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If you'd like to order a pizza, please select "Create Pizza" and pick your size and toppings.
Pick your pizza size:
Pick your pizza style:
Proceed to Order Pizza to confirm and enter your payment information
Thank you for ordering a quality pizza from Pizza'Us!! Our drivers will have a piping hot pizza right at your door in 25 minutes or less, or your pizzas free! Enjoy!!!


@(playerName : String, crewMembers : String, kittenImg : String, crew : Array[String])
You should have known if it was that easy someone would have done it already.
Your ship is hit by an iceberg.
You and your crew fall into the sea and are attacked by giant coelacanths.
Lucky for you a passing catfish chases away the coelacanths.
You are all able to swim to the shore of a frozen island where you find nothing to eat but lettuce.
Years later you are rescued by a ship named Titanic on its way to the New World.
The end. @playerName
@crewMembers
@member
}


scrawler v0.0.1 Scrawler.Router.Helpers
Module with named helpers generated from Scrawler.Router.
Summary
Functions
Generates the path information including any necessary prefix
Generates path to a static asset given its file path
Generates url to a static asset given its file path
Generates the connection/endpoint base URL without any path information


|
KratosMultiphysics
KRATOS Multiphysics (Kratos) is a framework for building parallel, multi-disciplinary simulation software, aiming at modularity, extensibility, and high performance. Kratos is written in C++, and counts with an extensive Python interface.
|
Short class definition. More...
#include <plane_bounding_box.hpp>
Classes | |
| struct | PlaneVariables |
Public Types | |
| typedef array_1d< double, 3 > | PointType |
| typedef ModelPart::NodeType | NodeType |
| typedef ModelPart::NodesContainerType | NodesContainerType |
| typedef NodesContainerType::Pointer | NodesContainerTypePointer |
| typedef Quaternion< double > | QuaternionType |
| typedef ModelPart::ElementType | ElementType |
| typedef ElementType::GeometryType | GeometryType |
Public Member Functions | |
Type Definitions | |
| KRATOS_CLASS_POINTER_DEFINITION (PlaneBoundingBox) | |
| Pointer definition of PlaneBoundingBox. More... | |
Life Cycle | |
| PlaneBoundingBox () | |
| Default constructor. More... | |
| PlaneBoundingBox (Parameters CustomParameters) | |
| PlaneBoundingBox (PointType Point, PointType Normal, PointType Velocity, int Convexity) | |
| PlaneBoundingBox & | operator= (PlaneBoundingBox const &rOther) |
| Assignment operator. More... | |
| PlaneBoundingBox (PlaneBoundingBox const &rOther) | |
| Copy constructor. More... | |
| virtual | ~PlaneBoundingBox () |
| Destructor. More... | |
Operations | |
| void | UpdateBoxPosition (const double &rCurrentTime) override |
| bool | IsInside (const PointType &rPoint, double &rCurrentTime, double Radius=0) override |
| bool | IsInside (BoundingBoxParameters &rValues, const ProcessInfo &rCurrentProcessInfo) override |
| virtual void | GetParametricDirections (BoundingBoxParameters &rValues, Vector &rT1, Vector &rT2) override |
| void | CreateBoundingBoxBoundaryMesh (ModelPart &rModelPart, int linear_partitions=4, int angular_partitions=4) override |
Input and output | |
| virtual std::string | Info () const override |
| Turn back information as a string. More... | |
| virtual void | PrintInfo (std::ostream &rOStream) const override |
| Print information about this object. More... | |
| virtual void | PrintData (std::ostream &rOStream) const override |
| Print object's data. More... | |
Protected Member Functions | |
Protected Operations | |
| void | CreateLinearBoundaryMesh (ModelPart &rModelPart, const unsigned int &rInitialNodeId) |
| void | CreateQuadrilateralBoundaryMesh (ModelPart &rModelPart, const unsigned int &rInitialNodeId) |
Protected Attributes | |
Protected member Variables | |
| PlaneVariables | mPlane |
Short class definition.
Detail class definition.
This Box represents a 2D wall composed by plane
A convexity parameter is given to determine which side of each nose is considered the internal or external boundary
This bounding box is essentially used for rigid wall contact purposes
| typedef ModelPart::ElementType Kratos::PlaneBoundingBox::ElementType |
| typedef ModelPart::NodesContainerType Kratos::PlaneBoundingBox::NodesContainerType |
| typedef NodesContainerType::Pointer Kratos::PlaneBoundingBox::NodesContainerTypePointer |
| typedef ModelPart::NodeType Kratos::PlaneBoundingBox::NodeType |
| typedef array_1d<double, 3> Kratos::PlaneBoundingBox::PointType |
|
inline |
Default constructor.
|
inline |
|
inline |
|
inline |
Copy constructor.
|
inlinevirtual |
Destructor.
|
inlineoverride |
|
inlineprotected |
|
inlineprotected |
|
inlineoverridevirtual |
|
inlineoverridevirtual |
Turn back information as a string.
|
inlineoverride |
|
inlineoverride |
| Kratos::PlaneBoundingBox::KRATOS_CLASS_POINTER_DEFINITION | ( | PlaneBoundingBox | ) |
Pointer definition of PlaneBoundingBox.
|
inline |
Assignment operator.
|
inlineoverridevirtual |
Print object's data.
|
inlineoverridevirtual |
Print information about this object.
|
inlineoverride |
|
protected |


Priest Manuel:
The power that you pursue and the power that I hold are different in their very source. I suggest that you look for another Master.


karan@poweredge:~$ mkdir projects
Hello World
This page shows the basic steps required to create, build, and run an EJB and EJB client in its most minimum form. It does not hide steps or rely on special build tools or IDEs and is about the most stripped down you can get.
See the Examples page for a full list of examples
that range from [@Stateles
|Simple Stateless Example] and
[@Stateful|Simple Stateful Example] beans, to [Dependency
Injection|Injection of env-entry Example] , JDBC [DataSources|Injection
of DataSource Example] , JPA [EntityManagers|Injection of EntityManager
Example] and more.
A basic EJB example
Here are some basic steps you need to perform to get started with OpenEJB
-
Download and install OpenEJB
-
Setup your development environment
-
Write an EJB
-
Write an EJB client
-
Start the server
-
Deploy the EJB
-
Run the client
-
Stop the server
Download and install OpenEJB
This example pertains to OpenEJB 3.0 which can be downloaded here . Once you have downloaded OpenEJB, you can then simply extract the contents of the downloaded file to whichever directory you want to install OpenEJB in.
After extracting the file contents, you should now see a directory named openejb-3.0. If you look under this directory, you will find a few more directories: - bin: Contains commands to start/stop the server (You can also do a lot of other stuff like deploy/undeploy, but we will just talk about things needed to get you started) - lib: Contains several jar files (you only need of few of these jars in your classpath to do EJB development) - apps: Once you create your EJB’s and jar them up, you can place your jar file in this directory and start the server. The server will automatically deploy all the EJB’s contained in this JAR. - conf: This directory contains all the configuration files. Although you may not see any file except for a README.txt file right now, but after you start the server, the required configuration files will be automatically created. It is highly recommeded to read the README.txt file under this directory - logs: Contains log files.
 # Install Java Download and install Java (version 5 or higher). Also set it up so that you can run the java and javac commands from any directory # Set OPENEJB_HOME We will setup this variable to refer to the openejb install location.
karan@poweredge:~/projects$ export
OPENEJB_HOME=/home/karan/install/openejb-3.0
Write an EJB Whatever files you create should be placed under the
projects directory # Create the Remote Interface Using your favorite editor, create a file named Hello.java (shown below)
package org.acme;
import javax.ejb.Remote;
@Remote
public interface Hello{
public String sayHello();
}
Create the Bean Class Now create a file named HelloBean.java (shown
below)
package org.acme;
import javax.ejb.Stateless;
@Stateless
public class HelloBean implements Hello{
public String sayHello(){
return "Hello World!!!!";
}
}
Compile the source code Since we have imported the
javax.ejb.Stateless and javax.ejb.Remote annotations, we need these in our classpath to compile our source code. These annotations can be found in the $OPENEJB_HOME/lib/javaee-5.0-1.jar. Lets compile our source (make sure you are in the projects directory)
karan@poweredge:~/projects$ javac -cp $OPENEJB_HOME/lib/javaee-5.0-1.jar -d
-
*.java
The above will compile all the .java files and also create the required packages. You should now see a package named org under the projects directory. All class files should be under org/acme directory. # Package the EJB To package the EJB into a JAR, run the following command while you are in the projects directory
karan@poweredge:~/projects$ jar cvf hello.jar org
The above command will package everything under the org directory (including the org directory itself) into a jar file named hello.jar. Below is the output from running the above command:
karan@poweredge:~/projects$ jar cvf hello.jar org
added manifest
adding: org/(in = 0) (out= 0)(stored 0%)
adding: org/acme/(in = 0) (out= 0)(stored 0%)
adding: org/acme/Hello.class(in = 203) (out= 168)(deflated 17%)
adding: org/acme/HelloBean.class(in = 383) (out= 275)(deflated 28%)
Write an EJB Client Now we will write a Client class which will
lookup the EJB , invoke the sayHello() business method and print the value returned from the method. While you are in the projects directory, create a new file named HelloClient.java . Add the following to this file:
package org.acme;
import java.util.Properties;
import javax.naming.InitialContext;
import javax.naming.Context;
import javax.rmi.PortableRemoteObject;
public class HelloClient{
public static void main(String[]
args) throws Exception\{ Properties props = new Properties();
props.put(Context.INITIAL_CONTEXT_FACTORY,"org.apache.openejb.client.RemoteInitialContextFactory"); props.put(Context.PROVIDER_URL,"ejbd://<IP_ADDRESS>:4201"); Context ctx = new InitialContext(props); Object ref = ctx.lookup("HelloBeanRemote"); Hello h = (Hello)PortableRemoteObject.narrow(ref,Hello.class); String result = h.sayHello(); System.out.println(result); } }
Compile HelloClient.java Run the following command:
karan@poweredge:~/projects$ javac -d . HelloClient.java
Start the Server Go to the OpenEJB install directory (i.e.
OPENEJB_HOME) and run the following command:
karan@poweredge:~/install/openejb-3.0$ bin/openejb start
Once the Server starts, you will see an output similar to the below in your console:
karan@poweredge:~/install/openejb-3.0$ bin/openejb start
Apache OpenEJB 3.0 build: 20070926-12:34
http://tomee.apache.org/
OpenEJB ready.
[OPENEJB:init]
OpenEJB Remote Server Starting Services NAME IP PORT
httpejbd <IP_ADDRESS> 4204
telnet <IP_ADDRESS> 4202
ejbd <IP_ADDRESS> 4201
hsql <IP_ADDRESS> 9001
admin thread <IP_ADDRESS> 4200
------- Ready!
Take out a minute to browse through the conf and logs directories. You should now see some configuration and log files under the respective directories. ## Deploy the EJB We will now use the deploy command to deploy the EJB in hello.jar. While you are in the projects directory, run the following command:
karan@poweredge:~/projects$ $OPENEJB_HOME/bin/openejb deploy hello.jar
The above command should give you the following output:
karan@poweredge:~/projects$ $OPENEJB_HOME/bin/openejb deploy hello.jar
Application deployed successfully at "hello.jar"
App(id=/home/karan/projects/hello.jar)
EjbJar(id=hello.jar, path=/home/karan/projects/hello.jar)
Ejb(ejb-name=HelloBean, id=HelloBean)
Jndi(name=HelloBeanRemote)
Notice how the output neatly lays out various deployment details. One thing you might want to note from the output is the JNDI name. This is the JNDI name we used in the client to lookup the EJB ## Run the Client While you are in the projects directory, run the following command to run the client:
karan@poweredge:~/projects$ java -cp
\($OPENEJB_HOME/lib/openejb-client-3.0.jar:$\)OPENEJB_HOME/lib/javaee-5.0-1.jar:. org.acme.HelloClient
The above should give you the following output:
Hello World!!!!
Help! , it didn’t work for me!!. No problem, we are here to help.
Just send us an email at<EMAIL_ADDRESS>If possible, send us the contents of logs/openejb.log file in the email.
Looking for more?
More EJB 3.0 examples, sample applications, tutorials and howtos available here .


