Phantom Alloy
Red stuff which lets powerful demons join organization. No effects on rift walkers. Defangs powerful demons.
Invented by the organization.
No effect on riftwalkers.
Vile Damage
- 50% extra damage to undead (me)
- Damage is 5 types (fire, acid, poison, blood, and dark)
- Reduces maximum health. 3 points of healing to heal one normal point.
If applying effects, 1d6 vile damage per turn. Fortitude save. Can do fire damage, 10 fire damage to break it. Applies dizziness, will save. Stackable stuff for mind effects. One stage per turn.
Badges
- Recruit
- A single feather
Memory Spells
Some only work in specific worlds.
Some effects are single spells on individuals, some are auras. Main aura is of Ultimate Magic nature. Spell is used for espionage. Only one person needs to cast it. Does not normally affect technology, affects technology. Also why paintings are ok.
Special Items/Weapons
- steel goliath
- Owned by Maric "Tank" Setenna. Full plate set. Comedic explosions, protected against magic. Last in Kilead.
- Angel's Razor
- Karin. Stolen from musuem of Kilead. Multiple swords in each hand, 8.
- Iomedae's Light
- The Lightbringer. Erstonia Clergy before go to Lancaster. Lost during transit. Lancaster moved to start theocracy. Bright lights, unknown uses otherwise.
- The Fourth King
- Given to four keys, this one is sparkling gold gem. Given to Emporer Tallus. Abilities require other kings. Last in Magistra Arena. Probably each a separate plane.
- Masterpiece
- Unknown, last Naryam. Staff with diamond dust. Final creation. Not confirmed.
- storm bow
- Mirimash
- Circlet of the Geddon
- Naryam
- Shield of the Frost Giant
- Bleuw
- Pit Viper
- Staple of the arena. Creates small zones of instability for spells. Can create wind. Owned by Lawrence "Pit Viper" Kontra. Last seen in Kilead.
- Wyrmflame
- A magic dagger gifted to Kilead Monks. Owned by Dawn Order, Kilead. Lights aflame with red fire. Owned by Anari.
- Shelyn's Bane
- Rapier as gift to queen. In Pax royal family. Kilead, last with Tax in Kilead. Electricity stuff.
- Gozreh's Huntsman
- Simple, but powerful weapon. Prince Roland, Central Palace, Erstonia. Elemental crossbow. Carried by man in photograph. Bleuw.
- Dragonslayer
- Subdued red dragon in the east. Completed after Bazzle's curse set in. Black dragon guards in Aquarin. Dragon defeated. Takes different forms to suit the hero. Creates acid which destroys terrain. Destroys dragon.


DOLLS A film review by Michael C. De Masi Copyright 1988 Michael C. De Masi
I love Empire Pictures.
For those of you who don't know, DOLLS is another little sickie from the same folks who brought us REANIMATOR and FROM BEYOND.
The story is familiar. A bunch of assorted characters get stuck on a winding country road in the middle of a sudden storm and stop to spend the night at the lavish home of a kindly, but somewhat strange old couple. Of course, they have to spend the night, and are soon introduced to the handiwork of their hosts: Toys, dolls, hundreds of them.  And some fun they have!
Nothing unusual so far, right? Basic horror formula with some NIGHT GALLERY and TWILIGHT ZONE thrown in (Rod, where are you when we need you?) So what makes this movie memorable: The casting, it's damn near perfect. Don't expect the usual Empire crowd (No Jeffrey Combs, no Barbara Crampton, no Barbara Crampton's breasts, no big bosomed lady with the Dutch accent. There's one vet, though.) but a great ensemble cast with just the right blend of camp and seriousness.  Don't you know what's behind that door?" and this is definitely one of them.
Another difference between this flick and the other two is that the psycho-sexual aspect is really toned down. It's also not quite as bloody, but probably even more frightening. *Do not* show this movie to your children, unless you want to spend at least a few nights awake with them warding off the "Bad dollies." I was keeping a close eye on my sister's teddy bear for about a week, myself.
See it with an easily scared friend,
Mike D
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


{% extends "_layout.html" %} {% set active_page = "placeholder" %} {% block title %}Index{% endblock %} {% block content %}
This is a placeholder page for endpoints that don't yet exist.


Justice Ndou Blog
Justice Ndou's Personal blog on Computer Algorithms, Web Application Development, Mathematics, Science, Artificial Intelligence and Hacking
Justice Ndou's Personal blog on Computer Algorithms, Web Application Development, Mathematics, Science, Artificial Intelligence and Hacking


About Us
The shadows are just like the highlights, but we're going in the opposite direction. At home you have unlimited time. Now we don't want him to get lonely, so we'll give him a little friend. Think about a cloud. Just float around and be there. It's cold, but it's beautiful. There are no mistakes. You can fix anything that happens.


Albums
Name
Artist
Year
Producer
Price
Songs
INVADERS MUST DIE
THE PRODIGY
2009
Liam Howlett, James Rushent
15
title: Invaders Must Die - duration: 2.56
title: Mescaline - duration: 4.58
title: Thunder (Arveene & Misk's Storm-Warning Remix) - duration: 5.27
title: Invaders Must Die (Proxy remix) - duration: 4.03
METEORA
LINKIN PARK
2003
Don Gilmor - Warner Brothers
12
title: Foreword Don't Stay - duration: 3.35
title: Somewhere I Belong - duration: 3.37
title: Lying from You - duration: 3.00
title: Hit the Floor - duration: 2.47
title: Easier to Run - duration: 3.30
title: Faint - duration: 2.45
title: Figure.09 - duration: 3.21
title: Breaking the Habit - duration: 3.21
title: From the Inside - duration: 2.57
title: Nobody's Listening - duration: 3.00
title: Session - duration: 2.28
title: Numb - duration: 3.07
MINUTES TO MIDNIGHT
LINKIN PARK
2007
Warner Bros. Records
16
title: Wake - duration: 1.41
title: Given Up - duration: 3.09
title: Leave Out All the Rest - duration: 3.29
title: Bleed It Out - duration: 2.44
title: Shadow of the Day - duration: 4.50
title: What I've Done - duration: 3.25
title: Hands Held High - duration: 3.53
title: No More Sorrow - duration: 3.42
title: Valentine's Day - duration: 3.17
title: In Between - duration: 3.17
title: In Pieces - duration: 3.38
title: The Little Things Give You Away - duration: 6.22
Recovery
EMINEM
2010
Alex da Kid, Boi-1da, Dr. Dre
16
title: Cold Wind Blows - duration: 5.03
title: Talkin' 2 Myself - duration: 5.00
title: Won't Back Down - duration: 4.25
title: On Fire - duration: 3.33
title: W.T.P - duration: 3.58
title: Going Through Changes - duration: 4.58
title: Not Afraid - duration: 5.00
title: Seduction - duration: 4.35
title: No Love - duration: 4.59
title: Space Bound - duration: 4.38
title: Cinderella Man - duration: 4.39
title: 25 to Life - duration: 4.01
title: So Bad - duration: 5.25
title: Almost Famous - duration: 4.52
title: Love the Way You Lie - duration: 4.23
title: You're Never Ove - duration: 5.05
title: Untitled - duration: 3.14


