Notebook for
Very Good Lives: The Fringe Benefits of Failure and the Importance of Imagination
J. K. Rowling
Citation (APA): Rowling, J. K. (2018). Very Good Lives: The Fringe Benefits of Failure and the Importance of Imagination [Kindle Android version]. Retrieved from Amazon.com
Beginning
Highlight (yellow) - Location 67
I would like to make it clear, in parenthesis, that I do not blame my parents for their point of view. There is an expiration date on blaming your parents for steering you in the wrong direction; the moment you are old enough to take the wheel, responsibility lies with you.
Highlight (yellow) - Location 74
They had been poor themselves, and I have since been poor, and I quite agree with them that it is not an ennobling experience. Poverty entails fear, and stress, and sometimes depression; it means a thousand petty humil- iations and hardships. Climb- ing out of poverty by your own efforts—that is something on which to pride yourself, but poverty itself is roman- ticized only by fools.
Highlight (yellow) - Location 95
the fact that you are graduating from Harvard suggests that you are not very well acquainted with failure. You might be driven by a fear of failure quite as much as a desire for success. Indeed, your conception of failure might not be too far removed from the average person’s idea of success, so high have you already flown.
Highlight (yellow) - Location 101
Ultimately we all have to decide for ourselves what constitutes failure, but the world is quite eager to give you a set of criteria, if you let it.
 That period of my life was a dark one, and I had no idea that there was going to be what the press has since represented as a kind of fairy-tale resolution. I had no idea then how far the tunnel extended, and for a long time any light at the end of it was a hope rather than a reality.
Highlight (yellow) - Location 113
So why do I talk about the benefits of failure? Simply because failure meant a stripping away of the inessential. I stopped pretending to myself that I was anything other than what I was and began to direct all my energy into finishing the only work that mattered to me. Had I really succeeded at any- thing else, I might never have found the determination to succeed in the one arena where I believed I truly belonged. I was set free, because my greatest fear had been realized, and I was still alive, and I still had a daughter whom I adored, and I had an old typewriter and a big idea. And so rock bottom became the solid foun- dation on which I rebuilt my life.
Highlight (yellow) - Location 123
It is impossible to live without failing at something, unless you live so cautiously that you might as well not have lived at all—in which case, you fail by default. Failure gave me an inner security that I had never attained by passing examinations. Failure taught me things about myself that I could have learned no other way. I discovered that I had a strong will and more discipline than I had suspected; I also found out that I had friends whose value was truly above the price of rubies.
Highlight (yellow) - Location 129
The knowledge that you have emerged wiser and stronger from setbacks means that you are, ever after, secure in your ability to survive. You will never truly know yourself, or the strength of your relationships, until both have been tested by adversity. Such knowledge is a true gift, for all that it is painfully won, and it has been worth more than any qualifi- cation I’ve ever earned.
Highlight (yellow) - Location 144
Imagination is not only the uniquely human capacity to envision that which is not, and therefore the fount of all invention and innovation; in its arguably most transformative and revelatory capa- city, it is the power that enables us to empathize with humans whose experiences we have never shared.
Highlight (yellow) - Location 204
Unlike any other creature on this planet, human beings can learn and understand without having experienced. They can think them- selves into other people’s places. Of course, this is a power, like my brand of fictional magic, that is morally neutral. One might use such an ability to manipulate or control just as much as to understand or sympathize.
Highlight (yellow) - Location 263
“As is a tale, so is life: not how long it is, but how good it is, is what matters.”


Unable to delete SiteGroup
{% endblock title %}
{% block content %}
Unable to delete SiteGroup
The SiteGroup {{ sg.name }} can not be deleted because {{ sitecount }} sites are still members of this group.
Please move the sites to another sitegroup before deleting it.


--- layout: post title: Diana of London Pure Addiction Lipstick swatches (Complete Series) tags: - Diana of London status: publish type: post published: true meta: _edit_last: '2' _aioseop_title: Diana of London Pure Addiction Lipstick swatches _aioseop_keywords: Diana of London Pure Addiction Lipstick swatches,Picasso Red, Pink Dawn, Casablanca, Wild Cherry, Crushed Almond,Caribbean Glow, Pink Harmony, Caramel Fudge, Persian Garden, French Bordeaux,Sweet Cinnamon, Warm Passion, Lavender Dream, Pink Blush,Angel Kiss, Misty Burgundy, Soft Caramel, Plum Paradise, Chocolate Brownie _yoast_wpseo_linkdex: '0' _thumbnail_id: '4335' _yoast_wpseo_focuskw: '' _yoast_wpseo_title: '' _yoast_wpseo_metadesc: '' _yoast_wpseo_metakeywords: '' _yoast_wpseo_meta-robots-noindex: '0' _yoast_wpseo_meta-robots-nofollow: '0' _yoast_wpseo_meta-robots-adv: none _yoast_wpseo_sitemap-include: ! '-' _yoast_wpseo_sitemap-prio: ! '-' _yoast_wpseo_canonical: '' _yoast_wpseo_redirect: '' ---
Hi gals, hope you are having a rocking weekend.... here is an another complete series of swatches from Diana of London Pure Addiction Lipstick. And as we say here ENJOY MADI
Left to Right: Picasso Red, Pink Dawn, Casablanca, Wild Cherry, Crushed Almond
Left to Right: Caribbean Glow, Pink Harmony, Caramel Fudge, Persian Garden, French Bordeaux
Left to Right: Sweet Cinnamon, Warm Passion, Lavender Dream, Pink Blush
Left to Right: Angel Kiss, Misty Burgundy, Soft Caramel, Plum Paradise, Chocolate Brownie
My favorites are Pink Harmony, Pink blush and Soft Caramel...
Which shade did you like the most ?


Hi, my name is Stephen Long and I am a Software Engineer based outside of Atlanta, GA.
Aside from developing I also enjoy:
- Illustrating
- Trying new hobbies
- Watching movies
About
My background is in illustration and design. I graduated from the Art Institute of Atlanta with a BFA in Illustration and Design in 2017. After four years working in various areas I decided I wanted to take a step in a different direction and start working on a Software Engineering certificate with Thinkful. My goal is to bring my eye for design into the web development work that I do in order to bring my clients the best looking and most functional websites and applications possible.
If you are looking for a software engineer or web developer, or are just looking to connect, please feel free to contact me!
I would love to hear from you and connect via any of the following:


Dan Hinojosa's Presentations.

