| stack {rlang} | R Documentation |
The eval_
and call_
families of functions provide a replacement
for the base R functions prefixed with sys.
(which are all about
the context stack), as well as for parent.frame()
(which is the
only base R function for querying the call stack). The context
stack includes all R-level evaluation contexts. It is linear in
terms of execution history but due to lazy evaluation it is
potentially nonlinear in terms of call history. The call stack
history, on the other hand, is homogenous.
global_frame() current_frame() ctxt_frame(n = 1) call_frame(n = 1, clean = TRUE) ctxt_depth() call_depth() ctxt_stack(n = NULL, trim = 0) call_stack(n = NULL, clean = TRUE)
n |
The number of frames to go back in the stack. |
clean |
Whether to post-process the call stack to clean
non-standard frames. If |
trim |
The number of layers of intervening frames to trim off
the stack. See |
ctxt_frame()
and call_frame()
return a frame
object
containing the following fields: expr
and env
(call expression
and evaluation environment), pos
and caller_pos
(position of
current frame in the context stack and position of the caller), and
fun
(function of the current frame). ctxt_stack()
and
call_stack()
return a list of all context or call frames on the
stack. Finally, ctxt_depth()
and call_depth()
report the
current context position or the number of calling frames on the
stack.
The base R functions take two sorts of arguments to indicate which
frame to query: which
and n
. The n
argument is
straightforward: it's the number of frames to go down the stack,
with n = 1
referring to the current context. The which
argument
is more complicated and changes meaning for values lower than 1.
For the sake of consistency, the rlang functions all take the
same kind of argument n
. This argument has a single meaning (the
number of frames to go down the stack) and cannot be lower than 1.
Note finally that parent.frame(1)
corresponds to
call_frame(2)$env
, as n = 1
always refers to the current
frame. This makes the _frame()
and _stack()
functions
consistent: ctxt_frame(2)
is the same as ctxt_stack()[[2]]
.
Also, ctxt_depth()
returns one more frame than
base::sys.nframe()
because it counts the global frame. That is
consistent with the _stack()
functions which return the global
frame as well. This way, call_stack(call_depth())
is the same as
global_frame()
.
These functions are soft-deprecated and replaced by trace_back()
.
# Expressions within arguments count as contexts identity(identity(ctxt_depth())) # returns 2 # But they are not part of the call stack because arguments are # evaluated within the calling function (or the global environment # if called at top level) identity(identity(call_depth())) # returns 0 # The context stacks includes all intervening execution frames. The # call stack doesn't: f <- function(x) identity(x) f(f(ctxt_stack())) f(f(call_stack())) g <- function(cmd) cmd() f(g(ctxt_stack)) f(g(call_stack)) # The rlang _stack() functions return a list of frame # objects. Use purrr::transpose() or index a field with # purrr::map()'s to extract a particular field from a stack: # stack <- f(f(call_stack())) # purrr::map(stack, "env") # purrr::transpose(stack)$expr # current_frame() is an alias for ctxt_frame(1) fn <- function() list(current = current_frame(), first = ctxt_frame(1)) fn() # While current_frame() is the top of the stack, global_frame() is # the bottom: fn <- function() { n <- ctxt_depth() ctxt_frame(n) } identical(fn(), global_frame()) # ctxt_stack() returns a stack with all intervening frames. You can # trim layers of intervening frames with the trim argument: identity(identity(ctxt_stack())) identity(identity(ctxt_stack(trim = 1))) # ctxt_stack() is called within fn() with intervening frames: fn <- function(trim) identity(identity(ctxt_stack(trim = trim))) fn(0) # We can trim the first layer of those: fn(1) # The outside intervening frames (at the fn() call site) are still # returned, but can be trimmed as well: identity(identity(fn(1))) identity(identity(fn(2))) g <- function(trim) identity(identity(fn(trim))) g(2) g(3)


|
Libvaxy
0.1
A Terraria library mod focusing on easing development and providing a lot of meta.
|
Provides many utilities to make worldgen-related things more viable (some methods can be used outside worldgen as well). More...
Static Public Member Functions | |
| static void | Replace (int x, int y, int width, int height, ushort type, ushort newType) |
| Replaces all tiles of a certain type in a rectangle to another type. More... | |
| static void | Fill (int x, int y, int width, int height, ushort type) |
| Sets all tiles in a rectangle to a specified type. More... | |
| static void | FillAir (int x, int y, int width, int height) |
| Sets all tiles within a rectangle to air. More... | |
| static void | FillLiquid (int x, int y, int width, int height, LiquidType liquidType) |
| Sets all tiles within a rectangle to a specified vanilla liquid. More... | |
| static int[] | GetPerlinDisplacements (int displacementCount, float frequency, int maxLimit, float multiplier, int seed) |
| Gets you an array of displacements generated through perlin noise. More... | |
| static Point | GetRandomPointInArea (int x, int y, int width, int height) |
| Gets a random point within a rectangle. More... | |
| static Point[] | GetRandomPointsInArea (int x, int y, int width, int height, int points) |
| Gets multiple random points within a rectangle. More... | |
| static Point[] | GetRandomTilePointsInArea (int x, int y, int width, int height, int points, ushort type) |
| Gets random points within a rectangle that have a specific tile type. More... | |
| static Point[] | GetRandomAirPointsInArea (int x, int y, int width, int height, int points) |
| Gets random points within a rectangle that are all air. More... | |
| static Point | FindDownwardsTile (int x, int y) |
| Keeps searching downwards until a non-air tile is found. More... | |
| static bool | SafeCoordinates (int i, int j) |
| Checks if the specified coordinates are within the world boundaries. More... | |
| static void | NoiseRunner (int i, int j, int type, float radius, float frequency, params int[] ignoredTiles) |
| An alternative version of WorldGen.TileRunner. It uses noise to fill out a shape for you, which typically looks much more smooth than TileRunner. More... | |
Static Public Attributes | |
| const int | SmallWorldWidth = 4200 |
| const int | SmallWorldHeight = 1200 |
| const int | MediumWorldWidth = (int)(SmallWorldWidth * 1.5f) |
| const int | MediumWorldHeight = (int)(SmallWorldHeight * 1.5f) |
| const int | LargeWorldWidth = SmallWorldWidth * 2 |
| const int | LargeWorldHeight = SmallWorldHeight * 2 |
Provides many utilities to make worldgen-related things more viable (some methods can be used outside worldgen as well).
Definition at line 12 of file WorldGenUtils.cs.
|
inlinestatic |
Sets all tiles in a rectangle to a specified type.
| x | The X coordinate of the rectangle. |
| y | The Y coordinate of the rectangle. |
| width | The width of the rectangle. |
| height | The height of the rectangle. |
| type | The type to set the tiles to within the rectangle. |
Definition at line 53 of file WorldGenUtils.cs.
|
inlinestatic |
Sets all tiles within a rectangle to air.
| x | The X coordinate of the rectangle. |
| y | The Y coordinate of the rectangle. |
| width | The width of the rectangle. |
| height | The height of the rectangle. |
Definition at line 72 of file WorldGenUtils.cs.
|
inlinestatic |
Sets all tiles within a rectangle to a specified vanilla liquid.
| x | The X coordinate of the rectangle. |
| y | The Y coordinate of the rectangle. |
| width | The width of the rectangle. |
| height | The height of the rectangle. |
| liquidType | The type of liquid to fill. |
Definition at line 87 of file WorldGenUtils.cs.
|
inlinestatic |
Keeps searching downwards until a non-air tile is found.
| x | The X coordinate to start searching from. |
| y | The Y coordinate to start searching from. |
Definition at line 199 of file WorldGenUtils.cs.
|
inlinestatic |
Gets you an array of displacements generated through perlin noise.
| displacementCount | How many displacements to generate. |
| frequency | The frequency of the displacements. |
| maxLimit | The maximum limit the displacements can be, both positive and negative. Can be any number. |
| multiplier | The multiplier to affect the maxLimit by. |
| seed | The seed to use for the perlin generator. |
Definition at line 109 of file WorldGenUtils.cs.
|
inlinestatic |
Gets random points within a rectangle that are all air.
| x | The X coordinate of the rectangle. |
| y | The Y coordinate of the rectangle. |
| width | The width of the rectangle. |
| height | The height of the rectangle. |
| points | The number of random points to get. |
Definition at line 182 of file WorldGenUtils.cs.
|
static |
Gets a random point within a rectangle.
| x | The X coordinate of the rectangle. |
| y | The Y coordinate of the rectangle. |
| width | The width of the rectangle. |
| height | The height of the rectangle. |
|
inlinestatic |
Gets multiple random points within a rectangle.
| x | The X coordinate of the rectangle. |
| y | The Y coordinate of the rectangle. |
| width | The width of the rectangle. |
| height | The height of the rectangle. |
| points | The number of random points to get. |
Definition at line 142 of file WorldGenUtils.cs.
|
inlinestatic |
Gets random points within a rectangle that have a specific tile type.
| x | The X coordinate of the rectangle. |
| y | The Y coordinate of the rectangle. |
| width | The width of the rectangle. |
| height | The height of the rectangle. |
| points | The number of random points to get. |
| type | The tile type to search for. |
Definition at line 162 of file WorldGenUtils.cs.
|
inlinestatic |
An alternative version of WorldGen.TileRunner. It uses noise to fill out a shape for you, which typically looks much more smooth than TileRunner.
| i | The X tile coordinate. |
| j | The Y tile coordinate. |
| type | The type of tile to fill. If this is -1, NoiseRunner will fill air instead. |
| radius | The base radius to try and fill. |
| frequency | How erratic the resulting fill will be. A higher frequency means more intense deformation. It is recommended to keep the frequency anywhere between 0.005 - 0.6, but you can use any you wish. For good results, remember that smaller radii will require higher frequencies in order to deform better. |
| ignoredTiles | A list of tile IDs the NoiseRunner should not affect. |
Definition at line 229 of file WorldGenUtils.cs.
|
inlinestatic |
Replaces all tiles of a certain type in a rectangle to another type.
| x | The X coordinate of the rectangle. |
| y | The Y coordinate of the rectangle. |
| width | The width of the rectangle. |
| height | The height of the rectangle. |
| type | The type of tile to replace. |
| newType | The type to set replaced tiles to. |
Definition at line 30 of file WorldGenUtils.cs.
|
static |
Checks if the specified coordinates are within the world boundaries.
| i | The X coordinate of the tile. |
| j | The Y coordinate of the tile. |
|
static |
Definition at line 19 of file WorldGenUtils.cs.
|
static |
Definition at line 18 of file WorldGenUtils.cs.
|
static |
Definition at line 17 of file WorldGenUtils.cs.
|
static |
Definition at line 16 of file WorldGenUtils.cs.
|
static |
Definition at line 15 of file WorldGenUtils.cs.
|
static |
Definition at line 14 of file WorldGenUtils.cs.


