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reVision
5.0.0
Video game engine project.
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A container class that holds the action state for the engine, such as forward/back/left/right and amount. More...
#include <ActionState.h>
Public Types | |
| enum | State : int { RELEASE, PRESS, REPEAT } |
| Enumeration for whether the action key was pressed, released, or repeating. More... | |
| enum | Action : unsigned int { MOUSE_X, MOUSE_Y, MOUSE_L, MOUSE_R, LOOK_X, LOOK_Y, FORWARD, BACKWARD, LEFT, RIGHT, JUMP, CROUCH, RUN, FIRE1, FIRE2, UI_UP, UI_DOWN, UI_LEFT, UI_RIGHT, UI_ENTER, UI_ESCAPE, ACTION_COUNT } |
| Enumeration for indexing into actions. More... | |
Public Member Functions | |
| float & | operator[] (const ActionState::Action &index) |
| Retrieve the value for a specific action category. More... | |
| const float & | operator[] (const ActionState::Action &index) const |
| Retrieve the value for a specific action category. More... | |
| ActionState::State | isAction (const ActionState::Action &actionEnum) |
| Retrieve the state for a specific action category. More... | |
Static Public Member Functions | |
| static std::vector< std::string > | Action_Strings () |
| Retrieve a static list of all input-actions. More... | |
A container class that holds the action state for the engine, such as forward/back/left/right and amount.
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strong |
Enumeration for indexing into actions.
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strong |
Enumeration for whether the action key was pressed, released, or repeating.
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inlinestatic |
Retrieve a static list of all input-actions.
| ActionState::State ActionState::isAction | ( | const ActionState::Action & | actionEnum | ) |
Retrieve the state for a specific action category.
| actionEnum | the action index category to look-up. |
| float & ActionState::operator[] | ( | const ActionState::Action & | index | ) |
Retrieve the value for a specific action category.
| index | the action index category to look-up. |
| const float & ActionState::operator[] | ( | const ActionState::Action & | index | ) | const |
Retrieve the value for a specific action category.
| index | the action index category to look-up. |


Laravel: A Tragic Love Story
Lea Yousoufov / @alltimelea
About Me
- Majored in physics & mechanical engineering
- First experience with programming was during a college internship
- Left school to pursue a full time offer as a web developer in NY
- Fell in love with Austin and moved here a year and a half later
- Work at OnlineMedEd
Cons
*Mostly grievences with PHP
Let's Compare
- Python - 1989
- Ruby - 1995
- PHP was out for 9 years before it supported object-oriented programming
Backwards Compatibility
As you scale and upgrade, legacy code becomes a stubborn shrew
More...
- Hiring
- Large learning curve
- How well do you know PHP?
PHP is Weird
Laravel protects you from a lot of that weirdness
Unexpected T_PAAMAYIM_NEKUDOTAYIM
?!?!?!?!
Let's See How it Stacks Up Against the Rest
More...
- Laravel is constantly growing and releasing new features
- Facades & Service Containers
- It's simple
Laravel's Growth
- Laravel 5.5
- Horizon
- Spark
- Shift
- Forge
- Cashier
- Scout
- The list goes on...
Laravel at OnlineMedEd
How We Use Laravel
- It runs our main site
- Our CMS
- Our billing API
- Our faculty portal
- Apps, APIs, oh my
Facing and Tending to Your Demons
The Upgrade from 4.2 to 5.3
- Backwards compatible
- Extensive documentation
- Huge community
Implementing API & Social Authentication
- Third-party packages
- Laravel Passport
- Laravel Socialite
Database Queries
- Insecure
- Long and unruly
- Fluent query builder
- Eloquent ORM
Learning From Your Demons
- Save that sweet, sweet, dev time
- Treat yo self
- Write good code and learn how to do other stuff good too.
Comments? Questions?
Social: @alltimelea
lea.yousoufov@gmail.com