Java 8 Training


| AppEvents |
|
A union of the different events that the AppService can generate |
|
| AuditEvents |
|
A composite type describing a set of AuditEvents |
|
| Dataset |
|
| FieldValue |
|
A union type for the values that can be found in a column of a Sinequa index |
|
| HttpRequestInitializer |
|
| Options |
|
| JsonValue |
|
A union type of the possible JSON types |
|
| ListAggregation |
|
Describes the fields specific to a list aggregation |
|
| ListAggregationItem |
|
Describes any fields particular to a list aggregation item |
|
| TreeAggregation |
|
Describes the fields specific to a tree aggregation |
|
| QueryPrecision |
|
Defines different precision operators that can be automatically added to a
|
|
| SpellingCorrectionMode |
|
Defines modes for the spelling correction of search terms and did-you-mean functionality. Corrections are based on edit and phonetic distance and exist among the searched documents
|
|
| StrictUnion |
|
| StrictUnionHelper |
|
| UnionKeys |
|


Class crash.fileUtils
The file manipulation object.
This object is constructed via the crash.file function.
Defined in: <C:\Frizione-BleedingEdge\Frizione/frizione-projects/crash/src/core\file.js>.
| Constructor Attributes | Constructor Name and Description |
|---|---|
| Field Attributes | Field Name and Description |
|---|---|
|
The underlying Java File object.
|
| Method Attributes | Method Name and Description |
|---|---|
|
canRead()
Checks if the file can be read.
|
|
|
canWrite()
Checks if the file can be written.
|
|
|
copy(dest)
Makes a copy of the file.
|
|
|
exists()
Tests whether the file or directory exists.
|
|
|
Checks if the file is a directory.
|
|
|
isFile()
Checks if the file is a normal file.
|
|
|
Returns the time when the file was last modified.
|
|
|
list(receiver)
Lists the files and directories.
|
|
|
mkdirs()
Creates the directory structure, including any necessary but nonexistent parent directories.
|
|
|
move(dest)
Moves a file to a new destination.
|
|
|
name()
Gets the name part of this file.
|
|
|
parent()
Returns the pathname string of this file's parent.
|
|
|
path()
Gets the path part of this file.
|
|
|
Reads the entire binary contents of the file.
|
|
|
readText(charset)
Reads the entire text contents of the file.
|
|
|
remove()
Removes (deletes) the file or directory.
|
|
|
renameTo(name)
Renames the file.
|
|
|
size()
Gets the file size in bytes.
|
|
|
writeText(text, charset)
Writes the entire text contents to file.
|
Field Detail
{java.io.File}
file
The underlying Java File object.
Method Detail
{Boolean}
canRead()
Checks if the file can be read.
- Returns:
- {Boolean} true if the file exists and can be read, otherwise false.
{Boolean}
canWrite()
Checks if the file can be written.
- Returns:
- {Boolean} true if the file exists and can be written, otherwise false.
{Boolean}
copy(dest)
Makes a copy of the file.
- Parameters:
- {String} dest
- the file to be copied to.
- Returns:
- {Boolean} true if the copy succeeded, otherwise false.
{Boolean}
exists()
Tests whether the file or directory exists.
- Returns:
- {Boolean} true if the file or directory exists, otherwise false.
{Boolean}
isDirectory()
Checks if the file is a directory.
- Returns:
- {Boolean} true if exists and is a directory, otherwise false.
{Boolean}
isFile()
Checks if the file is a normal file.
- Returns:
- {Boolean} true if exists and is a normal file, otherwise false.
{Number}
lastModified()
Returns the time when the file was last modified.
- Returns:
- {Number} the last modified time in milliseconds since 00:00:00 GMT, January 1, 1970.
list(receiver)
Lists the files and directories.
The
receiver
function is called for each file and directory (excluding the current '.' and
parent '..' directories). It is called with three parameters:
root
{java.io.File} the parent file object.file
{java.io.File} the child file or directory.dir
{Boolean}true
if a directory, otherwisefalse
.
- Parameters:
- {Function} receiver
- the function that receives each file or directory.
{Boolean}
mkdirs()
Creates the directory structure, including any necessary but nonexistent parent directories.
- Returns:
- {Boolean} true if the directory was created, otherwise false.
{Boolean}
move(dest)
Moves a file to a new destination.
- Parameters:
- {String} dest
- the destination file name.
- Returns:
- {Boolean} true in case file could be moved, otherwise false.
{String}
name()
Gets the name part of this file.
- Returns:
- {String} the name path part.
{String}
parent()
Returns the pathname string of this file's parent.
- Returns:
- {String} the parent, or null if no parent present.
{String}
path()
Gets the path part of this file.
- Returns:
- {String} the file path part.
{java.lang.byte[]}
readBinary()
Reads the entire binary contents of the file.
- Returns:
- {java.lang.byte[]} the contents as a byte array, or null if the file doesn't exist.
{String}
readText(charset)
Reads the entire text contents of the file.
- Parameters:
- {String} charset
- the {optional} character set to use, defaults to "UTF-8".
- Returns:
- {String} the contents of the text file, or null if the file doesn't exist.
{Boolean}
remove()
Removes (deletes) the file or directory.
- Returns:
- {Boolean} true if the file was removed, otherwise false.
{Boolean}
renameTo(name)
Renames the file.
- Parameters:
- {String} name
- the name of the new file.
- Returns:
- {Boolean} true if the renaming succeeded, otherwise false.
{Number}
size()
Gets the file size in bytes.
- Returns:
- {Number} the size in bytes, or 0L if the file does not exist.
writeText(text, charset)
Writes the entire text contents to file.
- Parameters:
- {String} text
- the text contents.
- {String} charset
- the (optional) character set to use, defaults to "UTF-8".


|
42h
v0.1
Simplified shell
|
struct token * pop(struct lexer *lexer)
Return and consume the next token from the input stream.
Definition: lexer.c:451
struct lexer * new_lexer(char *str)
Allocate and init a new lexer.
Definition: lexer.c:432
void append(struct lexer *lexer, struct token *token)
Append a new token to the token_list of the lexer.
Definition: lexer.c:460
Token struct declaration.
Definition: token.h:75
char * input
Definition: lexer.h:25
struct token_list * token_list
Definition: lexer.h:26
struct token * peek(struct lexer *lexer)
Return the next token without consume it.
Definition: lexer.c:444
Basically a lined-list of tokens.
Definition: token.h:89
char * str(void *ptr)
create string
Lexer architecture and methods.
Definition: lexer.h:24
bool init_lexer(struct lexer *lexer)
Fill the token list by creating all the tokens from the given string.
Definition: lexer.c:357
int is_separator(char c)
Definition: index_utils.c:5


