| DOSE: | 3.0 g | oral | Mushrooms - P. cubensis | (dried) |
I have compiled an account of today's psilocybin experience. As will become apparent, the encounter was intensely personal, intensely emotional. But then, why do we poison ourselves so, if not precisely for these effects? I include those parts here in the interest of science, that the virtue of these sessions can be understood. This is in the face of prevailing hysteria over the issue of 'drugs', which informs national public policy, and which is based largely on stereotypes and ignorance. I do not advocate casual use of these substances. On the contrary, they demand the utmost respect, as I have learned today. But read on.
The main text (in bold) was written while under the influence of approximately 3 grams of dried psilocybin mushrooms. The surrounding commentary was added later. This experiment took place in my apartment, on a Sunday afternoon. After consuming the mushrooms, with orange juice, I did some Yoga stretches to relax into a more receptive mode. I then sat cross-legged on the floor, the lights out, earplugs in (I live in a noisy city, okay?), quieting myself. The effects came on in about 25 minutes. I did not begin writing for some time.
When I did this with S., we both cried. We weren't sure why. Now it seems that, perhaps, it was that we had been shown the impermanence of things. That is cause for sorrow and joy -- or neither: it is the way of the cosmos.
My previous mushroom experience, with this same batch, was conducted with my girlfriend, in her apartment. We each found ourselves crying, for reasons we could not explain. Today's adventure sheds new light on that.
Life is a miracle! Others have said it. But let me now be counted as one who has said it, too. It is miraculous that this flesh, which someday shall stiffen and fall, could move, could feel, could think.
I find myself looking at my hands, imagining how someday they would harden in death. They look pale, plastic, the fingers a bit too long. But they seem distinctly features of a living system. I am fascinated by the rough edges of the cuticle, the frayed edge of growth, the uncertain tip of becoming.
I am the entire history of the planet. The present is all there is.
Contemplating the evolution of life on Earth, I see myself as the ongoing product of all the lives that preceded me. Visions of the sea come before me, of life struggling on coastal rocks, of birds overhead. The present is the moving summation of all that has gone before; all things are interrelated. I understand myself as the continuing culmination of the evolutionary process.
We are scared, inside. Fear eats at us from all around. We appear, as it were naked, given into this world, told we have parents, who love us... But I am telling my story here.
The anxiety begins. The ego's defenses are being stripped away, and I see myself as a fragile, transient disturbance in a realm of infinite complexity. I am losing the illusions which I hold onto to feel secure. We are not the people we assure ourselves daily of being, but frightened children, grasping for assurance. We are terrified of death, so we deny it. But when truly confronted with our own impermanence, the games we play and the crutches we lean on do seem to fade! Still, I count my blessings, feeling thankful for having such loving parents and friends. Many others are not so lucky.
Those who tell us not to do psychedelics fear confrontation with the essential anxiety of being.
We live in a society which denies death, and in so doing, denies life. Entheogens force us to confront essential issues of life, death, and identity. This is, really, what people fear about them. They fear it so much that they would stop others from investigating these mysteries.
We cried at the realization of what we are. Or what we are not.
Another reference to the previous trip. Self-realization, self-revelation, can be a profoundly disturbing experience. But does it therefore follow that ignorance is preferable?
I have to attend to the matter of my life. It is like a plant, or a garden, which must be tended. There does seem to be an integrity to those who work with the earth, [who] rely on it.
Sensing the reality of my eventual dissolution, I feel the urgency of cultivating a life that is meaningful and beautiful. Too often I take the safe and habitual route. The metaphor of the garden presents itself: life as an organic phenomenon. We do not create our destiny outright, but like a gardener we can plant seeds and tend them. It occurs to me that growing plants is in many ways an alchemical project. Gardening involves all the ingredients of self development: discipline, intelligence, love... Like alchemy, it is a microcosm of spiritual evolution.
Whatever happened to 'striking out to find one's fortune,' like in all the old stories? The things that we take for granted hold us back.
Many tales begin with the youth setting out from home, seeking his destiny. There was the implication that destiny would, in fact, find him. None of this pre-fab future, with everything planned out from school to nursing home. That is a denial of destiny. The more we take for granted, the less sensitive we are to the prompting of opportunity, and the more vulnerable when our foundations crumble...
If these mushroom experiences are not euphoric it is because I am a sad person at heart.
But then, few aren't.
I must make changes in my life. I want to farm, to live off the land, to work with my hands. But what is happening to us? What is this history going on all around us?
Perhaps living in Manhattan makes me overly nostalgic for the 'simple life', that pastoral idyll of intimate communion with the land. But I think it holds up to scrutiny. To live off one's own harvest is to rely as much upon one's self as on the earth. But is it really what I want to do? The close of the Twentieth Century seems to herald astounding changes in the nature of human civilization. Can I afford to be isolated, not to contribute?
It just occurred to me that history is intimately bound up with communications media. I mean, if things seem to be moving faster, it is, in part, because we are so informed about so much.
Superficially, this is obvious. But I am talking about the perception of history. Perhaps the sense that things are speeding up is in part an illusion created by all the information that bombards us. Is it that more is happening, or that we just know more about it? Of course, there is a feedback loop at work here. Information does not passively circulate, accumulating in manageable puddles. It changes what it touches, affecting in turn the flow of occurrence which it describes. I remain convinced of the acceleration of historical currents.
I am an historical creature. Is there a part of me that is not? If I have seen it, it went unrecognized.
I do not stand outside the world, looking in. I am a part of it, a feature of the universe, the product of all that is and has ever been. Not just my body, but my mind, my sense of self. There is no sign here of the angelic component of the Self which so many mystics report. Or perhaps I am overlooking something that is right under my nose.
The fact is, I am depressed. I did not want to admit that to myself, but it now seems unavoidable. I am sad. Is this 'the Human Condition?' Or can something be done about it?
This sadness surprises me. I consider myself an optimist, one who is well-adjusted -- without being too complacent. But there has always been a melancholy streak, a sobriety in the midst of all my laughter. The things I need come easily, but what of the things I value? It is unclear whether this melancholy derives from the facts of my own individual existence, or if it is a fundamental sadness in the human soul. We are eaten up with a longing for... for what? What is this thing within us, driving us forward, calling our name from the deepest Abyss?
Everything is so complex. It becomes overwhelming. I am a sad monkey, trying to keep up.
I am being shown many layers of meaning simultaneously. I am seeing myself from the inside out and the outside in, a sweep which encompasses the whole vastness of the universe. It is too much -- how could we ever hope to understand anything?
Intensely sad. Is it the fungus? It seems to bring this with it. And yet the sadness is within myself.
The behaviorist interpretation of all this is that the mushroom itself caused me to be depressed: I ate it, and became sad. But is it 'just the drugs'? None of this seems like whacked-out raving to me. It still makes sense, the next day, though I no longer feel the sadness. Actually, I feel really good now, having passed through the ordeal.
Do I want to study? Graduate school? It is an abstraction.
One of the major issues facing me now. It is often talked about, but I don't understand what kind of commitment this is.
I am experiencing the wrath of Teonanacatl. He shows you what you are, and there is no way to run from it. Far from 'special effects' and amazement, what I am being shown is the banality of my life. Why live in New York City? Why live in any city?
Teonanacatl: the Aztec name for the mushroom. It means 'the flesh of god.' All this soul-searching feels very much like a lesson I am being taught by a stern disciplinarian, but for my own good. This is real knowledge, it is what I came here for; it is what I am getting. I am being taught about myself -- not superficial curiosities, but things that are of ultimate importance to me, normally avoided for fear of change. I continue to reevaluate my current living situation.
I have to make some decisions. I have to figure out what I really value and what I do not. And though it is painful, I must face it, and do so alone.
But will the resolve keep in the light of day?
I find myself looking at my life: we make decisions about who we are. Student? Farmer? What do I want to do? We do not need parallel universes; this one is strange enough.
The mushrooms, this weekend, alone, has precipitated some sort of emotional crisis. It is as though all the issues that I defer and file away somewhere are now reintroducing themselves to me, demanding acknowledgment, demanding payment.
And regardless of who let them in the front door, they are quite real.
All this talk of globalism -- the world is still a much bigger place than we usually care to admit.
Worldwide communications, the death of nationalism, new paradigms -- let none of this be confused for adequate knowledge of the world. Surprise lies potent at all levels of reality.
Immense sadness. Who am I? Am I this collection of habits, compromises?
The thought is harrowing.
The mushroom brings with it whatever lessons it feels are appropriate. Knowledge of self is not an easy thing.
This truly sums up the experience. Most people would consider this a 'bad trip.' I was intensely nervous, shaken to the core, biting my nails, my lips, standing in the middle of the room gazing in horror into empty space, peering out the window, hoping for relief, near tears. At no point did I regret what I was doing. I recalled accounts of the shamanic experience, wherein the self is torn apart by the ancestor spirits, so that it may be constructed anew. This wasn't quite so intense, but the elements were there. Such a crisis is the source of strength, if properly understood. The mushroom demands trust; otherwise, all is madness.
LATER:
Almost back to baseline.
The mushroom is a tool for introspection. It holds up a mirror and forces one to gaze upon it.
It is an ontological catalyst. Whether the experience is ecstatic or terrifying depends, in part, on the kind of information one needs. This is not a path which everyone should take. Not everyone wants to see themselves revealed, unpeeled and pinned to the board in front of them. Self-knowledge is not a checklist of niceties and foibles, it is a furnace where the impurities burn. And the more fuel, the hotter the blast.
I cannot overemphasize the value of this experience for me. It is not what I expected, and yet surely it has changed me. How can anyone, reading these words, dismiss this as hallucination or delusion? I invite them to try it themselves, and then tell me why I should be considered irresponsible -- or a criminal -- for doing what I have done.
| Exp Year: 1996 | ID: 6909 |
| Gender: Male | |
| Added: May 17, 2001 | Views: 34588 |
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| Erowid Experience Vault | © 1995-2008 Erowid |