1 October, evening.--I found Thomas Snelling in his house at Bethnal Green, but unhappily he was not in a condition to remember anything. The very prospect of beer which my expected coming had opened to him had proved too much, and he had begun too early on his expected debauch. I learned, however, from his wife, who seemed a decent, poor soul, that he was only the assistant of Smollet, who of the two mates was the responsible person. So off I drove to Walworth, and found Mr. Joseph Smollet at home and in his shirtsleeves, taking a late tea out of a saucer. He is a decent, intelligent fellow, distinctly a good, reliable type of workman, and with a headpiece of his own. He remembered all about the incident of the boxes, and from a wonderful dog-eared notebook, which he produced from some mysterious receptacle about the seat of his trousers, and which had hieroglyphical entries in thick, half-obliterated pencil, he gave me the destinations of the boxes. There were, he said, six in the cartload which he took from Carfax and left at 197 Chicksand Street, Mile End New Town, and another six which he deposited at Jamaica Lane, Bermondsey. If then the Count meant to scatter these ghastly refuges of his over London, these places were chosen as the first of delivery, so that later he might distribute more fully. The systematic manner in which this was done made me think that he could not mean to confine himself to two sides of London. He was now fixed on the far east on the northern shore, on the east of the southern shore, and on the south. The north and west were surely never meant to be left out of his diabolical scheme, let alone the City itself and the very heart of fashionable London in the south-west and west. I went back to Smollet, and asked him if he could tell us if any other boxes had been taken from Carfax.
He replied, "Well guv'nor, you've treated me very 'an'some", I had given him half a sovereign, "an I'll tell yer all I know. I heard a man by the name of Bloxam say four nights ago in the 'Are an' 'Ounds, in Pincher's Alley, as 'ow he an' his mate 'ad 'ad a rare dusty job in a old 'ouse at Purfleet. There ain't a many such jobs as this 'ere, an' I'm thinkin' that maybe Sam Bloxam could tell ye summut."
I asked if he could tell me where to find him. I told him that if he could get me the address it would be worth another half sovereign to him. So he gulped down the rest of his tea and stood up, saying that he was going to begin the search then and there.
At the door he stopped, and said, "Look 'ere, guv'nor, there ain't no sense in me a keepin' you 'ere. I may find Sam soon, or I mayn't, but anyhow he ain't like to be in a way to tell ye much tonight. Sam is a rare one when he starts on the booze. If you can give me a envelope with a stamp on it, and put yer address on it, I'll find out where Sam is to be found and post it ye tonight. But ye'd better be up arter 'im soon in the mornin', never mind the booze the night afore."
This was all practical, so one of the children went off with a penny to buy an envelope and a sheet of paper, and to keep the change. When she came back, I addressed the envelope and stamped it, and when Smollet had again faithfully promised to post the address when found, I took my way to home. We're on the track anyhow. I am tired tonight, and I want to sleep. Mina is fast asleep, and looks a little too pale. Her eyes look as though she had been crying. Poor dear, I've no doubt it frets her to be kept in the dark, and it may make her doubly anxious about me and the others. But it is best as it is. It is better to be disappointed and worried in such a way now than to have her nerve broken. The doctors were quite right to insist on her being kept out of this dreadful business. I must be firm, for on me this particular burden of silence must rest. I shall not ever enter on the subject with her under any circumstances. Indeed, It may not be a hard task, after all, for she herself has become reticent on the subject, and has not spoken of the Count or his doings ever since we told her of our decision.
2 October, evening--A long and trying and exciting day. By the first post I got my directed envelope with a dirty scrap of paper enclosed, on which was written with a carpenter's pencil in a sprawling hand, "Sam Bloxam, Korkrans, 4 Poters Cort, Bartel Street, Walworth. Arsk for the depite."
I got the letter in bed, and rose without waking Mina. She looked heavy and sleepy and pale, and far from well. I determined not to wake her, but that when I should return from this new search, I would arrange for her going back to Exeter. I think she would be happier in our own home, with her daily tasks to interest her, than in being here amongst us and in ignorance. I only saw Dr. Seward for a moment, and told him where I was off to, promising to come back and tell the rest so soon as I should have found out anything. I drove to Walworth and found, with some difficulty, Potter's Court. Mr. Smollet's spelling misled me, as I asked for Poter's Court instead of Potter's Court. However, when I had found the court, I had no difficulty in discovering Corcoran's lodging house.
When I asked the man who came to the door for the "depite," he shook his head, and said, "I dunno 'im. There ain't no such a person 'ere. I never 'eard of 'im in all my bloomin' days. Don't believe there ain't nobody of that kind livin' 'ere or anywheres."
I took out Smollet's letter, and as I read it it seemed to me that the lesson of the spelling of the name of the court might guide me. "What are you?" I asked.
"I'm the depity," he answered.
I saw at once that I was on the right track. Phonetic spelling had again misled me. A half crown tip put the deputy's knowledge at my disposal, and I learned that Mr. Bloxam, who had slept off the remains of his beer on the previous night at Corcoran's, had left for his work at Poplar at five o'clock that morning. He could not tell me where the place of work was situated, but he had a vague idea that it was some kind of a "new-fangled ware'us," and with this slender clue I had to start for Poplar. It was twelve o'clock before I got any satisfactory hint of such a building, and this I got at a coffee shop, where some workmen were having their dinner. One of them suggested that there was being erected at Cross Angel Street a new "cold storage" building, and as this suited the condition of a "new-fangled ware'us," I at once drove to it. An interview with a surly gatekeeper and a surlier foreman, both of whom were appeased with the coin of the realm, put me on the track of Bloxam. He was sent for on my suggestion that I was willing to pay his days wages to his foreman for the privilege of asking him a few questions on a private matter. He was a smart enough fellow, though rough of speech and bearing. When I had promised to pay for his information and given him an earnest, he told me that he had made two journeys between Carfax and a house in Piccadilly, and had taken from this house to the latter nine great boxes, "main heavy ones," with a horse and cart hired by him for this purpose.
I asked him if he could tell me the number of the house in Piccadilly, to which he replied, "Well, guv'nor, I forgits the number, but it was only a few door from a big white church, or somethink of the kind, not long built. It was a dusty old 'ouse, too, though nothin' to the dustiness of the 'ouse we tooked the bloomin' boxes from."
"How did you get in if both houses were empty?"
"There was the old party what engaged me a waitin' in the 'ouse at Purfleet. He 'elped me to lift the boxes and put them in the dray. Curse me, but he was the strongest chap I ever struck, an' him a old feller, with a white moustache, one that thin you would think he couldn't throw a shadder."
How this phrase thrilled through me!
"Why, 'e took up 'is end o' the boxes like they was pounds of tea, and me a puffin' an' a blowin' afore I could upend mine anyhow, an' I'm no chicken, neither."
"How did you get into the house in Piccadilly?" I asked.
"He was there too. He must 'a started off and got there afore me, for when I rung of the bell he kem an' opened the door 'isself an' 'elped me carry the boxes into the 'all."
"The whole nine?" I asked.
"Yus, there was five in the first load an' four in the second. It was main dry work, an' I don't so well remember 'ow I got 'ome."
I interrupted him, "Were the boxes left in the hall?"
"Yus, it was a big 'all, an' there was nothin' else in it."
I made one more attempt to further matters. "You didn't have any key?"
"Never used no key nor nothink.  I don't remember the last time, but that was the beer."
"And you can't remember the number of the house?"
"No, sir. But ye needn't have no difficulty about that.  I know them steps, 'avin' 'ad to carry the boxes up with three loafers what come round to earn a copper. The old gent give them shillin's, an' they seein' they got so much, they wanted more. But 'e took one of them by the shoulder and was like to throw 'im down the steps, till the lot of them went away cussin'."
I thought that with this description I could find the house, so having paid my friend for his information, I started off for Piccadilly. I had gained a new painful experience. The Count could, it was evident, handle the earth boxes himself. If so, time was precious, for now that he had achieved a certain amount of distribution, he could, by choosing his own time, complete the task unobserved. At Piccadilly Circus I discharged my cab, and walked westward. Beyond the Junior Constitutional I came across the house described and was satisfied that this was the next of the lairs arranged by Dracula. The house looked as though it had been long untenanted. The windows were encrusted with dust, and the shutters were up. All the framework was black with time, and from the iron the paint had mostly scaled away. It was evident that up to lately there had been a large notice board in front of the balcony. It had, however, been roughly torn away, the uprights which had supported it still remaining. Behind the rails of the balcony I saw there were some loose boards, whose raw edges looked white. I would have given a good deal to have been able to see the notice board intact, as it would, perhaps, have given some clue to the ownership of the house. I remembered my experience of the investigation and purchase of Carfax, and I could not but feel that if I could find the former owner there might be some means discovered of gaining access to the house.
There was at present nothing to be learned from the Piccadilly side, and nothing could be done, so I went around to the back to see if anything could be gathered from this quarter. The mews were active, the Piccadilly houses being mostly in occupation. I asked one or two of the grooms and helpers whom I saw around if they could tell me anything about the empty house. One of them said that he heard it had lately been taken, but he couldn't say from whom. He told me, however, that up to very lately there had been a notice board of "For Sale" up, and that perhaps Mitchell, Sons, & Candy the house agents could tell me something, as he thought he remembered seeing the name of that firm on the board. I did not wish to seem too eager, or to let my informant know or guess too much, so thanking him in the usual manner, I strolled away. It was now growing dusk, and the autumn night was closing in, so I did not lose any time. Having learned the address of Mitchell, Sons, & Candy from a directory at the Berkeley, I was soon at their office in Sackville Street.
The gentleman who saw me was particularly suave in manner, but uncommunicative in equal proportion. Having once told me that the Piccadilly house, which throughout our interview he called a "mansion," was sold, he considered my business as concluded. When I asked who had purchased it, he opened his eyes a thought wider, and paused a few seconds before replying, "It is sold, sir."
"Pardon me," I said, with equal politeness, "but I have a special reason for wishing to know who purchased it."
Again he paused longer, and raised his eyebrows still more. "It is sold, sir," was again his laconic reply.
"Surely," I said, "you do not mind letting me know so much."
"But I do mind," he answered. "The affairs of their clients are absolutely safe in the hands of Mitchell, Sons, & Candy."
This was manifestly a prig of the first water, and there was no use arguing with him. I thought I had best meet him on his own ground, so I said, "Your clients, sir, are happy in having so resolute a guardian of their confidence. I am myself a professional man."
Here I handed him my card. "In this instance I am not prompted by curiosity, I act on the part of Lord Godalming, who wishes to know something of the property which was, he understood, lately for sale."
These words put a different complexion on affairs. He said, "I would like to oblige you if I could, Mr. Harker, and especially would I like to oblige his lordship. We once carried out a small matter of renting some chambers for him when he was the honourable Arthur Holmwood. If you will let me have his lordship's address I will consult the House on the subject, and will, in any case, communicate with his lordship by tonight's post. It will be a pleasure if we can so far deviate from our rules as to give the required information to his lordship."
I wanted to secure a friend, and not to make an enemy, so I thanked him, gave the address at Dr. Seward's and came away. It was now dark, and I was tired and hungry. I got a cup of tea at the Aerated Bread Company and came down to Purfleet by the next train.
I found all the others at home. Mina was looking tired and pale, but she made a gallant effort to be bright and cheerful. It wrung my heart to think that I had had to keep anything from her and so caused her inquietude. Thank God, this will be the last night of her looking on at our conferences, and feeling the sting of our not showing our confidence. It took all my courage to hold to the wise resolution of keeping her out of our grim task. She seems somehow more reconciled, or else the very subject seems to have become repugnant to her, for when any accidental allusion is made she actually shudders. I am glad we made our resolution in time, as with such a feeling as this, our growing knowledge would be torture to her.
I could not tell the others of the day's discovery till we were alone, so after dinner, followed by a little music to save appearances even amongst ourselves, I took Mina to her room and left her to go to bed. The dear girl was more affectionate with me than ever, and clung to me as though she would detain me, but there was much to be talked of and I came away. Thank God, the ceasing of telling things has made no difference between us.
When I came down again I found the others all gathered round the fire in the study. In the train I had written my diary so far, and simply read it off to them as the best means of letting them get abreast of my own information.
When I had finished Van Helsing said, "This has been a great day's work, friend Jonathan. Doubtless we are on the track of the missing boxes. If we find them all in that house, then our work is near the end. But if there be some missing, we must search until we find them. Then shall we make our final coup, and hunt the wretch to his real death."
We all sat silent awhile and all at once Mr. Morris spoke, "Say! How are we going to get into that house?"
"We got into the other," answered Lord Godalming quickly.
"But, Art, this is different. We broke house at Carfax, but we had night and a walled park to protect us. It will be a mighty different thing to commit burglary in Piccadilly, either by day or night. I confess I don't see how we are going to get in unless that agency duck can find us a key of some sort."
Lord Godalming's brows contracted, and he stood up and walked about the room. By-and-by he stopped and said, turning from one to another of us, "Quincey's head is level. This burglary business is getting serious. We got off once all right, but we have now a rare job on hand. Unless we can find the Count's key basket."
As nothing could well be done before morning, and as it would be at least advisable to wait till Lord Godalming should hear from Mitchell's, we decided not to take any active step before breakfast time. For a good while we sat and smoked, discussing the matter in its various lights and bearings. I took the opportunity of bringing this diary right up to the moment. I am very sleepy and shall go to bed…
Just a line. Mina sleeps soundly and her breathing is regular. Her forehead is puckered up into little wrinkles, as though she thinks even in her sleep. She is still too pale, but does not look so haggard as she did this morning. Tomorrow will, I hope, mend all this. She will be herself at home in Exeter. Oh, but I am sleepy!
DR. SEWARD'S DIARY
1 October.--I am puzzled afresh about Renfield. His moods change so rapidly that I find it difficult to keep touch of them, and as they always mean something more than his own well-being, they form a more than interesting study. This morning, when I went to see him after his repulse of Van Helsing, his manner was that of a man commanding destiny. He was, in fact, commanding destiny, subjectively. He did not really care for any of the things of mere earth, he was in the clouds and looked down on all the weaknesses and wants of us poor mortals.
I thought I would improve the occasion and learn something, so I asked him, "What about the flies these times?"
 Its wings are typical of the aerial powers of the psychic faculties. The ancients did well when they typified the soul as a butterfly!"
I thought I would push his analogy to its utmost logically, so I said quickly, "Oh, it is a soul you are after now, is it?"
His madness foiled his reason, and a puzzled look spread over his face as, shaking his head with a decision which I had but seldom seen in him.
He said, "Oh, no, oh no! I want no souls. Life is all I want." Here he brightened up. "I am pretty indifferent about it at present. Life is all right. I have all I want. You must get a new patient, doctor, if you wish to study zoophagy!"
This puzzled me a little, so I drew him on.
He smiled with an ineffably benign superiority. "Oh no! Far be it from me to arrogate to myself the attributes of the Deity. I am not even concerned in His especially spiritual doings. If I may state my intellectual position I am, so far as concerns things purely terrestrial, somewhat in the position which Enoch occupied spiritually!"
This was a poser to me. I could not at the moment recall Enoch's appositeness, so I had to ask a simple question, though I felt that by so doing I was lowering myself in the eyes of the lunatic. "And why with Enoch?"
"Because he walked with God."
I could not see the analogy, but did not like to admit it, so I harked back to what he had denied.  Why not?" I put my question quickly and somewhat sternly, on purpose to disconcert him.
The effort succeeded, for an instant he unconsciously relapsed into his old servile manner, bent low before me, and actually fawned upon me as he replied. "I don't want any souls, indeed, indeed! I don't. I couldn't use them if I had them. They would be no manner of use to me. I couldn't eat them or…"
He suddenly stopped and the old cunning look spread over his face, like a wind sweep on the surface of the water.
"And doctor, as to life, what is it after all? When you've got all you require, and you know that you will never want, that is all. I have friends, good friends, like you, Dr. Seward." This was said with a leer of inexpressible cunning. "I know that I shall never lack the means of life!"
I think that through the cloudiness of his insanity he saw some antagonism in me, for he at once fell back on the last refuge of such as he, a dogged silence. After a short time I saw that for the present it was useless to speak to him. He was sulky, and so I came away.
Later in the day he sent for me. Ordinarily I would not have come without special reason, but just at present I am so interested in him that I would gladly make an effort. Besides, I am glad to have anything to help pass the time. Harker is out, following up clues, and so are Lord Godalming and Quincey. Van Helsing sits in my study poring over the record prepared by the Harkers. He seems to think that by accurate knowledge of all details he will light up on some clue. He does not wish to be disturbed in the work, without cause. I would have taken him with me to see the patient, only I thought that after his last repulse he might not care to go again. There was also another reason. Renfield might not speak so freely before a third person as when he and I were alone.
I found him sitting in the middle of the floor on his stool, a pose which is generally indicative of some mental energy on his part. When I came in, he said at once, as though the question had been waiting on his lips. "What about souls?"
It was evident then that my surmise had been correct. Unconscious cerebration was doing its work, even with the lunatic. I determined to have the matter out.
"What about them yourself?" I asked.
He did not reply for a moment but looked all around him, and up and down, as though he expected to find some inspiration for an answer.
"I don't want any souls!" he said in a feeble, apologetic way. The matter seemed preying on his mind, and so I determined to use it, to "be cruel only to be kind."
"Oh yes! But that is all right. You needn't worry about that!"
"But," I asked, "how are we to get the life without getting the soul also?"
This seemed to puzzle him, so I followed it up, "A nice time you'll have some time when you're flying out here, with the souls of thousands of flies and spiders and birds and cats buzzing and twittering and moaning all around you.
 There was something pathetic in it that touched me. It also gave me a lesson, for it seemed that before me was a child, only a child, though the features were worn, and the stubble on the jaws was white. It was evident that he was undergoing some process of mental disturbance, and knowing how his past moods had interpreted things seemingly foreign to himself, I thought I would enter into his mind as well as I could and go with him.
The first step was to restore confidence, so I asked him, speaking pretty loud so that he would hear me through his closed ears, "Would you like some sugar to get your flies around again?"
He seemed to wake up all at once, and shook his head.  Flies are poor things, after all!" After a pause he added, "But I don't want their souls buzzing round me, all the same."
"Or spiders?" I went on.
"Blow spiders! What's the use of spiders? There isn't anything in them to eat or…" He stopped suddenly as though reminded of a forbidden topic.
"So, so!" I thought to myself, "this is the second time he has suddenly stopped at the word 'drink'. What does it mean?"
Renfield seemed himself aware of having made a lapse, for he hurried on, as though to distract my attention from it, "I don't take any stock at all in such matters. 'Rats and mice and such small deer,' as Shakespeare has it, 'chicken feed of the larder' they might be called. I'm past all that sort of nonsense. You might as well ask a man to eat molecules with a pair of chopsticks, as to try to interest me about the less carnivora, when I know of what is before me."
"I see," I said. "You want big things that you can make your teeth meet in? How would you like to breakfast on an elephant?"
 He was getting too wide awake, so I thought I would press him hard.
"I wonder," I said reflectively, "what an elephant's soul is like!"
The effect I desired was obtained, for he at once fell from his high-horse and became a child again.
"I don't want an elephant's soul, or any soul at all!" he said. For a few moments he sat despondently. Suddenly he jumped to his feet, with his eyes blazing and all the signs of intense cerebral excitement.  he shouted. "Why do you plague me about souls? Haven't I got enough to worry, and pain, to distract me already, without thinking of souls?"
He looked so hostile that I thought he was in for another homicidal fit, so I blew my whistle.
The instant, however, that I did so he became calm, and said apologetically, "Forgive me, Doctor. I forgot myself. You do not need any help. I am so worried in my mind that I am apt to be irritable. If you only knew the problem I have to face, and that I am working out, you would pity, and tolerate, and pardon me. Pray do not put me in a strait waistcoat. I want to think and I cannot think freely when my body is confined. I am sure you will understand!"
He had evidently self-control, so when the attendants came I told them not to mind, and they withdrew. Renfield watched them go. When the door was closed he said with considerable dignity and sweetness, "Dr. Seward, you have been very considerate towards me. Believe me that I am very, very grateful to you!"
I thought it well to leave him in this mood, and so I came away. There is certainly something to ponder over in this man's state. Several points seem to make what the American interviewer calls "a story," if one could only get them in proper order. Here they are:
Will not mention "drinking."
Fears the thought of being burdened with the "soul" of anything.
Has no dread of wanting "life" in the future.
Despises the meaner forms of life altogether, though he dreads
being haunted by their souls.
Logically all these things point one way!
He dreads the consequence, the burden of a soul. Then it is a
human life he looks to!
And the assurance…?
Merciful God! The Count has been to him, and there is some new scheme of terror afoot!
Later.--I went after my round to Van Helsing and told him my suspicion. He grew very grave, and after thinking the matter over for a while asked me to take him to Renfield. I did so. As we came to the door we heard the lunatic within singing gaily, as he used to do in the time which now seems so long ago.
When we entered we saw with amazement that he had spread out his sugar as of old. The flies, lethargic with the autumn, were beginning to buzz into the room. We tried to make him talk of the subject of our previous conversation, but he would not attend. He went on with his singing, just as though we had not been present. He had got a scrap of paper and was folding it into a notebook.
His is a curious case indeed. We must watch him tonight.
LETTER, MITCHELL, SONS & CANDY TO LORD GODALMING.
"1 October.
"My Lord,
"We are at all times only too happy to meet your wishes. We beg, with regard to the desire of your Lordship, expressed by Mr. Harker on your behalf, to supply the following information concerning the sale and purchase of No. 347, Piccadilly. The original vendors are the executors of the late Mr. Archibald Winter-Suffield. The purchaser is a foreign nobleman, Count de Ville, who effected the purchase himself paying the purchase money in notes 'over the counter,' if your Lordship will pardon us using so vulgar an expression. Beyond this we know nothing whatever of him.
"We are, my Lord,
"Your Lordship's humble servants,
"MITCHELL, SONS & CANDY."
DR. SEWARD'S DIARY
2 October.--I placed a man in the corridor last night, and told him to make an accurate note of any sound he might hear from Renfield's room, and gave him instructions that if there should be anything strange he was to call me. After dinner, when we had all gathered round the fire in the study, Mrs. Harker having gone to bed, we discussed the attempts and discoveries of the day. Harker was the only one who had any result, and we are in great hopes that his clue may be an important one.
Before going to bed I went round to the patient's room and looked in through the observation trap. He was sleeping soundly, his heart rose and fell with regular respiration.
This morning the man on duty reported to me that a little after midnight he was restless and kept saying his prayers somewhat loudly. I asked him if that was all. He replied that it was all he heard. There was something about his manner, so suspicious that I asked him point blank if he had been asleep. He denied sleep, but admitted to having "dozed" for a while. It is too bad that men cannot be trusted unless they are watched.
Today Harker is out following up his clue, and Art and Quincey are looking after horses. Godalming thinks that it will be well to have horses always in readiness, for when we get the information which we seek there will be no time to lose. We must sterilize all the imported earth between sunrise and sunset. We shall thus catch the Count at his weakest, and without a refuge to fly to. Van Helsing is off to the British Museum looking up some authorities on ancient medicine. The old physicians took account of things which their followers do not accept, and the Professor is searching for witch and demon cures which may be useful to us later.
I sometimes think we must be all mad and that we shall wake to sanity in strait waistcoats.
Later.--We have met again. We seem at last to be on the track, and our work of tomorrow may be the beginning of the end. I wonder if Renfield's quiet has anything to do with this. His moods have so followed the doings of the Count, that the coming destruction of the monster may be carried to him some subtle way. If we could only get some hint as to what passed in his mind, between the time of my argument with him today and his resumption of fly-catching, it might afford us a valuable clue. He is now seemingly quiet for a spell… Is he? That wild yell seemed to come from his room…
The attendant came bursting into my room and told me that Renfield had somehow met with some accident.  I must go at once…