Introducing Gurkirat's Blog
03 Apr 2020Built on jekyll
Read more on Jekyll’s website
Features
- Toggleable sliding sidebar (built with only CSS) via ☰ link in top corner
- Sidebar includes support for textual modules and a dynamically generated navigation with active link support
Browser support
Latest versions of Chrome, Safari (mobile and desktop), and Firefox, it is only compatible with Internet Explorer 9 and above.
Done
Thanks!


Callsite
Caller/backtrace parser with some useful utilities for manipulating the load path, and doing other relative things.
Usage
The primary thing you can do is parse a caller line(s).
pp Callsite.parse(caller)
Gives back
=> [#<struct Callsite::Line filename="/opt/local/lib/ruby/1.8/irb/workspace.rb", line=52, method="irb_binding">, #<struct Callsite::Line filename="", line=0, method=nil>]
This is also suitable for parsing a backtrace, to get detailed information about it.
begin raise rescue pp Callsite.parse($!) end
Produces
=> [#<struct Callsite::Line filename="(irb)", line=27, method="irb_binding">, #<struct Callsite::Line filename="/opt/local/lib/ruby/1.8/irb/workspace.rb", line=52, method="irb_binding">, #<struct Callsite::Line filename="", line=0, method=nil>]
There are also six methods which patch existing objects to give you powerful usage of the caller.
Callsite.activate_string_methods
This gives you the ~@ method on String, which takes any string, and gives you a relative version of it, treating it as a file path. For example,
~'lib/callsite.rb'
Gives you (on my laptop)
=> "/Users/joshua/Development/callsite/lib/callsite.rb"
Callsite.activate_file_methods
This adds the File.relative method. File.relative(file_path) has the same effect as ~file_path.
Callsite.activate_module_methods
This adds autoload_relative onto Module. This allows you to do the following.
module MyModule autoload_relative :Whatever, "lib/whatever" end
In this case, lib/whatever will be treated as a relative path from the definition of the module.
Callsite.activate_kernel_dir_methods
This adds the __DIR_REL__ and optionally __DIR__ and require_relative methods to Kernel. __DIR__ or __DIR_REL__ will give you your current directory, much like __FILE__ gives you the current __FILE__ you’re in. require_relative is like require .. only, it’s relative.
Callsite.activate_kernel_require_methods
This adds a couple of weird methods to Kernel, require_next and require_all. There search your current $LOAD_PATH, and require the next file (ingoring the current one you’re in on the load_path) or require all files of a given name.
Callsite.activate_load_path_methods
This adds some super useful methods to $LOAD_PATH. There are find_file (finds a single file on your load path), find_all_files (finds all of em), add_current (adds to the end of the load path your current dir) and add_current! (adds it to the beginning).
As well, this gives you add and add!, both of which guard against a path being added twice to the load path. Add appends to the end if it doesn’t exist, and add! forces it to the beginning.
This deprecates dirge and load_path_find
Once you have this installed, you can use require ‘dirge’ and require ‘load_path_find’ to get exactly the functionality you had before.


