URL wraps at the '\' character. # You can copy the URL from the image below, however. # For clarity, we don't write the actual API key in use. # http://maps.google.com/staticmap?center=40.714728,-73.998672&zoom=14&size=512x512&maptype=mobile\ &markers=40.702147,-74.015794,blues%7C40.711614,-74.012318,greeng%7C40.718217,-73.998284,redc\ &key=MAPS_API_KEY&sensor=false
Notice that you don't need to do anything "special" to get this image to show up on the page.
No JavaScript is required. All we needed to do was create a URL, and place it within an
<img>
tag. You can place a Google static map anywhere on your webpage
where you can place an image.
This document is intended for website and mobile developers who want to include Google Static Maps API images within a webpage. It provides an introduction to using the API and reference material on the available parameters.
Use of the Static Maps API requires registration of a free Maps API key. The Maps API key allows you to use the Static Maps API, as well as the standard Maps API.
Use of the Google Static Maps API is also subject to a query limit of 1000 unique (different) image requests per viewer per day. Since this restriction is a quota per viewer and not per key, most developers should not need to worry about exceeding their quota. Additionally, note that requests of identical images, in general, do not count towards this limit beyond the original request.
If a user exceeds the limit as proscribed above, the following image will be displayed indicating that the quota has been exceeded:
This limit is enforced to prevent abuse and/or repurposing of the Static Maps API, and this limit may be changed in the future without notice. If you exceed the 24-hour limit or otherwise abuse the service, the Static Maps API may stop working for you temporarily. If you continue to exceed this limit, your access to the Static Maps API may be blocked.
The Google Static Maps API returns an image (either GIF, PNG or JPEG) in response to a HTTP request via a URL. For each request, you can specify the location of the map, the size of the image, the zoom level, the type of map, and the placement of optional markers at locations on the map. You can additionally label your markers using alphanumeric characters, so that you can refer to them in a "key."
 When the webpage is displayed, the browser requests the image
from the the Static Maps API and it renders within the image location.
This document describes the required format of Static Maps API URLs and the available parameters. It also points out some tips and tricks in specifying your URLs.
A Google Static Maps API URL must be of the following form:
http://maps.google.com/staticmap?parameters
Certain parameters are required while some are optional. As is standard in HTTP requests, all parameters are
separated using the ampersand (&
) character. The list of parameters and their possible values
are enumerated below.
The Static Maps API defines map images using the following URL parameters:
center
(required if markers not present) defines the center of the map, equidistant from all edges of the map.
This parameter takes a comma-separated {latitude,longitude} pair (e.g. "40.714728,-73.998672") identifying a
unique location on the face of the earth. For more information, see latitudes and
longitudes below.zoom
(required if markers not present) defines the zoom level of the map,
which determines the magnification level of the map. This parameter takes a numerical value corresponding
to the zoom level of the region desired. For more information, see zoom levels below.size
(required) defines the rectangular dimensions of the map image. This parameter takes a
string of the form valuexvalue
where horizontal pixels are denoted first while
vertical pixels are denoted second. For example, 500x400
defines a map 500 pixels wide by 400 pixels high.
If you create a static map that is 100 pixels wide or smaller, the "Powered by Google" logo is automatically reduced
in size.format
(optional) defines the format of the resulting image. By default, the Static Maps API
creates GIF images. There are several possible formats including GIF, JPEG and PNG types. Which format you
use depends on how you intend to present the image. JPEG typically provides greater compression, while GIF
and PNG provide greater detail. For more information, see Image Formats.
maptype
(optional) defines the type of map to construct. There are several possible
maptype values, including satellite
, terrain
, hybrid
, and
mobile
. For more information, see Static Maps API Maptypes below.
markers
(optional) define one or more markers to attach to the image at specified locations.
This parameter takes a string of marker definitions separated by the pipe character (|
). Note that if
you supply markers for a map, you do not need to specify the (normally required) center
and zoom
parameters. For more information, see Static Map Markers below.
path
(optional) defines a single path of two or more connected points to overlay on the
image at specified locations. This parameter takes a string of point definitions separated by the pipe
character (|
). Note that if you supply a path for a map, you do not need to specify the
(normally required) center
and zoom
parameters. For more information, see
Static Map Paths below.span
(optional) defines a minimum viewport for the map image expressed
as a latitude and longitude pair. The static map service takes this value and produces a map of
the proper zoom level to include the entire provided span
value from the map's center
point. Note that the resulting map may include larger bounds for either latitude or longitude
depending on the rectangular dimensions of the map. If zoom
is specified,
span
is ignored.frame
(optional) specifies that the resulting image should be framed with a colored
blue border. The frame consists of a 5 pixel, 55% opacity blue border.hl
(optional) defines the language to use for display of labels on map tiles. Note that this paramater is only
supported for some country tiles; if the specific language requested is not supported for the tile set, then the default
language for that tilset will be used.key
(required) identifies the Maps API key for the domain on which this URL request takes place.
If you don't have a Maps API key, you can sign up for one free.sensor
(required) specifies whether the application requesting the static map is using a
sensor to determine the user's location. This parameter is now required for all static map requests. For more
information, see Specifying Locations below.The Static Maps API is relatively easy to use, as it consists solely of a parameterized URL. This section explains how to use these parameters to construct your URLs.
The Static Maps API must be able to precisely identify locations on the map, both to focus the map at the
correct location (using the center
parameter) and/or to place any optional placemarks
(using the markers
parameter) at locations on the map. The Static Maps API uses
latitude and longitude values to specify these locations. These values together identify a geocoded
location.
If your device uses a "sensor" (such as a GPS device) to determine the location of a device or user, you must also
pass sensor=true
within your Static Maps API request URL. If your application does not use a sensor,
pass sensor=false
.
Latitudes and longitudes are defined using numerals within a comma-separated text string that have a precision to 6 decimal places. For example, "40.714728,-73.998672" is a valid geocode value. Precision beyond the 6 decimal places is ignored.
Longitude values are based on their distance from Greenwich, England, home of the prime meridian.
Since Greenwich is situated at 51.477222 latitude, we can enter a center
value of
51.477222,0
to center the map on Greenwich:
Latitude and longitude values must correspond to a valid location on the face of the earth. Latitudes
can take any value between -90
and 90
while longitude values can take any value between
-180
and 180
. If you specify an invalid latitude or longitude value, your request will
be rejected as a bad request.
Most people don't speak in latitudes and longitudes; they denote locations using addresses. The process of turning an address into a geographic point is known as geocoding and is discussed in detail in the Google Maps API Services section. Note that to use the Geocoding service directly, you will need to use a Maps API key.
You can obtain geocoded latitude and longitude values using a variety of services other than this Geocoding service,
including Google Maps itself. For example, you can enter an address into Google Maps and determine its geocoded
location by clicking on the Link to this page link in the upper right of the map. A popup dialog box will
appear where you can copy the URL. If you copy that URL into a browser, you will be able to find the geocoded
values contained within the ll
parameter.
Maps on Google Maps have an integer "zoom level" which defines the resolution of the current view.
Zoom levels between 0
(the lowest zoom level, in which the entire world can be seen
on one map) to 19
(the highest zoom level, down to individual buildings) are possible
within the normal maps view.
Google Maps sets zoom level 0
to encompass the entire earth. Each succeeding zoom level
doubles the precision in both horizontal and vertical dimensions. More information on how this is done is
available in the Google Maps API documentation.
Note: not all zoom levels appear at all locations on the earth. Zoom levels vary depending on location, as data in some parts of the globe is more granular than in other locations.
If you send a request for a zoom level in which no map tiles exist, the Static Maps API will return a black image instead.
The example below requests two maps of Manhattan at the same center
value but at zoom levels 12 and 14, respectively:
http://maps.google.com/staticmap?center=40.714728,-73.998672&zoom=12&size=400x400&key=MAPS_API_KEY&sensor=true_or_false http://maps.google.com/staticmap?center=40.714728,-73.998672&zoom=14&size=400x400&key=MAPS_API_KEY&sensor=true_or_false
Images may be retrieved in sizes up to 640 by 640 pixels. The size
parameter takes a string with
two values separated by the x
character. 640x640
is the largest image size allowed.
Note that the center
parameter, combined with the size
parameter
implicitly defines the coverage area of the map image.
The example below requests a "slice" of the earth at the equator at zoom level 1:
http://maps.google.com/staticmap?center=0,0&zoom=1&size=400x50&key=MAPS_API_KEY&sensor=true_or_false
The example below requests a small map, of size 100 x 100 pixels centered on the same region. Note the smaller Google logo:
Images may specify a viewport (defined by latitude and longitude values expressed as degrees) to display
around a provided center point by passing a span
parameter. Defining a minimum viewport
in this manner obviates the need to specify an exact zoom level. The static map service uses the
span
parameter in conjunction with the size
parameter to construct a
map of the proper zoom level which includes at least the given viewport constraints.
The example below requests a square map centered on 0 degrees longitude and 0 degrees latitude of width and height of 20 degrees:
http://maps.google.com/staticmap?center=0,0&span=20,20&size=512x512&key=MAPS_API_KEY&sensor=true_or_false
The example below requests a map centered on Manhattan that shows 1 degree of arc in both directions. Note that since this map is horizontally shaped that it extends 4 degrees horizontally so that it can extend the minimum 1 degree vertically.
http://maps.google.com/staticmap?center=40.714728,-73.998672&span=1,1&size=512x128&key=MAPS_API_KEY&sensor=true_or_false
Images may be returned in several common web graphics formats: GIF, JPEG and PNG. The
format
parameter takes one of the following values:
gif
(default) specifies the GIF format.jpg
specifies the JPEG compression format.jpg-baseline
specifies a non-progressive JPEG compression format.png8
specifies the 8-bit PNG format.png32
specifies the 32-bit PNG
format.jpg
and jpg-baseline
typically provide the smallest image size, though it does so through "lossy"
compression which may degrade the image. gif
, png8
and png32
provide lossless
compression.
Most JPEG images are progressive, meaning that they load a courser image earlier and refine the image
resolution as more data arrives. This allows images to be loaded quickly in webpages and is the most widespread
use of JPEG currently. However, some uses of JPEG (especially printing) require non-progressive (baseline)
images. In such cases, you may want to use the jpg-baseline
format, which is non-progressive.
The Google Static Maps API creates maps in several formats, listed below:
roadmap
(default) specifies a standard roadmap image, as is normally shown on the
Google Maps website. If no maptype
value is specified, the Static Maps API serves
roadmap
tiles by default.mobile
specifies a mobile roadmap map image, which contains larger features and text fonts
to enable easier visual display at the high resolutions and small screen sizes of mobile devices.satellite
specifies a satellite image.terrain
specifies a physical relief map image, showing terrain and vegetation.hybrid
specifies a hybrid of the satellite and roadmap image, showing a
transparent layer of major streets and place names on the satellite image.mapmaker-roadmap
specifies a roadmap using tiles from
Google Map Maker.mapmaker-hybrid
specifies a hybrid of satellite and roadmap images from
Google Map Maker, showing a
transparent layer of major streets and place names on the satellite image.You can see the difference between roadmap and mobile types in the code example below. Note that these maps
also have frame=true
.
http://maps.google.com/staticmap?center=40.714728,-73.998672&zoom=12&size=400x400&key=MAPS_API_KEY&sensor=true_or_false http://maps.google.com/staticmap?center=40.714728,-73.998672&zoom=12&size=400x400&maptype=mobile&key=MAPS_API_KEY&sensor=true_or_false
The following examples show satellite and terrain map types:
http://maps.google.com/staticmap?center=40.714728,-73.998672&zoom=12&size=400x400&maptype=satellite&key=MAPS_API_KEY&sensor=true_or_false http://maps.google.com/staticmap?center=40.714728,-73.998672&zoom=12&size=400x400&maptype=terrain&key=MAPS_API_KEY&sensor=true_or_false
Google Map Maker takes user-contributed map data to produce
maps of regions where Google Maps is not yet launched. Setting your static map to use the maptypes
mapmaker-roadmap
and mapmaker-hybrid
will create maps using map tiles from
the Map Maker repository. Maps are only available for those
countries in which Map Maker has
launched. However, in those countries, the quality of map data is generally much more robust.
The following map displays a http://maps.google.com
map of Lahore, Pakistan compared to a Google Map Maker map of the same area:
http://maps.google.com/staticmap?center=31.6000000,74.3140000&zoom=12&size=400x400&maptype=roadmap&key=MAPS_API_KEY&sensor=true_or_false http://maps.google.com/staticmap?center=31.6000000,74.3140000&zoom=12&size=400x400&maptype=mapmaker-roadmap&key=MAPS_API_KEY&sensor=true_or_false
Note! If you request a mapmaker
map type for an area not covered by Map Maker,
you will only receive a blank image.
More information about Google Map Maker is available at the Google Map Maker user documentation.
The markers
parameter defines a set of one or more markers to attach to the map image.
This parameter takes a list of up to 50 markers defined by a set of value assignments:
markers=markerDescriptor1|markerDescriptor2|markerDescriptor3|...
etc.
Note that marker descriptors are separated from each other using the pipe character (|
). (Note: the pipe
character is also %7C in ASCII if you are encoding your URLs.)
Each marker descriptor contains a string defining the location to place the marker and the visual attributes to use when displaying the marker. These strings contain the following variable values:
{latitude}
(required) specifies a latitudinal value with precision to 6 decimal places.{longitude}
(required) specifies a longitudinal value with precision to 6 decimal places.{size}
(optional) specifies the size of marker from the set {tiny, mid, small}
. If no
size
parameter is set, the marker will appear in its default (normal) size.{color}
(optional) specifies a color from the set {black, brown, green, purple, yellow, blue, gray,
orange, red, white}
.{alphanumeric-character}
(optional) specifies a single lowercase
alphanumeric character from the set {a-z, 0-9}. Note
that default and mid
sized markers are the only markers capable of displaying an
alphanumeric-character
parameter.
tiny
and small
markers are not capable of displaying an alphanumeric-character.The latitude and longitude values define the marker's location on the map. If the location is off the map, that marker will not appear in the constructed image.
The size, color and alphanumeric-character values define the visual appearance of the marker. If no size value is given, a marker displays in its default (normal) size. Additionally, normal-sized markers are the only markers capable of displaying alphanumeric characters. If no value (or an incorrect value) is given, the marker appears as a default dotted red marker:
An example marker declaration is of the form
{latitude},{longitude},{size}{color}{alphanumeric-character}
. Note in particular that
the size, color and alphanumeric-character values of the string are not separated by commas. A sample marker declaration
is shown below.
markers=40.702147,-74.015794,blues|40.711614,-74.012318,tinygreen|40.713504,-74.005607,midyellowc&key=MAPS_API_KEY&sensor=true_or_false
This markers
parameter defines three markers (separated by the "|
" character):
one blue marker labeled "S" at 40.702147,-74.015794, one tiny green marker at
40.711614,-74.012318, and one mid-sized yellow marker labeled "C" at 40.713504,-74.005607 (City Hall). These markers are shown in the example below:
Normally, you need to specify center
and zoom
URL parameters to define the location
and zoom level of your generated map. However, if you supply a markers
parameter, you can instead
let the Static Maps API determine the correct center and zoom level implicitly, based on evaluation of the position
of these markers.
If supplying two or more markers, the Static Maps API will determine a proper center and zoom level, providing
generous margins for display of the markers contained within the markers
parameter. The example below contains the same
markers as shown above, but removes the center
and zoom
parameters, allowing the map
to center more closely on the two markers of interest.
The path
parameter defines a set of one or more paths to overlay on the map image.
This parameter takes a list of paths defined by a set of value assignments:
path=pathColorType:pathColorValue,weight:pathWeight|pathPoint1|pathPoint2|pathPoint3|...
etc.
Note that path points are separated from each other using the pipe character (|
). (The pipe
character is also %7C in ASCII if you are encoding your URLs.)
Each path
parameter may begin with an optional string specifying the attributes of the path, consisting of a
pathColorType and a value for that type separated by a colon. If default path attributes are desired instead, the path attribute
prefix may be omitted from the path descriptor; the first argument to the path descriptor in this case then describes the first
point in the path declaration. (See Path Points below.)
There are two possible pathColorTypes:
rgb
specifies a standard RGB color scheme using a 24-bit hex color value of the form 0xffffff
as
the pathColorValue. The default opacity for rgb
paths is 50%.rgba
specifies a 32-bit hex color value of the form 0xffffffff
as the pathColorValue,
where the fourth byte (the last two characters) specifies an alpha channel transparency. Using rgba
allows you to vary the
transparency of any paths you create.In addition to the color, weight
specifies the thickness of the given path, in pixels.
Some example path definitions appear below:
path=rgb:0x0000ff,weight:1
path=rgba:0xff0000ff,weight:5
path=rgba:0xffffffff,weight:10
The specification of path attributes in the path descriptor is optional. If default attributes are desired, you may skip defining the path attributes; in that case, the path descriptor's first "argument" will consist instead of the first declared point.
In order to draw a path, the path
parameter must also be passed two or more points. The
Google Static Maps API will then connect the path along those points, in the specified order. Each
pathPoint is denoted in the pathDescriptor separated by the |
(pipe)
character. As with markers, the Google Static Maps API will attempt to determine the default center
and zoom of the map based on implicit positioning of the supplied path. Currently, there is a limit of
100 points for any given path.
The following example defines a blue path with default 50% opacity from Union Square NY to Times Square, NY. Note that we did not need
to supply a center
or zoom
parameter.
The specifics of the path
parameter appear below:
path=rgb:0x0000ff,weight:5|40.737102,-73.990318|40.749825,-73.987963|40.752946,-73.987384|40.755823,-73.986397
The following example defines the same path instead defining a solid red line with 100% opacity:
The specifics of this path
parameter appear below:
path=rgba:0xff0000ff,weight:5|40.737102,-73.990318|40.749825,-73.987963|40.752946,-73.987384|40.755823,-73.986397
If the concept of "coding" gives you a headache, a Google Static Map Wizard provides a simple UI-driven way to generate static maps via a simple UI interface.
For more information on using the Static Maps API, or other Google Maps API products, be sure to check out the Maps API Google Group.