Carnell-Rettgers Family History
WWI Veterans
- Benjamin Franklin (Frank) Saurman
- 1889-1970
- Service
- Enlisted: 14 Dec 1917 in Philadelphia, PA
- 13 Dec 1917 - 9 Feb 1918 Casual Detachment, 2nd Transportation/Tank Brigade, FT Slocum, NY
- 9 Feb 1918 - 22 Jun 1918 327 Aero Squadron, Kelly Field, TX
- 22 Jun 1918 - 23 Jan 1919 869 Aero Squadron, Kelly Field, TX
- Discharged: 3 Feb 1919 in Camp Dix, NJ
- Ranks
- Cpl 15 Apr 1918
- Sgt 1 May 1918
- Pvt 20 Jun 1918
- Cpl 1 Nov 1918
- William Buck Connell (fold3)
- 1890 - 1953
- Service
- Enlisted: 15 Jul 1918, Company D, 57th Pioneer Infantry
- 29 July 1918, Company B, 53rd Pioneer Infantry
- 6 Aug 1918, Deployed overseas with American Expeditionary Forces
- 3 May 1919, Returned from overseas
- Discharged: 17 May 1919
- Pvt
- Floyd William Fett (fold3)
- Windom Harrison Josey
- 1892/1893 - 1966
- Service
- Enlisted: 27 Jun 1918
- 27 Jun 1918 - 15 Jul 1918, 157th Dep Brig
- 15 Jul 1918 - 25 Aug 1918, Company K, 2nd Infantry Replacement Regiment, Camp Gordon, GA
- 31 Aug 1918 - 12 May 1919, overseas
- 25 Aug 1918 - 25 Oct 1918, Company G, 303rd Infantry
- 25 Oct 1918 - 28 May 1919, Company G, 325th Infantry
- Discharged: 28 May 1919
- John Franklin Carnell (fold3)
- Ithamar Benedict Rettgers (fold3)
- 1898 - 1937
- Service
- Enlisted 9 Apr 1917 in Pennsylvania National Guard
- 9 Apr 1917 - 5 Aug 1917, Company I, 4th Infantry, Pennsylvania National Guard
- Company I, 149th Machine Gun Battalion
- Company A, 149th Machine Gun Battalion
- Company D, 150th Machine Gun Battalion, 83rd Infantry Brigade, 42nd Infantry Division, American Expeditionary Force (AEF) (roster)
- 14 Nov 1917 - 28 Apr 1919, Overseas
- 14 Nov 1917, Departed Hoboken, N.J. on the White Star Line S.S. Cedric as part of Company A, 149th Divisional Machine Gun Battalion.
- SS Cedric
- Luneville sector, Lorraine, France, 21 Feb-23 Mar, 1918
- Baccarat sector, Lorraine, France, 31 Mar-21 Jun, 1918
- Esperance-Souain sector, Champagne, France, 4 Jul-14 Jul, 1918
- Champagne-Marne defensive, France, 15 Jul-17 Jul, 1918
- French 4th Army under General Henri Gouraud
- map
- Aisne-Marne offensive, France, 25 Jul-3 Aug, 1918
- French 6th Army under General Jean Degoutte
- American I Corps, under MGen Hunter Liggett
- map
- St. Mihiel offensive, France, 12 Sep-16 Sep, 1918
- First United States Army under Gen John J Pershing
- IV Corps - MGen Joseph T Dickman
- 42nd Division - MGen Charles T Menoher
- map
- Essey and Pannes sector, Woevre, France, 17 Sep -30 Sep 1918
- Meuse-Argonne offensive, France, 12 Oct-31 Oct, 1918
- Meuse-Argonne offensive, France, 5 Nov-10 Nov, 1918 map
- Army of Occupation
- 17 Apr 1919 - Sailed from Brest, France on the USS Pretoria, bound for Boston, MA, arriving 28 Apr 1919, headed for Camp Devens
- USS Pretoria
- Discharged 7 May 1919 back to National Guard
-
- 31 Aug 1925, USAT St. Mihiel from Fort Monroe, VA to Philadelphia, PA, 213th C.A.C. Pennsylvania National Guard
- 7 Aug 1926, USAT Chateau Thierry from Fort Monroe, VA to Philadelphia, PA, 213th A.A. Pennsylvania National Guard
- 28 Aug 1927, USAT St. Mihiel from Fort Monroe, VA to Philadelphia, PA, 213th A.A. Pennsylvania National Guard
- USAT St. Mihiel
- USAT Chateau Thierry
- Ranks
- Pvt (at least on 14 Nov 1917)
- Cpl
- Sgt 24 Apr 1918
- 2nd Lt (at least on 31 Aug 1925 - 28 Aug 1927)
- Capt
- Note, he was not wounded, but was gased
- Charley Moxley Johnson
- 1893 - 1961
- Service
- Enlisted: 12 Jul 1917 at Ft McPherson, GA
- Field Bakery company, 312 Quartermaster Corps
- Discharge: 13 Feb 1918
- PFC
- 50 percent disabled at discharge, no overseas service
- Frederick Edgar Rettgers (fold3)
- 1896 - 1976
- Service
- Enlisted: 26 Apr 1918
- 26 Apr 1918 - 27 May 1918, 20 Co 5 Tng Bn 155 Dep Brig (20th Company, 5th Training Battalion, 155th Dep Brigade)
- 27 May 1918 - 18 Apr 1919, Company K, 145th Infantry, 73rd Infantry Brigade, 37th Div
- 15 Jun 1918 - 26 Dec 1918, Overseas, Meuse Argonne Belgium Drive
- Baccarat sector, France, 4 Aug - 16 Sep 1918
- Meuse Argonne offensive, France, 26 Sep - 30 Sep 1918
- Meuse Argonne offensive, France, 7 Oct - 16 Oct 1918
- Ypres Lys Offensive, Belgium, 31 Oct - 4 Nov 1918 (wounded)
- Ypres Lya Offensive, Belgium, 9 Nov to 11 Nov 1918 (not present)
- 4 Nov 1918, Severely Wounded, 20% disabled at discharge, M.G.W left arm
- Discharge: 18 Apr 1919
- Cpl
- Clarence Heber Hartenstine
- 1898 - 1953
- Enlisted 11 Nov 1918, canceled draft on 12 Nov 1918
- Obituary also claims that he was a Navy Machinist
- Herbert Hartenstine (fold3)
- 1895 - 1919
- Service
- Enlisted: 31 Dec 1917, Naval Reserve Corps at Philadelphia
- Training in Philadelphia
- Training in Pensacola, FL until Feb 1918
- Embarked for France, Mar 1918
- Active air patrols in France
- Arrived US, 24 Nov 1918
- Assigned to a patrol crew along Pelham Bay, N.Y.
- Died at sea in an accident, 19 May 1919 off of Chatham, MA. Most likely in a Curtis HS Seaplane
- Harold John Fett (fold3)
- 1893 - 1942
- Drafted 13 Mar 1918 and sent to Camp Green Leaf


Yash Mirge
HOME
HI! MY NAME IS
YASH MIRGE
DESIGN &
PHOTOGRAPHY
Login Here
Username
Password
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New User


Take a step in and be greeted by a sophisticated red carpet that leads to the place you call home. We offer recently upgraded apartments with two large bedrooms with walk-in closets, and one bathroom. Each apartment features an open living & dining room, and kitchen with a stove and refrigerator. The buildings are also equiped with washers and dryers.
Close to everything you need—grab pizza, make an easy run to the bank, or pick up some household items—just a quick five minute drive away. Stroll around in the nearby parks, or enjoy the night out in Depot Town or Midtown. We are also close to Eastern Michigan University and Washtenaw Community College.
Give us a call to learn more about our apartments and schedule a viewing.


A Girl from Hunan
[4.0/4.0]
Time passes slowly in the rural countryside, so customs and traditions are often slow to change in the absence of outside influences. Xiao Xiao is a young girl just entering adolesense. Following custom, she has her marriage arranged to Chun Guan, who is a child of about five years of age. The story begins as Xiao arrives at the rustic family farm of Guan's family. Although they are actually man and wife, their relationship at this stage more resembles younger brother and older sister, in fact he addresses her as "Sister". Guan's time is mostly spent in play and Xiao Xiao's time is mostly spent in numerous farm chores.  However, Xiao Xiao's friendship with one of the farmhands eventually develops into a romantic relationship. This not something that she is know would happen, because in her youth and naivete she cannot know the consequences of her actions. She see first hand that the penalty for adultery is severe by traditional law, but only when it is too late does she realize the trap she has entered.
When people from one culture observe the customs and practices of another, there invariably will be some that are shocking. There may be the perception that the story is an illustration of the injustices of a particular culture, but this is not the case. It merely provides the context in which customs and practices exist in an equilibrium state. Certainly some of the events are barbaric through Western eyes, but that is because of the context in which they are viewed. It is not a depiction of a system that is perfect, in fact there are undeniable injustices, but it is a system that serves to order and balance the lives of its people.
This is a film that very ambitious and highly successful. It was apparently not intended for the Western audience judging by the long period with no distribution. To tell a story of one culture to another is very difficult considering the lack of background that the audience will have. The story is brilliantly written and flawlessly acted. The writing and cinematography are so well done that viewing the film feels like living in a Chinese village.
Highly Recommended. Those familiar with Eastern cultures will reallly appreciate the honest depiction of rural country life. The dialog is Chinese with subtitles.
(c) 1999 Murali Krishnan The Art House Squatter http://pages.hotbot.com/movies/murali24/
-----------== Posted via Deja News, The Discussion Network ==---------- http://www.dejanews.com/ Search, Read, Discuss, or Start Your Own
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


VaccinateIL
COVID-19 Vaccine Availability
County Policies
Open main menu
COVID-19 Vaccine Availability
County Policies
COVID-19 Vaccine Availability
On January 25th, the state of Illinois will move to phase 1B of the
vaccine plan
. This includes those 65 and older as well as front line workers.
More information coming soon.
View county information
Let us know if you found this site useful!
Contact and Follow
Email
<EMAIL_ADDRESS>to get in touch.
Follow @VaccinateIL


{{ course.name }} is
{% if jobType=='email_reminder_course_start_1day' %}
starting tomorrow
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starting soon
{% endif %}
|
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{% set redirect_url = path('user_library',{utm_medium : utm.medium,utm_source: utm.source, utm_campaign: utm.campaign}) %}
A course added to your "My Courses" list is about to start.
Note: Class Central is a directory and does not directly operate courses. Click on 'Go to Class' to go to the providers course page. Content might not be available until the course start date. You can see our general FAQ about MOOCs here.
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You are receiving this email at {{ user.email }} because you have enabled MOOC Tracker notifications on Class Central.
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WSO2 Dashboard Server (DS) provides a tool set to create dashboards and visualizations for enterprise requirements. Unlike traditional solutions, DS exposes the power of the server to the dashboard or the app developer. The dashboards and microsites created via DS are stored as Jaggery apps, where developers have full flexibility to work with Jaggery APIs to retrieve, manipulate and compose data.
The Dashboard is an Executive Information System, which gives users a Bird's Eye view of their System or Business with use of gadgets created. Users can create their gadgets to meet their business requirements, and then let the different set users to view their dashboard.
The users can personalize the dashboard based on their own interest, and change the position of the gadgets and settings how they currently look.
Security is important aspect of the dashboards, and restrict which users can see the Dashboards, pages, and gadgets. Also the dashboards can be logged in Single Sign on with any identity providers which faciltates users to use their own infrastructure.


Barton, Florence Emily
| Birth Name | Barton, Florence Emily |
| Gender | female |
| Age at Death | 72 years, 3 months, 21 days |
Narrative
SMH - GAZZARD, FLORENCE EMILY - May 11, 1966, at hospital, Glenfield, (late of Woodside Ave, Strathfield), beloved wife of Reginald, mother of Allan, Brenda (Mrs.Hudson), Neville & Gwen (Mrs.Hart), mother-in-law of Edna, Bernie & Albert, loved grandmother of their chirlren, aged 72 years. At her own request, body bequeathed to the University. Memorial service to be held at Holy Trinity Church of England, Glenfield.
Events
| Event | Date | Place | Description | Sources |
|---|---|---|---|---|
| Birth | 1894-01-21 | Goulburn,NSW | ||
|
|
||||
| Death | 1966-05-11 | Glenfield NSW #2425 | ||
|
|
||||
| Burial | Service | Holy Trinity Church of England, Glenfield NSW | ||
|
|
Parents
| Relation to main person | Name | Birth date | Death date | Relation within this family (if not by birth) |
|---|---|---|---|---|
| Father | Barton, William | |||
| Mother | Hart, Catherine | |||
| Barton, Florence Emily | 1894-01-21 | 1966-05-11 |
Families
Family of Gazzard, Reginald Cecil and Barton, Florence Emily |
||||||||||||||||||||
| Married | Husband | Gazzard, Reginald Cecil ( * 1890-07-01 + 1970-04-09 ) | ||||||||||||||||||
|
||||||||||||||||||||
| Children |
| Name | Birth Date | Death Date |
|---|---|---|
| Gazzard, Allan Barton | 1921-03-21 | 1993-09-01 |
| Gazzard, [Living] | ||
| Gazzard, Neville John | 1924-05-12 | |
| Gazzard, [Living] | ||
| Gazzard, Harold W | 1929-02-00 | 1931-05-01 |
| Type | Value | Notes | Sources |
|---|---|---|---|
| _UID | 11FDFA65E5C4D5119853B7EB0FA9CA6D78E1 |
Attributes
| Type | Value | Notes | Sources |
|---|---|---|---|
| _UID | 37FDFA65E5C4D5119853B7EB0FA9CA6D9E41 |


This intention replaces an if/then/else expression, or then/else operator expression, with an if/else statement.