Copyright (c) Pedro Sena 1994
FILM TITLE: PROSPERO'S BOOKS DIRECTOR: PETER GREENAWAY COUNTRY: ENGLAND/USA ( 1992 ) CAST: John Gielgud, Michael Clark, Michel Blanc, Erland Josephson, Isabelle Pasco. MUSIC: Michael Nyman SUPER FEATURES: This modern day Fellini wants to drive Fellini out of the history books. He succeeds and does better.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Shakespeare can be fun. Shakespeare can be weird. And Shakespeare can be done, well,..... like only crazies can do it, like Peter Greenaway.
BUT IS NOT WILLIE SHAKESPEARE FOR THE MASSES.
And in many ways, Shakespeare's works are perfect for the movie screen, because his characters think, dream, and have visions, in other words, have such a visual acuity, that it actually can be shown in the celluloid, where it can not on the stage. One can make all the wishes, dreams, and visions, really live in any character's mind--- and the play gets better and stronger still.
And the way the director shows this freedom, is with as much nakedness as he can get away with, under the boundaries of good taste, and possible censorship. The nakedness here is an excellent symbol of the freedom of mind and word, which Prospero wants, and keeps under wraps at almost all times. It is a really good analogy for the whole play, and one that most people are afraid to tackle. And Greenaway does, like no other. And in one film he manages to ditch down the drain all the good actors who were capable of helping you see a truth through their perfect diction........and done by a true master of diction himself, SIR JOHN GIELGUD. It is truly beautiful at times, and odd at others, but the end result, is an evening that ends with one wondering what is it exactly that we have just seen, and what exactly was it about, and how, and how does it all come together...??? All in all, the very thing which film has forgotten under the guise and direction of people who only do and show entertainment, instead of art.
In his island, Prospero rules. There he has all the arts to his disposal, and the ability to make anything happen. And there he also has the ability to outgrow himself, thus making possible his ascension as a magician of good capabilities, which is all well and fine within the confines of the play itself. And in this island every nymph, satyr, and angel that has ever lived owes it to be a part of a man's vision.
The film moves back and forth between images and pictures from Renaissance texts to actual image on the screen, thus also blending the creativity, and avid curiosity, of a time that has appeared very boring in the history books. The books on magic and any kind of experimentation was plentiful, and the likes of DaVinci, were a part of it. And Prospero wants to be in league with the best of them.
Aside from the fact that this film is really unusual, and not specially made for everyone to see and learn about Shakespeare, it is without any doubt a very serious, dare I say Busby Berkeley- like, show about the thinking of a man who has much depth......and we are let into his chambers of mind and depth, to learn about him, and his world.
I HIGHLY RECOMMEND THIS FILM IF ANYONE IS INTERESTED IN TRULLY MODERN ADAPTATIONS OF SHAKESPEARE'S WORK. IT IS EXCELLENT.
THE BEST GREENAWAY FILM YET, and for once it isn't psychotic, or sickening.
5 GIBLOONS Copyright (c) Pedro Sena 1994
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