Problem solving katas
A simple problem that confused me this sprint was object access for the children in the manipulating objects kata. To solve it I had to trial and error dot and bracket notation for object access. This is when you use "." or [ ] to access properties stored on an object. In this example the object was Terah and her children property was set using dot notation. I was able to read error messages and console logs from the tests to help and I learned that practising what I'm covering in documentation is critical to a better understanding of the material.
This was also true when I was able to understand the arrow functions I had seen in some of the test functions and apply its use to local variables for inbuilt functions. This was a combination of course material and googling/following up study on free code camp but I was also able to quickly prototype similar solutions to the examples using loops but the ability of arrow functions to elegantly get the same result in one line made me glad I was able to understand what was happening with the example code.
I feel fairly confident with my problem solving process. I don’t always draw the problem out but pseudo code helps me to determine arguments, parameters and results required of the code and using this skeleton and a combination of experimenting, googling, reading errors, console.logging and general computational thinking I was able to get through most of the katas without too much hassle.
I definitely could still improve this process and will benefit from breaking down problems to their core steps at the start as this will help me identify functional dependencies within my code and save from future refactoring. Also I could benefit from seeking help from others and practising peer programming as a couple of my solutions to the problems using unfamiliar JS library methods were very close and the simple syntax errors could have left me frustrated without examples or others to discuss with.


