TITANIC A review by Thomas Glebe
For the first time in a long time, I was literally blown away by a movie. I don't actually see movies in theaters that often, for various reasons, and it's actually been over a year since I saw a film on the big screen. I had heard for months all the hype about this movie, and I'm not much for hype in general, but ALL the hype about this particular film is justified. It is simply put, a stunning cinematic masterpiece.
The last time I had such overwhelmingly positive emotions (and a lot of intellectual ones also) about a film was when I saw "Forrest Gump" for the first time, although the "experience" of seeing "Titanic" went much further. I recall feeling so strongly positive towards only two other films in my life after seeing them initially, and those moments were after seeing "Apocalypse Now" back in 1980 and "Close Encounters" back in 1977. "Titanic" is an instant top-ten for me, and that's saying a lot, since my list of all time favorites numbers somewhere near 1000 films. I had to fight tears several times during this movie, and the end was simply overwhelming. In a weird sort of way, though I had no idea exactly how the film WOULD end, it lived up to my actual hopes of how it SHOULD end. In fact, the last few moments of "Titanic" are probably the most poignant and fervent ones I've ever experienced in ANY film.
I would be shocked that anyone could watch the end, and NOT have an extremely moving personal reaction, unless perhaps their blood was indeed pure Vulcan, and "emotion" was a concept they did not understand. What's so amazing about the end, and other such moments throughout the film, is that for all of its budget (over $200 million) and hype, in many ways, this is a very "personal" film from director James Cameron (Terminator 2, The Abyss, Aliens, etc.), and never do the eye-popping special effects (of which there are plenty) get in the way of the very special "love story" being told. That utterly and unashamedly romantic aspect, despite what some may think of such a blockbuster "disaster" movie, is at the heart of "Titanic," and it is as powerful, convincing, and passionate, as the actual representation of the sinking of the ship, which only begins halfway through the movie itself. One may think that the real pleasures to be had are in seeing some of that (well spent) money up there on screen in the form of such state-of-the-art effects, and that one might feel a bit bored or cheated UNTIL those parts come. But the truth is, the first half of the movie, which has nothing to do with the sinking, is JUST as hypnotic and gripping, as the latter half. In fact, even if the ship had not sank, and Cameron had simply told us the love story of Jack ((Leonardo DiCaprio) and Rose (Kate Winslet), completely uninterrupted by the tragedy which we all know beforehand IS coming, this STILL would've been a great film. In other words, for all the power and spectacle of the film after the ship hits the iceberg (the second half), the first half is no less compelling and involving for the viewer. Add the two together, and what you've basically got is over three hours of absolutely spellbinding entertainment. To see "Titanic" in a way, is not so much like watching a movie, as it is to "experience" the best that cinema can possibly offer. "Suspension of disbelief" kicks easily in some 10 minutes into the film, and for over three hours, one is literally "experiencing" a whole other reality. The length of the movie seems quite short, in this respect. It is THAT good.
I will not attempt to summarize the plot here (ship sails, ship sinks, okay?), to list various technical aspects of the production, nor even dwell on the historical event this fictional film uses as a backdrop for the story it tells. Such information can be found elsewhere. What I would like to do is simply share my own individual feelings and reactions, after having been so astonished by a movie. As it has already won so many awards and plaudits, and has already become the most popular film ever made (at least in terms of money earned), I know that my own reaction is not an isolated one. It has been said that a helluva lot of money went into advertising this movie, but this could've easily been saved. For in all ways, this is a word-of-mouth film if there ever were one. Once you've seen it, once you've been blown away by it, you can't wait to share that reaction with others. THIS is what made "Titanic" so popular, why it has earned so much money and applause. I am certain that millions were/are enthusiastically saying basically the same thing to their friends and family, after seeing the film for the first time. "I've just seen one of the most wonderful films ever, let me tell you about itů"
I went in expecting to be kind of disappointed, but left in a daze. The movie was a real thrill on so many levels. At this length, it was consistently fascinating and moving, never a lapse of interest at any time. The technical qualities are impossible to describe. Cameron takes the viewer ON the ship. Everything is as real and detailed as one could get, and the final hour and a half of the ship's sinking is really just as frightening and real as if you were there.  There are at least a dozen different little points which are totally unexpected, and done so fluidly and beautifully. For instance, during the middle of this extended scene of havoc and confusion near the end when the ship is going down, Cameron throws in this short little ten second snip which shows the ship very tiny all alone on the dark ocean, with the stars shining above, in totally calm waters, and it shoots off this little meaningless flare. For all its glory and mammoth proportions, at that moment, this technological wonder (even by today's standards) of man's creative abilities, is seen as totally impotent and meaningless when compared to nature. Then there's another short scene where the camera does this massive and continuous sweep from a close up of the front of the ship, all the way above and down the length of it, past it, and behind it. How this was done, one can only guess. Computers and money? Still, the overall effect, given the sweeping romantic moment this one single shot deals with, is simply staggering.
There are moments such as these throughout the picture however. When the 101 year old woman (Rose, who tells her story via flashback) is first shown video of the sunken ship's remains by the crew of a salvage ship in present day, her aged, feeble hand reaches out to the television monitor, and she gasps with emotion. The crew of this salvage ship, who are basically greedy and unsympathetic to the plight of the ship's passengers and their real ordeal, do not really understand the emotion Rose feels. They show her a brief computer simulation of how the ship sank, and are all quite casual and flippant about her experiences and memories. At one point, the captain of the ship asks her to tell them her own story, then interrupts her almost immediately. She sternly looks at him, and says something like, "Do you want to hear my story or not?" As if being scolded by an elder, the captain and the rest remain quiet, and Rose begins reminiscing. Cameron does a slow zoom into the very eye of the woman, and soon we are transported back to England, in 1912, at the launching of the ship. Surely, this technique has been used before, but never so powerfully and effectively.
When the ship does finally get under way, the scenes of the interior of the engine room, are equally remarkable. Though nature will eventually have her way with this technological invention, one easily gets the feeling that, at the time, this ship was the height of mankind's industrial age achievement. Massive gears and pistons of iron and steel move and roar on multi-leveled decks, and white-hot boiler rooms filled with sweating, muscular men shoveling coals, give the viewer the clear impression that the notion of this, mankind's most intricate and complicated mechanical accomplishment, was truly "unsinkable." These interior engine scenes are quite powerful, as they immediately establish a sense of the immense nature of the ship with the audience, and at the same time, create an empathetic and identifying camaraderie with the characters and their state of mind throughout the rest of the film. The opulent and lavish sets onboard and the marvelous camera techniques sweeping gloriously and continuously throughout the film, also add to this instant audience identification and sympathy. For at all times, Cameron is totally successful at creating a totally realistic atmosphere. So much so, that when the ship does finally start to flounder, the shock and disbelief which must have bewildered and traumatized those onboard, is equally shared by the viewer. By this time however, there is an added element, the love story between Jack and Rose. We are caught up so totally in that also, that the coming, inevitable catastrophe seems all that more effective. I fully believe this was Cameron's intent all along, in devoting so much of the movie to the romantic allegory. Great care was obviously taken to make this aspect as mesmerizing as possible, so that the audience would feel that they were not just watching a demonstration of the physical disaster itself, but a very personal glimpse into the real lives of real people who lost their lives so unexpectedly. In this sense, for all the praise and acclaim the special effects of "Titanic" has received (all fully deserved), without the extra care and touches Cameron devotes to the story and characters, this film would've easily sunk at the box office more quickly than the ship itself. Throughout, Cameron's techniques seem flawless. It really does seem as if every piece of film, every scene, was carefully shot and edited in as stirring a manner as possible. In addition, James Horner's brilliant music (in many different styles to boot) gives virtually every scene, regardless of the content, extra depth, feeling, and romance.
The movie is fascinating and completely involving from start to finish and even its three hour plus length is something almost unnoticed, unless one has to go to the bathroom half way into it. In this sense, since there is no intermission, I suggest all DO this before entering the theater. Only a few minutes in however, one is easily caught up in the characters, the suspense, the beauty of the cinematography and sets, and the lavish and achingly romantic theme throughout. One can use all the premium adjectives--"extraordinary," "spectacular," "breathtaking," and so forth to discuss the sinking, which is virtually done in real time (another achievement of the film), but mere words can ever come close to explicitly describing the awesome visuals of watching the Titanic take its final plunge. The effects utilized to depict this seem totally real, virtually indistinguishable from the scenes on board in various interior locations. As is typical from beginning to end, Cameron obviously took great care to interweave various shots into an almost seamless whole, imparting upon nearly each shot a balance and semiotic completeness which only adds gloriously to the story, the motivations and emotions of the various characters, and the true meaning of the historical event itself. Though the story of Jack and Rose is undoubtedly almost entirely fictional, Cameron's film is a tribute to the real survivors in a very real way, for by concentrating so much on the characters in addition to the technical aspects, he has beautifully ingrained in the viewer that this tragedy involved more than just this technological behemoth's collapse, it involved real people. By its end, we have come to care for such people as almost real, not just as fictional movie characters.
One of the most intriguing aspects of the movie, which previous films on the subject have seemed to overlook, is the plight of those who found themselves swimming about in the icy Atlantic after the ship finally disappears beneath the surface. Cameron is smart not to simply end the film at the sinking or very shortly afterwards, which I pretty much expected. He shows us clearly and in a devastatingly effective manner, the horrible, albeit short-lived fate of those unfortunates who were not lucky enough to make it into a boat, but found themselves very much alive and suffering in the icy waters for their last minutes of life. After all that we have already seen and experienced, once the ship does sink, one might feel some sort of a letdown coming, but amazingly the film again soars in various little, quite subtle but powerful ways. Other films on the event have often basically ended the film quite abruptly after the sinking, and have paid basically cursory attention to this mini-story within a larger one. Not so at all with this version. For example, and there are just so many, when Rose and Jack "go down with the ship," they suddenly find themselves under the murky water, desperately trying to hold onto each other's hands, which nature itself and the violence of the churning ocean makes impossible. For example, Cameron throws in a short shot of these hundreds of people flailing away at each other and the sea from high above, making them all appear as a huge school of hopeless fish caught in some fishing trawler boat's net. For example, as Rose releases Jack, who has frozen to death, his body slowly sinks into the darkness of the ocean beneath, filmed in a strange way not as if he were sinking, but as if he were "fading." For example, as Rose, half alive and dying from the cold, lays on a piece of driftwood, she gazes up at a crystal clear, starry sky, the Milky Way itself quite evident, and for a moment, we get the feeling that the cold and the horror of her impending death has suddenly become almost trivial, next to the wonder and mysterious universe above her. For example, as one of the surviving life boats comes back to the dying survivors and the masses of already dead bodies, they pass by a still barely alive Rose, who summons up some sort of last ditch strength to whimper "Come back, come back." When this occurs, she is still holding onto a dead Jack, but releases him (based upon her promise to him that she would try to survive), and swims with all of her remaining life-force to find a whistle hanging on the neck of a floating corpse, blowing it with her last breath to summon the life boat. There are so many examples such as these, and the truly amazing thing about the film, is that so many such brilliant, evocative, and magical moments are just too numerous and frequent to mention. They surprisingly and exquisitely appear in almost each shot and scene.
The most astounding thing about the film however, is the power and almost cosmic taste Cameron gives to what amounts to a simple, old-fashioned (and done before), "love story." Imparting a positive, life-affirming attitude on the whole concept of romantic love itself, which is something sorely lacking in so many "modern" movies, the film often takes on an almost surreal tone on passion and desire many times throughout. None of it however, comes off in any way as "preachy" or sugary-sweet and phony. True love and its mysterious veneration for the mundane and ordinary, is treated with reverence, understanding, and subtlety by Cameron in so many small ways. For example, at one point, as the upper class Rose is "instructed" by the lower class Jack on the finer points of "spitting," what is essentially a rather revolting piece of behavior, is given a quirky, fun, and "living for the moment" feel to the budding romance. In this sense, romance itself is seen and presented as an adventure in its own right, which it most certainly can be. Few films today seem to impart such wisdom however. "Titanic" revels in this whole sentiment. It also seems to demand its audience do the same, in scene after scene.
At one point, for instance, upper class Rose sneaks down to a raucous third class party which Jack is at. Free spirited music, laughter, drinking and games abound, and Rose reservedly (at first) watches Jack dancing wildly with a little girl. Sensing that "little adventurous girl" in Rose, Jack takes her hand at one point for the next song and dance, but gently tells the small child "You're still my best girl." This mix of innocence and the blooming of romantic, sensual love, in just this one short scene, is what the entire movie seems full of. Cameron's discerning touch is everywhere when it comes to the romantic and sexual aspects however. For instance, when Jack and Rose first meet, Jack describes his artistic, earthy adventures in Paris drawing the portrait of a prostitute, and the repressed and uptight Rose immediately jumps to the conclusion that Jack's experience was a sexual one. He then describes the prostitute, who had only one leg, and imparts to her that his interest was art, not sex. Later, while drawing a nude Rose, Cameron skillfully conveys the romantic aspect of sexual tension with a beauty and grace I've rarely seen in any other film. Likewise, the innocence of the pair and the consummation of their love is demonstrated by their behavior shortly before and after the act itself, in delicate and playful scenes of the two who have found in each other, the adult-child which each actually is. By showing us the birth of this love affair, and within context of the tragedy which is about to befall it, the film soars time and time again into this almost unworldly area, which is rather hard to describe. It all invokes a reverence for love and sex, and the two seem quite inseparable in a way. As in earlier scenes where Jack and a friend thrill to the adventure they have embarked upon by boarding the magnificent liner, romance/sex in "Titanic" is seen as an "adventure" in its own right, and one not too distant from the innocence and exuberance of inexperienced youth itself.
Jack and Rose's brief love affair is also the allegory and metaphor behind the larger story itself, both real and fictional. For in a sense, the sinking of this "unsinkable" ship, was also the end of a kind of innocence and an age and the beginning of a deeper realization about life, love, and what "it's all about." From beginning to end however, the film seems to shake an angry fist at any negative connotations of the enduring, healing, and magical power of life and love. This despite the tragedy and horrible loss of life (and love). A neat trick, and I can honestly say I've never seen another film even attempt such a thing, let alone pull it off so brilliantly and convincingly. For all the loss of life, for all the horror explicitly shown in so many outstanding ways, "Titanic" is one of the most positive comments on life I've ever seen. Like any great film, its various components and ideas stay with you long after you've left the theater. There is so much real food for thought and contemplation here about so many related themes and ideas, that it is no wonder so many feel compelled to see it again and again. In this movie's case, once is clearly not enough.
The feeling I got mostly from my "experience" of seeing this wonderful film however, is that of a real confirmation that we, as human beings, are somehow "more" than just these bodies, these pieces of matter and chemicals all interacting and that there definitely is "meaning" in our lives, or can be. It seems like something that must be taken and accepted however, more in a spiritual kind of "faith" than reason. This very dualistic concept is mentioned more than a few times in the film itself, and is especially evident in the personality of Jack and the strength and courage which he eventually brings out in Rose. I think the subject matter, this horrible death of so many, was a perfect vehicle in a way, upon which to tell this particular "love" story, which is almost entirely fictional. In sum and substance, it's sort of a more generalist love story, which I can't imagine anyone being left untouched in some way by (unless their heart is made of stone). At its core, "Titanic" is a love of LIFE story, and not necessarily in the way one might think. Sure, when the ship is sinking, Cameron shows us that all aboard desperately want to hang onto life. It's much more than this however. At one point, Rose is being safely lowered in a life boat, her future seemingly assured.  Cameron knows, and we know by watching his film, that life is much more (or should be) than mere "survival." At another point, near the end, the aged Rose (played flawlessly by Gloria Stuart), calmly, casually, and quite assuredly, tosses a diamond necklace worth millions, into the sea. It is meaningless, physical, material. It has nothing to do with her experiences, with her love, and with her life. Strangely enough, for all the money and hype, the film's "heart" is squarely in the right place, and this is the film's ultimate promise and revelation, magnificently realized.
I have a feeling it will be many more years before we see such cinematic gold like this again from the studio system. However, I do hope that if and when Hollywood (as it inevitably must) tries something like this again, it will remember that the real power behind this particular film, has little to do with the effects or the money. For "Titanic" is nothing without the story, and without the real meaning and importance Cameron lovingly devotes, in almost every scene, to using uniquely filmic techniques to tell such a story in the way only the art of cinema still seems capable of doing. "Titanic" is, in the highest sense of the word, not merely great entertainment, but great art. In a strange sort of way, the director of this utter masterpiece has essentially shot himself in the foot. It's almost unimaginable that he, or any other director, could "top" this. It will be quite interesting however, to see if he can. I wish him all the best, for in a very deep sense, with "Titanic," he has unmistakably given the audience a piece of his own heart, openly and unselfishly inviting the viewer to dwell not only in the magic of filmmaking, which he obviously loves with a passion seen in a scarce number of other industry directors, but in the unsinkable human spirit which dwells deep within us all. It is well known, or should be, what a "gamble" this film was for him personally, and this movie could've easily went the way of other such mega-epics like "Heaven's Gate" and "Waterworld." But in so many ways I've hardly even touched upon, Cameron's "gamble" has paid off in spades, not so much monetarily for himself or those involved in the production, but in the sense that film audiences everywhere have been given a treasured gem in this transcendent, immediate classic, one which has already been and will surely in the future, be placed close to people's hearts for years to come, and deservedly so.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Before Change
// Check that the test directories exist
if not os.path.exists(os.path.join(
os.path.dirname(__file__), "baseline_images")):
raise IOError(
"The baseline image directory does not exist. "
"This is most likely because the test data is not installed. "
"You may need to install ggplot from source to get the "
"test data.")
def _assert_same_ggplot_image(gg, name, test_file, tol=17):
Asserts that the ggplot object produces the right image
fig = gg.draw()
return _assert_same_figure_images(fig, name, test_file, tol=tol)
After Change
import warnings
figsize_orig = mpl.rcParams["figure.figsize"]
def setup_package():
mpl.rcParams["figure.figsize"] = "11, 8"