The node core libs for in-browser usage.
Exports a hash [object] of absolute paths to each lib, keyed by lib names. Modules without browser replacements are null
.
Some modules have mocks in the mock
directory. These are replacements with minimal functionality.
| lib name | browser implementation | mock implementation |
|---|---|---|
| assert | defunctzombie/commonjs-assert | — |
| buffer | feross/buffer | buffer.js |
| child_process | — | — |
| cluster | — | — |
| console | Raynos/console-browserify | console.js |
| constants | juliangruber/constants-browserify | — |
| crypto | crypto-browserify/crypto-browserify | — |
| dgram | — | — |
| dns | — | dns.js |
| domain | bevry/domain-browser | — |
| events | Gozala/events | — |
| fs | — | — |
| http | jhiesey/stream-http | — |
| https | substack/https-browserify | — |
| module | — | — |
| net | — | net.js |
| os | CoderPuppy/os-browserify | — |
| path | substack/path-browserify | — |
| process | shtylman/node-process | process.js |
| punycode | bestiejs/punycode.js | — |
| querystring | mike-spainhower/querystring | — |
| readline | — | — |
| repl | — | — |
| stream | substack/stream-browserify | — |
| string_decoder | rvagg/string_decoder | — |
| sys | defunctzombie/node-util | — |
| timers | jryans/timers-browserify | — |
| tls | — | tls.js |
| tty | substack/tty-browserify | tty.js |
| url | defunctzombie/node-url | — |
| util | defunctzombie/node-util | — |
| vm | substack/vm-browserify | — |
| zlib | devongovett/browserify-zlib | — |
buffer
The current buffer
implementation uses<EMAIL_ADDRESS>because<EMAIL_ADDRESS>relies on typed arrays.
This will be dropped as soon as IE9 is not a typical browser target anymore.
punycode
The current punycode
implementation uses<EMAIL_ADDRESS>because<EMAIL_ADDRESS>requires modern JS engines that understand const
and let
.
It will be removed someday since it has already been deprecated from the node API.
MIT


Massive Black Friday warm-up sale is now on at Boots with exclusive deals for online shoppers
The high street favourite has half price deals, three-for-two offers and money-off discounts available in stores and online
by Linda HowardIf there’s one retailer that it’s hard to keep up with it’s Boots .
Without a doubt it’s one of the best for dropping daily deals and slashing prices across its entire range of products - there’s always something for everyone.
In their Black Friday warm-up sale they’ve got too many deals for us to list - you can view them all here at Boots.com .
Here are a few highlights from the Boots Black Friday warm-up sale
Save up to £15 when you stock up on No7 products - ends at midnight tonight.

The gift set includes:
- Tonique Confort 50ml
- Lait Galateis Douceur 50ml
- Hydra Zen Day Creme 30ml
- Hydra Zen Jelly Mask 50ml
- Rose Sugar Scrub 50ml
Save up to half price on fragrances (Limited time only) l view the offers here
HUGO Iced Eau de Toilette 125ml - £29 (was £59)
Too Faced Paint the World Pink Set - £35 (contains products worth £79) l view it here
A collection of Too Faced best-selling products created exclusively for Boots including the #1 best-selling prestige mascara in America.
Shop the Boots Black Friday warm-up sale here


‘Govt. committed to promoting sports and games in schools’
No effort will be spared to make them an integral part of the students’ life: Minister
by K. UmashankerThe government is committed to promoting sports and games in all schools, Sports Minister M. Srinivasa Rao has said.
The Minister was speaking after inaugurating the 17th National Inter District Junior Athletics Meet (NIDJAM – 2019) at S.V. University Stadium in Tirupati.
Boys and girls from all over the country participated in various events in the U-14 and U-16 categories during the inaugural session.
Cash awards
With a view to giving a boost to sports and games in the State, the government had so far spent ₹2 crore, the Minister said. Besides, the government decided to honour the players who had won laurels in the national and international fora with cash awards, Mr. Rao added.
Stating that it was a privilege for the government to host the event in the temple city, the Minister said all steps would be taken to make sports and games an integral part of the students’ life in schools.
In his address, Minister for Panchayat Raj P. Ramachandra Reddy asked the students to understand the true spirit behind sports and games, and that there was nothing like losing or winning.
APIIC chairperson R.K. Roja said sports and games would play a major role in reducing the stress levels among the students.
Deputy Chief Minister K. Narayanaswamy, Chittoor MP N. Reddappa, district Collector Narayana Bharat Gupta, and YSRCP MLAs from the district were present.
The three-day event would be organised at 12 venues spread over various universities and TTD administered colleges.
The district administration made elaborate arrangements for the athletes.


Initially evaluate the primes up to N
Then evaluate the Goldbach Conjecture using the primes previously calculated
Goldbach's conjecture is one of the oldest and best-known unsolved problems in
number theory and in all of mathematics. It states: Every even integer greater
than 2 can be expressed as the sum of two primes.
Let N be the integer up to which we test
We require the primes up to maxP = sqroot(N)+1
Use a sieve to find primes up to maxP
Partition the range up to N to find all the primes in that range, in parallel
Create a single list of primes which is broadcast in parallel to Goldbach workers
Each worker is allocated an (overlapping) range of primes
Each worker then finds all the sequential even numbers it can calculate from its range of primes
Collect the results from each worker and ensure that ranges overlap, except for the last
The maximum Goldbach number will be less than 2*N
Two versions of the source of each example are provided. The version ending 'Chans' has the network defined using
user defined channel definitions and each process declares its input and output channels. The version
ending '_gpp' does not define the channels nor the channel declarations in the process definitions. The processes
have to be defined in the order in which they occur in the dataflow through the application solution. The processes are preceded
by the annotation //NETWORK and terminated by //END NETWORK. The program jcsp.gppLibrary.build.GPPbuild can then be used
to create the channel definitions, channel declarations and the required parallel constructor required to invoke the process network.
Author, Licence and Copyright statement author Jon Kerridge School of Computing Edinburgh Napier University Merchiston Campus, Colinton Road Edinburgh EH10 5DT Author contact: j.kerridge (at) napier.ac.uk Copyright Jon Kerridge Edinburgh Napier University * Licensed under the Apache License, Version 2.0 (the "License"); you may not use this file except in compliance with the License. You may obtain a copy of the License at http://www.apache.org/licenses/LICENSE-2.0 Unless required by applicable law or agreed to in writing, software distributed under the License is distributed on an "AS IS" BASIS, WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. See the License for the specific language governing permissions and limitations under the License.


RT @TheThryll: A lot of celebrities are on Twitter. But there’s a lot of interesting people, too.
3/10/2011, 8:16:41 PM
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Retweets: 0
link--- layout: tweet ---
RT @TheThryll: A lot of celebrities are on Twitter. But there’s a lot of interesting people, too.
3/10/2011, 8:16:41 PM
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link


Member have to create a bridge on software
Round 1: Elimination Round
Member have to create a bridge on software with in required time. If member fail to do so will be eliminated.
Time Duration: 45 Minutes (minimum)
Rules: It is on the spot event Rule will be decided at the time of event.
1 member only
8th March 2017
10:00 to 10:45 AM
Narayan Bhavan, Civil Engg. Drawing Hall.
Rs. 30
Meet Dave


Hello 世界
December 31, 2018
I’m starting my Golang journey with Donovan and Kernighan’s “The Go Programming Language” (2016). Why? Becuase it’s a text which not only starts at the point where I currently find myself skills-wise (long-term dev experience with Java and heavy sojourns into other languages but nothing to speak of in the systems-programming space) but it also reminds me of the first ever programming book I bought; “The C Programming Language” by Kernighan and Ritchie. It made little sense to me at the time, and the C code I wrote was terrible, but the nostalgia is still strong, and Kernighan (and Donovan) can write on languages very clearly.
Donovan and Kernighan start their journey into Golang with the standard “Hello …” construct, and immediately there is a lot to take note of.
The Golang Toolchain
Golang is compiled, which you achieve by a combination of the go
command and certain sub-commands. There are many of them, but here we see run
and build
(which builds a platform-specific executable that can be run without the go
environment being installed.)
Unicode
You can see from the title of this post that we’re bidding hello in Japanese. Support for Unicode is native in Golang. Nothing new having come from the Java world, but nice to know.
Packages and Standard Libraries
Everygthing is packaged. Our code is packaged, and so are the Standard Libraries which are import
ed. So far so unexpected.
However there is a concept that is new to me; there is a special package called Main
which contains entry points to your Golang programs. When complied, Main
packages create standalone, executable programs.
Clean Syntax
No semicolons required!
Clean Style
It is Golang style to run gofmt
and goimports
on your code. That ensures all Golang code looks the same, and that there are no rogue (i.e. unused) imports.
Go-Managed, Easy-to-Use Toolchain
We don’t have the goimport
tool for the toolchain in the default install, so we just go get
it and it’s available to use.


The browser used to be a box that could only fill as much of the screen as the OS permitted. Pages were trapped within the confines of the browser window. Time to bust out of this joint! How? Fullscreen API, that's how! With the Fullscreen API you can make any element (video & games, anyone?) go fullscreen, that includes the full page if you want.
What'cha gonna do with it then?
How would that go, matey?
Again, this is an easy to understand and straight-forward API. You can call requestFullScreen
on any element in
the DOM to make it go fullscreen (although fullscreen access is not guaranteed). You can detect when an element
goes fullscreen by listening to the fullscreenchange
event, and check which element is in fullscreen mode by
calling document.fullscreenElement
.
Once an element is in fullscreen mode you can apply specific styles to it with the :full-screen
pseudo-selector.
We used this selector to make the image as wide as the screen in the example above.
As there is a significant security risk in this fancy feature, browser-builders took some precautions. Chrome, as well as Firefox, won't allow anything to go fullscreen unless it is triggered by direct user action (ie. a click or keyboard input). In addition to that, a big message is displayed warning you that your browser is now in fullscreen mode. This warning can also be used by the user to deny or allow fullscreen for this window. There are some other cases where the browser vendors took precautions, so you might want to look into that before going to all out and salting your app heavily with Fullscreen API goodness.
To see what a hostile website could do, go check out Feross Aboukhadijeh's article "Using the HTML5 Fullscreen API for Phishing attacks" (don't worry, the link is safe — it just describes what happens).
Useful?
If you're building games or are working with video, it is a must-have. Other things you could do with it include (but not limited to):
- Make your fullscreen presentations in HTML (we know some of you already do this)
- Full-screen gaming
- Kiosk-style apps (you'd probably need something more here though; wouldn't want people to exit full-screen mode)
Now, how'bout them source?
Opera is the only one with an un-prefixed version. Firefox, Chrome and Safari support the API but only with a prefix. IE is absent from the supported list.
Show me the source!
Feel free to stroll about, enjoy the fresh sea air and look up the various source files we used for this example.