This is a home page made up of partial html fragments (no html, head, body, etc tags)
This is a link to a page in the same directory with a .htm extension (page.htm)
This is a link to another page in another folder with a .html extension (subfolder/page.html)


Make your projects look great and user friendly
Use modern tools to turn your design into an aplication
Use modern tools to turn any design into an web app


This picture was taken on the Vermont side of the Connecticut near Hanover.
I took this picture also on a run near campus. I remember feeling surprised how flat the river looked and loved running along it in the fall.
I took this picture becuase I loved the contrast between the yellow and green trees. This was in the early fall, and the leaves had just started to change colors. This created this really cool effect, which was enhanced by the reflection in the water


--- #title: "Fairfax County 2020 Summer Project" output: html_document ---
This project explores labor markets in Fairfax County, VA to better understand the landscape and barriers to economic opportunity for the county’s residents, businesses, and places. With particular attention to post-COVID socioeconomic circumstances, the team used local, state, and federal data sources to (1) provide a census tract-level characterization of the Fairfax County workforce, occupation sectors, and industry composition; (2) explore how this landscape may change post-pandemic and identify vulnerable areas, as well as areas that are or have the potential to create emerging businesses/new industries; (3) map workforce flows within and in/out of Fairfax County by select employment factors and explore scenarios of post-pandemic change in workforce flows.
This project allows our sponsor to better understand the landscape and barriers to economic opportunity for the county’s residents, businesses, and places, one of the goals of Fairfax County’s strategic plan. In light of the current pandemic, it allows the county to identify the current characteristics of its resident and commuting labor force, the characteristics of its businesses and industries, the geographic and temporal flows between them, and how this landscape may change after covid. These insights can help shape post-pandemic employment, transportation, and housing policy and program development as well as serve as a baseline for future change across the county.