| Top |
A GdkFrameTimings object holds timing information for a single frame
of the application’s displays. To retrieve GdkFrameTimings objects,
use gdk_frame_clock_get_timings()
or gdk_frame_clock_get_current_timings()
.
The information in GdkFrameTimings is useful for precise synchronization
of video with the event or audio streams, and for measuring
quality metrics for the application’s display, such as latency and jitter.
GdkFrameTimings *
gdk_frame_timings_ref (GdkFrameTimings *timings
);
Increases the reference count of timings
.
Since: 3.8
void
gdk_frame_timings_unref (GdkFrameTimings *timings
);
Decreases the reference count of timings
. If timings
is no longer referenced, it will be freed.
Since: 3.8
gint64
gdk_frame_timings_get_frame_counter (GdkFrameTimings *timings
);
Gets the frame counter value of the GdkFrameClock when this this frame was drawn.
Since: 3.8
gboolean
gdk_frame_timings_get_complete (GdkFrameTimings *timings
);
The timing information in a GdkFrameTimings is filled in
incrementally as the frame as drawn and passed off to the
window system for processing and display to the user. The
accessor functions for GdkFrameTimings can return 0 to
indicate an unavailable value for two reasons: either because
the information is not yet available, or because it isn't
available at all. Once gdk_frame_timings_get_complete()
returns
TRUE
for a frame, you can be certain that no further values
will become available and be stored in the GdkFrameTimings.
Since: 3.8
gint64
gdk_frame_timings_get_frame_time (GdkFrameTimings *timings
);
Returns the frame time for the frame. This is the time value
that is typically used to time animations for the frame. See
gdk_frame_clock_get_frame_time()
.
gint64
gdk_frame_timings_get_presentation_time
(GdkFrameTimings *timings
);
Reurns the presentation time. This is the time at which the frame became visible to the user.
the time the frame was displayed to the user, in the
timescale of g_get_monotonic_time()
, or 0 if no presentation
time is available. See gdk_frame_timings_get_complete()
Since: 3.8
gint64
gdk_frame_timings_get_refresh_interval
(GdkFrameTimings *timings
);
Gets the natural interval between presentation times for the display that this frame was displayed on. Frame presentation usually happens during the “vertical blanking interval”.
the refresh interval of the display, in microseconds,
or 0 if the refresh interval is not available.
See gdk_frame_timings_get_complete()
.
Since: 3.8
gint64
gdk_frame_timings_get_predicted_presentation_time
(GdkFrameTimings *timings
);
Gets the predicted time at which this frame will be displayed. Although
no predicted time may be available, if one is available, it will
be available while the frame is being generated, in contrast to
gdk_frame_timings_get_presentation_time()
, which is only available
after the frame has been presented. In general, if you are simply
animating, you should use gdk_frame_clock_get_frame_time()
rather
than this function, but this function is useful for applications
that want exact control over latency. For example, a movie player
may want this information for Audio/Video synchronization.
The predicted time at which the frame will be presented,
in the timescale of g_get_monotonic_time()
, or 0 if no predicted
presentation time is available.
Since: 3.8


--- layout: blog section-type: blog title: Joel Clark Custom Knives sitemap: priority: 2.0 ---
Joel Clark Custom Knives offer custom, handmade, knives, complete with custom sheathes at an affordable price.
This site offers a responsive, mobile friendly layout, front page slider with captions, contact form, and image gallery.


run(from = NULL, to = NULL, verbose = FALSE, remember_flag = TRUE, mode = self$.mode, normalized = FALSE, .depth = 1, ...)
stageRunner$new(context, list(stage_one = some_fn, stage_two = some_other_fn))
then using run('stage_one')
will execute some_fn
.
Additional indexing forms are logical (which stages to execute),
numeric (which stages to execute by indices), negative (all but the
given stages), character (as above), and nested forms of these.
The latter refers to instances of the following:
stageRunner$new(context, list(stage_one =
stageRunner$new(context, substage_one = some_fn, substage_two = other_fn),
stage_two = another_fn))
.
Here, the following all execute only substage_two:
run(list(list(FALSE, TRUE), FALSE))
,
run(list(list(1, 2)))
,
run('stage_one/substage_two')
,
run('one/two')
,
Notice that substrings are allowed for characters.
The default is NULL
, which runs the whole sequences of stages.from
refers to a single stage,
attempt to run from that stage to this stage (or, if this one comes first,
this stage to that stage). For example, if we have
stages = list(a = list(b = 1, c = 2), d = 3, e = list(f = 4, g = 5))
where the numbers are some functions, and we call run
with
from = 'a/c'
and to = 'e/f'
, then we would execute
stages "a/c", "d", "e/f"
.run
recursively if the stageRunner
object has the remember
field set to TRUE
. If remember_flag
is FALSE, run
will not attempt to restore the context from cache (e.g., if we are
executing five stages simultaneously with remember = TRUE
,
the first stage's context should be restored from cache but none
of the remaining stages should).mode = 'head'
, then by default the
from
parameter will be used to execute that stage and that
stage only. If mode = 'next'
, then the from
parameter
will be used to run (by default, if to
is left missing)
from the last successfully executed stage to the stage given by
from
. If from
occurs before the last successfully
executed stage (say S), the stages will be run from from
to S.TRUE
, stageRunner will assume the from
argument is a
nested list of logicals.stageRunnerNode
object that will execute its own run
method.
(See stageRunnerNode$run
)from
and to
keys succeeded or failed. If
remember = TRUE
, this will instead be a list of the environment
before and after executing the aforementioned stages. (This allows
comparing what changes were made to the context
during the
execution of the stageRunner.)
Run the stages in a stageRunner object.
env <- new.env() some_fn <- function(e) e$x <- 1 other_fn <- function(e) e$y <- 1 another_fn <- function(e) e$z <- 1 sr <- stagerunner(env, list(stage_one = stagerunner(env, list(substage_one = some_fn, substage_two = other_fn)), stage_two = another_fn)) # Here, the following all execute only substage_two: sr$run(list(list(FALSE, TRUE), FALSE)) sr$run(list(list(1, 2))) sr$run('stage_one/substage_two') sr$run('one/two') stopifnot(is.null(env$z), is.null(env$x), identical(env$y, 1)) # This will execute all but "stage_one" (i.e., only "stage_two") sr$run(-1) stopifnot(identical(env$z, 1))


Hello, Stranger
Welcome to Runners Home
TM
Runners Home
TM
is dedicated to provide with you with:
the most up-to date information on running races
the best resource of Runners


ByTheCake
Home
(current)
Our Cakes
Our Stores
My Profile
Add Cake
Browse Cakes
About Us
Logout
@Body


I am a software engineer that strives to make applications to fit people's needs. I am currently finishing up my bachelor's degree in computer science at Portland State University. I am currently a fullstack contractor at Seeq Corporation, and I worked as a test/devops intern at Biotronik/MSEI, I look forward to working with everyone who wants to build an interesting tomorrow.
When I'm not working, I'm spending my time dancing, cooking, baking with my wife, playing Super Smash Brothers Melee semi-competively, and volunteering at a local cat shelter.


not entirely unlike X
`Prev `__
N
`Next `__
--------------
**not entirely unlike X**
Used ironically of things which are in fact almost entirely unlike X,
except for one feature which the speaker clearly regards as
insignificant. “That is not entirely unlike cool...at least it's small.”
Comes directly from the Hitchiker's Guide to the Galaxy scene in which
the food synthesizer on the starship *Heart of Gold* dispenses something
“almost, but not quite, entirely unlike tea”.
--------------
+-------------------------------+----------------------------+---------------------------------------------+
| `Prev `__ | `Up <../N.html>`__ | `Next `__ |
+-------------------------------+----------------------------+---------------------------------------------+
| nontrivial | `Home <../index.html>`__ | not ready for prime time |
+-------------------------------+----------------------------+---------------------------------------------+


Starting life as a small fishing village, Gammarth, located about 10nm north of Tunis, is now a select tourist resort.
It is a good alternative to Bizerte or Sidi Bou Said.
Position: 36˚55’12”N, 10˚18’42”E (marina entrance)
This is port of Entry, so Customs and Police are available. It is recommended as a good place to enter Tunisia.
See Tunisia Formalities for full details on clearing into and out of the country.
A 'gift' may be requested on departure.
Last updated July 2016.
There is a new marina here and it is reported to be very welcoming and a pleasant place to visit.
Photo from Mais Uma (July 2016)
Last updated July 2016.


Casterbridge College
Contracts
National Careers Service (NCS) contract variation for 2017 to 2018
Contract amended on 28 April 2017. The agreement only includes the ESFA terms and conditions.
16 to 19 funding contract for 2017 to 2018 version 1
This contract is for further education funding for 16 to 19 year olds. Contract issued on 1 July 2017 for academic year 2017 to 2018.
Skills and adult education contract for 2017 to 2018 version 1
Apprenticeships, traineeships and adult education budget (AEB). Contract issued on 26 August 2017 for academic year 2017 to 2018. You should sign the contract by 26 October 2017.
Funding claims
Final (R14) funding claim for 2017 to 2018 version 1
This claim was submitted in the Hub at 10.27am on 20 October 2018. You should sign by 6.00pm on 29 October 2018.
Year end (R13) funding claim year for 2017 to 2018 version 1
This claim was submitted in the Hub at 8.25am on 17 September 2018.
Payment history
Payment history
View your payments


Eating in Moderation
Eating ‘bad foods’ in moderation is not a huge problem.
 Never before have there been more overweight children and that seems, naturally, to trouble their parents...