This document describes the 1.2 version P3DC model description language used by the 3D rendering engine in my library. The notation is EBNF with the following meanings:
Models begin with a model keyword and a name, their bodies are enclosed in braces. Model descriptions may not be nested but may be several to a file. The model namespace is flat in P3DC therefore you are not allowed to have two models named cube for example.
[The model statement is defined as a way of creating heirarchical models but is not currently implemented.]
MODEL ::= Model NAME MODEL-BODY
MODEL_BODY ::= { STATEMENT* }
STATEMENT ::= [ ORIGIN_STATEMENT ] | [ COLOR_STATEMENT ]* | [ VERTEX_STATEMENT ]* | [ TEXTURE_STATEMENT ]* | [ POINT_STATEMENT ]* | [ MODEL_STATEMENT ]* | [ LINE_STATEMENT ]* | [ FACE_STATEMENT ]*
ORIGIN_STATEMENT ::= Origin CONSTANT , CONSTANT , CONSTANT ;
COLOR_STATEMENT ::= Color NAME = COLOR_TUPLE ;
VERTEX_STATEMENT ::= Vertex NAME = CONSTANT , CONSTANT , CONSTANT ;
TEXTURE_STATEMENT ::= Texture NAME = Decal | LIGhtmap | DETail [ , Wrap ] ;
POINT_STATEMENT ::= Point [ COLOR_SPEC ] NAME ;
LINE_STATEMENT ::= Line [ COLOR_SPEC ] NAME , NAME ;
FACE_STATEMENT ::= Face [ TEXTURE_LIST ] [ COLOR_SPEC ] VERTEX_SPEC , VERTEX_SPEC , VERTEX_SPEC [ , VERTEX_SPEC]* ;
MODEL_STATEMENT ::= Model NAME [ COLOR SPEC ] NAME NORMAL_SPEC CONSTANT ;
VERTEX_SPEC ::= NAME [ NORMAL_SPEC ] [ TEXTURE_COORD ]*
COLOR_SPEC ::= ( NAME )
TEXTURE_LIST ::= < NAME [ , NAME ]* >
NORMAL_SPEC ::= [ CONSTANT , CONSTANT , CONSTANT ]
TEXTURE_COORD ::= < CONSTANT , CONSTANT >
COLOR_TUPLE ::= RED , GREEN , BLUE [ , ALPHA ]
RED ::= COLOR_CONSTANT
GREEN ::= COLOR_CONSTANT
BLUE ::= COLOR_CONSTANT
ALPHA ::= COLOR_CONSTANT
COLOR_CONSTANT ::= 0 <= CONSTANT <= 255.0
CONSTANT ::= floating point number
NAME ::= character string < 63 characters long from the set A-Za-z0-9_$ with the initial character from the set A-Za-z.
This example file describes a textured cube. As you can see it assumes the texture for the cube is layed out in a cross topology (think about what it would look like if you unfolded all of the cube sides.) There is also a specification for a lightmap (which creates an illumination effect on the top and bottom.) The light map could have been part of the same texture file however if you wish to use the same file as both a light map and a base texture (obviously you have to use different parts of the texture for this!) then you can do that by assigning the same texture to the base_texture and the lightmap_texture attributes when the model is instantiated. (see usage below)
Another important point to remember is that faces are specified with their vertices in counter-clockwise order. This determines the "front" for the face where the texture will appear. You can have different textures and/or colors on both the front and back of a face, just specify the face twice, once with the textures one way and once with them the other way.
The cube was chosen as a good example as it is easy to visualize and understand. The file stdmodels.3dc will eventually have standard models for all of the basic shapes, cube, cone, sphere, pyramid, cylinder.
As you can see in the picture at the right, the cube has eight vertices. In the first versions of the library each side (or face) of the cube had its own set of vertices, this allowed each side to have unique texture co-ordinates but it also meant that to transform the cube into my 3D world I needed to transform 24 vertices! (6 sides x 4 vertices each). Now I transform 8 vertices and I'm done. This is an example of where not doing something (transforming extra vertices) makes things a whole lot faster.
This cube still has six faces, I've colored one in the picture at left to show you an example of one. This face is defined by the four vertices V2, V8, V6, and V3. Note that if you were on the right hand side of this cube and looking at it straight on, those vertices would be in counter clockwise order. It is not important which vertex is first and last in the list, so we could equivalently use the vertices V3, V2, V8, and V6. And get exactly the same face, but if we reverse the order to be clockwise then we would be defining the face on the inside of the cube.
In a previous version of this language I assigned a name to each face, after implementing the language I found the name to be redundant and so have deleted it from the specification. The things that are named however (things like colors and textures) are named so that they may be changed when the model is instantiated by the library. Ok, so lets look a the model definition as it would appear in the file.
# # Definition for the CUBE model # model cube {
The non-comment line should be the keyword model followed by the name of the model. Since all models share a single name space if you had several variations of cubes you might call this one unit_cube instead of just cube. Note though that you can change the cubes overall dimensions when the cube is instantiated.
origin = 0, 0, 0 ; color base_color = 0, 255, 0 ; color highlight = 255, 0, 0 ; texture base_texture = decal, wrap ; texture light_map = lightmap ;
The next few lines define a catalog of attributes for the model, the first, origin, defines where the center of the model is in its local 3D model space. This is the point upon which the model with rotate or turn when you use the model api in the library to change its attitude. This is also the point of the model that can be precisely located when you use the p3dc_locate_model function. The origin does not have to be a vertex or even within the bounds of the model.
Following the origin there are two colors defines, one named base_color and the other named highlight. You can assign different color names (and defaults) to the model using these statements, later when the model is instantiated the colors can be changed with the p3dc_model_set_color function.
Finally there are two lines defining textures, one called base_texture and one called light_map. (note that the spelling is changed to prevent it from being confused with the keyword 'lightmap'). When the model has been instantiated you will load textures and then apply them using the names from the model file and the api call p3dc_model_set_texture.
vertex V1 = -0.5, -0.5, -0.5 ; vertex V2 = 0.5, -0.5, -0.5 ; vertex V3 = 0.5, 0.5, -0.5 ; vertex V4 = -0.5, 0.5, -0.5 ; vertex V5 = -0.5, 0.5, 0.5 ; vertex V6 = 0.5, 0.5, 0.5 ; vertex V7 = 0.5, -0.5, 0.5 ; vertex V8 = -0.5, -0.5, 0.5 ;
After the attributes the eight vertices are defined, they are named V1 through V8 (not very interesting I know). As you can see they define a cube where the corners are between -0.5, -0.5, -0.5 and 0.5, 0.5, 0.5.
Take a moment to consider what that means, it means that the center of gravity of this cube is 0,0,0 (half way between all the points). Alternatively you could put all of your vertices between 0 and 1 and then set the origin to 0.5, 0.5, 0.5. The latter works, however when you scale the model on instantiation, the origin doesn't move. so if it isn't at 0,0,0 you will get some unexpected (but predictable) results.
Finally we get to define some sides and they appear as follows:
# # side faces # face <base_texture> (base_color) V1 <64,192>, V2 <128, 192>, V3 <128, 255>, V4 <64, 255> ; face <base_texture> (highlight) V2 <0, 128> , V7 <64, 128>, V6 <64, 192>, V3 <0, 192> ; face <base_texture> V5 <64, 128>, V6 <128,128>, V7 <128, 192>, V8 <64, 192> ; face <base_texture> V1 <128, 128>, V4 <192, 128>, V5 <192, 192>, V8 <128, 192> ; # # top and bottom faces # face <base_texture, light_map> V4 <64, 64> <0, 0>, V3 <128,64><0,255>, V6 <128,128><255,255>, V5 <64,128><255,0> ; face <base_texture, light_map> V1 <64,0><0, 0>, V8 <128,0><0,255>, V7 <128,64><255,255>, V2 <64,64><255,0> ; }
As you can see from the lines above the faces are simply statements that collect vertices into groups (faces) and place textures on them at particular co-ordinates.
The texture co-ordinates in this case are going from 0 to 255 which is a Glide standard however in the very near future they will go between 0 and 1.0 for the full texture. This makes understanding their mid-points etc easier. (and it is Glide 3 compatible so that is a bonus.)
Finally the model description ends with a closing brace '}' which tells the parsing function that there is no more model to parse.
Document ID $Id: model-lang.html,v 1.3 1999-09-01 21:37:41-07 cmcmanis Exp $


Prisoner dies in Cloverhill after attack in cell
by Eamon DillonAn inmate has been found dead in Cloverhill Prison, Dublin, after allegedly being attacked in his cell. The victim is suspected of being choked.
Prison staff were alerted to the incident by inmates in another cell.
Paramedics, called after the man was found to be unconscious, attempted to resuscitate him but were unsuccessful.
The prisoner had been sharing a cell with one other man who suffered a minor injury in the altercation.
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The deceased was in prison as a result of theft charges but has several previous convictions, including robbery, possession of a knife and burglary.
A prison spokesman said: "Shortly after midnight, gardai and emergency services were called by prison authorities following an incident involving two male prisoners in custody at the prison.
"A man in his late 30s was treated by emergency services but was pronounced dead at the scene a short time later."
The Coroner has been notified and the services of the State Pathologist and Garda Technical Bureau have been requested."
In a statement, the IPS said all practicable measures were taken by prison management and staff to ensure the safety of those in custody.
But it added that no prison system could be entirely free of violence and it said that assaults between prisoners did happen.


Computers can communicate with other computers through a series of connections and associated hardware called a network. The advantage of a network is that data can be exchanged rapidly, and software and hardware resources, such as hard-disk space or printers, can be shared. Networks also allow remote use of a computer by a user who cannot physically access the computer. One type of network, a local area network (LAN), consists of several PCs or workstations connected to a special computer called a server, often within the same building or office complex. The server stores and manages programs and data. A server often contains all of a networked group¡¯s data and enables LAN workstations or PCs to be set up without large storage capabilities. In this scenario, each PC may have ¡°local¡± memory (for example, a hard drive) specific to itself, but the bulk of storage resides on the server. This reduces the cost of the workstation or PC because less expensive computers can be purchased, and it simplifies the maintenance of software because the software resides only on the server rather than on each individual workstation or PC. Mainframe computers and supercomputers commonly are networked. They may be connected to PCs, workstations, or terminals that have no computational abilities of their own. These ¡°dumb¡± terminals are used only to enter data into, or receive output from, the central computer. Wide area networks (WANs) are networks that span large geographical areas. Computers can connect to these networks to use facilities in another city or country. For example, a person in Los Angeles can browse through the computerized archives of the Library of Congress in Washington, D.C. The largest WAN is the Internet, a global consortium of networks linked by common communication programs and protocols (a set of established standards that enable computers to communicate with each other). The Internet is a mammoth resource of data, programs, and utilities. American computer scientist Vinton Cerf was largely responsible for creating the Internet in 1973 as part of the United States Department of Defense Advanced Research Projects Agency (DARPA). In 1984 the development of Internet technology was turned over to private, government, and scientific agencies. The World Wide Web, developed in the 1980s by British physicist Timothy Berners-Lee, is a system of information resources accessed primarily through the Internet. Users can obtain a variety of information in the form of text, graphics, sounds, or video. These data are extensively cross-indexed, enabling users to browse (transfer their attention from one information site to another) via buttons, highlighted text, or sophisticated searching software known as search engines. |


{{/* Copyright 2022 syzkaller project authors. All rights reserved. Use of this source code is governed by Apache 2 LICENSE that can be found in the LICENSE file. The list of polled trees. */}}
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| {{$repo.URL}} | {{$repo.Branch}} |


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HRF Notes
HRF Documentation
- Development and Implementation Guide
- Security Guide
- Installation and Upgrade Guide
- Rule Expression Language Guide
- Hana 1.12 Guides
HRF Blogs
HRF Notes
HRF Test system details
HRF Incident FAQ
- How to check the HRF version in Hana DB?
select * from M_XS_APPLICATIONS where DELIVERY_UNIT = 'HCO_RULE_FW';
OR
select * from _sys_repo.delivery_units where delivery_unit = 'HCO_RULE_FW';
- How to check whether DU is Active or not? (Result should be empty)
select distinct t1.package_id from _sys_repo.package_catalog as t1 inner join _sys_repo.inactive_object as t2 on t1.package_id = t2.package_id where t1.delivery_unit = 'HCO_RULE_FW';
- How to check HRF Plugin is enabled or not? (result should be true)
select value from sys.m_inifile_contents where file_name = 'indexserver.ini' and section = 'repository' and key = 'jsplugin_sap/hrf/resources/common/runtimeplugin/src/hrfresourceactivation.xsjs';
- How to do WTS with NLA?