--- layout: page title: About date: 2007-10-11 14:58:45.000000000 -07:00 type: page parent_id: '0' published: true password: '' status: publish categories: [] tags: [] meta: _edit_last: '1965023' _wp_page_template: default author: login: paradoxofmatrix email<EMAIL_ADDRESS>display_name: paradoxofmatrix first_name: '' last_name: '' ---
Puneet Gupta
Software Engineer
Interests: Reading, Writing, Coding


Dwayne Johnson Shares First ‘Black Adam’ Poster and Announces December 2021 Release Date
by John SquiresThe DC character Black Adam is getting his own movie in a couple years, and star Dwayne Johnson has taken to social media today to share the first poster and release date.
Johnson wrote over on Instagram:
“I’m honored to join the iconic #DCUniverse and it’s a true pleasure to become, Black Adam. Black Adam is blessed by magic with the powers equal to Superman, but the difference is he doesn’t toe the mark or walk the line. He’s a rebellious, one of a kind superhero, who’ll always do what’s right for the people – but he does it his way. Truth and justice – the Black Adam way.”
“This role is unlike any other I’ve ever played in my career and I’m grateful to the bone we’ll all go on this journey together.”
Created by Otto Binder and C.C. Beck, Black Adam first came onto the scene in December 1945. Johnson was originally going to appear as Black Adam in the Shazam! feature film.
Black Adam has long been Shazam’s nemesis, though Johnson’s comments make it sound like he’s going to be something of an anti-hero in the character’s solo movie? Interesting…
Black Adam, being directed by Jaume Collet-Serra (Orphan, The Shallows), will arrive in theaters on December 22, 2021. You can check out your first look at the film below.


[Black Friday Deals] Save $200 on the Google Pixel 4/4 XL, $300 on the Pixel Slate
by Peter HoldenIf you thought the Pixel 4 and 4 XL were a little on the pricey side of things when they launched in October, you’ll be happy to note that you can save a massive $200 off each model as part of Google’s Black Friday promotion. This means that you’ll be able to pick up a 64GB Pixel 4 for just $599, and the 64GB version of the Pixel 4 XL for a much more reasonable $699. And if you want a Pixel Slate to go along with the new handset, there’s a $300 in savings to be had along with a free keyboard or Pixelbook pen.
Pixel 4 & 4 XL
First up is the Pixel 4 range that can be picked up directly from Google itself or from retailers such as Amazon, B&H Photo, etc. Featuring 6GB of RAM, 64GB of built-in storage and dual rear camera setups, this latest edition of the Pixel smartphone is also powered by the Snapdragon 855 processor.
Pixel 4: $599 (RRP $799) Buy it from Amazon, Google, B&H Photo
Pixel 4 XL: $699 (RRP $899) Buy it from Amazon, Google, B&H Photo
Pixel Slate
Another Google product that was considered to be expensive when launch, the Pixel Slate Chrome OS tablet is much more affordable this Black Friday at just $449 instead of its launch price of $799, And, as a bonus, you can grab either the official Pixel Keyboard or the Pixelbook Pen without paying in any extra cash. This means you can pick up the 12.3-inch Pixel Slate with am Intel Core M3 processor, 8GB RAM, 64GB of storage, and a free keyboard case or stylus for just $449. This Pixel Slate deal is only available from Amazon for the time being.
Buy it Now: Amazon
Don’t forget to check out our Black Friday Deal’s thread here for more savings on your favorite brands.
Redmi K30 leaks with 120hz display, dual punch-hole, and Snapdragon 730
Buy your movie tickets directly from Google Assistant
Samsung Galaxy S11 will have a centered hole punch, plus a really horrendous camera layout


ID
Name
Actions
List countries
Create a country
Edit a country
ID
Name
Country
Actions
List towns by country
Country
List towns by country
Create a town
ID
Name
Country
Create a town
Edit town
Create a country
Name
Create
Edit a country
ID
Name
Edit


How important is commute time to you?How important is art to you?How important is fitness to you?How important are dog parks to you?How important is a weekend bbq to you?How important are parks and playgrounds to you?How important are medical facilities close by to you?


--- layout: post title: 'JHipster: A few recommended settings for those who want to experiment with it' date: 2014-09-22 18:28:23.000000000 -04:00 categories: - software tags: - hazelcast - java - jhipster - maven status: publish type: post published: true meta: _publicize_pending: '1' _edit_last: '9432974' original_post_id: '42' _wp_old_slug: '42' author: login: willmitchell777 email<EMAIL_ADDRESS>display_name: Will Mitchell first_name: '' last_name: '' excerpt: !ruby/object:Hpricot::Doc options: {} ---
If you are a Java developer considering doing some experiments with JHipster, here are a couple options that you might consider when generating your first project:
Hope this helps some people have an enjoyable first experience with JHipster.


Create an algebraic equation. When you submit the form, we'll check the cache to see if the answer has been cached. If we get a hit, we'll return the results from the cache. If not, we'll do the computation.


Good day.
Today is going to be a great day
because everyday is a great day.
Hi, my name is Tonny.
This is a work in progress.
The future is bright.