Probing the role of an inflammation resolution sensor in obesity and heart failure
| Source: | University of Alabama at Birmingham |
| Summary: | After heart attack injury, ALX/FPR2 is activated by resolvin D1 in immune cells in the spleen and in immune cells at the heart attack site. This speeds expedited resolution of the heart attack injury. Researchers now have used mice that completely lack ALX/FPR2 to learn more about the pathways this resolution sensor uses to target inflammation. Such knowledge will help in finding treatments to delay the human heart failure that often follows a heart attack. |
After heart attack injury, several fatty-acid-derived bioactive molecules — including one called resolvin D1 — play an essential signaling role to safely clear inflammation and help repair heart muscle. The mechanism of how this resolution occurs is not well-understood.
There is a receptor on the surface of many immune cells called ALX/FRP2, and in models of atherosclerosis, ALX/FPR2 is known to act as a sensor to help resolve inflammation.
In a 2015 study using a mouse model, University of Alabama at Birmingham researcher Ganesh Halade, Ph.D., observed that, after heart attack injury, ALX/FPR2 was highly expressed in immune myeloid cells and was activated by resolvin D1 in immune cells in the spleen and in immune cells at the heart attack site. The result was an expedited resolution of the heart attack injury. Resolvin D1 is one of the omega 3 fatty-acid metabolites known as specialized pro-resolving mediators, or SPMs, that help clear inflammation.
Now, Halade and colleagues at UAB, Boston and France have used mice that completely lack ALX/FPR2 to learn more about the pathways this resolution sensor uses to target inflammation. Such knowledge will help in finding treatments to delay the human heart failure that often follows a heart attack.
Before beginning the mouse studies, Halade and colleagues examined heart muscle tissue from patients with heart failure. They found that ALX/FPR2 was plentiful in these human ischemic hearts, and it was located in the cytoplasm of the myocardium cells. In contrast, in healthy human heart tissue, ALX/FPR2 was limited to the cell membrane. To learn more, they then expanded study of the precise and comprehensive role of the resolution receptor using mice having an ALX/FPR2 gene deletion.
The researchers found that mice lacking ALX/FPR2 showed spontaneous, age-related obesity. With the obesity, the ALX/FPR2-null mice developed heart disease that weakened the heart's ability to pump blood, and they had a shortened lifespan with aging. The aging mice also developed kidney inflammation, as shown by increased inflammation markers like NGAL, TNF-alpha and CCL2, and elevated plasma creatinine levels.
After a heart attack in normal mice, leukocyte immune cells in the spleen produce SPMs. However, in the ALX/FPR2-null mice, the researchers found lower levels of SPMs in the heart and the spleen after heart attack, indicative of non-resolving inflammation. Halade says this suggested impaired cross-talk between the injured heart and splenic leukocytes, a cross-talk that is required for the resolution of inflammation. In addition to the lower levels of SPMs, the ALX/FPR2-null mice showed dysregulation of several immune responsive enzymes — lower levels of LOX enzymes and increased levels of the pro-inflammatory COX-1 and COX-2 enzymes.
Finally, the ALX/FPR2-null mice showed impairment of activated macrophage cells to phagocytose — that is, to "eat" infecting microbes or dead human cells, one of the macrophage's prime functions. After heart attack, the ALX/FPR2-null mice had increased numbers of neutrophils, the first phagocytic responders after heart injury, in both the spleen and the left ventricle of the heart. Also, there were reduced numbers of reparative macrophages in both the spleen and the heart.
Altogether, says Halade, an associate professor in the UAB Department of Medicine Division of Cardiovascular Disease, these findings demonstrate the integrative role of ALX/FPR2 as a primary target to manage cardiometabolic health, inflammation-resolution processes and cardiorenal syndrome in aging.
make a difference: sponsored opportunity
Story Source:
Materials provided by University of Alabama at Birmingham.
Note: Content may be edited for style and length.
Journal Reference:
- Bochra Tourki, Vasundhara Kain, Amanda B. Pullen, Paul C. Norris, Nirav Patel, Pankaj Arora, Xavier Leroy, Charles N. Serhan, Ganesh V. Halade. Lack of Resolution Sensor Drives Age-related Cardiometabolic and Cardiorenal Defects and Impedes Inflammation-Resolution in Heart Failure. Molecular Metabolism, 2019; DOI: 10.1016/j.molmet.2019.10.008
Cite This Page:
| MLA | University of Alabama at Birmingham. "Probing the role of an inflammation resolution sensor in obesity and heart failure." ScienceDaily. ScienceDaily, 20 November 2019. <www.sciencedaily.com/releases/2019/11/191120141839.htm>. |
| APA | University of Alabama at Birmingham. (2019, November 20). Probing the role of an inflammation resolution sensor in obesity and heart failure. ScienceDaily. Retrieved November 21, 2019 from www.sciencedaily.com/releases/2019/11/191120141839.htm |
| Chicago | University of Alabama at Birmingham. "Probing the role of an inflammation resolution sensor in obesity and heart failure." ScienceDaily. www.sciencedaily.com/releases/2019/11/191120141839.htm (accessed November 21, 2019). |


