| Opcode/Instruction | Op/En | 64/32 bit Mode Support | CPUID Feature Flag | Description |
|---|---|---|---|---|
| NP 0F E8 /r1 PSUBSB mm, mm/m64 | A | V/V | MMX | Subtract signed packed bytes in mm/m64 from signed packed bytes in mm and saturate results. |
| 66 0F E8 /r PSUBSB xmm1, xmm2/m128 | A | V/V | SSE2 | Subtract packed signed byte integers in xmm2/m128 from packed signed byte integers in xmm1 and saturate results. |
| NP 0F E9 /r1 PSUBSW mm, mm/m64 | A | V/V | MMX | Subtract signed packed words in mm/m64 from signed packed words in mm and saturate results. |
| 66 0F E9 /r PSUBSW xmm1, xmm2/m128 | A | V/V | SSE2 | Subtract packed signed word integers in xmm2/m128 from packed signed word integers in xmm1 and saturate results. |
| VEX.128.66.0F.WIG E8 /r VPSUBSB xmm1, xmm2, xmm3/m128 | B | V/V | AVX | Subtract packed signed byte integers in xmm3/m128 from packed signed byte integers in xmm2 and saturate results. |
| VEX.128.66.0F.WIG E9 /r VPSUBSW xmm1, xmm2, xmm3/m128 | B | V/V | AVX | Subtract packed signed word integers in xmm3/m128 from packed signed word integers in xmm2 and saturate results. |
| VEX.256.66.0F.WIG E8 /r VPSUBSB ymm1, ymm2, ymm3/m256 | B | V/V | AVX2 | Subtract packed signed byte integers in ymm3/m256 from packed signed byte integers in ymm2 and saturate results. |
| VEX.256.66.0F.WIG E9 /r VPSUBSW ymm1, ymm2, ymm3/m256 | B | V/V | AVX2 | Subtract packed signed word integers in ymm3/m256 from packed signed word integers in ymm2 and saturate results. |
| EVEX.128.66.0F.WIG E8 /r VPSUBSB xmm1 {k1}{z}, xmm2, xmm3/m128 | C | V/V | AVX512VL AVX512BW | Subtract packed signed byte integers in xmm3/m128 from packed signed byte integers in xmm2 and saturate results and store in xmm1 using writemask k1. |
| EVEX.256.66.0F.WIG E8 /r VPSUBSB ymm1 {k1}{z}, ymm2, ymm3/m256 | C | V/V | AVX512VL AVX512BW | Subtract packed signed byte integers in ymm3/m256 from packed signed byte integers in ymm2 and saturate results and store in ymm1 using writemask k1. |
| EVEX.512.66.0F.WIG E8 /r VPSUBSB zmm1 {k1}{z}, zmm2, zmm3/m512 | C | V/V | AVX512BW | Subtract packed signed byte integers in zmm3/m512 from packed signed byte integers in zmm2 and saturate results and store in zmm1 using writemask k1. |
| EVEX.128.66.0F.WIG E9 /r VPSUBSW xmm1 {k1}{z}, xmm2, xmm3/m128 | C | V/V | AVX512VL AVX512BW | Subtract packed signed word integers in xmm3/m128 from packed signed word integers in xmm2 and saturate results and store in xmm1 using writemask k1. |
| EVEX.256.66.0F.WIG E9 /r VPSUBSW ymm1 {k1}{z}, ymm2, ymm3/m256 | C | V/V | AVX512VL AVX512BW | Subtract packed signed word integers in ymm3/m256 from packed signed word integers in ymm2 and saturate results and store in ymm1 using writemask k1. |
| EVEX.512.66.0F.WIG E9 /r VPSUBSW zmm1 {k1}{z}, zmm2, zmm3/m512 | C | V/V | AVX512BW | Subtract packed signed word integers in zmm3/m512 from packed signed word integers in zmm2 and saturate results and store in zmm1 using writemask k1. |
1. See note in Section 2.4, “AVX and SSE Instruction Exception Specification” in the Intel® 64 and IA-32 Architectures Software Developer’s Manual, Volume 2A and Section 22.25.3, “Exception Conditions of Legacy SIMD Instructions Operating on MMX Registers” in the Intel® 64 and IA-32 Architectures Software Developer’s Manual, Volume 3A.
| Op/En | Tuple Type | Operand 1 | Operand 2 | Operand 3 | Operand 4 |
| A | NA | ModRM:reg (r, w) | ModRM:r/m (r) | NA | NA |
| B | NA | ModRM:reg (w) | VEX.vvvv (r) | ModRM:r/m (r) | NA |
| C | Full Mem | ModRM:reg (w) | EVEX.vvvv (r) | ModRM:r/m (r) | NA |
Performs a SIMD subtract of the packed signed integers of the source operand (second operand) from the packed signed integers of the destination operand (first operand), and stores the packed integer results in the destination operand. See Figure 9-4 in the Intel® 64 and IA-32 Architectures Software Developer’s Manual, Volume 1, for an illustration of a SIMD operation. Overflow is handled with signed saturation, as described in the following paragraphs.
The (V)PSUBSB instruction subtracts packed signed byte integers. When an individual byte result is beyond the range of a signed byte integer (that is, greater than 7FH or less than 80H), the saturated value of 7FH or 80H, respectively, is written to the destination operand.
The (V)PSUBSW instruction subtracts packed signed word integers. When an individual word result is beyond the range of a signed word integer (that is, greater than 7FFFH or less than 8000H), the saturated value of 7FFFH or 8000H, respectively, is written to the destination operand.
In 64-bit mode and not encoded with VEX/EVEX, using a REX prefix in the form of REX.R permits this instruction to access additional registers (XMM8-XMM15).
Legacy SSE version 64-bit operand: The destination operand must be an MMX technology register and the source operand can be either an MMX technology register or a 64-bit memory location.
128-bit Legacy SSE version: The second source operand is an XMM register or a 128-bit memory location. The first source operand and destination operands are XMM registers. Bits (MAXVL-1:128) of the corresponding YMM destination register remain unchanged.
VEX.128 encoded version: The second source operand is an XMM register or a 128-bit memory location. The first source operand and destination operands are XMM registers. Bits (MAXVL-1:128) of the destination YMM register are zeroed.
VEX.256 encoded versions: The second source operand is an YMM register or an 256-bit memory location. The first source operand and destination operands are YMM registers. Bits (MAXVL-1:256) of the corresponding ZMM register are zeroed.
EVEX encoded version: The second source operand is an ZMM/YMM/XMM register or an 512/256/128-bit memory location. The first source operand and destination operands are ZMM/YMM/XMM registers. The destination is conditionally updated with writemask k1.
DEST[7:0] ← SaturateToSignedByte (DEST[7:0] − SRC (7:0]); (* Repeat subtract operation for 2nd through 7th bytes *) DEST[63:56] ← SaturateToSignedByte (DEST[63:56] − SRC[63:56] );
DEST[15:0] ← SaturateToSignedWord (DEST[15:0] − SRC[15:0] ); (* Repeat subtract operation for 2nd and 7th words *) DEST[63:48] ← SaturateToSignedWord (DEST[63:48] − SRC[63:48] );
(KL, VL) = (16, 128), (32, 256), (64, 512) FOR j←0 TO KL-1 i←j * 8; IF k1[j] OR *no writemask* THEN DEST[i+7:i]←SaturateToSignedByte (SRC1[i+7:i] - SRC2[i+7:i]) ELSE IF *merging-masking* ; merging-masking THEN *DEST[i+7:i] remains unchanged* ELSE *zeroing-masking* ; zeroing-masking DEST[i+7:i] ← 0; FI FI; ENDFOR; DEST[MAXVL-1:VL] ← 0
(KL, VL) = (8, 128), (16, 256), (32, 512) FOR j←0 TO KL-1 i←j * 16 IF k1[j] OR *no writemask* THEN DEST[i+15:i]←SaturateToSignedWord (SRC1[i+15:i] - SRC2[i+15:i]) ELSE IF *merging-masking* ; merging-masking THEN *DEST[i+15:i] remains unchanged* ELSE *zeroing-masking* ; zeroing-masking DEST[i+15:i] ← 0; FI FI; ENDFOR; DEST[MAXVL-1:VL] ← 0;
DEST[7:0]←SaturateToSignedByte (SRC1[7:0] - SRC2[7:0]); (* Repeat subtract operation for 2nd through 31th bytes *) DEST[255:248]←SaturateToSignedByte (SRC1[255:248] - SRC2[255:248]); DEST[MAXVL-1:256] ←0;
DEST[7:0]←SaturateToSignedByte (SRC1[7:0] - SRC2[7:0]); (* Repeat subtract operation for 2nd through 14th bytes *) DEST[127:120]←SaturateToSignedByte (SRC1[127:120] - SRC2[127:120]); DEST[MAXVL-1:128] ← 0;
DEST[7:0]←SaturateToSignedByte (DEST[7:0] - SRC[7:0]); (* Repeat subtract operation for 2nd through 14th bytes *) DEST[127:120]←SaturateToSignedByte (DEST[127:120] - SRC[127:120]); DEST[MAXVL-1:128] (Unmodified);
DEST[15:0]←SaturateToSignedWord (SRC1[15:0] - SRC2[15:0]); (* Repeat subtract operation for 2nd through 15th words *) DEST[255:240]←SaturateToSignedWord (SRC1[255:240] - SRC2[255:240]); DEST[MAXVL-1:256] ← 0;
DEST[15:0]←SaturateToSignedWord (SRC1[15:0] - SRC2[15:0]); (* Repeat subtract operation for 2nd through 7th words *) DEST[127:112]←SaturateToSignedWord (SRC1[127:112] - SRC2[127:112]); DEST[MAXVL-1:128] ← 0;
DEST[15:0]←SaturateToSignedWord (DEST[15:0] - SRC[15:0]); (* Repeat subtract operation for 2nd through 7th words *) DEST[127:112]←SaturateToSignedWord (DEST[127:112] - SRC[127:112]); DEST[MAXVL-1:128] (Unmodified);
VPSUBSB __m512i _mm512_subs_epi8(__m512i a, __m512i b);
VPSUBSB __m512i _mm512_mask_subs_epi8(__m512i s, __mmask64 k, __m512i a, __m512i b);
VPSUBSB __m512i _mm512_maskz_subs_epi8( __mmask64 k, __m512i a, __m512i b);
VPSUBSB __m256i _mm256_mask_subs_epi8(__m256i s, __mmask32 k, __m256i a, __m256i b);
VPSUBSB __m256i _mm256_maskz_subs_epi8( __mmask32 k, __m256i a, __m256i b);
VPSUBSB __m128i _mm_mask_subs_epi8(__m128i s, __mmask16 k, __m128i a, __m128i b);
VPSUBSB __m128i _mm_maskz_subs_epi8( __mmask16 k, __m128i a, __m128i b);
VPSUBSW __m512i _mm512_subs_epi16(__m512i a, __m512i b);
VPSUBSW __m512i _mm512_mask_subs_epi16(__m512i s, __mmask32 k, __m512i a, __m512i b);
VPSUBSW __m512i _mm512_maskz_subs_epi16( __mmask32 k, __m512i a, __m512i b);
VPSUBSW __m256i _mm256_mask_subs_epi16(__m256i s, __mmask16 k, __m256i a, __m256i b);
VPSUBSW __m256i _mm256_maskz_subs_epi16( __mmask16 k, __m256i a, __m256i b);
VPSUBSW __m128i _mm_mask_subs_epi16(__m128i s, __mmask8 k, __m128i a, __m128i b);
VPSUBSW __m128i _mm_maskz_subs_epi16( __mmask8 k, __m128i a, __m128i b);
PSUBSB:__m64 _mm_subs_pi8(__m64 m1, __m64 m2)
(V)PSUBSB:__m128i _mm_subs_epi8(__m128i m1, __m128i m2)
VPSUBSB:__m256i _mm256_subs_epi8(__m256i m1, __m256i m2)
PSUBSW:__m64 _mm_subs_pi16(__m64 m1, __m64 m2)
(V)PSUBSW:__m128i _mm_subs_epi16(__m128i m1, __m128i m2)
VPSUBSW:__m256i _mm256_subs_epi16(__m256i m1, __m256i m2)
None.
None.
Non-EVEX-encoded instruction, see Exceptions Type 4.
EVEX-encoded instruction, see Exceptions Type E4.nb.