foreach¶
Evaluate a group of commands for each value in a list.
foreach(<loop_var> <items>)
<commands>
endforeach()
where <items>
is a list of items that are separated by
semicolon or whitespace.
All commands between foreach
and the matching endforeach
are recorded
without being invoked. Once the endforeach
is evaluated, the recorded
list of commands is invoked once for each item in <items>
.
At the beginning of each iteration the variable loop_var
will be set
to the value of the current item.
The commands break()
and continue()
provide means to
escape from the normal control flow.
Per legacy, the endforeach()
command admits
an optional <loop_var>
argument.
If used, it must be a verbatim
repeat of the argument of the opening
foreach
command.
foreach(<loop_var> RANGE <stop>)
In this variant, foreach
iterates over the numbers
0, 1, … up to (and including) the nonnegative integer <stop>
.
foreach(<loop_var> RANGE <start> <stop> [<step>])
In this variant, foreach
iterates over the numbers from
<start>
up to at most <stop>
in steps of <step>
.
If <step>
is not specified, then the step size is 1.
The three arguments <start>
<stop>
<step>
must
all be nonnegative integers, and <stop>
must not be
smaller than <start>
; otherwise you enter the danger zone
of undocumented behavior that may change in future releases.
foreach(loop_var IN [LISTS [<lists>]] [ITEMS [<items>]])
In this variant, <lists>
is a whitespace or semicolon
separated list of list-valued variables. The foreach
command iterates over each item in each given list.
The <items>
following the ITEMS
keyword are processed
as in the first variant of the foreach
command.
The forms LISTS A
and ITEMS ${A}
are
equivalent.
The following example shows how the LISTS
option is
processed:
set(A 0;1)
set(B 2 3)
set(C "4 5")
set(D 6;7 8)
set(E "")
foreach(X IN LISTS A B C D E)
message(STATUS "X=${X}")
endforeach()
yields
-- X=0
-- X=1
-- X=2
-- X=3
-- X=4 5
-- X=6
-- X=7
-- X=8


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SLIDING DOORS (1998)
Rating: 3.0 stars (out of 4.0) ******************************** Key to rating system: 2.0 stars - Debatable 2.5 stars - Some people may like it 3.0 stars - I liked it 3.5 stars - I am biased in favor of the movie 4.0 stars - I felt the movie's impact personally or it stood out *********************************
Directed by: Peter Howitt
Written by: Peter Howitt
Starring: Gwyneth Paltrow, John Hannah, John Lynch, Jeanne Tripplehorn
Ingredients: London gal, fate, true love, running joke about Monty Python's Spanish Inquisition
Synopsis: American actress Gwyneth Paltrow with dark hair, playing a Londoner? Believe it.
SLIDING DOORS is a love 'what if' story. The gimmick is that it's really two stories: the film follows the life of Helen (Gwyneth Paltrow) down two directions. In the beginning, likeable gal 'Helen' (Gwyneth Paltrow) gets unexpectedly fired from her advertising job. So she goes into the subway train station meaning to return home early to her apartment and her sleeping live-in lover Gerry (John Lynch).
Helen doesn't know it, but she is at a fateful junction in life: 1) If she enters through the sliding door of a London subway train her life takes one path with one future 2) If she stays on the platform her life takes another path with a different future. The film shows what happens in both paths, switching back and forth between intertwined, parallel stories.
In story one, Helen meets a charming and talkative Monty Python fan named James (John Hannah) on the train.  This leads to a life where Helen moves out. Helen's winsome new friend James helps her recover from a broken heart, and encourages her to start her own business.
In story two, Helen experiences a different fate. She misses the train, never meets James, and doesn't get home early enough to discover Gerry's infidelity. In this new life, Helen takes up odd menial jobs, and faces the constant sneaking suspicion that all is not right with her relationship with Gerry.
Will the truth of the heart finally work its way through a number of problems and setbacks in BOTH scenarios?
Opinion: Rejoice all ye Monty Python fans, Gwyneth Paltrow fans, and watchers of quirky romance flicks. At last here's proof that there's still creativity in 1990s filmmaking.
SLIDING DOORS is refreshingly different from anything this year. Not only is it a well-acted, heartwarming film, but it's also easily Gwyneth Paltrow's best recent performance. When Helen (Paltrow) screams that her unfaithful boyfriend is a 'shagging wanker,' (a British phrase better left untranslated) she sounds like she knows what she's talking about!
Nor does SLIDING DOORS go overboard with formulaic true love or other stereotypes. Nobody scrambles around in danger, screaming, "I will find you no matter what, my darling!" When Helen finds herself on a boat in the starlight with James, she doesn't take the easy way out and leap into his arms, since she's supposed to be recovering from heartache. And handsome live-in boyfriend Gerry isn't the stereotypical screen hunk (either a stud or a snob). Instead he's a nervous and indecisive, almost helpless hunk. Another example: when one of the protagonists lies wounded in a hospital, SLIDING DOORS gives us neither the 'hospital miracle' nor a maudlin tragedy but surprises us with a third variation. In other words, all of the characters seem non-stereotyped, human, and local.
There are minor inconveniences. Since SLIDING DOORS switches back and forth between two possible fates, it's occasionally difficult to distinguish between the two. Distinguishing between the two stories isn't a problem in the scenes containing Paltrow, who sports two different hairstyles. But in scenes containing only Lydia and Gerry, who look the same in both stories, it's slightly confusing. Also, quite a few snappy comebacks referring to American pop culture (Seinfeld, Woody Allen, etc.) are spoken by the British characters. But these seem slightly forced, given that the remaining dialogue is predominantly British slang. Possibly an attempt by the screenwriter to balance the British so that American audiences can feel more comfortable?
SLIDING DOORS is a charming, quirky, original, happy romance with a little 'philosophy of fate' thrown in. MONTY PYTHON AND THE MEANING OF FATE, anybody?
Reviewed April 18, 1998
Copyright © 1998 by David Sunga This review and others like it can be found at THE CRITIC ZOO: http://www.criticzoo.com email<EMAIL_ADDRESS>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