[gecode-users] Fwd: Problem with splitting Problem
Mohamed Rezgui
kyo.alone at gmail.com
Wed Mar 27 10:39:45 CET 2013
Sorry,
I forget about it. I choose the same search (lexicographic order) for all
subproblems and for the entire problem.
I used it for optimality proof. and I have the same thing. I verify all
subproblems are distinct.
That's my result with the optimality proof (obj = 11 so I set at obj-1):
ENTIRE_PROBLEM :
=====UNSATISFIABLE=====
%% instance: sugiyama2_g5_7_7_7_7_2.fzn
%% search: Gecode::INT_VAR_NONE(), Gecode::INT_VAL_MIN()
%% add ub: 10
%% runtime: 330.538 (330538 ms)
%% solvetime: 330.507 (330507 ms)
%% status: UNSAT
%% objective: -1
%% decision variables: 32
%% variables: 791
%% propagators: 837
%% propagations:<PHONE_NUMBER>
%% nodes: 12386891
%% failures: 6193446
DECOMPOSITION_PROBLEM AND SOLVE ALL SUBPROBLEMS GENERATED:
=====UNSATISFIABLE=====
%% instance: sugiyama2_g5_7_7_7_7_2.fzn
%% search: Gecode::INT_VAR_NONE(), Gecode::INT_VAL_MIN()
%% add ub: 10
%% runtime: 833.92 (833920 ms)
%% status: UNSAT
%% objective: -1
%% decision variables: 32
%% variables: 791
%% propagators: 837
%% propagations:<PHONE_NUMBER>
%% nodes: 31124812
%% failures: 15563406
%% time decomposition: 0.471 (471 ms)
%% nodes decomposition: 0
%% failures decomposition: 0
%% sum time problems: 833.404 (833404 ms)
%% min time problems: 0 (0 ms)
%% max time problems: 2.611 (2611 ms)
%% problems decomposition: 2000
Best Regards,
Mohammed REZGUI
2013/3/27 Christian Schulte <cschulte at kth.se>
> Yes, please understand how branch and bound search works: there is no
> guarantee that the decompositions need the same amount of search!****
>
> ** **
>
> C****
>
> ** **
>
> --****
>
> Christian Schulte, Professor of Computer Science, KTH,
> www.ict.kth.se/~cschulte/****
>
> ** **
>
> *From:* Mohamed Rezgui [mailto:kyo.alone at gmail.com]
> *Sent:* Wednesday, March 27, 2013 9:06 AM
> *To:* cschulte at kth.se
> *Cc:* users at gecode.org
> *Subject:* Re: [gecode-users] Fwd: Problem with splitting Problem****
>
> ** **
>
> Thank you four your answer,****
>
> ** **
>
> I correct it with choosing only first variable for decomposition . ****
>
> ** **
>
> But when I decomposed the problem into either 80 or 400, or 1000 or 2000
> sub problems and I resolve them ****
>
> (one after another and best solution is applied when it is found for the
> next subproblem)****
>
> ** **
>
> I got 3 times more nodes and 3 times more failures with the same code in
> my previous message !!!****
>
> ** **
>
> Can you help me about this problem please.****
>
> ** **
>
> Best Regards,****
>
> Mohammed REZGUI ****
>
> ** **
>
> 2013/3/22 Christian Schulte <cschulte at kth.se>****
>
> You might want to look at how much search is needed, just check the
> statistics. The decomposition does not guarantee that you will use less
> search.****
>
> ****
>
> Christian****
>
> ****
>
> --****
>
> Christian Schulte, www.ict.kth.se/~cschulte/****
>
> ****
>
> *From:* users-bounces at gecode.org [mailto:users-bounces at gecode.org] *On
> Behalf Of *Mohamed Rezgui
> *Sent:* Friday, March 22, 2013 5:30 PM
> *To:* users at gecode.org
> *Subject:* [gecode-users] Fwd: Problem with splitting Problem****
>
> ****
>
> Dear everybody,****
>
> ****
>
> I have a problem with Gecode 4.0.0 (see the code below)****
>
> I can exhibit the issue on the following example****
>
> ****
>
> I solve an optimization problem in the format flatzinc
> "sugiyama2_g5_7_7_7_7_2.fzn" (it is attached). It takes 370s.****
>
> Then I cut the problem in two disjoint sub-problems P1 and P2 (Two Spaces)
> ****
>
> P1 is P with (x3=1, x5=2, x30=30, x31=29) and
> ****
>
> P2 is P with (x3=1, x5=2, x30=29, x31=30) ****
>
> ****
>
> First, I solve P1. This found a solution with a cost C1. Then I solve P2
> and add the cost constraint cost <C1 (ie constraint(c1) in gecode))****
>
> ****
>
> The issue is that P1 is solved in 355 seconds and P2 in 329 seconds ! The
> sum is 685s where the initial resolution takes 370s****
>
> I expected to have something close to 370s****
>
> ****
>
> It seems that I have no problem if I add constraint on the first variables
> (x0, x1,…) and that it does not work if I use any variables (like here
> x3,x5,x30…)****
>
> ****
>
> Thanks in advance for any remark****
>
> ****
>
> Best Regards,****
>
> Mohammed REZGUI****
>
> ****
>
> Here is my code:****
>
> <code>****
>
> //Init fg with sugiyama2_g5_7_7_7_7_2.fzn instance****
>
> FlatZincSpace* fg = FlatZinc::parse(...)****
>
> fg->createBranchers(...)****
>
> fg->shrinkArray(...)****
>
> ****
>
> //vars_index[3, 5, 30, 31, ] => variables have the minimum doman size in
> this problem****
>
> // it is fine If I use 4 first variables but it is not interesting for me*
> ***
>
> // ****
>
> ****
>
> ****
>
> //best solution used for P2 after****
>
> Space* best = NULL;****
>
> {****
>
> FlatZincSpace* p1 =
> static_cast<MyFlatZincSpace*>(fg->clone(false));****
>
> ****
>
> //vars_index[3, 5, 30, 31, ] ****
>
> //tuple_val[1, 2, 29, 30, ]****
>
> Gecode::rel(*p1, p1->iv[3], Gecode::IRT_EQ, 1);****
>
> Gecode::rel(*p1, p1->iv[5], Gecode::IRT_EQ, 2);****
>
> Gecode::rel(*p1, p1->iv[30], Gecode::IRT_EQ, 29);****
>
> Gecode::rel(*p1, p1->iv[31], Gecode::IRT_EQ, 30);****
>
> ****
>
> Gecode::Search::Options opt;****
>
> opt.threads = 1.0;****
>
> Gecode::Search::Sequential::BAB bab(p1, sizeof(MyFlatZincSpace),
> opt);****
>
> Gecode::Space* s = bab.next();****
>
> while(s) {****
>
> delete best;****
>
> best = s;****
>
> engine().solution(this);****
>
> s = bab.next();****
>
> }****
>
> ****
>
> }****
>
> ****
>
> {****
>
> FlatZincSpace* p2 =
> static_cast<MyFlatZincSpace*>(fg->clone(false));****
>
> ****
>
> //vars_index[3, 5, 30, 31, ] ****
>
> //tuple_val[1, 2, 30, 29, ]****
>
> Gecode::rel(*p2, p2->iv[3], Gecode::IRT_EQ, 1);****
>
> Gecode::rel(*p2, p2->iv[5], Gecode::IRT_EQ, 2);****
>
> Gecode::rel(*p2, p2->iv[30], Gecode::IRT_EQ, 30);****
>
> Gecode::rel(*p2, p2->iv[31], Gecode::IRT_EQ, 29);****
>
> ****
>
> if (best) {****
>
> p2->constrain(*best);****
>
> }****
>
> ****
>
> Gecode::Search::Options opt;****
>
> opt.threads = 1.0;****
>
> Gecode::Search::Sequential::BAB bab(p2, sizeof(MyFlatZincSpace),
> opt);****
>
> Gecode::Space* s = bab.next();****
>
> while(s) {****
>
> delete best;****
>
> best = s;****
>
> engine().solution(this);****
>
> s = bab.next();****
>
> }****
>
> ****
>
> }****
>
> </code>****
>
>
>
> ****
>
> ** **
>
> --
> Cordialement,****
>
> Mohamed REZGUI
>
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://www.gecode.org/pipermail/users/attachments/20130327/2b9cc77b/attachment.html>
More information about the users
mailing list


Pick one element of the Canvas API and create something interesting around it. Can you create a little galaxy of repeated stars? Can you create an interesting texture of colored lines? You can look at CodePen for inspiration (but don’t copy)
| Criteria | Exemplary | Adequate | Needs Improvement |
|---|---|---|---|
| Code is submitted showing an interesting texture or shape | Code is submitted, but does not run | Code is not submitted |


SIKIResource Protocol Reference
| Conforms to | NSObject |
|---|---|
| Declared in | SIKIResource.h |
– getResources
required method
Get all resources
- (NSEnumerator *)getResources
Return Value
Resources
Discussion
Get all resources
Declared In
SIKIResource.h
– getResource:
required method
Get resource based on name
- (id)getResource:(NSString *)name
Parameters
name |
Name of resource |
|---|
Return Value
Resource
Discussion
Get resource based on name
Declared In
SIKIResource.h
– addResource:value:
required method
Add resource
- (void)addResource:(NSString *)name value:(id)value
Parameters
name |
Name of resource |
|---|---|
value |
Value of resource |
Discussion
Add resource
Declared In
SIKIResource.h
– containResource:
required method
Check whether it contains resource or not
- (bool)containResource:(NSString *)name
Parameters
name |
Name of resource |
|---|
Return Value
(true/false) TRUE: If resource exists | FALSE: If resource does not exists
Discussion
Check whether it contains resource or not
Declared In
SIKIResource.h


An Innovative and highly motivated professional in the software development field for 4 years and 6 months,seeking achallenging environment to secure a growth-oriented position in an organization where challenges exist for innovative and creative professionals.
Vision Board Aladdin application is based on low of attraction. We show visions on call to end user. Gallery and Camera intents are used in it. Glide is used for image loading. SQLite is used for store visions. Handlers are used, we used broadcast receiver on in coming calls
Download!Natural Life Style (Health by Eating) Mohan Gupta is video application youtube apis are used for get data. In that project I use glide and async http loopj.
DownloadWAM India Kids is video application, youtube apis are used for get data. In that project I use glide and async http loopj.
Download


Permanent Link: [[${app.basicInfo.name}]] This application is online. This application is offline. Edit Delete [[${app.summary.numBinaries}]] Files [[${app.summary.numFunctions}]] Functions [[${app.summary.numBasicBlocks}]] Blocks
Permanent link: [[${app.basicInfo.name}]] [[${app.summary.numBinaries}]] Files [[${app.summary.numFunctions}]] Functions [[${app.summary.numBasicBlocks}]] Blocks


welcome
new applicants
Start an application!
Resume is built with
Flapjax
and
Belay
. Questions? Comments?