England's middle order rescue day two of New Zealand warm-up
| Tour match, Cobham Oval, Whangarei (day two of three): |
|---|
| New Zealand XI 302-6: Phillips 116, Blundell 60, Archer 2-58, Stokes 2-64 |
| England 355-8: Pope 88, Buttler 88, Denly 68, Mitchell 2-10, Tickner 2-19 |
| Scorecard |
Joe Denly says he is "as near as 100% fit" to face New Zealand in the first Test after scoring 68 on day two of the warm-up match against New Zealand A.
Denly, who is expected to bat at three, missed the Twenty20 series against the Kiwis after injuring ankle ligaments.
Jos Buttler and Ollie Pope both scored 88 to also help rescue England after they had fallen to 105-5.
New Zealand A declared on 302-6 in the final warm-up match before next week's first Test at the Bay Oval in Tauranga.
Denly, who has notched up half-centuries in each of the last three Tests, added: "When I first did my ankle it was touch and go whether I'd be fit for this game.
"I've been on the ice machine every hour of every day. I was a little bit emotional when I was sitting in that changing room looking at it and I feared my tour might be over.
"But it's been really good, responding really well to every day. It's not swelling up and it's in good condition now. Hopefully that can continue."
England, who had resumed Saturday morning on 26-1, saw captain Joe Root and vice-captain Ben Stokes dismissed for single figures within six balls of each other.


Robust multivariate methods for high dimensional data including outlier detection, PCA, PLS and classification.
| Version: | 0.2-5 |
| Depends: | rrcov (≥ 1.3-7), robustbase (≥ 0.92-1), methods |
| Imports: | stats4, pls, spls, pcaPP, robustHD |
| Suggests: | MASS |
| Published: | 2016-11-11 |
| Author: | Valentin Todorov |
| Maintainer: | Valentin Todorov <valentin.todorov at chello.at> |
| License: | GPL-2 | GPL-3 [expanded from: GPL (≥ 2)] |
| NeedsCompilation: | no |
| Materials: | ChangeLog |
| In views: | Robust |
| CRAN checks: | rrcovHD results |
| Reference manual: | rrcovHD.pdf |
| Package source: | rrcovHD_0.2-5.tar.gz |
| Windows binaries: | r-devel: rrcovHD_0.2-5.zip, r-release: rrcovHD_0.2-5.zip, r-oldrel: rrcovHD_0.2-5.zip |
| OS X binaries: | r-release: rrcovHD_0.2-5.tgz, r-oldrel: rrcovHD_0.2-5.tgz |
| Old sources: | rrcovHD archive |
| Reverse imports: | rospca |
Please use the canonical form https://CRAN.R-project.org/package=rrcovHD to link to this page.


ActionTween<T> constructor
Creates a new tween action. The setter
will be called to update the
animated property from startVal
to endVal
over the duration
time in
seconds. Optionally an animation curve
can be passed in for easing the
animation.
// Animate myNode from its current position to 100.0, 100.0 during
// 1.0 second and a bounceOut easing
var myTween = new ActionTween(
(a) => myNode.position = a,
myNode.position,
new Point(100.0, 100.0,
1.0,
bounceOut
);
myNode.actions.run(myTween);
Implementation
ActionTween(this.setter, this.startVal, this.endVal, double duration, [Curve curve]) : super(duration, curve) {
_computeDelta();
}


In order to be able to read the text in this site, you're gonna need to use this candle.
If you are readying this, you have access to the internet.
Regardless of the device you are using or the network you are using; the point is, you are online.
It has become a norm to our society. Many young people today would be shocked at the idea that what we have
wasn't always there. However, there is an element that all technology you use shares. It requires ENERGY to work.
Now, that statement may seem like something obvious, and to be fair, it may be. But there is reason for it.
We have a big issue in terms of how we manage our energy. Most of our major sources of energy have huge
reprecussions for our environment, are very difficult to manage, or are just too situational.
But the biggest problem is: We really take our energy for granted.
Imagine if you didn't have any electricity for 3 days. Could you manage to do that? I probably couldn't. But when we
have electricity? we go all out. Sure, maybe at home we are a bit more conscious, but how much do you care if you
leave the lights on in a public building?
This is something that we have to take seriously, as a whole. And this something that can benefit even the everyday man (after all,
saving some money from the electric bill can only help). And to give you perspective, I set up a little experiment.
The candle in this site is the only way to read this, if you waste it, you won't get it back, at least not for a long while.
If you are reading this, congratulations! you used your candle wisely. It may be a bit exagerrated, but we can't get energy
back. There is a message at the bottom that you should keep in mind. You need to turn off the candle first to read it though.
If you were unable to read the entire message in this site, you probably wasted your candle. I can't know if it was intentional or not, but at the end of the day you let that light burn out. You won't be able to see the message of this site for a while. But remember that in real life, when something is used up, its gone forever.