Reference manual¶
Introduction¶
Why another emulation framework for IoT training and research ?¶
There are some emulation frameworks available on the Internet that targets devices that embed a Linux operating system (or similar):
- Firmadyne, an automated firmware emulation framework
- ARM-X, a training-oriented emulation framework developed by Saumil Shah
Firmadyne is interesting because it tries to automate everything, but it is also a huge limitation. We did not want an automated system, we were looking for an efficient emulation framework able to run custom-made virtual devices that don’t use the same configuration as the original ones.
ARM-X is an emulation designed by Saumil Shah, mostly using shell scripts to provide an emulation environment based on a host system that embeds a target system. The target system runs in its own environment and is therefore easy to analyze. However, the setup is quite complex and adding a new device is somehow challenging for non-experienced users. Moreover, adding or removing virtual devices is not straightforward, and this could be an issue for trainees.
Well, for all these reasons it seemed obvious we needed another Qemu-based instrumentation framework.
Interesting features¶
Piotr has been designed to be used for IoT security trainings and security research, with the following features in mind:
- full-system qemu-based emulation environment
- easy setup, can be installed with pip
- import/export of virtual devices
- virtual device instances use temporary filesystems to avoid “bricking”
- emphasize on reusability (kernels, filesystems, etc.)
- network should be optional (no samba server, etc…)
Approach¶
The approach brought by ARM-X seems to be efficient and provide the best solution to emulate an embedded device and allow debugging and more at the same time. Piotr definitely relies on an architecture inspired from ARM-X.
Supported architectures and platforms¶
Since Piotr uses Qemu, it has the same limitations. Full-system emulation is available in Qemu for various architectures, but ARM seems to be the more mature architecture that provides a huge set of different platforms (vexpress, versatilepb, virt, etc.).
Qemu developers recommend to use the virt platform as it is the most flexible platform (while others have hardware limitations such as low RAM and limited buses).
At the moment, the only supported architecture is ARM for the virt platform.
Note
Piotr is designed to run on a Linux system, and has been only tested on this system so far.
Piotr main concepts¶
Piotr manages three different types of components:
- host filesystems
- host Linux kernels
- virtual embedded devices
This section describes these components and how they are managed by Piotr.
Kernels and host filesystems¶
Piotr emulated devices rely on an emulated host system to run, and this host system uses a Linux kernel and an associated filesystem. We can design our own different kernels and host filesystems, and add them to Piotr.
More than one virtual device may use the same host kernel and host filesystem, since they are shared amongst virtual devices.
Host filesystem¶
Piotr host filesystem contains all the required system files required to boot the host system, and some extra tools that are required for analysis:
- qemu-agent is provided in Piotr’s stock host filesystem and is required by many tools to interact with running instances
- gdbserver is provided in Piotr’s stock host filesystem to allow remote debugging
Some custom configuration files are also used to display the Piotr banner and allow root to login without password, or even set the prompt according to the running system (host ou emulated target, also called guest).
Filesystems must be ext2 raw images, named as follows: <platform>-<version string>[-[optional tags]].ext2. At the moment, only the virt platform is supported.
We can use piotr to list the registered filesystems:
$ piotr fs list
Installed host filesystems:
> virt-1.0.1.ext2 (version 1.0.1, type: ext2)
1 filesystem(s) available
Or register a new one:
$ piotr fs add virt-1.0.2.ext2
Filesystems are usually tied to specific kernel versions as they contain kernel modules that are loaded at boot time.
Our host filesystems are stored in our Piotr local folder ($HOME/.piotr/fs/), as plain files.
Note
If you don’t know what you are doing, just stick with the provided stock filesystem.
Kernel¶
In the same manner, Piotr manages a list of Linux kernels that would be used to boot the host system but also to run the emulated device. It could be interesting to compile a custom kernel if some features are missing in the stock kernel, or if the emulated device is intended to be run on a specific version.
Kernels are managed the same way the host filesystems are, using piotr. We can list the existing kernels by issuing the following command:
$ piotr kernel list
Installed kernels:
> zImage-4.14.131-virt
Linux version 4.14.131, platform: virt
1 kernel(s) available
kernels are named exactly the same way host filesystems are: zImage-<version string>-<platform>[-[optional tags]].
We can add or remove kernel with piotr, as shown below:
$ piotr kernel add zImage
$ piotr kernel add zImage-5.10.0-virt
$ piotr kernel remove zImage-5.10.0-virt
Our host kernels are stored in our Piotr local folder ($HOME/.piotr/kernels/), as plain files.
Virtual embedded device¶
A virtual embedded device, as Piotr understands it, is a combination of the following:
- a Linux kernel
- a root filesystem
- an (optional) DTB file
- additional files,tools and scripts that are required by Piotr to start the emulated environment
A virtual device is a template that would be used by Piotr to create virtualized environments that mimick a real device behavior.
Here is an example of a device directory:
dvar/
- /config.yaml
- /rootfs/
So, what is a virtual device made of ?¶
Virtual devices are stored in our Piotr local folder ($HOME/.piotr/devices/), and each subfolder defines a virtual device.
A virtual device subfolder contains a config.yaml file that describes the environment in which the virtual device must run. This configuration file tells Piotr how it should configure Qemu to correctly emulate the device, by specifying one or more human-readable options.
A root filesystem is also provided (in a specific rootfs folder), containing the device root filesystem with the exact permissions and owners. That explains why Piotr needs administrative rights to boot a virtual device, as it must access this filesystem and manipulate it. That also means we may need root privileges to browse the content of this root filesystem.
Extra folders may contain a custom linux kernel or a specific DTB file, depending on the device specifications. These files must be referenced in the config.yaml file located at the root of the device folder.
Running a virtual device¶
Piotr does not directly run a device, as it could cause some issues if an unexpected error or mistake is made while it is running. In order to keep the device safe, Piotr creates a copy of the host filesystem and the device root filesystem as well, and then runs the device with these copies, avoiding any permanent damage to the original filesystems.
Piotr performs the following task in order to create an instance of a virtual device:
- it parses the device’s config.yaml file
- it checks if a compatible host filesystem and kernel are available
- it then creates a copy of the host filesystem
- it launches qemu-system-arm with a options that are generated from the configuration
- when the device boots, it starts all the required services thanks to the host filesystem boot scripts
Any modification brought to the host filesystem during the use of a virtual device won’t cause any change. However, any modification brought to the device filesystem will be persistent, except if a specific mode is used to mount this filesystem.
Once a virtual device is running, Piotr refers to it as an instance. Instances of virtual devices can then be managed the same way as other Piotr components do, through Piotr command-line utility piotr.
To create an instance of a virtual device, use the following command:
$ sudo piotr device start dvar
It will launch a virtual device from its template, and pick a random instance name. Running instances can be enumerated as follows:
$ sudo piotr device running
Running instances:
Instance name Device
> kind_hofstadter Damn Vulnerable ARM Router by Saumil Shah
1 running instance(s)
We can launch a virtual device with a specific instance name with the following command:
$ sudo piotr device start dvar my-dvar-instance
And of course, we can stop a running instance with the following command:
$ sudo piotr device stop my-dvar-instance
When a running instance is stopped, the duplicated host filesystem is removed once the virtual device shut off.
Exporting a virtual device¶
Piotr provides a way to export a specific virtual device, by packaging all the required dependencies into a single archive file in a way it can be shared and imported.
The packaging process takes the following data and insert them into the archive:
- the device’s root filesystem (located in the rootfs directory of the device folder, under $HOME/.piotr/devices/)
- the device configuration file (config.yaml)
- the device kernel (from registered kernels or custom kernel, depending on the device configuration)
- the device host filesystem (from registered host filesystem or custom host file system if defined in the device configuration)
Administrative rights are required in order to export a virtual device.
To export a device, use the device export command, as shown below:
$ sudo piotr device export davr davr.piotr
This command exports a device named davr into the davr.piotr archive file.
Importing a virtual device¶
Importing a device basically takes an archive file created by the export feature, and installs everything at the right place:
- the device folder is created in the user Piotr’s local folder
- the root filesystem is extracted and stored in plain
- the device kernel is installed and registered if it is not one dedicated to this device
- the host filesystem is installed and registered if it is not one dedicated to this device
The device is then ready to use, with all of its dependencies automatically installed. Kernel files and host filesystems installed and registered during import may be used to create new devices as well.
To import a device, use the device add command as shown below:
$ sudo piotr device add davr.piotr
Virtualizing an existing embedded device¶
If we plan to virtualize an embedded device, there are a few steps to follow. Each of these steps can fail for one reason or another, so there is no certainty that we would be able to virtualize a specific device:
- we must determine the version of its Linux kernel and the specific drivers it uses
- we must have a copy of the root filesystem of the device we want to emulate
- we must also determine how the system accesses (read/write) its non-volatile parameters
Extracting the root filesystem is not straightforward, and in most cases it is split among multiple partitions that we would have to assemble to recover the actual root filesystem. Doing so would also mean modifying some configuration files or bootup scripts that are used to mount everything at the right place.
Identifying the version of the kernel used by the device, as well as the custom drivers that should be loaded in order for the system to boot correctly may be challenging, depending on the system. Again, we would have to find some tricks to avoid using these drivers, when sometimes we would end up coding some fake drivers to make the system believes everything is normal while it is obviously not the case. It is sometimes better to stick to the expected linux kernel version, even if it causes some issues to the emulated host.
Creating a virtual device¶
Creating a virtual device from an existing real device requires to:
- extract or rebuild its root filesystem
- identify the underlying hardware (CPU, memory, etc.)
Create a device template¶
Piotr provides a command to create a default device template:
$ sudo piotr device create my-device
This will create a folder named my-device in your piotr device directory (i.e. ~/.piotr/devices/), and populate it with a default configuration file and an empty rootfs directory.
The device directory should look like this:
device/
config.yaml
rootfs/
Rebuild the device’s root filesystem¶
The main idea is to rebuild the device’s root filesystem including its mounted partitions. For instance, if your device mounts /dev/mtdblock0 to /usr, we have to manually copy the files present in the partition filesystem into /usr.
Thus, we end up with a link-free filesystem similar to the one used by the device when it runs. This filesystem must be copied in the rootfs directory, in the corresponding device directory. We must perform this step as root, as we need to keep the correct permissions, user and group IDs in this filesystem.