| 1 | 内容标题 | ↑ | -- | 9.5 |
| Some days are dry, some days are leaky Some days come clean, other days are sneaky Some days take less, but most days take more Some slip through your fingers and onto the floor Some days you're quick, but most days you're speedy Some days you use more force than is necessary |
| 2 | 内容标题 | ↑ | -- | 9.5 |
| Some days are dry, some days are leaky Some days come clean, other days are sneaky Some days take less, but most days take more Some slip through your fingers and onto the floor Some days you're quick, but most days you're speedy Some days you use more force than is necessary |
| 3 | 内容标题 | ↑ | -- | 9.5 |
| Some days are dry, some days are leaky Some days come clean, other days are sneaky Some days take less, but most days take more Some slip through your fingers and onto the floor Some days you're quick, but most days you're speedy Some days you use more force than is necessary |
| 4 | 内容标题 | ↑ | -- | 9.5 |
| Some days are dry, some days are leaky Some days come clean, other days are sneaky Some days take less, but most days take more Some slip through your fingers and onto the floor Some days you're quick, but most days you're speedy Some days you use more force than is necessary |
| 5 | 内容标题 | ↑ | -- | 9.5 |
| Some days are dry, some days are leaky Some days come clean, other days are sneaky Some days take less, but most days take more Some slip through your fingers and onto the floor Some days you're quick, but most days you're speedy Some days you use more force than is necessary |
| 6 | 内容标题 | ↑ | -- | 9.5 |
| Some days are dry, some days are leaky Some days come clean, other days are sneaky Some days take less, but most days take more Some slip through your fingers and onto the floor Some days you're quick, but most days you're speedy Some days you use more force than is necessary |
| 7 | 内容标题 | ↑ | -- | 9.5 |
| Some days are dry, some days are leaky Some days come clean, other days are sneaky Some days take less, but most days take more Some slip through your fingers and onto the floor Some days you're quick, but most days you're speedy Some days you use more force than is necessary |
| 8 | 内容标题 | ↑ | -- | 9.5 |
| Some days are dry, some days are leaky Some days come clean, other days are sneaky Some days take less, but most days take more Some slip through your fingers and onto the floor Some days you're quick, but most days you're speedy Some days you use more force than is necessary |
| 9 | 内容标题 | ↑ | -- | 9.5 |
| Some days are dry, some days are leaky Some days come clean, other days are sneaky Some days take less, but most days take more Some slip through your fingers and onto the floor Some days you're quick, but most days you're speedy Some days you use more force than is necessary |
| 10 | 内容标题 | ↑ | -- | 9.5 |
| Some days are dry, some days are leaky Some days come clean, other days are sneaky Some days take less, but most days take more Some slip through your fingers and onto the floor Some days you're quick, but most days you're speedy Some days you use more force than is necessary |


If you’re not from the region, or at least don’t go to school at Ohio University, here are six bands you should know about that are on the rise:
Rent Free
Composed of twins Paul and Weston Nern as well as Michael Wells, Rent Free is a widely known band on OU’s campus. Drawing inspiration from artists such as Green Day, The Beatles and Blink-182, the band has a sound that is reminiscent of 1990s rock. Currently, it is signed to Brick City Records and just released its latest single “Angry Punk Song.” Rent Free is even planning to put out an EP soon, meaning that you should definitely start listening to its music now as it begins to spread out to the masses.
You can learn more about Rent Free here.
In Flow
The garage rock band from Athens is also a big name on campus, playing weekly shows at The Union to avid fans. Its sound definitely gravitates toward the alternative music genre, with impressive vocals that easily remind listeners of the classic rock days. In Flow recently released “Flowers,” an upbeat and guitar-heavy single that will make you want to jump up and down, banging your head to the beat. Its self-titled EP also just dropped, which marks the beginning of In Flow’s lively state as a band.
You can find more information about In Flow here.
This Violet Hour
Ewan Seymour, a freshman at OU, is the frontman of This Violet Hour. The alternative-rock band finds comfort in Athens, as its roots lay here. Playing shows at The Union is how its members spend their pastime, along with recording EPs for eager fans. Opening for other local bands like Velvet Green, the group has gained a slow and steady following. If you’re into bands like The Smashing Pumpkins and Nirvana, This Violet Hour is worth the listen.
You can see more about This Violet Hour here.
Vincent Florist
Laying its foundation in Cincinnati and spreading to Athens, the trio only has two songs so far in its repertoire but will be releasing an album soon. It has been able to open at The Union for bands such as In Flow and A-Go-Go, allowing it to increase its fan base. Ethan Philips, Josiah Slaughter and Dylan Campbell’s musical chemistry is evident in their work. Songs such as "The Garden” and “Your Life” prove Vincent Florist has potential and that it is serious in its craft. If you like 1990s alt-rock, go give it a listen!
You can read more about Vincent Florist here.
Velvet Green
The group of six, including drummer Shea Benezra, guitarists Sam Debatin and Harper Reese, keyboardist Liam McSteen, bassist Mitchell Spring and vocalist Cora Fitch, is well-known in the Athens music scene. Forming in 2018, the band is usually always headlining at The Union, bringing psychedelic pop and funk sounds back into the rock genre. Velvet Green has even been able to expand outside of Athens, performing in Columbus recently at A&R Music Bar. This band is ideal if you’re nostalgic of early 2000s pop-rock.
Learn more about Velvet Green here.
Fullsend
Fullsend mixes blues, funk, rock and reggae together to intersect genres that listeners may not have thought were possible to meld together before. Also signed to Brick City Records, the band has played in Columbus at The Summit Music Hall and Woodlands Tavern. With two live albums under its belt, it’s clear the band values playing for fans live. If you’re interested in experimental music, Fullsend may just be the band for you!
Listen to their music here.


Wireless Display
Created on 12/1/11 by Glyn Hudson
Superseded by the emonGLCD wireless open-hardware graphical display unit.
This display was developed as part of my home monitoring system. The display shows the current power consumption in my house, as well as the outside, living room and hot water cylinder temperature.
The display is a Nuelectronics 3310 LCD shield on top of an Arduino. I used this improved library re-written by Andrew D Lindsay
The energy monitor is based on the mains non-invasive 3.0 energy monitor.
The temperature monitoring is via a one-wire network of three DS18B20 digital temperature sensors.
The wireless transmission is via a low-cost RF link with Trystan's multiple value transmission code.
Here is a copy of the Arduino code: Wireless Display Nokia3310
Future development
- I would be cool to integrate a rechargable battery into the display, so it can be made more mobile.
- I intend to experiment with different displays, the Nokia3310 display is nice, but it's small. Ideally it should be possible to read the current power consumption from across the room. I intend to investigate using 7-seg display coupled with some sort of ambient power consumption indicator. See http://www.alanmeany.net/ambientknowledge.html for inspiration.


