MOSEK supports the LP file format with some extensions i.e. MOSEK can read and write LP formatted files.
The LP format is not a well-defined standard and hence different optimization packages may interpretate a specific LP formatted file differently.
The LP file format can specify problems on the form
where
is the quadratic term in the objective where
and it is assumed that
| (D.2.1) |
is a vector of quadratic functions. Hence,
where it is assumed that
| (D.2.2) |
An LP formatted file contains a number of sections specifying the objective, constraints, variable bounds, and variable types. The section keywords may be any mix of upper and lower case letters.
The first section beginning with one of the keywords
max maximum maximize min minimum minimize
defines the objective sense and the objective function, i.e.
The objective may be given a name by writing
myname:
before the expressions. If no name is given, then the objective is named obj.
The objective function contains linear and quadratic terms. The linear terms are written as in the example
4 x1 + x2 - 0.1 x3
and so forth. The quadratic terms are written in square brackets ([ ]) and are either squared or multiplied as in the examples
x1 ^ 2
and
x1 * x2
There may be zero or more pairs of brackets containing quadratic expressions.
An example of an objective section is:
minimize myobj: 4 x1 + x2 - 0.1 x3 + [ x1 ^ 2 + 2.1 x1 * x2 ]/2
Please note that the quadratic expressions are multiplied with , so that the above expression means
If the same variable occurs more than once in the linear part, the coefficients are added, so that 4 x1 + 2 x1 is equivalent to 6 x1. In the quadratic expressions x1 * x2 is equivalent to x2 * x1 and as in the linear part , if the same variables multiplied or squared occur several times their coefficients are added.
The second section beginning with one of the keywords
subj to subject to s.t. st
defines the linear constraint matrix (A) and the quadratic matrices ().
A constraint contains a name (optional), expressions adhering to the same rules as in the objective and a bound:
subject to con1: x1 + x2 + [ x3 ^ 2 ]/2 <= 5.1
The bound type (here <=) may be any of <, <=, =, >, >= (< and <= mean the same), and the bound may be any number.
In the standard LP format it is not possible to define more than one bound, but MOSEK supports defining ranged constraints by using double-colon (“::”) instead of a single-colon (“:”) after the constraint name, i.e.
| (D.2.3) |
may be written as
con:: -5 < x_1 + x_2 < 5
By default MOSEK writes ranged constraints this way.
If the files must adhere to the LP standard, ranged constraints must either be split into upper bounded and lower bounded constraints or be written as en equality with a slack variable. For example the expression (D.2.3) may be written as
Bounds on the variables can be specified in the bound section beginning with one of the keywords
bound bounds
The bounds section is optional but should, if present, follow the subject to section. All variables listed in the bounds section must occur in either the objective or a constraint.
The default lower and upper bounds are 0 and +∞. A variable may be declared free with the keyword free, which means that the lower bound is -∞ and the upper bound is +∞. Furthermore it may be assigned a finite lower and upper bound. The bound definitions for a given variable may be written in one or two lines, and bounds can be any number or (written as +inf/-inf/+infinity/-infinity) as in the example
bounds x1 free x2 <= 5 0.1 <= x2 x3 = 42 2 <= x4 < +inf
The final two sections are optional and must begin with one of the keywords
bin binaries binary
and
gen general
Under general all integer variables are listed, and under binary all binary (integer variables with bounds 0 and 1) are listed:
general x1 x2 binary x3 x4
Again, all variables listed in the binary or general sections must occur in either the objective or a constraint.
A simple example of an LP file with two variables, four constraints and one integer variable is:
minimize -10 x1 -9 x2 subject to 0.7 x1 + x2 <= 630 0.5 x1 + 0.833 x2 <= 600 x1 + 0.667 x2 <= 708 0.1 x1 + 0.025 x2 <= 135 bounds 10 <= x1 x1 <= +inf 20 <= x2 <= 500 general x1 end
Anything on a line after a “” is ignored and is treated as a comment.
A name for an objective, a constraint or a variable may contain the letters a-z, A-Z, the digits 0-9 and the characters
!"#$%&()/,.;?@_'`{}|~
The first character in a name must not be a number, a period or the letter 'e' or 'E'. Keywords must not be used as names.
It is strongly recommended not to use double quotes (") in names.
Specifying several upper or lower bounds on one variable is possible but MOSEK uses only the tightest bounds. If a variable is fixed (with =), then it is considered the tightest bound.
Some optimization software packages employ a more strict definition of the LP format that the one used by MOSEK. The limitations imposed by the strict LP format are the following:
If an LP formatted file created by MOSEK should satisfies the strict definition, then the parameter
MSK_IPAR_WRITE_LP_STRICT_FORMAT
should be set; note, however, that some problems cannot be written correctly as a strict LP formatted file. For instance, all names are truncated to 16 characters and hence they may loose their uniqueness and change the problem.
To get around some of the inconveniences converting from other problem formats, MOSEK allows lines to contain 1024 characters and names may have any length (shorter than the 1024 characters).
Internally in MOSEK names may contain any (printable) character, many of which cannot be used in LP names. Setting the parameters
MSK_IPAR_READ_LP_QUOTED_NAMES
and
MSK_IPAR_WRITE_LP_QUOTED_NAMES
allows MOSEK to use quoted names. The first parameter tells MOSEK to remove quotes from quoted names e.g, "x1", when reading LP formatted files. The second parameter tells MOSEK to put quotes around any semi-illegal name (names beginning with a number or a period) and fully illegal name (containing illegal characters). As double quote is a legal character in the LP format, quoting semi-illegal names makes them legal in the pure LP format as long as they are still shorter than 16 characters. Fully illegal names are still illegal in a pure LP file.
The LP format is not a formal standard and different vendors have slightly different interpretations of the LP format. To make MOSEK's definition of the LP format more compatible whith the definitions of other vendors use the paramter setting
MSK_IPAR_WRITE_LP_STRICT_FORMAT MSK_ON
This setting may lead to truncation of some names and hence to an invalid LP file. The simple solution to this problem is to use the paramter setting
MSK_IPAR_WRITE_GENERIC_NAMES MSK_ON
which will cause all names to be renamed systematically in the output file.
A few parameters control the visual formatting of LP files written by MOSEK in order to make it easier to read the files. These parameters are
MSK_IPAR_WRITE_LP_LINE_WIDTH MSK_IPAR_WRITE_LP_TERMS_PER_LINE
The first parameter sets the maximum number of characters on a single line. The default value is 80 corresponding roughly to the width of a standard text document.
The second parameter sets the maximum number of terms per line; a term means a sign, a coefficient, and a name (for example “+ 42 elephants”). The default value is 0, meaning that there is no maximum.
If the input file should be read as fast as possible using the least amount of memory, then it is important to tell MOSEK how many non-zeros, variables and constraints the problem contains. These values can be set using the parameters
MSK_IPAR_READ_CON MSK_IPAR_READ_VAR MSK_IPAR_READ_ANZ MSK_IPAR_READ_QNZ
Reading and writing an LP file with MOSEK may change it superficially. If an LP file contains unnamed constraints or objective these are given their generic names when the file is read (however unnamed constraints in MOSEK are written without names).


jsonrange
jsonrange OPTIONS [DOT_PATH_EXPRESSION]
jsonrange returns returns a range of values based on the JSON structure being read and options applied. Without options the JSON structure is read from standard input and writes a list of keys to standard out. Keys are either attribute names or for arrays the index position (counting form zero). If a DOT_PATH_EXPRESSION is included on the command line then that is used to generate the results. Using options to can choose to read the JSON data structure from a file, write the output to a file as well as display values instead of keys. a list of “keys” of an index or map in JSON.
Using options it can also return a list of values. The JSON object is read from standard in and the resulting list is normally written to standard out. There are options to read or write to files. Additional parameters are assumed to be a dot path notation select the parts of the JSON data structure you want from the range.
DOT_PATH_EXPRESSION is a dot path stale expression indicating what you want range over. E.g.
The path can be chained together
Working with a map
echo '{"name": "Doe, Jane"<EMAIL_ADDRESS>"age": 42}' \
| jsonrange
This would yield
name
email
age
Using the -values option on a map
echo '{"name": "Doe, Jane"<EMAIL_ADDRESS>"age": 42}' \
| jsonrange -values
This would yield
"Doe, Jane"
<EMAIL_ADDRESS>42
Working with an array
echo '["one", 2, {"label":"three","value":3}]' | jsonrange
would yield
0
1
2
Using the -values option on the same array
echo '["one", 2, {"label":"three","value":3}]' | jsonrange -values
would yield
one
2
{"label":"three","value":3}
Checking the length of a map or array or number of keys in map
echo '["one","two","three"]' | jsonrange -length
would yield
3
Check for the index of last element
echo '["one","two","three"]' | jsonrange -last
would yield
2
Check for the index value of last element
echo '["one","two","three"]' | jsonrange -values -last
would yield
"three"
Limitting the number of items returned
echo '[10,20,30,40,50]' | %!s(MISSING) -limit 2
would yield
1
2
Limitting the number of values returned
echo '[10,20,30,40,50]' | %!s(MISSING) -values -limit 2
would yield
10
20
jsonrange 1.2.2


#
Name
Company
Title
Email
Phone
100
Jim Halpert
Dunder Mifflin
Sales Representative
<EMAIL_ADDRESS>900-555-8820
101
Michael Scott
Dunder Mifflin
Regional Manager
<EMAIL_ADDRESS>900-555-8820
#
Name
Title
100
Jim Halpert
Sales Representative
101
Michael Scott
Regional Manager