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Preferences Dialog
-
ResourceFile
-
FontForge will read X Resources from a property on
the screen. But sometimes this isn't enough. You set this preference item
to specify a file from which these resources should be read (those on the
screen will also be read and will supersede those in the file).
-
HelpDir
-
FontForge will search this directory for help files when the user presses
[F1].
-
OtherSubrsFile
-
Allows you to redefine the OtherSubrs routines used in type1 fonts. The file
format is described at the scripting command
ReadOtherSubrsFile.
-
FreeTypeInFontView
-
Normally FontForge will use the freetype library to generate glyphs for display
in the fontview. This is a bit slower, but creates better images than using
FontForge's built-in rasterizer. This preference item allows you to control
whether to use freetype or FontForge's own rasterizer.
-
SplashScreen
-
Controls whether a splash screen is displayed on start up.
-
UseCairoDrawing
-
FontForge can use its own drawing routines, or rely on Cairo library in the
outline glyph view. Using Cairo is slower, but
gives smooth curves, and subpixel display precision. New setting applies
only to windows created afterwards.
-
UsePangoDrawing
-
Controls whether FontForge uses its own interface text drawing routines,
or relies on Pango library. Using Pango slows down older machines, but gives
antialiased text, exotic Unicode support, and complex script support. New
setting applies only to windows created afterwards.
-
NewCharset
-
The default encoding used to create new fonts. Normally this is ISO 8859-1.
-
NewEmSize
-
Specifies the default number of em-units in the em-square. For PostScript
fonts this should be 1000, for truetype fonts it should be a power of two
(often 512, 1024 or 2048 will be used).
-
NewFontsQuadratic
-
Splines in fonts may be either in quadratic or cubic format. TrueType fonts
use quadratic splines while PostScript (and OpenType) fonts use cubic splines.
When FontForge generates a font it will convert from whatever format is used
internally to whatever format is required for the font, so there will be
no problem if this is set incorrectly, but setting it correctly for your
font means you get a clearer idea of what the outlines will look like.
-
LoadedFontsAsNew
-
When FontForge reads in a font it will generally keep the splines in the
format they used in the font (that is quadratic for truetype fonts and cubic
for postscript). If you set this flag then all loaded fonts will have the
same file format as that specified by NewFontsQuadratic above.
-
-
PreferCJKEncoding
-
This controls the loading of truetype and opentype fonts. If a font contains
both an unicode encoding subtable and a cjk subtable, then this item allows
you to pick which one FontForge will choose to decode.
-
AskUserForCMap
-
When loading an sfnt (truetype, opentype font file), ask the user which cmap
encoding s/he would like to use.
-
PreserveTables
-
A string containing a list of 4 letter table tags separated by commas. When
loading an SFNT (ttf/otf) file, any table in the font with one of these tags
will be preserved without interpretation. (Note: If FontForge thinks it
understands the table it will parse it rather than preserving it).
-
SeekCharacter
-
A unicode character (or a hex name for a unicode character, so either "A"
or "U+0041"), fontforge will attempt to scroll the display to this character
when it opens a font.
-
CompactOnOpen
-
Whether fontforge should make a font compact when it opens one (does not
apply to openning an sfd file which already knows whether it should be compact
or not).
-
GlyphAutoGoto
-
In the glyph window this controls how ff behaves when the user types a normal
character. If this is On then when a normal character is typed the glyph
window will shift to display that character, if Off typed characters will
be ignored.
-
OpenCharsInNewWindow
-
Double clicking on a glyph in a font view can
either always create a new glyph view, or reuse
an already opened one.
-
ItalicConstrained
-
Whether constrained motion in the glyph view should allow motion parallel
to the italic angle as well as horizontal and vertical.
-
ArrowMoveSize
-
The number of em-units an arrow key will move a selected point in the glyph
view.
-
ArrowAccelFactor
-
When holding down the Alt (Meta) key, the arrow keys will move faster. This
preference item says how much faster.
-
SnapDistance
-
The maximum distance at which pointer motion in the glyph view will be snapped
to an interesting object (ie. a point, baseline, width line, etc.). This
is measured in pixels.
-
SnapToInt
-
When positioning points and control points, the mouse will move to the nearest
integral value. This is useful in editing TrueType (or PostScript if you
wish to save space in the font file).
-
JoinSnap
-
The maximum distance between the endpoints of two splines before they will
join with the Edit->Join command. This is measured in pixels in the char
view and em-units elsewhere.
-
StopAtJoin
-
When dragging points in the outline view, if the end point of one open contour
is moved onto the end point of another open contour then those two contours
will join. If you leave this Off then further motion will continue to move
the points, if you set this to On then FontForge will stop noticing mouse
movements (it pretends that you released the mouse button). This is useful
if you hand jitters a little on the mouse.
-
CopyMetaData
-
Controls the behavior of Edit->Copy from the fontview. Normally Copy does
not copy a glyph's metadata (name, encoding, etc.) but if this is set then
it will.
-
UndoDepth
-
Controls the maximum number of Undoes that may be retained in a glyph. (In
some rare occasions an Undo will be stored even if this depth is 0)
-
UpdateFlex
-
Figure out what points will be part of flex hints after every change to a
glyph. Points which are at the center of a flex hint will have a green halo
drawn around them. The criteria for flex hints are given on pages 72-73 of
Adobe's
T1_Spec.pdf.
This setting can be used to show you when those criteria are not met.
-
AutoKernDialog
-
Controls whether FontForge opens an auto kern
dialog for each new kerning subtable.
-
AutoWidthSync
-
Whether you want the widths of accented glyphs to track the width of the
base glyph (so if you modify the width of A then the width of À will
automagically change, if À is built as a reference to A and a reference
to grave)
-
AutoLBearingSync
-
Whether you want left side bearings of accented glyphs to track the left
side bearing of base glyphs (so if you shift A left, then the accent in À
will also be shifted left)
-
Clear Instructions on Big Changes
-
TrueType instructions refer to points by number. So if you do any editing
that adds, removes or otherwise changes the point numbers then the instructions
will be applied to a different set of points.
Sometimes the results are amusing, but almost always they are ugly and wrong.
This is very different from having out of date PostScript Hints.
FontForge will normally delete all instructions to prevent this happening.
However, if you are prepared to fix up the instructions after a set of changes
you may prefer to have the instructions left. Be careful though!
-
CopyTTFInstrs
-
When copying and pasting in the font view, copy and paste instructions as
well as the glyph outlines.
WARNING: If you copy a glyph from
one font to another its instructions will probably not work (it will make
assumptions about the control table and subroutines which do not hold in
the new font).
-
AccentOffsetPercent
-
The amount of space (as a percentage of the em-square) that should be placed
between an accent and the glyph below it by the Build Accented Character
command.
-
AccentCenterLowest
-
Whether accents should be positioned over letters based on the center of
the accent, or on the center of the bottom of the accent.
-
CharCenterHighest
-
Whether accents should be positioned over letters based on the center of
of the letter, or on the center of the top of the letter.
-
PreferSpacingAccents
-
Whether to prefer spacing accents (Unicode 02C0-02FF) or combining accents
(0300-036F) when building accented glyphs.
-
PreferPotrace
-
If you system has both potrace and autotrace installed this allows you to
specify which you'd prefer FontForge to use for autotracing.
-
AutotraceArgs
-
This allows you to specify any arguments you want passed to the autotrace
program. Don't try to pass something that will change the input or output
format or set input or output files.
-
AutotraceAsk
-
If this is set then each time autotrace is invoked it will ask you for arguments.
-
MfArgs
-
This is the command passed to the mf (MetaFont) program which controls conversion
of .mf files into bitmaps.
-
MfClearBg
-
Loading a .mf font is a multi step process, first a bitmap font is generated,
it is loaded into the background, then autotrace is invoked to trace around
the backgrounds. These background bitmaps can take up a lot of space and
you may not want them after they have been autotraced. Selecting this entry
will remove those bitmaps from the font after they have been used.
-
MfShowErr
-
The mf program generates a fair amount of verbiage even when it is working
correctly. And if it is working correctly you don't want to see those words.
So normally FontForge suppresses messages from mf. But if something goes
wrong you do want to see mf's output and setting this will allow you to do
so.
-
Foundry Name
-
Used in generating bdf files (part of the X Windows font naming convention).
-
TTF Foundry
-
Similar to the above except that it is used inside ttf files (the achVendID
field of the OS/2 table) and is limited to 4 characters.
-
NewFontNameList
-
Specifies the namelist that will be attached to any new font. This list will
be used to name any glyphs created in that font. See the section on
namelists for more information.
-
RecognizePUANames
-
Originally Adobe used the PUA (public use area of unicode) to contain glyphs
for small caps, lower case numerals, etc. They have since changed their minds
and no longer recommend this usage. FontForge normally recognizes names like
"a.sc" as being mapped to the appropriate slot in Adobe's old view of the
PUA. If you don't like this behavior turn this item off and "a.sc" will not
have a unicode encoding.
-
UnicodeGlyphNames
-
Glyph names are supposed to be composed of ASCII letters and numbers (and
a few other characters). At least they are when they are stored in a font.
But when you are building a font and if you are not an English speaker, it
might be useful to have a wider range of letters available for glyph names.
You should never export these names when you generate a font (Use the Force
Glyph Names to field of the generate dialog).
-
AddCharToNameList
-
Some character names are barely understandable or unintuitive. While editing
opentype lookups having long lists of such names, confusion is easy. A character
itself may be appended to the name to make things easier.
-
AskBDFResolution
-
Normally FontForge will guess at what screen resolution you intend based
on the pixel size of the font (ie. 17 pixel fonts are usually 100dpi (12pt)
and 12 pixel fonts are usually 75dpi), but sometimes you will have more esoteric
desires. Setting this will give you more control, but you have to click through
another dlg.
-
AutoHint
-
Whether glyphs should be automagically hinted before a font is generated
or rasterized.
-
StandardSlopeError
-
The maximum slope difference that still allows two elements to be considered
as parallel. Enlarging this value makes autohinter more tolerable to small
deviations from straight lines when detecting stem hints.
-
SerifSlopeError
-
Serifs and other small features usually have to be allowed to deviate from
parallellness more than stem edges.
I am testing a few hinting options there are three radio button sets which
add the following hints:
PS Hints
|
|
|
HintBoundingBoxes
Add hints around the bounding boxes of some glyphs. Adobe seems to do this. |
HintDiagonalInter
Add hints at the intersections of diagonal stems |
HintDiagonalEnds
Add hints at the ends of diagonal stems. |
More importantly there is also the
DetectDiagonalStems option. Make sure this
is turned on if you intend to have FontForge
generate truetype instructions
automatically.
Truetype autoinstructor
bases its output on postscript hints, but it has also its own options:
-
InstructDiagonalStems
-
Generate instructions for diagonal stem hints. For this option to be useful,
DetectDiagonalStems must be enabled first.
Enabling this will lessen apparent weight inconsistencies, perceived at some
sizes whenever horizontal and vertical stems are controlled, but diagonals
are not.
-
InstructSerifs
-
Try to detect serifs and other elements protruding from base stems and generate
instructions for them: try to control distances between serifs' tips and
their base stems.
-
InstructBallTerminals
-
Generate instructions for ball terminals. They need different handling than
other kinds of serifs.
-
InterpolateStrongPoints
-
Instructing stems is sometimes not enough. This option makes FontForge to
interpolate some important points (sharp corners, inflections, curve extremes),
not affected by other instructions, between stem edges. Both parallel and
perpendicular extremes are controlled. Agressive optimization is employed,
to still leave as many points as possible to IUP, but manual review is
nevertheless greatly adviced.
-
CounterControl
-
Make sure similar or equal counters remain the same in gridfitted outlines.
This was inspired by, but works somewhat independently from,
PS Counter Hints. Enabling this
option means that proper shapes are more important than proper scaling of
advance widths.
-
UseNewIndicScripts
-
MS has changed the way it handles indic scripts and has created a parallel
set of script tags for the new method. Set this flag if you want to create
a font using the new Indic system.
This
section of the dialog allows you to define built in scripts that will
show up in the script menu. Each entry
has two things associated with it, the menu name and a script file. The menu
name will be the name of this entry inside the script menu, and the
script file will be the filename of the file
to be invoked. The "..." button allows you to browse for script files, which
I think have extension .pe (but which can have whatever extension you prefer
if you don't like my conventions).
The
Mac Features dialog allows you to define a set of default
names (in many languages) for mac features and settings. These names are
placed in the 'name' table whenever a feature/setting is used in a generated
'morx' table. (Thus if you have some common ligatures in your font, then
the "ligature" feature names, and the "common ligature" setting names will
be added to the 'name' table).
You may also use this dialog to establish which setting(s) should be on by
default in a given feature and whether the feature only allows one setting
to be on at a time (the settings are mutually exclusive). All of this data
may be overridden by the similar dialog in the
Element->Font Info dialog.
To edit an existing feature double click on that feature in
the list (at right) this will bring up the dialog on the left. Each feature
must be assigned a unique number. You should indicate whether it has mutually
exclusive features or not. You should provide names for the feature in various
languages, and you should provide settings for the feature.
To add a new name press the [New] button under the name list and you will
be prompted for a language and a name.
To add a new setting press the [New] button under the setting list. The setting
dialog contains the numeric value of this setting (Apple has decreed that
if the feature is not mutually exclusive, all settings must be even numbers),
whether this setting is on by default, and then a list of names for the setting
in as many languages as you like.
The Mac
Mapping dialog allows you to define a mapping between
OTF GSUB
feature tags and Apple's
mort/morx
Feature/Setting codes.
Apple's published
list of features and settings appears out of date (in that some features
used by current fonts are not found in it).
A four letter OTF feature tag may correspond to a mac feature/setting
combination. If you wish to create a new mapping you must first insure that
the mac feature setting you desire is present in the feature list (above),
and then you may add the mappings.
You must
specify a mac feature (which must already be defined), a mac setting code
and a 4 character opentype tag.
Other ways of configuring
A number of things that might be controlled from a preference window are
controlled by
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'Ala Vaikunthapurramuloo' song pulls off a rare feat - Telugu News - IndiaGlitz.com
'Ramuloo Ramulaa' from 'Ala Vaikunthapurramuloo' has become the fastest Telugu song to get to the 50 million view mark on YouTube. This one-of-its-kind record makes this song all the more special.
The huge success of the chartbuster owes itself to Thaman's music, the rendition (by Anurag Kulkarni), the way the lyrical video was cut, and, of course, Allu Arjun's huge popularity across languages.
The first song, titled 'Samajavaragamana', too, is a big hit. The third single, 'OMG Daddy', will be out on November 22.
Directed by Trivikram Srinivas and starring Pooja Hegde and Tabu, the family entertainer is gearing up for a Sankranthi 2020 release.
Trending News
'Orey... Bujjiga': Hebah Patel in Raj Tarun's movie
Oxygen bar opened in Delhi; It sells air!
'Oo Baava' promo from 'Prati Roju Pandage' out
'Cycle' Teaser: Lousy horoscopes of boy & girl
'Ala Vaikunthapurramuloo' song pulls off a rare feat
'Tenali Ramakrishna BA BL' Review Live Updates
More News
'Tholu Bommalata': Censor done, release date locked
'Oo Baava' promo from 'Prati Roju Pandage' out
'Cycle' Teaser: Lousy horoscopes of boy & girl
Vishal's 'Chakra' to see three heroines
'Orey... Bujjiga': Hebah Patel in Raj Tarun's movie
The biggest challenge before Prabhas' 'Jaan'
'Raahu' Trailer: A crime & a fearsome villain
'Tenali Ramakrishna BA BL' Review Live Updates
Krishnam Raju clarifies about health rumours
Chinmayi questions investigative magazine
'George Reddy' dedicates video to Pawan Kalyan
Bigg Boss-3 finale registers swashbuckling numbers
Chiranjeevi to give ANR Award to Sridevi, Rekha
Rana's rap for Vishal's 'Action' out
Pic Talk: Deepika, Ranveer seek Tirumala Lord's blessings
Ravi Teja's 'Krack' is based on true incidents
'Ala Vaikunthapurramuloo' song teaser: Arha, Ayaan are so cute
Headlines
'Pregnant' woman is pregnant with narcotics!
Oxygen bar opened in Delhi; It sells air!
Be careful in using language, SC tells Rahul Gandhi
SC dismisses Rafale deal review petitions
Pregnant teen girl traced months after father sold her for Rs 7 lakh
Funny wedding card is going viral
Pink ball is swinging a lot: Virat Kohli
17 rebel MLAs can contest in bypolls: SC
Maharashtra: President's Rule imposed
Pawan Kalyan tears into Jagan, dares him
Maharashtra: Guv recommends President's Rule
Govt teachers can't speak even two English lines: Purandeswari