Create the device configuration file¶
Once the root filesystem ready, we need to fill the config.yaml file present in the device directory.
First, we set the target architecture (based on what was observed on the real hardware), as shown below:
version: "1.0"
device:
name: My IoT device
machine:
platform: virt
memory: 1024M
The configuration above declares a device called “My IoT device” that will run on Qemu’s virt platform (the only currently supported by piotr), with 1024M of RAM.
We then tells piotr which kernel to use and how to load the device root filesystem:
version: "1.0"
device:
name: My IoT device
machine:
platform: virt
memory: 1024M
kernel: 4.14.131
bootargs: "root=/dev/vda rw console=ttyAMA,115200"
guestfs: virtfs
We tell piotr to use a generic Linux kernel 4.14.131 (that ships with the latest version of piotr), we also provide some boot arguments (bootargs) which are pretty standard for Qemu’s virt platform, and asks for our device root filesystem to be loaded through Plan9 Resource Sharing protocol (9P2000). This last option can be omitted as it is the default behavior.
However, you may want piotr not to use this sharing mechanism and therefore use embed instead of virtfs. In this case, piotr will use a copy of the device root filesystem and embed it into the host filesystem before running it.
We have specified so far the machine architecture, hardware platform and the kernel to use (with its boot arguments). We may want to ask piotr to forward a TCP port to access our device SSH service for instance, through the following configuration:
version: "1.0"
device:
name: My IoT device
machine:
platform: virt
memory: 1024M
kernel: 4.14.131
bootargs: "root=/dev/vda rw console=ttyAMA,115200"
guestfs: virtfs
network:
nic0: user
redirect:
nic0:
ssh: tcp,2222,22
Creating a bootup script¶
When our emulated host will start our device in a chrooted environment, it will execute a specific script to start the device’s services. This script will act as an init script, without all the mountings and device specific tasks that will not work as expected, since it is absolutely not the real hardware.
This script must be located in a piotr folder in the device root filesystem, and called init.sh. Below an example of such a script:
#!/bin/sh
# Emulate sdcard (required if you are using the sdcard option in config.yaml)
mount -t ext2 /dev/vdb /mnt/sdcard
# Add devpts support (mandatory)
mount devpts /dev/pts -t devpts
# Config eth0 (if at least one network card has been declared)
ifconfig eth0 <IP_ADDRESS>
# Start prerun program
# (required to avoid errors due to emulation)
/mnt/mtd/prerun
# Set the guest shell prompt
export PS1='[Guest]# '
# Start a shell
sh
Booting your device¶
When we are done with the root filesystem, device configuration file and init script, we can give our emulated IoT device a try. We use piotr to start the device and the emulated host system boots up:
$ sudo piotr device start ipcam
Booting Linux on physical CPU 0x0
[...]
Serial: AMBA PL011 UART driver
9000000.pl011: ttyAMA0 at MMIO 0x9000000 (irq = 54, base_baud = 0) is a PL011 rev1
console [ttyAMA0] enabled
SCSI subsystem initialized
[...]
NET: Registered protocol family 17
9pnet: Installing 9P2000 support
Registering SWP/SWPB emulation handler
rtc-pl031 9010000.pl031: setting system clock to 2021-06-30 08:58:11 UTC<PHONE_NUMBER>)
ALSA device list:
No soundcards found.
EXT4-fs (vda): mounted filesystem without journal. Opts: (null)
VFS: Mounted root (ext4 filesystem) on device 254:0.
devtmpfs: mounted
Freeing unused kernel memory: 1024K
Run /sbin/init as init process
EXT4-fs (vda): re-mounted. Opts: (null)
Starting syslogd: OK
Starting klogd: OK
Running sysctl: OK
Saving random seed: random: dd: uninitialized urandom read (512 bytes read)
OK
Starting network: OK
Starting dhcpcd...
no interfaces have a carrier
forked to background, child pid 713
Starting ser2net: no configuration file
Starting qemu agent...
random: dhcpcd: uninitialized urandom read (120 bytes read)
██████╗ ██╗ ██████╗ ████████╗██████╗
██╔══██╗██║██╔═══██╗╚══██╔══╝██╔══██╗
██████╔╝██║██║ ██║ ██║ ██████╔╝
██╔═══╝ ██║██║ ██║ ██║ ██╔══██╗
██║ ██║╚██████╔╝ ██║ ██║ ██║
╚═╝ ╚═╝ ╚═════╝ ╚═╝ ╚═╝ ╚═╝
-----< version 1.0.0 >-----
piotr login:
We log in with the root username (no password required), and then start the guest:
[Host]# target-start
random: fast init done
Can't open /dev/akgpio
: No such file or directory
GPIO dev not init!!!
=== Start no-auth telnetd server ===
open /dev/akpcm_cdev0 failed: No such file or directory.
=== play type : 0 ===
GPIO dev not init!!!
Can't open /dev/akgpio
: No such file or directory
otg_hs: version magic '3.4.35 mod_unload ARMv5 ' should be '4.19.91 SMP mod_unload ARMv7 p2v8 '
insmod: can't insert '/mvs/modules/otg-hs.ko': invalid module format
[Guest]#
A single device cannot be found (/dev/akgpio) and some drivers could not be loaded due to a wrong kernel version used to start the target system, but it boots up and runs all the network services we want to test.
We may also compile a Linux kernel for the exact same architecture and create a compatible host filesystem. As one can see, Linux version 3.4.35 is required here.
However, emulating real hardware such as GPIOs or even a CCCD sensor will be very difficult and this demonstrates the limits of emulation.
Using a custom kernel and host root filesystem¶
As shown above, some devices may require dedicated configurations that do not fit the standard use. In this case, it is recommended to create a kernel specifically for a device, along with a compatible host filesystem.
Prerequisites¶
We need a framework to build a kernel and a root filesystem: buildroot. Buildroot provides a very convenient way to compile kernels and create a root filesystem.
It is usually available in the main Linux distributions application repositories, or can be downloaded from its website (https://buildroot.org).
Building a kernel for Piotr¶
If we need a specific kernel version for a virtual device, we will build one that fits our needs with buildroot. This section is not intended to be a complete guide for buildroot, but will cover the specifics required to compile a kernel compatible with Piotr.
In order to use all the required features, buildroot’s toolchain must support WCHAR and C++.
Kernel configuration¶
First, you must configure buildroot to build a compatible kernel and filesystem for a Qemu ARM architecture compatible with Qemu’s virt platform:
$ make qemu_arm_versatile_defconfig
For recent Linux kernel versions, Plan 9 resource sharing support (9P2000) must be enabled. In buildroot, the kernel configuration is done through a text-based interface:
$ make linux-menuconfig
First, enable Plan 9 Resource Sharing Support in Networking support. Then in Filesystems > Network File Systems, make sure Plan 9 Resource Sharing Support (9P2000) is enabled. 9P POSIX ACLs or security labels may be enabled, but are not mandatory.
By default, buildroot enables all the required options for Qemu, and it would do the job for recent versions of Linux kernel. If you plan to use older versions of Linux kernel, it may be challenging to get buildroot to compile it as it may require older versions of gcc that may be incompatible. Moreover, please consider using the embed option in your YAML device configuration file for option device.guestfs rather than virtfs.
Compilation¶
Once your kernel configured, run the following command to compile it:
$ make linux
Buildroot will compile the selected kernel version and will produce a zImage file in the output/images/ folder. Rename this file as follows:
$ mv output/images/zImage /tmp/virt.cortex-a7.little-5.10.7
The expected pattern is platform.cpu.endianness-x.y.z, you must comply with it in order to be able to register/install this kernel into Piotr’s kernels.
Installation¶
Use piotr to install your kernel. It will be copied into Piotr’s kernels folder and automatically available.
$ sudo piotr kernel add /tmp/virt.cortex-a7.little-5.10.7
Building a root filesystem¶
Using buildroot, it is possible to create a root filesystem that provides everything required to host our target device filesystem.
Mandatory tools required by Piotr¶
Buildroot allows the following applications to be built and installed in the target root filesystem, under the Target packages submenu when configuring buildroot:
$ make menuconfig
- gdb and gdbserver (requires a toolchain that supports c++, wchar_t, threads and thread debugging)
- Qemu guest agent (qemu-ga) provided by the “Qemu tools” package
These are mandatory, but we may also install for convenience:
- nano as a text editor
- filesystems utilities (squashfs, e2fsprogs, etc.)
- python3
Note
Use the same toolchain as you would do for the corresponding kernel, in order to build executable files that will run under the target architecture !
Creating the root filesystem¶
Once buildroot configured, just use make to build the filesystem:
$ make
The generated filesystem is available in output/images/rootfs.ext2 and is ready to be modified, because we need to add Piotr’s host filesystem files.
We mount this filesystem on a mountpoint, and then add the required files:
# mkdir /tmp/fs
# mount -t ext2 ./output/images/rootfs.ext2 /tmp/fs
# cp -rf <piotr dir>/hostfs-template/* /tmp/fs/
# umount /tmp/fs
Eventually, we rename this root filesystem following the expected pattern:
# mv ./output/images/rootfs.ext2 /tmp/virt.cortex-a7.little-1.0.0.ext2
And we add it to our stock host filesystem using piotr:
$ sudo piotr add /tmp/virt.cortex-a7.little-1.0.0.ext2
And this host filesystem is then installed and available.
API¶
Since Piotr is a python-framework, it exposes an API that can be used to automate tasks such as:
- starting and stopping an instance of a virtual device
- executing commands on the emulated host system or the target that runs in it
- enumerating processes on the emulated device
- debugging remote processes
Importing Piotr API¶
Piotr API is imported in Python with the following code:
from piotr.api import *
Creating and accessing a virtual device¶
Starting a virtual device¶
To create and start an instance of a virtual device, we must first get a Device
object corresponding to the device we want to instanciate:
device = Device('dvar')
Then, we can create an instance by calling run()
as shown below:
instance = device.run(alias='my-instance', background=True)
The call to run()
returns an Instance
object that represents the running
virtual device.
Retrieving a running instance¶
Piotr allows us to enumerate the running instances, by using Piotr
and its instances()
method:
for instance in Piotr.instances():
print(instance)
A specific running instance can be retrieved with its instance name, using instance()
:
instance = Piotr.instance('my-instance')
Managing processes¶
Creating a process¶
We can create a process that will run inside the host system by calling exec_host()
,
as shown below:
# Launch /usr/bin/example on host system and in background
pid = instance.exec_host('/usr/bin/example', wait=False)
We may also want to start a process in the context of the target system, by
using exec_target()
:
# Launch /usr/bin/example on target system, and in background
pid = instance.exec_target('/usr/bin/example', wait=False)
Enumerating processes¶
It is then possible to enumerate the running processes on this instance:
for process in instance.ps():
print('PID:%d - %s' % (process.pid, process.path))
Finding a process PID¶
If we want to find the PID of an executable based on its path, use pid()
method
with the search executable path:
pid = instance.pid('/usr/bin/example')
Since target and host processes are available from the host system, we do not have to specify on which system the process we are looking for is ran.
Remote debugging a process¶
It is also possible to attach a gdbserver to a process running in the host or target system, and then to interact with this server. First, we need to debug a specific running process:
target_pid = instance.pid('/bin/my-target-program')
if target_pid > 0:
dbg = instance.debug(target_pid)
The debug()
method starts a gdbserver instance, attach it to the target
process, and returns a Debugger
object. This object drives a gdb debugger and
allows to:
- access the remote process registers
- access the remote process memory
- set and remove breakpoints
- run, single step and stop execution
Controlling the execution¶
Once our debugger attached, the process is stopped. We can set a breakpoint at a specific address:
# Set breakpoint at address 0x11e8
dbg.set_breakpoint(0x11e8)
# Continue execution
dbg.cont()
# Wait for breakpoint to be reached
dbg.wait()
Accessing and modifying registers¶
Registers can be read with the read_register()
method, and written with the write_register()
method:
# Show PC
print('PC: 0x%08x' % dbg.read_register('pc'))
# Modify PC
dbg.write_register('pc', 0x11f4)
# Continue execution
dbg.cont()


