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Each day war and violence force thousands of families to flee their homes in search of safety.
People like you, people like me...
Look around. Off in one corner is a hand-dug latrine, just an open pit surrounded by a piece of blue plastic flapping in the wind. Everyone uses it. The center of activity is a black plastic hose that comes out of the ground, connected to a spigot. It is the only source of water here. “We don’t know where it comes from, but we drink it, we bathe in it and we cook with it,” one man says. “The kids have diarrhea most of the time.” Kids play everywhere. Most of them are filthy. Almost everyone wears plastic sandals, though some of the kids are barefoot. Virtually everyone has cuts or scabs on their fingers and toes. Snow will be coming soon, and nobody here has warm clothes or boots. Over there, next to a 20-foot-high pile of scrap metal, a new tent is taking shape. It has an uneven dirt floor and a flimsy frame of nailed-together 1-by-4 boards.  “There is no place else to go,” says the man building it, a father of four small children who fled the shelling in his home town of Homs a few weeks ago. “We don’t have money, clothes, nothing. I just left with my children. I had $500, but I spent it to get here.” No one here wants to be identified by name. Most are brand-new arrivals, and the fear of war is still fresh. They are scared of retribution from President Bashar al-Assad’s government if they are identified publicly. The father from Homs ran a clothing store and lived a comfortable middle-class life before his house was destroyed. He fled to Lebanon and ended up here. “We’ve all had a shock,” he says. “We don’t even feel like we’re awake. I ask myself if we’re really here.” While he builds his tent, his family is bunking in the tent of another man who came here six weeks ago after his parents, his three brothers, his wife and their 1-year-old son were wiped out in a government bombing in Homs. “I can’t find a job here,” he says with a hollow look in his eyes. “I can’t do anything. But these people helped me.” Over by the water hose, a woman stands holding her 3-year-old daughter in her arms.  The mother is now nine months pregnant, with a huge bump under her long purple robe. She says she has no idea where she will deliver the baby. She shrugs and says maybe she will just end up having the baby on the carpeted dirt floor of her tent. Outside the camp gate, which is just a hole in the corrugated metal fence, Ahmed Bougi, a big Lebanese man in a crew cut and a sweatsuit, says his family owns the lot, plus another one across the road where another 50 Syrians live. He says he cleared away the junk cars and opened the place to refugees three months ago. “They make it hard for me to collect,” he says. “Some of them don’t pay. But what can I do? Kick them out? I feel sorry for them. They have families.” He says he never considered letting the refugees have the land for free. He wants his rent.
told her husband not to fight. She remembers telling him: “I don’t want to lose you. I don’t want my kids to grow up without a father.” She said she would leave him if he insisted, which they both knew was an empty threat. They had known each other since they were babies. They married when she was 18, on Sept. 1, 2000. She loved him, and as much as she loathed the regime of President Bashar al-Assad, she did not want him to pick up a gun and join the revolution. “He told me, ‘I will give my soul to my country, and I will leave my kids to God,’ ” she says. “Nobody could change his mind.” In a firefight on Feb. 25, 2012, Assad’s forces put a bullet through the heart of her husband, he, who worked in his father-in-law’s appliance shop before the war. After they buried him, his three brothers told their father to take the women and children to safety in Turkey. They would stay and fight with the Free Syrian Army. So the family started walking. They walked for three nights, lying low in fields during the day to avoid Assad’s forces. They hitched rides in the back of passing trucks, crouching low as shells fell nearby. “No words can express what I was feeling,” “I lost my husband. My kids lost their father. We were going to an uncertain future, and I couldn’t stand it.” Eventually they crossed the border and started a new life in the Oncupinar camp, near the border town of Kilis, one of 21 camps run by the Turkish government, which has spent more than $2.5 billion on housing, food, medical care and education for nearly 700,000 Syrian refugees. The camp opened in 2011 and covers 86 acres directly on the Syrian border. About 14,000 refugees live here in more than 2,000 prefabricated metal trailers — neat white boxes lined up in vast, straight rows along paved streets. The containers are about 22 feet wide by 9 feet deep. Inside, two small rooms, each with a window, are separated by a bathroom. They have built-in heaters/air conditioners, and most have a small sink, refrigerator and hot plate. White and blue plastic tarps cover most, helping with the relentless sun in the summer and the rains in the winter. The minarets of two mosques tower over a health clinic and three schools: the Olive Kindergarten, Peace Middle School and Freedom High School. Residents shop at several well-stocked grocery stores, using about $55 a month per person in food vouchers supplied by the Turkish government and the U.N. World Food Program. Fifteen members of the family share two trailers, sleeping on mats they roll up at night. A photo of Imad is taped to the wall in the room where Huda Khalaf sleeps with Imad’s parents and her children, ages 5, 7, 11 and 12. There are no decorations.  She worries about Imad’s three brothers who are still fighting. She has already suffered two losses, including her 23-year-old brother, another Free Syrian Army fighter who was killed. Her husband was the first one buried in her village. “I am so proud,” she says.
Before the war, his family was part of Syria’s elite. While the countryside was largely agricultural and poor, the cities of Damascus and Aleppo were home to business leaders, doctors, lawyers and other professionals, many of whom were fantastically wealthy. Bombs and artillery shells are equally lethal to rich and poor, and among the more than 2.3 million Syrian refugees are many wealthy Syrians who have had family slaughtered. “You don’t appreciate all that you have until it’s gone,” says a man, who had a thriving plastic-surgery practice in Aleppo, doing nose jobs and breast enhancements and reductions for wealthy clients from all over the world who came for what he calls “Chinese prices and European quality.” He knows that poorer refugees face more dire situations, but he says his losses are no less painful. He has enough savings left to support his family for another year, maybe a little more, but he worries about what he will do when the money runs out. He says he has not been able to work in Lebanon as a doctor, because of extremely high fees required to register as a foreign doctor. “We do appreciate this country for allowing us to stay. But what is the point of being able to stay if we can’t have any income?” he says. “I want to work. But I was told I would have to pay $300,000 to work as a doctor here.” He left Syria 18 months ago and moved to an apartment in Beirut, where his rent was $1,500 a month and Lana attended a private school that cost $10,000 a year. Since they moved to their new suburban apartment and a new school, they have cut those costs in half. Faham got his medical degree in London and speaks perfect English. He and his wife, Nourhan Haidar, a pharmacist, cheerfully offer guests tea and sweets amid the golden-trimmed furniture that came with their apartment. But Faham’s bright eyes turn sad and dark when he talks about the future. “My friends in England who I studied with, they have private jets. I am living here. I have nothing. I have no security for my children,” he says. “Suddenly you find yourself out of work, and you have no faith in the future.” He home in Aleppo, a six-bedroom place worth $2 million, has been taken over by government forces. His weekend ranch, where he used to entertain the French and Turkish ambassadors around the swimming pool, has been badly damaged in the fighting and is abandoned. “If you wanted to sell it now for $1,000, nobody would buy it,” he says. His surgical clinic is closed, and his brother and his family have been living there since their house was destroyed. “My beautiful operating room has been turned into his kitchen,” he says, adding that he had to sell six of his seven cars to raise some quick cash to bring to Lebanon. Faham says the wealthy who stayed behind in Syria have become easy marks for kidnappers trying to raise money for their fight, both from the government and the rebels. He says that within the past few days an orthopedic-surgeon friend of his was kidnapped and his family paid a $100,000 ransom. Three prominent Syrian doctors he knows have lost families on refugee boats that have sunk in the Mediterranean off the Italian island of Lampedusa while trying to reach Europe. He just spoke to a neurosurgeon friend who paid smugglers $15,000 to get his family to Europe on one of the boats, then watched his twin sons and his wife drown when it sank. “Every country in the world interferes in Syria,” he says, “and nobody takes care of the Syrian people’s humanity and dignity.”