|
Assimp
5.0.1, master @ cd42b955
|
Declares the Assimp and Model 3D file material type relations. More...
Classes | |
| struct | aiMatProp |
Variables | |
| static const aiMatProp | aiProps [] |
| static const aiMatProp | aiTxProps [] |
Declares the Assimp and Model 3D file material type relations.
|
static |
|
static |


AVALON A film review by Mark R. Leeper Copyright 1990 Mark R. Leeper
Capsule review: A loving portrait of a Jewish family in post-World-War-II Baltimore makes AVALON one of Barry Levinson's best films to date. Levinson has a real talent for dialogue and for creating memorable characters. This is a film to be enjoyed more than once. Rating: +3.
Barry Levinson has made such diverse films as THE NATURAL; GOOD MORNING, VIETNAM; and RAIN MAN. But he chronically returns to his native Baltimore to tell the stories of the people he knew when he was growing up. His first film was the excellent DINER. TIN MEN was set in part in the same Baltimore diner, though the story was a cut below his first film. AVALON is a very different Baltimore story and rivals THE NATURAL as Levinson's best work. AVALON follows the fortunes of an immigrant Jewish family in the years following World War II. Central to the story is a grandfather- grandson relationship, very probably based on Levinson's relationship with his own grandfather. The portrait of the family is at once realistic and endearing. This is not so much a story with a single conflict that is resolved in the end, but more a chronicle told in episodes.
As the film opens, we are in the mind and memory of Sam Krichinsky as he is remembering and relating to his grandchildren how he came to the United States in 1914 and settled in the beautiful city of Baltimore. He arrived on July 4th and he is telling the story before dinner on Thanksgiving. As the family history progresses, it returns again and again to what the family was doing on those two holidays. The story is seen very much through the eyes of young Michael Kaye, Sam's grandson. Levinson's Baltimore films all have excellent dialogue which is at the same time believable and surprisingly entertaining. Just simple family chit-chat in Levinson's hands becomes both revealing and endearing.  To keep Jules entertained as he is recovering his cousin buys the family's first television set. This leads to a whole new career of selling first televisions, then appliances at discount. The success brings tragedy--at least as far as Michael is concerned: the family moves to the suburbs. Soon conflicts arise that seem serious to the family, but which clearly seem petty and minor to the viewer.
Armin Mueller-Stahl (who played a suspected Nazi in THE MUSIC BOX) plays the patriarchal Sam Krichinsky. His son Jules is played by Aidan Quinn. And Jules's son Michael is played by Elijah Wood. Elizabeth Perkins and Joan Plowright help to round out the cast in this loving scrapbook of the life of a family. This is certainly one of the most moving and best films this year. I give it a +3 on the -4 to +4 scale.
Mark R. Leeper att!mtgzy!leeper<EMAIL_ADDRESS>.
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


Committing to zroya¶
This page is work in progress.
Changes in C files¶
- Build Python extension from C source.
python setup.py build
Make sure there are no errors.
- Run current tests.
python setup.py test
- Write your own tests when necessary.
- Change documentation. See Changes in documentation section.
- Make stubs
python setup.py stubs
Changes in Python files¶
- Test your changes with existing tests
python setup.py test
- Write your own tests when necessary.
- Change documentation. See Changes in documentation section.
- Make stubs
python setup.py stubs


In the time of this Conrad, that is, in 1025 AD, Count Leopold, as is related in a certain chronicle, fearing the king's anger, fled with his wife to lie low in a cottage on an island. Once, when the Emperor was hunting in that wood with night coming on, it behooved him to seek hospitality in that very cottage. Now the lady of the house was with child, and close to giving birth, she properly, as well as she could, made up a bed and attended to his needs.  In the morning he got up and, calling two attendants and confidential secretaries to him, said: "Go and tear this little boy out of his mother's arms by force, cut him in half and bring his heart to me." They ran off headlong and snatched the boy from his mother's lap. But when they looked at his most attractive form they were moved to pity, and put him in a tree, so he wouldn't be devoured by wild beasts, and, after cutting open a hare, took its heart to the Emperor. On that very day a certain duke was passing through that place and heard the boy squalling and had him fetched and, as he had no son of his own, took him to his wife and got him a wet-nurse. He put out the story that his wife had given birth to him, and called him Henry. And so, after he had grown up, he was gorgeous to look at, well-spoken, and agreeble to everyone. And then the Emperor, seeing such a graceful and skilled young man, asked for him from his father and had him remain in his own court. But when he saw that the lad was gracious to all and commended by everyone, he began to fear that he would reign after him and that he might be the one that he had ordered to be done away with.  And so while the lad was on the road he put up at a certain church to lodge and, exhausted, fell asleep on a bench, with the bag that held the letter hanging down. The priest, led by curiousity, opened the bag and, seeing a letter done up with the king's seal, saved off the seal and opened the letter. On reading it he was aghast at the wickedness and cleverly erasing where it said: "Put him to death," he wrote: "Give this man to our daughter in matrimony." And when the queen saw the letter done up with the imperial seal and recognized that it was written by the emporor's hand, she called the chiefs together and celebrated the wedding and gave her daughter to him in matrimony. And the nuptials were celebrated in Aix-la-Chapelle. Now when the Emporor was told that his daughter's nuptials had been solemnly celebrated, he was astounded, and having ascertained the truth from two squires, a general and a priest, he saw that it would be futile to resist the will of God and so sent for the lad, affirmed him as his son-in-law and set him up to reign after himself. Now in the place where the boy Henry was born a famous monastery was built that is called Ursania up to this day.


Gets the current visitor ID for tracking purpose in the Coveo Usage Analytics service.
Gets suggested queries from the Coveo Usage Analytics service.
Indicates whether there is an Analytics
component in the search page. Returns true
if an
Analytics
component is present, and false
otherwise.
Logs a Click
usage analytics event.
A Click
event corresponds to an item view (e.g., clicking on a ResultLink or opening a
Quickview).
Click
events are immediately sent to the Coveo Usage Analytics service.
Note:
When logging custom
Click
events, you should use theCoveo.logClickEvent
top-level function rather than calling this method directly from the analytics client. See Logging Your Own Search Events.
The cause of the event.
The metadata which you want to use to create custom dimensions. Metadata can contain as many key-value
pairs as you need. Each key must contain only alphanumeric characters and underscores. The Coveo Usage Analytics
service automatically converts uppercase characters to lowercase characters in key names. Each value must be a simple
string. You do not have to pass an IAnalyticsDocumentViewMeta as meta when logging a Click
event. You can
actually send any arbitrary meta. If you do not need to log metadata, you can simply pass an empty JSON ( {}
).
The result that was clicked.
The HTMLElement that the user has clicked in the interface. Default value is the element on which
the Analytics
component is bound.
Logs a Custom
usage analytics event on the service.
You can use Custom
events to create custom reports, or to track events which are neither queries (see
[logSearchEvent
]{@link AnalyticsClient.logSearchEvent} and
[logSearchAsYouType
]{@link AnalyticsClient.logSearchAsYouType}), nor item views (see
[logClickEvent
]{@link AnalyticsClient.logClickEvent}).
Note:
When logging
Custom
events, you should use theCoveo.logClickEvent
top-level function rather than calling this method directly from the analytics client. See Logging Your Own Search Events.
The cause of the event.
The metadata which you want to use to create custom dimensions. Metadata can contain as many key-value
pairs as you need. Each key must contain only alphanumeric characters and underscores. The Coveo Usage Analytics
service automatically converts white spaces to underscores and uppercase characters to lowercase characters in key
names. Each value must be a simple string. If you do not need to log metadata, you can simply pass an empty JSON
( {}
).
The HTMLElement that the user has interacted with for this custom event. Default value is the
element on which the Analytics
component is bound.
The IQueryResult that the custom event is linked to, if any.
Logs a SearchAsYouType
usage analytics event.
This method is very similar to the [logSearchEvent
]{@link AnalyticsClient.logSearchEvent} method, except that
logSearchAsYouType
should, by definition, be called more frequently. Consequently, in order to avoid logging
every single partial query, the PendingSearchAsYouTypeEvent
takes care of logging only the "relevant" last event:
an event that occurs after 5 seconds have elapsed without any event being logged, or an event that occurs after
another part of the interface triggers a search event.
It is important to call this method before executing the query. Otherwise, no SearchAsYouType
event will be
logged, and you will get a warning message in the console.
Note:
When logging custom
SearchAsYouType
events, you should use theCoveo.logSearchAsYouTypeEvent
top-level function rather than calling this method directly from the analytics client. See Logging Your Own Search Events.
The cause of the event.
The metadata which you want to use to create custom dimensions. Metadata can contain as many key-value
pairs as you need. Each key must contain only alphanumeric characters and underscores. The Coveo Usage Analytics
service automatically converts white spaces to underscores and uppercase characters to lowercase characters in key
names. Each value must be a simple string. If you do not need to log metadata, you can simply pass an empty JSON
( {}
).
Logs a Search
usage analytics event.
A Search
event is actually sent to the Coveo Usage Analytics service only after the query successfully returns
(not immediately after calling this method). Therefore, it is important to call this method before executing
the query. Otherwise, the Search
event will not be logged, and you will get a warning message in the console.
Note:
When logging custom
Search
events, you should use theCoveo.logSearchEvent
top-level function rather than calling this method directly from the analytics client. See Logging Your Own Search Events.
The cause of the event.
The metadata you want to use to create custom dimensions. Metadata can contain as many key-value
pairs as you need. Each key must contain only alphanumeric characters and underscores. The Coveo Usage Analytics
service automatically converts white spaces to underscores, and uppercase characters to lowercase characters in key
names. Each value must be a simple string. If you do not need to log metadata, you can simply pass an empty JSON
( {}
).
Sets the Origin Context dimension on the analytic events.
You can use this dimension to specify the context of your application.
Suggested values are Search
, InternalSearch
, or CommunitySearch
.
Default value is Search
.
The origin context value.
The
IAnalyticsClient
interface describes an analytics client that can log events to, or return information from the usage analytics service.See also the
Analytics
component.