Digital interfaces are the bridges to our communities. Technology can’t fix the systemic inequality revealed by COVID19, but it can help make connections with our communities better. This tool kit and website brings together emergent best practices, workflows, and tools that communities, educators, mutual aid groups, designers, artists and activists are using for community building, and how design needs to change to best suit people, right now.
If you're a community organizer, designer or an engineer, these best practices are designed to help guide in creating and designing community spaces online for participants and organizers.The big things to focus on prioritizing safety, including your participants and your own data and privacy, creating a plan, agenda or run of show for events, creating cohesive work flow, and creating intentional spaces for human connection and interaction, beyond the chat window.
“What does safety look like in digital spaces when you are basically letting [other] people into your home?”It's important to recognize you’re using tools to continue what you used to be an offline or face to face meet up, but the tools are not a 1 to 1 replacement for the offline. It’s about resetting expectations for the host (you) and the participants in this space. It’s about being extremely upfront with participants of what you will be doing in the digital meeting, of how long each section of the meeting will be, and what they will need to do, when. It’s a lot of guiding and planning before the meeting, and a lot of guiding and planning during the meeting. Much like theatre, think of this as a run of show- what needs to be accomplished, when. You need a plan because being on video can be terrifying and confusing for participants, and a video conference doesn’t ‘flow’ the same way a face to face meeting would.
1
Communities need multiple tools to do things, those tools sometimes sync up fairly well, such as going from Google Docs, Slack and Airtable, but sometimes they don’t.
“We would benefit from having more frameworks and ingredients rather than trying to have tools that are one size fits all.”In early June, Zoom finally added better moderation tools for hosts but not any moderation tools for participants. They also added the ability for people to share files within the chat, like images or documents. Other video chats don’t offer any of those tools. Much like advice for the engineer, people need better ways to share media and more intuitive ways to engage and moderate conversation.
2
Even with Zoom’s update, hosts and participants need better UI moderation. Moderation shouldn’t just fall to the host, when any participant can face harassment.
“Syncing makes it basically impossible to teach.”When it comes to latency and syncing, it’s important to remember that people need better ways to share media like audio and video, for dance parties, for school, or for organizing. People need more initiative ways to share this media in video conferencing and they need to make sure everyone is hearing the same thing at relatively the same time. Lastly, safety- none of these tools have enough moderation tools which can help mitigate so many forms of harassment.
3
No matter how well planned an event is, the second something breaks, the moment is lost. People will choose to use another platform with lower quality video but is more reliable.
A list of needs that designers and engineers have to prioritize when designing technology that functions easily and safely for communities online.
The project and toolkit are made in response to how communities were organizing and creating spaces of interaction during COVID19.


Project xCloud Preview: 50 new games added, coming to PC in 2020, will support DualShock controller
by Stephany Nunneley50 new titles are being added to the Project xCloud Preview library, and in 2020, it will launch on Windows 10 PCs. Razer and Sony DualShock controller support is also coming.
Microsoft opened up Project xCloud testing to the public in select countries back in October, and today 50 new titles are playable.
Xbox Console Streaming was made available in preview for Xbox Insiders in the Alpha and Alpha Skip-ahead rings recently. Insiders are able to try owned and installed Xbox One titles on an Android device remotely from the Xbox One console. The games included in the preview also encompass Xbox Game Pass titles.
Additionally, the company announced the preview will open up to more markets in 2020 including Canada, India, Japan, and Western Europe.


We're sorry but <%%= htmlWebpackPlugin.options.title %%> doesn't work properly without JavaScript enabled. Please enable it to continue.


--- layout: archive title: Zulip Chat Archive permalink: /stream/113488-general/topic/lean.20codeblocks.20in.20docstrings.html ---
I tried to put a codeblock as in
```lean foo ```
in a docstring. But I got a complaint, so I removed it: https://github.com/leanprover-community/mathlib/pull/1946/commits/48a5d7c99a83709e5736398db58ef39fb4bc0821#diff-e43627ca2566b806fcd077fad0fe29c9L26
If you don't add the lean
tag, then everything is fine. So
``` foo ```
works fine. I can imagine that the language modifier might be useful. But it isn't crucial. Just posting to see what others think.
FYI: the error that Lean gave was invalid docstring: expected end of code block
, or something like that.
Looks like the error message comes from the code around here, so we could update that in 3.5.x to ignore such tags.
It's handled correctly here: https://github.com/leanprover-community/mathlib/blob/master/src/tactic/reassoc_axiom.lean#L15
What's the difference?
I guess there's a bug somewhere. This gives the invalid docstring error:
/-! ```lean a ``` a -/
This doesn't:
/-! ```lean a ``` -/
Neither does this (though it should):
/-! ```lean a ``` ``` -/
This is now issue 108 on leanprover-community/lean. I probably won't be able to look at this any more for now.
I looked at this again. The issue that @Johan Commelin pointed out was actually fixed last year in this PR which was merged into 3.5.0.
However, this example:
/-! ``` ``` ``` -/
does not throw an error, even though it should.
{% endraw %}Last updated: Apr 24 2020 at 19:02 UTC


Employees
Welcome
Links
MENU
List
Add
Remove
admin
Disabled
All employees
Name
Surname
Age
Employee name
Employee surname
Employee age


EpubCheck is an essential component of any EPUB testing and development. Help us make it amazing for everyone.