FIGHT CLUB
Reviewed by Harvey Karten 20th Century Fox Director: David Fincher Writer: Chuck Palahniuk (novel), Jim Uhls Cast: Brad Pitt, Edward Norton, Helena Bonham Carter, Meat Loaf, Jared Leto, Zach Grenier, Eion Bailey, Ezra Buzzington
"Fight Club" comes to us at just the right political time. The media are abuzz and the classrooms are a-whirring with ideas about the current controversial du jour: Do violent movies cause actual violence, or do movies simply reflect the true cause of violence--our very society? David Fincher, whose imaginative output has included "The Game," comes out on the latter side. His new epic drama, "Fight Club," holds that the soul-deadening jobs that we hold with corrupt corporations coupled with the daily pummeling we receive from corporate advertising are enough to drive quite a few people not just angry, but downright mad. Because of the emptiness of the daily, hollow grind, we seek solace by buying things that promise redemption--which we do not receive. We're bombarded by ads depicting models with perfect bodies and by commercials pitching ways we can fill up our wanting spirits--buy furniture, buy gym memberships, drape yourself in Calvin Klein. (Apparently, escaping to movie theaters does not qualify as fatuous.)
Watching this film--to its credit a you'll-love-it-or-hate-it sort of experience--I couldn't help thinking of a play on a similar theme, "Equus." In Peter Shaffer's conception, Martin Dysart, a middle-aged English psychiatrist, treats a disturbed adolescent, Alan Strang. Among Alan's hobbies is riding a horse at midnight, as bareback as the animal. Psychotic though the lad may be, he impresses the doctor with his vitality, his lack of inhibition, which he pits against his own dull, conventional holidays consisting of a couple of weeks of lazing at a middle-class resort.
If the listless people created in Chuck Palahniuk's novel did nothing more singular than ride horses at the witching hour, Fincher's film, which gives visual heft to Jim Uhls's adaptation, would lack the intense, visceral power that holds the audience in its thrall for all of its 139 minutes. But whereas "Equus," an effective play written for the limited leeway allowed by the legitimate stage, is thought-provoking, "Fight Club" makes full use of the benefits of the big screen. Its dialogue is razor-keen, allowing Uhls's script to deride the usual punching-bags of contemporary satire: consumerism and corruption. More important, the movie takes command of the screen and sound system, embellishing the din of punches viciously thrown along with rough sex clumsily and happily indulged in by two of its lead personalities.
The film opens on a stark scene. Tyler Durden (Brad Pitt) has plunged a gun inside the mouth of Jack (Edward Norton whose narration frequently punctuates the story), announcing an imminent disaster to occur in a nameless, largely stylized city. Fincher flashes back to Jack at work as a consultant with a major automobile manufacturer. His job, which takes him frequently into the field, involves investigating accidents that have befallen owners of his company's auto. In an effective piece of anti-corporation satire, Jack describes company policy to a passenger sitting adjacent to him on a flight. The corporation has a formula. If the expected awards that the courts bestow on the hapless occupants suing the company will exceed the company's cost of recalling the flawed vehicles, the corporation will announce an expensive recall. If not, the car remains on the road.
Jack, disgusted with his job and his insipid boss (Zach Grenier), is plagued with insomnia. A doctor dismisses his patient's agony, encouraging Jack instead to go to a support group for victims of testicular cancer survivors so that he will see what real pain is like. Jack becomes addicted to groups of this kind and, in the movie's most humorous scenes, he-- and a fellow faker, Marla Singer (Helena Bonham Carter)-- visit a different group each night for entertainment. On one business flight, Jack meets colorful soap salesman Tyler Durden, who urges Jack to chuck his cramped, insomnia- ridden, bourgeois life-style, become a squatter in a rundown house in a dingy, toxic section of town, and end his enslavement to things. After Jack and Tyler engage in a physical brawl with each other, Jack finds that he has been reborn. He feels peculiarly free. The two devise a grandiose plan to set up a fight club, whose members would meet one or more nights each week to beat one another to a pulp. In one scene that could cause some patrons to bolt from the theater nauseated, Jack smashes up a pretty-boy who has joined the group so fervently that the young man, Angel Face (Jared Leto), will presumably have to change his nickname.
David Fincher has most effectively realized the movie's tagline, "Mischief, Mayhem, Soap." As chapters of this fight club expand throughout the country, Fincher allows the audience to imagine the movie as a metaphor for the rise of Fascism. Fascism thrives on society's discontents. Hitler's and Mussolini's grand designs were put into motion when groups of thugs disgruntled by economic woes and their status on society's outskirts donned brown shirts and black shirts and began terrorizing those they believed to be the cause of their problems. Fincher seems to say that Fascist nihilism could arise even in the prosperous United States as groups of people on society's fringes, together with those who are dissatisfied with their workaday and social lives, band together to destroy the forces they perceive as their enemies. How else to explain the recent tragedy at Columbine High School, where privileged, intelligent kids, shunned by their classmates and relegated to the condition of outsiders, gunned down those they felt to be their antagonists?
Filmed and acted with assurance, "Fight Club" should for the first time allow the public to see Brad Pitt as far more than a pretty boy. In his first truly visceral role, Pitt is the heir to Malcolm McDowell's misfit in Stanley Kubrick's masterful "A Clockwork Orange," while Edward Norton, marvelous in a variety of roles from a white supremacist in Tony Kaye's "American History X" to a charming romantic in Woody Allen's "Everyone Says I Love You," inhabits the dark role of a malcontent with astonishing depth.  Fincher's timing is as surreal as the film, flashing some scenes across the screen so quickly (such as Jack's appearance at a sickle-cell support group) that the audience knows it had better not blink.
The kinetic style of "Fight Club" will appeal to the younger members of the audience, the social satire to the more sophisticated. Predictably, many social and religious conservatives will be appalled, the former convinced that its violence will induce savagery outside the theater, the latter offended by its nihilism. Even those bearing no particular ideology will be divided neatly down the middle, some confused by what they could (wrongly) consider the emptiness of the story, others gratified by its brawn, courage, and energy. A vigorous movie will do just that: offend some mightily while gratifying others. Show me a "likable" movie and I'll show you a relaxing, banal, made-for-TV drama. "Fight Club" combines a physical rush with an intelligent script and features wonderful performances of sharply-defined characters. These qualities should command the attention of the Academy come nomination time.
Rated R. Running Time: 139 minutes. (C) 1999 Harvey Karten
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PERLMOD
Section: Perl Programmers Reference Guide (1)Updated: 2009-07-24
Index Return to Main Contents
NAME
perlmod - Perl modules (packages and symbol tables)DESCRIPTION
Packages
Perl provides a mechanism for alternative namespaces to protect packages from stomping on each other's variables. In fact, there's really no such thing as a global variable in Perl. The package statement declares the compilation unit as being in the given namespace. The scope of the package declaration is from the declaration itself through the end of the enclosing block, "eval", or file, whichever comes first (the same scope as the my() and local() operators). Unqualified dynamic identifiers will be in this namespace, except for those few identifiers that if unqualified, default to the main package instead of the current one as described below. A package statement affects only dynamic variables---including those you've used local() on---but not lexical variables created with my(). Typically it would be the first declaration in a file included by the "do", "require", or "use" operators. You can switch into a package in more than one place; it merely influences which symbol table is used by the compiler for the rest of that block. You can refer to variables and filehandles in other packages by prefixing the identifier with the package name and a double colon: $Package::Variable. If the package name is null, the "main" package is assumed. That is, $::sail is equivalent to $main::sail.The old package delimiter was a single quote, but double colon is now the preferred delimiter, in part because it's more readable to humans, and in part because it's more readable to emacs macros. It also makes C++ programmers feel like they know what's going on---as opposed to using the single quote as separator, which was there to make Ada programmers feel like they knew what was going on. Because the old-fashioned syntax is still supported for backwards compatibility, if you try to use a string like "This is $owner's house", you'll be accessing $owner::s; that is, the $s variable in package "owner", which is probably not what you meant. Use braces to disambiguate, as in "This is ${owner}'s house".
Packages may themselves contain package separators, as in $OUTER::INNER::var. This implies nothing about the order of name lookups, however. There are no relative packages: all symbols are either local to the current package, or must be fully qualified from the outer package name down. For instance, there is nowhere within package "OUTER" that $INNER::var refers to $OUTER::INNER::var. "INNER" refers to a totally separate global package.