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Reactivate and Reconnect
Mary Johnson<EMAIL_ADDRESS>to: Themepixels
12:23 PM (2 hours ago)
Hello, Themepixels Team!
It is a long established fact that a reader will be distracted by the readable content of a page when looking at its layout. The point of using Lorem Ipsum is that it has a more-or-less normal distribution of letters, as opposed to using 'Content here, content here', making it look like readable English.
Many desktop publishing packages and web page editors now use Lorem Ipsum as their default model text, and a search for 'lorem ipsum' will uncover many web sites still in their infancy.
Various versions have evolved over the years, sometimes by accident, sometimes on purpose (injected humour and the like).
Best Regards, Mary Johnson Software Engineer - Themepixels, Inc.
m
Themepixels<EMAIL_ADDRESS>to: Mary Johnson
11:15 AM (3 hours ago)
Hi, Mary Johnson,
Many desktop publishing packages and web page editors now use Lorem Ipsum as their default model text, and a search for 'lorem ipsum' will uncover many web sites still in their infancy.
Reactivate & Reconnect
Exce sint occaecat cupid non proident, sunt in culpa qui.
Tempo ribus autem quibus dam et aut officiis debitis aut rerum.
Neque porro quisquam est, qui dolorem ipsum quia dolor sit amet.
It is a long established fact that a reader will be distracted by the readable content of a page when looking at its layout. The point of using Lorem Ipsum is that it has a more-or-less normal distribution of letters, as opposed to using 'Content here, content here', making it look like readable English.


Jinbo, who’s worked with BTS on multiple albums over the years, talks about their good chemistry and working with them
by lbcJinbo is the man behind the song "여기봐 (Look Here)," "Anpanman," and "Pied-Pier."
He also co-produced J-Hope's recent Single "Chicken Noodle Soup."
He also worked with f(x), SHINee, Red Velvet, and BoA.
In this interview, he shares his story with Jung Kook and Jimin, how their talent and work ethic changed his views on the idol group.
#MINDTHEGVP


| Reading | Lecture Video | Duration | Notes | Online HW (graded) | Textbook HW (ungraded) |
|---|---|---|---|---|---|
| 2.1 | The Tangent and Velocity Problems | 32 | Notes | Section 2.1 | 2.1: 1, 3, 5, 7, 9 |
| 2.2a | The Intuitive Definition of a Limit | 41 | Notes | Section 2.2a | 2.2: 1-23(odd), 29 |
| 2.2b | The Intuitive Definition of an Infinite Limit | 27 | Notes | Section 2.2b | 2.2: 31-43 (odd) |
| Reading | Lecture Video | Duration | Notes | Online HW (graded) | Textbook HW (ungraded) |
|---|---|---|---|---|---|
| 2.3 | Limit Laws | 65 | Notes | Section 2.3 | 2.3: 1-31(odd), 37, 39, 41-49(odd) |
| 2.5a | Continuity | 54 | Notes | Section 2.5a | 2.5: 1-49 (odd) |
| 2.5b | Intermediate Value Theorem | 19 | Notes | Section 2.5b | 2.5: 51-57 (odd) |
| Reading | Lecture Video | Duration | Notes | Online HW (graded) | Textbook HW (ungraded) |
|---|---|---|---|---|---|
| 2.6 | The Intuitive Definition of a Limit at Infinity | 65 | Notes | Section 2.6 | 2.6: 3, 5, 7, 13-51(odd) |
| 2.7 | The Definition of Derivative at a Point | 40 | Notes | Section 2.7 | 2.7: 5, 7, 9, 11, 13, 15, 19, 31-43(odd) |
In this section, we see the formal definition of the derivative as a function and how this relates back to many of the concepts we have already explored earlier in Chapter 2.
Note: For the lecture listed below as “Sketching Derivatives”, you do not need to watch the entire video - rather, you only need to watch at times 5:00-10:00, 14:00-16:00, and 20:00-22:00.
| Reading | Lecture Video | Duration | Notes | Online HW (graded) | Textbook HW (ungraded) |
|---|---|---|---|---|---|
| 2.8a | The Definition of the Derivative | 16 | Notes | Section 2.8a | 2.8: 1-11(odd), 13, 14, 21-31(odd), 41, 43, 49, 53 |
| 2.8a | Differentiability and Continuity | 19 | Notes | ||
| 2.8a | Sketching Derivatives | 9 | Notes | Comment: You only need to watch at times: 5:00-10:00, 14:00-16:00, 20:00-22:00 | |
| 2.8b | The Derivative as a Rate of Change | 25 | Notes | Section 2.8b | 2.8: 35, 37, 39 |
In this section, we investigate all of the derivative rules needed to differentiate polynomials and power functions. Note that we will cover derivatives of exponential functions next week (Section 3.1b).
| Reading | Lecture Video | Duration | Notes | Online HW (graded) | Textbook HW (ungraded) |
|---|---|---|---|---|---|
| 3.1a | The Derivative (Power Rule) | 18 | Notes | Section 3.1a | 3.1: 3-23(odd), 33, 35, 41, 45-55(odd), 59, 61 |
| 3.1a | Some Rules for Differentiation | 25 | Notes | ||
| 3.1a | More About Derivatives | 16 | Notes |
The Exam Registration Form is due on Friday, September 6, 2019 at 11:59pm ET.


05_user_interface.py
To start all the components of this example and interact with the other components
we will create a 05_user_interface.py
, which we can execute cell by cell with interactive python in VSCode or a 05_user_interface.ipynb
jupyter notebook with the same code.
In this script will start all other components and then define a component to enable user input to actively label new data. To play the generated melodies we will use functions from the music_generator.py file which is inspired by https://github.com/kiecodes/generate-music.
First we import all required packages.
import uuid
import socket
from swergio import Client, MESSAGE_TYPE, Trigger
from swergio_toolbox.swarm_control import Swarm
from music_generator import *
We will use the swarm class from the swergio toolbox to simplify the handling of multiple components at once. Of course we can also just start each component one by one by just running the according script.
The swarm class requires a swarm.yaml file, that contains the specification about each component most importantly the path to each script.
Once the YAML is defined we run each component at once by instantiating a swarm object and calling the swarm.start()
method.
swarm = Swarm()
swarm.start()
After all the components are running, we can define our user component that will handle the labelling of new data. We will set up a swergio client with a name and the same information as before and also join the control room.
COMPONENT_NAME = 'user'
PORT = 8080
SERVER = socket.gethostbyname(socket.gethostname())
ADDR = (SERVER, PORT)
FORMAT = 'utf-8'
HEADER_LENGTH = 10
Now let’s define a few settings for playing the generate melody including the key, scale and bpm.
We need to start a pyo server to be able to hear the sound. Then we can create the swergio client and add it to the control room.
num_steps = 1
pauses = True
key = 'C'
scale= 'major'
root = 4
bpm = 128
s = Server().boot()
client = Client(COMPONENT_NAME,SERVER,PORT,FORMAT,HEADER_LENGTH)
client.join_room('control')
For the labeling process we will define a handler that is trigger once the user gets a new message including genomes to label.
We convert the genome to a pyo event and play it. While listening the user can give input about his rating between 0 and 5 for the melody.
Once all examples are labeled we send back the genomes including the ratings as fitness.
def label(msg):
if "GENOMES" in msg.keys():
genomes = msg["GENOMES"]
ratings = []
for genome in genomes:
events = genome_to_events(genome, NUM_BARS, NUM_NOTES, num_steps, pauses, key, scale, root, bpm)
for e in events:
e.play()
s.start()
rating = input("Rating (0-5)")
for e in events:
e.stop()
s.stop()
ratings.append(float(rating))
return {"GENOMES": msg["GENOMES"], "FITNESS": ratings}
client.add_eventHandler(label,MESSAGE_TYPE.DATA.CUSTOM,responseRooms='user',trigger=Trigger(MESSAGE_TYPE.DATA.CUSTOM,'user'))
Finally lets create a function that will send the command to start the evolutionary process.
def start():
msg = {'ROOT_ID':uuid.uuid4().hex,
'ID':uuid.uuid4().hex,
'TYPE': MESSAGE_TYPE.DATA.CUSTOM.id,
'CMD': 'START',
'TO_ROOM': 'control'
}
client.send(msg)
We can now start the generation of music and listen to the messages when we need to provide new labels.
start()
client.listen()
Finally we can stop all the components (Server, ControlModel, Trebuchet and Trainer) all at once with the swarm.stop()
method.
swarm.stop()


CC Text Generator
Press the Left Arrow & Right Arrow to track through the video. Release to pause. Use Up Arrow to start CC text time and Down Arrow to stop CC text time.


LETTERS TO THE EDITOR: End ‘Pay to Slay’ now
by THE WASHINGTON TIMESANALYSIS/OPINION:
The first step toward Middle East peace is to end the hatred. With such strong hatred in the Arab streets, any reasonable leader should think twice before taking a chance.
Consider the fact King Abdullah I of Jordan and Prime Minister Wasfi Tal, also of Jordan, were murdered for just considering peace with Israel. President Anwar Sadat of Egypt was murdered for actually making peace with Israel.
What may surprise Americans is that much of this hatred is government-approved, -sponsored and even -financed. There is no censorship of vile libel or accusations against Israel or the Jews. In addition, school textbooks contain horrible descriptions of Jews and some school plays have heroes who murder Israelis or Jews. This is currently found in nursery and elementary schools in Palestinian-controlled areas.
Lastly, in what is often called “Pay to Slay,” the Palestinian Authority provides ongoing money to the families of terrorists who murdered Israelis and are now in Israeli jails. The amount of money is generally much higher than what Palestinians usually earn. The more people they kill, the more their family receives.
In response to the “Pay to Slay” payments, Congress passed and the president signed the Taylor Force Act. This law is named after an American tourist murdered in Israel. Since the murderer is now in an Israeli jail, the killer’s family continues to receive large monthly payments. The law requires a reduction in American foreign aid to the Palestinian Authority equal to the total amount of money given to the families of murderers.
The determination of the PA to continue these payments is such that they will endure the loss of American funds in order to continue making them. This must stop now.
ARTHUR HORN
Fort Lee, N.J.
Sign up for Daily Opinion Newsletter
Copyright © 2019 The Washington Times, LLC. Click here for reprint permission.
Please read our comment policy before commenting.