dbl_edge_mcmc documentation¶
Overview¶
About¶
For a fixed degree sequence and a given graph space, a configuration model is a uniform distribution of graphs with that degree sequence in that space. This code package implements Markov chain Monte Carlo methods to sample from configuration models, as discussed in the associated paper [1]. Given an input graph (and its implicit degree sequence), these methods can sample graphs from the configuration model on the space of (either stub or vertex-labeled): simple graphs, multigraphs or loopy multigraphs.
For those interested in sampling loopy graphs (graphs which may have self-loops but not multiedges): While the methods in this package will perform normally if asked to sample from the space of loopy graphs, there are relatively rare degree sequences for which double edge swaps will not be able to reach every loopy graph.
If this code is utilized in work contributing to an academic publication please cite the associated paper [1].
Package Contents¶
This package is composed of 3 small Python modules and one Jupyter notebook. The notebook dbl_edge_worksheet.ipynb provides a good overview of this package’s content, demonstrating simple examples of how to: sample graphs with the same degree sequence; calculate statistics for different graph spaces; and use a simple test script to help verify the uniformity of the sampling.
Please use the Jupyter notebook in conjunction with the documentation of the following modules:
- dbl_edge_MCMC.py
This stores the main methods used to sample graphs.
- dist_verification.py
Samples small graphs and plots the output to allow for visual inspection of the distribution the MCMC methods sample.
- sample_assortativity.py
Utilizes the methods in dbl_edge_MCMC to sample the assortativity of graphs drawn uniformly from a graph space. Running this as a script computes the assortativity for simple graphs with the same degree sequence as Zachary’s karate club.
Taking MCMC steps¶
The module dbl_edge_MCMC.py contains the core methods used to uniformly sample graphs with fixed degree sequences via a double edge swap Markov chain Monte Carlo sampler. This section provides a brief overview of the different ways this module can be used. For a more detailed discussion of arguments and outputs please consult the module’s documentation.
There are two primary ways to utilize this module, either though providing and maintaining a networkx graph/multigraph object as in MCMC_class, or by providing and maintaining an adjacency matrix and an edge list as in the functions MCMC_step_stub and MCMC_step_vertex. In either approach it is necessary to specify the desired graph space by stating whether self-loops and/or multiedges are allowed as well deciding whether the graph is stub- or vertex-labeled.
MCMC_step_vertex and MCMC_step_stub¶
Functions MCMC_step_stub and MCMC_step_vertex perform a single stub-labeled and vertex-labeled (respectively) double edge swap and correspond to Algorithms 1 and 3 in the accompanying paper. These functions modify a full (non-sparse) graph adjacency matrix, a list of edges, and a length 4 list, all in place. Both take the same arguments (as detailed below). Consider the following example.
import numpy as np
A = np.array([[0,1,0],[1,2,2],[0,2,0 ]])
edge_list = np.array([[0,1],[1,2],[1,2],[1,1]])
swaps = [0,0,0,0]
MCMC_step_stub(A, edge_list, swaps, allow_loops = True, allow_multi = True)
This performs a single MCMC step on a stub-labeled loopy multigraph, potentially updating A, edge_list and swap with new, post-swap values.
Both functions return a boolean, which is true only if the Markov chain step altered the adjacency matrix (as opposed to resampling the current graph). If the adjacency matrix is altered the swaps argument will be changed in place, storing the nodes that were swapped.
MCMC_class¶
The MCMC_class is initialized with a Networkx graph, along with the three choices that define the graph space. Calling the class function ‘step_and_get_graph’ advances the Markov chain and returns the current Networkx graph. Consider the following example.
import networkx as nx
G = nx.Graph()
G.add_path([0,1,2,3,4])
MC = MCMC_class(G, allow_loops = True, allow_multi = True, is_v_labeled = False)
G2 = MC.step_and_get_graph()
This takes a path graph on 4 nodes, instantiates a MCMC_class based on this graph and returns a pointer to a graph G2 which differs from G by one double edge swap. Notice that this samples from the space of stub-labeled loopy multigraphs, but can be easily adjusted to other spaces.
Notes¶
In general, directly calling MCMC_step_vertex or MCMC_step_stub is faster than using MCMC_class, since updating Networkx data structures doesn’t benefit from numba acceleration.
For large graphs, the full adjacency matrix may not be able to be stored in memory. If so, the<EMAIL_ADDRESS>function decorator can be deleted and a sparse matrix can be passed into these functions as an argument, though at a significant cost in speed.
We use the convention that a self-loop (u,u) contributes 2 to the diagonal of an adjacency matrix, not 1 as in Networkx.
References¶
[1] Bailey K. Fosdick, Daniel B. Larremore, Joel Nishimura, Johan Ugander. Configuring Random Graph Models with Fixed Degree Sequences (2016)
dbl_edge_mcmc.py¶
Created on Tue Jul 19 07:43:30 2016
@author: Joel Nishimura
This module contains the core methods used to uniformly sample graphs with fixed degree sequences via a double edge swap Markov chain Monte Carlo sampler.
-
class
dbl_edge_mcmc.
MCMC_class
(G, allow_loops, allow_multi, is_v_labeled=True)[source]¶ MCMC_class stores the objects necessary for MCMC steps. This implementation maintains a networkx version of the graph, though at some cost in speed.
Args:G (networkx_class): This graph initializes the Markov chain. All sampled graphs will have the same degree sequence as G.allow_loops (bool): True only if loops allowed in the graph space.allow_multi (bool): True only if multiedges are allowed in the graph space.is_v_labeled (bool): True only if the graph space is vertex-labeled. True by default.Returns:NoneMCMC_class copies the instance of the graph used to initialize it. This class supports loopy graphs, but depending on the degree sequence, it may not be able to sample from all loopy graphs.
-
dbl_edge_mcmc.
MCMC_step_stub
[source]¶ Performs a stub-labeled double edge swap.
Args:A (nxn numpy array): The adjacency matrix. Will be changed inplace.edge_list (nx2 numpy array): List of edges in A. Node names should be the integers 0 to n-1. Will be changed inplace. Edges must appear only once.swaps (length 4 numpy array): Changed inplace, will contain the four nodes swapped if a swap is accepted.allow_loops (bool): True only if loops allowed in the graph space.allow_multi (bool): True only if multiedges are allowed in the graph space.Returns:bool: True if swap is accepted, False if current graph is resampled.This method currently requires a full adjacency matrix. Adjusting this to work a sparse adjacency matrix simply requires removing the<EMAIL_ADDRESS>decorator. This method supports loopy graphs, but depending on the degree sequence, it may not be able to sample from all loopy graphs.
-
dbl_edge_mcmc.
MCMC_step_vertex
[source]¶ Performs a vertex-labeled double edge swap.
Args:A (nxn numpy array): The adjacency matrix. Will be changed inplace.edge_list (nx2 numpy array): List of edges in A. Node names should be the integers 0 to n-1. Will be changed inplace. Edges must appear only once.swaps (length 4 numpy array): Changed inplace, will contain the four nodes swapped if a swap is accepted.allow_loops (bool): True only if loops allowed in the graph space.allow_multi (bool): True only if multiedges are allowed in the graph space.Returns:bool: True if swap is accepted, False if current graph is resampled.This method currently requires a full adjacency matrix. Adjusting this to work a sparse adjacency matrix simply requires removing the '@jit‘ decorator. This method supports loopy graphs, but depending on the degree sequence, it may not be able to sample from all loopy graphs.
-
dbl_edge_mcmc.
flatten_graph
(graph, allow_loops, allow_multi)[source]¶ Takes an input graph and returns a version w/ or w/o loops and multiedges.
Args:G (networkx_class): The original graph.allow_loops (bool): True only if loops are allowed in output graph.allow_multi (bool): True only if multiedges are allowed in output graph.Returns:A graph with or without multiedges and/or self-loops, as specified.
sample_assortativity.py¶
Created on Tue Jul 19 10:06:33 2016
@author: Joel Nishimura
This module contains functions to sample the assortativity values of graphs with the same degree sequence as an input graph. The functions use the dbl_edge_mcmc module to perform double edge swaps.
Running this module as a script samples the assortativity of simple graphs with the same degree sequence as Zachary’s karate club at 50k different graphs spaced over 5 million double edge swaps.
Running the function ‘sample_geometers’ performs a more resource intensive MCMC sampling of a collaboration network of geometers.
-
sample_assortativity.
calc_r
[source]¶ Calculates the assortativity r based on a network’s edgelist and degrees.
Args:degree (dict): Keys are node names, values are degrees.edges (list): A list of the edges (u,v) in the graph.Returns:(float) The assortativity of the graph.
-
sample_assortativity.
load_geometers
()[source]¶ This loads the geometers graph from file and returns a networkx multigraph.
-
sample_assortativity.
r_sample_MCMC
(G, allow_loops, allow_multi, is_v_labeled=True, its=10000, n_recs=100, filename='temp')[source]¶ Samples the graph assortativity of graphs in a specified graph space with the same degree sequence as the input graph. Output is saved in subdirectory ‘output/’.
Args:G (networkx graph or multigraph): Starts the MCMC at graph G. Node names be the integers 0 to n.allow_loops (bool): True only if loops allowed in the graph space.allow_multi (bool): True only if multiedges are allowed in the graph space.uniform (bool): True if the space is vertex labeled, False for stub-labeled.its (int): The total number of MCMC stepsn_recs (int): The number of samples from the MCMC sampler, spaced out evenly over the total number of its.filename (str): the name for the output file.Returns:(array) An array recording the assortativity at n_recs number of sampled graphs.
-
sample_assortativity.
sample_geometers
()[source]¶ This calculates the assortativity on a collaboration network of geometers, on each of the 7 possible graphs spaces which allow/disallow self-loops, multiedges, and are either stub or vertex-labeled. 10 thousand samples are drawn over the course of 5 billion double edge swaps. Output is saved in the ‘output’ subdirectory with the name ‘geo’.
References: Bill Jones. Computational geometry database (http://jeffe.cs.illinois.edu/compgeom/biblios.html), 2002.
dist_verification.py¶
Created on Tue Jul 19 09:20:04 2016
@author: Joel Nishimura
This module contains functions to test the uniformity of the MCMC sampling in dbl_edge_mcmc.py.
Running this as a script performs a test on the path graph with degree sequence 1,2,2,2,1. Output is saved to subdirectory ‘verification’.
A more thorough, though time-consuming test, is available in the function ‘test_sampling_seven_node’.
-
dist_verification.
determine_relative_freq
(G)[source]¶ Returns the ratio of stub-matchings for the input graph divided by the number of stub-matchings for a simple graph with the same degree sequence.
Args:G (networkx_class): The input graph.Returns:The likelihood of the input graph relative to a simple graph with the same degree sequence.
-
dist_verification.
plot_vals
(samples, uniform, name)[source]¶ Plots the output of test_sampling as a histogram of the number of times each graph was visited in the MCMC process. Creates a figure in subdirectory ‘verification/’.
Args:samples (dict): Output from test_sampling. Has a length 2 list as values corresponding to [num_samples,sampling_weight].uniform (bool): True if the space is vertex labeled, False for stub-labeled.name (str): Name for output.Returns:None
-
dist_verification.
test_sampling
(G, self_loops=False, multi_edges=False, is_v_labeled=True, its=100000)[source]¶ Tests the uniformity of the MCMC sampling on an input graph.
Args:G (networkx graph or multigraph): The starting point of the mcmc double edges swap method.self_loops (bool): True only if loops allowed in the graph space.multi_edges (bool): True only if multiedges are allowed in the graph space.is_v_labeled (bool): True if the space is vertex labeled, False for stub-labeled.its (int): The number of samples from the MCMC sampler.Returns:dict: Keys correspond to each visited graph, with values being a list giving the number of times the graph was sampled along with a weight proportional to the expected number of samplings (relevant for stub-labeled samplings)