MY OWN PRIVATE IDAHO A Critical Analysis
[**SPOILERS**]
Prepared for Pia Cseri-Briones Fine Arts: Film Arts Rochester Institute of Technology Sean E. Williams May 7, 1992
In the 1990's, the art of filmmaking is balanced, if not stifled, by the business side of the industry. Films are not produced on the basis of their intellectual or artistic value, or by their political or social importance, but instead by the projected net income of the studio producing the film. The only exception to this rule is the work of independent filmmakers who choose to release their work via small studios which are willing to take risks to make themselves more well-known. Gus Van Zant is such a filmmaker, and Fine Line Productions is such a studio.
Van Zant's MY OWN PRIVATE IDAHO is the story of two male hustlers, Mike Waters and Scott Favor, who meet in a bad section of Portland Oregon, befriend each other for some time, and then separate.
Mike Waters (River Phoenix) is a young man who suffers from narcolepsy; a condition characterized by brief attacks of deep sleep, brought on by a chemical change in the brain which occurs during periods of stress.
Scott Favor (Keanu Reeves) is a well-mannered, upper-class individual. He is in the hustling business mainly to bother his father who is overwhelmingly rich. His long-term goal is to become an important member of the community, and to eventually become mayor.
The film begins with a young man, Mike Waters, standing on an open stretch of highway in Idaho. Nothing can be seen but fields and hills. Mike experiences a narcoleptic seizure, falling asleep in the middle of the highway. In the next scene, he is in Seattle serving to the wishes of a customer. Later, he moves on to Portland, and is picked up off the street by a woman who takes him to a large mansion in the suburbs. There are already two hustlers here, one of which is Scott Favor. Mike and Scott had met each other before, however they didn't really get to know each other until now. Mike has another attack, and Scott stays with him until the morning.
Back in the slums, living in a condemned hotel, Mike and Scott become good friends. Scott introduces Mike to his friends and acquaintances. In particular, there is Bob Pigeon (William Richert) who is an overweight, alcoholic, old man who has a fondness for young men. Bob is the leader of the group living in the hotel. It is later revealed that Bob was once in love with Scott, and Scott used him as a teacher.
Mike decides to begin a search for his "long-lost" mother, who was last heard from somewhere in Idaho. Mike accompanies him. The two acquire a motorcycle, and their journey begins.
During the nighttime while sitting around a campfire, the two have an involved conversation which tries to define their friendship. Mike tells Scott that he loves him without getting paid for it. Scott tries to tell him that "two guys can't love each other," but Mike disagrees. Mike begins to cry, and he then kisses Scott. The two lay down to sleep. The next day they learn that Mike's mother has traveled to Italy. They go to the airport and board the next flight.
Scott falls in love with an Italian girl, leaving Mike alone and broken-hearted. Scott and the girl return to Portland, and Mike returns separately, never finding his mother.
The story is believable to anyone who has grown up in a city or at least has been exposed to city life. The scenes of bums and vagrants living in abandoned buildings should not seem odd to most people, and the idea of hustlers should not be too hard to accept. The story of Mike searching for his mother is totally natural and not forced in any way. The longing for a missing family member should be believable to anyone who is not a cold-hearted product of asexual reproduction.
The plot outlined above is primarily expository, however he entire plot is not apparent until the film is nearly ended; Mike is in Idaho, standing on the exact same stretch of highway. He experiences another narcoleptic seizure, passing out in the middle of the road. He is exactly where he was when the film started. After viewing this scene, it is quite obvious that the film actually possesses an in medias res dramatic structure.
Throughout the film we are subjected to flashbacks which reflect the inner-workings of Mike's mind. They contain images of peaceful mountain rivers, fish, buildings which fall to the ground, shots of a woman (Mike's mother) and a ranch-style house, and other incidental material. This reinforces the in medias res style. It is important to realize that the theme of this film is that Mike is searching for his mother, and the incidents which occur during the film are, for the most part, external to the actual story.
Both internal and external conflict are present in MY OWN PRIVATE IDAHO. Internally, Mike is dealing with the fact that he cannot find his mother. This causes much grief for him, and is most likely a contributing factor in his narcolepsy. Externally, there is the friendship between Scott and Mike which is abruptly placed on hold when Scott falls in love while visiting Italy. There is also the rocky relationship between Scott and his rich father. For some reason, Scott finds it necessary to annoy his father by avoiding him and participating in activities his father would never approve of.
MY OWN PRIVATE IDAHO is not a genre film, per se, but it is a formula film in the fact that there is a main character (Mike) who is searching for a long-lost relative. Generally formula films are simply reworkings of cookie-cutter stories, but director/screenwriter Gus Van Zant has decided to work a formula story into a product which contains unconventional ideas and characters, and forms of sexuality which are not appealing to the general public. These ingredients make for a very unpredictable film, yet it is a formula film nonetheless. MY OWN PRIVATE IDAHO is certainly not typical Hollywood fare.
It can be said that Gus Van Zant is a graduate of the auteur school of filmmaking. He wrote the screenplay for and directed MY OWN PRIVATE IDAHO, as he did with his two previous feature films. His first film, which he made with $20,000 of his own personal savings, was named 1987's best independent feature by the Los Angeles Film Critics' Association. This film, MALA NOCHE, was photographed in grainy 16-millimeter black and white. His second feature, DRUGSTORE COWBOY was also met with near-universal critical acclaim. He has also directed two music videos, one for David Bowie and more recently one for the Red Hot Chili Peppers.
Gus Van Zant is a quiet man himself, such that an assistant sometimes has to repeat cues that he has mumbled into the megaphone. He keeps to himself, hidden behind a veil of deep thought. Van Zant has been called eccentric, as he asks that his actors perform the scene several times before the camera even begins rolling.
Characterization is very important to Van Zant, and he prefers that his actors try to remain in-character while they are not being filmed.  This is easy for Phoenix and Reeves, as both are personality actors. Van Zant employs several methods of characterization in MY OWN PRIVATE IDAHO. The characterization of those living in the slums is primarily by external action and appearance, as they are typically flat characters added simply to help the story along.
Bob's character is developed by appearance and dialog, but primarily through the reactions of other characters. The main characters, Scott and Mike, are established through dialog, appearance, and external action. Another important technique used by Van Zant for River Phoenix's character is characterization by internal action. Throughout the film we are presented with brief clips which indicate his thoughts and feelings. This can also be thought of as a form of symbolism.
Another form of symbolism, which is never explained, is the use of the "smiley face." At the beginning of the film, and when Mike returns to the Idaho highway, he looks off to the distance and comments about how the mountains and clouds look like "a ... face." In another scene, Scott lies down on a bed, staring up at a ceiling lamp which is decorated with multicolored smiley faces. At the end of the film, previous to the credits, the legend "have a nice day" is displayed on the screen. For those who were raised in a cave, the phrase "have a nice day" as often accompanied by the image of the smiley face.
Another use of symbolism I noticed, which is probably totally unrelated to the smiley faces, is the oddly frequent appearance of fish. A shot of fish swimming in a river is shown twice, and decorative brass fish appear as a part of one character's home. Again, this is never explained.
Gus Van Zant's three feature films are not very similar in directional style; however they do have a few similar traits. Van Zant's films contain serious stories which appeal to one's intellect. At first, MY OWN PRIVATE IDAHO seems to be a simple and straightforward story, but as previously mentioned it is quite complex and involved. The subject matter that Van Zant works with is unique and original, as most directors would not be willing to work on such projects as he. During the height of Nancy Reagan's "Just say No!" campaign, Van Zant completed DRUGSTORE COWBOY, a film whose primary characters are drug addicts. MY OWN PRIVATE IDAHO contains prostitution and shades of homosexuality, and was made during a time when one of the most deadly diseases in the world can be transmitted by sexual contact. For whatever reason, AIDS simply does not exist in this film, and the omission is so obvious that it must have been intentional.
When referring to Van Zant's cinematographic style, it should be noted that he tends to use the objective camera; that is, the audience views as a remote spectator. So remote, in fact, that the viewer should not find it odd to find himself looking down upon a scene as if he was hanging from the ceiling, complete with a light bulb in the foreground. The only exception to this rule is that Van Zant tends to use the subjective style in scenes where Scott and Mike are not the central focus.
In most scenes Van Zant uses high-key lighting. This is most notable during scenes which take place outdoors at night. It is very rare that the characters are hidden in shadows, unless it is integral to the plot. When Van Zant desires obscurity, backlighting is used. This is most obvious when Scott and Mike leap out from behind the rock during the robbery scene. On the indoor hotel sets, Van Zant creates the appearance of sunlight streaming through dusty windows; the gloom is pierced by a warm glow, and the rooms are lit brightly enough that all details are visible.
The title MY OWN PRIVATE IDAHO was inspired by the B-52's song "Private Idaho," although the film has little in common with the song. The "Private Idaho" in the film is the visions that Mike occasionally sees in his mind. Therefore it can be said that Mike is "living in his own private Idaho"--and Idaho which is visible only to him.
The music selected by Van Zant for this project consists primarily of old American Folk tunes. Therefore it is not incidental in nature, rather it provides a continual background "mood music" effect. This is totally incongruous to the typical Hollywood style, where the story is punctuated by orchestral music. The style of music used in MY OWN PRIVATE IDAHO perfectly suits the smooth, unobtrusive editing and chronological narrative structure. MY OWN PRIVATE IDAHO has a very slow, leisurely pace. Scenes flow at an almost standstill rate, focusing on small details. Sometimes this is beneficial, as the dialog seems to be written as though it were a literary masterpiece and not natural speech. The slow pace gives the audience time to contemplate what the characters are speaking of.
The first time I viewed MY OWN PRIVATE IDAHO, at RIT's Talisman, I found it quite confusing. Only after attending the second screening did it make some sense to me. MY OWN PRIVATE IDAHO is a very complex film which ends without resolution of the story. It deals with "taboo" ideas which are not generally dealt with in the American cinema. One reason for my initial confusion may have been I was uptight about what I was seeing on the screen, and this distracted me from the story at hand. During my second viewing I knew what to expect, and devoted my attention to the story.
I found MY OWN PRIVATE IDAHO to be a very depressing film. River Phoenix's character never does find his mother; and to make matters worse, he loses Scott to a woman. His narcolepsy is uncontrollable, and this makes him an oddity to most people. Without Scott, it appears that he has no one to turn to at a time when he seems to need help the most.
[This is a report that the author prepared as part of his course requirements. He is posting it for the general reference of all. If you find a need to re-use any part, please send e-mail to<EMAIL_ADDRESS>as it is (c) 1992, Sean E. Williams]
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Library: JSON
Package: JSON
Header: Poco/JSON/Stringifier.h
Description
Helper class for creating a string from a JSON object or array.
Member Summary
Member Functions: condense, formatString, stringify
Member Functions
condense
static void condense(
const Dynamic::Var & any,
std::ostream & out
);
Writes a condensed string representation of the value to the output stream while preserving the insertion order.
This is just a "shortcut" to stringify(any, out) with name indicating the function effect.
formatString
static void formatString(
const std::string & value,
std::ostream & out
);
Formats the JSON string and streams it into ostream.
stringify
static void stringify(
const Dynamic::Var & any,
bool preserveInsertionOrder,
std::ostream & out,
unsigned int indent = 0
);
Writes a string representation of the value to the output stream while optionally preserving the insertion order.
When indent is 0, the generated string will be created as small as possible (condensed). When preserveInsertionOrder is true, the original order of object members will be preserved. This is a "shortcut" to stringify(any, out, indent, -1, preserveInsertionOrder).
stringify
static void stringify(
const Dynamic::Var & any,
std::ostream & out,
unsigned int indent = 0,
int step = - 1,
bool preserveInsertionOrder = false
);
Writes a string representation of the value to the output stream.
When indent is 0, the string will be created as small as possible. When preserveInsertionOrder is true, the original order of object members will be preserved; otherwise, object members are sorted by their names.