Not only do we have access to our own custom properties, but we can also pass in our own custom arguments to the paint()
function as well.
We add these extra arguments when we call the function in the CSS. Let's say we want to sometimes stroke our background instead of fill it, let's pass in an extra argument for this occasion.
h1 {
background-image: paint(headerHighlight, stroke);
}
My Cool Header
Now we can use the inputArguments()
method in the registerPaint()
class, to get a list of these custom arguments we have added to our paint()
function:
static get inputArguments() { return ['*']; }
paint(ctx, size, props, args) {
// use our custom arguments
const hasStroke = args[0].toString();
// if stroke arg is stroke, don't fill
if (hasStroke === 'stroke') {
ctx.fillStyle = 'transparent';
ctx.strokeStyle = colour;
}
...
}
In this case we have just added the string 'stroke', but there's more — if the custom argument is a CSS value, for instance a unit, we can invoke Typed OM CSSStyleValue class (and sub classes) by using the value type keyword when we retrieve it in the registerPaint()
function.
Let's say we add a second argument with how many pixels wide we want the stroke to be:
h1 {
background-image: paint(headerHighlight, stroke, 3px);
}
When we get
our list of argument values, we ask specifically for a <length>
unit.
static get inputArguments() { return ['*', '<length>']; }
Now we can access the type and value properties, meaning we can get the number of pixels and a number type right out of the box!
paint(ctx, size, props, args) {
const strokeWidth = args[1];
if (strokeWidth.unit === 'px') {
ctx.lineWidth = strokeWidth.value;
} else {
ctx.lineWidth = 1.0;
}
...
}
Note: It's worth noting the difference between using custom properties to control different parts of this worklet and the arguments set out here. The situation will depend on this: Custom properties (and in fact any properties on the style map) are global — they can be used elsewhere within our CSS (and JS). You may for example have a --mainColor
, which will be useful for setting the color within a paint()
function, but also sets colors elsewhere in your CSS. If you wanted to change it specifically for paint, it could prove difficult, so this is where thinking about custom arguments may come in. Another way to think about it is that arguments are set to control what you are actually drawing, whereas properties are set to control styling.
Now we can really start to see the benefits of this API, if we can control a myriad of drawing parameters from our CSS through both custom properties and extra paint()
function arguments, then we can really start to build reusable and infinitely controlled styling elements.
In the next part we take a look at building such a styling element and how we can configure it to be used throughout our code. Carry on with CSS Paint in the next part here.


The Good Travel
Place Name
Place Name
HAWAII
LONDON
PARIS
ITALY
SLOVAKIA
MALAYSIA
Type of transport
car
train
flight
cruise


Recommendation Engine
Add Items to Cart:
Collaborative Filtering Recommendations
Deep Learning Recommendations


Experiment Classes
¶
Experiment - Base class¶
-
class
deepatari.experiments.experiment.
Experiment
(args, name, target_dir)[source]¶ This is the base class for all experiment implementations.
The experiment organizes all objects and directs the training in a given scenario.
-
name
¶ str – The name of the network object.
-
args
¶ argparse.Namespace – All settings either default or set via command line arguments.
-
target_dir
¶ str – Directory where all logs are stored.
-
rng
¶ mtrand.RandomState – Initialized Mersenne Twister pseudo-random number generator.
-
env
¶ Environment – The envirnoment in which the agent actuates.
-
mem
¶ Memory – The replay memory to save the experiences.
-
net
¶ Learner – Object of one of the Learner modules.
-
agent
¶ Agent – The agent that performes the learning.
-
stats
¶ Statistics – The stats module that attaches itself to the experiment objects.
Note
All subclasses must inherite this class –> ‘class NewClass(Experiment)’
-
AtariExp¶
-
class
deepatari.experiments.atariexp.
AtariExp
(args, name='AtariExperiment', target_dir=None)[source]¶ This class is an implementation of an Atari experiment.
The experiment organizes all objects and directs the training in an Atari Game playing scenario.
Note
More attributes of this class are defined in the base class Experiment.
-
run
()[source]¶ Run a complete experiment.
Returns: success – After a successfull run returns with True. Return type: bool
-


--- layout: default title: OKF Training Series description: Training events that are part of a wider course, curriculum or series permalink: /series/ --- Some of our training events are parts of a planned series of curriculum. We imagine that you will get the best from these events if you attend all the events in the series. But we don't know everything. If a single event in a series seems useful to you check out the details, the prerequisites listed, and make the decision. {% assign serieslist = site.pages | where: "layout", "series" | sort %} {% for node in serieslist %}


Derived from jquery-sessionTimeout
See https://github.com/travishorn/jquery-sessionTimeout for more info.
After a set amount of time, a dialog is shown to the user with the option to either log out now, or stay connected. If log out now is selected, the page is redirected to a logout URL. If stay connected is selected, a keep-alive URL is requested through AJAX. If no options is selected after another set amount of time, the page is automatically redirected to a timeout URL.
This version uses modals provided by Twitter Bootstrap 3.
$.sessionTimeout();
after document readymessage
Text shown to user in dialog after warning period.
Default: 'Your session is about to expire.'
keepAliveUrl
URL to call through AJAX to keep session alive. This resource should do something innocuous that would keep the session alive, which will depend on your server-side platform.
Default: '/keep-alive'
redirUrl
URL to take browser to if no action is take after warning period.
Default: '/timed-out'
logoutUrl
URL to take browser to if user clicks "Logout".
Default: '/log-out'
warnAfter
Time in milliseconds after page is opened until warning dialog is opened.
Default: 900000 (15 minutes)
redirAfter
Time in milliseconds after page is opened until browser is redirected to redirUrl.
Default: 1200000 (20 minutes)


Marikina celebrates Rehiyon-Rehiyon Festival 2019
by Jhon Aldrin CasinasIt was a festive Sunday in Marikina City as the “shoe capital of the Philippines” celebrated its Rehiyon-Rehiyon Festival 2019.
Marikina City students wearing colorful and festive costumes performed various festival dances of several regions in the country at the Marikina Sports Center, showcasing the culture and tradition of each region.
Among the dances showcased during the festivities were the Bangus Festival, Sinulog Festival, Ati-Atihan Festival, Kadayawan Festival, and Panagbenga Festival among other festival dances.
In his message, Marikina City Mayor Marcelino “Marcy” Teodoro said that there was now a wider definition of becoming a Marikeño, saying that the love for the city was what truly defines a Marikeño.
“Sinasabi ng iba, ang taga-Marikina ay may disiplina, may mabuting ugali, may pagpapahalaga sa pamilya,” Teodoro said.
“Ngunit, ang pinaka nasa sentro ng lahat ay ang pagmamahal para sa Bayan ng Marikina. Ang makita ang sarili bilang isang bahagi ng bayang ito, at nakikibahagi sa mga taong naririto, at sa kwento nito,” he noted.
According to the mayor, at least 70 percent of the total number of residents in the city are migrants from other provinces.
“We, in Marikina, an urbanized city, 70 percent of our residents are already migrants—from other provinces or regions. We celebrate life together as a community in Marikina,” Teodoro said.
Marikina’s Rehiyon-Rehiyon Festival is celebrated every December 8 to give honor to migrants from different regions in the country and have chosen to stay in Marikina and contributed to the development of the city. The festivities coincides with Marikina’s cityhood anniversary.
Among the foreign delegates that joined the festival were Mayor Masahiro Sashimoto of Sakai City, Japan, and other delegations from Sakai, which is a sister city of Marikina.
On December 8, 1996, President Fidel V. Ramos, through the Republic Act 8223, transformed Marikina from a humble municipality in the far east of Metro Manila to a well-developed and highly urbanized city.


net.minecraft.command
Interfaces
IAdminCommand
ICommand
ICommandManager
ICommandSender
IEntitySelector
Classes
CommandBase
CommandClearInventory
CommandDebug
CommandDefaultGameMode
CommandDifficulty
CommandEffect
CommandEnchant
CommandGameMode
CommandGameRule
CommandGive
CommandHandler
CommandHelp
CommandKill
CommandPlaySound
CommandServerKick
CommandSetPlayerTimeout
CommandSetSpawnpoint
CommandShowSeed
CommandSpreadPlayers
CommandTime
CommandToggleDownfall
CommandWeather
CommandXP
IEntitySelector.ArmoredMob
PlayerSelector
ServerCommand
ServerCommandManager
Exceptions
CommandException
CommandNotFoundException
NumberInvalidException
PlayerNotFoundException
SyntaxErrorException
WrongUsageException


Group 11 Designing Interactions
Track your perceptual experience of your daily meals through color, shape and sound


Student at Ranken Technical College
Unordered List
Order List
Our greastest weakness lies in giving up. The most certain way to suceed is always to try just one more time
A diagram of the organization of a website is called a site map. A site map represents the structure, or organization, of pages in a website in a visual manner. Creating the site map is one of the initial steps in developing a website.


Built with magenta.js. Learn more about how it works, or see the code on Glitch.
Unfortunately, this browser does not support WebMIDI, which is only supported in Chrome and Opera.
Use MIDI Output: Yes No


Curly and Floppy Twistytail, the Funny Piggie Boys
by Howard R. Garis
Chapter 3: “Pinky’s Rubber Ball”
Additional Information
- Year Published: 1918
- Language: English
- Country of Origin: United States of America
- Source: Garis, H. R. (1918). Curly and Floppy Twistytail, the Funny Piggie Boys. New York, NY: A. L. Burt Co.
-
Readability:
- Flesch–Kincaid Level: 4.2
- Word Count: 1,433
- Genre: Fantasy
- ✎ Cite This
Downloads
“Now, children,” exclaimed Mrs. Twistytail, the pig lady, one morning, when she had given Curly and Floppy and Baby Pinky their breakfast of sour milk with cornmeal stirred in it, “now, children, run out and play. I have the sweeping and dusting to do, and then I am going to make an apple pie.”
“Oh, goodie!” cried Curly. “Do you want us to help you, mamma?”
“No, I’m afraid you would eat more apples than you would put in the pie,” said Mrs. Twistytail with a laugh. “Run along now.”
“Come on Curly,” said Floppy and he ran out and turned a somersault, even though it was near winter, for he felt happy, now that he had a name and didn’t have to be called “Bub” or “Johnny” or something like that.
“What shall we do?” asked Curly.
“Let’s build a fort and play soldier,” suggested Floppy. “Pinky can be a prisoner and we’ll make believe capture her, and then we’ll rescue her, and shoot off make-believe guns, and—”
“No—No!” cried Baby Pinky, as she tried to stand up on the end of her twisty tail, but she couldn’t, for it was too slimpsy and not stiff enough.
You see, after the bear had tied Curly to the fence and made his tail all frizzy-like, all the other pigs, including Pinky and Floppy wanted their tails to curl also, and their mamma had to do it for them, twisting them around the rolling pin.