Before Change
`False` by default.
:returns: A `Shader.Rule` describing the packages to be shaded.
return cls._package_rule(package_name, recursive, shade=True)
@classmethod
def shade_class(cls, class_name):
Includes the given fully qualified class in shading.
After Change
:returns: A `Shader.Rule` describing the packages to be shaded.
if not package_name:
return Shading.Relocate.new("**" if recursive else "*").rule()
return Shading.RelocatePackage.new(package_name, recursive=recursive).rule()
@classmethod
def shade_class(cls, class_name):


--- layout: post title: no title date: '2018-02-10T11:30:38+01:00' categories: - Sketchbooks - Sketches picture_url: https://film-Storyboards.tumblr.com/post/170724899401 ---


- Identify Problems: Convene the community to articulate and concretize technical issues and challenges in the application of altmetrics data
- Collaborate (hack): Explore and begin building solutions for these needs -
- Improve existing applications: PLOS ALM, ImpactStory, ScienceCard
- Make new standalone applications
- Work on something that integrates the different ALM apps, e.g. a source interesting to all of them, a mashup with data from different tools
- Raise Awareness: Seed concrete ideas and raise awareness amongst the user groups (funders, publishers, researchers, administrators) of the potential for tools to -
- Advance adoption of altmetrics within each target group and across research ecosystem
- Address specific pain/friction points which lower barriers to adoption of altmetrics use cases
Final projects
- Paul Groth
- Mark Hahnel
- Patrick Hayes
- Jack LaBarba
- Jason Priem
- Juan Alperin
- Carl Boettiger
- Martin Fenner
- Mahboob Imtiyaz
- Karthik Ram
- Matt Senate
- Nina Stoletzki
- Anna Daniel
- Nettie Lagace
- Heather Piwowar
- Xenia van Edig
- Alicia Woodleigh
The 6 technical ideas that came out of the workshop were:
- UK - 3rd party (I have no idea what that means)
- Provide provenance, and the ability for consumers to run the data themselves
- Crowdsource detection of fraud
- Have proprietary anti-gaming strategies, so cheaters don’t know how to cheat.
- Look for trend and event detection algorithms that could signal the possibility of something dodgy.
- Create a shared blacklist amongst ALM providers.
It was also suggested that in terms of strategies for looking for problems in the data, we should do the simplest dumbest thing first. We might also organise a hackathon specifically pitching one team against another, with one team out to break some metric, and the other team set to defend the metric, as a way of stress testing the system.
When it came to the day of the hackathon there were enough people interested in the general topic that we decided to have a go at something. We only had a few hours, so we decided to pick a simple atomic example of trying to find a signal in the data. There was a lot of discussion around whether this would be useful, if we didn’t initially know what that signal would represent, and that is a fair point, however there was sufficient interest to give it a go.
The idea is that changes in altmetrics activity express the changing levels of interest in a research artefact. The specific pattern of activity depends on the metric being considered (e.g., journal page views, Tweets, bookmark, etc.). Spikes in activity are of interest as they may indicate either sudden interest in a paper (e.g., mainstream news coverage, prize awarded to an author) or manipulation of metrics (i.e., gaming). We wanted to get some data, apply a tool suitable for detecting a signal, and show that such a tool could be used with altmetric data. We were then going to visualise the events. We felt that a working demo could be extended to a more generally applicable tool for the whole ALM community.
What we did
To begin, we packaged the data to construct time sequence vectors for each of our sample articles, a subset of 2000 articles in the PLOS corpus. We then identified a set of possible approaches to evaluate the data: hidden or semi-hidden Markov models, switching Poisson (SP) process, Rank Surprise method, etc. The most recent applications are capable of adaptive event detection by incorporating Bayesian learning to Poisson models. We didn’t have much time, and after identifying a set of algorithms that might do the job for us, we did a search for ready to hand implementations in R. We found a recently released R package that applies Kleinberg’s burst detection algorithm, and given that was available we decided to apply that. The data we had prepared was not in exactly the right format, so we wrote one more data processing step to wrangle the data a bit more, and we ran the algorithm on some real data.
Results
We hoped to find a sampling of bursts then to visualize in order to study the spike train and its event arrival intervals. No bursts were identified from our data set when we implemented the program. Whether this was due to the technical implementation of the algorithm; the data; or the suitability of the algorithm, we need to conduct further preliminary work such as testing this model with a simpler method that examines the variance of article activity change across the corpus. We hope to continue to build an open source, automatic ALM burst detection tool that can be used across altmetrics providers.
Resources
The code we generated is on github. We used the literature in the Mendeley burst detection group to help focus on algorithms that might help. The data sets that we generated are in a dropbox folder. We generated one large dataset that can be used for testing algorithms against, however it will need to be converted into time series sub-data sets.
Some Takeaways
A lot of our time during the hack was spent getting data. In the end we had about three data sets floating around, with some differences in the scale of time that they covered, and the sources of information that were in them. A lot time was spent manipulating the data to generate a time series set in the right format for the algorithm we wanted to run, and we also ran into a few limitations of the API. One outcome is that our work picked up a bug in the PLOS ALM API which is now being fixed!
It was fun working in a small group, I’ve previously been involved in a couple of hackathons where I ended up working on my own ideas, still fun, but not as much fun.
Even with a really tightly focussed group, with the number of data sets that we had, we kept talking cross purposes about what was, or was not, in a specific data set. Communication is hard!!
We applied a state of the art algorithm, and ran into some difficulty because we didn’t really understand the domain of applicability of the algorithm. but from my own personal point of view, even though we didn’t
In terms of being productive at a hackathon, I think next time have a data set in the format you want it in, or an API in the format you want it in, leaves you in a better starting position, so either get the data ready before hand, or restrict the scope of what you are going to do, to ideas that interface really well with the format of the data that you have to hand.
What's next?
We could see, in an infamous paper about bats, that there were a couple of clear spikes of attention, so we know, a-priori, that there are events that show up in the kind of data that we have access to. We know that it would be interesting to be able to automate both the retrospective discovery of these kinds of events, and the ability to analyse a live stream of signals to see upticks in activity. We know that there are a bunch of algorithms out there that are well tuned to this task, so there is good scope to iterate on this work and set up some nice clean stream data, and some data work-flows for generating this kind of data from available APIs, while at the same time finding a suite of algorithms to toss the data at. At the same time there was a lot of discussion around how to understand the context of ALM numbers, or events, and we need to keep an eye on what it all means, and whether the events we might be able to pick up can be related to things happening in the real world.
(As a personal aside, I’ve been interested in Kleinberg’s algorithm since about 2007, but I never had the mathematical chops to code up my own version of the algorithm, and I never got the perl version to run, so I was delighted to find a package that I could try out, even if, in the end, it didn’t work. - Ian).