All our dreams can come true, if we have the courage to pursue them.
The secret of getting ahead is getting started.
I've missed more than 9000 shots in my career. I've lost almost 300 games. 26 times I've been trusted to take the game winning shot and missed. I've failed over and over again in my life and that is why I succeed.


 Fatback short ribs leberkas t-bone pork chop pork loin beef ribs salami brisket pancetta shankle tongue kielbasa drumstick. Beef short ribs ham t-bone ground round.  Burgdoggen pastrami kevin bresaola cupim pancetta. Brisket salami drumstick ham hock prosciutto, kielbasa short ribs rump pork chop biltong meatball.
Bacon ipsum dolor amet doner shoulder beef tongue pork belly. Pork belly pork burgdoggen tenderloin. Boudin picanha t-bone, meatball cow short loin flank ground round beef. Doner corned beef shankle salami filet mignon, ham hock pork loin pork belly meatloaf.
Bacon ipsum dolor amet doner shoulder beef tongue pork belly. Pork belly pork burgdoggen tenderloin. Boudin picanha t-bone, meatball cow short loin flank ground round beef. Doner corned beef shankle salami filet mignon, ham hock pork loin pork belly meatloaf.


{% extends 'base.html' %} {% load static from staticfiles %} {% load thumbnail %} {% block title %}About{% endblock title %} {% block content %}
Schwag’s mechanics are fully-trained and experienced with the capability to professionally diagnose and repair your bicycle with efficient and knowledgeable service. We also offer Tune-ups to help you keep your bicycle in its best condition. It is not necessary to make an appointment, just stop in with your bicycle during store hours and we will give you an estimate for repairs/services needed. All service and repair jobs are prioritized on a first-come, first-served basis; although our mechanics can usually take care of most minor adjustments while you wait.
We service all brands, models & styles of bicycles, from old to new.
We also offer custom-built bicycles to your specifications, including fat bikes, road bikes, mountain bikes, triathalon bikes & commuters. Our experienced and knowledgeable staff will help you create your dream bicycle. Stop in for a free consultation on what we can do help you make your next new bicycle fit your needs perfectly and look exactly way you want it to.
Schwag, a local business since 2007, recently moved to its new location in North Appleton. We are an Authorized Dealer for Cannondale, Schwinn and GT bicycles. We also stock the most popular accessories including bicycle racks, tires, apparel & helmets to name a few. We can also special order an item for you if it’s not available in-store.
If you’re interested in joining Team Schwag, just stop by our store or send us an email. We also have team apparel for sale.


Tests
submitFunction called
(These options should disappear)
(Options One-Five should appear)
(Options One-Five should appear)
(Options 1-5 should appear)
(Options 1-5 should appear)
(Options One-Five should appear)
(Options 1-5 should appear)
(Options one-five should appear)
(These items should disappear)
(Items One-Five should appear)
(Items One-Five should appear)
(Items 1-5 should appear)
(Items 1-5 should appear)
(Items One-Five should appear)
Results: [
]
(Green clone should appear with Results: [OneTwoThreeFour] and Option Two selected)
| Unaltered | Altered | DOM Button | InnerHTML Button |
setValuesDiv:
(Should become 'setValuesDiv')
setValuesSpan: (Should become 'setValuesSpan')
setValuesSelect:
(Should become 'text two')
setValuesText: (Should become 'setValuesText')
setValuesPassword: (Should have 2 chars)
setValuesTextarea: (Should become 'setValuesTextarea')
setValuesButton1: (Should become 'B1-Two')
setValuesButton2: (Should become 'B2-Two')
setValuesRadio1: (Should become checked)
setValuesRadio2: (Should become unchecked)
setValuesRadio3:
(Should become YN)
setValuesRadio4:
(Should become NY)
setValuesCheckbox1: (Should become checked)
setValuesCheckbox2: (Should become unchecked)


My Vacation Information
Total Vacation Hours For 2020:
200
Total Vacation Hours Remaining:
176
Total Vacation Hours For 2020:
200
Total Vacation Hours Remaining:
176


I've just released a example iPhone app that uses OpenCV to do face recognition.
The OpenCV port for iOS is available on GitHub, as well as the example app.
Enjoy!


 I know you are looking that quick end.  I'm not the expert but I will my best to help you anyway I can. Even if it means, doing something like this
And support you
And doing things that doesn't make sense
I know what you are thinking, I'm a fool and asking for things I can't handle, and you be like
And be saying like
I know, but we'll battle your depression together. You don't know until you try WITH ME
I know most of the times I'll be terrible at trying, but I won't give up
Having me with you can also help you! and it's scientifically proven
And doing crazy and stupid things to help you
Becuase at the end of the it's my love against
Suicide is an irreversible and drastic decision. Even if it seems like the only way to make suffering stop, it is not true. baby, your beliefs and experience are highly changeable. Remember of all the times you made a bad decision that you regretted afterwards, because you were misinformed or had an inaccurate view of the situation at the time. If you make a mistake, you can usually learn from it and get better. But not with suicide.
You can't change your mind. And there is absolutely no way you can be 100% sure it is the right decision.
Suicide makes everyone around you suffer. Even if you feel like nobody in the world cares about you, that is wrong. Suicide solves nothing for anyone and just adds a bit to the overall misery and pain of every person who knows you. Think about how uncle and aunty will feel rest of their lives. What if they stopped living as well? What if they can't bear the thoughts you gone. Your death not only make them suffer, might as well as end their lives. I know you don't want that.
I know it'd be a constant battle, but for supremacy. It'd be the battle for balance and normalcy, to cast away
the demons of the past and present to ensure a better future. To me, you are stil the same person I fell in love
with. The same person who I want to spend my life with. I won't always be perfect, I will learn along the way. I
know for a fact that you need someone to battle your depression with.
At the end of the day you have to ask
yourself are you willing to take me in? Maybe there's nothing i can do to make it better. But, I can at least
keep them from getting worse. I can't solve your depression but I can emotionally support you. I don't want you to face this world alone anymore,
I am here I want to protect you from the hurts, from the sufferings.I can't
understand what you're going through but I love you and I'll be here if you need someone to talk to.
 It's you and more importantly
But you know, despite all my flaws and shortcomings, One thing I can never stop, that is to stop loving you. It's like THE next to normal/natural thing for me. Words cannot describe my feeling, So here's a more appropriate photo that perfectly sums up -
You know whenever I see your photo(s), I go like
In case, you didn't know
My kinda ideal day would be
And I know, I've hurt you alot
The ONLY thing that I look forward to right now, is the day be with you and I wanna spend rest of my life with you
I believe, we will make a great team and because whenever each of us get mad, we end up being -
Well, after all these crazy months, I have something to ask you