“Oh, it’s too scary!” she said. “And the guns make so much noise.  You couldn’t be a soldier with a gun that didn’t make any noise.”
“Then I’m not going to play,” said Pinky, who was just the color of the inside of a shiny seashell. “I’ll bounce my rubber ball,” she went on, “and you boys can play soldier.”
So she bounced her ball that Grandfather Squealer had given her, while Curly and Floppy as I’ll call him for short, made a fort out of cobs from which they had gnawed all the corn, and they had a fine time. They were off playing in the woods, while Pinky stayed near the house.
She was hoping her mamma would soon have the apple pie baked and would call her in and give her a piece, when, all of a sudden, as Pinky bounced her ball, it went high in the air, but it didn’t come down again right away.
“My! What can have happened?” thought little Pinky, and she looked around, and there she saw a great big fuzzy fox, standing behind her.  “I tossed my ball up in the air, but I’m sure I didn’t mean to hit you with it. Please forgive me.”
“No, indeed, I will not!” exclaimed the fox. “Your rubber ball hit me right on the nose when it came down, and I caught it. And, just for that, I am going to carry you away with me and make a pork pie of you!”
“Oh, please don’t!” begged Pinky, shaking more than ever, and she squealed as loudly as she could, but her mamma did not hear her, for she was beating up some eggs to make a cake, and the egg beater made so much noise that she couldn’t hear her own little girl. And Curly and Floppy were shooting off their make-believe guns, and making so much noise in the woods that they couldn’t hear, and there was the fox about to carry off the poor little piggie girl to his den. Oh, wasn’t it terrible?
“Here we go!” cried the fox, and with that he grabbed up poor Pinky, tossing her rubber ball on the ground. Up it bounced, and, hardly knowing what she did, the little pig girl caught it in her foot, holding it tight. Then the fox slung her across his back and ran off with her, Pinky squealing all the while as hard as she could.
“Squeal away!” growled the old fuzzy fox. “You’ll soon stop it when I put you in the pork pie!”
And Pinky kept on squealing. Pretty soon the fox ran through the woods where Curly and Flop were playing soldier, but the fox didn’t know that. Pinky did, however, and when she got beneath the trees she squealed louder than ever, hoping her brothers would hear.
“Keep quiet!” barked the fox.
“No! No!” exclaimed Pinky, and she squealed again. Oh! she squealed like anything. Then Curly heard her. So did Flop.
“That sounds like Pinky,” said Curly, blinking his eyes.
“It surely does,” agreed his brother. “Something must have happened to her.” They ran out of the fort they had made of corncobs piled one on the other, and they saw their little baby sister being carried off by the fox. Wow! Think of that!
“Here, you let our Pinky alone!” cried Curly bravely.
“No! No! No!” answered the bad fox.
“Then we’ll shoot you!” shouted Flop. “Shoot him, Curly!”
 “Bang! Bang! Bung! Bung!” But do you s’pose he stopped for that? Not a bit of it! On he ran, faster than ever, carrying away Pinky, and Curly and Flop ran after him, but what could they do? It looked as if the little pig girl would soon be made into pork pie, when she suddenly called out:
“Oh, boys! My rubber ball! Fill it with water and squirt it at the fox!” and she threw her ball to Curly.
“Don’t you dare squirt rubber-ball water at me!” howled the fox, for he was very much afraid of getting his tail wet.
“Yes we will!” shouted Curly and with that he caught the ball his sister tossed to him. It only took him a second to stop at a mud puddle and fill the ball with water. Then, taking careful aim, just as a brave pig soldier boy should, he squeezed the ball, and “Zip!” out squirted the water all over the bad fox.
“Oh wow! Double wow, and pumpkin pie! That water went right into my eye!” howled the fox, and then, with his tail all wet, so that it weighed ten pounds, or more, that fox was so utterly frightened and kerslostrated that he let go of poor little Pinky and ran off to his den, and he didn’t have any pork pie for a long time afterward.
“Oh, you saved me!” cried Pinky to her two brothers, when they had picked her up, and started back home with her.
“You helped save yourself,” said Curly. “You and your rubber ball,” and he and Flop were very glad their sister had not been carried off by the bad fox.
And on the next page, if the washtub doesn’t fall out of its crib and knock a hole in the tea kettle so that all the lemonade runs out, I’ll tell you how Curly helped his mamma.


[gecode-users] example problem
Guido Tack
tack at ps.uni-sb.de
Wed Mar 5 21:57:46 CET 2008
Alejandro Arbelaez wrote:
> I've been trying to run some examples from the last version of
> gecode (2.1.0) and I getting a segmentation fault running the
> partition example (with the default parameter 32). but when I run
> the same problem with size=21 I got the following error:
>
> partition(5531) malloc: *** error for object 0xd0f790: incorrect
> checksum for freed object - object was probably modified after being
> freed.
> *** set a breakpoint in malloc_error_break to debug
>
>
> BTW, I'm running these examples with a macbook pro, gcc version:
> i686-apple-darwin9-gcc-4.0.1. I downloaded the last release from the
> repository (i.e svn checkout .... /release-2.1.0) and I also
> compiled gecode with debug.
I can reproduce the problems, but only with gcc 4.0.1. With gcc 4.2
(also on Mac OS), it works as expected. We had several problems with
gcc 4.0 and don't recommend it (e.g., some finite set propagators
don't terminate). However, I'll look into this more closely, maybe
it's something else.
Cheers,
Guido
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--- layout: post title: Build a MailChimp Signup Form with AngularJS date: 2014-11-22 00:04:48.000000000 -07:00 type: post published: true status: publish categories: - AngularJS - JavaScript - Programming - UI tags: [] meta: _edit_last: '8' _nina_cross_promo: a:1:{s:8:"template";s:17:"custom_1399328552";} _thumbnail_id: '963' _yoast_wpseo_primary_category: '' _wpcom_is_markdown: '1' author: login: ohmadmin email<EMAIL_ADDRESS>display_name: Lukas Ruebbelke first_name: Lukas last_name: Ruebbelke ---
The folks at MailChimp do excellent UX work, and their signup form is no exception. As a personal exercise, I decided to recreate their signup form with AngularJS; which ended up being a great learning experience so I decided to share some of my favorite parts with you in this blog post. I would also be remiss if I did not mention that this entire post is standing on the shoulders of the excellent work that Matias Niemelä did around forms and ngMessages in AngularJS 1.3.
Links to the code and demo are below. I took the demo pretty far (given reasonable time constraints) but I would love to hear your ideas on how to make it even better. Let me know!
[button link="http://simpulton.github.io/angularjs-mailchimp-signup/" size="large" window="yes"]Demo[/button]
[button link="https://github.com/simpulton/angularjs-mailchimp-signup" size="large" window="yes"]Code[/button]
The first thing we are going to tackle is showing the user a helpful prompt when a text input receives focus. We want to show a prompt when the email and username fields receive focus so we will create a flag called showEmailPrompt and showUsernamePrompt to keep track of whether or not we should show a prompt. We will also create setter functions called toggleEmailPrompt and toggleUsernamePrompt that we will use to explicitly set the value of showEmailPrompt and showUsernamePrompt, respectively.
[js]
angular.module('ngMailChimp', ['ngMessages', 'ngAnimate'])
.controller('SignUpController', function () {
var ctrl = this;
var toggleEmailPrompt = function (value) {
ctrl.showEmailPrompt = value;
};
var toggleUsernamePrompt = function (value) {
ctrl.showUsernamePrompt = value;
};
ctrl.showEmailPrompt = false;
ctrl.showUsernamePrompt = false;
ctrl.toggleEmailPrompt = toggleEmailPrompt;
ctrl.toggleUsernamePrompt = toggleUsernamePrompt;
})
[/js]
Don't forget to include the ngMessages and ngAnimate submodules!
We will also initialize showEmailPrompt and showUsernamePrompt to false since we want to suppress the prompts initially.
Now that we have a flag set on our controller, we can toggle the visibility of the prompt using ng-if.
{% highlight html %}
{% endhighlight %}
We can control that flag by calling ctrl.toggleEmailPrompt on ng-focus and ng-blur. On focus, we pass in true to show the prompt and on blur we will send in false to hide the prompt.
{% highlight html %}
{% endhighlight %}
Since maximizing the user experience is the goal here, we are going to add in a simple animation to enhance the showing and hiding of the prompt.
Shout out to my buddy Kent C. Dodds for giving me the idea to do this. I highly recommend his videos on egghead.io. They are excellent!
We are going to hook an animation into our prompt by adding the message-animation class. And in our animations.css file, our animation will operate by modifying the opacity and margin-top properties of the element. When ng-enter is triggered, we will start with opacity: 0 and margin-top: -20px, then finish with the application of the ng-enter-active class and opacity: 1 and margin-top: 0.
[css]
.my-messages {
position: relative;
}
.message-animation {
transition: 0.2s ease-in-out all;
}
.message-animation.ng-enter {
opacity: 0;
margin-top: -20px;
}
.message-animation.ng-enter.ng-enter-active {
opacity: 1;
margin-top: 0;
}
.message-animation.ng-leave {
opacity: 1;
margin-top: 0;
}
.message-animation.ng-leave-active {
opacity: 0;
margin-top: -20px;
}
[/css]
We will essentially do the exact opposite for ng-leave and ng-leave-active. In fact! I separated these classes out for readability; but I will often stack them for conciseness.
The next feature that I would like to build out is the ability to toggle password visibility on the password field. AngularJS is awesome in that we can bind to any value of any attribute and make it dynamic. In this case, we are going to bind to the type property of the password input field to the value returned by ctrl.getPasswordType. Notice that the password field is part of an input-group, which is a Bootstrap component that allows us to nestle a checkbox onto the end of the element. We will set the value of that checkbox to control a value called showPassword via ng-model="ctrl.signupForm.showPassword"
{% highlight html %}
{% endhighlight %}
And in the getPasswordType method, we are checking if ctrl.signupForm.showPassword is true or false and then returning 'text' if it is true and 'password' if it is not.
[js]
.controller('SignUpController', function () {
var ctrl = this;
var getPasswordType = function () {
return ctrl.signupForm.showPassword ? 'text' : 'password';
};
ctrl.getPasswordType = getPasswordType;
})
[/js]
I was pleasantly surprised that that was all I needed to implement such a useful UX pattern.
In the first example, we gave the user a generic prompt to guide them in filling out the field appropriately. We are going to take that a step further and use ngMessages to give the user specific feedback on the the state of their input. ngMessages makes managing this feedback really easy, compared to having to wrangle error messages via a huge heap of ng-if statements (which was necessary prior to AngularJS 1.3).
The first thing that we need to do when setting up ngMessages is to create a message container and bind it to a specific field in the form. We are going to focus on the email field, so we will accomplish this goal with this bit of code here: ng-messages="ctrl.signupForm.email.$error".
{% highlight html %}
{% endhighlight %}
And now we just need to add in a message for each error that we want to capture. We define the specific error using ng-message and the error we want to track like this: ng-message="required".
{% highlight html %}
{% endhighlight %}
When ctrl.signupForm.email.$error.required is true, the element containing the error message is shown to the user. This is really nice because we still have the ability to display the error however we want based on the HTML we choose to display.
Also, notice that there is an ng-if on the ng-messages div in the form of ng-if="ctrl.showMessages('email')". By default, messages are shown immediately and ctrl.showMessages is a convenience function that allows us to override that behavior.
We are essentially passing in the field name to the method and then checking to see if that field has been touched via $touched or if the form itself has been submitted via $submitted. By using the array syntax to dynamically evaluate the field, we are able to use this method in more than one place and cut down on some of the DOM clutter.
[js]
.controller('SignUpController', function () {
var ctrl = this;
var showMessages = function (field) {
return ctrl.signupForm[field].$touched || ctrl.signupForm.$submitted
};
ctrl.showMessages = showMessages;
})
[/js]
We are going to apply the same technique by dynamically evaluating if we should apply a has-error class to the input element. If this field has been $touched and is $invalid, we return true so that the class can be applied.
[js]
.controller('SignUpController', function () {
var ctrl = this;
var hasErrorClass = function (field) {
return ctrl.signupForm[field].$touched
&& ctrl.signupForm[field].$invalid;
};
ctrl.hasErrorClass = hasErrorClass;
})
[/js]
The has-error class is then dynamically applied to the DOM using ng-class.
{% highlight html %}
{% endhighlight %}
And now for the grand finale! We are going to create a set of custom validators and apply them to the password field. We are also going to track each validator and give the user feedback when each of the validation requirements has been met. The foundation for this starts by creating a directive (which we will call validatePasswordCharacters), then requiring ngModel and passing it in as a parameter to the link function. We can access the $validators object on ngModel and create our own custom validators such as lowerCase, upperCase, eightCharacters, etc.
[js]
.directive('validatePasswordCharacters', function () {
return {
require: 'ngModel',
link: function ($scope, element, attrs, ngModel) {
ngModel.$validators.lowerCase = function (value) { };
ngModel.$validators.upperCase = function (value) { };
ngModel.$validators.number = function (value) { };
ngModel.$validators.specialCharacter = function (value) { };
ngModel.$validators.eightCharacters = function (value) { };
}
}
})
[/js]
Each validator accepts a single value argument that is evaluated and, depending on whether or not it meets a predetermined condition, will return true or false. For instance, in the eightCharacters validator, we are checking to make sure that value is defined and value.length is equal to or greater than 8. When this returns true, we know that the requirement (a password at least 8 characters long) has been met.
[js]
.directive('validatePasswordCharacters', function () {
return {
require: 'ngModel',
link: function ($scope, element, attrs, ngModel) {
ngModel.$validators.lowerCase = function (value) {
var pattern = /[a-z]+/;
return (typeof value !== 'undefined')
&& pattern.test(value);
};
ngModel.$validators.upperCase = function (value) {
var pattern = /[A-Z]+/;
return (typeof value !== 'undefined')
&& pattern.test(value);
};
ngModel.$validators.number = function (value) {
var pattern = /\d+/;
return (typeof value !== 'undefined')
&& pattern.test(value);
};
ngModel.$validators.specialCharacter = function (value) {
var pattern = /\W+/;
return (typeof value !== 'undefined')
&& pattern.test(value);
};
ngModel.$validators.eightCharacters = function (value) {
return (typeof value !== 'undefined')
&& value.length >= 8;
};
}
}
})
[/js]
The other validators work on the exact same premise but use REGEX to ensure that some criteria has been met.
We now have this set of validators that have been neatly wrapped up in a directive. How do we apply them to an element? We do that by instantiating it like any other directive. We convert validatePasswordCharacters from camel case to snake case and attach it to the password input as validate-password-characters.
{% highlight html %}
{% endhighlight %}
And then we can use the validators to dynamically attach a completed class to our list of requirements as each of them has been met. Notice that there is now a property on the $error object that matches the name of the validator that we added.
{% highlight html %}
{% endhighlight %}
This was by far my favorite feature of the entire experience and I am really impressed with how easy it was to declare and harness custom validators in my form.
There are a few extra goodies in the repository for you to go and play around with but I feel like we are at a good stopping point so let us do a quick review.
This has been a super fun post to writea. Also, I am extremely grateful to Kent and Matias for being great friends and helping me be better; thank you for giving me all the reason I need to sit down and write this post. Last but not least, a huge shout out to MailChimp for creating great tech that captures my imagination.
How to use ngMessages in AngularJS
[button link="http://simpulton.github.io/angularjs-mailchimp-signup/" size="large" window="yes"]Demo[/button]
[button link="https://github.com/simpulton/angularjs-mailchimp-signup" size="large" window="yes"]Code[/button]