Some of the Great Rendered Courses you can try out!
Get the basics correct, you will go a long way!
Add Interactivity and Funcionality to your website by Learing the Basics to JavaScript.
Learn the basics of CSS and owerhaul your website to look better, and to work better.
Learn the basics of HTML through Video's, Interactive Quizes, and Projects.
A Message from the CreatorHere's a quote from the creator of Rendered himself talking about why he chose to learn Webs Design and why you should be be a part of this Rendered community. "Programing for me personally is very exiting and fun. There's Always Something to do, Something New to Learn, and Something to challenge me. I got into programming because it was challenging. I created Rendered for through out there looking for new challenges to cover come. Rendered aims to be the modern, Free of charge, Simple, and a place where you can learn about Web Design. We make sure that you have got the basic correct because when you do, that alone can take you a long way in this particular field." Satanshu Mishra Developer and Creator of Rendered |


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From ancient times, people in Tokunoshima have been taking Cho Mei So as herbal medicine, and high-mineral diets. They say, ”Take one stock of it, and you will live a day longer”. As a fact, two civilians in Tokunoshima are legistered in the Guinness Records for their long life. This is one of the reasons why Tokunoshima is known for “Long Life Island”. People cook them,drink them, use it’s bitterness as a spice,and even use them for antidotes.
They are known as herbs effective for asthma,hyper tension, neuralgia, kidney disease, and they prevent lifestyle-related diseases. They reduce hyper tension,inhibit carcinogens, and control hardening of the arteries that could lead to diabetes. Carotene and Vitamin C plays am important role for anti-aging by deleting reactive oxygen species developed within your body.
They are also outstanding for preventing melanogenesis, making your skin beautiful. For more, Vitamin C is good for preventing colds, iron for preventing anemia, and calcium makes your bones stronger, Experiments have proved that the outgrowth of colorectal cancer with rats was restrained by feeding them this plant.
E-mail: kicon16001japan@gmail.com


Midnight slogging, post-it pasting, pencil twirling, keyboard mashing undergrad.
Enjoys a good stereo and 1000 thread count sheets.
I'm a 2nd year undergraduate at the National University of Singapore majoring in Information Systems.
I was previously interning at a local SME specialising in CRM consultancy - implementing IT solutions on Salesforce.com.
I was working and collaborating on a couple projects, namely, Feedbaker as well as PlusWhat. Currently, I am helping with the Node.js rebuild of NUS IVLE Cloud Sync.
I make it a point to keep a learning blog which I use to keep track of some thoughts while they're still fresh. You can also browse my resume, or send me an email just to say hi.


I was hoping for a pleasant afternoon implementing a markdown-it plugin for “line blocks” to support poetry. It was… not a pleasant afternoon.
markdown-it is fast, but between its API design (:shudder:) and its mostly-missing docs (:sigh:) it’s terrible to work with. I quit.


I am an ex-meteorologist turned software engineer with a passion for RESTful web services and software architecture.
Building services to facilitate payments and liquidity in the cannabis space.
Foundational backend development for the LeafLink Financial product.
Develop and maintain critical microservices in support of a SaaS CRM/email product, as well as build and iterate continuous integration practices with AWS.
Back-end development of bespoke software solutions for a variety for clients. Specializing in API design.
Manage a team of software developers building tools to support staff meteorologists. Design and implement custom weather data solutions for clients.
Prepare daily weather forecasts and give weather briefings to clients. Develop tools to analyze weather data, manage client data, and deliver forecasts.
GPA: 3.7
Outside software development, I love being outside, cooking, eating all the delicious things NYC has to offer, and reading.
I am somewhat of a "hobby hoarder" and I LOVE to learn and develop new skills. Here are a couple of things I have been into lately:


Criado por Mateus Cordeiro / Gabriel Gomes / Vinicius Dias / Victor Copque
Em ciência da computação, front-end e back-end são termos generalizados que referem-se às etapas inicial e final de um processo. O front-end é responsável por coletar a entrada em várias formas do usuário e processá-la para adequá-la a uma especificação em que o back-end possa utilizar. O front-end é uma espécie de interface entre o usuário e o back-end. Ambos podem estar distribuídos entre um ou mais sistemas.
<!DOCTYPE html>

<title></title>

<!DOCTYPE html>
The <!DOCTYPE html> declaration must be the very first thing in your HTML document, before the  tag.
The <!DOCTYPE html> declaration is not an HTML tag; it is an instruction to the web browser about what version of HTML the page is written in.
There are three different <!DOCTYPE html> declarations in HTML 4.01. In HTML5 there is only one.

The  tag tells the browser that this is an HTML document.
The  tag represents the root of an HTML document.
The  tag is the container for all other HTML elements (except for the tag).
<title></title>
The <title> tag is required in all HTML documents and it defines the title of the document.

The  tag defines the document's body.
The  element contains all the contents of an HTML document, such as text, hyperlinks, images, tables, lists, etc.
See the Pen JqDjv by Mateus Cordeiro (@mateuscgc) on CodePen.
See the Pen HGKof by Mateus Cordeiro (@mateuscgc) on CodePen.
See the Pen aBhLF by Mateus Cordeiro (@mateuscgc) on CodePen.
See the Pen xdKvy by Mateus Cordeiro (@mateuscgc) on CodePen.
See the Pen zBKfn by Mateus Cordeiro (@mateuscgc) on CodePen.
See the Pen CGcwy by Mateus Cordeiro (@mateuscgc) on CodePen.
See the Pen iHcog by Mateus Cordeiro (@mateuscgc) on CodePen.
See the Pen tDuvo by Mateus Cordeiro (@mateuscgc) on CodePen.
The
 and
 tags are new in HTML5.

This is a link

See the Pen gojxF by Gabriel Gomes (@Gabrielgqa) on CodePen.
In HTML, links are defined with the  tag.

This is a link

See the Pen KJCut by Gabriel Gomes (@Gabrielgqa) on CodePen.
The link can be styled.
See the Pen plHnC by Mateus Cordeiro (@mateuscgc) on CodePen.
See the Pen umqtx by Mateus Cordeiro (@mateuscgc) on CodePen.
There are some types of links, including mailto and tel
The
 tag defines a division or a section in an HTML document.
The
 tag is used to group block-elements to format them with CSS.
See the Pen tbeFB by Mateus Cordeiro (@mateuscgc) on CodePen.
The  tag is used to group inline-elements in a document.
The  tag provides no visual change by itself.
The  tag provides a way to add a hook to a part of a text or a part of a document.
See the Pen DwHua by Mateus Cordeiro (@mateuscgc) on CodePen.
In HTML, images are defined with the  tag.
The  tag is empty, it contains attributes only, and does not have a closing tag.
The src attribute defines the url (web address) of the image:

The alt attribute specifies an alternate text for the image, if it cannot be displayed.
The value of the alt attribute should describe the image in words:

You can use the style attribute to specify the width and height of an image.
The values are specified in pixels (use px after the value):

Alternatively, you can use width and height attributes.
The values are specified in pixels (without px after the value):

It is common to use images as links:

Tables are defined with the
 tag.
Tables are divided into table rows with the
tag.
Table rows are divided into table data with the  tag.
A table row can also be divided into table headings with the tag.

Firstname
Lastname
Points

Eve
Jackson
94

Ada<d>
Jackson
78

See the Pen Izrad by Gabriel Gomes (@Gabrielgqa) on CodePen.