How to connect to Multi-Cloud Backup Storage using Data Domain Boost Filesystem
Overview
The UKCloud Multi-Cloud Backup Storage (MCBS) service provides a backup target that is accessible from every cloud within UKCloud’s multi-cloud platform, utilising a technology that is common across backup products, and compatible with certain file systems, enabling open-source backup applications to utilise the backup service as a target. You can also use Multi-Cloud Backup Storage as a remote backup target for your on-premises data.
UKCloud's Multi-Cloud Backup Storage is based on Dell EMC's Data Domain Boost™ (DD Boost) technology, which offers an extensive range of extensions for services such as Oracle, Microsoft SQL, Microsoft Exchange and a wide array of backup server applications to help support performance-optimised, off-site, multi-cloud backups. A full list of DD Boost extensions can be found in our Multi-Cloud Backup Storage FAQs.
Intended audience
This document is for backup administrators who:
Are comfortable using an API or command line tools
Have signed-up for UKCloud's Multi-Cloud Backup Storage service
Have been issued their Multi-Cloud Backup Storage credentials
Multi-Cloud Backup Storage
Multi-Cloud Backup Storage:
Lets you pay for what you use, scaling indefinitely and on demand, removing the complexity of capacity management
Natively enables deduplication, reducing the cost and management of on-premises storage solutions
Provides easy access to backup storage from any backup application via DD Boost and BoostFS; using Boost protocol vastly simplifies the integration of backup applications and Boost-aware databases with a cloud-based backup target by removing the need to rely on file servers or cloud storage gateways
Can replicate backups to give high levels of data durability and availability, eliminating the need for managing a second backup location
You can find a full list of DD Boost extensions in our Multi-Cloud Backup Storage FAQs.
Use cases
The low cost of Multi-Cloud Backup Storage per GB, as well as its backup-optimised performance and almost unlimited scalability, means there's a large variety of use cases for it. For example, it's ideal for data archives, backups, databases and log files because of its:
Lower overhead of managing backup infrastructure
Lower Recovery Time Objective (RTO) for backup recovery through more granular or application aware backup applications
Quicker database recovery, directly from backup target into database
Greater control over backups using your own self-service backup applications
Before you begin
When you request your Multi-Cloud Backup Storage service, UKCloud Support creates the following within your account:
Storage unit (a Multi-Cloud Backup Storage enabled storage pool)
API endpoint (see below)
API username
API key (password)
These details form the structure of the personalised credentials you'll need to access your Multi-Cloud Backup Storage service.
| MCBS API endpoint | |
|---|---|
| Corsham (Assured) | |
| Internet | TBC - Q2'19 |
| PSN Assured | TBC |
| HSCN | TBC |
| Farnborough (Assured) | |
| Internet | mcbs.frn00013.ukcloud.com |
| PSN Assured | TBC |
| HSCN | TBC |
Contact UKCloud Support if you are unsure which endpoint to use.
Connecting to Multi-Cloud Backup Storage using Data Domain Boost Filesystem (BoostFS) using Microsoft Windows
For authentication we use local accounts, so you need to create a lockbox to store the password and key values for the account. Details on how to create your configuration file, lockbox and mount your storage follow.
Create configuration file
boostfs.conf
contains static configuration that can be used to help connect to your service, key items to configure:
[global]
# Data Domain Hostname or IP address
data-domain-system=mcbs.frn00013.ukcloud.com` (assumes connection to Farnborough Internet API endpoint)
# Storage Unit
storage-unit={customer storage unit}` (Name of the storage unit as provided in your MCBS credentials)
# Lockbox path (default: C:\BoostFS\Lockbox\boostfs.lockbox)
# lockbox-path=C:\lockbox-name
[\\mcbs.frn00013.ukcloud.com\{customer storage unit}]
# Drive Letter specifies the Windows drive to map to this UNC mount point
drive-letter=G:
Create lockbox
Provide the username and storage unit name for access:
C:\Program Files\BoostFS> boostfs.exe lockbox set -u {username} -d mcbs.frn00013.ukcloud.com -s {customer storage unit} -l C:\BoostFS\LockBox\boostfs.lockbox
Enter your API key (password).
Once created you can use this to mount a drive or folder for use with BoostFS.
Note
We provide your API key, {username}, {customer storage unit} and API endpoint as part of your MCBS credentials. Contact UKCloud Support if you're unsure of any of these details.
Mount storage to local machine
boostfs.exe mount \\mcbs.frn00013.ukcloud.com\{customer storage unit}
This will attempt to mount the volume on the drive G as per the configuration.
Further Data Domain Boost Filesystem (BoostFS) information
For Microsoft Windows, see the Dell EMC BoostFS for Windows Configuration Guide HERE
For Linux, see the Dell EMC BoostFS for Linux Configuration Guide HERE
Feedback
If you find a problem with this article, click Improve this Doc to make the change yourself or raise an issue in GitHub. If you have an idea for how we could improve any of our services, send an email to feedback@ukcloud.com.


Invoking the Minihelp involves to steps:
The XML configuration file must be read and parsed. This can be done with any of the two static methods in org.kovesdan.minihelp.xml.ConfigurationReader:
public static Configuration parseConfiguration(File file) throws JAXBException
public static Configuration parseConfiguration(Path path) throws JAXBException
If the XML file is well-formed and valid, a properly initialized Configuration object is returned. Otherwise, a JAXBException is thrown.
The help window is org.kovesdan.minihelp.MiniHelp, a subclass of JFrame. After instantiating the window, setVisible(true) has to be called. There are two constructors that can be used. The first one takes a Configuration object and an URI that will serve as a base URI, where documents are looked for. The second one takes two additional boolean parameters: whether to show the index and the search tabs. By default, the index tab is shown if there are index terms defined in the configuration and the search tab is always shown unconditionally.
public MiniHelp(Configuration configuration, URI baseUri) throws HeadlessException
public MiniHelp(Configuration configuration, URI baseUri, boolean showIndexTab, boolean showSearchTab) throws HeadlessException
Alternatively, org.kovesdan.minihelp.MiniHelpViewer has a static void main(String[]) method that is used when running from the command-line. It takes the path of the configuration file as the first argument, sets the Swing Look and Feel to the system settings and properly initializes the help window from the event dispatching thread. It may also be called programmatically as a shorthand for these tasks.


{% include 'mygallery/base.html' %}
Feel free to view more on photos you would like and dont forget to share too
{{image.caption}}
Location: {{image.location}}
Description : {{image.description}}
Posted on :{{image.pub_date}}


Residents next to the London museum continue legal battle after losing case to close viewing platform that allows visitors to see inside their flats
Residents next to the London museum continue legal battle after losing case to close viewing platform
a collaboration with the Musée Picasso-Paris on the occasion of the Frist’s 20th anniversary. How often does a thing like that happen to a city like this?


| [Hawaiian Dictionary(Eng to Hwn)] |
|
surf
Nalu, nanu. See surfboard, surfer, wave, and sayings, |
|
All dictionaries on this site are individually searchable, cover-to-cover, here. A list of additional Hawaiian words, not yet available in Mamaka Kaiao, is available here. Hawaiian Dictionary (Pukui/Elbert dictionary) Copyright © 2003 by University of Hawaiʻi Press, Māmaka Kaiao Copyright © 2003 by ʻAha Pūnana Leo and Hale Kuamoʻo, Place Names of Hawaiʻi (Pukui/Elbert Place Names) Copyright © 1974, 2004 by University of Hawaiʻi Press, and Hawaiʻi Place Names (John R.K. Clark) Copyright © 2002, 2004 by University of Hawaiʻi Press, which are solely responsible for this product. Computer Issues | More information |


ClientForm is a Python module for handling HTML forms on the client
side, useful for parsing HTML forms, filling them in and returning the
completed forms to the server. It developed from a port of Gisle Aas'
Perl module HTML::Form
, from the libwww-perl library, but the
interface is not the same.
Simple example:
from urllib2 import urlopen from ClientForm import ParseResponse forms = ParseResponse(urlopen("http://www.example.com/form.html")) form = forms[0] print form form["author"] = "Gisle Aas" # form.click() returns a urllib2.Request object # (see HTMLForm.click.__doc__ if you don't have urllib2) response = urlopen(form.click("Thanks"))
A more complicated example:
import ClientForm import urllib2 request = urllib2.Request("http://www.example.com/form.html") response = urllib2.urlopen(request) forms = ClientForm.ParseResponse(response) response.close() form = forms[0] print form # very useful! # Indexing allows setting and retrieval of control values original_text = form["comments"] # a string, NOT a Control instance form["comments"] = "Blah." # Controls that represent lists (checkbox, select and radio lists) are # ListControls. Their values are sequences of list item names. # They come in two flavours: single- and multiple-selection: print form.possible_items("cheeses") form["favorite_cheese"] = ["brie"] # single form["cheeses"] = ["parmesan", "leicester", "cheddar"] # multi # is the "parmesan" item of the "cheeses" control selected? print "parmesan" in form["cheeses"] # does cheeses control have a "caerphilly" item? print "caerphilly" in form.possible_items("cheeses") # Sometimes one wants to set or clear individual items in a list: # select the item named "gorgonzola" in the first control named "cheeses" form.set(True, "gorgonzola", "cheeses") # You can be more specific: supply at least one of name, type, kind, id # and nr (most other methods on HTMLForm take the same form of arguments): # deselect "edam" in third CHECKBOX control form.set(False, "edam", type="checkbox", nr=2) # You can explicitly say that you're referring to a ListControl: # set whole value (rather than just one item of) "cheeses" ListControl form.set_value(["gouda"], name="cheeses", kind="list") # last example is almost equivalent to following (but insists that the # control be a ListControl -- so it will skip any non-list controls that # come before the control we want) form["cheeses"] = ["gouda"] # The kind argument can also take values "multilist", "singlelist", "text", # "clickable" and "file": # find first control that will accept text, and scribble in it form.set_value("rhubarb rhubarb", kind="text") form.set_value([""], kind="singlelist") # Often, a single checkbox (a CHECKBOX control with a single item) is # present. In that case, the name of the single item isn't of much # interest, so it's useful to be able to check and uncheck the box # without using the item name: form.set_single(True, "smelly") # check form.set_single(False, "smelly") # uncheck # Add files to FILE controls with .add_file(). Only call this multiple # times if the server is expecting multiple files. # add a file, default value for MIME type, no filename sent to server form.add_file(open("data.dat")) # add a second file, explicitly giving MIME type, and telling the server # what the filename is form.add_file(open("data.txt"), "text/plain", "data.txt") # Many methods have a by_label argument, allowing specification of list # items by label instead of by name. At the moment, only SelectControl # supports this argument (this will be fixed). Sometimes labels are # easier to maintain than names, sometimes the other way around. form.set_value(["Mozzarella", "Caerphilly"], "cheeses", by_label=True) # It's also possible to get at the individual controls inside the form. # This is useful for calling several methods in a row on a single control, # and for the less common operations. The methods are quite similar to # those on HTMLForm: control = form.find_control("cheeses", type="select") print control.value, control.name, control.type print control.possible_items() control.value = ["mascarpone", "curd"] control.set(True, "limburger") # All Controls may be disabled (equivalent of greyed-out in browser) control = form.find_control("comments") print control.disabled # ...or readonly print control.readonly # readonly and disabled attributes can be assigned to control.disabled = False # convenience method, used here to make all controls writable (unless # they're disabled): form.set_all_readonly(False) # ListControl items may also be disabled (setting a disabled item is not # allowed, but clearing one is allowed): print control.get_item_disabled("emmenthal") control.set_item_disabled(True, "emmenthal") # enable all items in control control.set_all_items_disabled(False) # HTMLForm.controls is a list of all controls in the form for control in form.controls: if control.value == "inquisition": sys.exit() request2 = form.click() # urllib2.Request object response2 = urllib2.urlopen(request2) print response2.geturl() print response2.info() # headers print response2.read() # body response2.close()
All of the standard control types are supported: TEXT
,
PASSWORD
, HIDDEN
, TEXTAREA
,
ISINDEX
, RESET
, BUTTON
(INPUT
TYPE=BUTTON
and the various BUTTON
types),
SUBMIT
, IMAGE
, RADIO
,
CHECKBOX
, SELECT
/OPTION
and
FILE
(for file upload). Both standard form encodings
(application/x-www-form-urlencoded
and
multipart/form-data
) are supported.
The module is designed for testing and automation of web interfaces, not for implementing interactive user agents.
Security note: Remember that any passwords you store in
HTMLForm
instances will be saved to disk in the clear if you
pickle them (directly or indirectly). The simplest solution to this is to
avoid pickling HTMLForm
objects. You could also pickle before
filling in any password, or just set the password to ""
before
pickling.
Python 1.5.2 or above is required. To run the tests, you need the
unittest
module (from PyUnit).
unittest
is a standard library module with Python 2.1 and
above.
For full documentation, see the docstrings in ClientForm.py.
Note: this page describes the 0.1.x interface. See here for the old 0.0.x interface.
For installation instructions, see the INSTALL file included in the distribution.
Stable release.. There have been many interface changes since 0.0.x, so I don't recommend upgrading old code from 0.0.x unless you want the new features.
0.1.x includes FILE
control support for file upload, handling
of disabled list items, and a redesigned interface.
Old release.
cgi
, do this?
No: the cgi
module does the server end of the job. It
doesn't know how to parse or fill in a form or how to send it back to the
server.
1.5.2 or above.
urllib2
required?
No.
urllib2
?
Use .click_request_data()
instead of .click()
.
urllib2
do I need?
You don't. It's convenient, though. If you have Python 2.0, you need to
upgrade to the version from Python 2.1 (available from www.python.org). Alternatively, use the
1.5.2-compatible version. If you have Python 1.5.2, use this urllib2
and urllib
. Otherwise, you're OK.
The BSD license (included in distribution).
Yes, since 0.1.12.
print form
is usually all you need.
HTMLForm.possible_items
can be useful. Note that it's
possible to use item labels instead of item names, which can be useful
— use the by_label
arguments to the various methods,
and the .get_value_by_label()
/
.set_value_by_label()
methods on ListControl
.
Only SelectControl
currently supports item labels (which
default to OPTION
element contents). I might not bother to
fix this, since it seems it's probably only useful for SELECT
anyway.
'*'
characters mean in the string
representations of list controls?
A *
next to an item means that item is selected.
Parentheses (foo)
around an item mean that item is disabled.
.click*()
when that control has non-None
value?
Either the control is disabled, or it is not successful for some other reason. 'Successful' (see HTML 4 specification) means that the control will cause data to get sent to the server.
RADIO
and multiple-selection SELECT
controls?
Because by default, it follows browser behaviour when setting the
initially-selected items in list controls that have no items explicitly
selected in the HTML. Use the select_default
argument to
ParseResponse
if you want to follow the RFC 1866 rules
instead. Note that browser behaviour violates the HTML 4.01 specification
in the case of RADIO
controls.
.click()
ing on a button not work for me?
RESET
button doesn't do anything, by design
- this is a library for web automation, not an interactive browser.
Even in an interactive browser, clicking on RESET
sends
nothing to the server, so there is little point in having
.click()
do anything special here.
BUTTON TYPE=BUTTON
doesn't do anything
either, also by design. This time, the reason is that that
BUTTON
is only in the HTML standard so that one can attach
callbacks to its events. The callbacks are functions in
SCRIPT
elements (such as Javascript) embedded in the HTML,
and their execution may result in information getting sent back to the
server.
See the General FAQs page for what to do about this.
The ClientCookie package makes it
easy to get .seek()
able response objects, which is
convenient for debugging. See also here for few
relevant tips. Also see General
FAQs.
import bisect def closest_int_value(form, ctrl_name, value): values = map(int, form.possible_items(ctrl_name)) return str(values[bisect.bisect(values, value) - 1]) form["distance"] = [closest_int_value(form, "distance", 23)]
John J. Lee, January 2005.