--- layout: post status: publish published: true title: Emulex Supplied Hardware & HP PSP 8.25A don't like each other author: display_name: iguy login: iguy email<EMAIL_ADDRESS>url: '' author_login: iguy author_email<EMAIL_ADDRESS>wordpress_id: 200 wordpress_url: http://itsjustanotherlayer.com/?p=200 date: !binary |- MjAwOS0wOC0yMCAyMDozNjozNyAtMDUwMA== date_gmt: !binary |- MjAwOS0wOC0yMCAyMDozNjozNyAtMDUwMA== categories: - VMware tags: - drivers - emulex - hp - psp - windows comments: - id: 48 author: Louis Gray (Emulex) author_email<EMAIL_ADDRESS>author_url: http://www.emulex.com/ date: !binary |- MjAwOS0wOC0yNCAxODo1ODo0NiAtMDUwMA== date_gmt: !binary |- MjAwOS0wOC0yNCAxODo1ODo0NiAtMDUwMA== content: Just wanted to follow up from the Emulex side and let you know we're looking internally to see if this is as simple as a qualification issue (for example, testing through 8.25, but not 8.25a yet), or if there is a bug, either with our equipment or that of HP. I expect we'll get a definitive answer very soon (probably today), but wanted to make sure you knew we saw your post and will solve this very quickly. ---
In one of the environments I work in, we use Emulex drivers on all Windows systems. Along with that we use HP hardware. HP provides this nice Proliant Support Pack (PSP) that makes things really nice and bundled together. Along with that one can configure the PSP release around some parameters such as "Don't Install the Qlogic drivers" or "Configure these mgmt agents with this as their master management server to send traps to" and so forth.
In the past we would configure the HP enhanced drivers "Do Not Install". As these drivers don't work real well with non-HP Emulex devices.
Today I found out that you can not configure the Emulex Drivers in the PSP 8.25A release. If you are using the Emulex supplied HBAs and are running the HP PSP pack, don't use 8.25A.


Often times performing artists don't have access to the resources, funds, or support to hack on their own technologies for live performances. The purpose of this beginner-friendly workshop is to introduce performing artists to different ways of building interactive systems using more accesible technologies.
No experience is required to participate in this workshop, in fact, the less experience you have with programming and electronics the better! Workshop participants will learn to program a small device called the micro:bit which is a great tool for learning to prototype technologies, work with sensors, and control some kind of artistic output.
Annie Kelly is a PhD student at CU Boulder's ATLAS Institute. She also plays bass guitar and sings in a rock band. She is interesting in how we can empower more artistic women to learn to work with technology.
Space is limited in this workshop so please fill out an interest form here. You must be 18+ to sign-up and we will be giving priority to women and non-binary artists. If you are a man please consider inviting a woman to attend with you and note this on your form. Another thing to note that this workshop is also part of a research study (Annie is a PhD student afterall) and at the start of the workshop we will be asking participants if they are willing to consent to being audio and video recorded.


{% extends 'base.html' %} {% block header %}
Take a few minutes for yourself to reflect on this simple statement.


makes text bold
emphasizes text/italics
inline text breakallows you to split up text
the tag is a void tag, doesn't need a closing tag
this is a paragraph
the tag makes a little box around the content within it
another inline tag works similarly to
tag
another block tag
works similarly to tag
styling is done within the head section
a title for something
content goes here
sample content


I Tried A £300 Gemstone Facial For Better Skin — & This Is What Happened
by aimee simeonGemstones have influenced some of the buzziest recent beauty trends: Jade nails, rose quartz hair, and marble-inspired designs are just a few ways they've taken a front seat over the past year. Not only are the colourful stones pretty to look at, but their healing properties also carry weight in the beauty world — which is why, for the latest episode of Beauty With Mi, Mi-Anne visited licensed acupuncturist Elizabeth Trattner to try her Instagram-famous Gemstone Facial.
The service, which can cost up to £300, utilises acupuncture, facial cupping, Gua Sha massage, aromatherapy, and the strategic placement of colourful healing crystals and stones to de-puff and destress high-strung skin. Whatever tension you carry when you walk in for a facial, Trattner's goal is to have you feeling zen and glowy long after you step out. Press play to watch Mi-Anne get the full gemstone treatment, above.
Related Video:


The NP208 transfer case is a chain driven transfer case in an aluminum case used in 1988+ Chevy and GMC trucks.


My name is Evan Lanning and I am a full stack web developer with LAMP experience. I have a passion for logic and love the challenge of creating functionality. My interests include skiing, hiking, camping, music, and coding.
I have experience with HTML, CSS, and JavaScript on the front end and I use Bootstrap and jQuery to make life easier. I have experience with MySQL and PHP on the backend.


Run a breadth first search on a directed graph starting at a specified source vertex and return a bfs-tree. Duplicate input edges are allowed. The input is in adjacency array format with an ordering among the outgoing edges. If the graph is not connected then only the tree over the vertices reachable from the source should be returned.
The input is a graph in the in the adjacency graph format. The graph can be directed but the search will always start at vertex 0 as the source and only search what is reachable from there. The output is a also a graph in the adjacency list format with each vertex only including edges to its children in the BFS-tree.
randLocalGraph -j -d 3 -m <5*n> <n> <filename>
rMatGraph -j -a .5 -b .1 -m <5*n> <n> <filename>
gridGraph -j -d 3 <n> <filename>


Chapter 2 Moments
2.1 Expected value
Suppose we have a discrete random variable \(Y\) with probability function \(p(.)\) with domain \(D\). Although \(p(.)\) tells us everything about the properties of \(Y\), it is often useful to summarise the properties \(Y\) using a few simple quantities.
A simple summary of the probabilistic properties of \(Y\) is the expected value or (population) mean of \(Y\), denoted by \(E(Y)\) or \(\mu\), depending on the context.
We can find the expected value of new random variable \(h(Y)\) with \[E[h(Y)] = \int_{-\infty}^{\infty} h(y) f(y) dy = \int_D h(y) f(y) dy\] if \(Y\) is a continuous random variable with pdf \(f(.)\). We may obtain a similar expression in the discrete case.
2.2 Variance
It is easy to show that \[ \text{Var}(Y) = E(Y^2) - [E(Y)]^2.\] \(\text{Var}(Y)\) is a measure of spread, and is often denoted by \(\sigma^2\).
We sometimes use the (population) standard deviation, which is just the square root of the variance, to return to the original scale of measurement of \(Y\).
2.3 Higher-order moments
So far we have summarised random variables using the mean and variance (or standard deviation), which measure the “location” and the “spread”. Why would we need anything more? Consider the following two density functions of two different continuous distributions:
In fact, the plot on the left is the pdf of a \(N(0, 1)\) distribution, and the plot on the right is the pdf of a \(\text{Uniform}(-\sqrt{3}, \sqrt{3})\) distribution. Both have mean \(0\) and variance \(1\), yet they look very different. They are both symmetric about \(0\) (the mean) but differ in terms of “shape”.
Consider two more density functions:
Again both have mean \(0\) and variance \(1\), yet they look very different. Neither is symmetric and they have different “shapes”.
How can we capture something useful about “shape”? We use so-called higher-order moments — particularly the third and fourth moments. So we need a general definition of moments and it will be useful to obtain relationships between them.
In what follows, we will assume our random variable \(Y\) has continuous distribution. The discrete case follows by replacing the pdf by the probability function and the integral by a sum.
How about the third and fourth moments about the mean? We have \[\mu_3 = E\left\{[Y - E(Y)]^3\right\} = \int_{-\infty}^\infty (y - \mu)^3 f(y) dy.\]
If \(Y\) has symmetric distribution then \(\mu_3 = 0\). If \(Y\) has a heavier right tail than left tail then \(\mu_3 > 0\), and conversely if \(Y\) has a heavier left tail than right, then \(\mu_3 < 0\).
Similarly, the fourth moment about the mean is \[\mu_4 = E\left\{[Y - E(Y)]^4\right\} = \int_{-\infty}^\infty (y - \mu)^4 f(y) dy.\]The proof is very similar to that of 2.1, and we leave it as an exercise.
For symmetric distributions, roughly speaking thick tails lead to higher values of \(\mu_4\) than light tails.
2.4 Standardised moments
Remember that the basic idea is to describe location and spread via the mean and variance and the describe “shape” in terms of the third and fourth moments. So we don’t mix up spread with shape we usually use standardised third and fourth moments about the mean.
The skewness and kurtosis are unchanged by linear transformations of \(Y\).
Of course we could consider yet higher order moments to fine tune our understanding of \(Y\). However, we often stop at \(r = 4\). Even so, if we just want to obtain the first four moments of a distribution, this may involve a lot of (difficult!) integration. In Chapter 3 we will find a method that allows us to find as many moments as we like but with only one integration required.
We will see in Example 3.4 that any \(N(\mu, \sigma^2)\) distribution has skewness \(\gamma_1 = 0\) and kurtosis \(\gamma_2 = 3\). The kurtosis of other distributions is often compared with that of a normal distribution: if \(\gamma_2 < 3\), a distribution has lighter tails than the normal distribution, while if \(\gamma_2 > 3\), a distribution has heavier tails than the normal distribution.
Example 2.5 (Higher order Bernoulli moments) Let \(Y \sim \text{Bernoulli}(\theta)\). It is easy to see that \(\mu_r^\prime = \theta\), for \(r = 1, 2, 3, \ldots\).
So, using Theorem 2.1, the third moment about the mean is \[\begin{align*} \mu_3 &= \mu_3^\prime - 3 \mu_2^\prime \mu + 2 \mu^3 \\ &= \theta - 3 \theta . \theta + 2 \theta^3 \\ &= \theta - 3 \theta^2 + 2\theta^3 \\ &= \theta (1 - \theta) (1 - 2 \theta). \end{align*}\]So the skewness is \[\gamma_1 = \frac{\mu_3}{\mu_2^{3/2}} = \frac{\theta (1 - \theta)(1 - 2 \theta)}{[\theta (1 - \theta)]^{3/2}} = \frac{1 - 2 \theta}{\sqrt{\theta(1 - \theta)}}.\] Note that the skewness is positive if \(\theta < 0.5\), zero if \(\theta = 0.5\), and negative if \(\theta > 0.5\).
Using Theorem 2.2, the fourth moment about the mean is \[\begin{align*} \mu_4 &= \mu_4^\prime - 4 \mu_3^\prime \mu + 6 \mu_2^\prime \mu^2 - 3 \mu^4 \\ &= \theta - 4 \theta. \theta + 6 \theta. \theta^2 - 3 \theta^4 \\ &= \theta(1 - 4 \theta + 6 \theta^2 - 3 \theta^3) \\ &= \theta (1 - \theta) (1 - 3 \theta + 3 \theta^2). \end{align*}\] So the kurtosis is \[\gamma_2 = \frac{\mu_4}{\mu_2^2} = \frac{1 - 3 \theta + 3 \theta^2}{\theta (1 - \theta)}.\] Note that \(\gamma_2 = 1\) for \(\theta = 0.5\).Example 2.6 (Higher order exponential moments) Let \(Y \sim \text{exponential}(\theta)\), with pdf \(f (y) = \theta \exp(- \theta y)\) for \(y > 0\). We have seen that \(E(Y) = \theta^{-1}\) (Example 2.2) and \(E(Y^2) = 2 \theta^{-2}\) (Example 2.4).
The third moment is \[\begin{align*} \mu_3^\prime = E(Y^3) &= \int_{0}^\infty y^3 \theta e^{-\theta y} dy \\ &= \frac{1}{\theta^3} \int_0^\infty t^3 e^{-t} dt \\ &= \frac{1}{\theta^3} \left\{\left[-t^3 e^{-t}\right]_0^\infty + 3 \int_0^\infty t^2 e^{-t} dt \right\} \\ &= \frac{1}{\theta^3} \left\{0 + 3 \times 2 \right\} = \frac{6}{\theta^3}, \end{align*}\]where we have used the fact that \(\int_0^\infty t^2 e^{-t} dt = 2\), from Example 2.4. So, using Theorem 2.1, the third moment about the mean is \[ \mu_3 = \mu_3^\prime - 3\mu_2^\prime \mu + 2 \mu^3 = \frac{6}{\theta^3} - \frac{6}{\theta^2} \cdot \frac{1}{\theta} + \frac{2}{\theta^3} = \frac{2}{\theta^3}.\] So the skewness is \[\gamma_1 = \frac{(2/ \theta^3)}{(1/ \theta^2)^{3/2}} = 2,\] so the exponential distribution has the same positive skewness for all values of the rate parameter \(\theta\).
The fourth moment is \[\begin{align*} \mu_4^\prime = E(Y^4) &= \int_0^\infty y^4 \theta e^{-\theta y} dy \\ &= \frac{1}{\theta^4} \int_0^\infty t^4 e^{-t} dt \\ &= \frac{1}{\theta^4} \left\{[-t^4 e^{-t}]_0^\infty + 4 \int_0^\infty t^3 e^{-t} dt \right\} \\ &= \frac{1}{\theta^4} \left\{0 + 4 \times 6 \right\} = \frac{24}{\theta^4}, \end{align*}\] where we have used that \(\int_0^\infty t^3 e^{-t}dt = 6\), from above. So, using Theorem 2.2, the fourth moment about the mean is \[\begin{align*} \mu_4 &= \mu_4^\prime - 4 \mu_3^\prime \mu + 6 \mu_2^\prime \mu^2 - 3 \mu^4\\ &= \frac{24}{\theta^4} - 4 \cdot \frac{6}{\theta^3} \cdot \frac{1}{\theta} + 6 \cdot \frac{2}{\theta^2} \cdot \frac{1}{\theta^2} - \frac{3}{\theta^4} \\ &= \frac{9}{\theta^4}. \end{align*}\] So the kurtosis is \[\gamma_2 = \frac{9/\theta^4}{(1/\theta^2)^2} = 9,\] which does not depend on \(\theta\). All exponential random variables are positively skewed (\(\gamma_1 = 2\)), with a high kurtosis (\(\gamma_2 = 9\)), meaning the exponential distribution has heavier tails than the normal distribution.