Prompt: If you were to hire a strong female lead, who would it be? What personality or physical characteristics motivate your choice?
If I were to hire a strong female lead for a Hollywood movie, it would be Taraji P. Henson. I'd hire Taraji because I was very impressed with her work as a strong female lead in Hidden Figures. Personality wise, I would want my female lead to be smart, assertive, and empowered, while also having the emotional intelligence to be conscientious and kind when interacting with others.
When I think of a strong character, I think more in terms of the personality characteristics than the physical. I don't have any specific body types or other physical traits in mind. But because this is a Hollywood movie, I suppose the actress would need to be someone that is generally accepted as attractive by the public, which I'd say that Taraji P. Henson is.


title = "Startpagina" url = "/" layout = "default" is_hidden = 0 [editable] file = "illustration.htm" [editable editable2] file = "what_we_do/title.htm" [editable editable3] file = "what_we_do/box_one.htm" [editable editable4] file = "what_we_do/box_two.htm" [editable editable5] file = "what_we_do/box_three.htm" [editable editable6] file = "vision/title.htm" [editable editable7] file = "vision/content.htm" [editable editable8] file = "service/title.htm" [editable editable9] file = "service/box_one.htm" [editable editable10] file = "service/box_two.htm" [editable editable11] file = "service/box_three.htm" [editable editable12] file = "service/box_four.htm" ==


Across: 1. Take in metal head protector that is outside (6) 4. Secretary is second to die (4) 7. They 1across when left in trucks (8) 8. Join section outside Kop end (6) 10. Removed clothing for two bob, and passed out! (8) 13. Second salesman is back working with man or woman (6) 14. Potter about with energy inside part of canopy (7) 15. Strive to produce fasteners (6) 18. I crave a stew! Is this greed? (7) 19. Personnel turn up without producing decorative metalwork (6) 20. Here and now? (7) 25. Cat – male or female? (6) 26. Doctor iterates dissertation (8) 27. Former position reversed to get praises (6) 28. Lets off about one thousand and fifty flashes! (8) 29. Money-tree found by Charles (4) 30. Secret comments meant to be heard by many (6) Down: 1. Poems I translate may be a bit of a burden (6) 2. Ring back after scholar's election (6) 3. Someone who gets bumped into by a boatman? (6) 5. American order? (5 3) 6. Bachelor girl casually rests, holding barrel (8) 7. It comes back dry, empty, and neat (4) 9. He finds eagles on 14 (6) 11. Supporter perfectly describes courage (7) 12. Most expensive sweet (7) 13. Beastly monster is in tree (7) 16. After CS brought up they run into Harvester (6) 17. Smelly Shelley, maybe, has no escape! (8) 18. Containers for soup cooked with set meal (8) 21. Purest mixture explodes! (6) 22. Covered the German deserter's back (6) 23. Slav, about 49, builds houses (6) 24. Iron poles found in marshland (4)


B.C. coroner asking for help identifying man found dead in Peace region
by Katya SlepianMounties have deemed the man’s death not suspicious and believe he died earlier this year
The B.C. Coroner’s Service is asking for the public’s help in identifying a man found dead in the Peace region early last month.
In a Monday morning news release, the agency said it was having trouble identifying a man found in a farmer’s field 10 kilometres northeast of Moberly Lake on Nov. 1.
Mounties have deemed the man’s death not suspicious and believe he died earlier this year.
The coroner believes the man under the age of 40 when he died. At the time of death he was wearing a camouflage-style shirt, blue True Religion-brand jeans and size 11 Nike Air Max running shoes.
The agency is asking anyone who may be able to identify the man to call the Fort St. John RCMP at<PHONE_NUMBER>, or the B.C. Coroners Service’s at 1-877-660-5077 or by email at<EMAIL_ADDRESS>ALSO READ: B.C. creates $8.5M organization to improve safety for health care workers


Hello world, we are software developers!
This is a survey to know about you.

Yes
No
Preferred programming languages:
Javascript
C#
Python
Ruby


Class: ActionText::AttachmentGallery
| Relationships & Source Files | |
| Super Chains via Extension / Inclusion / Inheritance | |
|
Class Chain:
|
|
|
Instance Chain:
|
|
| Inherits: | Object |
| Defined in: | actiontext/lib/action_text/attachment_gallery.rb |
Constant Summary
-
ATTACHMENT_SELECTOR =
private
# File 'actiontext/lib/action_text/attachment_gallery.rb', line 60"#{ActionText::Attachment::SELECTOR}[presentation=gallery]"
-
SELECTOR =
private
# File 'actiontext/lib/action_text/attachment_gallery.rb', line 61"#{TAG_NAME}:has(#{ATTACHMENT_SELECTOR} + #{ATTACHMENT_SELECTOR})"
-
TAG_NAME =
private
# File 'actiontext/lib/action_text/attachment_gallery.rb', line 59"div"
Class Method Summary
- .find_attachment_gallery_nodes(content)
- .fragment_by_canonicalizing_attachment_galleries(content)
- .fragment_by_replacing_attachment_gallery_nodes(content)
- .from_node(node)
- .new(node) ⇒ AttachmentGallery constructor
::ActiveModel::Naming
- self
| param_key | Returns string to use for params names. |
| plural | Returns the plural class name of a record or class. |
| route_key | Returns string to use while generating route names. |
| singular | Returns the singular class name of a record or class. |
| singular_route_key | Returns string to use while generating route names. |
| uncountable? | Identifies whether the class name of a record or class is uncountable. |
Instance Attribute Summary
- #node readonly
::ActiveModel::Model
- Included
| #_validators, #_validators?, | |
| #persisted? | Indicates if the model is persisted. |
| #validation_context |
::ActiveModel::AttributeAssignment
- Included
Instance Method Summary
::ActiveModel::Model
- Included
| #initialize | Initializes a new model with the given |
::ActiveModel::Conversion
- Included
| #to_key | Returns an |
| #to_model | If your object is already designed to implement all of the Active Model you can use the default |
| #to_param | Returns a |
| #to_partial_path | Returns a |
::ActiveModel::Validations
- Included
| #errors | Returns the |
| #invalid? | Performs the opposite of |
| #read_attribute_for_validation | Hook method defining how an attribute value should be retrieved. |
| #valid? | Runs all the specified validations and returns |
| #validate | Alias for ActiveModel::Validations#valid?. |
| #validate! | Runs all the validations within the specified context. |
| #validates_with | Passes the record off to the class or classes specified and allows them to add errors based on more complex conditions. |
| #raise_validation_error |
::ActiveModel::AttributeAssignment
- Included
| #assign_attributes | Allows you to set all the attributes by passing in a hash of attributes with keys matching the attribute names. |
Constructor Details
.new(node) ⇒ AttachmentGallery
Class Method Details
.find_attachment_gallery_nodes(content)
[ GitHub ].fragment_by_canonicalizing_attachment_galleries(content)
[ GitHub ].fragment_by_replacing_attachment_gallery_nodes(content)
[ GitHub ].from_node(node)
[ GitHub ]Instance Attribute Details
#node (readonly)
[ GitHub ]# File 'actiontext/lib/action_text/attachment_gallery.rb', line 39
attr_reader :node
Instance Method Details
#attachments
[ GitHub ]# File 'actiontext/lib/action_text/attachment_gallery.rb', line 45
def @attachments ||= node.css(ATTACHMENT_SELECTOR).map do |node| ActionText::Attachment.from_node(node).with_full_attributes end end
#inspect
[ GitHub ]# File 'actiontext/lib/action_text/attachment_gallery.rb', line 55
def inspect "#<#{self.class.name} size=#{size.inspect}>" end
#size
[ GitHub ]# File 'actiontext/lib/action_text/attachment_gallery.rb', line 51
def size .size end


The way the football data-science "program" works is we are given scrimmage
and practice data, in the form of a microsoft excell spreadsheet, of the team our school will be playing next Friday. We are then left to
analyze it as we see fit, looking for a pattern that could give our side some sort of edge. While it is an interesting
experiment in analytics and organizing info, I usually wind up doing the same 10 minute procedure every Friday because I don't know excell
that well and I also have other stuff to work on.
What I usually do is I use a pivot table to compare the team's off. form with it's off. play and figure out what's the % likelihood
that they would run this play in this formation.
Here's an example of some data analysis on Kenston's team.

Example: The offense have a 14.29% chance of running the play "Exchange seam"
when they are lined up in the "Empty" formation.


DRIVE YOURSELF
BOOKING DETAILS:
Enter Name:
Enter PickUp Location:
Chandigarh
Panchkula
Baddi
Enter destination:
Chandigarh
Panchkula
Baddi
Registration Number
Seats Available:
Book


{% extends 'layout.html' %} {% block pageTitle %} State Pension Activation {% endblock %} {% block content %} {% include 'includes/parts/phase-banner.html' %} {% if errors %} {{errors.title}} {{errors.text}} {% endif %} When do you want to get your State Pension? My State Pension age A date after my State Pension age You'll need to put off claiming for at least 9 weeks to increase your State Pension. What date do you want to get your State Pension? The date you have entered is more than four months from now. To claim on this date please come back on . The date you have entered is before your State Pension age. The earliest you can claim is {{nice_date.day}} {{nice_date.month}} {{nice_date.year}}. Day Month Year {% endblock %} {% block pageScripts %} {% include 'sprint7/scripts/when-do-you-want-paid.html' %} {% include 'includes/scripts/dobFocus.html' %} {% endblock %}
{{errors.text}}
You'll need to put off claiming for at least 9 weeks to increase your State Pension.
The date you have entered is more than four months from now. To claim on this date please come back on .
The date you have entered is before your State Pension age. The earliest you can claim is {{nice_date.day}} {{nice_date.month}} {{nice_date.year}}.