Supertypes:
standard-char, base-char, character, t
Description:
A fixed set of 96 characters required to be present in all conforming implementations. Standard characters are defined in Section 2.1.3 (Standard Characters).
Any character that is not simple is not a standard character.
See Also:
Section 2.1.3 (Standard Characters)


Chart showing representatives in the German Parliament. The chart is using the item series type with a semi circle layout. Item charts create a number of items corresponding to the value of each data point.
item


--- layout: page title: "Contact" description: "Have questions? We have answers (maybe)." header-img: "img/contact-bg.jpg" ---
Want to get in touch with us?
You can find us on Twitter:


This image is for a project I did emulating the style of Ansel Adams.
This photo was taken at Cañada Road in Redwood City and then edited in photoshop.
This is another image from my project emulating the style of Ansel Adams.
This photo was taken at Crystal Springs Resevoir in Redwood City and then edited in photoshop.
These are the back and front covers of a menu for an American breakfast style restaurant
called Heartsick Diner.
This is the inside of a menu and it shows the dishes that are offered.
This is a spread from a booklet on greenspaces in Redwood City. These photos
were taken at
Crystal Springs Trail in Redwood City.
This is another spread from a booklet on greenspaces in Redwood City. These photos were taken at
Pulgas Water Temple in Redwood City.
This is a brochure that I designed on the spatula. From the right, there is the cover, the back,
and the inside flap.
I used Illustrator to create an ad for San Francisco Travel Magazine.
This is a portrait of Bruce Springsteen I created using Illustrator.


Hai! Welcome to my profile. Best viewed in Google Chrome, use the tab to the side to navigate through this hell hole.
About me
I was too lazy to put anything here.

A: Yes, Yes I do, and devour their unborn.
Misc.
I <3 Bring me the Horizon. And Bieberz. Asdfghjk. Bonerz.


jQuery 19,909,315 websites vs MooTools 2,083,324 websites.
jQuery 19,909,315 websites vs Prototype 1,216,637 websites.
jQuery 19,909,315 websites vs script.aculo.us 1,008,167 websites.
jQuery is the most popular JavaScript library in use today. – wikipedia.
here is at least 4,830 official jquery plugins on the jquery plugin website!
There is even a a jQuery-based Commodore 64 emulator!
jQuery was originally called "JSelect" (for selecting elements out of the page,
plus it started with JS, which was nice). However the domain name jselect.com
wasn’t available, thus jQuery it was.
The public announcement of jQuery was in January 14, 2006 at BarCamp NewYork.


{% macro macro_highlights(sources_and_name)%} {% for source in sources_and_name %}
{{source.source_description}}


 Your posts are NFTs.
Your content is stored on IPFS, not controlled by a centralized company.
Follows and Likes include crypto micropayments. Get paid for your content.


TopLevelType
public enum TopLevelType: String
An enum of all recognized top-level media types (categories). See: https://www.iana.org/assignments/media-types/media-types.xhtml
-
The top-level type for application, eg.
application/json
Declaration
Swift
case application
-
The top-level type for audio, eg.
audio/mpeg
Declaration
Swift
case audio
-
The top-level type for font, eg.
font/ttf
Declaration
Swift
case font
-
The top-level type for image, eg.
image/jpeg
Declaration
Swift
case image
-
The top-level type for message, eg.
message/global
Declaration
Swift
case message
-
The top-level type for model, eg.
model/vrml
Declaration
Swift
case model
-
The top-level type for multipart, eg.
multipart/form-data
Declaration
Swift
case multipart
-
The top-level type for text, eg.
text/csv
Declaration
Swift
case text
-
The top-level type for video, eg.
video/mp4
Declaration
Swift
case video


--- layout: post title: GrowthHackers Network Analysis Lecture Resources tags: [GrowthHackers, network, lecture] category: Growthhackers.lecture ---


This is a chronological list of the work related books I’ve read. They are about communication, management, agile methodologies, Go, Swift/iOS, Java, Ruby, Javascript and other topics that I am interested in.
2018
- [Fearless change]
- [Getting Things Done]
- Ego is the enemy
- Improving Agile Retrospectives
2017
- Radical Candor: Be a Kick-Ass Boss Without Losing Your Humanity
- Software Estimation: Demystifying the Black Art
- Migrating Legacy Systems: Gateways, Interfaces & the Incremental Approach
2016
- Planning Extreme Programming
- Programming iOS 9: Dive Deep into Views, View Controllers, and Frameworks
- iOS 9 Programming Fundamentals with Swift: Swift, Xcode, and Cocoa Basics
- iOS Programming: The Big Nerd Ranch Guide
- Building Microservices
2015
- Mindset: The New Psychology of Success
- The Springboard: How Storytelling Ignites Action in Knowledge-Era Organizations
- Made to Stick: Why Some Ideas Survive and Others Die
- Object-Oriented Reengineering Patterns
- Waltzing with Bears: Managing Risk on Software Projects
- Good to Great: Why Some Companies Make the Leap…And Others Don’t
- Working Effectively with Legacy Code
- Growing Object-Oriented Software, Guided by Tests
- On Writing Well
2014
- Pair Programming Illuminated
- NoSQL Distilled A Brief Guide to the Emerging World of Polyglot
- Project Retrospectives: A Handbook for Team Reviews
- Agile Retrospectives: Making Good Teams Great
- MongoDB: The Definitive Guide
2013
- An introduction to programming in GO
- Working with Ruby Threads
- Working with Unix processes
- The Tangled Web: A Guide to Securing Modern Web Applications
- Peopleware: Productive Projects and Teams (3rd Edition)
- Practical Object Ordiented design in Ruby
- Domain Driven Design
- Slack: Getting Past Burnout, Busywork, and the Myth of Total Efficiency
2012
2011
- Learning the vi and Vim Editors
- Service Oriented designs with Ruby and Rails
- Pragmatic thinking and learning
2010
- Clean Code
- Adrenaline Junkies and Template Zombies: Understanding Patterns of Project Behavior
- JavaScript: The Good Parts
- 97 Things Every Programmer Should Know: Collective Wisdom from the Experts
- The Rspec book
2009
- Design Patterns in Ruby
- Ruby Cookbook
- Enterprise Rails
- Using memcached
- Everything You Know about CSS Is Wrong!
- Rails rescue handbook
- The Art of Capacity Planning: Scaling Web Resources
- Patterns of Enterprise Application Architecture
2008
- Simply JavaScript
- The Rails Way
- Deploying Rails Applications: A Step-By-Step Guide (Facets of Ruby)
- Enterprise Integration Patterns: Designing, Building, and Deploying Messaging Solutions
- Defensive Design for the Web
- Don’t make me think
2007
- The Principles of Beautiful Web Design
- UML in a nutshell
- Practices of an Agile Developer: Working in the Real World
2006
- Pragmatic Ajax: A Web 2.0 Primer
- Pragmatic Version Control: Using Subversion
- Extreme Programming Explained: Embrace Change (2nd Edition)


Numbers 5:10
And every man's hallowed things shall be his: whatsoever any man giveth the priest, it shall be his.