Honest *1/2
Rated on a 4-star scale Screening venue: Odeon (Liverpool City Centre) Released in the UK by Pathé on May 26, 2000; certificate 18; 110 minutes; country of origin UK; aspect ratio 1.85:1
Directed by David A. Stewart; produced by Eileen Gregory, Michael Peiser. Written by Dick Clement, Ian La Frenais, David A. Stewart, Karen Lee Street. Photographed by David Johnson; edited by David Martin.
CAST..... Peter Facinelli..... Daniel Wheaton Nicole Appleton..... Gerry Natalie Appleton..... Mandy Melanie Blatt..... Jo James Cosmo..... Tommy Chase Jonathan Cake..... Andrew Price-Stevens Corin Redgrave..... Duggie Ord
"Honest" is too confident and professional to really be called bad, but it's still a bewildering mess. There's too much going on in terms of art direction and too much going nowhere in terms of plot, and although it's intended as a star vehicle for the pop group All Saints, two of them are hardly ever onscreen and the third plays a character who hides her feelings. I have a question for the four screenwriters: What the hell is this movie about, why does it take so long to get going, is it comic or dramatic, and who is the main player?
Those All Saints girls -- Nicole Appleton, Natalie Appleton and Melanie Blatt -- play three sisters in the East End of London in the 1960s. They dress up as men and pull armed robberies, but the folks in the neighbourhood don't know this, and think they're just a bunch of harmless young tarts. During one botched heist of a magazine office, an American hippie journalist, Daniel Wheaton (Peter Facinelli), captures and then proceeds to fall in love with Nicole's character, Gerry. Most of the movie is taken up by him following her around, and her telling him she's not interested (but not why), and then he gets entangled in a big violent chase, as the girls' criminal pasts catch up with them.
This probably sounds dull and confusing, and it is, not least because it's all that happens in the movie. Things take forever to unfold, and yet somehow nothing is ever fleshed out. The three sisters never have a conversation that tells us anything about their personalities -- all their lines are questions, answers, orders or points of information. The script tries to use some of Gerry and Daniel's exchanges to compare the revolutionaries of the 1960s with the unchanging working class, but nothing much is made of this theme, because "Honest" does not give us a convincing re-creation of its time. It doesn't so much take place in the 60s as in one of those "Austin Powers"-style pieces of production design overkill that pretend to be the 60s by teeming with joints, psychedelic polka-dot clothes, people saying "Far out!" and hit songs blasting out of every radio.
Lazy critics will blame the failure of this movie on the All Saints, or on the director, the Eurythmics' Dave Stewart, who are all musicians making their film debuts. But it's not their fault that they can't make sense of a script in which nothing happens for long stretches, and there is no real focus for anything, or reason for the period setting. It's not that I wasn't paying attention -- I watched "Honest" so attentively that I even noticed the in-jokes on the road signs of the sets.
COPYRIGHT(c) 2000 Ian Waldron-Mantgani Please visit, and encourage others to visit, the UK Critic's website at http://members.aol.com/ukcritic
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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belongs to the author.
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coqdep - Compute inter-module dependencies for Coq and Caml programs
coqdep [ -w ] [ -I \ directory ] [ -coqlib \ directory ] [ -c ] [ -i ] [ -D ] [ -slash ] filename ... directory ...
coqdep compute inter-module dependencies for Coq and Caml programs, and prints the dependencies on the standard output in a format readable by make. When a directory is given as argument, it is recursively looked at.
Dependencies of Coq modules are computed by looking at Require \& commands (Require, Require Export, Require Import), Declare \& ML \& Module \& commands and Load \& commands. Dependencies relative to modules from the Coq library are not printed.
Dependencies of Caml modules are computed by looking at open \& directives and the dot notation module.value \&.
-c Prints the dependencies of Caml modules. (On Caml modules, the behaviour is exactly the same as ocamldep).
-w Prints a warning if a Coq command Declare \& ML \& Module \& is incorrect. (For instance, you wrote `Declare ML Module "A".', but the module A contains #open "B"). The correct command is printed (see option -D). The warning is printed on standard error.
-D This commands looks for every command Declare \& ML \& Module \& of each Coq file given as argument and complete (if needed) the list of Caml modules. The new command is printed on the standard output. No dependency is computed with this option.
-slash Prints paths using a slash instead of the OS specific separator. This option is useful when developping under Cygwin.
-I \ directory The files .v .ml .mli of the directory directory \& are taken into account during the calculus of dependencies, but their own dependencies are not printed.
-coqlib \ directory Indicates where is the Coq library. The default value has been determined at installation time, and therefore this option should not be used under normal circumstances.
ocamlc (1), coqc (1), make (1).
Lexers (for Coq and Caml) correctly handle nested comments and strings.
The treatment of symbolic links is primitive.
If two files have the same name, in two different directories, a warning is printed on standard error.
There is no way to limit the scope of the recursive search for directories.
Consider the files (in the same directory):
A.ml B.ml C.ml D.ml X.v Y.v and Z.v
where
\+ D.ml contains the commands `open A', `open B' and `type t = C.t' ;
\+ Y.v contains the command `Require X' ;
\+ Z.v contains the commands `Require X' and `Declare ML Module "D"'.
To get the dependencies of the Coq files:
Z.vo: Z.v ./X.vo ./D.cmo Y.vo: Y.v ./X.vo X.vo: X.v
With a warning:
Z.vo: Z.v ./X.vo ./D.cmo Y.vo: Y.v ./X.vo X.vo: X.v ### Warning : In file Z.v, the ML modules declaration should be ### Declare ML Module "A" "B" "C" "D".
To get only the Caml dependencies:
D.cmo: D.ml ./A.cmo ./B.cmo ./C.cmo D.cmx: D.ml ./A.cmx ./B.cmx ./C.cmx C.cmo: C.ml C.cmx: C.ml B.cmo: B.ml B.cmx: B.ml A.cmo: A.ml A.cmx: A.ml
Please report any bug to coq-bugs@pauillac.inria.fr


Contents
CSS properties allow authors to specify the foreground color and background of an element. Backgrounds may be colors or images. Background properties allow authors to position a background image, repeat it, and declare whether it should be fixed with respect to the viewport or scrolled along with the document.
See the section on color units for the syntax of valid color values.
This property describes the foreground color of an element's text content. There are different ways to specify red:
em { color: red } /* predefined color name */ em { color: rgb(255,0,0) } /* RGB range 0-255 */
Authors may specify the background of an element (i.e., its rendering surface) as either a color or an image. In terms of the box model, "background" refers to the background of the content, padding and border areas. Border colors and styles are set with the border properties. Margins are always transparent.
Background properties are not inherited, but the parent box's background will shine through by default because of the initial 'transparent' value on 'background-color'.
The background of the root element becomes the background of the canvas and covers the entire canvas, anchored (for 'background-position') at the same point as it would be if it was painted only for the root element itself. The root element does not paint this background again.
For HTML documents, however, we recommend that authors specify the background for the BODY element rather than the HTML element. For documents whose root element is an HTML "HTML" element or an XHTML "html" element that has computed values of 'transparent' for 'background-color' and 'none' for 'background-image', user agents must instead use the computed value of the background properties from that element's first HTML "BODY" element or XHTML "body" element child when painting backgrounds for the canvas, and must not paint a background for that child element. Such backgrounds must also be anchored at the same point as they would be if they were painted only for the root element.
According to these rules, the canvas underlying the following HTML document will have a "marble" background:
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01//EN"> <TITLE>Setting the canvas background</TITLE> <STYLE type="text/css"> BODY { background: url("http://example.com/marble.png") } </STYLE> <P>My background is marble.
Note that the rule for the BODY element will work even though the BODY tag has been omitted in the HTML source since the HTML parser will infer the missing tag.
Backgrounds of elements that form a stacking context (see the 'z-index' property) are painted at the bottom of the element's stacking context, below anything in that stacking context.
| Value: | <color> | transparent | inherit |
| Initial: | transparent |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | N/A |
| Media: | visual |
| Computed value: | as specified |
This property sets the background color of an element, either a <color> value or the keyword 'transparent', to make the underlying colors shine through.
h1 { background-color: #F00 }
| Value: | <uri> | none | inherit |
| Initial: | none |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | N/A |
| Media: | visual |
| Computed value: | absolute URI or none |
This property sets the background image of an element. When setting a background image, authors should also specify a background color that will be used when the image is unavailable. When the image is available, it is rendered on top of the background color. (Thus, the color is visible in the transparent parts of the image).
Values for this property are either <uri>, to specify the image, or 'none', when no image is used.
body { background-image: url("marble.png") } p { background-image: none }
Intrinsic dimensions expressed as percentages must be resolved relative to the dimensions of the rectangle that establishes the coordinate system for the 'background-position' property.
If the image has one of either an intrinsic width or an intrinsic height and an intrinsic aspect ratio, then the missing dimension is calculated from the given dimension and the ratio.
If the image has one of either an intrinsic width or an intrinsic height and no intrinsic aspect ratio, then the missing dimension is assumed to be the size of the rectangle that establishes the coordinate system for the 'background-position' property.
If the image has no intrinsic dimensions and has an intrinsic ratio the dimensions must be assumed to be the largest dimensions at that ratio such that neither dimension exceeds the dimensions of the rectangle that establishes the coordinate system for the 'background-position' property.
If the image has no intrinsic ratio either, then the dimensions must be assumed to be the rectangle that establishes the coordinate system for the 'background-position' property.
| Value: | repeat | repeat-x | repeat-y | no-repeat | inherit |
| Initial: | repeat |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | N/A |
| Media: | visual |
| Computed value: | as specified |
If a background image is specified, this property specifies whether the image is repeated (tiled), and how. All tiling covers the content, padding and border areas of a box.
The tiling and positioning of the background-image on inline elements is undefined in this specification. A future level of CSS may define the tiling and positioning of the background-image on inline elements.
Values have the following meanings:
body { background: white url("pendant.png"); background-repeat: repeat-y; background-position: center; }
| Value: | scroll | fixed | inherit |
| Initial: | scroll |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | N/A |
| Media: | visual |
| Computed value: | as specified |
If a background image is specified, this property specifies whether it is fixed with regard to the viewport ('fixed') or scrolls along with the containing block ('scroll').
Note that there is only one viewport per view. If an element has a scrolling mechanism (see 'overflow'), a 'fixed' background does not move with the element, and a 'scroll' background does not move with the scrolling mechanism.
Even if the image is fixed, it is still only visible when it is in the content, padding or border area of the element. Thus, unless the image is tiled ('background-repeat: repeat'), it may be invisible.
In paged media, where there is no viewport, a 'fixed' background is fixed with respect to the page box and is therefore replicated on every page.
This example creates an infinite vertical band that remains "glued" to the viewport when the element is scrolled.
body { background: red url("pendant.png"); background-repeat: repeat-y; background-attachment: fixed; }
User agents that do not support 'fixed' backgrounds (for example due to limitations of the hardware platform) should ignore declarations with the keyword 'fixed'. For example:
body { background: white url(paper.png) scroll; /* for all UAs */ background: white url(ledger.png) fixed; /* for UAs that do fixed backgrounds */ }
See the section on conformance for details.
| Value: | [ [ <percentage> | <length> | left | center | right ] [ <percentage> | <length> | top | center | bottom ]? ] | [ [ left | center | right ] || [ top | center | bottom ] ] | inherit |
| Initial: | 0% 0% |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | refer to the size of the box itself |
| Media: | visual |
| Computed value: | for <length> the absolute value, otherwise a percentage |
If a background image has been specified, this property specifies its initial position. If only one value is specified, the second value is assumed to be 'center'. If at least one value is not a keyword, then the first value represents the horizontal position and the second represents the vertical position. Negative <percentage> and <length> values are allowed.
However, the position is undefined in CSS 2.1 if the image has an intrinsic ratio, but no intrinsic size.
body { background: url("banner.jpeg") right top } /* 100% 0% */ body { background: url("banner.jpeg") top center } /* 50% 0% */ body { background: url("banner.jpeg") center } /* 50% 50% */ body { background: url("banner.jpeg") bottom } /* 50% 100% */
The tiling and positioning of the background-image on inline elements is undefined in this specification. A future level of CSS may define the tiling and positioning of the background-image on inline elements.
If the background image is fixed within the viewport (see the property), the image is placed relative to the viewport instead of the element's padding box. For example,
body { background-image: url("logo.png"); background-attachment: fixed; background-position: 100% 100%; background-repeat: no-repeat; }
In the example above, the (single) image is placed in the lower-right corner of the viewport.
| Value: | [<'background-color'> || <'background-image'> || <'background-repeat'> || || <'background-position'>] | inherit |
| Initial: | see individual properties |
| Applies to: | all elements |
| Inherited: | no |
| Percentages: | allowed on 'background-position' |
| Media: | visual |
| Computed value: | see individual properties |
The 'background' property is a shorthand property for setting the individual background properties (i.e., 'background-color', 'background-image', 'background-repeat', and 'background-position') at the same place in the style sheet.
Given a valid declaration, the 'background' property first sets all the individual background properties to their initial values, then assigns explicit values given in the declaration.
In the first rule of the following example, only a value for 'background-color' has been given and the other individual properties are set to their initial value. In the second rule, all individual properties have been specified.
BODY { background: red } P { background: url("chess.png") gray 50% repeat fixed }