Only identifiers starting with letters (or underscore) are stored in a package's symbol table. All other symbols are kept in package "main", including all punctuation variables, like $_. In addition, when unqualified, the identifiers STDIN, STDOUT, STDERR, ARGV, ARGVOUT, ENV, INC, and SIG are forced to be in package "main", even when used for other purposes than their built-in ones. If you have a package called "m", "s", or "y", then you can't use the qualified form of an identifier because it would be instead interpreted as a pattern match, a substitution, or a transliteration.
Variables beginning with underscore used to be forced into package main, but we decided it was more useful for package writers to be able to use leading underscore to indicate private variables and method names. However, variables and functions named with a single "_", such as $_ and "sub _", are still forced into the package "main". See also ``Technical Note on the Syntax of Variable Names'' in perlvar.
"eval"ed strings are compiled in the package in which the eval() was compiled. (Assignments to $SIG{}, however, assume the signal handler specified is in the "main" package. Qualify the signal handler name if you wish to have a signal handler in a package.) For an example, examine perldb.pl in the Perl library. It initially switches to the "DB" package so that the debugger doesn't interfere with variables in the program you are trying to debug. At various points, however, it temporarily switches back to the "main" package to evaluate various expressions in the context of the "main" package (or wherever you came from). See perldebug.
The special symbol "__PACKAGE__" contains the current package, but cannot (easily) be used to construct variable names.
See perlsub for other scoping issues related to my() and local(), and perlref regarding closures.
Symbol Tables
The symbol table for a package happens to be stored in the hash of that name with two colons appended. The main symbol table's name is thus %main::, or %:: for short. Likewise the symbol table for the nested package mentioned earlier is named %OUTER::INNER::.The value in each entry of the hash is what you are referring to when you use the *name typeglob notation.
local *main::foo = *main::bar;
You can use this to print out all the variables in a package, for instance. The standard but antiquated dumpvar.pl library and the CPAN module Devel::Symdump make use of this.
Assignment to a typeglob performs an aliasing operation, i.e.,
*dick = *richard;
causes variables, subroutines, formats, and file and directory handles accessible via the identifier "richard" also to be accessible via the identifier "dick". If you want to alias only a particular variable or subroutine, assign a reference instead:
*dick = \$richard;
Which makes $richard and $dick the same variable, but leaves @richard and @dick as separate arrays. Tricky, eh?
There is one subtle difference between the following statements:
*foo = *bar; *foo = \$bar;
"*foo = *bar" makes the typeglobs themselves synonymous while "*foo = \$bar" makes the SCALAR portions of two distinct typeglobs refer to the same scalar value. This means that the following code:
$bar = 1; *foo = \$bar; # Make $foo an alias for $bar { local $bar = 2; # Restrict changes to block print $foo; # Prints '1'! }
Would print '1', because $foo holds a reference to the original $bar --- the one that was stuffed away by "local()" and which will be restored when the block ends. Because variables are accessed through the typeglob, you can use "*foo = *bar" to create an alias which can be localized. (But be aware that this means you can't have a separate @foo and @bar, etc.)
What makes all of this important is that the Exporter module uses glob aliasing as the import/export mechanism. Whether or not you can properly localize a variable that has been exported from a module depends on how it was exported:
@EXPORT = qw($FOO); # Usual form, can't be localized @EXPORT = qw(*FOO); # Can be localized
You can work around the first case by using the fully qualified name ($Package::FOO) where you need a local value, or by overriding it by saying "*FOO = *Package::FOO" in your script.
The "*x = \$y" mechanism may be used to pass and return cheap references into or from subroutines if you don't want to copy the whole thing. It only works when assigning to dynamic variables, not lexicals.
%some_hash = (); # can't be my() *some_hash = fn( \%another_hash ); sub fn { local *hashsym = shift; # now use %hashsym normally, and you # will affect the caller's %another_hash my %nhash = (); # do what you want return \%nhash; }
On return, the reference will overwrite the hash slot in the symbol table specified by the *some_hash typeglob. This is a somewhat tricky way of passing around references cheaply when you don't want to have to remember to dereference variables explicitly.
Another use of symbol tables is for making ``constant'' scalars.
*PI = \3.14159265358979;
Now you cannot alter $PI, which is probably a good thing all in all. This isn't the same as a constant subroutine, which is subject to optimization at compile-time. A constant subroutine is one prototyped to take no arguments and to return a constant expression. See perlsub for details on these. The "use constant" pragma is a convenient shorthand for these.
You can say *foo{PACKAGE} and *foo{NAME} to find out what name and package the *foo symbol table entry comes from. This may be useful in a subroutine that gets passed typeglobs as arguments:
sub identify_typeglob { my $glob = shift; print 'You gave me ', *{$glob}{PACKAGE}, '::', *{$glob}{NAME}, "\n"; } identify_typeglob *foo; identify_typeglob *bar::baz;
This prints
You gave me main::foo You gave me bar::baz
The *foo{THING} notation can also be used to obtain references to the individual elements of *foo. See perlref.
Subroutine definitions (and declarations, for that matter) need not necessarily be situated in the package whose symbol table they occupy. You can define a subroutine outside its package by explicitly qualifying the name of the subroutine:
package main; sub Some_package::foo { ... } # &foo defined in Some_package
This is just a shorthand for a typeglob assignment at compile time:
BEGIN { *Some_package::foo = sub { ... } }
and is not the same as writing:
{ package Some_package; sub foo { ... } }
In the first two versions, the body of the subroutine is lexically in the main package, not in Some_package. So something like this:
package main; $Some_package::name = "fred"; $main::name = "barney"; sub Some_package::foo { print "in ", __PACKAGE__, ": \$name is '$name'\n"; } Some_package::foo();
prints:
in main: $name is 'barney'
rather than:
in Some_package: $name is 'fred'
This also has implications for the use of the SUPER:: qualifier (see perlobj).
BEGIN, UNITCHECK, CHECK, INIT and END
Five specially named code blocks are executed at the beginning and at the end of a running Perl program. These are the "BEGIN", "UNITCHECK", "CHECK", "INIT", and "END" blocks.These code blocks can be prefixed with "sub" to give the appearance of a subroutine (although this is not considered good style). One should note that these code blocks don't really exist as named subroutines (despite their appearance). The thing that gives this away is the fact that you can have more than one of these code blocks in a program, and they will get all executed at the appropriate moment. So you can't execute any of these code blocks by name.
A "BEGIN" code block is executed as soon as possible, that is, the moment it is completely defined, even before the rest of the containing file (or string) is parsed. You may have multiple "BEGIN" blocks within a file (or eval'ed string) --- they will execute in order of definition. Because a "BEGIN" code block executes immediately, it can pull in definitions of subroutines and such from other files in time to be visible to the rest of the compile and run time. Once a "BEGIN" has run, it is immediately undefined and any code it used is returned to Perl's memory pool.
An "END" code block is executed as late as possible, that is, after perl has finished running the program and just before the interpreter is being exited, even if it is exiting as a result of a die() function. (But not if it's morphing into another program via "exec", or being blown out of the water by a signal---you have to trap that yourself (if you can).) You may have multiple "END" blocks within a file---they will execute in reverse order of definition; that is: last in, first out (LIFO). "END" blocks are not executed when you run perl with the "-c" switch, or if compilation fails.
Note that "END" code blocks are not executed at the end of a string "eval()": if any "END" code blocks are created in a string "eval()", they will be executed just as any other "END" code block of that package in LIFO order just before the interpreter is being exited.
Inside an "END" code block, $? contains the value that the program is going to pass to "exit()". You can modify $? to change the exit value of the program. Beware of changing $? by accident (e.g. by running something via "system").
"UNITCHECK", "CHECK" and "INIT" code blocks are useful to catch the transition between the compilation phase and the execution phase of the main program.
"UNITCHECK" blocks are run just after the unit which defined them has been compiled. The main program file and each module it loads are compilation units, as are string "eval"s, code compiled using the "(?{ })" construct in a regex, calls to "do FILE", "require FILE", and code after the "-e" switch on the command line.
"CHECK" code blocks are run just after the initial Perl compile phase ends and before the run time begins, in LIFO order. "CHECK" code blocks are used in the Perl compiler suite to save the compiled state of the program.
"INIT" blocks are run just before the Perl runtime begins execution, in ``first in, first out'' (FIFO) order.
The "CHECK" and "INIT" code blocks will not be executed inside a string eval(), if that eval() happens after the end of the main compilation phase; that can be a problem in mod_perl and other persistent environments which use "eval STRING" to load code at runtime.