{% extends "header.html" %} {% block body %}
import random import matplotlib import matplotlib.pyplot as plt import time def rollDice(): roll = random.randint(1,100) if roll == 100: return False elif roll <= 50: return False elif 100 > roll >= 50: return True def doubler_bettor(funds,initial_wager,wager_count): global broke_count value = funds wager = initial_wager wX = [] vY = [] currentWager = 1 # since we'll be betting based on previous bet outcome # previousWager = 'win' # since we'll be doubling # previousWagerAmount = initial_wager ''' immediately with these comments, and our previous discussion of how previous outcomes do not affect future outcome possibilities, you should realize that this betting method offers nothing more than a quicker realization of losses or gains. Another way to visualize this quicker realization is actually an increase in risk. This bettor will experience extremely unpredictable volatility most likely. ''' while currentWager <= wager_count: if previousWager == 'win': ##print 'we won the last wager, yay!' if rollDice(): value += wager ##print value wX.append(currentWager) vY.append(value) else: value -= wager previousWager = 'loss' ##print value previousWagerAmount = wager wX.append(currentWager) vY.append(value) if value < 0: ##print 'went broke after',currentWager,'bets' broke_count += 1 currentWager +=<PHONE_NUMBER>0000000 elif previousWager == 'loss': ##print 'we lost the last one, so we will be super smart & double up!' if rollDice(): wager = previousWagerAmount * 2 ##print 'we won',wager value += wager ##print value wager = initial_wager previousWager = 'win' wX.append(currentWager) vY.append(value) else: wager = previousWagerAmount * 2 ##print 'we lost',wager value -= wager ##print value previousWager = 'loss' previousWagerAmount = wager wX.append(currentWager) vY.append(value) if value < 0: ##print 'went broke after',currentWager,'bets' currentWager +=<PHONE_NUMBER>0000000 broke_count += 1 currentWager += 1 ##print value plt.plot(wX,vY) xx = 0 broke_count = 0 while xx < 1000: doubler_bettor(10000,100,100) xx+=1 #print 'death rate:',(broke_count/float(xx)) * 100 #print 'survival rate:',100 - ((broke_count/float(xx)) * 100) plt.axhline(0, color = 'r') plt.show()


EXO's Sehun reveals double bonus teaser clips for 'Obsession'
by germainejEXO's Sehun has revealed double bonus teaser clips for 'Obsession'.
After his previous teasers, Sehun is revealing another look at his darker persona and cooler persona in black. As previously reported, the EXO members are facing their doppelgangers "X-EXO" for their comeback.
Stay tuned for more EXO teasers, and take a look at Sehun's bonus clips below.