The Crimson Fairy Book
by Andrew Lang
“The Story of the Seven Simons”
by Andrew Lang
Additional Information
- Year Published: 1903
- Language: English
- Country of Origin: Hungary
- Source: Lang, A. (Ed.). (1903). The Crimson Fairy Book. London: Dover Publications.
-
Readability:
- Flesch–Kincaid Level: 5.4
- Word Count: 4,722
- Genre: Fairy Tale/Folk Tale
- Keywords: determination
- ✎ Cite This
Downloads
Far, far away, beyond all sorts of countries, seas and rivers, there stood a splendid city where lived King Archidej, who was as good as he was rich and handsome. His great army was made up of men ready to obey his slightest wish; he owned forty times forty cities, and in each city he had ten palaces with silver doors, golden roofs, and crystal windows. His council consisted of the twelve wisest men in the country, whose long beards flowed down over their breasts, each of whom was as learned as a whole college. This council always told the king the exact truth.
Now the king had everything to make him happy, but he did not enjoy anything because he could not find a bride to his mind.
One day, as he sat in his palace looking out to sea, a great ship sailed into the harbour and several merchants came on shore. Said the king to himself: ‘These people have travelled far and beheld many lands. I will ask them if they have seen any princess who is as clever and as handsome as I am.’
So he ordered the merchants to be brought before him, and when they came he said: ‘You have traveled much and visited many wonders. I wish to ask you a question, and I beg you to answer truthfully.
‘Have you anywhere seen or heard of the daughter of an emperor, king, or a prince, who is as clever and as handsome as I am, and who would be worthy to be my wife and the queen of my country?’
The merchants considered for some time. At last the eldest of them said: ‘I have heard that across many seas, in the Island of Busan, there is a mighty king, whose daughter, the Princess Helena, is so lovely that she can certainly not be plainer than your Majesty, and so clever that the wisest greybeard cannot guess her riddles.’
‘Is the island far off, and which is the way to it?’
‘It is not near,’ was the answer. ‘The journey would take ten years, and we do not know the way. And even if we did, what use would that be? The princess is no bride for you.’
‘How dare you say so?’ cried the king angrily.
‘Your Majesty must pardon us; but just think for a moment. Should you send an envoy to the island he will take ten years to get there and ten more to return—twenty years in all. Will not the princess have grown old in that time and have lost all her beauty?’
The king reflected gravely. Then he thanked the merchants, gave them leave to trade in his country without paying any duties, and dismissed them.
After they were gone the king remained deep in thought. He felt puzzled and anxious; so he decided to ride into the country to distract his mind, and sent for his huntsmen and falconers. The huntsmen blew their horns, the falconers took their hawks on their wrists, and off they all set out across country till they came to a green hedge. On the other side of the hedge stretched a great field of maize as far as the eye could reach, and the yellow ears swayed to and fro in the gentle breeze like a rippling sea of gold.
The king drew rein and admired the field. ‘Upon my word,’ said he, ‘whoever dug and planted it must be good workmen. If all the fields in my kingdom were as well cared for as this, there would be more bread than my people could eat.’ And he wished to know to whom the field belonged.
Off rushed all his followers at once to do his bidding, and found a nice, tidy farmhouse, in front of which sat seven peasants, lunching on rye bread and drinking water. They wore red shirts bound with gold braid, and were so much alike that one could hardly tell one from another.
The messengers asked: ‘Who owns this field of golden maize?’ And the seven brothers answered: ‘The field is ours.’
‘And who are you?’
‘We are King Archidej’s labourers.’
These answers were repeated to the king, who ordered the brothers to be brought before him at once. On being asked who they were, the eldest said, bowing low:
‘We, King Archidej, are your labourers, children of one father and mother, and we all have the same name, for each of us is called Simon. Our father taught us to be true to our king, and to till the ground, and to be kind to our neighbours. He also taught each of us a different trade which he thought might be useful to us, and he bade us not neglect our mother earth, which would be sure amply to repay our labour.’
The king was pleased with the honest peasant, and said: ‘You have done well, good people, in planting your field, and now you have a golden harvest. But I should like each of you to tell me what special trades your father taught you.’
‘My trade, O king!’ said the first Simon, ‘is not an easy one. If you will give me some workmen and materials I will build you a great white pillar that shall reach far above the clouds.’
‘Very good,’ replied the king. ‘And you, Simon the second, what is your trade?’
‘Mine, your Majesty, needs no great cleverness. When my brother has built the pillar I can mount it, and from the top, far above the clouds, I can see what is happening: in every country under the sun.’
‘Good,’ said the king; ‘and Simon the third?’
‘My work is very simple, sire. You have many ships built by learned men, with all sorts of new and clever improvements. If you wish it I will build you quite a simple boat—one, two, three, and it’s done! But my plain little home-made ship is not grand enough for a king. Where other ships take a year, mine makes the voyage in a day, and where they would require ten years mine will do the distance in a week.’
‘Good,’ said the king again; ‘and what has Simon the fourth learnt?’
‘My trade, O king, is really of no importance. Should my brother build you a ship, then let me embark in it. If we should be pursued by an enemy I can seize our boat by the prow and sink it to the bottom of the sea. When the enemy has sailed off, I can draw it up to the top again.’
‘That is very clever of you,’ answered the king; ‘and what does Simon the fifth do?’
‘My work, your Majesty, is mere smith’s work. Order me to build a smithy and I will make you a cross-bow, but from which neither the eagle in the sky nor the wild beast in the forest is safe. The bolt hits whatever the eye sees.’
‘That sounds very useful,’ said the king.  If my brother hits any creature I catch it quicker than any dog can. If it falls into the water I pick it up out of the greatest depths, and if it is in a dark forest I can find it even at midnight.’
The king was much pleased with the trades and talk of the six brothers, and said: ‘Thank you, good people; your father did well to teach you all these things. Now follow me to the town, as I want to see what you can do. I need such people as you about me; but when harvest time comes I will send you home with royal presents.’
The brothers bowed and said: ‘As the king wills.’ Suddenly the king remembered that he had not questioned the seventh Simon, so he turned to him and said: ‘Why are you silent? What is your handicraft?’
And the seventh Simon answered: ‘I have no handicraft, O king; I have learnt nothing. I could not manage it. And if I do know how to do anything it is not what might properly be called a real trade—it is rather a sort of performance; but it is one which no one—not the king himself—must watch me doing, and I doubt whether this performance of mine would please your Majesty.’
‘Come, come,’ cried the king; ‘I will have no excuses, what is this trade?’
‘First, sire, give me your royal word that you will not kill me when I have told you. Then you shall hear.’
‘So be it, then; I give you my royal word.’
Then the seventh Simon stepped back a little, cleared his throat, and said: ‘My trade, King Archidej, is of such a kind that the man who follows it in your kingdom generally loses his life and has no hopes of pardon. There is only one thing I can do really well, and that is—to steal, and to hide the smallest scrap of anything I have stolen. Not the deepest vault, even if its lock were enchanted, could prevent my stealing anything out of it that I wished to have.’
When the king heard this he fell into a passion.  Indeed, it would be better to put you to death at once, and I’ve a good mind to do so.’
‘Don’t kill me, O king! I am really not as bad as you think. Why, had I chosen, I could have robbed the royal treasury, have bribed your judges to let me off, and built a white marble palace with what was left. But though I know how to steal I don’t do it. You yourself asked me my trade.  I pardon you. But from this hour you shall be shut up in a dark dungeon. Here, guards! away with him to the prison. But you six Simons follow me and be assured of my royal favour.’
So the six Simons followed the king. The seventh Simon was seized by the guards, who put him in chains and threw him in prison with only bread and water for food. Next day the king gave the first Simon carpenters, masons, smiths and labourers, with great stores of iron, mortar, and the like, and Simon began to build. And he built his great white pillar far, far up into the clouds, as high as the nearest stars; but the other stars were higher still.
Then the second Simon climbed up the pillar and saw and heard all that was going on through the whole world. When he came down he had all sorts of wonderful things to tell. How one king was marching in battle against another, and which was likely to be the victor. How, in another place, great rejoicings were going on, while in a third people were dying of famine. In fact there was not the smallest event going on over the earth that was hidden from him.
Next the third Simon began. He stretched out his arms, once, twice, thrice, and the wonder-ship was ready. At a sign from the king it was launched, and floated proudly and safely like a bird on the waves. Instead of ropes it had wires for rigging, and musicians played on them with fiddle bows and made lovely music. As the ship swam about, the fourth Simon seized the prow with his strong hand, and in a moment it was gone—sunk to the bottom of the sea. An hour passed, and then the ship floated again, drawn up by Simon’s left hand, while in his right he brought a gigantic fish from the depth of the ocean for the royal table.
Whilst this was going on the fifth Simon had built his forge and hammered out his iron, and when the king returned from the harbour the magic cross-bow was made.
His Majesty went out into an open field at once, looked up into the sky and saw, far, far away, an eagle flying up towards the sun and looking like a little speck.
‘Now,’ said the king, ‘if you can shoot that bird I will reward you.’
Simon only smiled; he lifted his cross-bow, took aim, fired, and the eagle fell. As it was falling the sixth Simon ran with a dish, caught the bird before it fell to earth and brought it to the king.
‘Many thanks, my brave lads,’ said the king; ‘I see that each of you is indeed a master of his trade. You shall be richly rewarded. But now rest and have your dinner.’
The six Simons bowed and went to dinner. But they had hardly begun before a messenger came to say that the king wanted to see them. They obeyed at once and found him surrounded by all his court and men of state.
‘Listen, my good fellows,’ cried the king, as soon as he saw them. ‘Hear what my wise counsellors have thought of. As you, Simon the second, can see the whole world from the top of the great pillar, I want you to climb up and to see and hear. For I am told that, far away, across many seas, is the great kingdom of the Island of Busan, and that the daughter of the king is the beautiful Princess Helena.’
Off ran the second Simon and clambered quickly up the pillar. He gazed around, listened on all sides, and then slid down to report to the king.
‘Sire, I have obeyed your orders. Far away I saw the Island of Busan.  He sits on his throne and declares that no prince or king on earth is good enough for his lovely daughter, that he will give her to none, and that if any king asks for her hand he will declare war against him and destroy his kingdom.’
‘Has the king of Busan a great army?’ asked King Archidej; ‘is his country far off?’
‘As far as I could judge,’ replied Simon, ‘it would take you nearly ten years in fair weather to sail there. But if the weather were stormy we might say twelve. I saw the army being reviewed. It is not so very large—a hundred thousand men at arms and a hundred thousand knights. Besides these, he has a strong bodyguard and a good many cross-bowmen. Altogether you may say another hundred thousand, and there is a picked body of heroes who reserve themselves for great occasions requiring particular courage.’
The king sat for some time lost in thought. At last he said to the nobles and courtiers standing round: ‘I am determined to marry the Princess Helena, but how shall I do it?’
The nobles, courtiers and counsellors said nothing, but tried to hide behind each other. Then the third Simon said:
‘Pardon me, your Majesty, if I offer my advice. You wish to go to the Island of Busan? What can be easier? In my ship you will get there in a week instead of in ten years. But ask your council to advise you what to do when you arrive—in one word, whether you will win the princess peacefully or by war?’
But the wise men were as silent as ever.
The king frowned, and was about to say something sharp, when the Court Fool pushed his way to the front and said: ‘Dear me, what are all you clever people so puzzled about? The matter is quite clear. As it seems it will not take long to reach the island why not send the seventh Simon? He will steal the fair maiden fast enough, and then the king, her father, may consider how he is going to bring his army over here—it will take him ten years to do it!—-no less! What do you think of my plan?’
‘What do I think? Why, that your idea is capital, and you shall be rewarded for it. Come, guards, hurry as fast as you can and bring the seventh Simon before me.’
Not many minutes later, Simon the seventh stood before the king, who explained to him what he wished done, and also that to steal for the benefit of his king and country was by no means a wrong thing, though it was very wrong to steal for his own advantage.
The youngest Simon, who looked very pale and hungry, only nodded his head.
‘Come,’ said the king, ‘tell me truly. Do you think you could steal the Princess Helena?’
‘Why should I not steal her, sire? The thing is easy enough. Let my brother’s ship be laden with rich stuffs, brocades, Persian carpets, pearls and jewels. Send me in the ship. Give me my four middle brothers as companions, and keep the two others as hostages.’
When the king heard these words his heart became filled with longing, and he ordered all to be done as Simon wished. Every one ran about to do his bidding; and in next to no time the wonder-ship was laden and ready to start.
The five Simons took leave of the king, went on board, and had no sooner set sail than they were almost out of sight. The ship cut through the waters like a falcon through the air, and just a week after starting sighted the Island of Busan. The coast appeared to be strongly guarded, and from afar the watchman on a high tower called out: ‘Halt and anchor! Who are you? Where do you come from, and what do you want?’
The seventh Simon answered from the ship: ‘We are peaceful people. We come from the country of the great and good King Archidej, and we bring foreign wares—rich brocades, carpets, and costly jewels, which we wish to show to your king and the princess. We desire to trade—to sell, to buy, and to exchange.’
The brothers launched a small boat, took some of their valuable goods with them, rowed to shore and went up to the palace. The princess sat in a rose-red room, and when she saw the brothers coming near she called her nurse and other women, and told them to inquire who and what these people were, and what they wanted.
The seventh Simon answered the nurse: ‘We come from the country of the wise and good King Archidej,’ said he, ‘and we have brought all sorts of goods for sale. We trust the king of this country may condescend to welcome us, and to let his servants take charge of our wares. If he considers them worthy to adorn his followers we shall be content.’
This speech was repeated to the princess, who ordered the brothers to be brought to the red-room at once. They bowed respectfully to her and displayed some splendid velvets and brocades, and opened cases of pearls and precious stones. Such beautiful things had never been seen in the island, and the nurse and waiting women stood bewildered by all the magnificence. They whispered together that they had never beheld anything like it. The princess too saw and wondered, and her eyes could not weary of looking at the lovely things, or her fingers of stroking the rich soft stuffs, and of holding up the sparkling jewels to the light.
‘Fairest of princesses,’ said Simon. ‘Be pleased to order your waiting-maids to accept the silks and velvets, and let your women trim their head-dresses with the jewels; these are no special treasures. But permit me to say that they are as nothing to the many coloured tapestries, the gorgeous stones and ropes of pearls in our ship. We did not like to bring more with us, not knowing what your royal taste might be; but if it seems good to you to honour our ship with a visit, you might condescend to choose such things as were pleasing in your eyes.’
This polite speech pleased the princess very much. She went to the king and said: ‘Dear father, some merchants have arrived with the most splendid wares. Pray allow me to go to their ship and choose out what I like.’
The king thought and thought, frowned hard and rubbed his ear. At last he gave consent, and ordered out his royal yacht, with 100 cross-bows, 100 knights, and 1,000 soldiers, to escort the Princess Helena.
Off sailed the yacht with the princess and her escort. The brothers Simon came on board to conduct the princess to their ship, and, led by the brothers and followed by her nurse and other women, she crossed the crystal plank from one vessel to another.
The seventh Simon spread out his goods, and had so many curious and interesting tales to tell about them, that the princess forgot everything else in looking and listening, so that she did not know that the fourth Simon had seized the prow of the ship, and that all of a sudden it had vanished from sight, and was racing along in the depths of the sea.
 There was nothing to be done but to sail back and tell the king of his loss.
How he wept and stormed! ‘Oh, light of my eyes,’ he sobbed; ‘I am indeed punished for my pride. I thought no one good enough to be your husband, and now you are lost in the depths of the sea, and have left me alone! As for all of you who saw this thing—away with you! Let them be put in irons and lock them up in prison, whilst I think how I can best put them to death!’
Whilst the King of Busan was raging and lamenting in this fashion, Simon’s ship was swimming like any fish under the sea, and when the island was well out of sight he brought it up to the surface again. At that moment the princess recollected herself. ‘Nurse,’ said she, ‘we have been gazing at these wonders only too long. I hope my father won’t be vexed at our delay.’
She tore herself away and stepped on deck. Neither the yacht nor the island was in sight! Helena wrung her hands and beat her breast. Then she changed herself into a white swan and flew off. But the fifth Simon seized his bow and shot the swan, and the sixth Simon did not let it fall into the water but caught it in the ship, and the swan turned into a silver fish, but Simon lost no time and caught the fish, when, quick as thought, the fish turned into a black mouse and ran about the ship. It darted towards a hole, but before it could reach it Simon sprang upon it more swiftly than any cat, and then the little mouse turned once more into the beautiful Princess Helena.
Early one morning King Archidej sat thoughtfully at his window gazing out to sea. His heart was sad and he would neither eat nor drink. His thoughts were full of the Princess Helena, who was as lovely as a dream. Is that a white gull he sees flying towards the shore, or is it a sail? No, it is no gull, it is the wonder-ship flying along with billowing sails. Its flags wave, the fiddlers play on the wire rigging, the anchor is thrown out and the crystal plank laid from the ship to the pier. The lovely Helena steps across the plank. She shines like the sun, and the stars of heaven seem to sparkle in her eyes.
Up sprang King Archidej in haste: ‘Hurry, hurry,’ he cried. ‘Let us hasten to meet her! Let the bugles sound and the joy bells be rung!’
And the whole Court swarmed with courtiers and servants. Golden carpets were laid down and the great gates thrown open to welcome the princess.
King Archidej went out himself, took her by the hand and led her into the royal apartments.
‘Madam,’ said he, ‘the fame of your beauty had reached me, but I had not dared to expect such loveliness. Still I will not keep you here against your will. If you wish it, the wonder-ship shall take you back to your father and your own country; but if you will consent to stay here, then reign over me and my country as our queen.’
What more is there to tell? It is not hard to guess that the princess listened to the king’s wooing, and their betrothal took place with great pomp and rejoicings.
The brothers Simon were sent again to the Island of Busan with a letter to the king from his daughter to invite him to their wedding. And the wonder-ship arrived at the Island of Busan just as all the knights and soldiers who had escorted the princess were being led out to execution.
Then the seventh Simon cried out from the ship: ‘Stop! stop! I bring a letter from the Princess Helena!’
The King of Busan read the letter over and over again, and ordered the knights and soldiers to be set free. He entertained King Archidej’s ambassadors hospitably, and sent his blessing to his daughter, but he could not be brought to attend the wedding.
When the wonder-ship got home King Archidej and Princess Helena were enchanted with the news it brought.
The king sent for the seven Simons. ‘A thousand thanks to you, my brave fellows,’ he cried. ‘Take what gold, silver, and precious stones you will out of my treasury. Tell me if there is anything else you wish for and I will give it you, my good friends. Do you wish to be made nobles, or to govern towns? Only speak.’
Then the eldest Simon bowed and said: ‘We are plain folk, your Majesty, and understand simple things best. What figures should we cut as nobles or governors? Nor do we desire gold. We have our fields which give us food, and as much money as we need. If you wish to reward us then grant that our land may be free of taxes, and of your goodness pardon the seventh Simon. He is not the first who has been a thief by trade and he will certainly not be the last.’
‘So be it,’ said the king; ‘your land shall be free of all taxes, and Simon the seventh is pardoned.’
Then the king gave each brother a goblet of wine and invited them to the wedding feast. And what a feast that was!