iOS Portfolio
iOS Portfolio
The magic of RPN calculators, is that once you get used to them, you never want to use traditional calculators ever again. Enter two numbers and do an operation on them. Simple.
Instantly join real-time chats with a group in one location such as school, conference, lecture, or event.
v1.2.2 has mode which helps explain what Indalo does. There was a lot of confusion in the past what the Indalo chat application was all about, hopefully this new version helps bring clarity to the situation.
Coming to an app store neear you soon, quickIOU allows you to send a virtual signed IOU to your friends who help you out on short term liquidity situations.
xyztCalc
Indalo
quickIOU
You want to get high without recreational pharmaceuticals? This is the app for you. Advisory: Do NOT use while driving.
Launch this app and stare at the center for about 30 seconds and then look at a flat surface like a wall. Enjoy (available via testflight only).
v1.0 Basic feature, turn off and on. Currently awaiting approval on the App Store.
v1.0 Basic feature, turn offCurrently awaiting approval on the App Store.
lsdApp
Carticipate
Coming to an app store near you soon, pathList allows you to find your bikable path.
Adobe hosted a hackathon competition on a nice weekend in June in San Francisco. Attended by Julia, Steffen, and E.O. who met at the event and came up with the idea Saturday morning and submitted their prototype under the wire at 1:30 Sunday June 26, 2011.
The pathList iPhone app is available on github and is open source.
The data is pulled from from factual using their iPhone APIs, to see the url for the data, click above.
An iPhone app that draws multiple paths of different potential bike routes over a map of San Francisco. The elevation of the different route segments are shaded in different colors to represent how steep of climb the hills are, and, uniquely, the segments are colored by incline only in the direction of travel. By showing multiple routes at the same time, the hills are visible and your desired type of of ride to your destination can be determined. Do you want to climb hills or ride around them? Now you can see what your route looks like before you go.
pathList
BeMyApp hackathon competition was held on a rainy weekend in June in San Francisco. The sideWINDER app was developed from ground up in 48 hours.
SIzewinder
Coming to an app store neear you soon, sizeWinder allows you to find your size for various clothing brands.
sizeWinder
DocuSign hosted a hackathon competition on a rainy weekend in May in San Francisco. Attended by Adrienne, Steffen, and Luke who met at the event and came up with the idea Saturday morning and submitted their prototype under the wire at 8pm Sunday May 15, 2011.
Involvement: Concept, Design, Development, published on App Store
Involvement: Concept, Development, published on App Store
Involvement: Concept, Front-end UX, Localization, QA, published on App Store
Involvement: Concept, Front-end Development
Involvement: Front-end Development
Involvement: Concept, Design, Development
Involvement: Concept, Development
Coming to an app store neear you soon, tranSanka will make finding rides to your events easier. Currently integrated with Eventbrite APIs, with MeetUp and others soon.
One of the winners at GAFFTA’s second Sumer of Smart hackathons, one of three Urban Innovation weekends, part of an initiative of
Share rides to events
TranSanka
Involvement: Concept, Front-end, EventBrite API integration
Set your drink on the iPhone with this app and set the mood while you enjoy your cocktail at the lounge. You can select different color schemes and adjust the rate of color change.
Tell the bar tender you need another drink by going into blink mode.
Start drinking heavily with drink lightl (TM).
New cool features in the works, stay tuned.
Thanks goes to app-bits.com for their icons and nureen-restock.deviantart.com for her wood textures.
v1.0 has allows 3 color modes and the color change frequency can be adjusted.
DrinkLight
Involvement: Concept, Design, Development, published on App Store
BRD Motorcycles is a San Francisco based company developing an electric motorcycle. They needed a prototype app which communicated with their on-board computer via wifi to display vehicle system information such as rpm, temperature, and battery level in real time.
Faster
Involvement: Front-end development, project lead
OfficeHaus
Listing local open office hours hosted by high tech companies and organizations. Listing are updated on our servers regularly.
If you want to add your company ot the list, please call Steffen Frost at +1(415) 680-3301.
Looking for 100% grass fed beef? Stay tuned.
Involvement: Concept, Design, front and back-end development, available on TestFlight.