xfighter v0.2.1 Xfighter.Order
Summary
Functions
Cancel a list of orders
Cancel an order
Cancel a list of orders
Cancel an order
Get the status of a list of existing orders
Get the status of an existing order
Get the status of a list of existing orders
Get the status of an existing order
Types
t :: %Xfighter.Order{ok: boolean, symbol: String.t, venue: String.t, direction: String.t, originalQty: non_neg_integer, qty: non_neg_integer, price: non_neg_integer, type: String.t, id: non_neg_integer, account: String.t, ts: String.t, fills: [Xfighter.Order.fill], totalFilled: non_neg_integer, open: boolean}
Functions
Specs
cancel([Xfighter.Order.t]) ::
{:ok, [Xfighter.OrderStatus.t]} |
{:error, tuple}
cancel(Xfighter.Order.t) ::
{:ok, Xfighter.OrderStatus.t} |
{:error, tuple}
Cancel a list of orders.
Examples:
iex> order = %Xfighter.Order(:id => 1649, :symbol => "FOOBAR", :venue => "TESTEX")
iex> orders = [order, order]
iex> Xfighter.Order.cancel(orders)
{:ok,
[%Xfighter.OrderStatus{account: "EXB123456", direction: "buy",
fills: [%{price: 6000, qty: 10, ts: "2015-12-18T00:03:40.640740258Z"}],
id: 1649, ok: true, open: false, orderType: "market", originalQty: 10,
price: 0, qty: 0, symbol: "FOOBAR", totalFilled: 10,
ts: "2015-12-18T00:03:40.640738101Z", venue: "TESTEX"},
%Xfighter.OrderStatus{account: "EXB123456", direction: "buy",
fills: [%{price: 6000, qty: 10, ts: "2015-12-18T00:03:40.640740258Z"}],
id: 1649, ok: true, open: false, orderType: "market", originalQty: 10,
price: 0, qty: 0, symbol: "FOOBAR", totalFilled: 10,
ts: "2015-12-18T00:03:40.640738101Z", venue: "TESTEX"}]}
iex> order2 = %Xfighter.Order(:id => 1660, :symbol => "FOOBAR", :venue => "TESTEX")
iex> orders = [order, order2]
iex> Xfighter.Order.cancel(orders)
{:error,
{:request,
"Error 404: order 1660 not found (highest available on this venue is 1650)"}}
Cancel an order.
Examples:
iex> Xfighter.Order.cancel(1649, "FOOBAR", "TESTEX")
{:ok,
%Xfighter.OrderStatus{account: "EXB123456", direction: "buy",
fills: [%{price: 6000, qty: 10, ts: "2015-12-18T00:03:40.640740258Z"}],
id: 1649, ok: true, open: false, orderType: "market", originalQty: 10,
price: 0, qty: 0, symbol: "FOOBAR", totalFilled: 10,
ts: "2015-12-18T00:03:40.640738101Z", venue: "TESTEX"}}
iex> Xfighter.Order.cancel(1660, "FOOBAR", "TESTEX")
{:error,
{:request,
"Error 404: order 1660 not found (highest available on this venue is 1650)"}}
Specs
cancel!([Xfighter.Order.t]) :: [Xfighter.OrderStatus.t]
cancel!(Xfighter.Order.t) :: Xfighter.OrderStatus.t
Cancel a list of orders.
A RequestError
exception is raised if:
- the venue could not be found
- the stock is not traded on the venue
- the order id is invalid
A ConnectionError
exception is raised if a connection attempt to the venue failed.
An UnhandledAPIResponse
exception is raised if an unexpected event occurs.
An InvalidJSON
is raised if the response is not a valid JSON.
Examples:
iex> order = %Xfighter.Order(:id => 1649, :symbol => "FOOBAR", :venue => "TESTEX")
iex> orders = [order, order]
iex> Xfighter.Order.cancel!(orders)
[%Xfighter.OrderStatus{account: "EXB123456", direction: "buy",
fills: [%{price: 6000, qty: 10, ts: "2015-12-18T00:03:40.640740258Z"}],
id: 1649, ok: true, open: false, orderType: "market", originalQty: 10,
price: 0, qty: 0, symbol: "FOOBAR", totalFilled: 10,
ts: "2015-12-18T00:03:40.640738101Z", venue: "TESTEX"},
%Xfighter.OrderStatus{account: "EXB123456", direction: "buy",
fills: [%{price: 6000, qty: 10, ts: "2015-12-18T00:03:40.640740258Z"}],
id: 1649, ok: true, open: false, orderType: "market", originalQty: 10,
price: 0, qty: 0, symbol: "FOOBAR", totalFilled: 10,
ts: "2015-12-18T00:03:40.640738101Z", venue: "TESTEX"}]
iex> order2 = %Xfighter.Order(:id => 1660, :symbol => "FOOBAR", :venue => "TESTEX")
iex> orders = [order, order2]
iex> Xfighter.Order.cancel!(orders)
** (RequestError) Error 404: order 1660 not found (highest available on this venue is 1650)
Specs
cancel!(integer, String.t, String.t) :: Xfighter.OrderStatus.t
Cancel an order.
A RequestError
exception is raised if:
- the venue could not be found
- the stock is not traded on the venue
- the order id is invalid
A ConnectionError
exception is raised if a connection attempt to the venue failed.
An UnhandledAPIResponse
exception is raised if an unexpected event occurs.
An InvalidJSON
is raised if the response is not a valid JSON.
Examples:
iex> Xfighter.Order.cancel!(1649, "FOOBAR", "TESTEX")
%Xfighter.OrderStatus{account: "EXB123456", direction: "buy",
fills: [%{price: 6000, qty: 10, ts: "2015-12-18T00:03:40.640740258Z"}],
id: 1649, ok: true, open: false, orderType: "market", originalQty: 10,
price: 0, qty: 0, symbol: "FOOBAR", totalFilled: 10,
ts: "2015-12-18T00:03:40.640738101Z", venue: "TESTEX"}
iex> Xfighter.Order.cancel!(1660, "FOOBAR", "TESTEX")
** (RequestError) Error 404: order 1660 not found (highest available on this venue is 1650)
Specs
status([Xfighter.Order.t]) ::
{:ok, [Xfighter.OrderStatus.t]} |
{:error, tuple}
status(Xfighter.Order.t) ::
{:ok, Xfighter.OrderStatus.t} |
{:error, tuple}
Get the status of a list of existing orders.
Examples:
iex> order = %Xfighter.Order(:id => 1649, :symbol => "FOOBAR", :venue => "TESTEX")
iex> orders = [order, order]
iex> Xfighter.Order.status(orders)
{:ok,
%Xfighter.OrderStatus{account: "EXB123456", direction: "buy",
fills: [%{price: 6000, qty: 10, ts: "2015-12-18T00:03:40.640740258Z"}],
id: 1649, ok: true, open: false, orderType: "market", originalQty: 10,
price: 0, qty: 0, symbol: "FOOBAR", totalFilled: 10,
ts: "2015-12-18T00:03:40.640738101Z", venue: "TESTEX"}}
iex> order2 = %Xfighter.Order(:id => 1660, :symbol => "FOOBAR", :venue => "TESTEX")
iex> orders = [order, order2]
iex> Xfighter.Order.status(orders)
{:error,
{:request,
"Error 404: order 1660 not found (highest available on this venue is 1650)"}}
Specs
status(integer, String.t, String.t) ::
{:ok, Xfighter.OrderStatus.t} |
{:error, tuple}
Get the status of an existing order.
Examples:
iex> Xfighter.Order.status(1649, "FOOBAR", "TESTEX")
{:ok,
%Xfighter.OrderStatus{account: "EXB123456", direction: "buy",
fills: [%{price: 6000, qty: 10, ts: "2015-12-18T00:03:40.640740258Z"}],
id: 1649, ok: true, open: false, orderType: "market", originalQty: 10,
price: 0, qty: 0, symbol: "FOOBAR", totalFilled: 10,
ts: "2015-12-18T00:03:40.640738101Z", venue: "TESTEX"}}
iex> Xfighter.Order.status(1660, "FOOBAR", "TESTEX")
{:error,
{:request,
"Error 404: order 1660 not found (highest available on this venue is 1650)"}}
Specs
status!([Xfighter.Order.t]) :: [Xfighter.OrderStatus.t]
status!(Xfighter.Order.t) :: Xfighter.OrderStatus.t
Get the status of a list of existing orders.
A RequestError
exception is raised if:
- the venue could not be found
- the stock is not traded on the venue
- the order id is invalid
A ConnectionError
exception is raised if a connection attempt to the venue failed.
An UnhandledAPIResponse
exception is raised if an unexpected event occurs.
An InvalidJSON
is raised if the response is not a valid JSON.
Examples:
iex> order = %Xfighter.Order(:id => 1649, :symbol => "FOOBAR", :venue => "TESTEX")
iex> orders = [order, order]
iex> Xfighter.Order.status!(orders)
[%Xfighter.OrderStatus{account: "EXB123456", direction: "buy",
fills: [%{price: 6000, qty: 10, ts: "2015-12-18T00:03:40.640740258Z"}],
id: 1649, ok: true, open: false, orderType: "market", originalQty: 10,
price: 0, qty: 0, symbol: "FOOBAR", totalFilled: 10,
ts: "2015-12-18T00:03:40.640738101Z", venue: "TESTEX"},
%Xfighter.OrderStatus{account: "EXB123456", direction: "buy",
fills: [%{price: 6000, qty: 10, ts: "2015-12-18T00:03:40.640740258Z"}],
id: 1649, ok: true, open: false, orderType: "market", originalQty: 10,
price: 0, qty: 0, symbol: "FOOBAR", totalFilled: 10,
ts: "2015-12-18T00:03:40.640738101Z", venue: "TESTEX"}]
iex> order2 = %Xfighter.Order(:id => 1660, :symbol => "FOOBAR", :venue => "TESTEX")
iex> orders = [order, order2]
iex> Xfighter.Order.status!(orders)
** (RequestError) Error 404: order 1660 not found (highest available on this venue is 1650)
Specs
status!(integer, String.t, String.t) :: Xfighter.OrderStatus.t
Get the status of an existing order.
A RequestError
exception is raised if:
- the venue could not be found
- the stock is not traded on the venue
- the order id is invalid
A ConnectionError
exception is raised if a connection attempt to the venue failed.
An UnhandledAPIResponse
exception is raised if an unexpected event occurs.
An InvalidJSON
is raised if the response is not a valid JSON.
Examples:
iex> Xfighter.Order.status!(1649, "FOOBAR", "TESTEX")
%Xfighter.OrderStatus{account: "EXB123456", direction: "buy",
fills: [%{price: 6000, qty: 10, ts: "2015-12-18T00:03:40.640740258Z"}],
id: 1649, ok: true, open: false, orderType: "market", originalQty: 10,
price: 0, qty: 0, symbol: "FOOBAR", totalFilled: 10,
ts: "2015-12-18T00:03:40.640738101Z", venue: "TESTEX"}
iex> Xfighter.Order.status!(1660, "FOOBAR", "TESTEX")
** (RequestError) Error 404: order 1660 not found (highest available on this venue is 1650)


--- layout: post esbma_id: 1555 date: 2004-07-11 12:00:00 keywords: cornsharp title: Hazards of Hiring ---
My latest Business of Software column is now available on the MSDN website.