SPEECHLESS A film review by James Berardinelli Copyright 1994 James Berardinelli
RATING (0 TO 10): 4.8
Date Released: 12/16/94 Running Length: 1:38 Rated: PG-13 (Language, mature themes)
Starring: Michael Keaton, Geena Davis, Bonnie Bedelia, Christopher Reeve, Ernie Hudson, Charles Martin Smith Director: Ron Underwood Producers: Renny Harlin and Geena Davis Screenplay: Robert King Cinematography: Don Peterman Music: Marc Shaiman Released by MGM
The story told in SPEECHLESS is not unlike the one played out during the real life 1992 Presidential campaign when the romance between James Carville (Democrat) and Mary Matalin (Republican) crossed party lines. Those who saw THE WAR ROOM or any of the news shows documenting the relationship will doubtless find something familiar in this Michael Keaton/Geena Davis coupling (although, to be fair, SPEECHLESS was written while Ronald Reagan was still in the Oval Office). Nevertheless, an unwelcome ingredient has been added to this fictional account of rival political speech writers falling in love: hogwash.
SPEECHLESS is overplotted and underwritten. Every situation is straight out of stock, with no room for variation or originality. The two leads--Kevin Vallick (Keaton) and Julia Mann (Davis)--meet, are attracted to each other, find out they're on opposite sides of the New Mexico senatorial campaign, spend half the movie sparring with each other, then eventually get together. It's the "Taming of the Shrew" romantic comedy formula. Opposites, after all, are supposed to attract.
Alas, too much of SPEECHLESS feels hopelessly forced. The dialogue isn't memorable, the verbal jabs are mostly bland, and the romance is only sporadically engaging. You probably have to go back to 1992's THE CUTTING EDGE to find a recent mainstream romantic comedy with the same basic plot structure. That film, however, possessed a certain amount of style and subtlety. SPEECHLESS' approach is more of the sledgehammer variety.
As with this past summer's Nick Nolte/Julia Roberts flick NOTHING BUT TROUBLE, perhaps part of the problem is that SPEECHLESS spends too much time concentrating on other things (politics) when it should be exploring the characters' relationship. No one really cares which candidate wins the race--that particular plot element should have been permanently relegated to the background. The only worthwhile scenes are the cute ones involving Kevin and Julia arguing or making up.
In any romantic comedy, the individual performances are far less important than how the leads work as a team. Keaton and Davis have enough chemistry to generate a few sparks, but they're a pale shadow of, say, a Tracy and Hepburn. Bonnie Bedelia and Christopher Reeve are along for the ride to provide relationship complications, and both are woefully underused. As for Ernie Hudson... why bother getting a familiar name for that thankless part?
Ultimately, most problems in SPEECHLESS come back to the script, which, in addition to displaying a remarkable unwillingness to vary the familiar, has a major believability problem. The "grand" climax, while vintage Hollywood, is so silly that it's more likely to cause snickers of laughter than sighs of longing. For SPEECHLESS, if suspension of disbelief was a rubber band, it would have snapped long before the closing credits.
The above represents the opinions of the author, and not necessarily those of Bellcore or any organization within Bellcore.
- James Berardinelli<EMAIL_ADDRESS>.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


rot.js was designed to provide help with traditional chores of roguelike programming. It does not use or depend on any other JS framework or library. It is an Open Source Software released under the BSD License.
Please see the Usage section of the GitHub project page for a full reference of various options to download and include rot.js in your project.
If you're using JVM-based build, you can setup the build system to download rot.js from WebJars.
This manual is interactive: click on any example to modify its source and re-run it by clicking elsewhere. Use the navigation menu to the left to access other chapters of this manual.
Note: Examples in this manual use the SHOW
function, which is not a part of rot.js. This helper function is available only to interactive examples.


predictAxes.Rd
This function replicates the analyses presented in August et al XXXX. This allows you to use your own data to extract the values for the 4-axes (recording intensity, spatial extent, recording potential, and rarity recording). This function applies the same centring and scaling values as used in August et al and performs the same pre-analysis log transformations. Note that the axis values, while comparable to those used in August et al, may not be optimal for your data, and you should also extract the raw metrics and apply your own PCA to see if the same axes are important for explaining the variation observed in your data.
predictAxes(data, recorders = NULL, verbose = TRUE, recorder_col = "recorder", date_col = "date", y_col = "lat", x_col = "long", square_km_col = "km_sq", active_days_limit = 10, crs = "+proj=longlat +ellps=WGS84 +datum=WGS84 +no_defs", new_crs = "+proj=tmerc +lat_0=49 +lon_0=-2 +k=0.9996012717 +x_0=400000 +y_0=-100000 +ellps=airy +datum=OSGB36 +units=m +no_defs", sp_col = "species")
| data | The data.frame of recording information. See `head(cit_sci_data)`, for an example format. This should be the data for all observations made to your citizen science project. |
|---|---|
| recorders | Optional. A vector of recorders (as in `recorder_col`), for which you want to calculate values. |
| verbose | Should progress be reported? |
| recorder_col | The name of the column that contains the recorder names |
| date_col | The name of the column that contains the date. This must be formatted as a date |
| y_col | The name of the column that contains the y coordinate (e.g. latitude) of the observation. This should be a numeric. |
| x_col | The name of the column that contains the x coordinate (e.g. longitude) of the observation. This should be a numeric. |
| square_km_col | To calculate list lengths the location of recorders is defined by the 1km-square in which they are recorded. To make results comparable to August et al provide the 1km-square of each record here (i.e. a grid reference). |
| active_days_limit | If there are less than this number of active days NA values will be returned for the metrics. August et al use 10, and changing this value will result in metrics that are not comparable to August et al |
| crs | The proj4 string that describes the projection your data are using. For GPS lat long this is "+proj=longlat +ellps=WGS84 +datum=WGS84 +no_defs". You can find more at http://spatialreference.org/ |
| new_crs | The proj4 string that the describes the coordinate system your data should be reprojected to. THIS IS IMPORTANT. Your data must be on a projection that has units in meters so that results are comparable to other studies. An appropriate system in the UK is the UK national grid "+proj=tmerc +lat_0=49 +lon_0=-2 +k=0.9996012717 +x_0=400000 +y_0=-100000 +ellps=airy +datum=OSGB36 +units=m +no_defs". If your original crs (given in the argument crs), already has units in meters then set new_crs = NULL. WARNING: if you set this to NULL but your coordinate system is not in units of meters you will likely have errors. |
| sp_col | The name of the column that contains the species names |
# NOT RUN { # load example data head(cit_sci_data) # Run for 10 recorders metrics_axes <- predictAxes(data = cit_sci_data, recorders = unique(cit_sci_data$recorder)[1:10]) # The returned object is a list of the metrics... metrics_axes$recorder_metrics # ...and the axes values metrics_axes$axes # Run the metric all recorders. NOTE: this takes a long time metrics_axes <- predictAxes(data = cit_sci_data) # }


|
Land your Toon inside the water tower as fast as you can. The less time you take, the more jellybeans you’ll earn. The cannon game is cooperative, so if you’re playing with other Toons and one Toon lands inside the water tower, everyone wins!
Use the onscreen controls with your mouse or the arrow keys on your keyboard to aim the cannon. To shoot your Toon from the cannon, press the red FIRE button with your mouse or hit the CTRL key.
|
|
|
Swim through as many of the 16 rings as you can. The more rings you get through the more jellybeans you win.
When you’re playing the Ring game with other Toons, look at the ring icon at the bottom right corner of the screen. This tells you what color rings your Toon needs to swim through. When all Toons swim through their rings in the same set, all Toons get a group jellybean bonus at the end of the game.
|
|
|