Luke Evans nearly walked away from his biggest role as Gaston in Beauty and the Beast
The Aberbargoed actor was on Sunday Brunch talking about his film and singing career
by Kathryn WilliamsHollywood star and valleys-born actor Luke Evans has told of the time he nearly walked away from the role that propelled his career to new heights.
Evans, who is from Aberbargoed , revealed on today's Sunday Brunch that he turned down the role of Gaston in Beauty and the Beast three times because he didn't think it was for him.
The 2017 live-action version of the Disney musical saw Evans become a household name. The 40-year-old actor had previously starred in blockbusters like The Hobbit trilogy as Bard the Bowman and Fast and Furious 6, but it was as Gaston took his film career to the next level.
He told Sunday Brunch hosts Tim Lovejoy and Simon Rimmer why he thought Gaston - the villain in the story - wasn't for him.
"I really wanted to be able to merge my singing career with my film career which was going well and I didn't know whether Gaston was the right role for that.
"My best mate said 'mate, Gaston's a brilliant role.' So we watched it with the kinds one Sunday and I watched this character, and I'd turned it down three times. I wanted to play the Beast, but they'd cast the Beast.
"But then I saw it and I thought 'I'm going to make them love me then absolutely despise Gaston!"
Evans, who is currently starring in Roland Emmerich's blockbuster, Midway, opposite Woody Harrelson, Mandy Moore and Dennis Quaid, was on the show to talk about his new album, At Last.
A regular on the West End stage at the start of his career, Evans sings a series of covers of the album and recently appeared on the Children in Need Got it Covered album.