Month
Savings

Sum
$180

January
$100

February
$80

See the Pen Aockd by Gabriel Gomes (@Gabrielgqa) on CodePen.
Colspan: To make a cell span more than one column, use the colspan attribute:

Name
Telephone

Bill Gates
555 77 854
555 77 855

See the Pen IECjo by Gabriel Gomes (@Gabrielgqa) on CodePen.
Rowspan: To make a cell span more than one row, use the rowspan attribute:

First Name:
Bill Gates

Telephone:
555 77 854

555 77 855

See the Pen wKLuC by Gabriel Gomes (@Gabrielgqa) on CodePen.
HTML forms are used to pass data to a server.
An HTML <form> can contain input elements like text fields, checkboxes, radio-buttons, submit buttons and more. A <form> can also contain select lists, textarea, fieldset, legend, and label elements.
The <form> tag is used to create an HTML <form>:
<form>
.
input elements
.
</form>
The most important form element is the <input> element.
The <input> element is used to select user information.
An <input> element can vary in many ways, depending on the type attribute. An <input> element can be of type text field, checkbox, password, radio button, submit button, and more.
The most common input types are described below.
<input type="text"> defines a one-line input field that a user can enter text into:
<form>
First name: <input type="text" name="firstname">

Last name: <input type="text" name="lastname">
</form>
See the Pen ynArH by Gabriel Gomes (@Gabrielgqa) on CodePen.
<input type="password"> defines a password field:
<form>
Password: <input type="password" name="pwd">
</form>
See the Pen jarlv by Gabriel Gomes (@Gabrielgqa) on CodePen.
<input type="radio"> defines a radio button. Radio buttons let a user select ONLY ONE of a limited number of choices:
<form>
<input type="radio" name="sex" value="male">Male

<input type="radio" name="sex" value="female">Female
</form>
See the Pen hxzqb by Gabriel Gomes (@Gabrielgqa) on CodePen.
<input type="checkbox"> defines a checkbox. Checkboxes let a user select ZERO or MORE options of a limited number of choices.
<form>
<input type="radio" name="sex" value="male">Male

<input type="radio" name="sex" value="female">Female
</form>
See the Pen hxzqb by Gabriel Gomes (@Gabrielgqa) on CodePen.
<input type="submit"> defines a submit button.
A submit button is used to send form data to a server. The data is sent to the page specified in the form's action attribute. The file defined in the action attribute usually does something with the received input:
<form name="input" action="demo_form_action.asp" method="get">
Username: <input type="text" name="user">
<input type="submit" value="Submit">
</form>
See the Pen ioIyk by Gabriel Gomes (@Gabrielgqa) on CodePen.
The <select> element is used to create a drop-down list.
The <option> tags inside the <select> element define the available options in the list.
<select>
<option value="volvo">Volvo</option>
<option value="saab">Saab</option>
<option value="mercedes">Mercedes</option>
<option value="audi">Audi</option>
</select>
See the Pen iuGDs by Gabriel Gomes (@Gabrielgqa) on CodePen.
The <textarea> tag defines a multi-line text input control.
A text area can hold an unlimited number of characters, and the text renders in a fixed-width font (usually Courier).
The size of a text area can be specified by the cols and rows attributes, or even better; through CSS' height and width properties.
<textarea rows="4" cols="50">
At w3schools.com you will learn how to make a website. We offer free tutorials in all web development technologies.
</textarea>
See the Pen rjsCv by Gabriel Gomes (@Gabrielgqa) on CodePen.
HTML5 has several new input types for forms. These new features allow better input control and validation.
This chapter covers the new input types:
<form>

Type number
Quantity:
<input type="number" name="points" min="0" max="100" step="10" value="30">
</form>
<form>

Type date
Birthday:
<input type="date" name="bday">
</form>
<form>

Type color
Select your favorite color:
<input type="color" name="favcolor">
</form>
<form>

Type range

<input type="range" name="points" min="0" max="10">
</form>
<form>

Type mail
E-mail:
<input type="email" name="email">
</form>
<form>

Type tel
Telephone:
<input type="tel" name="usrtel">
</form>
See the Pen BoIeb by Gabriel Gomes (@Gabrielgqa) on CodePen.
An HTML form with autocomplete on (and off for one input field):
<form action="demo_form.asp" autocomplete="on">
First name:<input type="text" name="fname">

Last name: <input type="text" name="lname">

E-mail: <input type="email" name="email" autocomplete="off">

<input type="submit">
</form>
See the Pen kuzvd by Gabriel Gomes (@Gabrielgqa) on CodePen.
The novalidate attribute is a boolean attribute.
When present, it specifies that the form-data (input) should not be validated when submitted.
<form action="demo_form.asp" novalidate>
E-mail: <input type="email" name="user_email">
<input type="submit">
</form>
See the Pen gHadD by Gabriel Gomes (@Gabrielgqa) on CodePen.
The placeholder attribute specifies a short hint that describes the expected value of an input field (e.g. a sample value or a short description of the expected format).
<form action="demo_form.asp">
<input type="text" name="fname" placeholder="First name">

<input type="text" name="lname" placeholder="Last name">

<input type="submit" value="Submit">
</form>
See the Pen HnGmf by Gabriel Gomes (@Gabrielgqa) on CodePen.
The required attribute is a boolean attribute.
When present, it specifies that an input field must be filled out before submitting the form.
<form action="demo_form.asp">
Username: <input type="text" name="usrname" required>
<input type="submit">
</form>
See the Pen svqDu by Gabriel Gomes (@Gabrielgqa) on CodePen.
The autofocus attribute is a boolean attribute.
When present, it specifies that an <input> element should automatically get focus when the page loads.
<form action="demo_form.asp">
First name: <input type="text" name="fname" autofocus>

Last name: <input type="text" name="lname">

<input type="submit">
</form>
See the Pen LBEwq by Gabriel Gomes (@Gabrielgqa) on CodePen.
Seletor {
propriedade : valor ;
propriedade : valor ;
propriedade : valor ;
}

<!DOCTYPE html>

<title></title>

<!DOCTYPE html>

<title></title>
<link rel="stylesheet" type="text/css" href="../css/stylesheet.css">

body {
background-color: linen;
}
h1 {
color: maroon;
margin-left: 40 px;
}
Seletor Universal *
* {
margin : 0px ;
color : blue ;
}
.Class Seleciona todos os elementos com determinada classe
.msg-box {
width: 200px;
height: 100px;
padding: 20px;
}
#Id Seleciona o elemento com determinada id
#news {
float: left;
position: absolute;
display: inline;
}
tag Seleciona todos os elementos da tag.
p {
color: red;
}
tag1, tag2 Seleciona todos os elementos da lista.
div, .box, #comentario {
font-size: 20px;
font-family: arial;
}
div {
font-size: 20px;
font-family: arial;
}
.box {
font-size: 20px;
font-family: arial;
}
#comentario {
font-size: 20px;
font-family: arial;
}
tag1 tag2 Seleciona todos os tag2 dentro de tag1.
.msg-box p {
color: pink;
text-align: center;
}
tag1 > tag2 Seleciona todos os tag2 que são filhos de tag1.
#menu > div {
width: 100px;
margin-top: 20px;
}
tag1 + tag2 Seleciona todos os tag2 ques estão imediatamente depois de tag1.
.title + .subtitle{
color: #777;
font-wheight: bold;
}
tag1 ~ tag2 Seleciona todos os tag2 que apareceram depois de pelo menos um tag1
p ~ ul {
background: #ff0000;
}
tag:active Seleciona um elemento ativo
a {
background-color: blue;
}
a:active {
background-color: yellow;
}
tag:hover Seleciona o elemento quando o mouse está em cima dele
div {
width: 70px;
}
div:hover {
width: 100px;
}
tag:first-child Selecionam as tag que sejam a primeira filha de seus pais
.box:first-child {
background-color: red;
color: grey;
}
tag:Last-Child Seleciona as tag que são a ultima filha de seus pais
.box:last-child {
background-color: red;
color: grey;
}
tag:nth-child(x)Seleciona o elemento tag que é filha de número x
.box:nth-child(10) {
background-color: red;
color: grey;
}


User Stories
- I can submit a form object that includes a file upload.
- The from file input field has the "name" attribute set to "upfile". We rely on this in testing.
- When I submit something, I will receive the file name, and size in bytes within the JSON response.
Upload a file to view its file size.