This document is a work in progress. Questions and feedback are welcome! Please send comments to<EMAIL_ADDRESS>Select your chart types
Select a chart type
View guides for specific chart types, like line charts, bar charts, or dashboards
Pick a chart type. If you're mixing two or more chart types in the same chart (like a combined line and bar chart), select both.
line chart
bar chart
pie/donut chart
gauge
100% chart
scatterplot
table
Decide your chart type
Get help to decide which chart type best represents the data you have
Select filter options below to match aspects of your dataset
Single series versus multi-series
Give examples here, like single subject vs multiple subjects, or single student vs multiple students.
single series
multi-series
Level of measurement
Types of data
categorical
nominal
ordinal
numeric
interval
ratio
Task types
Give definitions and examples here, like comparison, time-series, etc.
trend over time
comparisons
benchmark
part to whole
proportions
relationships
hierarchy
distribution
patterns
range
Line
A line chart shows changes and trends over a sequence of values in a series. Line charts (or line graphs or line plots) use a series of line segments to connect individual record points over a series of changes, usually over time, where the position of each record represents the value. These record points are often represented by a symbol, such as a circle or square, and each series of data should use a different symbol, as well as a different color, to distinguish it from other series lines.
In a horizontal line chart (the most common), each record point's numerical value is measured in its height (the y axis), while its place in the sequence (e.g. the date or time) is shown in its horizontal position (the x axis). Rarely, in a vertical line chart, the axes would be reversed; this is unconventional, and should be avoided.
Each record and line segment is ordered. For a time series, each line segment is ordered chronologically.
Multiple categories can be shown, with each data line in the chart representing the records in the series for that category. Too many lines can obscure the data (see "spaghetti charts").
Best used for
Representing a trend in data over intervals of time (a time series), where each line segment is ordered chronologically
Accessibility considerations:
Favor direct labeling instead of legends
For line charts with more than one line, placing the series label end of the line, or sometimes along the line, reduces the cognitive load in associating each line with its category. Using legends with keys, rather than direct labeling, separates the representation (the line) from its referent, forcing the user to remember the color or symbol, or to actively refer back to the legend.
TODO Show illustration of direct labeling vs. legends.
Symbols: One way to differentiate lines in addition to color is to use a different symbol for each line, positioned at each data record point. Common symbols include circles, squares, triangles, diamonds, and crosses; these symbols can be filled or unfilled, or a combination to add more variety (cite study on effective use of symbols).
Option: Use finial symbols instead of direct labeling: When a legend is necessary, or when symbols at each data record cause visual clutter, you can consider using a single finial symbol at the end (or beginning) of each line.
Grayscale colors for print: .
Patterns for tactile print: .
TODO Show illustration of colors and symbols.
TODO Create separate section on different disabilities.
Avoid "spaghetti charts"
A spaghetti chart is a line chart containing many data lines displayed with equal emphasis. Line charts with 5 or fewer data lines (i.e. categories or series) are most likely to provide clear patterns or trends to the reader, with more than that creating clutter and obscuring trends.
Not only are spaghetti charts too visually complex, but they present a challenge to find enough distinct colors and symbols to distinguish one line from another.
TODO Show illustration.
Avoid dash patterns to differentiate lines
In data visualization, dashed lines are normally used categorically to indicate uncertainty, such as projected data, estimated data, or missing data, or to indicate a threshold or reference line. Using them to distinguish between different lines conflicts with this semantic convention.
In addition, they create visual clutter (see element interactivity (TODO), and more than 2 or 3 dashed patterns are difficult to distinguish or remember.
Avoid symbol patterns to differentiate lines: Similar to dash patterns,
TODO Show illustration of proper and improper use of dash patterns.
Avoid non-time-series data
While different kinds of ordered data can be represened with a line chart, they are so strongly associated with time-series data (i.e. dates or times) that most readers will assume that any line chart is time-seris. Avoid using other data times with line charts, or provide clear instructions or interpreting the line chart.
TODO Show illustration.
Allow user to select and filter series
In some interfaces, the user is provided a way to select from a set of optional data series. This may result in too many lines appearing at once (see "spaghetti charts").
TODO Show illustration.
Special considerations
In some interfaces, the user is provided a way to select from a set of optional data series. This may result in too many lines appearing at once (see "spaghetti charts").
TODO Show illustration.
Variations
Stacked line
Vertical line
Related chart types
Area charts
Scatterplots
Bar
A bar chart uses rectangular bars to show discrete, numerical comparisons across categories. The height (or length) of the bar indicated the numerical value. One axis of the chart shows the specific categories being compared (the independent variable), and the other axis represents a discrete value scale (the dependent variable).
In a vertical bar chart, also called a column chart, the categories are on the x-axis, and the value being
measured is on the y-axis.
In a horizontal bar chart, the value being measured is on the x-axis, and the categories are on the y-axis.
A bar chart is one of the most common types of data visualization, since it is well-known and well-understood by readers, is easy to create and interpret, represents multiple ranges of data accurately, and uses space efficiently.
Bar chart grouping
Bar charts can be used for single-series or multi-series datasets; for multiseries datasets, group each series as stacked bars or grouped bars.
Bar chart ordering
When a bar chart is not being used for time-series trend data, it can aid ease of interpretation to order the bars by value, sorting either ascending or descending. Avoid sorting the order if a bar chart is used in a context where the implicit order is significant, such as when two charts are presented to compare with one another.
Bar chart novelty
Because bar charts are so common, they may seem a more boring, less novel, or less attention-grabbing visualization choice, despite their effectiveness. Effective use of color and emphasis can mitigate this perception. You can reduce visual clutter and add novelty with the lollipop chart variation.
Best used for
showing the relationship between a numeric and a categoric variable
showing trend over time
Accessibility considerations:
Favor direct labeling instead of legends
For bar charts with more than one bar, placing the series label end of the bar, or sometimes along the bar, reduces the cognitive load in associating each bar with its category. Using legends with keys, rather than direct labeling, separates the representation (the bar) from its referent, forcing the user to remember the color or symbol, or to actively refer back to the legend.
TODO Show illustration of direct labeling vs. legends.
Labels
Labels should be clearly associated with their indicated bar. Bars should be placed relative to their axis
labels, and value labels for the bar should be directly positioned with the bar (show diagrams with options).
Labels should be of sufficient size to be easily legible (quote WCAG here)
With a large number of bars, labels may be too small to read, may overlap each other, or may otherwise not be
legible. If label space becomes an issue, consider using a horizontal bar chart, or use a smaller number of
bars, either by aggregating data, splitting the chart into multiple bar charts, each with its own facet.
Screen readers
For screen reader users, a bar chart must include each value, in the same sequence as the visual rendering, labeled with the category and any group identifier. This can be done either with an accessible chart (possible with SVG) or an equivalent table.
Summaries
For screen reader users and people with cognitive disabilities, a bar chart must include a summary,
Variations
Stacked bar
This is for data with multiple series.
Grouped bar
This is for data with multiple series.
Horizontal bar
Vertical bar
Lollipop chart
A lollipop chart uses the same layout, positioning, and measuring conventions as a bar chart, but substitutes a thinner line ending in a dot to indicate the value. This style of chart reduces clutter better than a bar chart, especially with a large number of bars.


Wirelessly charged electric vehicles are cost competitive with conventional vehicles.
WAVE's wireless charging system keeps electric vehicles running for the entire day.
Wireless charging is completely silent, reliable, and creates zero emissions.


title: ES method extraction (2021) status: proposal stage: 0 location: https://github.com/js-choi/proposal-method-extraction copyright: false contributors: J. S. Choi
This is the formal specification for a proposed method-extraction operator `&.` in JavaScript. It modifies the original ECMAScript specification with several new or revised clauses. See the proposal's explainer for the proposal's background, motivation, and usage examples.
This section augments the original IsFunctionDefinition clause.
This section augments the original IsIdentifierRef clause.
This section augments the original Contains clause.
With parameter _symbol_.
This section augments the original AssignmentTargetType clause.
This section augments the original Punctuators clause.
This section augments the original Left-Hand-Side Expressions clause.
This section augments the original Left-Hand-Side Expressions, Static Semantics: Early Errors clause.
This production exists in order to prevent automatic semicolon insertion rules (
a&.b
`c`
so that it would be interpreted as two valid statements. The purpose is to maintain consistency with similar code without method extraction:
a&b
`c`
which is a valid statement and where automatic semicolon insertion does not apply.
This production exists in order to prevent automatic semicolon insertion rules (
a()&.b
`c`
so that it would be interpreted as two valid statements. The purpose is to maintain consistency with similar code without method extraction:
a()&b
`c`
which is a valid statement and where automatic semicolon insertion does not apply.
This production exists in order to prevent automatic semicolon insertion rules (
a?.()&.b
`c`
so that it would be interpreted as two valid statements. The purpose is to maintain consistency with similar code without method extraction:
a()&b
`c`
which is a valid statement and where automatic semicolon insertion does not apply.
This section is a wholly new subclause to be inserted after the `new` Operator clause.
Function objects created using method extraction are exotic objects. They also do not have a *"prototype"* property.
This section augments the original Optional Chains clause.
With parameters _baseValue_ and _baseReference_.


Check out these bananas, they're massive! https://upload.wikimedia.org/wikipedia/commons/4/44/Bananas_white_background_DS.jpg
My First Page


3 instantiations of Serializer
System.Management.Automation (3)
engine\MinishellParameterBinderController.cs (1)
328
Serializer serializer = new
Serializer
(xmlWriter);
engine\remoting\common\fragmentor.cs (1)
1081
Serializer serializer = new
Serializer
(xmlWriter, _serializationContext);
engine\serialization.cs (1)
115
Serializer serializer = new
Serializer
(xw, depth, true);
4 references to Serializer
System.Management.Automation (4)
engine\MinishellParameterBinderController.cs (1)
328
Serializer
serializer = new Serializer(xmlWriter);
engine\NativeCommandProcessor.cs (1)
1973
private
Serializer
_xmlSerializer;
engine\remoting\common\fragmentor.cs (1)
1081
Serializer
serializer = new Serializer(xmlWriter, _serializationContext);
engine\serialization.cs (1)
115
Serializer
serializer = new Serializer(xw, depth, true);


savina[.]net
add_box
Fany's Portfolio
Cybernetics
Research-publishing.net
icall Research
Iota Localisation Services
travel's photos
Photos from around the world (mostly)...
See...
blog
My blog, random rambling, not that much...
Read...
g+
follow...