--- layout: post title: Ludum Dare 27 approaching and blog woes date: 2013-08-18 22:28:22.000000000 -07:00 categories: - Game Development - Ludum Dare tags: [] status: publish type: post published: true meta: _edit_last: '1' dsq_thread_id: '1616272498' _wp_old_slug: hello-world #author: # login: siegedog # email<EMAIL_ADDRESS># display_name: siegedog # first_name: '' # last_name: '' ---
Well, Ludum Dare 27 is less than one week away, but my preparations are still far from done. But that's OK - it's part of the challenge after all.
If you haven't head of it, Ludum Dare is a rapid-prototyping game development challenge, where the participants (usually around 1000; Ludum Dare 26, which took place this April, has over 2000 participants!) have 48 hours at their disposal to develop a game from scratch, based on a given theme. Well, "from scratch", in this case refers to the content itself. You're not allowed to use any pre-existing content, be it a public domain image or sound sample. It's just against the rules. However, as far as frameworks, engines and libraries are concerned, there are basically no restrictions, and people use everything from their little C++ frameworks and Flash, to libgdx (which is what I use), Unity 3D, Construct, XNA and other large frameworks and tool sets. And by the way, the name is pronounced Loo-Doom Dah-Reh, since it comes from Latin and essentially means "To give a game". Some people just pronounce it Loo-Doom Dare (dare, as in challenge), which is also pretty cool.
You'd think it's a no-brainer to choose the framework to use - just pick a really well-documented one a few weeks in advance, mess around with it, and use it during Ludum Dare. Duh! But it's just not that easy. It's sometimes easy to create a toy app in a framework and immediately convince yourself that you know how to use it, only for Ludum Dare to start and you to find yourself stuck trying to change some of the framework's behavior to make some small detail in your game work. BAM! - several valuable hours down the hatch.
Some coders start from scratch every time. Notch, the creator of Minecraft, sometimes takes part in Ludum Dare, but every time he just starts with the bare minimum - the Java standard library plus lwjgl (LightWeight Java Game Library), which is only a thin OpenGL wrapper for Java. He then proceed to write the sprite loading, physics, rendering logic and everything from scratch. In LD21 he even wrote a simple raytracer from scratch with no references. Beat that!
Like I mentioned before, I'm going to use libgdx and hopefully create something at least half-decent. It's a really nice framework with a great, healthy environment. It's amazing in that it allows coders to write the core game logic in a platform-agnostic way, allowing libgdx's internals to take care of the details. With only minor additional code (such as handling different screen sizes, dpis, touch vs. mouse input etc.) your game can run on almost any desktop OS (Linux, OSX, BSD, Windows work! - sorry Plan 9 users), in-browser using Java Applets (*shudder*) or HTML5. Yep, HTML5. Libgdx can compile Java int Javascript, using GWT.
I've taken part in Ludum Dare several times before, and ended up posting the resulting games 3 times, and scrapping my project twice (once while working alone, and the other time by working with a friend and falling horribly behind). My creations can be found on my Ludum Dare profile page.
tl;dr: I spent 3-4 hours trying to get Octopress to work, leading to frustration, a(n) (useless, failed) distro-upgrade and rvm problems. I managed to set up Wordpress in 30 seconds.
Since my site (currently) runs on a shared host, I couldn't get Octopress to install server-side. The obvious alternative (well, it's actually how you're supposed to do it) is to install it on your own computer and just deploy the updates using RSync over SSH. Apparently my dusty-old Bodhi Linux's repositories were all out-of-date and it refused to install any dependencies. All of the mirrors were 404-ing in a large chorus of "Fuck you, I'm Linux I won't do what you tell me!". Apparently the Ubuntu version my Bodhi was based on was no longer supported. Sigh. This is just like that time I was running Ubuntu (or was it OpenSUSE) and the flash videos on Youtube all had a weird blue tint. Four hours later, I was re-compiling my graphics drivers and re-thinking all of my major life choices.
So, after all this, I decided that I really didn't care that much about the technology behind it, accepted defeat and just installed Wordpress, thus losing all the potential nerd-cred that I would have received from my peers, after they would have noticed that my blog is "powered by Octopress". Maybe some other day.
So that's it for my first post ever. Hello world and whatnot!
I did it, after all. After getting fed up with the constant security threats and overhead involved with running Wodpress, I made the switch to Jekyll. I'm using a minimalistic theme, I'm editing my posts in Vim and I love it.


Issue: PRINC-READABLYReferences: FORMAT (pp. 385-388), PRIN1 (p. 83), PRINC (p. 83),
WRITE (p. 382), *PRINT-PRETTY* (p. 371)
Related Issues: DATA-IO, FORMAT-PRETTY-PRINT, PRINT-CIRCLE-SHARED
Category: CHANGE
Edit history: Version 1 by Moon 9/25/91
Problem description:
What do you think this form outputs?
(let ((*print-readably* t))
(format t "<~A>" '|Foo|))
If you said <Foo>, that's what I expect it to output. However a close
reading of CLtL2 shows that it is specified to print <|Foo|>. Similarly
~A is specified to put on a package prefix if ~S would, when
*PRINT-READABLY* is T. ~D, etc. have the same problem, as does PRINC.
If *PRINT-READABLY* is true, the binding of *PRINT-ESCAPE* by these
FORMAT operators and by PRINC has no effect.
See CLtL2 p.558 for the specification that *print-readably* overrides
*print-escape*, CLtL2 p.583 for the specification that ~A only binds
the printer control variables it is explicitly specified to bind,
CLtL2 p.584 for the specification that ~A only binds *print-escape*
(*print-readably* is not listed), and CLtL2 p.578 for the specification
that princ is the same as write with :escape nil (but not :readably nil).
Part of the problem appears to be that issue DATA-IO was written up
without any reference to issue FORMAT-PRETTY-PRINT. I apologize.
A related problem is that the following form
(let ((*print-circle* t) (s "foo"))
(format t "~A ~A(~A, ~A)"
"moe" "bar" s s))
is specified to print ``moe bar(#1=foo, #1#)'' rather than
printing ``moe bar(foo, foo)''.
I discovered these problems when Macintosh Common Lisp was changed to
obey the letter of the law (as handed down in CLtL2) and a program of
mine stopped working.
Proposal (PRINC-READABLY:FIX-BUGS):
1. Specify that ~A binds *PRINT-READABLY* to NIL.
2. Specify the same for ~B, ~D, ~E, ~F, ~G, ~O, ~nR, ~X, and ~$ (which
all turn into ~A for non-numeric arguments).
3. Change the specification of (PRINC object stream) as equivalent to
(WRITE object :STREAM stream :ESCAPE NIL)
to instead be equivalent to
(WRITE object :STREAM stream :ESCAPE NIL :READABLY NIL)
4. Change PRINC-TO-STRING the same way.
5. Change items 1 and 2 above also to bind *PRINT-CIRCLE* to NIL.
Change items 3 and 4 above also to specify :CIRCLE NIL.
This has been broken out into a separate numbered item to allow
for the possibility of voting separately on this change.
Test Cases/Examples:
See "Problem description."
Rationale:
Proposal DATA-IO:ADD-SUPPORT was not intended to "break" ~A;
this was an accident.
~A and PRINC are supposed to produce "human-readable" output, so
they should not put on machine-readability decorations such as
vertical bars, backslashes, package prefixes, and #1#.
Point 5 means that ~A might not terminate when given a circular
structure to print, even if *PRINT-CIRCLE* is true. The real problem
here is that *PRINT-CIRCLE* is being used for two distinct purposes,
detecting circular structure and detecting shared structure. We do
not propose here to separate those two features (X3J13 voted
down a proposal, PRINT-CIRCLE-SHARED:NEW-VARIABLE, to do so once before).
Current practice:
Macintosh Common Lisp 2.0b3c4 does not implement this proposal; it
implements exactly what CLtL2 specifies.
Symbolics Genera 8.1 implements the proposal, or at least produces the
proposed result for both test cases. This might be due to assuming
that CLtL2 says something reasonable rather than reading the book with
a magnifying glass.
Cost to Implementors:
Implementing the changes should take very little effort.
Cost to Users:
Conceivably existing code could depend on the specified behavior,
but that seems quite unlikely, so the cost to users is probably minimal.
Cost of non-Adoption:
A silly hassle for anyone using ~A and ~S to generate comments and
code respectively, with *PRINT-READABLY* and/or *PRINT-CIRCLE* turned
on for the benefit of the ~S.
Benefits:
Fewer silly hassles.
Aesthetics:
Does FORMAT have aesthetics? If it does, I think the change improves
them slightly.
Discussion:
Dave Moon and Guy Steele were both surprised that CLtL2 says what it says.


deserializeEnum(val: any, values: Map<number, any>): any
Parameters
val: any
values: Map<number, any>
Returns any
enableProdMode
enableProdMode(): void
Disable Angular's development mode, which turns off assertions and other
checks within the framework.
One important assertion this disables verifies that a change detection pass
does not result in additional changes to any bindings (also known as
unidirectional data flow).
Returns void
evalExpression
evalExpression(sourceUrl: string, expr: string, declarations: string, vars: object): any
Disable Angular's development mode, which turns off assertions and other checks within the framework.
One important assertion this disables verifies that a change detection pass does not result in additional changes to any bindings (also known as unidirectional data flow).