Scene I
The British camp, near Dover.
EDMUND
Enter, with drum and colours, EDMUND, REGAN,
Gentlemen, and Soldiers.
Know of the duke if his last purpose hold,
Or whether since he is advised by aught
To change the course: he's full of alteration
And self-reproving: bring his constant pleasure.
[To a Gentleman, who goes out]
REGAN
Our sister's man is certainly miscarried.
EDMUND
'Tis to be doubted, madam.
REGAN
Now, sweet lord,
You know the goodness I intend upon you:
Tell me--but truly--but then speak the truth,
Do you not love my sister?
REGAN
But have you never found my brother's way
To the forfended place?
EDMUND
That thought abuses you.
REGAN
I am doubtful that you have been conjunct
And bosom'd with her, as far as we call hers.
EDMUND
No, by mine honour, madam.
REGAN
I never shall endure her: dear my lord,
Be not familiar with her.
EDMUND
Fear me not:
She and the duke her husband!
[Enter, with drum and colours, ALBANY, GONERIL, and Soldiers]
GONERIL
[Aside] I had rather lose the battle than that sister
Should loosen him and me.
ALBANY
Our very loving sister, well be-met.
Sir, this I hear; the king is come to his daughter,
With others whom the rigor of our state
Forced to cry out. Where I could not be honest,
I never yet was valiant: for this business,
It toucheth us, as France invades our land,
Not bolds the king, with others, whom, I fear,
Most just and heavy causes make oppose.
EDMUND
Sir, you speak nobly.
REGAN
Why is this reason'd?
GONERIL
Combine together 'gainst the enemy;
For these domestic and particular broils
Are not the question here.
ALBANY
Let's then determine
With the ancient of war on our proceedings.
EDMUND
I shall attend you presently at your tent.
REGAN
Sister, you'll go with us?
REGAN
'Tis most convenient; pray you, go with us.
GONERIL
[Aside] O, ho, I know the riddle.--I will go.
[As they are going out, enter EDGAR disguised]
EDGAR
If e'er your grace had speech with man so poor,
Hear me one word.
ALBANY
I'll overtake you. Speak.
[Exeunt all but ALBANY and EDGAR]
EDGAR
Before you fight the battle, ope this letter.
If you have victory, let the trumpet sound
For him that brought it: wretched though I seem,
I can produce a champion that will prove
What is avouched there.  Fortune love you.
ALBANY
Stay till I have read the letter.
EDGAR
I was forbid it.
When time shall serve, let but the herald cry,
And I'll appear again.
ALBANY
Why, fare thee well: I will o'erlook thy paper.
[Exit EDGAR]
[Re-enter EDMUND]
EDMUND
The enemy's in view; draw up your powers.
Here is the guess of their true strength and forces
By diligent discovery; but your haste
Is now urged on you.
ALBANY
We will greet the time.
[Exit]
EDMUND
To both these sisters have I sworn my love;
Each jealous of the other, as the stung
Are of the adder. Which of them shall I take?
Both? one? or neither? Neither can be enjoy'd,
If both remain alive: to take the widow
Exasperates, makes mad her sister Goneril;
And hardly shall I carry out my side,
Her husband being alive. Now then we'll use
His countenance for the battle; which being done,
Let her who would be rid of him devise
His speedy taking off. As for the mercy
Which he intends to Lear and to Cordelia,
The battle done, and they within our power,
Shall never see his pardon; for my state
Stands on me to defend, not to debate.
[Exit]
Scene III
The British camp near Dover.
Enter, in conquest, with drum and colours, EDMUND,
Soldiers, &c
EDMUND
Some officers take them away: good guard,
Until their greater pleasures first be known
That are to censure them.
CORDELIA
We are not the first
Who, with best meaning, have incurr'd the worst.
For thee, oppressed king, am I cast down;
Myself could else out-frown false fortune's frown.
Shall we not see these daughters and these sisters?
KING LEAR
No, no, no, no! Come, let's away to prison:
We two alone will sing like birds i' the cage:
When thou dost ask me blessing, I'll kneel down,
And ask of thee forgiveness: so we'll live,
And pray, and sing, and tell old tales, and laugh
At gilded butterflies, and hear poor rogues
Talk of court news; and we'll talk with them too,
Who loses and who wins; who's in, who's out;
And take upon's the mystery of things,
As if we were God's spies: and we'll wear out,
In a wall'd prison, packs and sects of great ones,
That ebb and flow by the moon.
KING LEAR
Upon such sacrifices, my Cordelia,
The gods themselves throw incense. Have I caught thee?
He that parts us shall bring a brand from heaven,
And fire us hence like foxes. Wipe thine eyes;
The good-years shall devour them, flesh and fell,
Ere they shall make us weep: we'll see 'em starve
first. Come.
[Exeunt KING LEAR and CORDELIA, guarded]
EDMUND
Come hither, captain; hark.
Take thou this note;
[Giving a paper]
go follow them to prison:
One step I have advanced thee; if thou dost
As this instructs thee, thou dost make thy way
To noble fortunes: know thou this, that men
Are as the time is: to be tender-minded
Does not become a sword: thy great employment
Will not bear question; either say thou'lt do 't,
Or thrive by other means.
Captain
I'll do 't, my lord.
EDMUND
About it; and write happy when thou hast done.
Mark, I say, instantly; and carry it so
As I have set it down.
Captain
I cannot draw a cart, nor eat dried oats;
If it be man's work, I'll do 't.
[Exit]
Flourish. Enter ALBANY, GONERIL, REGAN, another
Captain, and Soldiers
ALBANY
Sir, you have shown to-day your valiant strain,
And fortune led you well: you have the captives
That were the opposites of this day's strife:
We do require them of you, so to use them
As we shall find their merits and our safety
May equally determine.
EDMUND
Sir, I thought it fit
To send the old and miserable king
To some retention and appointed guard;
Whose age has charms in it, whose title more,
To pluck the common bosom on his side,
An turn our impress'd lances in our eyes
Which do command them. With him I sent the queen;
My reason all the same; and they are ready
To-morrow, or at further space, to appear
Where you shall hold your session. At this time
We sweat and bleed: the friend hath lost his friend;
And the best quarrels, in the heat, are cursed
By those that feel their sharpness:
The question of Cordelia and her father
Requires a fitter place.
ALBANY
Sir, by your patience,
I hold you but a subject of this war,
Not as a brother.
REGAN
That's as we list to grace him.
Methinks our pleasure might have been demanded,
Ere you had spoke so far. He led our powers;
Bore the commission of my place and person;
The which immediacy may well stand up,
And call itself your brother.
GONERIL
Not so hot:
In his own grace he doth exalt himself,
More than in your addition.
REGAN
In my rights,
By me invested, he compeers the best.
GONERIL
That were the most, if he should husband you.
REGAN
Jesters do oft prove prophets.
GONERIL
Holla, holla!
That eye that told you so look'd but a-squint.
REGAN
Lady, I am not well; else I should answer
From a full-flowing stomach. General,
Take thou my soldiers, prisoners, patrimony;
Dispose of them, of me; the walls are thine:
Witness the world, that I create thee here
My lord and master.
GONERIL
Mean you to enjoy him?
ALBANY
The let-alone lies not in your good will.
EDMUND
Nor in thine, lord.
ALBANY
Half-blooded fellow, yes.
REGAN
[To EDMUND] Let the drum strike, and prove my title thine.
ALBANY
Stay yet; hear reason. Edmund, I arrest thee
On capital treason; and, in thine attaint,
This gilded serpent
[Pointing to Goneril]
For your claim, fair sister,
I bar it in the interest of my wife:
'Tis she is sub-contracted to this lord,
And I, her husband, contradict your bans.
If you will marry, make your loves to me,
My lady is bespoke.
ALBANY
Thou art arm'd, Gloucester: let the trumpet sound:
If none appear to prove upon thy head
Thy heinous, manifest, and many treasons,
There is my pledge;
[Throwing down a glove]
I'll prove it on thy heart,
Ere I taste bread, thou art in nothing less
Than I have here proclaim'd thee.
GONERIL
[Aside] If not, I'll ne'er trust medicine.
EDMUND
There's my exchange:
[Throwing down a glove]
what in the world he is
That names me traitor, villain-like he lies:
Call by thy trumpet: he that dares approach,
On him, on you, who not? I will maintain
My truth and honour firmly.
EDMUND
A herald, ho, a herald!
ALBANY
Trust to thy single virtue; for thy soldiers,
All levied in my name, have in my name
Took their discharge.
REGAN
My sickness grows upon me.
ALBANY
She is not well; convey her to my tent.
[Exit Regan, led]
[Enter a Herald]
Come hither, herald,--Let the trumpet sound,
And read out this.
Captain
Sound, trumpet!
[A trumpet sounds]
Herald
[Reads] 'If any man of quality or degree within
the lists of the army will maintain upon Edmund,
supposed Earl of Gloucester, that he is a manifold
traitor, let him appear by the third sound of the
trumpet: he is bold in his defence.'
EDMUND
Sound!
[First trumpet]
Herald
Again!
[Second trumpet]
Herald
Again!
[Third trumpet]
[Trumpet answers within]
Enter EDGAR, at the third sound, armed, with a
trumpet before him
ALBANY
Ask him his purposes, why he appears
Upon this call o' the trumpet.
Herald
What are you?
Your name, your quality? and why you answer
This present summons?
EDGAR
Know, my name is lost;
By treason's tooth bare-gnawn and canker-bit:
Yet am I noble as the adversary
I come to cope.
ALBANY
Which is that adversary?
EDGAR
What's he that speaks for Edmund Earl of Gloucester?
EDMUND
Himself: what say'st thou to him?
EDGAR
Draw thy sword,
That, if my speech offend a noble heart,
Thy arm may do thee justice: here is mine.
Behold, it is the privilege of mine honours,
My oath, and my profession: I protest,
Maugre thy strength, youth, place, and eminence,
Despite thy victor sword and fire-new fortune,
Thy valour and thy heart, thou art a traitor;
False to thy gods, thy brother, and thy father;
Conspirant 'gainst this high-illustrious prince;
And, from the extremest upward of thy head
To the descent and dust below thy foot,
A most toad-spotted traitor. Say thou 'No,'
This sword, this arm, and my best spirits, are bent
To prove upon thy heart, whereto I speak,
Thou liest.
EDMUND
In wisdom I should ask thy name;
But, since thy outside looks so fair and warlike,
And that thy tongue some say of breeding breathes,
What safe and nicely I might well delay
By rule of knighthood, I disdain and spurn:
Back do I toss these treasons to thy head;
With the hell-hated lie o'erwhelm thy heart;
Which, for they yet glance by and scarcely bruise,
This sword of mine shall give them instant way,
Where they shall rest for ever. Trumpets, speak!
[Alarums. They fight. EDMUND falls]
ALBANY
Save him, save him!
GONERIL
This is practise, Gloucester:
By the law of arms thou wast not bound to answer
An unknown opposite; thou art not vanquish'd,
But cozen'd and beguiled.