| 1 |
Huang_2016 |
Grouper TRIM13 exerts negative regulation of antiviral immune response against nodavirus |
Huang, Youhua; Yang, Min; Yu, Yepin; Yang, Ying; Zhou, Linli; Huang, Xiaohong; Qin, Qiwei |
2016 |
2016-08-31 |
PMC |
N |
PMC7129363 |
27235367.0 |
10.1016/j.fsi.2016.05.029 |
vqy6bjoe |
0.792175 |
|
Huang_2016, Li_C_2019 |
| 2 |
Huang_2016 |
Fish TRIM8 exerts antiviral roles through regulation of the proinflammatory factors and interferon signaling |
Huang, Youhua; Yu, Yepin; Yang, Ying; Yang, Min; Zhou, Linli; Huang, Xiaohong; Qin, Qiwei |
2016 |
2016-07-31 |
PMC |
N |
PMC7130058 |
27150052.0 |
10.1016/j.fsi.2016.04.138 |
cpp78qco |
0.748736 |
|
Huang_2016 |
| 3 |
Asim_2019 |
Inhibition of Cyclophilin A on the replication of red spotted grouper nervous necrosis virus associates with multiple pro-inflammatory factors |
Asim, Muhammad; Sarath Babu, V.; Qin, Zhendong; Zhao, Lijuan; Su, Jianguo; Li, Jun; Tu, Jiagang; Kou, Hongyan; Lin, Li |
2019 |
2019-09-30 |
PMC |
N |
PMC7111709 |
31176008.0 |
10.1016/j.fsi.2019.05.064 |
nftsehue |
0.711683 |
Trobaugh_2017 |
|
| 4 |
Guo_C_2011 |
Involvement of caveolin-1 in the Jak–Stat signaling pathway and infectious spleen and kidney necrosis virus infection in mandarin fish (Siniperca chuatsi) |
Guo, Chang-Jun; Yang, Xiao-Bo; Wu, Yan-Yan; Yang, Li-Shi; Mi, Shu; Liu, Zhao-Yu; Jia, Kun-Tong; Huang, Yu-Xin; Weng, Shao-Ping; Yu, Xiao-Qiang; He, Jian-Guo |
2011 |
2011-04-30 |
PMC |
N |
PMC7112660 |
21296425.0 |
10.1016/j.molimm.2011.01.001 |
ihn3kay1 |
0.660759 |
Trobaugh_2017 |
|
| 5 |
Li_C_2019 |
Fish Autophagy Protein 5 Exerts Negative Regulation on Antiviral Immune Response Against Iridovirus and Nodavirus |
Li, Chen; Liu, Jiaxin; Zhang, Xin; Wei, Shina; Huang, Xiaohong; Huang, Youhua; Wei, Jingguang; Qin, Qiwei |
2019 |
2019-03-19 |
COMM-USE |
N |
PMC6433989 |
30941145.0 |
10.3389/fimmu.2019.00517 |
corvd5cs |
0.638370 |
Trobaugh_2017 |
|
| 6 |
Ding_2015 |
Characterization of two novel ADP ribosylation factors from giant freshwater prawn Macrobrachium rosenbergii and their responses to WSSV challenge |
Ding, Zheng-Feng; Ren, Jie; Tan, Jing-Min; Wang, Zheng; Yin, Shao-Wu; Huang, Ying; Huang, Xin; Wang, Wen; Lan, Jiang-Feng; Ren, Qian |
2015 |
2015-01-31 |
None |
N |
PMC7124501 |
25451300.0 |
10.1016/j.dci.2014.10.006 |
o1dj3b3z |
0.601312 |
Trobaugh_2017, Haasnoot_2010, Wang_2007 |
|
| 7 |
Zhang_2008 |
Expressional induction of Paralichthys olivaceus cathepsin B gene in response to virus, poly I:C and lipopolysaccharide |
Zhang, Fu-Tie; Zhang, Yi-Bing; Chen, Yu-Dong; Zhu, Rong; Dong, Cai-Wen; Li, Yang-Yang; Zhang, Qi-Ya; Gui, Jian-Fang |
2008 |
2008-11-30 |
PMC |
N |
PMC7111675 |
18755278.0 |
10.1016/j.fsi.2008.07.018 |
dflo4gpc |
0.584474 |
|
|
| 8 |
Xiang_2019 |
Comparative transcriptome analysis reveals the role of p53 signalling pathway during red‐spotted grouper nervous necrosis virus infection in Lateolabrax japonicus brain cells |
Xiang, Yangxi; Jia, Peng; Liu, Wei; Yi, Meisheng; Jia, Kuntong |
2019 |
2019-01-18 |
PMC |
N |
PMC7166548 |
30659619.0 |
10.1111/jfd.12960 |
4buooi2d |
0.571401 |
Trobaugh_2017, Herbert_2016, Haasnoot_2010 |
|
| 9 |
Lee_H_2017 |
Embryonic expression patterns of Eukaryotic EndoU ribonuclease family gene endouC in zebrafish |
Lee, Hung-Chieh; Fu, Chuan-Yang; Zeng, Chih-Wei; Tsai, Huai-Jen |
2017 |
2017-11-30 |
PMC |
N |
PMC7118454 |
28610924.0 |
10.1016/j.gep.2017.06.003 |
q9mr69os |
0.570397 |
Wang_2007 |
|
| 10 |
Zhang_2009 |
Cloning of IRAK1 and its upregulation in symptomatic mandarin fish infected with ISKNV |
Zhang, Chao-Zheng; Yin, Zhi-Xin; He, Wei; Chen, Wei-Jian; Luo, Yong-Wen; Lu, Qing-Xia; Weng, Shao-Ping; Yu, Xiao-Qiang; He, Jianguo |
2009 |
2009-06-05 |
PMC |
N |
PMC7092954 |
19336221.0 |
10.1016/j.bbrc.2009.03.137 |
f6u7a5vq |
0.480797 |
|
|
| 11 |
Mok_L_2015 |
Proteomic analysis of Pteropus alecto kidney cells in response to the viral mimic, Poly I:C |
Mok, Lawrence; Wynne, James W.; Ford, Kris; Shiell, Brian; Bacic, Antony; Michalski, Wojtek P. |
2015 |
2015-11-02 |
COMM-USE |
N |
PMC4630911 |
26535029.0 |
10.1186/s12953-015-0081-6 |
6w2zvvj1 |
0.434288 |
Brake_2008, Trobaugh_2017, Haasnoot_2010, Wang_2007 |
|
| 12 |
Mu_X_2013 |
Comparative transcriptional analysis reveals distinct expression patterns of channel catfish genes after the first infection and re-infection with Aeromonas hydrophila |
Mu, Xingjiang; Pridgeon, Julia W.; Klesius, Phillip H. |
2013 |
2013-11-30 |
PMC |
N |
PMC7111657 |
24036330.0 |
10.1016/j.fsi.2013.08.027 |
9f30s0gy |
0.409796 |
|
Thibivilliers_2009, Olsvik_2008, Chen_2009 |
| 13 |
Xu_C_2016 |
A de novo transcriptome analysis shows that modulation of the JAK-STAT signaling pathway by salmonid alphavirus subtype 3 favors virus replication in macrophage/dendritic-like TO-cells |
Xu, Cheng; Evensen, Øystein; Munang’andu, Hetron Mweemba |
2016 |
2016-05-23 |
COMM-USE |
N |
PMC4878077 |
27215196.0 |
10.1186/s12864-016-2739-6 |
kywhulpc |
0.409128 |
Trobaugh_2017 |
|
| 14 |
Tallam_2016 |
Gene Regulatory Network Inference of Immunoresponsive Gene 1 (IRG1) Identifies Interferon Regulatory Factor 1 (IRF1) as Its Transcriptional Regulator in Mammalian Macrophages |
Tallam, Aravind; Perumal, Thaneer M.; Antony, Paul M.; Jäger, Christian; Fritz, Joëlle V.; Vallar, Laurent; Balling, Rudi; del Sol, Antonio; Michelucci, Alessandro |
2016 |
2016-02-12 |
COMM-USE |
N |
PMC4752512 |
26872335.0 |
10.1371/journal.pone.0149050 |
z245sb3s |
0.386295 |
Trobaugh_2017, Haasnoot_2010, Atianand_2014 |
|
| 15 |
Cho_Y_2008 |
Differential modulations of two glyceraldehyde 3-phosphate dehydrogenase mRNAs in response to bacterial and viral challenges in a marine teleost Oplegnathus fasciatus (Perciformes) |
Cho, Young Sun; Lee, Sang Yoon; Kim, Ki Hong; Nam, Yoon Kwon |
2008 |
2008-11-30 |
PMC |
N |
PMC7129407 |
18692141.0 |
10.1016/j.fsi.2008.07.007 |
h9c6z4an |
0.382015 |
Wang_2007, Herbert_2016, Haasnoot_2010, Trobaugh_2017 |
|
| 16 |
Wu_Y_2007 |
Inhibition of white spot syndrome virus in Litopenaeus vannamei shrimp by sequence-specific siRNA |
Wu, Yue; Lü, Ling; Yang, Li-Shi; Weng, Shao-Ping; Chan, Sui-Ming; He, Jian-Guo |
2007 |
2007-10-03 |
PMC |
N |
PMC7112065 |
|
10.1016/j.aquaculture.2007.06.029 |
i1ikf96b |
0.379116 |
Brake_2008 |
|
| 17 |
Thukral_2017 |
s8ORF2 protein of infectious salmon anaemia virus is a RNA-silencing suppressor and interacts with Salmon salar Mov10 (SsMov10) of the host RNAi machinery |
Thukral, Vandana; Varshney, Bhavna; Ramly, Rimatulhana B.; Ponia, Sanket S.; Mishra, Sumona Karjee; Olsen, Christel M.; Banerjea, Akhil C.; Mukherjee, Sunil K.; Zaidi, Rana; Rimstad, Espen; Lal, Sunil K. |
2017 |
2017-12-07 |
PMC |
N |
PMC7089075 |
29218433.0 |
10.1007/s11262-017-1526-z |
c8yr7nlo |
0.377894 |
|
|
| 18 |
Feng_2019 |
A balanced game: chicken macrophage response to ALV-J infection |
Feng, Min; Xie, Tingting; Li, Yuanfang; Zhang, Nan; Lu, Qiuyuan; Zhou, Yaohong; Shi, Meiqing; Sun, Jingchen; Zhang, Xiquan |
2019 |
2019-03-06 |
COMM-USE |
N |
PMC6404279 |
30841905.0 |
10.1186/s13567-019-0638-y |
ztqjo13e |
0.370055 |
Barber_2013, Trobaugh_2017 |
|
| 19 |
Sun_Y_2014 |
Transcriptome Analysis of the Initial Stage of Acute WSSV Infection Caused by Temperature Change |
Sun, Yumiao; Li, Fuhua; Sun, Zheng; Zhang, Xiaojun; Li, Shihao; Zhang, Chengsong; Xiang, Jianhai |
2014 |
2014-03-04 |
COMM-USE |
N |
PMC3942461 |
24595043.0 |
10.1371/journal.pone.0090732 |
dxhhf0th |
0.352696 |
Trobaugh_2017, Haasnoot_2010, Herbert_2016, Wang_2007 |
Thibivilliers_2009 |


Class: Downloadable Abstract Private
Overview
This class is part of a private API. This class may only be used in the Homebrew/brew repository. Third parties should avoid using this class if possible, as it may be removed or changed without warning.
It cannot be directly instantiated. Subclasses must implement the abstract
methods below.
Direct Known Subclasses
Instance Attribute Summary collapse
-
#checksum ⇒ Checksum?
readonly
private
-
#mirrors ⇒ Array<String>
readonly
private
-
#url ⇒ URL?
readonly
private
Instance Method Summary collapse
-
#cached_download ⇒ Pathname
private
-
#clear_cache ⇒ void
private
-
#download_name ⇒ String
private
-
#download_strategy ⇒ T.class_of(AbstractDownloadStrategy)
private
-
#downloaded? ⇒ Boolean
private
-
#downloader ⇒ AbstractDownloadStrategy
private
-
#fetch(verify_download_integrity: true, timeout: nil) ⇒ Pathname
private
-
#freeze ⇒ T.self_type
private
-
#initialize ⇒ void
constructor
private
-
#initialize_dup(other) ⇒ Object
private
-
#verify_download_integrity(filename) ⇒ void
private
-
#version ⇒ Version?
private
Methods included from Context
current, current=, #debug?, #quiet?, #verbose?, #with_context
Constructor Details
#initialize ⇒ void
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
24 25 26 |
# File 'downloadable.rb', line 24 def initialize @mirrors = T.let([], T::Array[String]) end |
Instance Attribute Details
#checksum ⇒ Checksum? (readonly)
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
18 19 20 |
# File 'downloadable.rb', line 18 def checksum @checksum end |
#mirrors ⇒ Array<String> (readonly)
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
21 22 23 |
# File 'downloadable.rb', line 21 def mirrors @mirrors end |
#url ⇒ URL? (readonly)
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
15 16 17 |
# File 'downloadable.rb', line 15 def url @url end |
Instance Method Details
#cached_download ⇒ Pathname
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
49 50 51 |
# File 'downloadable.rb', line 49 def cached_download downloader.cached_location end |
#clear_cache ⇒ void
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
This method returns an undefined value.
54 55 56 |
# File 'downloadable.rb', line 54 def clear_cache downloader.clear_cache end |
#download_name ⇒ String
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
113 114 115 |
# File 'downloadable.rb', line 113 def download_name File.basename(determine_url.to_s) end |
#download_strategy ⇒ T.class_of(AbstractDownloadStrategy)
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
67 68 69 |
# File 'downloadable.rb', line 67 def download_strategy @download_strategy ||= determine_url&.download_strategy end |
#downloaded? ⇒ Boolean
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
44 45 46 |
# File 'downloadable.rb', line 44 def downloaded? cached_download.exist? end |
#downloader ⇒ AbstractDownloadStrategy
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
72 73 74 75 76 77 78 79 80 |
# File 'downloadable.rb', line 72 def downloader @downloader ||= begin primary_url, *mirrors = determine_url_mirrors raise ArgumentError, "attempted to use a Downloadable without a URL!" if primary_url.blank? download_strategy.new(primary_url, download_name, version, mirrors: mirrors, cache: cache, **T.must(@url).specs) end end |
#fetch(verify_download_integrity: true, timeout: nil) ⇒ Pathname
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
83 84 85 86 87 88 89 90 91 92 93 94 95 |
# File 'downloadable.rb', line 83 def fetch(verify_download_integrity: true, timeout: nil) cache.mkpath begin downloader.fetch(timeout: timeout) rescue ErrorDuringExecution, CurlDownloadStrategyError => e raise DownloadError.new(self, e) end download = cached_download verify_download_integrity(download) if verify_download_integrity download end |
#freeze ⇒ T.self_type
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
36 37 38 39 40 41 |
# File 'downloadable.rb', line 36 def freeze @checksum.freeze @mirrors.freeze @version.freeze super end |
#initialize_dup(other) ⇒ Object
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
28 29 30 31 32 33 |
# File 'downloadable.rb', line 28 def initialize_dup(other) super @checksum = @checksum.dup @mirrors = @mirrors.dup @version = @version.dup end |
#verify_download_integrity(filename) ⇒ void
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
This method returns an undefined value.
98 99 100 101 102 103 104 105 106 107 108 109 110 |
# File 'downloadable.rb', line 98 def verify_download_integrity(filename) if filename.file? ohai "Verifying checksum for '#{filename.basename}'" if verbose? filename.verify_checksum(checksum) end rescue ChecksumMissingError opoo <<~EOS Cannot verify integrity of '#{filename.basename}'. No checksum was provided. For your reference, the checksum is: sha256 "#{filename.sha256}" EOS end |
#version ⇒ Version?
This method is part of a private API. This method may only be used in the Homebrew/brew repository. Third parties should avoid using this method if possible, as it may be removed or changed without warning.
59 60 61 62 63 64 |
# File 'downloadable.rb', line 59 def version return @version if @version &&<EMAIL_ADDRESS>version = determine_url&.version version unless version&.null? end |