The ngClassOdd
and ngClassEven
directives work exactly as
ngClass, except they work in
conjunction with ngRepeat
and take effect only on odd (even) rows.
This directive can be applied only within the scope of an ngRepeat.
<ANY
ng-class-even="">
...
</ANY>
<ANY class="ng-class-even: ;"> ... </ANY>
| Param | Type | Details |
|---|---|---|
| ngClassEven | expression |
Expression to eval. The result of the evaluation can be a string representing space delimited class names or an array. |

{{name}}

.odd {
color: red;
}
.even {
color: blue;
}
it('should check ng-class-odd and ng-class-even', function() {
expect(element(by.repeater('name in names').row(0).column('name')).getAttribute('class')).
toMatch(/odd/);
expect(element(by.repeater('name in names').row(1).column('name')).getAttribute('class')).
toMatch(/even/);
});


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[§124A-149] Riot or breach of peace. Any person subject to this chapter who causes or participates in any riot or breach of the peace shall be punished as a court-martial may direct. [L 1982, c 171, pt of §2]


WebGL 2 Example: Order-independent Transparency using Dual Depth Peeling
Features: Vertex Arrays, Uniform Buffers, Immutable Textures, Multiple Render Targets, Float Textures, texelFetch, Hardware Instancing, EXT_color_buffer_float
Source code


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Website Development Team
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Co-Head
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Co-Head
Website Development Team


When in doubt type help. Commands like ls, cd and dir also work. If you have any suggestions you would like to share, head over to the contact section. Thanks!