Ben Stokes lifts lid on why Alex Hales had to be left out of England cricket team in explosive new book
EXCLUSIVE: England had to leave Alex Hales out of this summer's World Cup-winning squad, because his inclusion would have created too much of a distraction
by Ben StokesAlex Hales was left out of England’s ODI World Cup-winning squad in the summer.
Ben Stokes has his say on his omission...
One player who did miss out on World Cup selection was Alex Hales.
The rest of us were truly taken aback when we found out that he was missing some cricket, citing personal reasons.
It was subsequently reported in the press that his absence was due to a 21-day suspension for failing two recreational drugs tests.
The group of senior players within the squad had no idea that he had been suspended because the ECB’s rules require it to keep such suspensions confidential.
It was soon clear that I was not the only one questioning how we had not known anything about it.
It was not that any of us wanted to pry into the troubles of one of our teammates; rather than Alex as an individual had not felt able to share his struggles with a group that he’d spent so much time with, in a team environment over the past few years, that bothered us.
We had been a tight-knit team throughout Eoin Morgan’s captaincy period and so reading the finer details in a newspaper was not a great way for us all to find out.
Eoin Morgan made it his business to seek out the senior players within the squad to canvas their views as to what should be done about Alex’s situation.
When asked directly what I would do, I came straight out with it: ‘No. I can’t have him in the squad.’
I was speaking as someone with first-hand knowledge of what it’s like when an off-field issue is hanging over a team.
I went into all the details about my experience of what happened on the 2017–18 tour of Australia and posed the question as to whether Hales was the level of player that we could make an exception for.
Was he so indispensable that he was worth keeping in the squad no matter the sideshow that might ensue? No. This was the resounding response from myself and other senior players.
We were within sight of the prize we’d worked so hard for and we wanted our heads to be on winning the World Cup, not thinking about other issues. What was bigger? What was more important?
In the end, it came down to us protecting the culture and environment we had built.
A World Cup only comes around every four years and retaining Alex as a squad player would have proved too much of a distraction.
You don’t need an issue that draws extra attention hanging around a team for weeks.
I know this from personal experience, and I didn’t like it when I was the one that was the focus of such attention in the aftermath of the Bristol incident that contributed to me missing the last away Ashes.
The thing I hated most throughout that period of time was that other players were constantly being asked questions about me. That really upset me.
There are only so many times you can see your team-mates having to answer questions that they really shouldn’t have to, and don’t know much about, before it really gets to you.
I was left wondering when it was all going to stop. Unfortunately, it would have been a similar case if Alex had been in our World Cup squad.
ON FIRE: MY STORY OF ENGLAND’S SUMMER TO REMEMBER by Ben Stokes is published by Headline on 14th November 2019 (£20).


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A storage component to store a persistent cloud of 3D points, based on a std::set.
More...
|
| FrameworkReturnCode | addPoint (const SRef< SolAR::datastructure::CloudPoint > point) override |
| | This method allow to add a 3D point to the point cloud. More...
|
| |
| FrameworkReturnCode | addPoints (const std::vector< SRef< SolAR::datastructure::CloudPoint > > &points) override |
| | This method allow to add a vector of 3D points to the point cloud. More...
|
| |
| FrameworkReturnCode | addPoint (const SolAR::datastructure::CloudPoint &point) override |
| | This method allow to add a 3D point to the point cloud. More...
|
| |
| FrameworkReturnCode | addPoints (const std::vector< SolAR::datastructure::CloudPoint > &points) override |
| | This method allow to add a vector of 3D points to the point cloud. More...
|
| |
| FrameworkReturnCode | getPoint (const uint32_t id, SRef< SolAR::datastructure::CloudPoint > &point) const override |
| | This method allows to get a 3D point stored in the point cloud by its id. More...
|
| |
| FrameworkReturnCode | getPoints (const std::vector< uint32_t > &ids, std::vector< SRef< SolAR::datastructure::CloudPoint > > &points) const override |
| | This method allows to get a set of 3D points stored in the point cloud by their ids. More...
|
| |
| FrameworkReturnCode | getAllPoints (std::vector< SRef< SolAR::datastructure::CloudPoint > > &points) const override |
| | This method allows to get all 3D points stored in the point cloud. More...
|
| |
| FrameworkReturnCode | suppressPoint (const uint32_t id) override |
| | This method allow to suppress a point stored in the point cloud by its id. More...
|
| |
| FrameworkReturnCode | suppressPoints (const std::vector< uint32_t > &ids) override |
| | This method allow to suppress a vector of points stored in the point cloud by their ids. More...
|
| |
| SolAR::datastructure::DescriptorType | getDescriptorType () const override |
| | This method allows to get the descriptor type used to extract descriptor for each cloud point. More...
|
| |
| FrameworkReturnCode | setDescriptorType (const SolAR::datastructure::DescriptorType &type) override |
| | This method allows to set the descriptor type used to extract descriptor for each cloud point. More...
|
| |
| bool | isExistPoint (const uint32_t id) const override |
| | This method allows to know if a point is already stored in the component. More...
|
| |
| int | getNbPoints () const override |
| | This method allows to get the number of points stored in the point cloud. More...
|
| |
| FrameworkReturnCode | saveToFile (const std::string &file) const override |
| | This method allows to save the point cloud to the external file. More...
|
| |
| FrameworkReturnCode | loadFromFile (const std::string &file) override |
| | This method allows to load the point cloud from the external file. More...
|
| |
| const SRef< datastructure::PointCloud > & | getConstPointCloud () const override |
| | This method returns the point cloud. More...
|
| |
| std::unique_lock< std::mutex > | getPointCloud (SRef< datastructure::PointCloud > &pointCloud) override |
| | This method returns the point cloud. More...
|
| |
| void | setPointCloud (const SRef< datastructure::PointCloud > pointCloud) override |
| | This method is to set the point cloud. More...
|
| |
|
void | unloadComponent () override final |
| |
A storage component to store a persistent cloud of 3D points, based on a std::set.


Braille is a tactile writing system used by the blind and the visually impaired. It is traditionally written with embossed paper. Braille characters are small rectangular blocks, called cells, which contain tiny palpable bumps called raised dots. The number and arrangement of these dots distinguish one character from another.
We will use a 6-dots Braille alphabet. Each letter can be represented as a 3x2 matrix where 1 is a raised dot and 0 is an empty space.
(Letter W is not original)
Letters should be separated by an empty column. Whitespaces are two empty columns (plus a separator empty column if it is between letters). Various formatting marks indicate the values of the letters that follow them. They have no direct equivalent in print. The most important indicators in English Braille are: "capital" and "number". These marks work as "shift" - only for a follow letter.
We will use several basic punctuation symbols:
You are given a page of text and you should convert it into Braille. The page contains one or several lines represented as a matrix. Each line contains no more than 10 symbols (including non-printed). Lines are separated by one empty row. Symbols are separated by empty columns but there are no separators in beginnings and ends of lines. If text can be placed in one line, then the page width is proportional to the length of the text. If the page has more than one line, then the width is equal to the longer line and the final line is appended by whitespaces.
For example, this is the text "hello 1st World!".
Input: A text as a string.
Output: The page as a{% if is_js %}n array of arrays with numbers{% else %} list of lists with integers{% endif %} (1/0).
Examples:
{{init_code_tmpl}}
How it is used: Braille is an international concept which allow blind people to read written text. The script which you will write for this mission would be useful when parsing braille text and formatting it for printing, or it could be used to translate existing text into braille for others.
Preconditions:


Box Office Records > Domestic > All Movies > Cumulative > All Time Domestic
All Time Domestic Box Office (Rank 2,301-2,400)
See also: All Time Domestic Limited Release - All Time International - All Time Worldwide - All Time Domestic (Inf. Adj.) - Top 2016 Domestic - Top 2017 Domestic
This chart contains the top 100 movies based on the cumulative domestic box office.
Please see our All-Time Top Grossing Films Comparison for a comparison of the daily performance of all films released since 1980 that have earned more than $450 million at the domestic box office.
| Rank | Released | Movie | Domestic Box Office |
International Box Office |
Worldwide Box Office |
|---|---|---|---|---|---|
| 2,301 | 2015 | Concussion | $34,531,832 | $15,831,958 | $50,363,790 |
| 2,302 | 2011 | Courageous | $34,522,221 | $663,663 | $35,185,884 |
| 2,303 | 1970 | Woodstock | $34,505,110 | $0 | $34,505,110 |
| 2,304 | 1987 | Heat | $34,493,095 | $0 | $34,493,095 |
| 2,305 | 2003 | Monster | $34,469,210 | $29,771,603 | $64,240,813 |
| 2,306 | 1991 | The Doors | $34,416,893 | $0 | $34,416,893 |
| 2,307 | 1987 | Like Father Like Son | $34,377,585 | $0 | $34,377,585 |
| 2,308 | 2004 | Eternal Sunshine of the Spotless Mind | $34,366,518 | $38,336,944 | $72,703,462 |
| 2,309 | 2016 | Inferno | $34,355,263 | $185,217,614 | $219,572,877 |
| 2,310 | 2012 | The Watch | $34,353,000 | $32,777,045 | $67,130,045 |
| 2,311 | 2013 | Texas Chainsaw 3D | $34,341,945 | $13,324,068 | $47,666,013 |
| 2,312 | 1967 | Thoroughly Modern Millie | $34,335,025 | $0 | $34,335,025 |
| 2,313 | 1996 | Muppet Treasure Island | $34,327,391 | $0 | $34,327,391 |
| 2,314 | 1980 | Little Darlings | $34,326,249 | $0 | $34,326,249 |
| 2,315 | 2003 | Malibu's Most Wanted | $34,308,901 | $190,303 | $34,499,204 |
| 2,316 | 2006 | Babel | $34,302,837 | $97,818,375 | $132,121,212 |
| 2,317 | 2004 | Alexander | $34,297,191 | $133,000,000 | $167,297,191 |
| 2,318 | 2014 | This is Where I Leave You | $34,296,320 | $7,000,000 | $41,296,320 |
| 2,319 | 1975 | Tommy | $34,251,525 | $0 | $34,251,525 |
| 2,320 | 2003 | The Hunted | $34,234,008 | $12,979,087 | $47,213,095 |
| 2,321 | 1981 | Excalibur | $34,200,000 | $0 | $34,200,000 |
| 2,322 | 2008 | The Reader | $34,194,407 | $78,770,468 | $112,964,875 |
| 2,323 | 1979 | 1941 | $34,175,000 | $60,700,000 | $94,875,000 |
| 2,324 | 2005 | Magnificent Desolation | $34,126,126 | $5,720,770 | $39,846,896 |
| 2,325 | 1999 | Instinct | $34,105,207 | $0 | $34,105,207 |
| 2,326 | 1999 | The Best Man | $34,102,780 | $470,000 | $34,572,780 |
| 2,327 | 2000 | My Dog Skip | $34,099,640 | $1,695,679 | $35,795,319 |
| 2,328 | 2017 | Everything, Everything | $34,099,031 | $11,800,000 | $45,899,031 |
| 2,329 | 1996 | The Truth About Cats & Dogs | $34,084,531 | $0 | $34,084,531 |
| 2,330 | 2015 | The DUFF | $34,030,343 | $9,498,291 | $43,528,634 |
| 2,331 | 2006 | Snakes on a Plane | $34,020,814 | $28,000,000 | $62,020,814 |
| 2,332 | 2004 | Closer | $33,987,757 | $82,189,938 | $116,177,695 |
| 2,333 | 1997 | The Relic | $33,956,608 | $0 | $33,956,608 |
| 2,334 | 2006 | She's the Man | $33,889,159 | $21,390,449 | $55,279,608 |
| 2,335 | 1999 | Mickey Blue Eyes | $33,864,342 | $20,000,000 | $53,864,342 |
| 2,336 | 2009 | All About Steve | $33,862,903 | $6,264,356 | $40,127,259 |
| 2,337 | 1976 | The Pink Panther Strikes Again | $33,833,201 | $0 | $33,833,201 |
| 2,338 | 2003 | Stuck On You | $33,832,741 | $29,704,423 | $63,537,164 |
| 2,339 | 1987 | Adventures in Babysitting | $33,790,923 | $0 | $33,790,923 |
| 2,340 | 2000 | Where the Heart Is | $33,771,174 | $7,090,880 | $40,862,054 |
| 2,341 | 1983 | Porky's II: The Next Day | $33,759,266 | $0 | $33,759,266 |
| 2,342 | 1966 | Who's Afraid of Virginia Wolf? | $33,736,689 | $0 | $33,736,689 |
| 2,343 | 1939 | The Wizard of Oz | $33,711,566 | $43,401 | $33,754,967 |
| 2,344 | 2003 | Dreamcatcher | $33,685,268 | $42,000,000 | $75,685,268 |
| 2,345 | 2014 | The Gambler | $33,680,992 | $5,037,039 | $38,718,031 |
| 2,346 | 2010 | Devil | $33,679,655 | $29,674,459 | $63,354,114 |
| 2,347 | 2004 | The Punisher | $33,664,370 | $20,869,404 | $54,533,774 |
| 2,348 | 2010 | Marmaduke | $33,644,788 | $56,251,142 | $89,895,930 |
| 2,349 | 1991 | Curly Sue | $33,644,430 | $0 | $33,644,430 |
| 2,350 | 2013 | R.I.P.D. | $33,618,855 | $45,457,823 | $79,076,678 |
| 2,351 | 2006 | Flags of Our Fathers | $33,602,376 | $30,055,565 | $63,657,941 |
| 2,352 | 1977 | The Turning Point | $33,600,000 | $0 | $33,600,000 |
| 2,353 | 1994 | Nell | $33,592,700 | $0 | $33,592,700 |
| 2,354 | 2005 | The Constant Gardener | $33,579,798 | $52,721,801 | $86,301,599 |
| 2,355 | 2002 | I Spy | $33,561,137 | $26,718,685 | $60,279,822 |
| 2,356 | 1991 | King Ralph | $33,512,735 | $0 | $33,512,735 |
| 2,357 | 2000 | Pay it Forward | $33,508,922 | $22,187,783 | $55,696,705 |
| 2,358 | 2008 | Semi-Pro | $33,479,698 | $10,500,665 | $43,980,363 |
| 2,359 | 2008 | Fireproof | $33,456,317 | $16,980 | $33,473,297 |
| 2,360 | 1996 | The Long Kiss Goodnight | $33,447,612 | $0 | $33,447,612 |
| 2,361 | 2008 | Doubt | $33,446,470 | $19,744,631 | $53,191,101 |
| 2,362 | 1994 | Street Fighter | $33,423,000 | $66,000,000 | $99,423,000 |
| 2,363 | 2001 | Black Knight | $33,422,806 | $0 | $33,422,806 |
| 2,364 | 2013 | Blue Jasmine | $33,404,871 | $69,508,090 | $102,912,961 |
| 2,365 | 1968 | The Planet of the Apes | $33,395,426 | $0 | $33,395,426 |
| 2,366 | 1968 | Rosemary's Baby | $33,395,426 | $0 | $33,395,426 |
| 2,367 | 2009 | Halloween 2 | $33,392,973 | $5,119,877 | $38,512,850 |
| 2,368 | 2017 | Monster Trucks | $33,370,166 | $28,311,102 | $61,681,268 |
| 2,369 | 2001 | See Spot Run | $33,357,476 | $9,700,076 | $43,057,552 |
| 2,370 | 2012 | 2016: Obama’s America | $33,349,941 | $0 | $33,349,941 |
| 2,371 | 2009 | The Informant! | $33,316,821 | $8,454,347 | $41,771,168 |
| 2,372 | 1981 | Absence of Malice | $33,312,129 | $0 | $33,312,129 |
| 2,373 | 2015 | Woman in Gold | $33,307,793 | $23,450,345 | $56,758,138 |
| 2,374 | 2007 | Mr. Bean’s Holiday | $33,302,167 | $201,679,175 | $234,981,342 |
| 2,375 | 1979 | ...And Justice For All | $33,300,000 | $0 | $33,300,000 |
| 2,376 | 1957 | The Bridge on the River Kwai | $33,300,000 | $0 | $33,300,000 |
| 2,377 | 1989 | Fletch Lives | $33,266,859 | $0 | $33,266,859 |
| 2,378 | 2002 | Friday After Next | $33,253,609 | $273,226 | $33,526,835 |
| 2,379 | 1988 | Child's Play | $33,244,684 | $10,952,000 | $44,196,684 |
| 2,380 | 1969 | Hello, Dolly | $33,208,099 | $0 | $33,208,099 |
| 2,381 | 2001 | Le Fabuleux destin d'Amélie Poulain | $33,201,661 | $141,000,000 | $174,201,661 |
| 2,382 | 1985 | Silverado | $33,200,000 | $0 | $33,200,000 |
| 2,383 | 1995 | Forget Paris | $33,194,512 | $0 | $33,194,512 |
| 2,384 | 1996 | Striptease | $33,109,743 | $80,200,000 | $113,309,743 |
| 2,385 | 1996 | Matilda | $33,098,222 | $0 | $33,098,222 |
| 2,386 | 1985 | Teen Wolf | $33,086,611 | $0 | $33,086,611 |
| 2,387 | 2007 | Zodiac | $33,080,084 | $50,000,000 | $83,080,084 |
| 2,388 | 2015 | The Second Best Exotic Marigold Hotel | $33,078,266 | $57,306,040 | $90,384,306 |
| 2,389 | 2011 | The Rite | $33,047,633 | $64,096,354 | $97,143,987 |
| 2,390 | 2011 | Arthur | $33,035,397 | $14,752,546 | $47,787,943 |
| 2,391 | 2005 | Dreamer: Inspired by a True Story | $33,022,286 | $6,476,074 | $39,498,360 |
| 2,392 | 2007 | Breach | $33,000,880 | $1,457,899 | $34,458,779 |
| 2,393 | 2000 | Dracula 2000 | $33,000,377 | $0 | $33,000,377 |
| 2,394 | 1981 | Endless Love | $33,000,000 | $0 | $33,000,000 |
| 2,395 | 1977 | Heroes | $33,000,000 | $0 | $33,000,000 |
| 2,396 | 1985 | The Last Dragon | $33,000,000 | $0 | $33,000,000 |
| 2,397 | 1981 | Sharky's Machine | $32,984,898 | $0 | $32,984,898 |
| 2,398 | 1998 | Mercury Rising | $32,983,332 | $0 | $32,983,332 |
| 2,399 | 1984 | Friday the 13th Part IV: The Final Chapter | $32,980,880 | $0 | $32,980,880 |
| 2,400 | 1987 | *batteries not included | $32,945,797 | $0 | $32,945,797 |
The Domestic Market is defined as the North American movie territory (consisting of the United States, Canada, Puerto Rico and Guam).
This table is updated daily to reflect the latest studio reports.
Note: This chart is not adjusted for inflation.