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Dead cats found in freezer of unlicensed cat rescue: reports
by Bradford BetzTwo Maryland residents are facing multiple animal cruelty charges after authorities found 74 dead cats and rescued 150 live cats and other animals from their home, according to reports.
Garriott J. Cox, 53, and Pamela Arrington, 51, were indicted on Nov. 4, the Baltimore Sun reported.
Police found 74 dead cats and rescued 150 live cats and other animals from their home in Middle River – about 10 miles northeast of Baltimore.
Police spokeswoman Officer Jennifer Peach said officials recovered 76 live cats and 15 dead cats from a shed in an Oct. 9 search. More animals were recovered on Oct. 17 after police obtained a second search warrant.
Some rescued cats have died since they were removed, but Peach was not sure how many.
Cox and Arrington were freed from custody after each posting $50,000 bail.
HOUSE PASSES BILL TO MAKE ANIMAL CRUELTY A FEDERAL FELONY IN ‘MAJOR STEP TO END AMINAL ABUSE’
They are now suing authorities have some of the animals returned, WJZ reported Monday, citing Baltimore County Police Cpl. Shawn Vinson.
CLICK HERE TO GET THE FOX NEWS APP
“We might be in a situation again where we have to go in there again and rescue more animals if they are allowed to go back to them,” Vinson said.
It was unclear whether Cox and Arrington had attorneys who could speak on their behalf.


Supreme Court rules out new trial for man convicted in "Serial" podcast murder case
by EndPlayWASHINGTON - WASHINGTON (AP) - Supreme Court rules out new trial for man convicted in "Serial" podcast murder case.
WASHINGTON - WASHINGTON (AP) - Supreme Court rules out new trial for man convicted in "Serial" podcast murder case.


Bubble Explodes
Review of Little Voice (1998)
Seen on 4 December 1998 with Laura at the UA Union Square East for $8.75.
Little Voice is a young introverted woman living on the edge. Perhaps just living edgily. The home she shares with her mother is a powder keg: every outlet is taxed with extension cords and outlet multipliers; her mother's baudy, brassy bravado has the nervous young thing unhinged and hiding. Either way, you can hear the sparks crackling dangerously in the air.
What Little Voice (Jane Horrocks; best known as "Bubble" from the TV series *Absolutely Fabulous*) can do to liberate herself is listen to the music her deceased father loved--Judy Garland, Billie Holliday, Marilyn Monroe, Marlene Dietrich, etc.--and mimic the singers perfectly. This is not just an obsession, but a matter of survival, as her mother, Mari (Brenda Blethyn), never stops talking.
Enter Ray Say (Michael Caine), a dubious "show biz" agent, but who does know talent when he hears it in LV. No, he's never met Shirley Bassey, but he has heard of acts almost completely unknown to civilization.
LV represents a ticket out. Out of debt is where Ray wants to go. Out of their depressed Northern English town is where Mari wants to go. Yes, LV represents their escape to worthier locales, like Las Vegas.
Meanwhile, managing to look mousey, telephone repair assistant Billy (Ewan McGregor) is only slightly obsessed with his missing homing pigeon Duane, and his growing interest in mutual introvert LV.
If there is a problem with *Little Voice* it's the premise that someone can be this socially and emotionally stunted without being institutionalized. But two elements overpower this deficiency--acting and writing. All the performances are first rate, from Blethyn's raucousness to Horrocks's wide-eyed terror and talent for mimicry. Viewers find it hard to believe that Horrocks sings all of her own songs. The highlight of the film is LV's debut at the decrepit club, the "RendezBoo", where she sings a full roster of songs, imitating the original stars perfectly down to the way they cocked their heads.
As Ray Say, Michael Caine has never looked so horrible. It's a departure from the usual erudite sophistication we expect, but perfect for his role as the opportunistic loser. Also noteworthy is Annette Badland as Mari's only friend, Sadie; she says even less than LV, but her face is so expressive, she often steals the show. You can tell exactly what she's thinking, from concern to anger to humor.
Director Mark Herman (*Brassed Off*) takes advantage of more than just the actors' talents. The sleepy little northern town offers some dramatic backdrops for the action here. While some viewers might find the harsh, serious denouement a departure from the more frothy tone of the film, Little Voice is still a very satisfying experience. Despite the humor, the movie will strike a chord with anyone who has ever felt awkward, isolated, lonely, or crushed by an insensitive parent. The music is pretty sensational, and of course there's a segment of particular community that will go for that alone.
The film was based on Jim Cartwright's play *The Rise and Fall of Little Voice*), which was written specifically for Jane Horrocks to showcase her singing and mimicry talents.
More movie reviews by Seth Bookey, with graphics, can be found at http://www.geocities.com/Athens/2679/kino.html
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
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Related links: index of all rec.arts.movies.reviews reviews


Animation Lab
Home
Life
Trapped
Adapt
The measure of a person’s strength
is not his muscular power or strength,
but it is his flexibility and adaptability.”
― Liezi


Quick Start
For more information, see the Framework Overview.
Solving
If you need to solve a standard Sudoku puzzle, you can simply create a
PuzzleWithPossibleValues
, create a
PuzzleSolver
, and solve it.
var puzzle = new PuzzleWithPossibleValues(new int?[,]
{
{null, 2, null, 6, null, 8, null, null, null},
{ 5, 8, null, null, null, 9, 7, null, null},
{null, null, null, null, 4, null, null, null, null},
{ 3, 7, null, null, null, null, 5, null, null},
{ 6, null, null, null, null, null, null, null, 4},
{null, null, 8, null, null, null, null, 1, 3},
{null, null, null, null, 2, null, null, null, null},
{null, null, 9, 8, null, null, null, 3, 6},
{null, null, null, 3, null, 6, null, 9, null},
});
var solver = RuleBased.StandardPuzzles.CreateSolver();
var solved = solver.Solve(puzzle);
// Values can be accessed individually like this:
int row = 0;
int column = 1;
var value = solved[row, column]; // Returns 2
// With custom rules
var customSolver = new RuleBased.PuzzleSolver<Puzzle>(
new DynamicRuleKeeper(
new IRule[] {
// Custom rules here
}
));
Generating
If you need to generate Sudoku puzzles, simply create a
StandardPuzzleGenerator
and call Generate
as many times as you like.
// Create a 9x9 puzzle generator.
var generator = new StandardPuzzleGenerator();
// Generate a 9x9 puzzle with 30 preset square values.
var puzzle = generator.Generate(
/*puzzleSize=*/9, /*numSetSquares=*/30, /*timeout=*/TimeSpan.FromSeconds(1));
// For custom solvers:
var customGenerator = new PuzzleGenerator<MyPuzzle>(
puzzleSize => new MyPuzzle(puzzleSize),
new MyCustomSolver());
// Use TimeSpan.Zero to disable the timeout.
var puzzle = generator.Generate(puzzleSize, numSetSquares, TimeSpan.Zero);
Warning: Requesting a small number of set squares when calling Generate
can take a very long time,
and may eventually time out. For quickly generating 9x9 puzzles, it's recommended to use a value of
23 or greater.
Constraint-based
SudokuSpice also provides a constraint-based solver that can be better in some scenarios (see
benchmarks). This can be used similarly: create a
Puzzle
, create a
ConstraintBased.PuzzleSolver
, and solve.
var puzzle = new Puzzle(...);
// For standard puzzles:
var solver = ConstraintBased.StandardPuzzles.CreateSolver();
var solved = solver.Solve(puzzle);
// With custom constraints
var customSolver = new ConstraintBased.PuzzleSolver<Puzzle>(
new IConstraint[] {
// Custom constraints go here
});


class Drawer implements DrawerInterface
Methods
| __construct(Gmagick $gmagick) | ||
| DrawerInterface |
arc(PointInterface $center, BoxInterface $size, integer $start, integer $end, Color $color, integer $thickness = 1)
Draws an arc on a starting at a given x, y coordinates under a given start and end angles |
|
| DrawerInterface |
chord(PointInterface $center, BoxInterface $size, integer $start, integer $end, Color $color, Boolean $fill = false, integer $thickness = 1)
Same as arc, but also connects end points with a straight line |
|
| DrawerInterface |
ellipse(PointInterface $center, BoxInterface $size, Color $color, Boolean $fill = false, integer $thickness = 1)
Draws and ellipse with center at the given x, y coordinates, and given width and height |
|
| DrawerInterface |
line(PointInterface $start, PointInterface $end, Color $color, integer $thickness = 1)
Draws a line from start(x, y) to end(x, y) coordinates |
|
| DrawerInterface |
pieSlice(PointInterface $center, BoxInterface $size, integer $start, integer $end, Color $color, Boolean $fill = false, integer $thickness = 1)
Same as arc, but connects end points and the center |
|
| DrawerInterface |
dot(PointInterface $position, Color $color)
Places a one pixel point at specific coordinates and fills it with specified color |
|
| DrawerInterface |
polygon(array $coordinates, Color $color, Boolean $fill = false, integer $thickness = 1)
Draws a polygon using array of x, y coordinates. |
|
| DrawerInterface |
text(string $string, AbstractFont $font, PointInterface $position, integer $angle)
Annotates image with specified text at a given position starting on the top left of the final text box |
Details
at line 33
public
__construct(Gmagick $gmagick)
at line 41
public DrawerInterface
arc(PointInterface $center, BoxInterface $size, integer $start, integer $end, Color $color, integer $thickness = 1)
Draws an arc on a starting at a given x, y coordinates under a given start and end angles
at line 81
public DrawerInterface
chord(PointInterface $center, BoxInterface $size, integer $start, integer $end, Color $color, Boolean $fill = false, integer $thickness = 1)
Same as arc, but also connects end points with a straight line
at line 127
public DrawerInterface
ellipse(PointInterface $center, BoxInterface $size, Color $color, Boolean $fill = false, integer $thickness = 1)
Draws and ellipse with center at the given x, y coordinates, and given width and height
at line 170
public DrawerInterface
line(PointInterface $start, PointInterface $end, Color $color, integer $thickness = 1)
Draws a line from start(x, y) to end(x, y) coordinates
at line 203
public DrawerInterface
pieSlice(PointInterface $center, BoxInterface $size, integer $start, integer $end, Color $color, Boolean $fill = false, integer $thickness = 1)
Same as arc, but connects end points and the center
at line 237
public DrawerInterface
dot(PointInterface $position, Color $color)
Places a one pixel point at specific coordinates and fills it with specified color
at line 266
public DrawerInterface
polygon(array $coordinates, Color $color, Boolean $fill = false, integer $thickness = 1)
Draws a polygon using array of x, y coordinates.
Must contain at least
three coordinates
at line 311
public DrawerInterface
text(string $string, AbstractFont $font, PointInterface $position, integer $angle)
Annotates image with specified text at a given position starting on the top left of the final text box
The rotation is done CW