| Up | TOC | Index | |||||
| << 7 Included Tools | < 8.33 Map (Hash Table) | Up: 8 API Reference | 8.35 Scientific Notation Parsing > | 9 Release Notes >> |
8.34 Stack
8.34.1 Constants
8.34.2 Stack types
<IP_ADDRESS> FIFO
include std/stack.e namespace stack public constant FIFO
FIFO: like people standing in line: first item in is first item out
<IP_ADDRESS> FILO
include std/stack.e namespace stack public constant FILO
FILO: like for a stack of plates : first item in is last item out
8.34.3 Types
<IP_ADDRESS> stack
include std/stack.e namespace stack public type stack(object obj_p)
A stack is a sequence of objects with some internal data.
8.34.4 Routines
<IP_ADDRESS> new
include std/stack.e namespace stack public function new(integer typ = FILO)
creates a new stack.
Parameters:
- stack_type : an integer, defining the semantics of the stack. The default is FILO.
Returns:
An empty stack, note that the variable storing the stack must not be an integer. The resources allocated for the stack will be automatically cleaned up if the reference count of the returned value drops to zero, or if passed in a call to delete.
Comments:
There are two sorts of stacks, designated by the types FIFO and FILO:
- A FIFO stack is one where the first item to be pushed is popped first. People standing in queue form a FIFO stack.
- A FILO stack is one where the item pushed last is popped first. A column of coins is of the FILO kind.
See Also:
<IP_ADDRESS> is_empty
include std/stack.e namespace stack public function is_empty(stack sk)
determines whether a stack is empty.
Parameters:
- sk : the stack being queried.
Returns:
An integer, 1 if the stack is empty, else 0.
See Also:
<IP_ADDRESS> size
include std/stack.e namespace stack public function size(stack sk)
returns how many elements a stack has.
Parameters:
- sk : the stack being queried.
Returns:
An integer, the number of elements in sk.
<IP_ADDRESS> at
include std/stack.e namespace stack public function at(stack sk, integer idx = 1)
fetches a value from the stack without removing it from the stack.
Parameters:
- sk : the stack being queried
- idx : an integer, the place to inspect. The default is 1 (top item).
Returns:
An object, the idx-th item of the stack.
Errors:
If the supplied value of idx does not correspond to an existing element, an error occurs.
Comments:
- For FIFO stacks (queues), the top item is the oldest item in the stack.
- For FILO stacks, the top item is the newest item in the stack.
idx can be less than 1, in which case it refers relative to the end item. Thus, 0 stands for the end element.
Example 1:
stack sk = new(FILO) push(sk, 5) push(sk, "abc") push(sk, 2.3) at(sk, 0) --> 5 at(sk, -1) --> "abc" at(sk, 1) --> 2.3 at(sk, 2) --> "abc"
Example 2:
stack sk = new(FIFO) push(sk, 5) push(sk, "abc") push(sk, 2.3) at(sk, 0) --> 2.3 at(sk, -1) --> "abc" at(sk, 1) --> 5 at(sk, 2) --> "abc"
See Also:
<IP_ADDRESS> push
include std/stack.e namespace stack public procedure push(stack sk, object value)
adds something to a stack.
Parameters:
- sk : the stack to augment
- value : an object, the value to push.
Comments:
value appears at the end of FIFO stacks and the top of FILO stacks. The size of the stack increases by one.
Example 1:
stack sk = new(FIFO) push(sk,5) push(sk,"abc") push(sk, 2.3) top(sk) --> 5 last(sk) --> 2.3
Example 2:
stack sk = new(FILO) push(sk,5) push(sk,"abc") push(sk, 2.3) top(sk) --> 2.3 last(sk) --> 5
See Also:
<IP_ADDRESS> top
include std/stack.e namespace stack public function top(stack sk)
retrieve the top element on a stack.
Parameters:
- sk : the stack to inspect.
Returns:
An object, the top element on a stack.
Comments:
This call is equivalent to at(sk,1).
Example 1:
stack sk = new(FILO) push(sk, 5) push(sk, "abc") push(sk, 2.3) top(sk) --> 2.3
Example 2:
stack sk = new(FIFO) push(sk, 5) push(sk, "abc") push(sk, 2.3) top(sk) --> 5
See Also:
<IP_ADDRESS> last
include std/stack.e namespace stack public function last(stack sk)
retrieves the end element on a stack.
Parameters:
- sk : the stack to inspect.
Returns:
An object, the end element on a stack.
Comments:
This call is equivalent to at(sk,0).
Example 1:
stack sk = new(FILO) push(sk,5) push(sk,"abc") push(sk, 2.3) last(sk) --> 5
Example 2:
stack sk = new(FIFO) push(sk,5) push(sk,"abc") push(sk, 2.3) last(sk) --> 2.3
See Also:
<IP_ADDRESS> pop
include std/stack.e namespace stack public function pop(stack sk, integer idx = 1)
removes an object from a stack.
Parameters:
- sk : the stack to pop
- idx : integer. The n-th item to pick from the stack. The default is 1.
Returns:
An item, from the stack, which is also removed from the stack.
Errors:
- If the stack is empty, an error occurs.
- If the idx is greater than the number of items in the stack, an error occurs.
Comments:
- For FIFO stacks (queues), the top item is the oldest item in the stack.
- For FILO stacks, the top item is the newest item in the stack.
When idx is omitted the 'top' of the stack is removed and returned. When idx is supplied, it represents the n-th item from the top to be removed and returned. Thus an idx of 2 returns the 2nd item from the top, a value of 3 returns the 3rd item from the top, and so on.
Example 1:
stack sk = new(FIFO) push(sk, 1) push(sk, 2) push(sk, 3) ? size(sk) -- 3 ? pop(sk) -- 1 ? size(sk) -- 2 ? pop(sk) -- 2 ? size(sk) -- 1 ? pop(sk) -- 3 ? size(sk) -- 0 ? pop(sk) -- *error*
Example 2:
stack sk = new(FILO) push(sk, 1) push(sk, 2) push(sk, 3) ? size(sk) -- 3 ? pop(sk) -- 3 ? size(sk) -- 2 ? pop(sk) -- 2 ? size(sk) -- 1 ? pop(sk) -- 1 ? size(sk) -- 0 ? pop(sk) -- *error*
Example 3:
stack sk = new(FILO) push(sk, 1) push(sk, 2) push(sk, 3) push(sk, 4) -- stack contains {1,2,3,4} (oldest to newest) ? size(sk) -- 4 ? pop(sk, 2) -- Pluck out the 2nd newest item .. 3 ? size(sk) -- 3 -- stack now contains {1,2,4}
Example 4:
stack sk = new(FIFO) push(sk, 1) push(sk, 2) push(sk, 3) push(sk, 4) -- stack contains {1,2,3,4} (oldest to newest) ? size(sk) -- 4 ? pop(sk, 2) -- Pluck out the 2nd oldest item .. 2 ? size(sk) -- 3 -- stack now contains {1,3,4}
See Also:
<IP_ADDRESS> peek_top
include std/stack.e namespace stack public function peek_top(stack sk, integer idx = 1)
gets an object, relative to the top, from a stack.
Parameters:
- sk : the stack to get from.
- idx : integer. The n-th item to get from the stack. The default is 1.
Returns:
An item, from the stack, which is not removed from the stack.
Errors:
- If the stack is empty, an error occurs.
- If the idx is greater than the number of items in the stack, an error occurs.
Comments:
This is identical to pop except that it does not remove the item.
- For FIFO stacks (queues), the top item is the oldest item in the stack.
- For FILO stacks, the top item is the newest item in the stack.
When idx is omitted the 'top' of the stack is returned. When idx is supplied, it represents the n-th item from the top to be returned. Thus an idx of 2 returns the 2nd item from the top, a value of 3 returns the 3rd item from the top, and so on.
Example 1:
stack sk = new(FIFO) push(sk, 1) push(sk, 2) push(sk, 3) ? peek_top(sk) -- 1 ? peek_top(sk,2) -- 2 ? peek_top(sk,3) -- 3 ? peek_top(sk,4) -- *error* ? peek_top(sk, size(sk)) -- 3 (end item)
Example 2:
stack sk = new(FILO) push(sk, 1) push(sk, 2) push(sk, 3) ? peek_top(sk) -- 3 ? peek_top(sk,2) -- 2 ? peek_top(sk,3) -- 1 ? peek_top(sk,4) -- *error* ? peek_top(sk, size(sk)) -- 1 (end item)
See Also:
pop, top, is_empty, size, peek_end
<IP_ADDRESS> peek_end
include std/stack.e namespace stack public function peek_end(stack sk, integer idx = 1)
gets an object, relative to the end, from a stack.
Parameters:
- sk : the stack to get from.
- idx : integer. The n-th item from the end to get from the stack. The default is 1.
Returns:
An item, from the stack, which is not removed from the stack.
Errors:
- If the stack is empty, an error occurs.
- If the idx is greater than the number of items in the stack, an error occurs.
Comments:
- For FIFO stacks (queues), the end item is the newest item in the stack.
- For FILO stacks, the end item is the oldest item in the stack.
When idx is omitted the 'end' of the stack is returned. When idx is supplied, it represents the n-th item from the end to be returned. Thus an idx of 2 returns the 2nd item from the end, a value of 3 returns the 3rd item from the end, and so on.
Example 1:
stack sk = new(FIFO) push(sk, 1) push(sk, 2) push(sk, 3) ? peek_end(sk) -- 3 ? peek_end(sk,2) -- 2 ? peek_end(sk,3) -- 1 ? peek_end(sk,4) -- *error* ? peek_end(sk, size(sk)) -- 3 (top item)
Example 2:
stack sk = new(FILO) push(sk, 1) push(sk, 2) push(sk, 3) ? peek_end(sk) -- 1 ? peek_end(sk,2) -- 2 ? peek_end(sk,3) -- 3 ? peek_end(sk,4) -- *error* ? peek_end(sk, size(sk)) -- 3 (top item)
See Also:
pop, top, is_empty, size, peek_top
<IP_ADDRESS> swap
include std/stack.e namespace stack public procedure swap(stack sk)
swaps the top two elements of a stack.
Parameters:
- sk : the stack to swap.
Returns:
A copy, of the original stack, with the top two elements swapped.
Comments:
- For FIFO stacks (queues), the top item is the oldest item in the stack.
- For FILO stacks, the top item is the newest item in the stack.
Errors:
If the stack has less than two elements, an error occurs.
Example 1:
stack sk = new(FILO) push(sk, 5) push(sk, "abc") push(sk, 2.3) push(sk, "") ? peek_top(sk, 1) --> "" ? peek_top(sk, 2) --> 2.3 swap(sk) ? peek_top(sk, 1) --> 2.3 ? peek_top(sk, 2) --> ""
Example 2:
stack sk = new(FIFO) push(sk, 5) push(sk, "abc") push(sk, 2.3) push(sk, "") peek_top(sk, 1) --> 5 peek_top(sk, 2) --> "abc" swap(sk) peek_top(sk, 1) --> "abc" peek_top(sk, 2) --> 5
<IP_ADDRESS> dup
include std/stack.e namespace stack public procedure dup(stack sk)
repeats the top element of a stack.
Parameters:
- sk : the stack.
Comments:
- For FIFO stacks (queues), the top item is the oldest item in the stack.
- For FILO stacks, the top item is the newest item in the stack.
Side Effect:
The value of top is pushed onto the stack, thus the stack size grows by one.
Errors:
If the stack has no elements, an error occurs.
Example 1:
stack sk = new(FILO) push(sk,5) push(sk,"abc") push(sk, "") dup(sk) peek_top(sk,1) --> "" peek_top(sk,2) --> "abc" size(sk) --> 3 dup(sk) peek_top(sk,1) --> "" peek_top(sk,2) --> "" peek_top(sk,3) --> "abc" size(sk) --> 4
Example 1:
stack sk = new(FIFO) push(sk, 5) push(sk, "abc") push(sk, "") dup(sk) peek_top(sk, 1) --> 5 peek_top(sk, 2) --> "abc" size(sk) --> 3 dup(sk) peek_top(sk, 1) --> 5 peek_top(sk, 2) --> 5 peek_top(sk, 3) --> "abc" size(sk) --> 4
<IP_ADDRESS> set
include std/stack.e namespace stack public procedure set(stack sk, object val, integer idx = 1)
updates a value on the stack.
Parameters:
- sk : the stack being queried
- val : an object, the value to place on the stack
- idx : an integer, the place to inspect. The default is 1 (the top item)
Errors:
If the supplied value of idx does not correspond to an existing element, an error occurs.
Comments:
- For FIFO stacks (queues), the top item is the oldest item in the stack.
- For FILO stacks, the top item is the newest item in the stack.
idx can be less than one, in which case it refers to an element relative to the end of the stack. Thus 0 stands for the end element.
See Also:
<IP_ADDRESS> clear
include std/stack.e namespace stack public procedure clear(stack sk)
wipes out a stack.
Parameters:
- sk : the stack to clear.
Side Effect:
The stack contents is emptied.
See Also:


Mono(MakeCert) Mono(MakeCert) NAME MakeCert - Create X.509 certificates for test purposes SYNOPSIS makecert [options] certificate DESCRIPTION Create an X.509 certificate using the provided informations. This is use‐ ful for testing Authenticode signatures, SSL and S/MIME technologies. PARAMETERS -# num Specify the certificate serial number. -n dn Specify the subject Distinguished Name (DN). -in dn Specify the issuer Distinguished Name (DN). -r Create a self-signed, also called root, certificate. -iv pvkfile Specify the private key file (.PVK) for the issuer. The private key in the specified file will be used to sign the new certifi‐ cate. -ic certfile Extract the issuer's name from the specified certificate file - i.e. the subject name of the specified certificate becomes the issuer name of the new certificate. -in name Use the issuer's name from the specified parameter. -ik container Specify the key container name to be used for the issuer. -iky [signature | exchange | #] Specify the key number to be used in the provider (when used with -ik). -ip provider Specify the cryptographic provider to be used for the issuer. -ir [localmachine | currentuser] Specify the provider will search the user or the machine keys con‐ tainers for the issuer. -iy number Specify the provider type to be used for the issuer. -sv pkvfile Specify the private key file (.PVK) for the subject. The public part of the key will be inserted into the created certificate. If non-existant the specified file will be created with a new key pair (default to 1024 bits RSA key pair). -sk container Specify the key container name to be used for the subject. -sky [signature | exchange | #] Specify the key number to be used in the provider (when used with -sk). -sp provider Specify the cryptographic provider to be used for the subject. -sr [localmachine | currentuser] Specify the provider will search the user or the machine keys con‐ tainers for the subject. -sy number Specify the provider type to be used for the issuer. -a hash Select hash algorithm. Only MD5 and SHA1 algorithms are supported. -b date The date since when the certificate is valid (notBefore). -e date The date until when the certificate is valid (notAfter). -m number Specify the certificate validity period in months. This is added to the notBefore validity date which can be set with -b or will default to the current date/time. -cy [authority|end] Basic constraints. Select Authority or End-Entity certificate. Only Authority certificates can be used to sign other certificates (-ic). End-Entity can be used by clients (e.g. Authenticode, S/MIME) or servers (e.g. SSL). -h number Add a path length restriction to the certificate chain. This is only applicable for certificates that have BasicConstraint set to Authority (-cy authority). This is used to limit the chain of cer‐ tificates than can be issued under this authority. -eku oid[,oid] Add some extended key usage OID to the certificate. -p12 pkcs12file password Create a new PKCS#12 file containing both the certificates (the subject and possibly the issuer's) and the private key. The PKCS#12 file is protected with the specified password. This option is mono exclusive. -? Help (display this help message) -! Extended help (for advanced options) EXAMPLES To create a SSL test (i.e. non trusted) certificate is easy once your know your host's name. The following command will create a test certifi‐ cate for an SSL server: $ hostname pollux $ makecert -r -eku <IP_ADDRESS>.<IP_ADDRESS>.1 -n "CN=pollux" -sv pollux.pvk pollux.cer Success In particular in the above example, the parameters used to build this test certificate were: -r Create a self-signed certificate (i.e. without an hierarchy). -eku <IP_ADDRESS>.<IP_ADDRESS>.1 Optional (as sadly most client don't require it). This indicates that your certificate is intended for server-side authentication. -n Common Name (CN) = Host name. This is verified the SSL client and must match the connected host (or else you'll get a warning or error or *gasp* nothing). -sv private.key The private key file. The key (1024 bits RSA key pair) will be automatically generated if the specified file isn't present. pollux.cer The SSL certificate to be created for your host. KNOWN RESTRICTIONS Compared to the Windows version some options aren't supported (-$, -d, -l, -nscp, -is, -sc, -ss). Also PVK files with passwords aren't sup‐ ported. AUTHOR Written by Sebastien Pouliot COPYRIGHT Copyright (C) 2003 Motus Technologies. Copyright (C) 2004-2005 Novell. Released under BSD license. MAILING LISTS Visit http://lists.ximian.com/mailman/listinfo/mono-devel-list for details. WEB SITE Visit http://www.mono-project.com for details SEE ALSO signcode(1) Mono(MakeCert)


Day 01 : Arrival - Delhi On arrival meet our executive and transfer to hotel. After an overnight flight, recover from jet lag by cooling off in a swimming pool , and recharging your energy. Those energetic enough to absorb the sights and sounds of Delhi, can take a dekko around town, as Delhi has a lot to offer. Overnight in hotel.
Day 02 : Delhi - Haridwar - Rishikesh (Train and Drive) Morning transfer to the station to board the Shatabdi Express to Haridwar, one of the seven holy cities of Hinduism. The train journey takes about 51/2 hours. Legend has it that Vishnu's footprint was found on the bank of the holy river Ganges, giving it it's sanctity. Situated at the base of the Shivalik Hills, Haridwar is where the River Ganga (Ganges) passes through the last mountains and begins its 2,000 km journey across the plains of India, finally terminating at the the Bay of Bengal.
Day 03: Drive via Srinagar to Gholtir (2,116 ft/ 645 metres) and trek to Kothki Sam (2083 ft/ 635 metres) (2 hours' drive time, 1 hour trekking). About an hour's drive from Srinagar takes one to Gulabrai, just before Rudraprayag. This is the place where Jim Corbett made his famous 'Shot in the dark' and killed the Man-Eating Leopard of Rudraprayag. Here there is a commemorative plaque on the exact spot below the tree where Corbett established the Machan and killed the notorious leopard reputed to have killed upwards of 125 people before Jim Corbett's single shot put paid to its reign of terror. Corbett stayed on his tree platform (Machan) until it was light- for fear that he had only wounded the animal that locals believed was an 'evil spirit'. Nearby is the 'Pundit's House' where you may meet Totaram- the grandson of the pundit, who was Corbett's friend. He will show you a photo of his grandfather and Corbett, and a copy of Corbett's book describing the hunt.
Day 04 : Kothki Sam - Ishala (4593 ft/ 1400 metres/ 6 hours Trek) At Kodadkhal there is a red stone memorial to local 'Freedom Fighters' in a walled enclosure. After Kodadkhal the path climbs steadily through a Fir forest to reach a ridge from where one can see down into the next valley. Going along the ridge one finally gets to see Ishala. High mountain tops rise beyond and you can see the 'pass' with a village on the west. One has to stop at Ishala for the night. Overnight in tents.
Day 05 : Ishala - Aagar (6555 ft/ 1998 metres/ 5 hours Trek) Initially the climb is stiff for about an hour to reach the 'pass'. The trail passes through forests with an abundance in birdlife. From the crest of the ridge there are views of giant peaks to the north, Chaukhamba (23,418 ft/ 7,138 metres), just peeping over the ridge in front . One now approaches the village of Kandi (5,508 ft/ 1,679 metres).The next village, Jagtoli (5,310ft/1,771metres) is clearly seen on the next ridge and it looks within the reach of an easy trek. We contour around past terraced fields to come up to this village astride the ridge of the mountain.
Day 06 : Aagar - Gimtoli (6391 ft / 1948 metres) and continue trek to Forest Camp (5249 ft/ 1600 metres) It is a 5 hour trek to Aagar Pass (6,624 ft/ 2,019 metres) from where there are magestic views of Kedarnath (22,769 ft/ 6,940 metres), Kedar Dome and Chaukhamba. Looking down into the valley is the village of Gimtoli (6,503 ft/ 1,982 metres) and below that a school ground. At Gimtoli there is a motorable road to Kanak Chauri (7,109 ft/ 2,167 metres), a small village by the road. From the village the walk up to Kartik Swami Temple (8,163 ft/ 2,488 metres) takes about an hour. This is a pleasant walk through wooded hillsides to the top of the ridge. One passes several houses occupied by Sadhus (holy men). The Temple itself was destroyed on 25 April, 1999 by an earthquake with its epicentre some 60 kms from here. This Temple has now been re-built.
Day 07 : Trek from Forest Camp to Sodi (2677 ft/ 816 metres) and drive to Rudraprayag The trail descends downhill passing through scenic countryside and villages of Mangu and Bathwari. Next up is Deodar village.The road to Kedarnath with the Mandakani River flowing beside it can be seen from here. The vehicle ride from Sodi terminates at Rudraprayag ,the night halt. Overnight in tents.
Day 08 : Drive from Rudraprayag to Gangotri ( 10170 ft/ 3100 metres ) The drive takes one to Gangotri from Rudraprayag. One gets to see many Sadhus and other holy men with a significant number of foreigners. Legend has it that Gangotri's spectacular waterfall marks the spot where the Goddess Ganga descended from heaven in ancient times. Here Lord Shiva absorbed celestial torrent into his locks and the Ganges split into four sacred rivers - Bhagirathi, Yamanu, Mandakini and Alaknanda. Overnight in guest house at Gangotri
Day 09 : Trek from Gangotri to Chirbasa (11549 ft/ 3606 metres/ 4 hours) On reaching Chirbasa one establishes camp for the night, and to acclimatize to the extreme altitudes in the following days and get superb views of Manda peak (20,853 ft/ 6511 metres), Hanuman Tibba (17,186 ft/ 5366 metres), Bhrigu Parbat (19,217 ft/ 6000 metres), Bhagirathi I, II and III (21,958 ft/ 6856 metres, 20,857 ft/ 6512 metres, and 20,671 ft/ 6454 metres respectively). Overnight in tents.
Day 10 : Trek from Chirbasa to Gaumaukh (12769 ft/ 3892 metres/ 4 hours) It is a two hour trek to Bhojvasa (12,145 ft/ 3792 metres) which has an Ashram, a Tourist guest house and a Police outpost. Though barren and desolate at first sight, this is a haven for wildlife and exotic flora. It is not rare to spot large herds of Himalayan Ibex, and if lucky, one might even get to catch a fleeting glimpse of the elusive snow leopard! The view of the towering peak of Shivling (20,956 ft/ 6543 metres) gives one ample opportunities to take prize winning pictures of the majestic mountain! The trail from Bhojbasa to Gaumukh is a continuous yet fairly gradual ascent. The name Gaumukh is derived from the words "Gau" - cow, and "Mukh" – mouth, is so revered that Hindus believe that a dip in the freezing waters absolves them of past sins, and helps them attain “Moksha” Overnight in tents.
Day 11 : Trek from Gaumauk to Tapovan (14294 ft/ 4463 metres/ 3 hours) Inspite a short walk, the trek is very tiring and strenuous owing to the effect of high altitude, and the lack of oxygen. The trek begins over rocky boulders and becomes noticeably steep gradually over the rocky terrain. The glacier is covered by moraine so you do not need any technical equipment, although a stout trekking pole is definitelyuseful. The final push takes one into Tapovan (Loose translation : Forest of Meditation) meadows and view the spectacular sight all around is indeed a sight for sore eyes. The ccompany of giants, such as - Shivling, Meru, Manda, the Bhagirathi and its two sister peaks makes one feel humbled and full awe. The grassy slopes provide an ideal base for pitching tents. The surroundings are beautiful beyond description! Overnight in tents.
Day 12 : Trek from Tapovan to Chirbasa (6 hours) Rise early to see the spectacular sight of the sunrise on the surrounding 6000 metre peaks. Shivling is undoubtedly the star of the show, commanding instant attention as it soars dramatically into the sky, dwarfing its neighbours. Retrace your steps to Chirvasa. A steep descent down to the glacier is followed by a rocky traverse of the glacier for a second time and a gradual descent to Chirbvsa marks the end of the day. Overnight in tents.
Day 13 : Trek from Chirbasa to Gangotri and drive to Uttarkashi A 3 hour downhill trek from Chirvasa gets one to Gangotri , and the 6 hour drive ends at Uttarkashi. This little town is situated on a wide river valley on the banks of the river Bhagirathi at an altitude of about 4,964 ft/ 1,550 metres. The temples and Ghats have names almost identical to those in Varanasi, the historical holy city in the Indian plains. The most important temple here dedicated to Shiva is known as Vishwanath Mandir. Here stands a magnificent Trishul (trident) one meter in circumference and made of copper
Day 14 : Drive from Uttarkashi to Rishikesh The drive to Rishikesh takes about 6 hours. There will be plenty of time in the late afternoon and evening to visit the bazaars and ashrams of Rishikesh. Rishikesh is essentially a pilgrim town and the bulk of the pilgrims are simple villagers whose intense devotion give both Haridwar and Rishikesh a special atmosphere, and a taste of the “Authentic India” that continues to flow in modern times. At sundown each evening there is a spectacular "Aarti" ceremony at the side of the river, at the bathing Ghat where tiny floating butter lamps are lit and let adrift in the waters of the Ganga as an offering to the gods, and a prayer to for departed ancestors. Overnight stay at hotel.
Day 15 : Drive from Rishikesh to Delhi After breakfast drive to delhi by car / train. On arrival at Delhi transfer to hotel. overnight stay at hotel.
Tour & Service End.