When you use the -n and -p switches to Perl, "BEGIN" and "END" work just as they do in awk, as a degenerate case. Both "BEGIN" and "CHECK" blocks are run when you use the -c switch for a compile-only syntax check, although your main code is not.
The begincheck program makes it all clear, eventually:
#!/usr/bin/perl # begincheck print "10. Ordinary code runs at runtime.\n"; END { print "16. So this is the end of the tale.\n" } INIT { print " 7. INIT blocks run FIFO just before runtime.\n" } UNITCHECK { print " 4. And therefore before any CHECK blocks.\n" } CHECK { print " 6. So this is the sixth line.\n" } print "11. It runs in order, of course.\n"; BEGIN { print " 1. BEGIN blocks run FIFO during compilation.\n" } END { print "15. Read perlmod for the rest of the story.\n" } CHECK { print " 5. CHECK blocks run LIFO after all compilation.\n" } INIT { print " 8. Run this again, using Perl's -c switch.\n" } print "12. This is anti-obfuscated code.\n"; END { print "14. END blocks run LIFO at quitting time.\n" } BEGIN { print " 2. So this line comes out second.\n" } UNITCHECK { print " 3. UNITCHECK blocks run LIFO after each file is compiled.\n" } INIT { print " 9. You'll see the difference right away.\n" } print "13. It merely _looks_ like it should be confusing.\n"; __END__
Perl Classes
There is no special class syntax in Perl, but a package may act as a class if it provides subroutines to act as methods. Such a package may also derive some of its methods from another class (package) by listing the other package name(s) in its global @ISA array (which must be a package global, not a lexical).For more on this, see perltoot and perlobj.
Perl Modules
A module is just a set of related functions in a library file, i.e., a Perl package with the same name as the file. It is specifically designed to be reusable by other modules or programs. It may do this by providing a mechanism for exporting some of its symbols into the symbol table of any package using it, or it may function as a class definition and make its semantics available implicitly through method calls on the class and its objects, without explicitly exporting anything. Or it can do a little of both.For example, to start a traditional, non-OO module called Some::Module, create a file called Some/Module.pm and start with this template:
package Some::Module; # assumes Some/Module.pm use strict; use warnings; BEGIN { use Exporter (); our ($VERSION, @ISA, @EXPORT, @EXPORT_OK, %EXPORT_TAGS); # set the version for version checking $VERSION = 1.00; # if using RCS/CVS, this may be preferred $VERSION = sprintf "%d.%03d", q$Revision: 1.1 $ =~ /(\d+)/g; @ISA = qw(Exporter); @EXPORT = qw(&func1 &func2 &func4); %EXPORT_TAGS = ( ); # eg: TAG => [ qw!name1 name2! ], # your exported package globals go here, # as well as any optionally exported functions @EXPORT_OK = qw($Var1 %Hashit &func3); } our @EXPORT_OK; # exported package globals go here our $Var1; our %Hashit; # non-exported package globals go here our @more; our $stuff; # initialize package globals, first exported ones $Var1 = ''; %Hashit = (); # then the others (which are still accessible as $Some::Module::stuff) $stuff = ''; @more = (); # all file-scoped lexicals must be created before # the functions below that use them. # file-private lexicals go here my $priv_var = ''; my %secret_hash = (); # here's a file-private function as a closure, # callable as &$priv_func; it cannot be prototyped. my $priv_func = sub { # stuff goes here. }; # make all your functions, whether exported or not; # remember to put something interesting in the {} stubs sub func1 {} # no prototype sub func2() {} # proto'd void sub func3($$) {} # proto'd to 2 scalars # this one isn't exported, but could be called! sub func4(\%) {} # proto'd to 1 hash ref END { } # module clean-up code here (global destructor) ## YOUR CODE GOES HERE 1; # don't forget to return a true value from the file
Then go on to declare and use your variables in functions without any qualifications. See Exporter and the perlmodlib for details on mechanics and style issues in module creation.
Perl modules are included into your program by saying
use Module;
or
use Module LIST;
This is exactly equivalent to
BEGIN { require Module; import Module; }
or
BEGIN { require Module; import Module LIST; }
As a special case
use Module ();
is exactly equivalent to
BEGIN { require Module; }
All Perl module files have the extension .pm. The "use" operator assumes this so you don't have to spell out "Module.pm" in quotes. This also helps to differentiate new modules from old .pl and .ph files. Module names are also capitalized unless they're functioning as pragmas; pragmas are in effect compiler directives, and are sometimes called ``pragmatic modules'' (or even ``pragmata'' if you're a classicist).
The two statements:
require SomeModule; require "SomeModule.pm";
differ from each other in two ways. In the first case, any double colons in the module name, such as "Some::Module", are translated into your system's directory separator, usually ``/''. The second case does not, and would have to be specified literally. The other difference is that seeing the first "require" clues in the compiler that uses of indirect object notation involving ``SomeModule'', as in "$ob = purge SomeModule", are method calls, not function calls. (Yes, this really can make a difference.)
Because the "use" statement implies a "BEGIN" block, the importing of semantics happens as soon as the "use" statement is compiled, before the rest of the file is compiled. This is how it is able to function as a pragma mechanism, and also how modules are able to declare subroutines that are then visible as list or unary operators for the rest of the current file. This will not work if you use "require" instead of "use". With "require" you can get into this problem:
require Cwd; # make Cwd:: accessible $here = Cwd::getcwd(); use Cwd; # import names from Cwd:: $here = getcwd(); require Cwd; # make Cwd:: accessible $here = getcwd(); # oops! no main::getcwd()
In general, "use Module ()" is recommended over "require Module", because it determines module availability at compile time, not in the middle of your program's execution. An exception would be if two modules each tried to "use" each other, and each also called a function from that other module. In that case, it's easy to use "require" instead.
Perl packages may be nested inside other package names, so we can have package names containing "::". But if we used that package name directly as a filename it would make for unwieldy or impossible filenames on some systems. Therefore, if a module's name is, say, "Text::Soundex", then its definition is actually found in the library file Text/Soundex.pm.
Perl modules always have a .pm file, but there may also be dynamically linked executables (often ending in .so) or autoloaded subroutine definitions (often ending in .al) associated with the module. If so, these will be entirely transparent to the user of the module. It is the responsibility of the .pm file to load (or arrange to autoload) any additional functionality. For example, although the POSIX module happens to do both dynamic loading and autoloading, the user can say just "use POSIX" to get it all.
Making your module threadsafe
Since 5.6.0, Perl has had support for a new type of threads called interpreter threads (ithreads). These threads can be used explicitly and implicitly.Ithreads work by cloning the data tree so that no data is shared between different threads. These threads can be used by using the "threads" module or by doing fork() on win32 (fake fork() support). When a thread is cloned all Perl data is cloned, however non-Perl data cannot be cloned automatically. Perl after 5.7.2 has support for the "CLONE" special subroutine. In "CLONE" you can do whatever you need to do, like for example handle the cloning of non-Perl data, if necessary. "CLONE" will be called once as a class method for every package that has it defined (or inherits it). It will be called in the context of the new thread, so all modifications are made in the new area. Currently CLONE is called with no parameters other than the invocant package name, but code should not assume that this will remain unchanged, as it is likely that in future extra parameters will be passed in to give more information about the state of cloning.
If you want to CLONE all objects you will need to keep track of them per package. This is simply done using a hash and Scalar::Util::weaken().
Perl after 5.8.7 has support for the "CLONE_SKIP" special subroutine. Like "CLONE", "CLONE_SKIP" is called once per package; however, it is called just before cloning starts, and in the context of the parent thread. If it returns a true value, then no objects of that class will be cloned; or rather, they will be copied as unblessed, undef values. For example: if in the parent there are two references to a single blessed hash, then in the child there will be two references to a single undefined scalar value instead. This provides a simple mechanism for making a module threadsafe; just add "sub CLONE_SKIP { 1 }" at the top of the class, and "DESTROY()" will be now only be called once per object. Of course, if the child thread needs to make use of the objects, then a more sophisticated approach is needed.
Like "CLONE", "CLONE_SKIP" is currently called with no parameters other than the invocant package name, although that may change. Similarly, to allow for future expansion, the return value should be a single 0 or 1 value.
SEE ALSO
See perlmodlib for general style issues related to building Perl modules and classes, as well as descriptions of the standard library and CPAN, Exporter for how Perl's standard import/export mechanism works, perltoot and perltooc for an in-depth tutorial on creating classes, perlobj for a hard-core reference document on objects, perlsub for an explanation of functions and scoping, and perlxstut and perlguts for more information on writing extension modules.
Index
This document was created by man2html, using the manual pages.
Time: 05:29:08 GMT, December 24, 2015