Maximum Depth of the English Channel
Deepest Scuba Dive
Estimated Military Submarine Maximum Depth
Average Depth of the Arctic Ocean
Colossal Squid Dive Depth
Cuviers Beaked Whale Dive Depth
Average Depth of the Atlantic Ocean
Average Depth of the Pacific Ocean
Maximum Depth of the Atlantic Ocean (Puerto Rico Trench)
Maximum Depth of the Pacific Ocean (Mariana Trench)


MKTabbedViewController Class Reference
| Inherits from | MKViewController : UIViewController |
| Conforms to | MKTabbedViewDataSource MKTabbedViewDelegate |
| Declared in | MKTabbedViewController.h |
Overview
MKTabbedViewController implents an interface for display views usings tabs. Three tabs are displayed at the top of the view, each displaying a unique view.
Content of the views are provided by the MKTabbedViewDataSource
, and changes can be monitored with the MKTabbedViewDelegae
. MKTabbedViewController conforms to both of these protocols.
Properties
tabbedView
a MKTabbedView
intsance
@property (nonatomic, retain, readonly) MKTabbedView *tabbedView
Declared In
MKTabbedViewController.h


Base date unit
Automatic (default)
Years
Months
Weeks
Days
Aggregate function
Max (default)
Min
Sum
Avg
Count
Custom aggregate functions are supported.


Here is the system components of initial design at early stage.
Here is a intuitive graph we had in plan of how the system can integrate together:
And here is an update of what the system components are:
Then, here are the details about the components and software details. For software, we used Arduino with C language, Blynk IoT Platform
IR sensor : emit infrared and detect its rebound, can detect the existence of cats in interested area.
Gyroscope: detect movements and read (x,y,z), can detect motion of cats.
Arduino MKR1000 :microcontroller takes input from IR sensor, communicates through Wifi through private server, and connects to the Arduino UNO through digital pins.
Arduino UNO: microcontroller controls the movement of robotic arm, programmed to set movements and specific gestures, and connects to the Arduino MKR1000 through digital pins.
IP camera: Takes video and stream from local host then transmitted through RTSP.
Blynk user end, which will shoot alert if the sensors detect cats nearby:
The slide bar on the top allows the user to go Auto or Manual mode of running the robot, and the virtual joystick in the center can be used to control the direction of movement of the robot arm, and the link downbelaw is to connect to the server set from Andriod end, in application it takes input from remote camera and live stream as a feedback.
As shown in picture above, here is the circuit diagram of how the electronics are integrated together, and the actual project control unit takes a space of 6inch x 6 inch x 5 inch, powered by a power bank.


Panthers player Tyrone May pleads guilty to four charges over sex tape scandal
Penrith Panthers NRL player Tyrone May has formally admitted recording four sex tapes without the consent of the women in them - including two shot during a group sex session which involved a teammate.
With coach Ivan Cleary watching from the public gallery, the 23-year-old sat in Parramatta Local Court on Friday as guilty pleas were entered on his behalf to four charges of intentionally recording an intimate image without consent.
Stream over 50 sports live & anytime on your TV or favourite device with KAYO SPORTS. The biggest Aussie sports and the best from overseas. Just $25/month. No lock-in contract. Get your 14 day free trial >
Four charges related to the videos’ distribution were withdrawn.
Two of the videos were recorded in a Best Western motel in Coffs Harbour in February 2018, when May met a Tinder date and had consensual sex.
READ MORE NRL
SUMMER SLOG: Eels set sights on Immortal, another Fijian signs NRL deal
COMING BACK? Homesick Semi set to sacrifice $2 million to return to NRL
‘WORST THING TO DO’: Cleary says Panthers botched handling of sex tape scandal
POWER OF ONE: Slater’s secret to Latrell’s successful fullback transition
The second pair of videos were shot in May 2018, when a woman May met on Facebook joined him, reserve grade player Liam Coleman and an unidentified man in an apartment in Kingswood.
The quartet later engaged in consensual sex.
Agreed facts tendered in court state both women never consented to videos being recorded and had no idea any had been recorded until March 2019, when the videos surfaced in media reports.
May was arrested and charged two days after the woman in the Kingswood unit videos formally reported the crimes to police.
He hasn’t played NRL since, having become one of the first players stood down under the NRL’s “no fault” stand-down rule.
May, who had been earmarked as a long-term prospect for the Panthers, played 19 NRL games for the club between 2017 and 2018.
He also has made one Test appearance for Samoa.
May is due to return to court on January 31 for sentence.