ELIZABETH R A film review by Ralph Benner Copyright 1996 Ralph Benner
Elizabeth I may have been the 16th Century's regal Mae West -- a sexual tease who liked to have herself surrounded by pretty boy studs. She loved playing the coquette, deliberating enticing her many suitors into believing they had a chance to do more than kiss her hand and bow. The royal vamping started early: at age 14, it was hotly rumored but never proven that she consummated an affair with Lord Admiral Thomas Seymour. (What's true is that their presumed sexless amorous play in and out of her bedroom would lead to his arrogance and death.) As her charms manifested, which included formidable intelligence (she spoke five languages) but not true physical beauty, she thrived on as well as encouraged false flattery. She selected "pets" and consorts like the Earl of Leicester (Robert Dudley, her "Sweet Robin") and the Earl of Essex (Robin's stepson) because they were unacceptable partners in marriage. She was steadfast throughout her child-bearing years her resolute position that she'd never marry -- no matter the long list of royal kings and princes who wished for marriagr circle of council, who seldom let up on the need for her to give birth to an heir. By all acceptable accounts, the queen remained a willed virgin out of survival instincts. The bastard offspring of Henry VIII and the beheaded Anne Boleyn -- scholar J.J. Scarisbrick calls the infant "the most unwelcome royal daughter in English history" -- Elizabeth became necessarily cognizant of her need to stay alive at the age of eight when her stepmother, the beloved Catherine Howard, was also sent to the chopping block. Shortly thereafter her brother Edward died prematurely and she had to outfox a conspiracy lead by her Catholic half-sister Mary Tudor's minions, who saw heresy in Elizabeth's Protestantism and mortal threat to Mary's reign and succession. Not above the self-serving, Elizabeth "converted" to Catholicism as a means by which she kept her head, though such fears never -- not even during the more secure portion of her reign -- dissipated: the murderous machinations of the Royals of Europe and her own court's hangers-on precluded the feeling of safety. Elizabeth understood that marriage and heir would not merely lessen her own position, but would increase the likelihood of successful plots against her. As Sir James Melville whispers into the queen's ear in part two of ELIZABETH R, "For now you are both king and queen, but if you are married, someone else would be king." Born out of the dread of the ax, this Elizabeth, like Claudius some fifteen centuries before, survived by the wisdom of political acrobatics.
As Elizabeth, Glenda Jackson benefits from the miniseries format and the lack of media-recorded impressions; there's no shortage of time to watch her grow from lion's cub about to be devoured by prey to lioness -- a feline whose ferocity ruled England for forty five years -- and no film or tape or voice recordings to permit petty criticism. Well, maybe this one little quibble: she's long in the tooth to attempt to play the queen as teenager -- she looks a tad ridiculous trying to, and often she resembles Washington political writer Elizabeth Drew, irregular teeth, bad epidermis and all. But the moment Jackson starts to outwit her conspirators and then dons the title with its powers of governance, any misgivings are wiped out, any comparisons to Flora Robson or Bette Davis sent straight away to the trash heap. Though Jackson's got the peremptory gestures, the roaring fearsome voice and hardy physique for Imperialism -- and her preeminent hard-edged, semi-masculine aura helps magnify the imagery (you get the chills as you watch her pull back an arrow during a game of archery) -- she's agile enough as actress to pull off the coquettish games that were so integral a part of Elizabeth I. She convinces us that her beloved Robin and all the others were kept from the royal bed chamber, feats borne out of the queen's own unnamed fears about marriage. In ELIZABETH R, she confesses to Sussex, "I can't do it. Every day, I am more and more afraid." Supposedly an actual quote from the queen: "I hate the idea of marriage for reasons that I would not divulge to a twin soul." Publicly she vacillated between anger at courtiers' proposals and humor: when informed that Spain's Philip II in marriage could visit occasionally, and then only for a brief time, she replies: "In short, the perfect husband." Historians continue their fascination with her fears: some suggest that her doctor discovered a "woman's infirmity"; Ben Jonson the playwright believed she had "a membrana on her, which made her uncapable of man," and others surmise she could have suffered from Rokitansky's syndrome -- a very shallow vaginal canal and an underdeveloped uterus. (During her own time, the London gossip be that she had a child by Robin; in Catherine de Medici's court, as shown in part three of the series "Shadow of the Sun," a dwarf Elizabeth mocks rumor of the queen with "I am too narrow for a man.") Whatever the impediments to marriage, they're all guesses, and mine is that she recognized what sex had done to her family and suffered severe trepidation over the potential consequences; her public pride of virginity acted as shield by which she could protect herself. The six teleplays comprising the series smartly avoid any license to explication de texte but as one hears Jackson's queen periodically proclaim in vainglory her state of purity, it's more than a guess that the actress is using it as her character's nucleus.
Time has not much harmed the 1971 technique used for ELIZBAETH R: using mostly video tape, there are a few jarring moments of film used for the outdoor settings (this because of technical and lighting problems not yet ironed out for tape), and perhaps the studio sets themselves are too confining and overly dark, but it would only be a few years later when Herbert Wise, who directed the second part of ELIZABETH R entitled "The Marriage Game," would helm I, CLAUDIUS and perfect the use of video, calibrating the actors to the settings in such a way that, especially with Derek Jacobi's Claudius and Sian Phillip's Livia, the characterizations would not be three dimensional but a 3D-like effect occurs: these histsoric figures jump out at you, quelling the often irksome tape process while at the same time aggrandizing it. Keith Michell as the king in THE SIX WIVES OF HENRY VIII opened the doors to this kind of intimate TV guide to traverse the maze of history, Jackson would bring the prestige of a great actress to the emerging miniseries genre, and Jacobi would become its ultimate pilot. Some of the casting in ELIZABETH R can vex you: as Mary Tudor, Daphne Slater is mea-culping like Martha Scott crossed as Jean Harris; David Collings the traitor Anthony Babington a male Maggie Smith; Michael Williams' Duke of Alencon about as appealing as the frog Elizabeth refers to him as; Stephen Murray as Francis Walsingham emblematic stereotyping; and Robert Hardy's Earl of Leicester and Robert Ellis' Earl of Essex far removed from what most of us would see as handsome beaux to the queen. Inflecting as sharp as a serpent's toothache, Vivian Pickles comes close to juvenilizing Mary, Queen of Scots: recalling Nancy Marchand, Pickles grates and you're not altogether sure if this is intended as fair view, or if that voice is being used as a means by which the character will be denied even a trace of sympathy. Pickles goes to her death with the class of a royal, and Hugh Whitemore's script of this episode, "Horrible Conspiracies," ends on the just the right notes of horror and rue. (The same year as ELIZABETH R, Pickles would costar with Jackson in John Schlesinger's modern soaper SUNDAY BLOODY SUNDAY, playing a liberal, pot-smoking mother of four.)
A few regrets: the series offers up little evidence of the explosion of the arts, especially the theatre and Shakespeare, that erupted during her reign. Thus, a separate chapter of her considerable achievements and what flourished as result would have been appreciated: Elizabeth attending a Bard production, reading or commenting on or even socializing with Marlowe or Spencer. (Sirs Francis Bacon and Walter Raleigh are included -- minimally.) While there are smidgens about commerce, trade, standardization of coinage, judicial reform, ruinous monopolies, these subjects are brought in as scene introductions, leading to the more urgent and dramatic matters of petitioning for a decision about marriage and heir, consoling bruised egos, battling over or preparing conspiracies, decreeing punishments for treachery and treason. (In "Horrible Conspiracies," Elizabeth demands a new killing device for Babington, and Richard Topcliffe, the Queen's chief executioner, tells Babs: "In such matters, I have the delicacy of a practiced seducer...the sword begins here...with the privities. Castrated, ripped up...bowelled alive...quartered yet still living. So many wonders await you...") Watching the series, you get the impression that she saved her wrath against Catholics only if conspirators, but history records that she regularly persecuted Catholics and Puritans alike, and tried to wipe out gypies. The defeat of Spanish Armada -- the basic subject of part five, "The Enterprise of England" -- is maladroit and confusing, and though this part's writer John Prebble attempts to make funny the details of England's would-be naval battles, they're exasperating. All of the writers -- John Hale ("The Lion's Cub"), Rosemary Anne Sisson ("The Marriage Game"), Julian Mitchell ("Shadow in the Sun"), Whitemore, Prebble and Ian Rodger ("Sweet England's Pride") -- have refrained from the heavier colloquialism as well as the lofty prattle of the time, in order to gain a wider audience, but no line is fakespeak: this is the vernacular of the educated using language as an instrument of precision, even when applied in a manner most craftily evasive.
Celebrating its silver anniversary, ELIZABETH R also celebrates its survival against our Pentium age of media gotcha; our manic destructive trashing hasn't reduced the magnitude of Jackson's portrayal, which remains luminous -- historically just and sonorous. And she accomplishes something else that astonishes in this era of special effects: she burrows through all the powdered and rouge grotesquery of the queen's smallpox-scarred last years; she conquers the horrors of Dawn Alcock's spot-on kabuki makeup. You could get easily transfixed by it, and by Elizabeth Waller's bejeweled wigs and progressively more majestic costumes, a few of them gaudily adorned with butterfly wings. But Jackson in character stays paramount: entrenched in her vision yet never overwhelmed by it, she's not about to let us forget that she's playing -- and becomes -- the absolute Gloriana. Like Derek Jacobi's in the triumphant I, CLAUDIUS, hers is a performance as the supreme example of the balance of artistry. Both renditions are history as art and art as history. Jackson's entitled to the superlative rarely earned -- magnificent.
The review above was posted to the
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Don't forget to set debugMode = false within inlineplayer.js to disable debug output.
SoundManager 2 project home


Change Propagation Mode
NMF Synchronizations supports multiple change propagation modes. The modes are listed below with their explanation.
None
Setting the change propagation mode to none tells NMF Synchronizations that no change propagation is to perfomed.
OneWay
This change propagation mode means that only model changes of the input side are considered. The input side is determined by the synchronization direction.
TwoWay
The change propagation mode TwoWay specifies that model updates of both input and output model can trigger updates in the synchronization process.


Pairing and Feedback
I have started to appreciate the process of collaborative work and feedback ever since I joined DBC. It is great to share someone else’s perspective on the same problem. Pairing has helped me to easily find solution at places where I was feeling stuck.
At first, giving feedback was a little difficult. I was finding it hard to put my thoughts into words while keeping in mind the effort and hard work the other person has put in their work. But it is getting easier every way. I was pleasantly surprised to read my own feedback. Everyone has been kind and considerate. It encourages me and motivates me.