| | 1 | = Customizing the Trac Interface = |
| | 2 | [[TracGuideToc]] |
| | 3 | |
| | 4 | == Introduction == |
| | 5 | This page is meant to give users suggestions on how they can customize the look of Trac. Topics on this page cover editing the HTML templates and CSS files, but not the program code itself. The topics are intended to show users how they can modify the look of Trac to meet their specific needs. Suggestions for changes to Trac's interface applicable to all users should be filed as tickets, not listed on this page. |
| | 6 | |
| | 7 | == Project Logo and Icon == |
| | 8 | The easiest parts of the Trac interface to customize are the logo and the site icon. Both of these can be configured with settings in [wiki:TracIni trac.ini]. |
| | 9 | |
| | 10 | The logo or icon image should be put in a folder named "htdocs" in your project's environment folder. (''Note: in projects created with a Trac version prior to 0.9 you will need to create this folder'') |
| | 11 | |
| | 12 | ''Note: you can actually put the logo and icon anywhere on your server (as long as it's accessible through the web server), and use their absolute or server-relative URLs in the configuration.'' |
| | 13 | |
| | 14 | Now configure the appropriate section of your [wiki:TracIni trac.ini]: |
| | 15 | |
| | 16 | === Logo === |
| | 17 | Change the `src` setting to `site/` followed by the name of your image file. The `width` and `height` settings should be modified to match your image's dimensions (the Trac chrome handler uses "`site/`" for files within the project directory `htdocs` and "`common/`" for the common ones). |
| | 18 | |
| | 19 | {{{ |
| | 20 | [header_logo] |
| | 21 | src = site/my_logo.gif |
| | 22 | alt = My Project |
| | 23 | width = 300 |
| | 24 | height = 100 |
| | 25 | }}} |
| | 26 | |
| | 27 | === Icon === |
| | 28 | Icons should be a 16x16 image in `.gif` or `.ico` format. Change the `icon` setting to `site/` followed by the name of your icon file. Icons will typically be displayed by your web browser next to the site's URL and in the `Bookmarks` menu. |
| | 29 | |
| | 30 | {{{ |
| | 31 | [project] |
| | 32 | icon = site/my_icon.ico |
| | 33 | }}} |
| | 34 | |
| | 35 | Note though that this icon is ignored by Internet Explorer, which only accepts a file named ``favicon.ico`` at the root of the host. To make the project icon work in both IE and other browsers, you can store the icon in the document root of the host, and reference it from ``trac.ini`` as follows: |
| | 36 | |
| | 37 | {{{ |
| | 38 | [project] |
| | 39 | icon = /favicon.ico |
| | 40 | }}} |
| | 41 | |
| | 42 | == Site Header & Footer == |
| | 43 | |
| | 44 | In the environment folder for each Trac project there should be a directory called {{{templates}}}. This folder contains files {{{site_header.cs}}} and {{{site_footer.cs}}}. Users can customize their Trac site by adding the required HTML markup to these files. The content of these two files will be placed immediately following the opening {{{}}} tag and immediately preceding the closing {{{}}} tag of each page in the site, respectively. |
| | 45 | |
| | 46 | These files may contain static HTML, though if users desire to have dynamically generated content they can make use of the [http://www.clearsilver.net/ ClearSilver] templating language from within the pages as well. When you need to see what variables are available to the template, append the query string `?hdfdump=1` to the URL of your Trac site. This will display a structured view of the template data. |
| | 47 | |
| | 48 | == Site CSS == |
| | 49 | The primary means to adjust the layout of a Trac site is to add [http://www.w3.org/TR/REC-CSS2/ CSS] style rules that overlay the default rules. This is best done by editing the `site_css.cs` file in the enviroment's `templates` directory. The content of that template gets inserted into a `<style type="text/css"></style>` element on every HTML page generated by Trac. |
| | 50 | |
| | 51 | While you can add your custom style rules directly to the `site_css.cs` file, it is recommended that you simply reference an external style sheet, thereby enabling browsers to cache the CSS file instead of transmitting the rules with every response. |
| | 52 | |
| | 53 | The following example would import a style sheet located in the `style` root directory of your host: |
| | 54 | {{{ |
| | 55 | @import url(/style/mytrac.css); |
| | 56 | }}} |
| | 57 | |
| | 58 | You can use a !ClearSilver variable to reference a style sheet stored in the project environment's `htdocs` directory: |
| | 59 | {{{ |
| | 60 | @import url(<?cs var:chrome.href ?>/site/style.css); |
| | 61 | }}} |
| | 62 | |
| | 63 | == Project List == |
| | 64 | You can use a custom ClearSilver template to display the list of projects if you are using Trac with multiple projects. |
| | 65 | |
| | 66 | The following is the basic template used by Trac to display a list of links to the projects. For projects that could not be loaded it displays an error message. You can use this as a starting point for your own index template. |
| | 67 | |
| | 68 | {{{ |
| | 69 | #!text/html |
| | 70 |  |
| | 71 | <title>Available Projects</title> |
| | 72 |  |
| | 73 |
Available Projects
 |
| | 74 |
<?cs |
| | 75 | each:project = projects ?>
<?cs |
| | 76 | if:project.href ?> |
| | 77 | <a href="<?cs var:project.href ?>" title="<?cs var:project.description ?>"> |
| | 78 | <?cs var:project.name ?><?cs |
| | 79 | else ?> |
| | 80 | <?cs var:project.name ?>: Error
 |
| | 81 | (<?cs var:project.description ?>)<?cs |
| | 82 | /if ?> |
| | 83 |
<?cs |
| | 84 | /each ?> |
| | 85 |
 |
| | 86 |  |
| | 87 |  |
| | 88 | }}} |
| | 89 | |
| | 90 | Once you've created your custom template you will need to configure the webserver to tell Trac where the template is located: |
| | 91 | |
| | 92 | For [wiki:TracFastCgi FastCGI]: |
| | 93 | {{{ |
| | 94 | FastCgiConfig -initial-env TRAC_ENV_PARENT_DIR=/parent/dir/of/projects \ |
| | 95 | -initial-env TRAC_ENV_INDEX_TEMPLATE=/path/to/template |
| | 96 | }}} |
| | 97 | |
| | 98 | For [wiki:TracModPython mod_python]: |
| | 99 | {{{ |
| | 100 | PythonOption TracEnvIndexTemplate /path/to/template |
| | 101 | }}} |
| | 102 | |
| | 103 | For [wiki:TracCgi CGI]: |
| | 104 | {{{ |
| | 105 | SetEnv TRAC_ENV_INDEX_TEMPLATE /path/to/template |
| | 106 | }}} |
| | 107 | |
| | 108 | |
| | 109 | == Main Templates == |
| | 110 | |
| | 111 | It is also possible to use your own modified versions of the Trac [http://www.clearsilver.net/ ClearSilver] templates. Note though that this technique is not recommended because it makes upgrading Trac rather problematic: there are unfortunately several dependencies between the templates and the application code, such as the name of form fields and the structure of the template data, and these are likely to change between different versions of Trac. |
| | 112 | |
| | 113 | If you absolutely need to use modified templates, copy the template files from the default templates directory (usually in found in `$prefix/share/trac/templates`) into the `templates` directory of the project environment. Then modify those copies to get the desired results. |
| | 114 | |
| | 115 | ---- |
| | 116 | See also TracGuide, TracIni |


About us
Seminole High School is a comprehensive public high school enrolling approximately 3200 students in grades 9 through 12. The school offers two magnet programs, the International Baccalaureate (IB) and Academy of Health Careers, plus the traditional comprehensive high school program which offers remedial, standard, honors, gifted, and Advanced Placement classes.


{% extends "tab-child.html" %} {% block head %} {% endblock %} {% block content %} {% if dangers %}
Click and drag on plot to zoom in. Double click to zoom back out to full size. Hover over a box to see the parametric seven-number summary of the quality scores at the corresponding position.


Euclidean geometry is a mathematical system attributed to Alexandrian Greek mathematician Euclid, which he described in his textbook on geometry: The Elements. Euclid's method consists in assuming a small set of intuitively appealing axioms, and deducing many other propositions (theorems) from these. Although many of Euclid's results had been stated by earlier mathematicians Euclid was the first to show how these propositions could fit into a comprehensive deductive and logical system.
The Elements begins with plane geometry, as the first axiomatic system and the first examples of formal proof. It goes on to the solid geometry of three dimensions. Much of the Elements states results of what are now called algebra and number theory, explained in geometrical language.
Euclidean geometry is an example of synthetic geometry, in that it proceeds logically from axioms describing basic properties of geometric objects such as points and lines, to propositions about those objects, all without the use of coordinates to specify those objects. This is in contrast to analytic geometry, which uses coordinates to translate geometric propositions into algebraic formulas
Euclidean geometry is an axiomatic system, in which all theorems ("true statements") are derived from a small number of simple axioms. Until the advent of non-Euclidean geometry, these axioms were considered to be obviously true in the physical world, so that all the theorems would be equally true.
Near the beginning of the first book of the Elements, Euclid gives five postulates (axioms) for plane geometry:
Triangles are congruent if they have all three sides equal (SSS), two sides and the angle between them equal (SAS), or two angles and a side equal (ASA) (Book I, propositions 4, 8, and 26). Triangles with three equal angles (AAA) are similar, but not necessarily congruent. Also, triangles with two equal sides and an adjacent angle are not necessarily equal or congruent.
The sum of the angles of a triangle is equal to a straight angle (180 degrees).This causes an equilateral triangle to have three interior angles of 60 degrees. Also, it causes every triangle to have at least two acute angles and up to one obtuse or right angle.
The celebrated Pythagorean theorem (book I, proposition 47) states that in any right triangle, the area of the square whose side is the hypotenuse (the side opposite the right angle) is equal to the sum of the areas of the squares whose sides are the two legs (the two sides that meet at a right angle).
Thales' theorem, named after Thales of Miletus states that if A, B, and C are points on a circle where the line AC is a diameter of the circle, then the angle ABC is a right angle.


Displayed as a modal and centered horizontally and vertically on the page.
Fixed positioning on either the top or the bottom of the page.
| Option | Default | Description |
|---|---|---|
| form | null | Set your Jetstash form ID. |
| type | "banner" | Set which type of positioning you want for the popover. |
| position | "top" | Set where on the page you want the banner to appear (only for banner type). |
| style | false | This is a description. |
| show | false | This is a description. |
| delay | 500 | Set your delay for the timed option instead of displaying on scroll. |
| scroll | false | Set to "true" to enable the popover to appear on scroll; will disable the delay time interval option. |
| title | "Subscribe" | Set the popover title text. |
| button | "Submit" | Set the popover submit button text. |


The container for this simulation.
for simulation
Add a spacekit object (usually a SpaceObject) to the visualization.
Object to add to visualization
Set to true if object does not need to be animated.
Creates an ambient light source. This will dimly light everything in the visualization.
Color of light, default 0x333333
Creates a light source. This will make the shape of your objects visible and provide some contrast.
Position of light source. Defaults to moving with camera.
Color of light, default 0xFFFFFF
Shortcut for creating a new SpaceObject belonging to this visualization. Takes any SpaceObject arguments.
Shortcut for creating a new ShapeObject belonging to this visualization. Takes any ShapeObject arguments.
Shortcut for creating a new Skybox belonging to this visualization. Takes any Skybox arguments.
Shortcut for creating a new SphereOjbect belonging to this visualization. Takes any SphereObject arguments.
Shortcut for creating a new Stars object belonging to this visualization. Takes any Stars arguments.
Shortcut for creating a new StaticParticles object belonging to this visualization. Takes any StaticParticles arguments.

Add some extra room in the viewport. Increase to be further zoomed out, decrease to be closer. Default 3.0.
Get an object that contains useful context for this visualization
Context object
Get a date object representing local date and time of the simulation.
Date of simulation
Gets the current JD date of the simulation
JD date
Get the JD per frame of the visualization.
Get the JD change per second of the visualization.
JD per second, undefined if jd per second is not set.

NaturalSatellites object that is ready to load.
Removes an object from the visualization.
Object to remove
Installs a scroll handler that only renders the visualization while it is in the user's viewport.
The scroll handler currently binds to the window object only.
Enable or disable camera drift.
True if you want the camera to float around a bit
Set the local date and time of the simulation.
Date of simulation
Sets the JD date of the simulation.
JD date
Set the JD per frame of the visualization. This will override any existing "JD per second" setting.
JD per frame
Set the JD change per second of the visualization.
JD per second
Run the animation
Performs a forced update of all elements in the view. This is used for when the system isn't animating but the objects need to update their data to properly capture things like updated label positions.
Stop the animation
Adjust camera position so that the object fits within the viewport. If applicable, this function will fit around the object's orbit.
Object to fit within viewport.
Add some extra room in the viewport. Increase to be further zoomed out, decrease to be closer. Default 3.0.
Generated using TypeDoc
The main entrypoint of a visualization.
This class wraps a THREE.js scene, controls, skybox, etc in an animated Simulation.