A Shape object can be constructed with Physics2DDevice.createCircleShape and Physics2DDevice.createPolygonShape.
Constructors for shapes take many common parameters which are listed below
{
sensor : false,
material : mat,
group : 1,
mask : 0xffffffff,
userData : null
}
If true, shape will perform only collision detection, with no contact points generated. The shape will not physically collide.
Default value is false.
The Material object to assign to this shape.
Default value is Physics2DDevice.getDefaultMaterial().
The group bitmask for this shape. Two shapes will interact only if (a.group & b.mask !== 0) && (b.group & a.mask !== 0).
Default value is 1.
The mask bitmask for this shape. Two shapes will interact only if (a.group & b.mask !== 0) && (b.group & a.mask !== 0).
Default value is 0xffffffff.
Field for storing whatever data you wish.
Default value is null.
Summary
Get the group bitmask for this Shape.
Syntax
var group = shape.getGroup();
Summary
Set the group bitmask for this Shape.
Syntax
shape.setGroup(group);
Summary
Set the mask bitmask for this Shape.
Syntax
shape.setMask(mask);
Summary
Get the current Material object assigned to this Shape.
Syntax
var material = shape.getMaterial();
Summary
Set the Material object for this Shape.
Syntax
shape.setMaterial(material);
Summary
Compute the area of this shape in units of squared meters.
Syntax
var area = shape.computeArea();
Summary
Compute the moment of inertia of this shape, without multiplication by the shape mass.
The full moment of inertia for this shape would be computed with shape.getArea() * shape.getMasslessInertia() * shape.getMaterial().getDensity().
Syntax
var masslessInertia = shape.computeMasslessInertia();
Summary
Compute the center of mass for this Shape in local coordinates.
Syntax
var com = shape.computeCenterOfMass();
// or
shape.computeCenterOfMass(com);
Summary
Add a new event listener for this Shape.
Syntax
var success = shape.addEventListener(eventType, handler, mask, isDeterministic);
One of:
A special event type. This event is not deferred until the end of a simulation step, and occurs during collision detection for collision type interactions only once contact points have been computed, but before any physics is performed.
The handler for this event type is permitted only to mutate the Arbiter object it is supplied, and this is the only time such mutation is permitted.
This event is used to set friction and elasticity values on the Arbiter manually, as well as being able to ignore collisions for such things as one-way platforms.
Function to be called when event occurs.
This function is supplied with the Arbiter object for the interaction, and the other Shape involved. The function’s this object will be set as the Shape for which the event was generated.
A bitmask to use to selectively decide what other Shape objects this event should be issued for.
Default value is undefined, which is considered a separate listener instance and semantically has the same behavior as using a mask of 0xffffffff.
This parameter is only for use with preSolve type events.
Default value is false.
This parameter should be set to true if the handler for the preSolve event is a deterministic function.
A handler is deterministic, if its side effects with respect to the Arbiter object are not dependent on any external information. The invocation of this function must have the exact same side effects for the same input.
If a handler is deterministic, then Physics2D will permit rigid bodies which are interacting in a non-persistent state to go to sleep, whereas for a non-deterministic handler this cannot be permitted.
function deterministicHandler(arbiter)
{
var normal = arbiter.getNormal();
if (normal[1] > 0)
{
arbiter.setAcceptedState(false);
}
}
function nonDeterministicHandler(arbiter)
{
if (TurbulenzEngine.time > 1000) // <-- This condition makes handler non-deterministic
{
arbiter.setAcceptedState(false);
}
}
In the first case, Physics2D is permitted to put the objects to sleep as it can never be the case that the Arbiter’s normal will change, and that side effects of the handler will change as a result.
In the second case however, Physics2D is not permitted to put the objects to sleep, as we cannot know when TurblenzEngine.time will pass 1000 and wake up the objects in an automated way.
It is in most cases possible to transform a non-deterministic handler, into a set of deterministic ones in a finite state machine. In this example we could transform the logic into:
function Pre1000Handler(arbiter) { }
function Post1000Handler(arbiter)
{
arbiter.setAcceptedState(false);
}
And use appropriate calls to addEventListener and removeEventListener when TurbulenzEngine.time > 1000 becomes true, noting that both handlers are now trivially deterministic.
If the handler always puts the Arbiter into a persistent state, then the determinism of the handler is no longer important, but it should still be set as a matter of good practice.
This function will fail and return false if the event type was not recognized, or if an existing (handler, mask) pair exists for the given event type. We consider an undefined mask as being separate from it’s semantic equivalent 0xffffffff.
Example:
function spikesOfDoomHandler(arbiter, otherShape)
{
var bodyToRemove = otherShape.body;
bodyToRemove.world.removeRigidBody(bodyToRemove);
}
function oneWayHandler(arbiter, otherShape)
{
// May need to reverse direction of normal.
var flip = (arbiter.shapeA !== this);
// If object is colliding from below, ignore collision
if ((arbiter.getNormal()[1] >= 0) !== flip)
{
arbiter.setAcceptedState(true);
arbiter.setPersistentState(true);
}
}
spikeShape.addEventlistener('begin', spikesOfDoomHandler, PLAYER_GROUP);
platformShape.addEventListener('preSolve', oneWayHandler, undefined, true);
As the begin event is deferred until the end of the simulation step, it is safe to remove rigid bodies from the world. We make use of the fact that this is set to the shape on which the event was defined to choose the player shape which collided with the spikes.
The platform shape is given a preSolve event listener, which based on the direction of the contact normal decides to either continue as though nothing happened, or decide to ignore the collision in a persistent state meaning that the handler will no longer be called, and the interaction will be completely ignored until the objects seperate. We take care to reverse the logic depending on the order of the shapes using the knowledge that the Arbiter normal will always point from shapeA to shapeB.
We use a mask of undefined (could equally use 0xffffffff) so that every object will interact via this handler.
As we do not set a persistent state in all cases, it’s important we define this handler as deterministic (which it is), so that should an object be resting on-top of the platform it will be permitted to go to sleep.
Summary
Remove event listener from this shape.
Syntax
shape.removeEventListener(eventType, handler, mask);
Summary
Apply a scaling transformation to the Shape in the local coordinate system.
Syntax
shape.scale(scaleX, scaleY);
The scaling in y-axis direction, this parameter is ignored for Circle shapes.
If unspecified, is given the value of scaleX parameter.
This method will fail if used on a shape belonging to a static type RigidBody which is inside of a World.
Summary
Apply a translation transformation to the Shape in the local coordinate system.
Syntax
shape.translate(translation);
This method will fail if used on a shape belonging to a static type RigidBody which is inside of a World.
Summary
Apply a rotation transformation to the Shape in the local coordinate system.
Syntax
shape.rotate(clockwiseRadians);
This method will fail if used on a shape belonging to a static type RigidBody which is inside of a World.
Summary
Apply a general 2D transformation matrix to the Shape in the local coordinate system.
Syntax
shape.transform(matrix);
The 2x3 transformation matrix (row-major order) to transform Shape by.
This matrix must not be singular, and for Circles should be such that any circle is transformed into any other circle (No non-equal scaling, or shearing). Circle radius is transformed by querying the determinant of the matrix so that this method will not fail when supplied with an ill-formed matrix.
This method will fail if used on a shape belonging to a static type RigidBody which is inside of a World.
Summary
Get the locally defined origin for Circle shape.
Syntax
var origin = circle.getOrigin();
// or
circle.getOrigin(origin);
Note
This method exists only for Circle shapes.
Summary
Set the locally defined origin for Circle shape.
This method is ignored should this Circle be part of a static body which is inside of a World, or if part of a body that is inside of a world and we are in the middle of a world step.
Syntax
var origin = circle.getOrigin();
// or
circle.getOrigin(origin);
Note
This method exists only for Circle shapes.
Summary
Get the radius for Circle shape.
Syntax
var radius = circle.getRadius();
Note
This method exists only for Circle shapes.
Summary
Set the radius of the Circle shapes.
This method is ignored should this Circle be part of a static body which is inside of a World, or if part of a body that is inside of a world and we are in the middle of a world step.
Syntax
circle.setRadius(radius);
Note
This method exists only for Circle shapes.
Summary
Set the vertices of the Polygon shape.
This method is ignored should this Polygon be part of a static body which is inside of a World, or if part of a body that is inside of a world and we are in the middle of a world step.
This method is most efficient when the number of vertices is unchanged.
Syntax
polygon.setVertices(newVertexList);
Note
This method exists only for Polygon shapes.
A string identifying the type of this Shape object, one of:
Note
Read Only
A field for any data you wish to store on this Shape.


Class Authentication
Akamai {OPEN} EdgeGrid Request Signer
Namespace: Akamai\Open\EdgeGrid
Package: \Akamai\Open\EdgeGrid\Authentication
Located at Authentication.php
Package: \Akamai\Open\EdgeGrid\Authentication
Located at Authentication.php
Methods summary
public
string
|
|
public
|
|
public
string
|
|
public
|
|
public
string
|
|
public
|
|
public
array
|
|
public
|
|
public
string|array
|
|
public
|
|
public
string
|
|
public
|
|
public
array
|
|
public
|
|
public
string
|
|
public
|
#
setTimestamp(
Set signing timestamp |
public
|
|
public
|
|
public
|
|
public
|
|
public static
|
#
createInstance( string $section = 'default', null $path = null )
Create instance using environment (prefered) or .edgerc file (fallback) automatically. |
public static
|
|
public static
|
#
createFromEdgeRcFile( string $section = 'default', string|null $path = null )
Create instance using an .edgerc configuration file |
protected
string
|
|
protected
string
|
|
protected
string
|
|
protected
string
|
|
protected
string
|
|
protected
string
|
|
protected
string
|
#
signRequest( string $auth_header )
Returns a signature of the given request, timestamp and auth_header |
protected static
array
|
|
protected
string
|
Properties summary
protected
array
|
$auth
Authentication tokens |
|
protected
string
|
$httpMethod
HTTP method |
|
protected
string
|
$host
HTTP host |
|
protected
array
|
$config
Guzzle config |
#
array()
|
protected
string
|
$path
Request path |
|
protected
|
$timestamp
Request timestamp |
|
protected
|
$nonce
Request nonce |
|
protected
integer
|
$max_body_size
Maximum body size for signing |
#
131072
|
protected
array
|
$headers_to_sign
A list of headers to be included in the signature |
#
array()
|


Heading and Text Test
Headings
- Headings create the document outline
- Headings levels should not ever be chosen for how they look
- Headings always go in order when decending. For example, H4 should never follow an H2. H4 comes after H3 or other H4 elements.
- Only use one H1 per page even though HTML 5 spec says you can use more.
- Headings should rarely come one after the other with no other content between them
Examples of Proper Heading Order
Are Visual Headings Semantic?
This is an example of H2 Text
This is an example of H3 Text
This is an example of H4 Text
This is an example of H5 Text
This is an example of H6 Text
This is an example of H2 Text
This is an example of H3 Text
This is an example of H4 Text
This is an example of H5 Text
This is an example of H6 Text
Examples of Heading Errors
This is an example of H4 Text
This is an example of H3 Text
This is an example of H6 Text
This is an example of H5 Text


HTML5 Boilerplate is a professional front-end template for building fast, robust, and adaptable web apps or sites.
Sleek, intuitive, and powerful mobile first front-end framework for faster and easier web development.
Web Component polyfills for Custom Elements, HTML Imports, Templates and ShadowDOM.
A new type of library for the web, built on top of Web Components, and designed to leverage the evolving web platform on modern browsers.
You now have


{{ owner_name }} has given you access to {{ dataset }}. Click here to view it. Or, use this url: {{ url }}


{% extends "base.html" %} {% load static stats_tags %} {% block title %}Game: {{ object.datetime|date }}{% endblock %} {% block content %}
| Player | Kills | Assists | Deaths | MVP | Points |
|---|---|---|---|---|---|
| {{ player.player.username }} | {{ player.kills }} | {{ player.assists }} | {{ player.deaths }} | {{ player.mvps }} | {{ player.points }} |


Search
for anything
…
/
Search
Popular
Alternative Schemas
Query string parameters
Integrations
Organize Contacts with Tags
Actions
Contact support
Submit feedback
Support
Switch to light / dark version
Menu
[[body|unescape]]


TIMESTAMPTZ_CMP_DATE Function
TIMESTAMPTZ_CMP_DATE compares the value of a time stamp and a date. If the time stamp and date values are identical, the function returns 0. If the time stamp is greater alphabetically, the function returns 1. If the date is greater, the function returns –1.
Syntax
TIMESTAMPTZ_CMP_DATE(timestamptz, date)
Arguments
- timestamptz
-
A TIMESTAMPTZ column or an expression that implicitly converts to a time stamp with a time zone.
- date
-
A date column or an expression that implicitly converts to a date.
Return Type
INTEGER


Before Change
n_next_filters = next_layer.filters
teacher_w1 = pre_layer.get_weights()[0]
teacher_w2 = next_layer.get_weights()[0]
teacher_b1 = pre_layer.get_weights()[1]
teacher_b2 = next_layer.get_weights()[1]
rand = np.random.randint(n_pre_filters, size=n_add_filters)
After Change
for next_layer in next_layer_list:
next_filter_shape = next_layer.kernel_size
n_next_filters = next_layer.filters
teacher_w2, teacher_b2 = next_layer.get_weights()
student_w2 = teacher_w2.copy()
for i in range(len(rand)):
teacher_index = rand[i]


$('button').click(function() {
// First let's show our loading message to tell the user what is happening.
$('#message').html('Making request...');
// Now we make a GET request but we tell it to make sure 500 milliseconds
// pass before the sucess function is invoked.
$.getWithTimeout(500, 'http://tomcoote.co.uk', {}, function() {
// This is then called no sooner than 500 milliseconds but possibly
// longer, if the request took longer to return, giving time for the user
// to read our message!
$('#message').html('Success!');
});
});