{% extends "boh/dashboard/base_dashboard.html" %} {% load i18n %} {% block title %}{% trans 'Reports' %}{% endblock %} {% block dashboard_content %}
{% trans "This report details the activities performed for each application's last engagement." %}
{% trans 'This report shows the ThreadFix vulnerability counts for each application.' %}
{% trans 'This report details all vulnerability and application meta data.' %}


|
For as long as Sandra can remember she has always been interested in art. She started drawing early on but fell in love with painting after going to a summer camp at the age of 10. After that, she used her birthday and holiday money to buy art supplies and spent her free time experimenting with colors and styles. As she got older, her time became a balancing act between her classes, sports and painting. After high school, she attended CNM full-time for a semester but after arguments with her parents about her taking art classes she moved out of her parents house. She is currently pursuing a Fine Arts / Studio Concentration degree at CNM but her financial situation didn't allow her to take more than one class at a time. She has worked on various group murals and two murals of her own. After the covid 19 shut down she was laid off and is collecting unemployment. Not having to work has given her the ability to devote a lot more time to painting.
Sandra's family has never taken her love of art as a serious interest. It was more of a way to pass the time when she wasn't doing something important.  She visits her family periodically but her relationship with her parents is strained because they don't understand why she is "wasting her time". Sandra is determined to make a career in art and prove herself. She is looking into numerous ways to get exposure.
Sandra sees painting murals as a way to get others familiar with her art. She hopes that interest in her as an artist will increase and her dream is to sell her paintings in an art gallery.
As a power user, I need to be able to quickly and easily upload images of my murals from my computer or my phone.
Sandra has just completed a mural and wants to upload a picture and location information.
Pre-condition: she has taken a picture of her mural and browses to the website from her phone
Post-condition: a picture and information of her mural is uploaded to the website and will be reviewed


Leave History
Employee Id
Start Time
End Time
Type Of Leave
Submit
Index
Employee id
Employee Name
Start time
End time
Type
Available Leave
Status
More
1
e1
e1
12-3-2020
13-3-2020
Medical
5
Approved
2
e2
e2
12-3-2020
13-3-2020
Medical
5
Approved
3
e3
e3
12-3-2020
13-3-2020
Medical
5
Approved
4
e4
e4
12-4-2020
13-4-2020
Ordinary
5
Approved
5
e5
e5
12-5-2020
13-5-2020
Medical
5
Denied
6
e6
e6
12-6-2020
13-6-2020
Medical
2
Approved
7
e7
e7
12-7-2020
13-7-2020
Medical
7
Approved
1
2
3
4
5
6


Hi! I'm a front-end developer who loves responsive design and css. I recently finished learning front-end web development at Treehouse and I am excited to put all of my skills to use!
This project shows the front page of a marketing website meant for a specific business I am interested in.
This project searches through a specific database to find information that user is trying to look up.
This project compares travel times based on different transportation methods and tells you the best one.
This project uses mapping apis to plot points for my favorite spots in the city for a do-it-yourself walking tour.
This project shows pictures from a recent trip to the viewer and allows them to easily navigate through photos.
Someone can enter in the numbers they want, and press the big blue button and get the result.
If you're interested in chatting or want more information about what I've been working on, I'd love to hear from you!
Phone: +1<PHONE_NUMBER>
Email: email@yoursite.com