Chania
The atmosphere in Chania has a touch of Florence and Venice.
Chania
The atmosphere in Chania has a touch of Florence and Venice.
Flowers
Beautiful flowers in Kolymbari, Crete.
Flowers
Beautiful flowers in Kolymbari, Crete.
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HELP is a subsystem that allows the user to read help pages from the system help files. It provides a paginated, structured interface allowing topics to be specified at each level, or from the root of the help tree. vms-help
You can enter the VMS HELP subsystem by pressing the Help key, and typing h at the Mini-buffer prompt. Alternatively, you can start the HELP subsystem directly by executing the vms-help function. When HELP is run, the screen is saved for later restoration, and a single window is displayed containing the names of available help libraries
The following commands are available to move around the help tree:
| Space | Moves forward one page of the current help display. |
| Backspace | Moves backward one page of the current help display. |
| a | Scrolls the display one line up. |
| z | Scrolls the display one line down. |
| b | Moves the window to display the first page. |
| e | Moves the window to display the last page. |
| n | Specifies a new help topic and fills the window with information on that topic. |
| d | Specifies the next topic and fills the window with information on that topic. |
| u | Removes one help level from the help path and fills the help window with the information for the new path. |
| t | Goes to the top of the help tree and displays the options available. |
| q | Exits HELP, and restores the saved screen. |
| ? | Displays a short help screen on how to use the HELP subsystem. |
The NOTES package provides access to the VAX NOTES Computer Conferencing software. The following sections provide summary information on using the NOTES package and how to customise NOTES.
To invoke NOTES from DCL, type:
$ EMACS/PACKAGE=NOTES
To invoke NOTES from inside Emacs, use the ESC-x notes command.
Emacs NOTES gives you access to all the features available in the default VAX NOTES interface, but the commands are different. To get help on the Emacs NOTES commands, press h or Help.
Before you can read the notes in a conference, you must first add the conference to your Notebook, then open the conference.
To add a conference to your Notebook, use the ADD ENTRY command. For example, to add the ETIQUETTE conference to your Notebook, type Ae. Fill in the form with the name of the conference, ETIQUETTE. Type ^C when the form is complete, then answer y to confirm that the entry should be added to your notebook:
Notefile name: ETIQUETTE Entry name: Classes: MAIN Personal name:
To open a conference, use the OPEN command. For example, to open the ETIQUETTE conference, move the cursor to the line containing the ETIQUETTE entry in your notebook and type o.
A conference is organised into discussions. Each discussion begins with a topic; each topic can have any number of replies. Topics are numbered consecutively, starting with topic number 1. Replies are also numbered consecutively, by topic, starting with .1. For example, if there are three replies to topic 4, they are numbered 4.1, 4.2, and 4.3.
To see a listing of the topics in a conference, type dn.
To read a specific topic or reply, type the number at the Read note (nn.rr) prompt. For example, to read the third reply to topic 6, type r and to the prompt type:
Read note (nn.rr) 6.3
Use the Enter key to page through the replies in a discussion.
To add a reply to a discussion, use the ANSWER command. You must be reading a reply (or the topic) in the discussion before you issue the ANSWER command. For example, to add a reply to the discussion on topic 10, type:
r10 a
To start a discussion on a new topic, use the WRITE command by pressing w.
To print notes, use the PRINT command. For example, to print topic 3 and all replies to that topic, press p to display the print form, then fill in the form and type ^C:
Note-id: 3.* Mark as seen: n Print options: String: Author: Since: Before: Title: Unseen: n Keyword:
To leave a conference, use the CLOSE command by pressing c.
To end your Emacs NOTES session, use the QUIT command, by pressing q.
A complete list of the NOTES key bindings is given in the table, Emacs NOTES Commands and their VAX NOTES Equivalents
The Emacs NOTES commands behave differently when passed a prefix argument. Specifying a prefix argument causes a form to be popped up allowing you to specify command options different from the defaults supplied with the normal command. Use the / key to specify a prefix argument. For example, to specify a prefix argument for the DIRECTORY command, enter /dn.
You can customise NOTES in two ways:
To modify the value of default NOTES variables, create a file in your EMACS_PATH called NOTES_SETUP.ML containing MLisp code that sets the NOTES variables as you require them. The NOTES package will load NOTES_SETUP.ML when you load the NOTES package.
The variables that you can set and their default values are listed as follows:
notes-update-seen-map-frequency « 10
Indicates the frequency at which the seen map is updated. With the default value of 10, the seen map is updated after every ten unseen notes have been read. after n update operation, the unseen count in the conference header is updated to display the number of remaining unseen notes.
notes-put-form-in-write-buffer « 0
Indicates whether the new note/reply form should be popped up in the write buffer or in a buffer of its own.
notes-keypad-binding « 1
Defines whether the numeric keypad keys perform the same functions as they do in the standard VAX NOTES interface. If set to 0, the numeric keypad keys perform their normal functions as defined in the global keymap.
notes-entry-key-reads-text « 1
Defines whether the Enter key can be used to read successive pages of text in long notes.
notes-note-read-timeout « 0
Defines the timeout setting in seconds for a note read operation. A note read operation will fail if it does not complete within the timeout setting. There is no timeout setting by default. NOTES_USER.KEY
You can also customise the NOTES package by creating your own NOTES key bindings. You can do this by creating a file called NOTES_USER.KEY in your EMACS_PATH which contains your key binding code. The NOTES package will automatically load this file when you run the NOTES package.
VMS_MAIL is a package that provides access to your Emacs from the VMS MAIL utility. It allows you to use Emacs as the editor in which VMS MAIL places you to edit text to be sent.
You can use the VMS_MAIL package by setting the logical name MAIL$EDIT to the string CALLABLE_EMACS:
$ DEFINE MAIL$EDIT CALLABLE_EMACSMAIL$EDITCALLABLE_EMACS
This causes VMS MAIL to invoke the EMACSSHR shareable image with suitable parameters to run the VMS_MAIL package.
You can also have VMS MAIL invoke Emacs to edit text by typing the following MAIL command:
MAIL> SET EDITOR EMACS
Every time the VMS_MAIL package is entered, it switches the current buffer to vms_mail_edit, erases this buffer, and removes other buffers from the screen. It then reads in any source file to be edited and lets you edit. When you have finished editing, use the ^C command. Emacs will then prompt in the Mini-buffer whether or not to send the text.
There are two ways to customise the behaviour of VMS_MAIL:
When VMS_MAIL starts for the first time, it loads the file VMS_MAIL.KEY to define which keys are used to send the mail message and which are used to abort the send operation. You can make your own copy of the file and make your own bindings for these functions. vms-mail-hook
Also, when VMS_MAIL starts, it executes the function vms_mail_hook if it has been defined. You can define your own vms_mail_hook function in your EMACSINIT.ML to initialise the VMS_MAIL package as you require.