Editing Places and Folders
Once you have become familiar with the basic steps involved in creating and organizing
places and folders, you can use this section to learn how you can further modify the
appearance of places and folders that you have saved. You can edit the style settings,
position, and view for an individual placemark or a folder that contains place data.
To do this, right-click (CTRL click on the Mac) on the icon or folder in the
Places panel and select Properties from the pop-up menu. The
Edit dialog box for that item appears. Enable the relevant Style,
Location, and View properties for the folder or placemark.
Note - Elements in the Style tab dynamically update to reflect the type
of place data being selected.
To learn about these features and how they apply to folders and individual items, see the
following topics:
Repositioning Placemarks
When editing placemarks or geometry, you might want to reposition their location on the
earth. The Edit Placemark dialog box offers a number of ways to reposition a placemark.
Dragging the Placemark
When you edit a placemark, a yellow square appears around the icon, indicating that you
can reposition the icon if you desire. Just click within the square and drag the icon to
the new location. If you need to move the earth to get a better view of the icon relative
to other things, position the mouse outside the square to move the 3D viewer.
You can also lock the placemark to the center of the view.
Locking a Placemark to the Center of the View
With this feature, you reposition the earth under the placemark, rather than
repositioning the placemark over the earth. This feature is useful if you want to move a
placemark a distance that extends beyond the view, and using drag and drop is
inconvenient as you switch from dragging the icon to repositioning the earth.
Click on the View tab and select the Center in View check box. When you
choose this option, the placemark moves to the center of the 3D viewer and cannot be
repositioned by dragging. Instead, you position the icon by dragging the earth,
which then moves independently of the placemark. This feature allows you to easily
position an icon to a new location beyond your current screen space.
Entering Advanced Coordinates
Tip - You can change how Google
Earth displays coodinates in the 3D viewer.
If you know the latitude and longitude for the placemark you are editing, click the View
tab and enter coordinates to reposition the geographic point for the placemark. The
placemark adjusts its position to the new values.
Latitude and Longitude values can be set using the following notations:
-
Decimal Degrees (DDD) - In this notation, decimal precision is set in
the degree coordinate. For example, 49.11675953666N.
-
Degrees, Minutes, and Seconds (DMS) - In this notation, decimal
precision is set in the seconds coordinate. For example, 49 7'20.06"N.
-
Degrees, Minutes with Decimal Seconds (DMM) - In this notation,
decimal precision is set in the minutes coordinate. For example, 49
7.0055722"N. (Here, 20.06 seconds above is divided by 3600 to get the decimal minute
value for 20.06 seconds.)
Latitude and Longitude syntax is specified as follows:
-
Numeric Values - Simply separate each coordinate notation with a white
space and the entry will be recognized correctly. For example, you can indicate a DMS
notation as: 37 24 23.3. You could indicate a DMM notation as 49 7.0055722.
You can also use the single quote mark (') for minutes and the double quote mark (")
for seconds, as follows: 49 7'20.06"
Alternatively, you can use the Character Map utility in Windows to copy the degree
symbol and paste it into the Latitude/Longitude input boxes. To do this, select Start -
All Programs - Accessories - System Tools, and then click Character Map. The degree
symbol with Arial font is the second entry past the registration symbol. Click on the
symbol, click the Copy button and paste it into the input box.
On the Mac, open TextEdit. Press Shift + Option +8. The degree symbol appears. Copy and
paste this into the input box.
-
Direction Notation (North/South, East/West)
Use N, S, E, or W to indicate direction. The letter
can be entered either upper or lower case and it can be placed before or after the
coordinate value. For example:
N 37 24 23.3 is the same as 37 24 23.3 N
You can also use the minus sign (-) to indicate a westerly or southerly position. When
you use this kind of notation, do not specify a letter symbol. Additionally, you do not
need to use a plus sign (+) to indicate northerly/easterly directions. So, for example
this is a valid entry:
37 25 19.07, -122 05 08.40
The following is NOT a valid entry:
37 25 19.07 N, -122 05 08.40
-
Entering Latitude, Longitude Pairs
When entering latitudinal or longitudinal pairs, the first coordinate is interpreted as
latitude unless you use a direction letter to clarify (E or W). For example, you can
enter longitude first as:
122 05 08.40 W 37 25 19.07 N
However, you cannot use the minus sign to enter longitude first:
-122 05 08.40 37 25 19.07
You can separate pair entries with a space, a comma, or a slash:
37.7 N 122.2 W
37.7 N,122.2 W
37.7 N/122.2 W
Tip - When entering advanced coordinates, the location for your
placemark will adjust as soon as your cursor exits the input box, but the view will
remain the same. Your placemark will seem to disappear from view. To see the placemark in
the 3D viewer, click the View tab and click the Reset to default view
button. Your 3D viewer will now be positioned over the placemark in its new location.
Setting the View
When you create a new placemark, the view for that placemark (i.e., how it is seen in the
3D viewer) is automatically set to the current view on creation. However, you can change
the view for any placemark and save it so that each visit to the placemark shows the
saved view. This involves specifying a particular orientation around a given place and
then setting the orientation.
For example, after first viewing a particular place, you might subsequently find a
position that you like to view it from, such as at a specific tilt angle and from a
southerly direction. Rather than the default north-south, overhead viewpoint of a
location, you can specify your preferred position as the view for every time you visit.
|
|
Top-down, north up view
|
|
Tilted and rotated view
|
Setting a view for a folder serves a different purpose than for an individual item.
Applying a New View
First, position the 3D viewer at the viewing orientation you desire and then choose one
of the following options:
-
Right-click (CTRL click on the Mac) on the item in the list view or
the 3D view and select Snapshot View from the pop-up menu.
The current view inside the Google Earth client 3D viewer is then set as the view for
the selected placemark or folder. You can examine the actual settings for the view by
editing the placemark or folder and clicking on the View.
-
Edit the placemark or folder - Right-click (CTRL click on the Mac) on
the folder or icon and select Properties from the pop-up menu. Click on the
View tab in the Edit... dialog box. The current values for the view are
displayed. When you are ready to set the view (you can still position the view at this
point), click on the Snapshot current view button.
Alternatively, you can manually enter the settings if you have them. Click the
OK button to see the changes in the 3D viewer.
Note - When you change the values for a view, the 3D viewer changes
only the view for the selected item, not the position of the placemark (or
folder) itself. Conceivably, you could even set the view for a placemark so that the
placemark icon is not visible in the 3D viewer.
Returning to the Default, Top-Down View
Right-click (CTRL click on the Mac) on the folder or icon and select Edit...
from the pop-up menu. Click on the View tab in the Edit... dialog box. Click the
Reset view. The view updates to the default orientation for the selected item.
Writing Descriptions
The description field for places and folder can contain a lengthy amount of text,
sufficient for detailed descriptions. When you click on a placemark icon in the 3D
viewer, the description for that place appears in the information balloon that pops up. A
scroll bar appears when the description is too long to fit in the entire balloon.
In the Places panel, a small amount, or snippet, of the description appears
beneath the folder or item.
Keep in mind the following points about text in the Description field:
-
Valid web URLs are automatically converted to HTML and can be clicked
on from the info balloon to produce the related web page in the web window.
-
Many HTML tags are respected, such as font, style, and table tags. If
you are familiar with HTML, you can be quite creative in how your descriptions are
formatted! All HTML tags should be properly closed.
-
You can include images in your description using the IMG HTML tag to
refer to either:
- Images stored on your computer's hard drive (e.g., )
- Images on the internet (e.g. ).
When you email that placemark to another person, local images are included.
Note - While theoretically the amount of text that you can enter into a
description is unlimited, an extremely lengthy description can negatively impact the
performance of Google Earth.
Changing Labels
When you create or edit a placemark or folder, you can
change the label for that item by typing in your text in the Name field. By
selecting the Style, Color tab in the Edit Placemark dialog box, you
can also change the following features for a label.
-
Color - To set the color for a label, click on the Color
swatch and choose a color using the standard color selector. You can choose preset
colors or define your own in a variety of ways. When you select this color, the label
updates before the Edit dialog box is closed, so you can view your changes and
modify them easily.
-
Size - To change the display size for a label, enter a value in the
Scale field or click on the Scale button and use the slider to adjust
the size of the label to your preference. The maximum scale value for an icon is 4
pixels.
-
Opacity - The opacity setting indicates how transparent the label is
relative to the imagery beneath it. By default, the opacity is 100%, which means that
it completely obscures any imagery beneath it. If you have changed the size and color
of your label, you might want it to be partially transparent so imagery beneath is
visible. To do this, enter a percentage opacity in the Opacity field.
Setting Icons for Places and Folders
When you create or edit a placemark or folder, you can change the icon for that item by
clicking on the icon button to the right of the Name field and choosing a new
icon from the palette.
Note - You cannot set the icon for a folder if that folder contains a
mixture of placemark data such as a combination of placemarks and overlays. To set icons
and their values for folders, you must
enable shared
styles.
Using Custom Icons
For single placemarks and folders of placemarks, you can select a custom image to use as
an icon rather than one of the default set of icons available to all placemarks. When you
set a custom icon for a single placemark, the new icon appears for that placemark only.
You can also set a custom icon for a folder if style sharing is enabled. In that case,
any change to the folder applies to all of the items in the folder.
Note - As with images on web page graphics, custom icons with smaller
file sizes work best.
To choose a custom icon:
- Click the icon in the top right corner of the Edit Placemark/Folder dialog box.
- Choose custom from the icon palette.
- Indicate a valid path or Web URL in the field beneath the Icon File/URL
label or click Browse to specify the file on your computer or network. If you
refer to an image on the web, be sure you have entered the path to the image
itself, not the web page containing the image.
Setting Line Color and Width
When your placemark data consists of lines, such as with saved directions, you can use
the Line properties in the Style tab to modify the display of the line
in the 3D viewer.
-
Color - To set the color for a line, click on the Color
swatch and choose a color using the standard color selector. You can choose preset
colors or define your own in a variety of ways. Your color choice is added to that of
the existing line data in the same way as icon color is modified. In addition, the
alpha channel available in the color picker adjusts the opacity of the line in the same
way as the Opacity setting does.
-
Width - The default setting for line width is 1 pixel. You can adjust
the thickness of the line from 0 to 4 pixels by clicking on the Width button
and using the up and down arrows to adjust the width within the allowed range. You can
enter other values for the line width by typing in a number in the Width
field. Note that DirectX users cannot adjust line width.
-
Opacity - The opacity setting indicates how transparent the line is
relative to the imagery beneath it. By default, the opacity is 100%, which means that
it completely obscures any imagery beneath it. If you have changed the width and color
of your line, you might want it to be partially transparent so imagery beneath is
visible. To do this, enter a percentage opacity in the Opacity field or click
on the Opacity button and use the slider to adjust transparency to your
preference.
Setting Altitude
You can change altitude settings in the Altitude tab of the Edit Placemark/Folder dialog
box (Edit > Properties). Altitude values can be set on a single item, across
all items in a folder using shared styles, or using a mixture of altitude settings for
items in a folder. Unlike other shared elements, modifying one item in a folder does not
disable the shared style feature for other elements such as color and scale. If your
folder contains items with different altitude settings, the parent folder indicates
Mixed Modes as the altitude settings.
Finally, you can use the values set in the Altitude area to extrude geometry.
Altitude Settings
There are three options for altitude:
-
Clamped to ground - By default, all folders and placemarks are set to
this option. Here, because the altitude for the placemark is locked to the ground, no
height value is allowed for altitude. This ensures that the placemark remains fixed to
the earth, regardless of whether terrain is on or off.
-
Relative to ground - When this option is selected, altitude of the
placemark is relative to the actual ground elevation of the view. For example, if you
set 9 meters as the altitude of a placemark in Venice, Italy, the elevation of the
placemark will be 9 meters above the ground because Venice is at sea level. However, if
you set the same placemark above Denver, Colorado, the elevation of the placemark will
be 1616 meters, because the elevation of Denver is 1607 meters. You can see this how
this appears in the 3D viewer by setting elevation, tilting the view, and turning
terrain on and off.
Placemark over the Google campus with relative altitude set to nine meters,
terrain off
|
|
Same placemark, terrain on
|
You can adjust the altitude using the slider or by entering a value in meters in the
Altitude field.
-
Absolute - When this option is selected, altitude of the Placemark is
above sea level. In the example above, if you have terrain on and keep altitude to 9
meters but set the altitude type to Absolute, the icon would disappear from
view because it is actually below the level of the terrain at Denver, Colorado. You can
adjust the altitude using the slider or by entering a value in meters in the
Altitude field.
Drawing Lines With Skirting
Once you set an altitude value for a folder or a placemark, you can check Extend to
ground. This drwas a single line appears from the earth's surface to the placemark.
When a line or a path is drawn with skirting, a geometric shape is drawn from the earth's
surface to the path.
Modifying Folder Settings
Applying description, label, and advanced settings to a folder provides display
characteristics that differ from settings applied to individual placemarks or other
geometry features. These differences are described here. For more information on how to
apply these settings, see the rest of the topics in this section.
-
Folder name and description - The name and description that you
provide when you edit a folder applies only to that folder and not to the items it
contains. Use these fields to identify the folder and describe its contents.
-
Folder view - As with the name and description, the view applies
only to the folder. Setting a view for a folder is useful when you want to
create a viewing angle to encompass all the items contained by the folder. For example,
you might have a folder containing placemarks of your favorite golf clubs in a specific
region, each with a separate viewing angle. You can place them all in a folder and set
a viewing angle for the folder in order to display all of the placemarks from a
consistent viewing angle, if desired. See Setting the View.
-
Shared styles - You can define a single style for a folder and have
the style elements apply to all folder items when you want them to have the same line,
label, and icon appearance. This is accomplished first by enabling the "sharing" state
for the folder, if it is not already available.
By default, when all items in a folder have either the exact same styles (same line,
label, and icon settings) or no styles set, sharing is enabled for the parent
folder. This means that setting universal styles for all folder items is simply a
matter of setting the style for the parent folder.
If the individual items within the folder have different style settings, sharing is
turned off for the parent folder.
You can click the Share Style button to enable style sharing for all items.
Subsequent changes to the settings in this panel over-write
any style modifications you have made to individual items within the folder.
-
Shared altitude settings - As with styles, altitude settings can apply
to all items in the folder once style sharing is enabled (see above). This includes
subfolders. Altitude settings apply to all geometry within the folder. However, if you
set different altitude options for individual items within a folder, the altitude
option for the folder indicates a setting of "mixed modes."
Modifying Settings for a Single Item
You can modify all settings for a single item to affect the display of that item only.
When you change the style and altitude settings for an item in a folder, style sharing is
disabled for that folder. However, styles that have been previously applied via the
shared styles are preserved for other items in the folder.
Note - The recommended process of using a combination of shared styles
with individual placemark modifications is to first apply shared settings to the folder
to establish all desired common elements (e.g., icon scale and line color). At that
point, you can modify individual items without affecting the general style settings for
the other items. However, should you later re-enable shared styles, any individual
modifications are overwritten.
Other topics in this section describe the features you can apply to
individual place items.


This system deals with player power ups.
More...
#include <PlayerSystem.h>
This system deals with player power ups.
Definition at line 12 of file PlayerSystem.h.
◆ PlayerSystem() [1/3]
| app::sys::PlayerSystem::PlayerSystem |
( |
| ) |
|
◆ PlayerSystem() [2/3]
| app::sys::PlayerSystem::PlayerSystem |
( |
PlayerSystem const & |
| ) |
|
|
default |
◆ PlayerSystem() [3/3]
◆ ~PlayerSystem()
| app::sys::PlayerSystem::~PlayerSystem |
( |
| ) |
|
|
default |
◆ createShield()
| void app::sys::PlayerSystem::createShield |
( |
sf::Vector2f |
pos | ) |
|
|
private |
create the shield entity.
- Parameters
-
| pos | position for entity to be created |
Definition at line 90 of file PlayerSystem.cpp.
◆ operator=() [1/2]
◆ operator=() [2/2]
◆ update()
◆ font
| sf::Font app::sys::PlayerSystem::font |
|
private |
◆ shieldTexture
| std::shared_ptr<sf::Texture> app::sys::PlayerSystem::shieldTexture |
|
private |
◆ workersText
| sf::Text app::sys::PlayerSystem::workersText |
|
private |
Text showing workers the player saved.
Definition at line 58 of file PlayerSystem.h.
The documentation for this class was generated from the following files:


OS windows 7
Browser Chrome
script manager tamper monkey
target website symbianize.com
hi,
i just want to ask some help regarding tamper monkey. i just learned that
it can change some elements of a website.
so what i want to happen is a quick help to change the color of hyperlinks
on a website from orange to blue or any color. if you could teach me that
simple step i could do the rest..
i have basic knowledge with html and css, and i want to apply this to
userscript to change the behavior of the website.
Pretty cool buddy! Thank you!
But i dont know how to run the script after create it …
If you have specified the url correctly in the @match directive, then it should run automatically.
OS windows 7
Browser Chrome
script manager tamper monkey
target website symbianize.com
hi,
i just want to ask some help regarding tamper monkey. i just learned that it can change some elements of a website.
so what i want to happen is a quick help to change the color of hyperlinks on a website from orange to blue or any color. if you could teach me that simple step i could do the rest..
i have basic knowledge with html and css, and i want to apply this to userscript to change the behavior of the website.
i would really appreciate your help.
thanks,
aj
Hi,
Thanks for your comments.
You can do what you ask like this:
links in the post / thread it self if possible.. i am still looking for the css for the specific a:link to target..
thanks for help !
Just want to warn you that using the ‘latest’ jQuery instead of specifying a specific version is highly discouraged. You can read more about it here:
http://blog.jquery.com/2014/07/03/dont-use-jquery-latest-js/


--- layout: default title: Home ---
Welcome to my site, this site serves as a place to practice writing, technical and non-technical, and as a laboratory to experiment and learn more about web technologies such as HTML, CSS and javascript.