Sampling from a Sample¶
The samplers module contains a set of functions for generating samples from a random i.i.d sample. The output random variates should have similar distribution to the input sample.
The aim is different from bootstrapping, where we resample from the same values. Here, we will obtain from a smoother distribution.
The basic problem is this: We are given an i.i.d sample X_1, X_2, .., X_n from a density f. We wish to generate Y_1, Y_2, …, Y_m from the same unknown density. This is a difficult problem, but some progress is possible.
A good, detailed exposition of the methods implemented here can be found in [DEV1986].
These are the functions that are present in this module:
- rand_bartlett():
Generate random variates from Bartlett kernel. (Helper)
- rand_from_density():
Generate new sample from a kernel density estimate.
- rand_from_hist():
Generate a new sample from a histogram estimate.
- rand_from_Finv():
Generate a new sample from an estimate of F-inverse.
- DEV1986
Sample-based Non-uniform Random Variate Generation, Luc Devroye (1986)


Press n or j to go to the next uncovered block, b, p or k for the previous block.
| File | Statements | Branches | Functions | Lines | |||||
|---|---|---|---|---|---|---|---|---|---|
| alert.js | 100% | 51/51 | 90.48% | 19/21 | 100% | 14/14 | 100% | 51/51 | |
| button.js | 98.36% | 60/61 | 97.3% | 36/37 | 100% | 10/10 | 98.36% | 60/61 | |
| carousel.js | 97.63% | 247/253 | 93.24% | 138/148 | 95.35% | 41/43 | 98.37% | 241/245 | |
| collapse.js | 97.09% | 167/172 | 96.67% | 87/90 | 96.3% | 26/27 | 97.08% | 166/171 | |
| dropdown.js | 95.38% | 186/195 | 90% | 117/130 | 93.1% | 27/29 | 95.38% | 186/195 | |
| modal.js | 96.47% | 246/255 | 90% | 108/120 | 95.74% | 45/47 | 96.43% | 243/252 | |
| popover.js | 100% | 50/50 | 95.65% | 22/23 | 100% | 17/17 | 100% | 49/49 | |
| scrollspy.js | 95.04% | 115/121 | 82.76% | 48/58 | 89.66% | 26/29 | 95% | 114/120 | |
| tab.js | 93.67% | 74/79 | 93.33% | 56/60 | 92.31% | 12/13 | 93.59% | 73/78 | |
| toast.js | 100% | 76/76 | 96.55% | 28/29 | 100% | 16/16 | 100% | 76/76 | |
| tooltip.js | 95.39% | 290/304 | 89.01% | 162/182 | 98.21% | 55/56 | 95.39% | 290/304 |


You're now entering my space.
Hello! My name is Sunny and I was born and raised in Washington state. Although I have made mutliple attempts to leave, life always brought me back.
My very first attempt to leave the state, began when I was given my first opportunity to leave the state - that was... turning 18. My ticket was the U.S. Navy. The Navy has brought me all sorts of opportunity, but leaving Washington was not one of them. After bootcamp and "A" school (a technical school) I was given a list of options to choose orders for. As I was at the top of my class, I was given the opportunity to choose first. Among the choices were:
I chose everything except for Oak Harbor, Washington. But life just said no. I eneded up being stationed in Oak Harbor, Washington. As I exited the service and remained in Washington, I realized the beauty of being home. I now love Washington.
As I mentioned, I joined the U.S. Navy and part of the reason for that was because I did not want to attend college. Little did I know, the Navy will force you to study and I probably ended up studying more than I would have in college. I later understood the importance of an education and decided to further my education past highschool.
Although I have a good history of working as a mechanic with different types of aircraft, this is not my passion. I love technology and telling computers what to do. Therefore my goal is to surround myself with technology through a career change into software developement. My goals going further is to become a valuable asset within the software developer community.
Everyday I think about health and fitness. I workout everyday with 1 rest day and it is mostly weight training with a dabble of cardio. This is my current diet plan
Meal 1: 1.5 scoop of protein (45g), 1/2 cup of oatmeal, 1/2 cup of fruits
Meal 2 Snack: 1.5 scoop of protein (45g), 1 banana
Meal 3: Salmon (7g), 1/2 cup rice, 1/2 cup veggies
Meal 4 Snack: 1.5 scoop of protein(45g), 1/2 cup of fruits
Meal 5: Salmon (7g), 1/2 cup carbs, 1/2 cup veggies
Outside of healthy foods, I love supplements. Rest assured, nothing is illegal.


Fly with Taylor Today! Anywhere within the Tri State Area for an affordable price
Louis Pasteur
12:20
17:23
Prime
23A
A3920


|
GamePlayer
0.1.0
A game player for two-player perfect information games, implemented using a min-max game tree
|
A dictionary of game state values indexed by the state fingerprints. More...
#include <GamePlayer/TranspositionTable.h>
Public Types | |
| using | CheckResult = std::pair< float, int > |
| Result type returned by check(). More... | |
Public Member Functions | |
| TranspositionTable (size_t indexSize, int maxAge) | |
| Constructor. More... | |
| std::optional< CheckResult > | check (uint64_t fingerprint) const |
| Returns the stored value and quality of the given state. More... | |
| std::optional< CheckResult > | check (uint64_t fingerprint, int minQ) const |
| Returns the stored value and quality of the given state. More... | |
| void | update (uint64_t fingerprint, float value, int quality) |
| Stores a value in the table if the quality of its value is higher. More... | |
| void | set (uint64_t fingerprint, float value, int quality) |
| Stores a value in the table regardless of the quality. More... | |
| void | age () |
| Bumps the ages of table entries so that they can eventually be replaced by newer entries. More... | |
A dictionary of game state values indexed by the state fingerprints.
A game state can be the result of different sequences of the same (or a different) set of moves. This technique is used to cache the value of a game state regardless of the moves used to reach it, thus the name "transposition" table. The purpose of the "transposition" table has been extended to become simply a cache of game state values, so it is more aptly named "game state value cache" – but the old name persists.
As a speed and memory optimization in this implementation, slots in the table are not unique to the state being stored, and a value may be overwritten when a new value is added. A value is overwritten only when its "quality" is less than or equal to the "quality" of the value being added.
| using GamePlayer::TranspositionTable::CheckResult = std::pair<float, int> |
Result type returned by check().
| _0 | value of the state |
| _1 | quality of the returned value |
| GamePlayer::TranspositionTable::TranspositionTable | ( | size_t | size, |
| int | maxAge | ||
| ) |
Constructor.
| size | Number of entries in the table |
| maxAge | Maximum age of entries allowed in the table |
| void GamePlayer::TranspositionTable::age | ( | ) |
Bumps the ages of table entries so that they can eventually be replaced by newer entries.
The T-table is persistent.
So in order to gradually dispose of entries that are no longer relevant, entries that have not been referenced for a while are removed.
| std::optional< TranspositionTable::CheckResult > GamePlayer::TranspositionTable::check | ( | uint64_t | fingerprint | ) | const |
Returns the stored value and quality of the given state.
This function returns the value of a state if the value is stored in the table.
Otherwise, false is returned and the return values are not modified.
| fingerprint | Fingerprint of state to be checked for |
| std::optional< TranspositionTable::CheckResult > GamePlayer::TranspositionTable::check | ( | uint64_t | fingerprint, |
| int | minQ | ||
| ) | const |
Returns the stored value and quality of the given state.
This function returns the value of a state if the value is stored in the table and its quality is above the specified minimum.
Otherwise, nothing is returned.
| fingerprint | Fingerprint of state to be checked for |
| minQ | Minimum quality |
| void GamePlayer::TranspositionTable::set | ( | uint64_t | fingerprint, |
| float | value, | ||
| int | quality | ||
| ) |
Stores a value in the table regardless of the quality.
| fingerprint | Fingerprint of state to be stored |
| value | Value to be stored |
| quality | Quality of the value |
| void GamePlayer::TranspositionTable::update | ( | uint64_t | fingerprint, |
| float | value, | ||
| int | quality | ||
| ) |
Stores a value in the table if the quality of its value is higher.
| fingerprint | Fingerprint of state to be stored |
| value | Value to be stored |
| quality | Quality of the value |


Original presentation from GitHub tessalt/GLC-HTML-CSS
Author:Tessa Thornton<EMAIL_ADDRESS>Edits for Georgia Tech ICE - Intro to Web Design by Barbara Fox
How do you think web sites are made?
Code is how we tell computers what to do. There are lots of different languages of code, but they all translate your goals and ideas into information that computers understand
Web sites are made up of a language called HTML

This is a paragraph

Here's a really simple web page:
This line of HTML code tells the browser that the words inside the two tags are a paragraph
The combination of an opening tag, a closing tag, and the content between them makes up what we call an element
Elements are the building-blocks of web pages
There are lots of different kinds of elements, some tell the browser about text elements like paragraphs, lists and headings.
Other elements are for different parts of web pages, like links and images
Headings are important text that you want your readers to pay attention to
There are 6 kinds of heading tags in HTML

,
,
,
,
, and

is the most important (biggest) heading

is the least important (smallest) heading
You don't have to use all the headings (you might only use h1 and h2)
But you have to use them in order (h1 comes first!)
Find a project called "Movie Poster #movieposter". Click on this project.
Click the "Remix" button in the top right of the project page.

tags, and the parts between the two
tags.
tags is invisible on the webpage, the head is just where we tell the browser information about our page, like the title
is where all our content goes, that's the part that shows up on our page
The Sunset

Just when you thought it was safe to go outside

tags to a new subtitle

a
Google
Google

has an attribute that tells the browser that when someone clicks on the link, they should go to the address google.comGoogle Review
Images are like hyperlinks because they also use an attribute to tell the browser a web address

Instead of an href
attribute, an image has a src
attribute, which tells the browser the source of the image
The source of the image tells the browser where to look for the picture. The browser then goes and gets the image from the source you tell it, and displays it in the web page.
img
.
src
attribute.img
(i.e. there is no
)Remember, most HTML tags come in pairs (Except
), so whenever you delete or change something, make sure you've found both parts of the pair.

tag

) are nested inside unordered lists (

)

First list item!

Second list item!

You can make plain-looking documents like Wikipedia using only HTML
But if you want to make something more fancy-looking, you need to do CSS to tell the browser what the elements should look like
Writing CSS is like writing rules
A CSS rule looks like this:
p {
color: red;
}
Each CSS rule is made up of a selector and one or more properties
A property is the name of the thing you want to control. Each property has a value that you can change.
In this example, p
is the selector, color
is the property, and red
is the value.
CSS goes in between