A BRIDGE TOO FAR
A Film Review by Brian Takeshita
Rating: **** out of ****
There are war movies, then there are Great War Movies. A war movie can be about anything set against the backdrop of war. Sometimes they are about a few human characters and how they act in war (PLATOON). Sometimes they are about romance during war (THE ENGLISH PATIENT). Sometimes they are about growing up during war (HOPE AND GLORY). As is often the case, the scope of the movie is relatively limited. Too many characters in too many places detract from the plot and confuse the viewer.
The Great War Movie uses these "problems" as tools to provide a broad plain of vision and give the viewer a concept of the tremendous amount of effort and coordination involved in a military undertaking. So many critical things go on at once. The Great War Movie has characters which we care about and admire. By the end of the film we have an idea of who they are, but more than that, we have an idea of what they did - how they contributed in a small or large way to the effort as a whole. Their scenes do the same thing for the movie. Individually, they are good. Put together, they become more than the sum of the parts. That, in essence, is the strength of the Great War Movie. THE LONGEST DAY falls into this category, as does GETTYSBURG. However, the definitive Great War Movie remains Richard Attenborough's A BRIDGE TOO FAR.
Set in September of 1944, A BRIDGE TOO FAR is about Operation Market Garden, a plan to drop three divisions of Allied paratroopers behind enemy lines in Holland, each tasked with capturing a key bridge successively deeper in Nazi-held territory. The US 101st Airborne was to take the first bridge near Eindhoven. The US 82nd Airborne was to take the second bridge near Nijmegen. The British 1st Airborne was to take the third bridge over the Rhein at Arnhem. Once landed, the airborne troops had to hold its bridge until British XXX Corps could punch through the fighting front and link up with each division in succession. Once successful, the Allies would be in a position to strike at Germany's industrial heartland, the Ruhr region, and end the war by Christmas. This ambitious (some said foolhardy) plan was severely hampered by the unexpected presence of a German panzer division resting in Arnhem.
A BRIDGE TOO FAR has so many things going for it. Initially striking is its all-star cast: Dirk Bogarde, James Caan, Michael Caine, Sean Connery, Edward Fox, Elliott Gould, Gene Hackman, Anthony Hopkins, Hardy Kruger, Laurence Olivier, Ryan O'Neal, Robert Redford, Maximilian Schell, and Liv Ullmann. Casts like that are simply not seen these days, except in cases where a movie contains a lot of short, walk-on cameos. In those cases, the stars are simply there to catch the viewer's attention for a few seconds. A BRIDGE TOO FAR not only has these actors in it, they all actually do something meaningful. Each gives a stellar performance in scenes essential to the plot.
The plot of a Great War Movie is comprised of history. As much as possible, it is not a colorization of history or someone's interpretation of what happened, but a series of events based on the facts. So it is with the plot of A BRIDGE TOO FAR. This movie does not deviate significantly from the actual historical accounts, and with the exception of a few minor characters, all personalities portrayed in the movie were actual people. This has the effect of making the story of the events and characters all the more compelling. Take, for example, when General Roy Urquhart (Sean Connery) and another officer are taken under fire and fight a running gun battle. They try to seek shelter from the enemy, only to end up trapped in the attic of a Dutch house by a German Tank. This is not fiction - it actually happened. Another example can be found when XXX Corps reaches the bridge at Nijmegen. A Nazi general (Hardy Kruger) has demolition charges set to blow the bridge sky-high when the first British tank crosses it, but the charges don't detonate. You would think this were pure movie-making fiction, but it actually happened, too.
Through clear direction by Attenborough and superior performances by all the actors, A BRIDGE TOO FAR gives the viewer insight into the world of military leadership. The charismatic leader is portrayed best by Edward Fox as General Horrocks of XXX Corps. In a scene early in the movie, Horrocks arrives at a theater to brief the senior officers. From the moment he exits his jeep and thanks the driver, then hands his coat and hat to a junior aide and says, "Look after these for me, will you?" you've already got the idea that this man is well liked and could probably get his men to follow him anywhere. Then he starts the briefing out with a joke. Later, he is driving down a column of armored vehicles, while talking with Irish Colonel Joe Vandeleur (Michael Caine) in the passenger seat. Periodically, Horrocks shouts encouragements and good-natured jibes at commanders on the side of the road, eliciting enthusiastic responses. One cannot help but be pulled into this aura of charisma, much like the soldiers under his command.
As Colonel John Frost of the British 1st Airborne, Anthony Hopkins delivers a wonderful portrayal of the English stiff upper lip when his battalion must hold out against unexpected German tanks. One of his officers says, "I was a bit surprised to find Bittrich's Panzer troops here in Arnhem." Just as surprised, Frost nevertheless responds with, "Well, you didn't really believe all that nonsense they told us about the enemy being comprised of children and old men, did you?"
There are many other scenes which contribute to the viewer's peek into this realm, but one other scene in particular deserves mention. On the way to the drop zone, General Maxwell Taylor (Paul Maxwell) is in one of the many planes carrying paratroopers of the US 101st. He merely looks at one of his soldiers, and gets the response, "Yeah. Fine, sir." This more than adequately illustrates the bond these leaders had with their men. It is an extremely short scene with only three words of dialogue, but it speaks volumes.
One theme raised in the beginning of the movie is how once begun, Operation Market Garden was not able to be stopped. This was in large part due to the fact that even those who were skeptical of the operation's plans were often afraid to "rock the boat." Two characters express their opposition to the plan. One is Polish General Stanislaw Sosabowski (Gene Hackman), a man who keeps silent until he has something meaningful to say. In one scene carefully crafted by Attenborough, the operation is revealed to the generals in charge of the assault divisions. Although there are only five men in the room, the viewer is not even aware Sosabowski is present until he is asked a question. He is nearly punished for his opposition by being marginalized in the operation.
The other character to speak out is a British intelligence officer, Major Fuller (Frank Grimes), who is adamant about photographs he has recently collected showing the placement of panzers in the town of Arnhem. Even though he shows them to General Browning (Dirk Bogarde), they are dismissed with doubts that the tanks are fully serviceable. Browning goes on to chastise Fuller about how "sixteen consecutive drops have been canceled for one reason or another, but this time the party's on." Fuller is later not allowed to participate in the operation in a touching scene where a doctor seeks Fuller out, notes the stress he has been under lately, and recommends he "get some rest." It is almost as if anyone who does not agree with the plan is mentally unstable. (Interestingly, the character of Fuller is based upon a real intelligence officer by the name of Brian Urquhart. However, since Sean Connery portrays a general also named Urquhart, the intelligence officer's name was changed to avoid confusion. In reality, Brian Urquhart was, like the character of Fuller, left out of the operation, but later served with the United Nations with distinction as was eventually knighted.)
Also worthy of mention are the visuals. The take-off of hundreds of C-47 Dakota transports and towed gliders is magnificent, especially when coupled with John Addison's rousing musical score. There are two sequences in which the sky is filled with paratroopers, a sight that would only be accomplished through computer imagery today, but which actually employed scores of real jumpers in 1977, when the film was made. The battle scenes are also startling, portraying the wild melee that occurs in urban fighting, and the sometimes surprise nature of enemy contact in the countryside.
Altogether, A BRIDGE TOO FAR is an excellent movie as well as a wonderful account of Operation Market Garden. In addition to the lesson in history, it provides an entertaining and fascinating story of the people and the acts of heroics, successful and failed, on both sides. Movies of this caliber are few and far between. This, coupled with a relative decline in interest of films of this genre and scope, may very well cause A BRIDGE TOO FAR to remain the definitive Great War Movie of years to come.
Review posted September 2, 1997
The review above was posted to the
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Broken URLs inthe reviews are the responsibility of the author.
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to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Purchase Order Address
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Quantity Ordered
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PurchaseOrderTypeAbbreviation – PurchaseOrderNo


Alicia Ning
Project Portfolio
d
Alicia is a fourth-year computer science student at the University of California, San Diego.
Contact
666-666-6666
projects
project 01
project 02
project 03
...


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The NodeInfo object represents a node of an XML document. It has a subclass DocumentInfo
to
represent the root node, but all other nodes are represented by NodeInfo
itself. These follow the
XPath data model closely.
In earlier releases, NodeInfo extended the DOM interface Node
. This is no longer the case;
it was changed to make it easier to integrate Saxon with other XML tree representations such as JDOM.
However, the main Saxon implementations of the NodeInfo
interface continue to also implement the DOM
Node
interface, so you can still use DOM methods by casting the concrete node object to a DOM class.
The NodeInfo object provides the application with information about the node. The most commonly used methods include:
|
getNodeKind() |
gets a short identifying the node type (for example, element or attribute). The values are
consistent with those used in the DOM, and are referenced by constants in the class
|
|
getDisplayName(), getLocalPart(), getPrefix(), getURI() |
These methods get the name of the element, or its various parts. The getDisplayName() method returns the QName as used in the original source XML. |
|
getAttributeValue() |
get the value of a specified attribute, as a String. |
|
getStringValue() |
get the string value of a node, as defined in the XPath data model |
|
getTypedValue() |
get the typed value of a node, as defined in the XPath data model. This is in general a sequence
of atomic values, so the result is a |
|
getParent() |
get the NodeInfo representing the parent element, (which will be a |
|
iterateAxis() |
returns an SequenceIterator object that can be used to iterate over the nodes on any of the
XPath axes. The first argument is an integer identifying the axis; the second is a |
For other methods, see the JavaDoc documentation.
It is possible (though not easy) to provide your own implementation of the NodeInfo
interface,
perhaps allowing Saxon queries to run directly against some non-XML data source. There are helper methods in the
net.sf.saxon.om.Navigator
class that reduce the amount of code you need to write to achieve this.


Before Change
temp_dir = tempfile.TemporaryDirectory()
recon_path = temp_dir.name + "/model_file.npy"
model, _ = track.reconstruction(conn_model, gtab, dwi_data, wm_in_dwi)
np.save(recon_path, model)
streamlines = track.track_ensemble(target_samples, atlas_data_wm_gm_int,
labels_im_file,
recon_path, sphere, directget, curv_thr_list, step_list,
After Change
with h5py.File(recon_path, "w") as hf:
hf.create_dataset("reconstruction",
data=model.astype("float32"))
hf.close()
streamlines = track.track_ensemble(target_samples, atlas_data_wm_gm_int,


After completing this section, you will be able to:
Find elements within an HTML page (p. 534-539)
Create HTML elements (p. 542-545)
Modify element attributes and text
Insert elements on a page


task
An interface that encapsulates asynchronous tasks, that can be started,
then take some time and finally suceed or fail.
Applications can use this interface as a base class for their task.
class ITask
- void Start(class UTask * user)
-
Called, in order to start an asynchronous Task.
class UTask
- void TaskComplete(class ITask * const task)
-
Callback that is called if the task is completed successfully.
If the implementation needs to return data as a result of the task,
this is outside the scope of the ITask interface.
Instead implementations should provid getter functions for result data.
- void TaskFailed(class ITask * const task)
-
Callback that is called if the task failed.
- void TaskProgress(class ITask * const task, dword progress)
-
Callback that is called if there was some progress to the task.
The nummeric value 'progress' can be used to indicate additional information
about the type of the progress.


|
It seems wrong to call it “business.” It seems wrong to throw all those hectic
days and sleepless nights, all those magnificent triumphs and desperate
struggles, under that bland, generic banner: business. What we were doing felt
like so much more. Each new day brought fifty new problems, fifty tough
decisions that needed to be made, right now, and we were always acutely aware
that one rash move, one wrong decision could be the end. The margin for error
was forever getting narrower, while the stakes were forever creeping higher—and
none of us wavered in the belief that “stakes” didn’t mean “money.” For some, I
realize, business is the all-out pursuit of profits, period, full stop, but for
us business was no more about making money than being human is about making
blood. Yes, the human body needs blood. It needs to manufacture red and white
cells and platelets and redistribute them evenly, smoothly, to all the right
places, on time, or else. But that day-to-day business of the human body isn’t
our mission as human beings. It’s a basic process that enables our higher aims,
and life always strives to transcend the basic processes of living—and at some
point in the late 1970s, I did, too. I redefined winning, expanded it beyond my
original definition of not losing, of merely staying alive. That was no longer
enough to sustain me, or my company. We wanted, as all great businesses do, to
create, to contribute, and we dared to say so aloud. When you make something,
when you improve something, when you deliver something, when you add some new
thing or service to the lives of strangers, making them happier, or healthier,
or safer, or better, and when you do it all crisply and efficiently, smartly,
the way everything should be done but so seldom is—you’re participating more
fully in the whole grand human drama. More than simply alive, you’re helping
others to live more fully, and if that’s business, all right, call me a
businessman. Maybe it will grow on me.
One of the best sections - about business and startups
December 29, 2016
|
337 |