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Reference number<PHONE_NUMBER>0
You can call us on 0300 330 9291 or email us at<EMAIL_ADDRESS>if you need to get intouch with us.
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A proper flagship
Huawei MatePad Pro is official, looks exactly like an iPad Pro with a holepunch display
A 5G-enabled version of the tablet will launch early next year.
by Babu MohanWhat you need to know
- Huawei's new MatePad Pro is its first Android tablet with a hole-punch display.
- Powered by HiSilicon's latest flagship Kirin 990 processor, the MatePad Pro is Huawei's answer to the likes of the iPad Pro and Samsung Galaxy Tab S6.
- The tablet comes with a 10.8-inch AMOLED display, 13MP rear camera, and quad speakers.
Huawei today took the wraps off (via GSMArena) its latest flagship Android tablet, the MatePad Pro. As its name clearly suggests, the MatePad Pro is an iPad Pro challenger, featuring a strikingly similar design and flagship-grade internals.
The tablet has a 10.8-inch AMOLED display panel with 2560 x 1600 resolution and a hole-punch cutout. Under the hood is a Kirin 990 chipset, coupled with up to 8GB RAM and 256GB storage. You get a single 13MP camera on the back, while the hole-punch cutout on the front houses an 8MP camera for video calls.
The tablet also has four speakers and a 7,250mAh battery with support for 40W fast charging, 15W wireless charging, as well as 7.5W reverse wireless charging. It supports an M-Pen stylus and a keyboard case too, although both accessories will be sold separately. Unsurprisingly, Huawei's new Android tablet ships with its EMUI 10 custom skin on top but lacks Google apps and services.
The Huawei MatePad Pro is now available for pre-order in China for a starting price of 3,299 yuan ($470) for the base variant with 6GB RAM and 128GB storage. Huawei has priced the top-end 8GB + 256GB LTE variant of the tablet at 4,499 yuan ($640). The tablet is slated to go on sale in Huawei's home country from December 12. While there is no word on global availability yet, Huawei has confirmed that a 5G version of the tablet will arrive sometime in the first quarter of 2020.
Best Android Tablets: Black Friday 2019 - Deals & Buyer's Guide


THE FACULTY (Dimension) Starring: Elijah Wood, Josh Hartnett, Clea DuVall, Laura Harris, Shawn Hatosy, Jordana Brewster, Robert Patrick, Famke Janssen, Bebe Neuwirth, Piper Laurie, Jon Stewart. Screenplay: Kevin Williamson. Producer: Elizabeth Avellan. Director: Robert Rodriguez. MPAA Rating: R (violence, profanity, drug use, brief nudity) Running Time: 102 minutes. Reviewed by Scott Renshaw.
There's something very strange going on at Ohio's Herrington High in THE FACULTY. It's something only six students -- sensitive drug dealer Zeke (Josh Hartnett), tormented geek Casey (Elijah Wood), black-clad loner Stokely (Clea DuVall), cheerleader Delilah (Jordana Brewster), quarterback Stan (Shawn Hatosy) and sweet new girl in school Marybeth (Laura Harris) -- seem to recognize. It starts in the faculty, including the football coach (Robert Patrick) and the principal (Bebe Neuwirth), then slowly spreads to their classmates. Herrington High has been overtaken by... a world-shaking case of deja vu.
It's not just that another film from earlier this year, DISTURBING BEHAVIOR, already suggested a sinister conspiracy to turn high school students into obedient robots. Deconstructionist screen scribe Kevin Williamson managed a tightrope act across the fine line between homage and outright theft in SCREAM and SCREAM 2. In THE FACULTY, he stomps that fine line into a fine paste. The Tommy Hilfiger-bedecked sextet of protagonists shows the meticulous cross-sectioning of THE BREAKFAST CLUB. Their test of each other's humanity is a crib from John Carpenter's THE THING. Their last stand locked away from the Menace Out There recalls NIGHT OF THE LIVING DEAD, ALIENS, and any number of other science fiction thrillers. It's a monster movie that could not exist without the existence of other -- and much better -- movies.
Of course, some will argue that such is entirely the point of any Williamson project, that he shows off the conventions of genre films so he can revitalize them. The problem is that there is nothing remotely revitalizing about THE FACULTY. Sure, it's a movie movie, but its quotes are as witlessly regurgitated as in any number of recent Leslie Nielsen projects. Instead of having something clever to say about cliches, it simply recycles them, tossing in the occasional reference to "The Puppet Masters" or ALIEN's Ripley as though it suddenly makes all the trite characterizations and profanely insult-filled dialogue tolerable. Even Elijah Wood's wide-eyed genuineness and some pseudo-analysis of teenage desire for conformity can't rescue THE FACULTY from feeling exactly like the "attractive teens in jeopardy" tales it supposedly derides.
If THE FACULTY proves anything, it's how much Williamson needs Wes Craven. Both SCREAM films featured chilling sequences which could stand with the best the genre had to offer; they showed what chould be great about horror films even as they showed what could be awful about them. Robert Rodriguez -- who, if nothing else, has always shown that he has an electrifying sense of cinematic pacing -- seemingly has no idea what to do with this material. THE FACULTY drifts sluggishly from character to character as though they actually mattered, and the few action sequences are designed to show off alien effects. Every opportunity for genuine creativity is turned into yet another self-satisfied commentary on how every science-fiction story is really a rip-off of some other science-fiction story.
There are a couple of amusing moments in THE FACULTY -- a football game in which the Herrington team "infects" the opposition during dogpile tackles, for instance -- but even most of those are taken from other films. Williamson's name is supposed to make this a knowing satire of alien takeover films like INVASION OF THE BODY SNATCHERS, but there was more inventive humor in a piece of cheese like 1985's killer yogurt film THE STUFF. I kept waiting for either fun or fear, and all I got was a jokey cameo by Internet gossip guru Harry "Ain't-It-Cool" Knowles. THE FACULTY merely adds to the list of lame science fiction films for someone else to satirize...and maybe even get it right next time.
On the Renshaw scale of 0 to 10 alien-ated teens: 3.
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Greg Hurrell
Please see this bug report here:
https://wincent.com/a/support/bugs/show_bug.cgi?id=613
I am *very* close to doing a new release. There'll be a new nightly build out shortly if you want to try it. Will post details to #613 once it's been uploaded to the server.
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{% extends "organizations/admin/base.html" %} {% load i18n gravatar %} {% block title %}{% trans "Edit Organization Owners" %}{% endblock %} {% block organization-admin-owners %}active{% endblock %} {% block edit_content_header %}Owners{% endblock %} {% block edit_content %}
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WebEngine Widgets Maps Example
Maps demonstrates how to handle geolocation requests originating from a QWebEnginePage.
The Geolocation API is a JavaScript API that web applications can use to determine the user's physical location to show on a map, for example. As Qt WebEngine relies on Qt Location to power this API a viable location backend is needed for the target platform.
To avoid accidentally sending location information to third parties geolocation requests are denied by default. This example demonstrates the steps an application must take in order to start accepting these requests.
Running the Example
To run the example from Qt Creator, open the Welcome mode and select the example from Examples. For more information, visit Building and Running an Example.
The Code
The example program consists of a single class, MainWindow
, inheriting from QMainWindow:
#include <QMainWindow> #include <QWebEngineView> class MainWindow : public QMainWindow { Q_OBJECT public: explicit MainWindow(QWidget *parent = nullptr); private: QWebEngineView *m_view; };
In the constructor we first set up the QWebEngineView as the central widget:
MainWindow::MainWindow(QWidget *parent) : QMainWindow(parent) , m_view(new QWebEngineView(this)) { setCentralWidget(m_view);
We then proceed to connect a lambda function to the QWebEnginePage::featurePermissionRequested signal:
QWebEnginePage *page = m_view->page(); connect(page, &QWebEnginePage::featurePermissionRequested, [this, page](const QUrl &securityOrigin, QWebEnginePage::Feature feature) {
This signal is emitted whenever a web page requests to make use of a certain feature or device, including not only location services but also audio capture devices or mouse locking, for example. In this example we only handle requests for location services:
if (feature != QWebEnginePage::Geolocation) return;
Now comes the part where we actually ask the user for permission:
QMessageBox msgBox(this); msgBox.setText(tr("%1 wants to know your location").arg(securityOrigin.host())); msgBox.setInformativeText(tr("Do you want to send your current location to this website?")); msgBox.setStandardButtons(QMessageBox::Yes | QMessageBox::No); msgBox.setDefaultButton(QMessageBox::Yes); if (msgBox.exec() == QMessageBox::Yes) { page->setFeaturePermission( securityOrigin, feature, QWebEnginePage::PermissionGrantedByUser); } else { page->setFeaturePermission( securityOrigin, feature, QWebEnginePage::PermissionDeniedByUser); } });
Note that the question includes the host component of the web site's URI (securityOrigin
) to inform the user as to exactly which web site will be receiving their location data.
We use the QWebEnginePage::setFeaturePermission method to communicate the user's answer back to the web page.
Finally we ask the QWebEnginePage to load the web page that might want to use location services:
page->load(QUrl(QStringLiteral("https://maps.google.com"))); }
Files:
See also Qt WebEngine HTML5 Geolocation and Qt Location.


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Brexit campaigner Arron Banks has Twitter account hacked
by Stefan BosciaSelf-described “bad boy of Brexit” Arron Banks has had his Twitter account hacked and his personal messages shared online.
Banks – who co-founded Leave.Eu – also accused Twitter of not taking action or removing the “illegal data downloads” from the platform.
Read more: Arron Banks apologises for Leave.Eu tweet about Angela Merkel that ‘went too far’
Banks has reported the matter to police and his account has now reportedly been suspended.
“I became aware last night that my Twtter account had been ahcked and that persons involved have posted personal data obtained illegally via Twitter,” he said.
“Twitter were notified 12 hours ago, and despite repeated requests they have taken no action to deactiviate the account or remove the illegal data downloads.
“Despite the obvious lack of security at Twitter relating to personal data, they have deliberately chosen to leave personal data in the public domain.”
Twitter were contacted for comment on Banks’ allegations.
Direct messages from Banks’ account were posted online by the hackers, however they have since been removed.
Journalist Carole Cadwalladr posted on Twitter that she had seen the messages and they were “pretty explosive”.
Cadwalladr added that the incident was a chance for Banks to “reflect” on data privacy laws, after he was fined £120,000 by the Information Commissioner’s Office (ICO) this year for breaching them.
“Arron Banks has shown extraordinary contempt for the ICO and British data laws and so this is a moment for him to reflect on the need for those laws and a regulator to enforce them,” she said.
The saga comes as it was revealed today that the Brexit Party was being investigated by the ICO for failing to disclose details of personal data it had collected.
Read more: Brexit Party being investigated by ICO over data disclosure
The ICO is investigating Nigel Farage’s party, after complaints it had not responded to questions about personal data collection.
Data protection law mandates that people have the right to know what data an organisation has about them and can lodge what is termed as a Subject Access Request.