Noland here provides a meditation upon the tangle of images encountered and generated by the Lascaux caves in Bataille's work. She displaces it out of the realm of Euro-American aesthetics and early twentieth-century anthropology and into contemporary Paleolithic archaeology and the cognitive aspects of image-making. Noland's intervention represents yet another shifted superimposition over these celebrated "palimpsests" of images. Putting aside the vexed issue of meaning, she not only suggests what these images might have been doing in prehistory and in the early twentieth century, but right now as well. Noland offers an insight into the "agency" of these images, both prehistoric, modern and late modern, while additionally commenting on Bataille's own intervention and constitution of these images as an operation—an enactment I would suggest—of the "informe" or "formless." Though Noland is at pains to distance the notion of the "informe" and its associated transgressive qualities, it nonetheless functions here operationally in terms of the movements it engenders, the transgressive being one of many. "[F]ormless is not only an adjective having a given meaning, but a term that serves to bring things down in the world, generally requiring that each thing have its form. . . . In fact, for academic men to be happy, the universe would have to take shape." 1
What Noland has shown is that Bataille quite consciously renounced the requirement that "each thing have its form"—working against Breuil's, Windels's and Luquet's attempts to form and order the images in terms of chronological palimpsests and the chronologies of Western art history in general, as well as any other attempt to penetrate the interiority of these images and read their meanings and disentangle them "for academic men to be happy." Thus Bataille anticipates a "methodological philistinism" familiar in the anthropology of art proposed by Alfred Gell. Noland traces how res such as Breuil moved the paintings from their contexts among ethnographers and historians of religion and into the aesthetics of modernism—plotting the pulsations generated by these images while asserting the significance of their movements as part of their overall effect. This operation is facilitated by placing the embodied observer, Bataille himself, within the caves, such that "Ce qui est sensible à Lascaux, ce qui nous touche, est ce qui bouge." Thus an argument is made for the agency of these images echoing recent attempts in Alfred Gell's Art and Agency and the works of Bruno Latour. 2 Bataille's meditation here is shown by Noland as a brilliant displacement or "embrouillement," further extended by Noland herself—an additional articulation of the movement of these images that has transfixed and baffled prehistorians. Furthermore, the publication of Lascaux by Bataille for a general public, albeit bourgeois, extends the political scope of Bataille's operation of the "informe," "bringing things down in the world" out of the rarefied sphere of academic discourse. The publication of these images for the first time as color photographs displaces their effects, attenuating them horizontally and democratically within the public realm and further amplifying the surfeit of visual information engendered by these confusing images. This is a displacement true to those "performed" by the images themselves—obscuring each previous apperception in every instance they are beheld, whether through the lived and embodied encounter with the site, the encounter within the academy, or in its attenuated form with the general public—and further in every increasing encounter. This is done not by obscuring a meaning that was never there to obscure, but by the productive power of the aggregative effects that the displacement of these images facilitates. Thus as the images "move" as on the sloping surfaces of the cave itself, they also move, shift pace and syncopation through the infinite acts of reading by the general public: erupting forth with every turning of the page in every unpredictable setting. Such an operation suggests the possibility of the fusion of perceptive horizons through the operation of the "informe," "bringing things down" and engaging directly with the effects produced through those individuals apperceiving these images; that is engaging the data constituted by prehistorians as Bataille did by recourse to one's own corporeal, perceptive abilities. This operation is at once "true" in a phenomenological sense of what these images do, while simultaneously it is the undoing of this "truth" as a result of Bataille's operation—it is this torque that provides the explanatory power of Bataille's meditation. Bataille directly references "the beauty that fascinates the visitor" by recourse not to a Euro-American aesthetic sensibility, but to their somatic effects produced through their movement ("in the urge to move, to displace the body rhythmically, to model and expend kinetic energy choreographically") in turn articulating the agency of these images as a Gellian "technology of enchantment" that generates neither a "fixed" nor "open-ended" meaning, nor any meaning at all, but a somatic apperception of movement.
As such Noland's intervention reanimates the pulse or syncopation of this
movement, shifting it from previous religious and modernist moments to
the operation initiated
by Bataille and further articulated by recent Paleolithic scholarship on
cognition, and, I would suggest, recent understandings in the anthropology
of art and of the agentic effects of visual and material culture. Thus
Noland's intervention through Bataille represents a successive marking
over previous ones, but whose analytical import is the totality of
these movements suggested by the overlapping and confusing marks
themselves. This syncopation and pulsation resumes. The "dance" that
these res might suggest is reanimated: the operation visually and
corporeally being as irresistible as that syncopation of music that moves
us—regardless of form or content—to dance. Thus a "truth"
is constituted not about what these images mean or signify but about
what these images do, but whose "truth" in turn, however, is displaced
yet reaffirmed with every subsequent movement.
Victor Buchli is a member of the Department of Anthropology, University College London.
1. Georges Bataille, "Informe," Documents 2 ; trans. in Against Architecture: The Writings of Georges Bataille, ed. Denis Hollier, trans. Betsy Wing (Cambridge, Mass.: MIT Press, 1992), 46.
2.
Alfred Gell, Art and Agency: An Anthropological Theory (New York:
Oxford University Press, 1998); see also Bruno Latour, Pandora's
Hope: Essays on the Reality of Science Studies (Cambridge, Mass.:
Harvard University Press, 1999).


EIGHT TAELS OF GOLD (1990)
"A man is not a man without eight taels of gold."
3 out of ****
Starring Sammo Hung, Sylvia Chang; Directed by Mabel Cheung; Written by Cheung and Alex Law; Cinematography by Bill Wong
EIGHT TAELS OF GOLD begins as a fish out of water story and at some point becomes a love story involving two people whose past choices prevent the fruition of their love. Neither aspect of the movie is entirely successful, but both are good enough. And along the way there is one perfect scene, which is one more than you find in most films.
Slim (played by portly Sammo Hung, better known as a star and director of Hong Kong action movies) is a Chinese immigrant who drives a yellow cab in New York. When the movie opens, we see him shouting obscenities at another taxi driver. He does not seem particularly out of place. In fact, he is about to return to visit his home in rural China for the first time in sixteen years, spending most of his life savings in the process, and it is there that he will become the proverbial fish out of water, as he realizes that you can never go home.
He brings with him some Statue of Liberty cigarette lighters, cheap sunglasses, and lobsters (which have to be large, to prove they're American)--the tokens of his success. He also wears a gold chain and a gold watch, because without eight taels of gold, a man is not a man (my dictionary tells me that taels are a unit of weight used in the Far East, and I assume the phrase is a Chinese proverb). He loses most of this stuff--except the gold--when his van crashes into a river and he has to hitch a ride, so to speak, on a raft along the river which runs past his parents' village. When he arrives unannounced, he almost induces cardiac arrest in his father.
All of this has the makings of a routine comedy, and the movie has its amusing moments, as when the villagers take turns giving Slim gifts during a celebration of his homecoming, and they all give him birds, so by evening's end he is surrounded by turkeys, ducks, geese and other sundry fowl. But EIGHT TAELS is not a comedy--it is a sad, sweet story about the choices people make, and how they are sometimes irreparable.
Director Mabel Cheung (AN AUTUMN'S TALE, THE SOONG SISTERS) sees clearly what it is like to have lived half of your life in one country and half in a country on the other side of the world--what it is like to no longer have a place to call home. Slim does not belong in China, nor does he belong in America, where he can barely speak the language. Seeing water buffalo in the fields and rafts poled down the river and fireworks exploding gloriously in the sky over a small village, we come to know the world Slim left behind, and it seems as if he too is knowing it for the first time, and wishes it felt more like home. The condition of the expatriate is eloquently portrayed; I, being one, was sympathetic.
On his way to his parent's village, Slim hooks up with Jenny (Sylvia Chang), whom he knew when she was a girl nicknamed Odds-and-Ends, which is what he continues to call her, although she is now a mature, professional, attractive woman, to be married in the spring to an American-Chinese man. Slim and Odds-and-Ends fall for each other. That's predictable. The manner in which their (non-)romance is played out is not. The emotions involved are adult and complex, and the film avoids cheap solutions to their dilemma. It's typical, for instance, that the fiancÚ in this sort of plot be a colossal jerk, because it makes it easier to empathize with the unrequited lover. But here the fiancÚ is a decent, ordinary guy, and although Slim would like to feel anger, he cannot. The fiancÚ has done nothing wrong; the situation is the result of bad luck or bad decisions, take your pick.
EIGHT TAELS has its share of flaws (the early sequences in America and on the plane to China are especially weak), but it compensates with insight. When Odds-and-Ends tells Slim that her future husband wants to move to San Francisco, she notes resignedly, "It's all the same. Wherever we go, we'll be in Chinatown," and her straightforward statement expresses much. There is insight, too, in the understanding of the consequences of Slim and Odds-and-Ends' decisions: he to move to America, she to marry a Chinese-American. Both their choices were perhaps born of impatience, perhaps of a sense that the grass is always greener--and it turns out that both choices were wrong. But they cannot undo them; they must live with what they have done. Such is life. The movie is tender toward these people, but it offers no false comforts.
Everything that is right and true about EIGHT TAELS comes together in one great scene, which is the culmination of the love story. Slim and Odds-and-Ends sit in a secluded spot and talk hesitantly, with the muted pop-pop of fireworks exploding in the night behind them, and it seems the conversation will lead to a kiss. The exchange that follows, and what Slim then does, is poignant and perfect: with clarity and understatement, we see two people's lives, their heartbreaks and virtues, summed up in a single moment. Yes, the film is flawed, but moments like that justify most of its inadequacies.
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My name is Ana Gomez and currently I am going to be a senior this upcoming school year. I am a team player and like being a helping hand to those around me. I am hardworking and am will to work through challenges that come my way. I started learning about computers and coding through my teacher. I joined the Nextech Catapult program because I was curious and I was also encouraged to take the opportunity by my Computer science teacher.
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