[Gives the letter to EDMUND]
GONERIL
Say, if I do, the laws are mine, not thine:
Who can arraign me for't.
ALBANY
Most monstrous! oh!
Know'st thou this paper?
GONERIL
Ask me not what I know.
[Exit]
ALBANY
Go after her: she's desperate; govern her.
EDMUND
What you have charged me with, that have I done;
And more, much more; the time will bring it out:
'Tis past, and so am I. But what art thou
That hast this fortune on me? If thou'rt noble,
I do forgive thee.
EDGAR
Let's exchange charity.
I am no less in blood than thou art, Edmund;
If more, the more thou hast wrong'd me.
My name is Edgar, and thy father's son.
The gods are just, and of our pleasant vices
Make instruments to plague us:
The dark and vicious place where thee he got
Cost him his eyes.
EDMUND
Thou hast spoken right, 'tis true;
The wheel is come full circle: I am here.
ALBANY
Methought thy very gait did prophesy
A royal nobleness: I must embrace thee:
Let sorrow split my heart, if ever I
Did hate thee or thy father!
EDGAR
Worthy prince, I know't.
ALBANY
Where have you hid yourself?
How have you known the miseries of your father?
EDGAR
By nursing them, my lord. List a brief tale;
And when 'tis told, O, that my heart would burst!

That we the pain of death would hourly die
Rather than die at once!--taught me to shift
Into a madman's rags; to assume a semblance
That very dogs disdain'd: and in this habit
Met I my father with his bleeding rings,
Their precious stones new lost: became his guide,
Led him, begg'd for him, saved him from despair;
Never,--O fault!--reveal'd myself unto him,
Until some half-hour past, when I was arm'd:
Not sure, though hoping, of this good success,
I ask'd his blessing, and from first to last
Told him my pilgrimage: but his flaw'd heart,
Alack, too weak the conflict to support!
'Twixt two extremes of passion, joy and grief,
Burst smilingly.

ALBANY
If there be more, more woeful, hold it in;
For I am almost ready to dissolve,
Hearing of this.
EDGAR
This would have seem'd a period
To such as love not sorrow; but another,
To amplify too much, would make much more,
And top extremity.
Whilst I was big in clamour came there in a man,
Who, having seen me in my worst estate,
Shunn'd my abhorr'd society; but then, finding
Who 'twas that so endured, with his strong arms
He fastened on my neck, and bellow'd out
As he'ld burst heaven; threw him on my father;
Told the most piteous tale of Lear and him
That ever ear received: which in recounting
His grief grew puissant and the strings of life
Began to crack: twice then the trumpets sounded,
And there I left him tranced.
EDGAR
Kent, sir, the banish'd Kent; who in disguise
Follow'd his enemy king, and did him service
Improper for a slave.