Toggle navigation
🅱Sync
Log in
Log out
Open Subs Panel
×
Add your subs here
Send link
This website was made by someone called
Sava
and is still in beta, Hi


This class adds a public method that returns a reference to the frame buffer so that a GLUT-based application can render it to the window. More...
#include <GlNddiDisplay.h>
Public Member Functions | |
| GlNddiDisplay (std::vector< int > frameVolumeDimensionalSizes, int inputVectorSize) | |
| GlNddiDisplay (std::vector< int > frameVolumeDimensionalSizes, int displayWidth, int displayHeight, int inputVectorSize) | |
| double | UpdateInputVector (std::vector< int > input) |
| Used to update the input vector with the extra values in the input vector. | |
| double | PutCoefficientMatrix (std::vector< std::vector< int > > coefficientMatrix, std::vector< int > location) |
| Used to copy the specified coefficientMatrix into the specified location of the coefficient plane. | |
| double | FillCoefficientMatrix (std::vector< std::vector< int > > coefficientMatrix, std::vector< int > start, std::vector< int > end) |
| Used to copy the specified coefficientMatrix into a range of locations in the coefficient plane. | |
| nddi::Pixel * | GetFrameBuffer () |
| Used by GLUT-based to get access to the frame buffer in order to display it. |
This class adds a public method that returns a reference to the frame buffer so that a GLUT-based application can render it to the window.
Definition at line 14 of file GlNddiDisplay.h.
| double GlNddiDisplay::FillCoefficientMatrix | ( | std::vector< std::vector< int > > | coefficientMatrix, | |
| std::vector< int > | start, | |||
| std::vector< int > | end | |||
| ) | [virtual] |
Used to copy the specified coefficientMatrix into a range of locations in the coefficient plane.
| coefficientMatrix | This two-dimensional vector holds the matrix to be copied. It's size must match the configuration of the coefficient matrices exactly. Can use COFFICIENT_UNCHANGED for one or more elements. | |
| start | This two-element vector specifies the location in the coefficient plane where the first coefficient matrix will be copied to. | |
| end | This two-element vector specifies the location in the coefficient plane where the last coefficient matrix will be copied to. |
Reimplemented from nddi::BaseNddiDisplay.
Definition at line 107 of file GlNddiDisplay.cpp.
| nddi::Pixel * GlNddiDisplay::GetFrameBuffer | ( | ) |
Used by GLUT-based to get access to the frame buffer in order to display it.
In the future, this might be modified to return a GL texture.
Definition at line 399 of file GlNddiDisplay.cpp.
| double GlNddiDisplay::PutCoefficientMatrix | ( | std::vector< std::vector< int > > | coefficientMatrix, | |
| std::vector< int > | location | |||
| ) | [virtual] |
Used to copy the specified coefficientMatrix into the specified location of the coefficient plane.
| coefficientMatrix | This two-dimensional vector holds the matrix to be copied. It's size must match the configuration of the coefficient matrices exactly. Can use COFFICIENT_UNCHANGED for one or more elements. | |
| location | This two-element vector specifies the location in the coefficient plane where the provided coefficient matrix will be copied. |
Reimplemented from nddi::BaseNddiDisplay.
Definition at line 95 of file GlNddiDisplay.cpp.
| double GlNddiDisplay::UpdateInputVector | ( | std::vector< int > | input | ) | [virtual] |
Used to update the input vector with the extra values in the input vector.
| input | The values to use for the update. The length of this vector must equal the size of the actual input vector minus two, since the first two values in the input vector cannot be changed. |
Reimplemented from nddi::BaseNddiDisplay.
Definition at line 71 of file GlNddiDisplay.cpp.


Brown bag by John Olmstead @trizic .com
“The early bird gets the worm, but the second mouse gets the cheese.”― Willie Nelson
The load event is fired when a resource and its dependent resources have finished loading.
function doLoad() {
alert( "The load event is executing" );
}
if ( window.addEventListener ) {
window.addEventListener( "load", doLoad, false );
} else if ( window.attachEvent ) {
window.attachEvent( "onload", doLoad );
} else if ( window.onLoad ) {
window.onload = doLoad;
}
webplatform.org/wiki/dom/Element/load
Fired when the initial HTML document has been completely loaded and parsed, without waiting for other resources.
In most cases, the script can be run as soon as the DOM hierarchy has been fully constructed
webplatform.org/wiki/dom/Event/DOMContentLoadedExecute a function when the DOM is fully loaded..
$( document ).ready( handler )
$().ready( handler ) (this is not recommended)
$( handler )
jquery.com/ready/
Is DOMContentLoaded event EXACTLY the same as jQuery's .ready() function?
var _gaq = _gaq || [];
_gaq.push(['_setAccount', 'UA-XXXXX-X']);
Put at bottom of page: analytics, page pings.
Use a queue/buffer while rendering on the server or inline.


{% extends "base.html" %} {% block page_title %}{{ _('Accessibility statement') }} - {{ super() }}{% endblock %} {% block inner_content %}
{% trans %}This accessibility statement applies to https://checklegalaid.service.gov.uk/.{% endtrans %} {% trans %}The Legal Aid Agency (LAA) is responsible for the Civil Legal Advice (CLA) service.{% endtrans %}
{% trans %}We want as many people as possible to be able to use this service. For example, that means you should be able to:{% endtrans %}
{% trans email =<EMAIL_ADDRESS><EMAIL_ADDRESS>**{'class': 'email'}) %}If you need information on this service in a different format, you can contact us at {{ email }}.{% endtrans %}
{% trans email =<EMAIL_ADDRESS><EMAIL_ADDRESS>**{'class': 'email'}) %}We’re always looking to improve the accessibility of this service. If you find any problems that aren’t listed on this page or think we’re not meeting the requirements of the accessibility regulations, contact {{email}} giving details of the issue and any assistive technology you are using.{% endtrans %}
{% trans %}The Equality and Human Rights Commission (EHRC) is responsible for enforcing the accessibility regulations. If you’re not happy with how we respond to your complaint, contact the Equality Advisory and Support Service (EASS).{% endtrans %}
{% trans %}The Legal Aid Agency is committed to making its service accessible, in accordance with the Public Sector Bodies (Websites and Mobile Applications) (№ 2) Accessibility Regulations 2018.{% endtrans %}
{% trans wcaglink=Element.link_same_window('https://www.w3.org/TR/WCAG21/', _('Web Content Accessibility Guidelines version 2.1'), is_external=True) %}This service is partially compliant with the {{ wcaglink }} AA standard, due to the non-compliance issues listed below.{% endtrans %}
{% trans %}The content listed below is non-accessible for the following reasons.{% endtrans %}
{% trans %}Users are not able to turn off, adjust or extend the time in which inactivity will result in a loss of data. This fails WCAG 2.1 2.2.1 A (Timing Adjustable).{% endtrans %}
{% trans %}We are experiencing intermittent problems with the time-out feature where users are unexpectedly timed-out without the time-out warning appearing. We are currently investigating the source of this issue.{% endtrans %}
{% trans %}The ‘Hide this page’ button does not accurately describe the link destination. This fails WCAG 2.1 1.3.1 A (Info and relationships) and 2.4.6 AA (Headings and Labels).{% endtrans %}
{% trans %}We understand that ‘Hide this page’ does not describe the link destination. We have purposely designed the feature to protect vulnerable users and provide a quick exit from the service rather than take users to a specific destination.{% endtrans %}
{% trans %}Not applicable{% endtrans %}
{% trans %}Not applicable{% endtrans %}
{% trans %}We are working to fix the time-out issue listed in this statement.{% endtrans %}
{% trans %}We will monitor the accessibility of this service on an ongoing basis and fix any accessibility issues reported to us.{% endtrans %}
{% trans day = "17", month = _('September'), year = "2020" %}This statement was prepared on {{ day }} {{ month }} {{ year }}.{% endtrans %} {% trans day = "30", month = _('November'), year = "2020" %}It was last reviewed on {{ day }} {{ month }} {{ year }}.{% endtrans %}
{% trans day1 = "22", month1 = _('July'), year1 = "2020", day2 = "23", month2 = _('October'), year2 = "2020" %}This service was tested on {{ day1 }} {{ month1 }} {{ year1 }} and issues were re-tested on {{ day2 }} {{ month2 }} {{ year2 }}.{% endtrans %} {% trans %}The tests were carried out by the Digital Accessibility Centre (DAC).{% endtrans %}
{% trans %}The DAC tested core journeys, key functionality and interactive features that reflect the content that the average user may encounter.{% endtrans %}
{% trans %}The DAC tested the service available at https://checklegalaid.service.gov.uk/.{% endtrans %}
{% include "checker/time-out-warning.html" %} {% endblock %}


The histogram given in Figure 2.6.6, represents the frequency distribution of the “annual household income”. In this histogram, the data has been used to create five bins of size $5,000 along the x-axis, and the frequency of responses has been recorded along the y-axis. The important thing to know about a histogram is that the taller the bars are, the greater the frequency they represent. That means, in the given histogram, since the height of the first bin is the highest, 20 to be exact, you can conclude that 20 respondents said that their annual household income is between $30,000 and $35,000.
in-context


Water tanks at Orang Asli village damaged again by wild elephants
GUA MUSANG, Nov 15 — More than 300 Orang Asli from the Batek tribe in Kampung Aring 5 here once again had their piped water supply damaged by a herd of wild elephants today.
The pipe that connects to a water catchment up a nearby hill was repaired through a gotong-royong just two days ago after it had been damaged by the wild elephants earlier this month.
Kampung Aring 5 Community Management Council (MPKKOA) chairman Asrul Hussin, said the villagers only aware of the incident at about 6.30 am when the water supply was suddenly cut off.
He said upon checking the water catchment area, the villagers found that the water tanks and the pipes had been trampled by the elephants.
Kampung Aring 5 headman Raina Anjang said the wild elephants had been frequently entering the village and apart from causing damage to the water tanks and pipes, the animals had also destroyed their crops.
He said the villagers would look at the water tanks and pipes first to determine whether they could be repaired and used again. — Bernama