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This is an english translation of the same article I wrote in Indonesia here
Veritrans burst the scene in Indonesia with the vision to be the pioneer of UX Payment in Indonesia. But a quick usability test shows that people run into some critical issues with Veritrans VT-Link feature.
Objective
Identify the pain points that users encounter in making a VT-Link.
Test Parameters
- What: Veritrans’ Website and Merchant Administration Portal (MAP)
- Who: 4 Social media (Facebook, Instagram and LINE) merchants aged 22–50
Tasks
Users were asked to the these tasks that’s been made into scenarios:
- Find the name and information of VT-Link service (the name won’t be mentioned beforehand)
- Fill the required information to start using VT-Link for real
- Make 1 VT-Link for an item and another VT-Link for a bundle (multiple items)
Example of the scenario:
A new supply of Ghosty Comic Vol. 1 just arrived, and you just saw a link for an online payment, powered by Veritrans.
You want to use the same service to sell the new batch of comic in your Facebook Page. Find the name and information about that service in Veritrans’ website.
Processing
I documented every complain and feedback in Trello, I also marked complains and feedback that came from multiple users.
Issues Found
Website
Users don’t know the requirement to start using VT-Link for receiving payment
After browsing the website for several minutes to gain informations, users assumed they only need their ID Card to start receiving payment via Veritrans. Only a couple users felt that they need NPWP (Tax) and SIUP. This happens because users can’t find the information about it while browsing the website.
The requirement should be put up front, when I was signing up.
No user read the “how to integrate with Veritrans” section in Products and Pricing page
Veritrans actually specify the said requirements in their support page. But unfortunately there’s no obvious link for user to get to that page. The only link I found is the FAQ link in the footer.
I assume Veritrans is reluctant to put the requirements in the home page in fear it would discourage new user to try using Veritrans. But making users navigate their way to these requirements in MAP only makes them frustrated and some even felt cheated, because of the promise of ease of use.
RECOMMENDATION: Add a link to the support page in the Navigation Bar and somewhere in the homepage. A page as important as that should be easily accessed by users
Sandbox
Users were confused by the presence of sample data in MAP, users also had a hard time to change the environment to Production
“I’m confused. What’s the different between Sandbox and Production?” said a user even after he successfully change environment back and forth
After users signed up and opened the MAP, users were put in the Sandbox environment. With Sandbox, users are expected to try features that’s made available by Veritrans.
But the sample data didn’t immediately show up. Only after users open other pages, the data suddenly appears. It seems that there’re some sort of delay.
Even until the end of test, users were still unsure what do Sandbox and Production mean. Some suggested to change the names.
The lack of onboarding tutorial and more importantly a delay in sample data emergence make the users confused. Users failed to make a connection between Sandbox = Testing because of the delay in sample data. This may also contributed to why users were unsure what’s the meaning of Sandbox and Production, even after they successfully changed environment.
Some users were aware of the colour scheme change when they switch environments (Sandbox = light blue, Production = dark blue). But some users thought the colour change was due to somethings else.
After I told the users that Sandbox means they were in testing mode, users were asked to change the environment to Production. Some users looked in Settings menu. Only one user intuitively choose the dropdown next to the merchant’s name.
No users switched environment via the dropdown menu in the upper right hand side (User logo).
RECOMMENDATION: Users need to know that they’re currently in sandbox environment that is intended to be tinkered with. Make a more aggressive signifier. Try to change the name of the environments to something that’d be more intuitive for the user. The sample data must also appears instantaneously, with no delay.
VT-Link
Most users didn’t encounter any problem while making VT-Links. But when they open the URL they just made, users were confused what page were they seeing.
They didn’t realize that the page they opened was a payment page, they also didn’t realize that payment methods were missing.
Users felt the need of an indicator that states the function of the page, and an indicator about the absence of payment methods.
RECOMMENDATION: Users need to know that the URL they just opened is a live/active payment page, users must also know that there’s no payment method available yet, and why.
Complete Merchant Registration
Even After knowing there was no available payment methods yet, user had no idea why. Only after I told them it was because their data was incomplete they start looking where they can fill it.
Every user went and looked in the Settings sub-menus. Only after several minutes of searching that they clicked on the notification button in the upper left corner.
Although user saw the notification that their registration is not complete, no user immediately clicked on the text. Only after they hovered their cursor on the text that they realized it was clickable. There’s no signifier that the notification can be clicked.
Some users said that they don’t bother to open the notification (in Production environment) because there was also a (different) notification in the Sandbox. They thought it was just the same notification so they don’t try to open it.
After clicking the notification, a pop up title “Complete Merchant Registration appeared.
There’s 3 sections that users said they can’t find anywhere else. Those were Corporate Information, Business Detail and IT Information.
After filling every information, users were shown the list of documents that’s needed to be sent (by email) to Veritrans for them to start selling:
Every user assumed that every single one of the document have to be sent for them to start using Veritrans. Therefore every user felt the requirements was too demanding for them.
One user felt irritated that they only know these requirements after they went to so much trouble to navigate the MAP, he felt that those requirements should be told to him much earlier in the process, as early as he was signing up.
RECOMMENDATION: No user intuitively open the notification in the top-right corner to complete their registration, most users try to look in the Settings sub-menus. Hence make the Corporate Information, Business Detail and IT Information form available in the Settings sub menus. It’d even better to group all of the form together in Settings. Also, separate the required documents for individuals and corporate, don’t join them together, so individuals don’t feel discouraged by the requirements.
Design Suggestion
Because many users were confused with the term environment and Sandbox, I propose to change their name to Testing Mode (and Production Mode). I’d refrain from also changing the Production name, so the current users don’t get confused by the names.
I’d also propose a change from dropdown to toggle buttons. This has 2 effects. First, it let current users notice that Sandbox have been changed to Testing. Second, it let new users see the available modes right away.
There’s also a warning bar that acts as a signifier that the user is currently navigating in Testing mode. This warning bar will keep appearing as long as the user is in the Testing mode.
There were no signifier that the notification can be clicked in the sidebar, hence some visual hierarchy and borders can be used to signify that it’s clickable
Make Boundaries
Sandbox is a step to a right direction for Veritrans, it enables users to tinker with MAP while making sure no real data is being used. But MAP doesn’t have any anti-affordance to prevent user from using the Production environment without first completing their registration. Without this boundary it was possible for user making a VT-Link with no payment methods.
This boundary should also be made to prevent users feeling overwhelmed when they first used MAP. With user restricted to Testing Mode, they can explore the features freely without accidentally switching to Production.
 In the modal there’s 2 buttons, the first button leads to the Complete Merchant Registration page while the other buttons will switch the environment back to Testing mode. The latter button is useful if the user switched to Production accidentally.
This modal functions as an anti-affordance that prevent the user from using Production Mode while their information aren’t complete and as a signifier that their information aren’t complete.
This modal can’t be closed and will always appear as long as their registration and required documents aren’t completed. Only after Veritrans received the required documents and activated their account, can the user start using Production Mode.
VT-Link / VT-Web
Lastly, I’d also suggest adding some more clarity in the VT-Link (and/or VT-Web) page by adding a “Payment Details” title and and indicator about the lack of payment method activated by the merchant
Closing Notes
Veritrans has a vision to be the number 1 UX payment company in Indonesia. By implementing my suggestions hopefully the user experience, especially the merchants can be enhanced furthermore.
*I don’t work for or am affiliated with Veritrans. I’a a UX Designer trying to learn my trades. Veritrans is a company I wish to grow even more so online payment in Indonesia could be made much easier ☺


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This week in The Dabbler I confess to my teenage crush on Harold Wilson. Required reading, I think, for anyone interested in pipe-smoking premiers, political paranoia, spiders, and bedridden teenagers who have lost the use of their lower limbs.
For younger readers, here is a photograph of Harold Wilson. On no account should you confuse this with December's daily advent calendar picture. While there is always the possibility that Wilson may appear on your calendar at some point, that day has not yet come.


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--- title: lineSdk keywords: fastai sidebar: home_sidebar summary: "read and write product information in real time" description: "read and write product information in real time" nb_path: "index.ipynb" ---
pip install linesdk
Uploading a large amount of data using s3
sampleInput = {
"message": "helloWorld",
"roomId": 'C9ba1d024ed36979222a2a2a8f67cfc9a' ,
"accessKey": accessKey
}
from linesdk.linesdk import Line
line = Line(accessKey = sampleInput['accessKey'] )
%%time
line.send(roomId = sampleInput['roomId'] ,message = sampleInput['message'])
%%time
line.lambdaSend(sampleInput, _)
%%time
lineLambda = LineLambda(USER, PW)
lineLambda.send(message='hello', roomId = sampleInput['roomId'])