Gentleman
'Tis hot, it smokes;
It came even from the heart of--O, she's dead!
ALBANY
Who dead? speak, man.
Gentleman
Your lady, sir, your lady: and her sister
By her is poisoned; she hath confess'd it.
EDMUND
I was contracted to them both: all three
Now marry in an instant.
ALBANY
Produce their bodies, be they alive or dead:
This judgment of the heavens, that makes us tremble,
Touches us not with pity.
[Exit Gentleman]
[Enter KENT]
O, is this he?
The time will not allow the compliment
Which very manners urges.
KENT
I am come
To bid my king and master aye good night:
Is he not here?
ALBANY
Great thing of us forgot!
Speak, Edmund, where's the king? and where's Cordelia?
See'st thou this object, Kent?
[The bodies of GONERIL and REGAN are brought in]
EDMUND
Yet Edmund was beloved:
The one the other poison'd for my sake,
And after slew herself.
ALBANY
Even so. Cover their faces.
EDMUND
I pant for life: some good I mean to do,
Despite of mine own nature. Quickly send,
Be brief in it, to the castle; for my writ
Is on the life of Lear and on Cordelia:
Nay, send in time.
EDGAR
To who, my lord? Who hath the office? send
Thy token of reprieve.
EDMUND
Well thought on: take my sword,
Give it the captain.
ALBANY
Haste thee, for thy life.
[Exit EDGAR]
EDMUND
He hath commission from thy wife and me
To hang Cordelia in the prison, and
To lay the blame upon her own despair,
That she fordid herself.
ALBANY
The gods defend her! Bear him hence awhile.
[EDMUND is borne off]
Re-enter KING LEAR, with CORDELIA dead in his arms;
EDGAR, Captain, and others following
KING LEAR
Howl, howl, howl, howl! O, you are men of stones:
Had I your tongues and eyes, I'ld use them so
That heaven's vault should crack. She's gone for ever!
I know when one is dead, and when one lives;
She's dead as earth. Lend me a looking-glass;
If that her breath will mist or stain the stone,
Why, then she lives.
KENT
Is this the promised end
EDGAR
Or image of that horror?
KING LEAR
This feather stirs; she lives! if it be so,
It is a chance which does redeem all sorrows
That ever I have felt.
KENT
[Kneeling] O my good master!
EDGAR
'Tis noble Kent, your friend.

I might have saved her; now she's gone for ever!
Cordelia, Cordelia! stay a little. Ha!
What is't thou say'st? Her voice was ever soft,
Gentle, and low, an excellent thing in woman.
I kill'd the slave that was a-hanging thee.
Captain
'Tis true, my lords, he did.
KING LEAR
Did I not, fellow?
I have seen the day, with my good biting falchion
I would have made them skip: I am old now,
And these same crosses spoil me. Who are you?
Mine eyes are not o' the best: I'll tell you straight.
KENT
If fortune brag of two she loved and hated,
One of them we behold.
KING LEAR
This is a dull sight. Are you not Kent?
KENT
The same,
Your servant Kent: Where is your servant Caius?
KING LEAR
He's a good fellow, I can tell you that;
He'll strike, and quickly too: he's dead and rotten.
KENT
No, my good lord; I am the very man,--
KING LEAR
I'll see that straight.
KENT
That, from your first of difference and decay,
Have follow'd your sad steps.
KING LEAR
You are welcome hither.
KENT
Nor no man else: all's cheerless, dark, and deadly.
Your eldest daughters have fordone them selves,
And desperately are dead.
KING LEAR
Ay, so I think.
ALBANY
He knows not what he says: and vain it is
That we present us to him.
EDGAR
Very bootless.
[Enter a Captain]
Captain
Edmund is dead, my lord.
ALBANY
That's but a trifle here.
You lords and noble friends, know our intent.
What comfort to this great decay may come
Shall be applied: for us we will resign,
During the life of this old majesty,
To him our absolute power:
[To EDGAR and KENT]
you, to your rights:
With boot, and such addition as your honours
Have more than merited. All friends shall taste
The wages of their virtue, and all foes
The cup of their deservings. O, see, see!
 No, no, no life!
 Thou'lt come no more,
Never, never, never, never, never!
Pray you, undo this button: thank you, sir.
Do you see this? Look on her, look, her lips,
Look there, look there!
[Dies]
EDGAR
He faints! My lord, my lord!
KENT
Break, heart; I prithee, break!
KENT
Vex not his ghost: O, let him pass! he hates him much
That would upon the rack of this tough world
Stretch him out longer.
EDGAR
He is gone, indeed.
KENT
The wonder is, he hath endured so long:
He but usurp'd his life.
ALBANY
Bear them from hence. Our present business
Is general woe.
[To KENT and EDGAR]
Friends of my soul, you twain
Rule in this realm, and the gored state sustain.
KENT
I have a journey, sir, shortly to go;
My master calls me, I must not say no.
ALBANY
The weight of this sad time we must obey;
Speak what we feel, not what we ought to say.
The oldest hath borne most: we that are young
Shall never see so much, nor live so long.
[Exeunt, with a dead march]


Josh Glugatch
*Not all projects supported on mobile devices
PetSpace
o'Clocktail
Eat-Da-Burger
Weather Dashboard
Day Planner
Geography Quiz


"THEATRE "only mentioned in Acts 19:29, 31. The ruins of this theatre at Ephesus still exist, and they show that it was a magnificent structure, capable of accommodating some 56,700 persons. It was the largest structure of the kind that ever existed. Theatres, as places of amusement, were unknown to the Jews.
"THEATRE "only mentioned in Acts 19:29, 31. The ruins of this theatre at Ephesus still exist, and they show that it was a magnificent structure, capable of accommodating some 56,700 persons. It was the largest structure of the kind that ever existed. Theatres, as places of amusement, were unknown to the Jews.


This is a browser based interface to Alexa, Amazon's virtual assistant which poweres the Echo.
Alexa is not the same as an echo, echo has a number of additional features such as music playback and hotword detection that are not (yet) implemented here.
THIS IS NOT AN OFFICIAL AMAZON SERVICE IT IS AN INTERFACE TO THEIR API BUILT BY A INDEPENDANT 3RD PARTY
The interface is fairly simple, a coloured circle on the centre of the page indicates the state, a key to these colors is given below.
Once the page has loaded and you see a white circle it is ready to use, you click (or touch) the circle and hold down then speak your command eg "What time is it in London" then release, Alexa will process you command and then reply to you in speech when the circle is green. If you see a brief red circle there was an error, try your request again. If Alexa doesn't understand the request she will say so.
If you want to logout then click the ☒ symbol in the top right corner.
For a list of fun things you could try see this reddit thread
This was built by Sam Machin based on some code he wrote for the BattleHack 2015 World Finals
Absolutly no warrenty is given this site is built as a interesting demo it might go away without warning, I don't keep any details of your requests I simply store a cookie to reference your Amazon login token, this is removed when you logout. You should also understand Amazon's Privacy Policy with regards to Alexa when using this service as I am merely providing a gateway.