Goals available for this plugin:
| Goal | Description |
|---|---|
| citrus:create-excel-doc | Creates test documentation in MS Excel listing all available tests with meta information (name, author, description, date, ...) |
| citrus:create-html-doc | Creates test overview documentation in HTML. The web page contains a list of all available tests with meta information. |
| citrus:create-suite-from-wsdl | Creates new Citrus test suite from a given WSDL with XML test file and executable Java class. Mojo offers an interactive mode, where the plugin prompts for parameters during execution. In non-interactive mode the parameters are given as command line arguments. |
| citrus:create-test | Creates new Citrus test cases with empty XML test file and executable Java class. Mojo offers an interactive mode, where the plugin prompts for parameters during execution. In non-interactive mode the parameters are given as command line arguments. |
| citrus:create-test-from-xsd | Creates new Citrus test cases with empty XML test file and executable Java class. Mojo offers an interactive mode, where the plugin prompts for parameters during execution. In non-interactive mode the parameters are given as command line arguments. |
| citrus:help |
Display help information on citrus-maven-plugin. Call mvn citrus:help -Ddetail=true -Dgoal=<goal-name>to display parameter details. |
The following specifies the minimum requirements to run this Maven plugin:
| Maven | 2.0 |
| JDK | 1.5 |
| Memory | No minimum requirement. |
| Disk Space | No minimum requirement. |
You should specify the version in your project's plugin configuration:
<project> ... <build> <!-- To define the plugin version in your parent POM --> <pluginManagement> <plugins> <plugin> <groupId>com.consol.citrus.mvn</groupId> <artifactId>citrus-maven-plugin</artifactId> <version>1.2</version> </plugin> ... </plugins> </pluginManagement> <!-- To use the plugin goals in your POM or parent POM --> <plugins> <plugin> <groupId>com.consol.citrus.mvn</groupId> <artifactId>citrus-maven-plugin</artifactId> <version>1.2</version> </plugin> ... </plugins> </build> ... </project>
For more information, see "Guide to Configuring Plug-ins"


If you haven't used Breeze before, please create a new wallet. Create
Users who have previously used Breeze, can choose to recover their wallet. Recover


Opauth Usage
As said in the introduction of the Opauth extension to Auth, the wrapper class configures itself
automatically for either Simpleauth or Ormauth, based on the driver configured in the auth.php configuration
file.
If you don't use these drivers, but you have enrolled your own driver set in the Auth framework, you can still use the Opauth
integration class, but you'll have to create the 'providers' table defined in the migration 008 manually.
You can name it anything you like. Also, your custom Login driver should provide the methods Auth::check(),
Auth::instance()->get_user_id(), Auth::instance()->force_login() and
Auth::create_user(), with prototypes compatible with Simpleauth. Without these, it will not work.
Runtime configuration
Most of the Opauth configuration is done through the opauth.php configuration file, and all of the options in that
file can be altered at runtime by passing a new value to the forge() using the $config array. In addition to this, there are some
configuration values you can only pass at runtime, they are not supported in the configuration file:
| table |
string |
auto detected |
Allows you to define the name of the table that contains the provider information manually. When using Simpleauth or
Ormauth, the name of this table is auto-detected. If you use a custom Auth driver set, and have created the table
manually, you will have to pass this table name on every forge call.
|
| path |
string |
auto detected |
URI path to the controller method that does your OAuth authentication. By default, it is set to whatever the current
path is when you forge an Opauth object.
|
| callback_url |
string |
auto detected |
URI path to the controller method that handles the OAuth provider callback. By default, it is set to call the 'action_callback'
or 'get_callback' method in the same controller that path points to.
|
| provider |
string |
auto detected |
If you have manually set the path, auto detection of the OAuth provider called doesn't work, and you will
have to define the provider name manually. This is case sensitive, and MUST match the case used by the strategy provider
and the key used to define the strategy in the opauth.php configuration file.
|
When using Simpleauth or Ormauth, and you have followed the example code for integrating Opauth in your application,
none of these runtime configuration values are needed, the auto-detected values will do the trick just fine.
Class methods
forge($config = array(), $autorun = true)
The forge method creates an instance of the Auth_Opauth class, which provides OAuth integration to your application.
| Static |
Yes |
| Parameters |
| Param |
Default |
Description |
| $config |
array()
|
Any runtime configuration values you want to pass to the instance |
| $autorun |
true
|
If true, it will automatically initiate a connection to the OAuth provider. If false, it will just instantiate the object. |
|
| Returns |
Auth_Opauth |
| Example |
/**
* load the wrapper, and have it process the provider defined in the URI
*
* this redirects to the providers authentication page, so it should be the
* last line in your method
*/
\Auth_Opauth::forge();
// forge an object with a runtime config
\Auth_Opauth::forge(array(
'default_group' => $custom_group_id,
));
// forge an object with a runtime config, to process a callback
$opauth = \Auth_Opauth::forge(array(
'default_group' => $custom_group_id,
), false);
|
If you want to process a callback without passing a custom config, you don't have to pass an empty array, you
can use \Auth_Opauth::forge(false); as a shortcut.
login_or_register()
The login_or_register method processes the provider callback. If the returned provider UID is known, the user will
be logged in using the local account it is associated to. If not, the user is asked to either register for a new account, or login with
and existing account and associate the UID with that account.
| Static |
No |
| Parameters |
None
|
| Returns |
string, status code. The following status codes are supported:
- 'linked': the UID is succesfully linked to the current logged-in user
- 'logged_in': the user is succesfully logged-in using the OAuth account
- 'registered': the UID is linked to a newly registered account, and the user is logged-in
- 'register': the UID is not known, and no logged-in user exists, have the user register first
|
| Example |
// get the Opauth object
$opauth = \Auth_Opauth::forge(false);
// attempt to auto-login using the provider callback data
$status = $opauth->login_or_register();
|
link_provider(array $data)
The link_provider method allows you to manually link a local user account to an OAuth login. You need this if you want
to provide the option for new users to register for a local account first, and then create the link between that account and the provider
UID manually.
| Static |
No |
| Parameters |
| Param |
Default |
Description |
| $data |
array()
|
Array with all data required to create the link (see example) |
|
| Returns |
mixed. The insert id of the created provider link record, or false if the creation failed. |
| Example |
// get the opauth object
$opauth = \Auth_Opauth::forge(false);
// do we have OAuth strategy data?
if ($authentication = \Session::get('auth-strategy.authentication', array()))
{
// get the current Auth userid
list(, $userid) = \Auth::instance()->get_user_id();
// and link it to the provider
$insert_id = $opauth->link_provider(array(
'parent_id' => $userid,
'provider' => $authentication['provider'],
'uid' => $authentication['uid'],
'access_token' => $authentication['access_token'],
'secret' => $authentication['secret'],
'refresh_token' => $authentication['refresh_token'],
'expires' => $authentication['expires'],
'created_at' => time(),
));
}
else
{
// no data available, looks like we didn't receive an OAuth callback earlier?
}
|
get($key, $default = null)
The get method is a getter that allows direct access to the raw provider callback response structure as
created by the Opauth strategy.
| Static |
No |
| Parameters |
| Param |
Default |
Description |
| $key |
required |
Name of the key to the desired value in the response array |
| $default |
null
|
Default value to return if the requested key does not exist |
|
| Returns |
mixed. The value referenced by the given key, or whatever was defined as $default. |
| Example |
// get the opauth object
$opauth = \Auth_Opauth::forge(false);
// get some auth data
$provider = $opauth->get('auth.provider');
$uid = $opauth->get('auth.uid');
$token = $opauth->get('credentials.token', null);
$secret = $opauth->get('credentials.secret', null);
$expires = $opauth->get('credentials.expires', null);
$refresh_token = $opauth->get('credentials.refresh_token', null);
|
You can only use this in the method in which you are processing the callback. In all other cases, there
is no OAuth response available. If there was a valid response processed earlier, its basic data is stored in the session
using the session key "auth-strategy".


Before Change
// Limit spectrogram to freq range of interest
ps = ps[:, np.logical_and(freqs >= f_lim[0], freqs < f_lim[1])]
freqs = freqs[np.logical_and(freqs >= f_lim[0], freqs < f_lim[1])]
// Prepare bins for power - min and max of bins determined by power cutoff percentage
power_min, power_max = np.percentile(np.ndarray.flatten(ps), cutpct)
power_bins = np.linspace(power_min, power_max, nbins + 1)
After Change
// Get log10 power & limit to frequency range of interest before binning
// ToDo / Note: currently includes a hack to maintain test shape
ps = np.transpose(np.log10(spg))
freqs, ps = trim_spectrum(freqs, ps, [f_lim[0], f_lim[1] - 1/fs])
// Prepare bins for power - min and max of bins determined by power cutoff percentage
power_min, power_max = np.percentile(np.ndarray.flatten(ps), cutpct)
power_bins = np.linspace(power_min, power_max, nbins + 1)


{% extends "base.html" %} {% block content %}
Our work is focused around "Data Packages", lightweight "packaging" format for data that provide a basis for convenient publication, installation and management of datasets.
They aim to deliver functionality similar to "packaging" in software and "containerization" in shipping: a simple wrapper and basic structure for transportation of data that significantly reduces the friction in data sharing and integration, supports automation and does this without imposing major changes on the underlying data being packaged.
The specification is now fairly mature and has a growing set of tooling around it. There is a particular focus on tabular data but any kind of data can be "packaged". Because of its lightweight and simple nature it is easy to adopt both for data publishers, data users and data tool makers.
A small set of lightweight 'data package' standards and patterns providing a base structure on which tooling and integration can build.
Making it easy to use and publish data packages from your existing apps and workflows whether that's Excel, R, or Hadoop!
Engaging and evangelizing around the concepts, standards and tooling and building a community of users and contributors.
This friction stops people: stops them creating, sharing, and collaborating with data.
It stops the cycle of find, improve, share that would make for a dynamic and productive data ecosystem.
We need to make an open data ecosystem that, like open-source for software, is useful and attractive to those without any principled interest, the vast majority who simply want the best tool for the job, the easiest route to their goal.
We have a sharp focus on one part of the data chain, one specific feature – packaging – and a few specific types of data (e.g. tabular).
We build build for the web using formats that are web "native" such as JSON, work naturally with HTTP such as plain text CSVs (which stream).
Distributed rather than centralized: we design for a distributed ecosystem with no centralized, single point of failure or dependence.
Anyone should be able to freely and openly use and reuse what we build. Our community is open to everyone.
Integrate as easily as possible with existing tools both by building integrations and designing for direct use – for example we like CSV because everyone has a tool that can access CSV.
Add the minimum, do the least required, keep it simple. For example, use the most basic formats, require only the most essential metadata, data should have nothing extraneous.