Demo actions
Actions you can perform on this page.
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Set analytics into templating of any frontend / mvc framework and it will do the job.
Demo actions
Actions you can perform on this page.
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The ‘basic’ school curriculum includes the ‘national curriculum’ , as well as religious education and sex education .
The national curriculum is a set of subjects and standards used by primary and secondary schools so children learn the same things. It covers what subjects are taught and the standards children should reach in each subject.
Other types of school like academies and private schools don’t have to follow the national curriculum. Academies must teach a broad and balanced curriculum including English, maths and science. They must also teach religious education.
The national curriculum is organised into blocks of years called ‘key stages’ (KS). At the end of each key stage, the teacher will formally assess your child’s performance.
| Age | Year | Key stage | Assessment | |
|---|---|---|---|---|
| 3 to 4 | Early years | |||
| 4 to 5 | Reception | Early years | Teacher assessments (there’s also an optional assessment at the start of the year) | |
| 5 to 6 | Year 1 | KS1 | Phonics screening check | |
| 6 to 7 | Year 2 | KS1 | National tests and teacher assessments in English, maths and science | |
| 7 to 8 | Year 3 | KS2 | ||
| 8 to 9 | Year 4 | KS2 | ||
| 9 to 10 | Year 5 | KS2 | ||
| 10 to 11 | Year 6 | KS2 | National tests and teacher assessments in English and maths, and teacher assessments in science | |
| 11 to 12 | Year 7 | KS3 | ||
| 12 to 13 | Year 8 | KS3 | ||
| 13 to 14 | Year 9 | KS3 | ||
| 14 to 15 | Year 10 | KS4 | Some children take GCSEs | |
| 15 to 16 | Year 11 | KS4 | Most children take GCSEs or other national qualifications |
By the end of each summer term the school must write a report on your child’s progress and talk it through with you.
Children who are in years 2 and 6 at the moment will take the new national primary curriculum tests in 2016.


COMPETENCY RELATED INFORMATION
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Created by:
Stephan Meissl, Thomas Bonfort, and Fabian Schindler
This work is licensed under a Creative Commons Attribution 3.0 Unported License.
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select strftime('%Y-%m-%dT%H:%M:%SZ',start_time)||'/'||strftime('%Y-%m-%dT%H:%M:%SZ',end_time) from time where source_id=:tileset and start_time<=datetime(:end_timestamp,'unixepoch') and end_time>=datetime(:start_timestamp,'unixepoch') and maxx>=:minx and maxy>=:miny and minx<=:maxx and miny<=:maxy order by end_time limit 100
Visual representations of search results e.g. single browses or all browses in a specific time interval
...
true
Absent tiles are considered empty instead of being sent to WMS for generation
...
WGS84
Dynamically create high resolution tiles from lower resolution ones
foss4g.sqlite
true
9 bytes stored per tile (hex quadruplet). Dynamically returned as a 132 byte PNG.
Live
Funding has been provided by the European Space Agency (ESA) in the frame of the ngEO project.
This work is licensed under a Creative Commons Attribution 3.0 Unported License.


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Just in case you ever need to get in touch, please, contact us! The addresses here will help making your life easier, hopefully.
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<EMAIL_ADDRESS>© Copyright 2019 | Designed by Franklin Siqueira


What a responsive site is, and why responsiveness is important?
A responsive website is one that can automatically change it appearance depending on the type of device which it is being viewed on.
In the past, a site was designed primarily for browsing on a desktop or laptop. When viewing on a smaller device such as a phone or tablet, the site would either be too small to navigate or you would have to scroll up or down, left to right to read it. Also, the devices don’t have the same processing resources available so rendering these big sites may take a lot longer. The result is an awkward user experience.
With responsive websites, the site as able to adapt and present the information and navigation in a way that is easy to access and pleasant to use no matter what device the you are using.
Given the rise in the use of mobile devices as a means to access the internet, having responsive websites becomes even more important. In fact, search engines such as Google have now recognised this as the way forward in the future and are using the responsiveness of a site as one of its measures in determining its search ranking.
What mobile first design is, and why it's important?
Initially, webpages were designed for desktop browsing. To add responsiveness, the designer would then have to shoehorn their site into the viewport (screen-size) of the smaller devices.
One of the main issues with this the content and design may be compromised and that certain functions would have to be sacrificed. This approach is referred to as “graceful degradation”.
Turning this approach on it’s head and designing for a mobile platform first is termed “progressive enhancement” and appears to be a growing trend in web design / development.
Using this approach, you design for the mobile environment first, picking your most vital components like the content, navigation, design. The user experience from a mobile perspective is paramount so there is no compromise at this point. Then by using media queries, you can add further enhancements such as additional features and functionality at different screen sizes as the original design is built on.
This is important as it focusses on the mobile user experience right from the outset without compromising the experience of tablet viewers or desktop users. It also results in efficient sites as with each smaller device, unnecessary features are not included.
What frameworks are, and their pros and cons?
A framework is a development tool which provides a platform on which you can build applications and reuse code. With frameworks, there are preloaded features which enables you to perform certain tasks or add functionality without having to code everything from scratch.
The advantages of using frameworks
- Efficiency - tasks can be preformed with pre-built functions, code is stable and has been tested.
- Security - frameworks are developed by a community. If security issues or vulnerabilities identified, these are quickly picked up and resolved.
- Cost - frameworks are often free and can reduce the amount of time taken to develop a site.
- Support - often frameworks come with full documentation and support teams. They also have community forums where you can ask for help or research solutions.
There also are disadvantages to using frameworks.
- You don’t actually learn the language behind the framework, just the framework itself.
- Limitations - frameworks have certain core behaviours which can be modified and idiosyncracies.
- Code is public - which opens it up to malicious attack should a person decide to do so.
What a wireframe is and why we use it?
A wireframe is a basic visual outline of our website design. It gives us a plan of the type of content and information and where it will be displayed on the page. It will also give an idea as to the site will interact with the user.
Here is the basic wireframe from our project. Some elements have changed from the original wireframe to how it appears at the moment.


| Class | Description |
|---|---|
| CastLineageSetter |
Find uid lineage information.
|
| ColumnAliasConversionVisitor |
Logical plan visitor which will convert all column alias references to column
indexes, using the underlying anonymous expression plan visitor.
|
| DanglingNestedNodeRemover | |
| DuplicateForEachColumnRewriteVisitor | |
| ForEachUserSchemaVisitor | |
| ImplicitSplitInsertVisitor | |
| InputOutputFileValidatorVisitor | |
| LineageFindRelVisitor |
Create mapping between uid and Load FuncSpec when the LogicalExpression
associated with it is known to hold an unmodified element of data returned
by the load function.
|
| ProjectStarExpander |
A visitor to walk operators that contain a nested plan and translate project( * )
operators to a list of projection operators, i.e.,
project( * ) -> project(0), project(1), ...
|
| ProjectStarExpanderUtil |
Util function(s) for project-(star/range) expansion
|
| ProjStarInUdfExpander |
Expand project-star or project-range when used as udf argument.
|
| ResetProjectionAttachedRelationalOpVisitor | |
| ScalarVariableValidator |
This validator checks the correctness of use of scalar variables in logical
operators.
|
| ScalarVariableValidator.ProjectFinder | |
| ScalarVisitor |
Logical plan visitor which handles scalar projections.
|
| SchemaAliasVisitor | |
| SortInfoSetter | |
| StoreAliasSetter | |
| TypeCheckingExpVisitor | |
| TypeCheckingRelVisitor | |
| UDFFinder | |
| UnionOnSchemaSetter |
A visitor that modifies the logical plan (if necessary) for union-onschema
functionality.
|
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