BRAM STOKER'S DRACULA A review by The Phantom<EMAIL_ADDRESS>"Perhaps it was the Dristan," the Phantom thought to himself as he left the theater. Surely the film itself -- a big-budget, prestige film made by one of our most talented and respected filmmakers -- couldn't have been as bad as it seemed. Worse than bad, really, for at times it seemed downright incompetent, and if Coppola is anything at all, he's a most able director who has worked successfully in several different genres, from thriller to war film, crime drama to horror -- a man who in fact is responsible for several of the best films of our time.
So yes, it had to be an unforeseen side-effect of the cold medication the Phantom had taken with his $2 Coke just before the film started. Perhaps its chemistry reacted badly with that of the "golden topping" on the Phantom's $3 popcorn; perhaps the Phantom was still suffering the after-effects of jet lag as his body struggled to cope with the one hour time change between the Loews Astor Plaza in midtown Manhattan and the suburbs of Chicago from which he had just arrived. It had to be something.
Well, it *was* something: it was possibly the least competent horror film and the biggest waste of time, money, and talent the Phantom has witnessed in years. In fact, even putting aside its dubious merits as a horror film, BRAM STOKER'S DRACULA frequently failed even to be nothing more than competent, unremarkable filmmaking. It was, in short, a terrible, horrific botch.
That the film is also one of the most successful of the fall season can only be attributed to the ever more apparent Verhoeven-ization of America. We are now, it seems, a nation of people who will watch nearly anything at all as long as it is big-budget, Hollywood-style entertainment featuring name-brand actors, buckets of blood, and just enough naughty goings on to keep the prurient child in all of us up past his bedtime. Coppola's DRACULA is without a doubt the most successful translation of Paul Verhoeven's formula -- perfected in the blockbuster film BASIC INSTINCT -- to another genre.
Sadly, with the possible exception of musical comedy, it is perhaps the genre for which the BASIC INSTINCT treatment is least appropriate; for while any mediocre thriller can be enlivened by the odd ice-pick killing or kinky sex scene, a good horror film must be subtle above all else. At first this may seem like a contradiction in terms -- after all, if a horror film is to horrify us, mustn't it feature chainsaw murders galore, buckets of blood, walking corpses, or some other equally shocking special effects? The answer is no, at least not if the film has pretensions to be anything other than drive-in fodder. The best horror films do feature scenes of horror -- THE SILENCE OF THE LAMBS would have seemed more like MY DINNER WITH ANDRE if Demme had left out Hannibal Lector's jailbreak -- but those scenes are not what drives them. In fact, while the audience may be momentarily shocked by such scenes -- may even find them unforgettable, as many did the infamous shower scene in PSYCHO -- the grueling atmosphere of tension and fear that audiences feel while watching the best horror films is generated by all that builds up to those scenes, not by the scenes themselves, which serve as a form of psychological release from the preceding tension. If a film is nothing but scene after scene of horror, it's really little more than pornography: something that can be enjoyed only on the most voyeuristic of levels. What disturbed audiences about the classic horror film HENRY: PORTRAIT OF A SERIAL KILLER was not so much the scenes in which Henry kills someone -- there are enough of these scenes in the film, true, but not really more than in any average horror film -- but the scenes in which very little at all was going on. In particular, the scene in which Henry describes the circumstances surrounding his mother's death is one of the most gripping -- and horrifying -- in the film, and it touched audiences in just the way the scenes featuring Dr. Lector and Clarice Starling did in THE SILENCE OF THE LAMBS. No buckets of blood; no writhing naked female vampires; no ice-pick killings, but great horror nonetheless -- in fact, because of it.
What we were promised when Coppola set out to bring yet another version of Dracula to the screen was a return to Stoker's original text, long and consistently ignored in screen adaptations of his work. The sixty years since the classic (and now somewhat quaint) version featuring Bela Lugosi's elegant Count have allowed filmmakers to make more explicit what was only implied in Stoker's tale. That this is hardly to anyone's benefit can be seen in Coppola's extended testimonial to the efficacy of Karo syrup and Hollywood's special effects industry: although the film is awash in blood, fancy costumes, miniatures, and matte paintings from the moment the film begins to the moment it ends, it's only after we leave the theater that we have time to wonder what all the fuss was about. For all the vaunted authenticity and loving attention to detail that $42 million can buy, it would seem that Coppola overlooked some frequently neglected but important aspects of his craft: the ability to tell a coherent story and present credible characters and motivations for those characters to the audience, and then allow the audience to use its own imagination to fill in the details.
The best horror films -- in fact, the best films of any kind -- leave more to the audience's imagination than we may at first realize: consider the infamous chainsaw scene in De Palma's SCARFACE, which many people find too graphic to watch, but which few people realize features nothing more than quick cuts between a chainsaw, the victim, and blood on a shower curtain. All the carnage is in their minds, where it affects them so much more deeply than any amount of explicit on-screen gore could. Even though film is primarily a visual medium, explicitness is nearly always dispensable when good writing and acting are available; it's only when they're not that we get to see Michael Douglas' naked rear end. In the case of DRACULA, we get a two-hour definition of the word "rococo" -- a word that until now the Phantom has reserved for use as the ever-dependable answer to 14-across in the New York Times crossword puzzle, but one which will from this moment on be inextricably linked in his mind to images of over-decorated sound stages and young female actresses who are alternately either over- or under-dressed almost faster than the next bottle of Karo can be pressed into service.
Whether Stoker's original novel had the problems Coppola's film adaptation has is beside the point -- after all, a film is not a novel and many sacrifices must be made in order to compress a sprawling narrative into a screenplay for a film with a running length of just under two hours. The studio's publicity machine played up the authenticity angle for all it was worth, and as a result many film critics seem to have been bamboozled into believing that confusing, poorly drawn characters, bad editing, and enough narrative for another GODFATHER trilogy was a necessary price to pay so that we could finally, for the first time in the history of the silver screen, enjoy on film what Stoker originally was able to convey to us only on paper. A triumph, then, of research and period accuracy! Amazing that Coppola could achieve so much without the use of such non-authentic, modern techniques as optical printing and other computer-aided special effects! A visual feast of epic proportions!
Well, so was BASIC INSTINCT, and the Phantom heard precious little from these same critics about the visual feast Verhoeven presented to us in the form of Sharon Stone. While the Phantom has always been a phan of Coppola's work (particularly his early work, including such masterpieces of realism as THE CONVERSATION and THE GODFATHER), he cannot for the life of him understand what happened between the time Coppola read James V. Hart's screenplay and the time the last bucket of blood was tossed in the camera's general direction.
In fact, it would be easier to discuss what *isn't* wrong with DRACULA than to review what is. For all its faults, Coppola's film has a lush, rich look that is very effective in setting the tone of the film, dominated though it is by a heavy reliance on interiors, matte paintings, and miniatures. And in taking a page from Sam Raimi's book, Coppola doesn't overlook any special effect or camera trick that would have been possible before the introduction of computers into mainstream filmmaking (so there is, thankfully, no T2-style morphing in the film). Thus he gives us many strange points of view and unexpected movements of the camera; several sequences in EVIL DEAD-vision (played as a homage to the very few special effects in the 1922 silent classic NOSFERATU); and many subtle and playful tricks for the eye, from shadows that don't, to the Count himself, who doesn't always turn up where our rational senses demand he should.
But it's what he doesn't give us that makes the film so disappointing. Putting aside the screenplay (which is packed full of enough exposition for three DRACULA films), Coppola's tendency to jump us quickly from one scene to the next, then back again, then somewhere else entirely; the dim lighting; the decision to shoot the entire film inside a sound stage, giving the production a very claustrophobic feel; and the miscasting of the film's principals all lead inexorably to the very confusing and muddled result. The film as structured is completely dependent on the eventual emotional connection between Ryder and Oldman, but for whatever reason this never happens -- and in any event, their eventual meeting comes much too late in the proceedings to make much difference at that point. If the point of this version of the Dracula legend is to play up the "Love Never Dies" aspect of the story -- certainly a promising new take on a shopworn old tale -- why is the climactic meeting so delayed? Coppola's answer seems to be that he needed time to give us three or four other climaxes first, and while each vignette plays out satisfactorily, we are hurled from one to the next so quickly and abruptly that we lose any sense of continuity; by the time the film has reached its final "climax" we can barely keep up with the plot, let alone any of the characters who are tossed in for the film's denouement. Did we really need Van Helsing *and* Renfield *and* not one; not two; but three of Lucy's suitors? Is Jonathan Harker (Keanu Reeves) important at all? If not, why does he dominate the first half of the film? If so, why is he literally abandoned halfway through? Coppola doesn't seem to know; worse, he doesn't seem to care. And by the end of the film, neither do we.
It may be that Coppola started down this road with good intentions; after all, it's hard to believe that such a mess could have been made intentionally. Ironically, by sparing no expense in attempting to create an up-to-date version of the Dracula tale by returning to the original narrative, Coppola accomplished much less than Roger Corman might have 30 years ago for over $40 million less. His adaptations of Edgar Allen Poe's short stories -- including the excellent THE HOUSE OF USHER, THE PIT AND THE PENDULUM, and THE MASQUE OF THE RED DEATH -- are as full of costumes and over-the-top acting as Coppola's big- budget kitschfest; but where Coppola lost himself in the techniques of horror filmmaking like a kid in a -- very expensive -- candy store, Corman always knew what was most important and what safely could be offered up as a sacrifice to the gods of low-budget filmmaking. Expensive special effects were never an option for Corman, but sound screenplays and good performances were, and he never willingly stinted on those. As a result, Corman's Poe adaptations are as beautiful, as watchable, and as effective today as they were almost three decades ago. And whereas these films remain among the very best of his work, Coppola's kitchen-sink adaptation of Stoker's tale will likely be forgotten six months after its inevitable video release.
In fact, it's already seeming a little hazy to the Phantom, though then again, that could have more to do with the Dristan than the film itself. Perhaps the Phantom's best advice to his phans would be to avoid operating heavy machinery after watching DRACULA, and to discontinue use and sneak into ALADDIN in the theater next door if disorientation sets in. DRACULA is this season's most expensive prescription for disappointment, and the Phantom can only hope that its success does not lead to a wave of similarly sloppy and ineffective "horror" films in the months and years to come.
: The Phantom<EMAIL_ADDRESS>: cmcl2!panix!sbb
.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
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The formatting of the review is likely to differ from the original due
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Note that the CloudFormation template in the aws-resources folder that creates the right AWS resources must be run before the demos!


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Supported Platforms
Since the package is still in preview, support for all of Unity's build options hasn't been tested yet. This is mainly due to lack of hardware to test the builds but if you do discover a new working possible build option (or a way to achieve it) please let us know!
Here is a table breaking down all the build options in Unity and if SpeckleUnity is known to support them. This list is inclusive of both .NET Framework 4.x and .NET Standard 2.0:
| Platform | Supported | Untested | Not supported |
|---|---|---|---|
| Windows | X | ||
| Android | X | ||
| Windows IL2CPP | X | ||
| Android IL2CPP | X | ||
| iOS | X | ||
| MacOS | X | ||
| Linux | X | ||
| WebGL | X |
WebGl isn't supported because web sockets simply won't work on the platform via Unity. For web viewing purposes please check out https://app.speckle.systems/ as an alternative.
iOS and IL2CPP
In order for Unity to successfully build to iOS (untested) and any other target that uses an IL2CPP scripting backend, a link.xml
file needs to be added to the root of your project's Assets folder with the following content to prevent the build process from stripping any of Speckle's code:
<linker>
<!--Preserve these entire assemblies-->
<assembly fullname="SpeckleUnity" preserve="all"/>
<assembly fullname="SpeckleCore" preserve="all"/>
<assembly fullname="SpeckleCoreGeometry" preserve="all"/>
<assembly fullname="SpeckleCoreGeometryClasses" preserve="all"/>
<assembly fullname="SpeckleElements" preserve="all"/>
<assembly fullname="SpeckleElementsClasses" preserve="all"/>
</linker>
If you have additional Speckle Kits or other bits of code that you want to mark as preserved during the build process, just add those to this file before building.