Strictly's Anton kisses stunned Emma as he receives first ever 10s after 17 years
The Strictly Come Dancing pro was stunned after head judge Shirley Ballas and Bruno Tonioli awarded him and EastEnders star Emma 10s
by Irishmirror.ieAnton Du Beke kissed partner Emma Barton after receiving his first ever 10s after 17 years on Strictly.
The pro was stunned after head judge Shirley Ballas and Bruno Tonioli awarded him and EastEnders star Emma 10s.
Emma and Anton received a total of 37 after performing an American Smooth to Ella Fitzgerald's Let's Face The Music.
Both Shirley and Bruno were on their feet afterwards, hailing the dance "elegant".
Anton couldn't believe it when they were awarded the scores, with Anton almost collapsing as Emma stared on in shock.
Later, Anton curled an arm around Emma and kissed her cheek.
Tonight, the remaining seven couples took to the floor to perform at the famous Blackpool Tower Ballroom.
This year's celebs packed up their fake tan, glitter and dancing shoes to head to the home of ballroom.
The grand final is now in sight, so the celebs will know what's at stake as they do their best to impress all of the judges.
Tonight's dances included a Beyonce-themed Paso to a Salsa to Uptown Funk.
Fans will have to wait until tomorrow to discover the remaining celebs' fate, as well as watch a huge Westlife performance.
Unfortunately, BBC presenter Mike Bushell missed out on Blackpool as he became the latest celeb to leave last weekend.
His partner Katya Jones told him after they were voted out: "Honestly I’m so proud of him and I think after even this dance which I think was your best dance you can leave with your head held up honestly; and in my eyes you’re the winner. The only thing he has lost is weight.
"He came in every single day giving his heart, soul, everything, 200% no matter what after every single dance off and thank you so much. I’m so sorry I couldn’t take to Blackpool."
*Strictly results air tomorrow at 7.15pm on BBC One


| internal class | TokenMap |
| public int | GetTokenId(const String<uchar>& tokenName) |
| public String<uchar> | GetTokenInfo(int tokenId) |
| public String<uchar> | GetTokenName(int tokenId) |
| public const int | ADD = 26 |
| public const int | ALIGNMENT = 48 |
| public const int | AND = 31 |
| public const int | ARG = 8 |
| public const int | ASSIGN = 76 |
| public const int | AST = 71 |
| public const int | AT = 77 |
| public const int | BITCAST = 21 |
| public const int | BOOL = 50 |
| public const int | BRANCH = 10 |
| public const int | BYTE = 52 |
| public const int | CALL = 11 |
| public const int | CLSID = 81 |
| public const int | COLON = 72 |
| public const int | COMMA = 68 |
| public const int | CONV = 64 |
| public const int | CU = 1 |
| public const int | DATA = 4 |
| public const int | DIV = 29 |
| public const int | DOLLAR = 78 |
| public const int | DOUBLE = 60 |
| public const int | ELEMADDR = 41 |
| public const int | END = 0 |
| public const int | EQUAL = 36 |
| public const int | EXCLAMATION = 79 |
| public const int | FALSE = 62 |
| public const int | FLOAT = 59 |
| public const int | FLOATTOINT = 23 |
| public const int | FUNCTION = 5 |
| public const int | HEXNUM = 84 |
| public const int | ID = 2 |
| public const int | INT = 55 |
| public const int | INTTOFLOAT = 22 |
| public const int | INTTOPTR = 24 |
| public const int | JMP = 9 |
| public const int | LBRACE = 69 |
| public const int | LBRACKET = 74 |
| public const int | LESS = 37 |
| public const int | LOAD = 40 |
| public const int | LOCAL = 39 |
| public const int | LONG = 57 |
| public const int | LPAREN = 66 |
| public const int | METADATA = 65 |
| public const int | MOD = 30 |
| public const int | MUL = 28 |
| public const int | NEG = 17 |
| public const int | NOP = 14 |
| public const int | NOT = 16 |
| public const int | NULL = 63 |
| public const int | NUMBER = 83 |
| public const int | OFFSET = 46 |
| public const int | ONCE = 6 |
| public const int | OR = 32 |
| public const int | PARAM = 38 |
| public const int | PTRDIFF = 43 |
| public const int | PTROFFSET = 42 |
| public const int | PTRTOINT = 25 |
| public const int | RBRACE = 70 |
| public const int | RBRACKET = 75 |
| public const int | RET = 12 |
| public const int | RPAREN = 67 |
| public const int | SAVE = 15 |
| public const int | SBYTE = 51 |
| public const int | SEMICOLON = 73 |
| public const int | SHL = 34 |
| public const int | SHORT = 53 |
| public const int | SHR = 35 |
| public const int | SIGNEXTEND = 18 |
| public const int | SIZE = 47 |
| public const int | STORE = 7 |
| public const int | STRING = 82 |
| public const int | SUB = 27 |
| public const int | SWITCH = 13 |
| public const int | TRAP = 44 |
| public const int | TRUE = 61 |
| public const int | TRUNCATE = 20 |
| public const int | TYPE = 45 |
| public const int | TYPEID = 80 |
| public const int | TYPES = 3 |
| public const int | UINT = 56 |
| public const int | ULONG = 58 |
| public const int | USHORT = 54 |
| public const int | VOID = 49 |
| public const int | XOR = 33 |
| public const int | ZEROEXTEND = 19 |


Satisfaction level
Last Evaluation
Number of Projects
Hours spend in a month in average
Numbers of year in the company
Numbers of work accident
Numbers of promotions in last 5 years
Department you work
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Lynbrook High School Senior
I was one of 8 guys who participated in our Boys’ Dance,
which was basically put together at the last minute
I had a very... interesting... role as Ariana Grande in the dance
The first of many dance performances as part of my team, LHS Deewani. Looking back, our dances were kind of embarrassing, but we were all freshmen, so nobody expected too much.
My first official robotics competition in high school. It gave me the excitement and motivation to continue Robotics for the rest of high school.
I again participated in our Guys' Dance, and we had many more people this time.
Another Bollywood dance performance. Silsilay was fairly early this year, so our dances were simpler, since we had less time to prepare.
I went with my family during Mid-year Break to visit Israel. It was right after the end of a difficult Robotics Build Season, and it felt good to take a break.
I traveled out of town for my first Away Regional for Robotics, in West Valley City, Utah. We ended up semifinalists, which I considered a huge accomplishment at the time.
I had my first experience of a tech internship, at the company DataTorrent in both India and San Jose. I learned a lot and the internship helped shape my future plans.
I went to Lubbock, Texas, for a robotics competition. It ended up being very successful, as we were the chamipons and qualified for the World Chamiponships.
A great day spent with friends.
A really good year of Silsilay. We had improved significantly since the previous year, and our team also had many more people.
I went to Houston with my Robotics team, where we competed among the best teams in the world.
I went to Ontario, California, and competed through written tests for Accounting 1 and Business Calculations. I didn't win anything, but it was a fun experience.
My first paid job. I led a two-week summer camp teaching programming and web development.
My most active year of homecoming: I participated in both Men's Dance and Coed Dance.
I visited Hawaii with my family to relax after finishing my grueling college application process.
We ended our last performance as a team with an amazing performance, the best we've ever done.
I was extremely happy, since I have always dreamed of going there.
As well as being there for another great competition among the best team in the world, I got to represent my team on live TV during the Alliance Selection portion of the competition.
One person who has influenced me positively is my robotics coach, Mr. G. Although he isn’t a teacher, he is still considered a school staff member and volunteers all his lunches as well as countless hours after school to help our team. When I was a freshman, I joined Robotics club but I didn’t find it too exciting, as I never really had anything to do. At the end of freshman year, as I was planning to quit the team, I came to one last event. While I was there, Mr. G. decided to talk to me, even though he did not recognize me, and ask what I would be interested in doing on the team. He personally encouraged me to join the design team. Thanks to him, I stayed on the team and spent the next season as one of the key robot designers. Over the years, I had great experiences in Robotics and I am glad that I stayed on the team instead of quitting after my first year. In all my later experiences with Mr. G, he has been very supportive and has taken time to explain many concepts to me, even with all the other responsibilities he has, in charge of the whole team.
The most important lesson I ever learned in class would probably be one of the culture lessons from French. For example, when we learned about the education system in France, it was very enlightening to compare and contrast between the United States and France. It is easy to focus too much on ourselves, so we sometimes don’t stop to think about the rest of the world. However, learning about other countries is important because it can help us realize how privileged we are or it could gives us ideas on how to improve our communities. For example, we complain about how stressful school is here, but at least our schools have extracurricular activities, while France doesn’t. My biggest academic challenge was probably in APUSH last year. I didn’t do too well on the quizzes, but I was still trying to get an A in the class. I found questions on tests and quizzes very difficult because there were always multiple answer choices which seemed possible. Also, there always seemed to be too many questions which I had to guess on. Around the end of the year, I studied more for the final than I ever had in my life, and it worked out. I was able to bring my grade up 2% and get an A in the class. It was an important lesson because I learned how to study better, which continued to help me throughout the year and even helps me today.
I typically wake up around 7, brush my teeth, use the restroom, get dressed, and eat breakfast. I then get dropped off to school by 8 by whichever of my parents is awake. At school, I sit through 5 classes everyday and I leave at 1:05 to come back home. I eat lunch and then usually go straight to bed for a nap. On Mondays, Tuesdays, and Thursdays I have a math class at 3:30 so I have to wake up from my nap fairly early to go there. On other days, I am able to nap straight a bit longer. When I come back from math class around 5, I stay home and do my homework/distract myself and procrastinate, and I usually sleep around 1 or 2 AM. The biggest differences in my routine this year as compared to last year are because of the changes in my school schedule. I get an extra 25 minutes of sleep in the morning as a result of school starting at 8. Since I do not have a 6th or 7th period, I am able to come home and eat lunch at home. Last year, however, I was able to nap for longer because I didn’t have the math class. Otherwise, my typical day has not been very different. I had the same terrible sleeping habits throughout high school. I am pretty happy with my typical day, because I still manage to get everything done, and all the time I “waste” by getting distracted from work helps me manage my stress.
There's a fire that burns inside
It's an instinct that never lies
The target's tattooed between our eyes
Stand and fight
Under the lights on the high stage
A part of your life it can take away
Just like the blood running through your veins
Everyone's watching through your eyes
There's only two options win or die, win or die
Win or die, die, die, die, die
It went from a spark to an open flame
Now destiny's calling out your name
So reply, so reply
My favorite novel I read in high school was Lord of the Flies. I found it very interesting to learn about primal human nature, especially in a group of little boys. Throughout my childhood, Books, TV shows and movies portrayed a romanticized view of island castaways. I was always really excited about the idea and I thought that I would definitely be clever and resourceful enough to survive on an island on my own. However, this book showed me the difficulties faced by these boys when stranded on the island. Since they had to deal with a social structure, it might have been harder for them than if they were on their own. I also liked the connection of this book to principles of government, and how people must be led.


MedicAlert makes medical appointment easier and faster
Save time, book your appointment here with our team!


Title
August 23, 2014
Headings
Why is JavaScript popular in web development? Let us start with the fact that every browser supports it. Whether you are using Internet Explorer, Chrome or Firefox. The next big reason is JavaScript is fast; thanks to being supported by all web browsers. JavaScript code is added directly to a HTML page. This bypasses the need for the browser to upload virtual machines, servers or compiling programs remotely. In the past the browser would have to send messages between the servers and browser slowing down the process of loading up pages or displaying images. Now much of this takes place on the side of the client (person accessing the web pages) and the servers are free to handle more important tasks. To understand this concept better, you are using a webpage where it asks for credit card information. A JavaScript page will check if the credit card number appears valid (does it have 16 digits) before sending the information to the web servers for further validation.
RESOURCES
"links


See https://github.com/m4rc77/MemoryInfoApp for more information.
Get memory information of this application-server in JSON format.


Justin Bieber hints at babies in gushing birthday post to wife Hailey
The pair married in a secret ceremony in New York in 2018 but exchanged vows for the second time at the end of September.
Justin Bieber has hinted that he and his wife Hailey might soon have babies on the way.
The 25-year-old made the suggestion in a gushing post on Instagram celebrating her 23rd birthday.
In a post to his 121 million Instagram followers, he said: “Happy birthday babes! You make me want to be better everyday!
“The way you live you life is so attractive.. ps you turn me on in every way – next season BABIES.”
The Grammy-winner also shared two pictures of their wedding.
The couple married for the first time in a secret ceremony in New York in 2018 but exchanged vows for the second time in South Carolina at the end of September.
Bieber was not the only star wishing the model a happy birthday.
Kendall Jenner and her cousin Ireland Baldwin were also among a host of stars who posted on Hailey’s Instagram on Friday.
This is not the first time Bieber has mentioned his wish to start a family.
Earlier this year he shared a photo of the pair enjoying a day out at Disneyland.
He commented: “Love dates with you baby..One day I’ll be doing daddy daughter dates…..Not hinting at anything soon. I’m not in a rush.