World Television Day Map Reveals Favorite Show of Every Country
by Sundi RoseIt might be easy to guess the habits of American and British viewers (maybe Game of Thrones or Doctor Who, respectively), but you might not know what Mongolian or North Korean viewers love to watch. However, a new infographic now charts the best-rated shows by country, highlighting what people all over the world like to binge.
The map, compiled by recommendation site RAVE Reviews, offers some intriguing insights into viewing habits from almost every country in the world. The site employed user ratings from IMDb to gather the data, and the results may or may not surprise you.
The Netflix series Dark dominates the ratings in Germany, and Sri Lanka's long-running series, Koombiyo (Ants), tops the charts there, although its future is in question since its showrunner went missing. Meanwhile, countries in Africa like Morrocco and Kenya prefer crime-dramas.
"We used IMDb to find TV shows produced in each country and sorted them by User Rating to find the highest-rated shows," RAVE revealed. "In many cases the shows with the highest ratings had too few votes to constitute a reliable sample, so we sorted the list by Number of Votes to find the highest-rated show with the highest number of votes."
In countries that didn't have any television offerings to rank, the list provides shows that spend a substantial amount of time filming there, giving representation to a large swath of countries globally. Most of all, though -- statistics aside -- the map offers choices for the adventurous TV viewer, giving them the opportunity to explore other cultures, languages, and television styles.
https://schema.orgBreadcrumbListListItem1Homehttps://www.cbr.com/ListItem2TVhttps://www.cbr.com/category/tv/ListItem3TV Newshttps://www.cbr.com/category/tv/news-tv/ListItem4World Television Day Map Reveals Favorite Show of Every Countryhttps://www.cbr.com/world-television-day-map-favorite-shows-by-country/


Original Hex String
Converted Base 64 String
Intermediate Steps
1. Hexstring to Hex Bytes:
2. Hex Bytes to Decimal:
3. Decimal to Binary:
4. Binary Octets to 24-bit Groups
each 3x8-bit turns into 4x6-bit groups that are zero-padded from the front
5. 24-bit Groups to 6-bit Groups
padded binary bytes converted to decimal & then to base-64 equivalents


What is Reality Bending?
As you know, reality bending is my primary research direction. However, it is not (yet) a well-established scientific topic, nor is it clearly defined. In fact, it is not defined at all, hence the purpose of this article.
But what does it refer too? Is it some kind of Avatar: The Last Airbender thing? Or some Avengers-style superpower? Well… I sure wish it was 😁
Essentially, reality bending refers to the study of the internal and external determinants of subjective reality. In other words, we seek to understand the processes that modulate our conscious experience of reality. The word “bending” encapsulates the active nature of the mechanisms at stake. Indeed, being anything but stable, our perception of reality can be quite easily influenced, whether voluntarily or not, sometimes to extreme degrees of alteration.
Reality benders seek to unravel the structure and mechanisms of the sense of reality by studying natural instances of its distortion, or by directly inducing them through a variety of means.
Objective and subjective determinants of the sense of reality
Let’s take for example a guy watching some episode of his favourite TV show, Friends. As he swiftly moves from laughing to snivelling, we can confidently say that he is fully immersed in the show. He feels like he’s present in the show, from which the fictional characters feel very real: for a moment, his brain processes the perceived experience almost as if it was real.
What leads to this high sense of reality? First, there are objective characteristics of the experience (or rather, of the external source of the experience), i.e., characteristics of the environment. Here, it’s a realistic stimulus displayed on a flat screen. But one could wonder what would happen if the sensory input was richer (imagine being physically IN the show by means of some super virtual reality setup), or poorer (the same story presented as comic strips with the characters portrayed as stick figures).
However, while such manipulations could indeed be used to manipulate our immersion, there is also a subjective component contributing to our sense of reality, related for instance to the affective response, attentional engagement, or self-relevance, that will cause a stimulus to strum unique strings in each individual, depending on his history and state of mind.
Tell me your reality and I’ll tell you who you are
The fact that the sense of reality is, in the end, a subjective experience, means that is is intrinsically connected to the Self (i.e., our physical and mental identity). As such, aside from studying how our sense of reality is influenced by external and internal factors, but also investigate the reverse relationship, i.e., how the variability of our sense of reality can inform us about oneself.
Note that, although the focus is the subjective aspect of reality, it doesn’t mean that we deny the existence, or downplay the importance, of objective reality. Stating that most of our experience is “made-up” (i.e., is a construction of the brain) does not equate absolute relativism (more on that in another post). Objective truths and facts do exist, and are essential to seek.
Altered states of consciousness
Naturally, states in which our sense of reality is distorted (as compared to the consensual collective experience) are of particular interest as models or study-cases of our ideas and theories. They include long-term affections (e.g., neuropsychiatric disorders such as schizophrenia) or transcient states (induced by psychoactive substances or specific practices like meditation and trance).
Thanks for reading! Do not hesitate to tweet and share this post, and leave a comment below 🤗
🐦 Don’t forget to join me on Twitter @Dom_Makowski


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The idea generation is an iterative process where creative tools such as brainstorming, exploratory sketching are used to create the concept, it features and final design. To further deve lop and visualize, the concept is 3Domodeled in CAD software and finally rendered into photo realistic images. The result is an innovative, user friendly, low noise low vibration, low power and safer stand mixer that inspires people with an urban lifestyle


Issue 64
Welcome to another issue of Haskell Weekly! Haskell is a purely functional programming language that focuses on correctness, productivity, and expressiveness. This is a weekly summary of what’s going on in its community.
Featured
-
Announcing: the new unliftio library
For the past few years, Francesco Mazzoli and I have discussed issues around monad transformers — and the need to run their actions in IO — on a fairly regular basis. I wrote the monad-unlift library a while ago to try and address these concerns.
-
Type safe dimensional analysis in Haskell
Years ago my colleague Gustavo asked how I would represent physical units like
m/s
orkg*m/s^2
as types so the compiler can check that they match up and cancel correctly. F# supports this natively, but it felt weird to have it baked into the type system. -
Morgan Stanley open source: hobbes
Over the last few years, I have been developing hobbes — a programming language, JIT compiler, and database system — as part of my work for Morgan Stanley.
-
NStack is hiring Haskellers in London (onsite/remote) (ad)
NStack lets data scientists and analysts to do sophisticated data work in the cloud without a team of engineers. Come help us build the platform for composable, data-driven microservices, using a mixture of Haskell and Linux systems tech. Reply via the link or email<EMAIL_ADDRESS>-
Demystifying Haskell assignment
This post clarifies the distinction between
<-
and=
in Haskell, which sometimes mystifies newcomers to the language. Most languages use only one symbol to assign values (such as=
or:=
), so why does Haskell use two? -
If you look at the original property-based testing library, QuickCheck, tests are very closely tied to types: The way you typically specify a property is by inferring the data that needs to be generated from the types the test function expects for its arguments. This is a bad idea.
-
Get started with sending SMS in Haskell
Functional programming languages are gaining in popularity so let’s hop on that Haskell bandwagon. With Haskell, you can write clean, concise, and expressive code.
-
Our platonic ideal of a Haskell library is something that exports a single, coherent concept in such a way that it never needs to be reimplemented. This is not that: scraping is a dirty, error-prone, highly contingent endeavor.
-
State machine testing with Hedgehog
This is a really nice way to specify and test effectful systems. It’s much more effective than example-testing with canned action sequences. There’s also a lot of potential for test reuse: anything implementing the same interface can use the same property.
-
The world’s fastest extensible effects framework
I uploaded a new version of
monad-skeleton-0.1.4
, an operational monad library. As a result of performance optimization in the new version, extensible, the extensible effects library based on it, is now much faster than the other well-known libraries. -
The free monad allows you to build your own custom monad. This lets you use the do notation for whatever you want. I find that a lot of the tutorials on the Free monad have too much build-up, and it’s hard to figure out what the code should actually be at the end.
Package of the week
This week’s package of the week is language-ninja, a library for dealing with the Ninja build language.
Call for participation
- cabal: Before testing if libraries link, do a vanilla run to check if the compiler is misconfigured
- hindent: Indenting class creates syntax error
- miso: Fix 7.8, 7.6 builds
- stack:
stack new
can’t be pointed at an intranet site - text: Add
tshow
function
Do you have a beginner-friendly issue you want some help with? Email<EMAIL_ADDRESS>to get it included here!