Pro-Democracy Parties Win Big In Hong Kong Elections On Sunday
by Bronson StockingIn a stunning rebuke to Beijing, voters in Hong Kong elected pro-democracy parties into power on Sunday. Every one of the 452 elected seats on Hong Kong's district council was up for grabs.
Before Sunday's election, pro-Beijing parties held three-quarters of the district council seats, but pro-democracy groups have so far managed to capture 240 of them, up from the 124 they held previously. The pro-Beijing camp has so far only managed to win 28 confirmed seats in Sunday's elections.
The district council races are local, community-related offices. But given the widespread unrest by protestors calling for greater democracy for Hong Kong, the election is seen as a referendum on Hong Kong's relationship with Beijing.
As the election was underway, protestors remained trapped inside Hong Kong Polytechnic University after police sieged upon the campus following demonstrations against the shooting of a protestor.
The newly-elected pro-democracy parties have already sprung into action, with one official calling upon the "newcomers to join him in signing a petition calling on police to end the siege..."
A record 71.2 percent of the electorate, nearly three million residents, turned out to vote in Sunday's elections. The previous record was set in 2015 when 47 percent of voters showed up to the polls.


The Street Rod is a new addition to Harley-Davidson’s Dark Custom line-up. Based on the Street 750, the Street Rod gets several visual upgrades and a more powerful engine to give it the sporty appeal of a street bike. The flyscreen, flat drag-style handlebar, short tail section and the new alloy wheels set the Street Rod apart from its host. The Street Rod is propelled by the same 749cc liquid-cooled V-twin engine as the Street 750. However, it gets a larger air box, a new throttle body, revised cylinder heads with high-lift camshafts and a stubby exhaust. Even the compression ratio has been increased, translating in a higher output of 70bhp and 64Nm of torque. The engine is mated to a six-speed transmission. The Street Rod is available in three paint schemes – olive gold, matte grey and black. Harley-Davidson Street Rod Price - 6,20,690 On-Road Price Link - Street Rod 750
| Displacement | 749 cc | Max Power | 70 bhp @ 4,000 rpm |
| Mileage | 16 kmpl | Maximum Torque | 62.10 Nm @ 4000 rpm |
| Top Speed | 195 kmph | Fuel Tank Capacity | 13 litres |
| Speedometer | Digital | Fuel Gauge | Yes |
| Electric Start | Yes | Low Fuel Indicator | Yes |
| Low Oil Indicator | Yes | Low Battery Indicator | Yes |
| Kerb Weight | 238 kg | Type | 2 cylinder, liquid-cooled V-twin engine |
The Hyosung GV650 Aquila Pro is a laidback cruiser with enough firepower to challenge sports motorcycles. As a cruiser, its performance is sensational and can surpass that of more expensive rivals; fuel efficiency suffers. The Aquila Pro650 gets a 647cc 8-valve engine that produces 74bhp and 62Nm of torque. It is belt driven and gets a five-speed gearbox. The motorcycle is built on a perimeter tubular steel cradle and gets upside down telescopic front suspension and hydraulic double shock absorbers at the rear. Hyosung has got the looks spot on with those beautiful swee ping lines and have not overdone it with too much chrome detailing. It is available in three colours shadow black, lava red and phantom silver. Hyosung Aquila Pro 650 price - 5,95,000 On-Road Price Link - Aquila Pro 650
| Displacement | 647 cc | Max Power | 74 bhp @ 9,000 rpm |
| Mileage | 16 kmpl | Maximum Torque | 62.10 Nm @ 7,500 rpm |
| Top Speed | 195 kmph | Fuel Tank Capacity | 16 litres |
| Speedometer | Digital | Fuel Gauge | Yes |
| Electric Start | Yes | Low Fuel Indicator | Yes |
| Low Oil Indicator | Yes | Low Battery Indicator | Yes |
| Kerb Weight | 240 kg | Type | 2 cylinder, 4 StrokeDOHC 8 Valve 90 V-Twin 647 CCWater Cooled |
The Hyosung ST7 gets a swept-back design, massive fenders, a huge fuel tank, loads of chrome, a simple round headlamp and step-up seats. The ST7 gets an analogue speedometer with a multi-function digital display. This instrument cluster is positioned on the fuel tank and because of the laidback riding position, gives the rider easy access to all the information. It is powered by a four-stroke 678cc 90 degree V-twin engine which produces 58bhp and 57Nm of torque. The water-cooled engine is mated to a five-speed constant mesh gearbox with a wet multiplate clutch. The engine gets electronic fuel injection to make it a more reliable. The Hyosung ST7 is available in three paint schemes- red, black and white. Hyosung ST7 price - 6,39,500 On-Road Price Link - ST7
| Displacement | 678 cc | Max Power | 57.66 bhp @ 8,000 rpm |
| Mileage | 18 kmpl | Maximum Torque | 57 Nm @ 6,000 rpm |
| Top Speed | 176 kmph | Fuel Tank Capacity | 17 litres |
| Speedometer | Analogue | Fuel Gauge | Yes |
| Electric Start | Yes | Low Fuel Indicator | Yes |
| Low Oil Indicator | Yes | Low Battery Indicator | Yes |
| Kerb Weight | 244 kg | Type | Two Cylinder, 4 Stroke DOHC 8 Valve 90 V-Twin 678.2 CC Water Cooled |
The Iron 883 is an entry-level cruiser and is assembled in India. It is a raw, stripped-down, aggressive bike that gives the rider an authentic, throwback riding experience, and at a very aggressive price point. The Iron 883 gets an 883cc 4-valve engine that produces 50bhp and 69Nm of torque. It gets a six-speed gearbox that transmits the power to the rear wheel via transmission belt. It is 2245mm long, 820mm wide, 1120mm tall and has a wheel base of 1510mm. The motorcycle tips the scales at 260kg. It is available in three colours vivid olive gold, charcoal denim and black denim. Harley Davidson iron 883 price - 8,44,337 On-Road Price Link - Iron-883
| Displacement | 883 cc | Max Power | 50.00 bhp @5500 rpm |
| Mileage | 20 kmpl | Maximum Torque | 69 Nm @ 3,500 rpm |
| Top Speed | 200+ kmph | Fuel Tank Capacity | 12 litres |
| Speedometer | Analogue | Fuel Gauge | Yes |
| Electric Start | Yes | Low Fuel Indicator | Yes |
| Low Oil Indicator | Yes | Low Battery Indicator | Yes |
| Kerb Weight | 255 kg | Type | Two Cylinder, Air-cooled Evolution |
The engine on the Bonneville Bobber is of 1200cc, liquid-cooled, parallel-twin motor that produces 80bhp and 105Nm of torque. But the power and torque curves on the Bobber are different; electronic updates and a new dual air filter design will make the Bobber produce more torque and power lower down in the rev range than the T120. The Bobber gets a hard-tail (no rear suspension) look, thanks to a new cage-type swingarm and a monoshock which is mounted underneath the seat. The front fork is updated too, and is shorter than the T120. The solo seat is adjustable in two positions - low and back, or high and forward. The new Bonneville Bobber may not appeal to every kind of riders, but there will be some who will find its looks irresistible, particularly those with an affinity for custom cruisers. Triumph Bonneville Bobber price - 9,10,000 On-Road Link price - Bonneville Bobber
| Displacement | 1200 cc | Max Power | 76 bhp @ 6,100 rpm |
| Mileage | 29 kmpl | Maximum Torque | 106 Nm @ 4,000 rpm |
| Top Speed | 200+ kmph | Fuel Tank Capacity | 9.10 litres |
| Speedometer | Analogue | Fuel Gauge | Yes |
| Electric Start | Yes | Low Fuel Indicator | Yes |
| Low Oil Indicator | Yes | Low Battery Indicator | Yes |
| Kerb Weight | 228 kg | Type | Two Cylinder, liquid-cooled, parallel-twin motor |
The new Scout introduces Indian’s first-ever liquid-cooled engine. Producing 100bhp of power and a healthy 97Nm of torque, the new liquid cooled V-twin engine promises to offer an unmatched riding experience thanks to its electronic fuel injection, counter-balancing and a 6-speed gearbox.The Indian Scout is a small bike for a cruiser, but it's fast and keeps you entertained, whether you're out on a twisty highway or rolling through suburban traffic. The instrumentations include a digital tachometer, odometer, trip metre, engine temperature read-out and low fuel lamp. The all-new Scout is available in four colours – red, silver and two shades of black. Indian Scout price - 13,56,700 On-Road Price Link - Indian Scout
| Displacement | 1131 cc | Max Power | 98.70 bhp @ 8,100 rpm |
| Mileage | 25 kmpl | Maximum Torque | 97.70 Nm @ 5,900 rpm |
| Top Speed | 200+ kmph | Fuel Tank Capacity | 12 litres |
| Speedometer | Analogue | Fuel Gauge | Yes |
| Electric Start | Yes | Low Fuel Indicator | Yes |
| Low Oil Indicator | Yes | Low Battery Indicator | Yes |
| Kerb Weight | 244 kg | Type | 2 Cylinder, Liquid Cooled V-Twin |


--- layout: default title: Clementine • Play now on iOS, Android and Windows Phone • Made with ♥ by Radiated Pixel ---
Play Clementine, the skill-based brain-twisting platformer, on iOS, Android or Windows Phone. Can you run further than your friends and beat their high scores?!


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These are a few of my
favorite
things!
This will give you an idea of the people and things that are my
favorites
!
People
Lindsay
Maggie
Jen
Websites
Datalounge
Brain Pickings
Apartment Therapy


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The Pizza Parlor
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Select a size:
Small $6
Medium $8
Large $10
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