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BOOM! Studios Announces Buffy-Adjacent Angel & Spike Series
by Sundi RoseHot on the heels of the Buffy the Vampire Slayer and Angel team-up Hellmouth, BOOM! Studios has announced that the Angel ongoing series will be renamed Angel & Spike, beginning with February's Issue #9.
Written by Bryan Edward Hill with art by Gleb Melnikov, Angel & Spike will serve as the launching pad for "Ring of Fire," a crossover between the newly titled series and Buffy. In it, Spike will join Gunn, Fred, Lorne and Lilith as a new evil descends on Los Angeles. The gang, affectionately called Team Spike, will face down this new enemy while still contending with longtime foes Wolfram and Hart. However, one of the mysteries of the series will be the whereabouts of Angel.
RELATED: Buffy's Hellmouth Crossover Hints At the Biggest Threat in the Buffyverse
"Betrayal, heartache, and violence are what the new TEAM SPIKE have to look forward to in the post-Hellmouth landscape we’re calling Ring of Fire," BOOM! Studios Executive Editor Jeanine Schaefer said in a statement. "You know, all the good stuff! They think evil has landed in Los Angeles, but what they’ll find is that it’s been there all along, and the source they discover is staggering."
Angel & Spike #9, by Bryan Edward Hill and Gleb Melnikov, goes on sale Feb. 26 2020 from BOOM! Studios.
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This dialog allows you to set the options of a template EVAL element. It is invoked by right-clicking the EVAL node in the template tree view and selecting the "Edit..." item, or by clicking an Edit, Insert, or Replace With button in the dialog for the containing STRUCT, or Structure definition.
An EVAL is useful for evaluating expressions (eg initialising variables), for displaying relevant information to the user of the template, or for indicating some sort of error condition.
Expression
An expression using any template field so far encountered, variables etc. Expressions can be of boolean, floating point, boolean, date or string type. To display a simple message just use a string constant - ie characters enclosed in double-quotes with possible escape characters (as in C/C++).
A special feature when using a string is to be able to include any number of expressions, with optional format specification. An expression is simply enclosed in braces {} with an optional semicolon (;) followed by a format specification appropriate to the type of the expression. For example, to display fields from a STRUCT you could use an string like this:
"X = {locn.x; %g}, Y = {locn.y; %g}, flags = {locn.flags; bin}"
See the section called Displaying Information in the Tree Column in Editing templates for more information.
Display error if expression evaluates false
If checked the above expression must return a boolean result. (If the value is not boolean an error is displayed and the user can terminate template evaluation.) If the return value is false the node is shown in the tree view and expanded so the user will see it.
Always display result in tree view
If checked the result of the expression is always displayed as a node in the tree view, otherwise it is only displayed in edit mode.
Comment
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<< and >> buttons
If the parent element is a STRUCT then these buttons are displayed in the bottom right of the dialog. They allow you to move to the previous and next sibling (ie the previous and next elements in the parent STRUCT). This is very handy when you quickly want to view or change values in all the children.
Using the button is equivalent to clicking OK then editing the previous or next element in the parent STRUCT.