A light beam is emitted vertically upwards from the position of the mouse cursor.
The Schwarzschild metric is used to bend the path of the light beam.
The circle for r = 3⋅m corresponds to the radius of the photon orbit.
In the background, the sum of angles of the entire path curvature is shown for each position.
Brighter means higher sum of angles.
Yellow means that the light beam is captured by the singularity.
Blue means that the light beam escapes the singularity.


WITNESS LIST Business & Commerce Committee March 4, 2003 - 9:00A SB 126 ON: Schneider, Rob (Consumers Union), Austin, TX SB 127 ON: Schneider, Rob (Consumers Union), Austin, TX Registering, but not testifying: For: Stinson, Bill (Texas Association of Realtors), Austin, TX Against: Gonzales, Virginia (State Farm Insurance), Austin, TX SB 128 ON: Schneider, Rob (Consumers Union), Austin, TX SB 131 ON: Presley, Philip (Texas Department of Insurance), Austin, TX SB 374 FOR: Hillegas, Kathleen (Administaff), Kingwood, TX ON: Skorupa, Chester (Texas Workforce Commission), Austin, TX Registering, but not testifying: For: Armstrong, Gaylord (Administaff, Inc.), Austin, TX Forbes, Tom (National Association of Professional Employment Organizations), Austin, TX On: Kuntz, William (Texas Department of Licensing and Regulation), Austin, TX Riley, Steve (Texas Workforce Commission), Austin, TX SB 417 FOR: Nicewander, Dan (Gardere Wynne Sewell), Dallas, TX ON: Pettijohn, Leslie (Consumer Credit Commissioner), Austin, TX Registering, but not testifying: For: Spellings, Robert (Gardere Wynne Sewell), Austin, TX Temple, Larry (Texas Mortgage Banker Association), Austin, TX Vane, Mark (Gardere Wynne Sewell), Austin, TX SJR 22 FOR: Nicewander, Dan (Gardere Wynne Sewell), Dallas, TX ON: Pettijohn, Leslie (Consumer Credit Commissioner), Austin, TX Registering, but not testifying: For: Spellings, Robert (Gardere Wynne Sewell), Austin, TX Temple, Larry (Texas Mortgage Bankers Association), Austin, TX Vane, Mark (Gardere Wynne Sewell), Austin, TX


{% breadcrumb label="Services" %}
{% include "promgen/pagination.html" %}
{% for service in service_list %}
{% include "promgen/service_header.html" %}
{% include "promgen/service_block.html" %}
{% endfor %}
{% include "promgen/pagination.html" %}
{% endblock %}


START
O NAS
PRODUKTY
ODBIORCY
KONTAKT
This is first page
This is second page
This is third page
This is fourth page
This is fifth page


Kolding - Viking Voyage.
A week long I worked in Kolding for the brand Frejdahl to come up with modern solutions to target a new audience. Our solution was to develop a mobile game themed arround the story they want to share with their beer. The result was that I could grab 1st place with my group.


|
Step 1 |
Get a PIN, a personal identification
number. A PIN lets you apply, “sign” your online FAFSA, make corrections to your
application information, and more—all online. Go to
www.pin.ed.gov. |
|
Step 2 |
Collect the documents needed to
apply, including income tax returns and W-2 forms (and other records of income).
Tax return not completed at the time you apply? Estimate the tax information, apply,
and correct information later. Make sure that you file your taxes early. Awards
cannot be distributed without final tax documentation. When you receive your PINs
(one for the student and one for the parent) from the government web site, you can
begin the filing process at
College & Retirement Solutions' Form Filing page. |
|
Step 3 |
Complete the Free Application for
Federal Student Aid (FAFSA) between January 1, 2008, and July 2,2009 (no exceptions
to either date!). BUT, apply as soon as possible after January 1 to meet school
deadlines (see note at bottom of page), Apply online (the faster and easier way)
by going to College
& Retirement Solutions' Form Filing page. View other info on the FAFSA
at www.fafsa.ed.gov. |
|
Step 4 |
Review your Student Aid Report (SAR)—the
result of your FAFSA application. If necessary, make changes or corrections and
resubmit your SAR for reprocessing. Your complete, correct SAR will contain your
Expected Family Contribution (EFC)—the number used to determine your federal student
aid eligibility. |
|
Step 5 |
If you are selected for verification,
your school’s financial aid office will ask you to submit tax returns and other
documents, as appropriate. Be sure to meet the school’s deadline, or you will not
be able to get federal student aid. |
|
Step 6 |
Whether you’re selected for verification
or not, make sure the financial aid office at the school has all the information
needed to determine your eligibility. |
|
Step 7 |
All students:
Contact the financial aid office if you have any questions about the aid being offered.
First-time applicants: Review award letters from schools to compare amounts
and types of aid being offered.Decide which school to attend based on a combination
of (a) how well the school suits your needs and (b) its affordability after all
aid is taken into account. Please use this comparison worksheet (Excel Link) to determine if
you awards are fair and appropriate. |
|
Note: You also
might be able to get financial aid from your state government, your school, or a
private scholarship. Research nonfederal aid early (ideally, start in the spring
of your junior year of high school). Be sure to meet all application deadlines! |


The template facility in C++ doesn't only allow you to parameterise with types (such as the
int
in
std::vector<int>
), but also with values. Non-type template parameters can be of the following types
[1]:
- Integral (or enum) value
- Pointer to object/function
- Reference to object/function
- Pointer to member
I'm going to look at the first of these types - integers - and how template parameter deduction behaves with arrays.
Template parameter deduction is the facility whereby the compiler determines how to instantiate a template when a template parameter is unspecified, e.g:
1 2
|
std::vector<int> vi;
std::sort(vi.begin(), vi.end());
| |
Although we aren't specifying the type of iterator for
std::sort()
to use, the compiler works it out from the parameters we provide.
Array dimensions as template parameters
We can create a function that is templated on an array's dimensions:
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
|
#include <iostream>
#include <string>
template<int N>
void fun(std::string s[N])
{
for (int i(0); i < N; ++i)
std::cout << i << ": " << s[i] << std::endl;
}
int main()
{
std::string s[2] = {"hello", "world"};
fun<2>(s);
}
| |
$> ./a.out
0: hello
1: world
|
Note that omitting the explicit template parameter in this implementation, calling in
fun(s)
instead, will yield a build error:
$> g++ broken.cpp
broken.cpp: In function ‘int main()’:
broken.cpp:14:9: error: no matching function for call to ‘fun(std::string [2])’ |
This confused me for some time, since I was under the impression that the template parameter was deducible from the array dimension.
(NB: as an aside, the above would also work if you wrote fun<500>(s)
; I think this is down to the array decaying to a pointer, which can then readily initialise the array parameter.)
Deduction of template parameters from array dimensions
Stroustrup's TCPL states that
[2] "
a compiler can deduce..a non-type template argument, I
, from a template function argument with a type..type[I]
", which implies to me that the above should work fine.
I puzzled for a while over why the parameter couldn't be deduced, and eventually hit on the answer. The standard states that a value of type "array of
N T
" (e.g. "array of 5
int
") can be converted to an rvalue of type "pointer to
T
".
[3] This means that the array size is lost in the instantiation, and as such the value of
N
cannot be deduced, the template instantiation fails, and - in our example above -
fun()
cannot be resolved.
The way to prevent this conversion (known as 'decay') is to declare the function parameter as a
reference to an array by changing
fun(string s[N])
to
fun(string (&s)[N])
:
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|
template<int N>
void fun(string (&s)[N])
{
for (int i(0); i < N; ++i)
cout << i << ": " << s[i] << endl;
}
int main()
{
string s[2] = {"hello", "world"};
fun(s);
}
| |
And it works!
Multi-dimensional arrays
Interestingly, although I haven't declared a reference to an array in this alternate implementation with a multidimensional array, it still works fine:
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|
template<int N>
void fun(string s[1][N])
{
for (int i(0); i < N; ++i)
cout << i << ": " << s[0][i] << endl;
}
int main()
{
string s[1][2] = {{"hello", "world"}};
fun(s);
}
| |
The reason for this is that array decay does not happen recursively, so in the call to
fun()
,
int[1][2]
decays to a pointer to an array of 2 ints, and no further, therefore still carries the size information.
(NB: I could not find authoritative evidence of this; it may be implicit in that the standard doesn't state that it should happen recursively.)
This article originally appeared at
The other branch.
Footnotes
- This is the list as specified for C++98 and 03 (cf. ISO C++ standard 14882 14.1.4); C++11 has a few additions.
- Stroustrup - The C++ Programming Language, Special Edition; Appendix C.13.4 - Deducing Function Template Arguments
- ISO C++ standard 14882 4.2.1.


NY Fed's GDP Nowcast rises to 0.7% for fourth quarter from 0.4%
by Eren SengezerAccording to the Federal Reserve Bank of New York's latest Nowcasting Report published on Friday, the United States' (US) economy is expected to expand by 0.7% in the last quarter of the year, compared to the previous week's estimate of 0.4%.
"News from this week's data releases increased the nowcast for 2019:Q4 by 0.3 percentage point," the NY Fed said in its press release. "Positive surprises from housing data drove most of the increase."
Markets largely ignored this publication and the US Dollar Index was last up 0.28% on a daily basis at 98.23.


Name: Lord of the rings
Condition: New Add to wishlist Add to cartName: Lord of the rings
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Condition: New Add to wishlist Add to cartName: Lord of the rings
Condition: New Add to wishlist Add to cartName: Lord of the rings
Condition: New Add to wishlist Add to cartName: Lord of the rings
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ART PORTFOLIO These are the recent works from the Graphics Design class, Berkeley Extension. PAST USER INTERFACE AND APPLICATION PROJECTS Past work from 1) Cisco, 2/3/4) HP, 5) SUN and 6) Consulting, building an Apple App UI(User Interface) from Cocoa. I have been a strong UI design person due to the fact that I could resolve engineering problems behind user interface bugs. COMPUTER ENGINEERING AT CALPOLY I've studied hardware and low level programs at Cal Poly for a computer engineering degree. I've learned to design and assemble motherboards. For the senior project, I've connected hardware to the internet for remote controlling of devices. I've been more technical in the past, but it had been easier for me to find opportunities using aesthetics so my career has evolved from here. |
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