rusty wire
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**rusty wire**: n.
[Amateur Packet Radio] Any very noisy network medium, in which the
packets are subject to frequent corruption. Most prevalent in reference
to wireless links subject to all the vagaries of RF noise and marginal
propagation conditions. “Yes, but how good is your whizbang new protocol
on really rusty wire?”.
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And now for something completely different - hacking some GLSL.
So, admission of an addict, I play heavily modded Minecraft semi-frequently. Sometimes other peoples modpacks (mostly FTB third party), and sometimes my own assemblages. I've never published anything, though I've thought about it occasionally. My current effort's primarily motivation is to play with Open Computers (especially robots).
Playing modded Minecraft I've gotten used to falling farther and farther behind the latest release. The Forge project is not officially supported by Mojang/Microsoft, and new version compatibility relies on the hard work of dedicated volunteers. At the time of writing the latest Official version is 1.11.2 (which surprisingly already has a Forge build) while I have been on 1.7.10 for nearly as long as I can remember.
The reason I bring it up is because for this pack I decided to switch to 1.10.2 (which is the current stable Forge version). When I had enough built to try it out I found that rendering in this new version was much smoother on my laptop (Dell XPS13 2015, Intel HD5500 graphics). I have for a long time wanted to try the shaders mod, but I was worried about performance and compatibility. Since I was trying new things anyway I decided to throw shaders in the mix. Turns out in 1.10.2 you have to use OptiFine for shaders, and it turns out my HD5500 handles shaders alright!
After playing and tweaking with my pack for a while one thing I really wished was that the days were longer. With shaders, especially the dawn and the dusk, are very dark. It seemed like there were only a few minutes of usable light each day. I added a mod called Precise Time which allows the adjustment of day and night length, but I ended up with multiple sun-rises and sun-sets per day. It turns out the shaders have their day-night cycle hard coded.
After researching all over I still didn't have a clear picture of how shaders
handled time of day, let alone an example of what I wanted to do. I was
motivated though, so I unzipped the shader pack that I liked best
Chocapic13 V6 Low
and started digging around. The root of the folder has the shaders for the
overworld, and their are sub-folders for the Nether (World-1) and the End
(World1).  A cursory investigation of
composite.vsh
turned up a uniform int worldTime;
and a main function:
void main() {
vec4 tpos = vec4(sunPosition,1.0)*gbufferProjection;
tpos = vec4(tpos.xyz/tpos.w,1.0);
vec2 pos1 = tpos.xy/tpos.z;
lightPos = pos1*0.5+0.5;
const vec3 moonlight = vec3(0.5, 0.9, 1.4) * 0.0012;
/*--------------------------------*/
gl_Position = ftransform();
texcoord = (gl_MultiTexCoord0).xy;
/*--------------------------------*/
if (worldTime < 12700 || worldTime > 23250) {
lightVector = normalize(sunPosition);
}
else {
lightVector = normalize(-sunPosition);
}
/*--------------------------------*/
sunVec = normalize(sunPosition);
moonVec = normalize(-sunPosition);
upVec = normalize(upPosition);
...
}
I only understand some of the code, but the way the sun vector is being
calculated from the worldTime is promising. The hard-coded integers 12700
and
23250
are tick counts (1 tick = 1/20th of a second). The problem is that
uniforms are provided variables, I'm not sure you can even change them in shader
code. My solution was to add another variable scaledTime
, for example:
void main() {
...
int scaledTime = worldTime/4;
...
if (scaledTime < 12700 || scaledTime > 23250) {
lightVector = normalize(sunPosition);
}
else {
lightVector = normalize(-sunPosition);
}
...
}
I have my day set to 4x the normal length, so I divide by 4 to re-normalize the
time of day to what the shaders expect. Now, don't think that one change is
enough to fix everything. Once I had a plan the next step was to find every
place worldTime
appeared in the shader pack. I depended on a little
Vim magic to make that task simpler. You can probably use
another tool to search all the files, but Vim put everything in one tool for me.
After opening one of the files I ran the command :vimgrep /worldTime/ ./*
which populates the quickfix list with every place in every file where it
found "worldTime". From their I used Tim Pope's
Unimpaired plugin's [q
and ]q
commands to jump backward/forward through the list. You could alternatively use
the :cnext
and :cprevious
ex commands for the same and :clist
to view the
list. From their I added int scaledTime = worldTime/4;
to the beginning of
each function, and then replaced every instance of worldTime
with
scaledTime
. The shader code is horribly chopped up and poorly formatted, which
makes it hard to follow. I just worked carefully and methodically and used
vimgrep to check my work.
And it worked! I was somewhat surprised. There's still one bug - at noon the sky turns a reddish hue for a while. It is the dawn Rayleigh scattering simulation re-playing for some reason. It only lasts a few minutes, so I can live with it. Another problem is that when sleeping I tend to wake up at midnight every night. I think it is a bug in PreciseTime, and I can go right back to sleep, so I just consider it a more realistic sleep simulator!


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The programming for the IPAX is done on the control board and the Raspberry Pi. The control board is used to perform time keeping and interact with environmental sensor. It communicates with the Pi using Serial communication. The Pi is used to control camera for image acquisition and also to trigger the LED for flashing.
The control board is based on ATMega328p chip that is arduino-compatible. The guide will assume that users are familiar with Arduino platform for programming. There are many online tutorials on the basic of Arduino IDE, and users can download the platform directly from the official website.
This control board is modeled after Arduino Pro Mini 3.3V 8MHz, so make sure that the Arduino IDE is set accordingly. However, advanced users can set the chip to any configurations. We need to use Upload Using Programmer option when uploading the program with an ISP programmer.
To program, we need to have an ISP programmer, which is commercially available. We recommend using Pololu USB programmer, though any ISP programmer will work well. There is also a UART header available on the control board for basic debugging through USB serial.
Two Arduino skecthes are available on the IPAX github page. There are a few Arduino libraries that we need to install for the code to properly work. Note that library #3-5 are optional and are only needed if there are actual sensors attached to the instrument.
Again, users are assumed to be familiar with Raspberry Pi basic. There are many helpful tutorials available online to get started with Raspberry Pi, such as this official tutorial. However, apart from basic Raspberry Pi setup, there are a few setups we need that are specific to the IPAX.
The general configuration of the Pi is determined by the config.txt file located at /boot/config.txt. We need to enable all the necessary peripherals, including serial, camera, remote ssh and i2c. The config.txt file used in the IPAX is provided in the github page.
The general configuration of the Pi is determined by the config.txt file located at /boot/config.txt. We need to enable all the necessary peripherals, including serial, camera, remote ssh and i2c. The config.txt file used in the IPAX is provided in the github page.


Version 1.6 - January 20, 2015
Ported to Softimage by Andrew Hazelden
Twitter: @andrewhazelden
Email<EMAIL_ADDRESS>Web: www.andrewhazelden.com
DomeAFL_FOV_Stereo
and LatLong_Stereo
shaders created by Robert Ziche
http://fulldome.ning.com/forum/topics/stereoscopic-domemaster-images
https://github.com/zicher3d-org/domemaster-stereo-shader/
DomeAFL_FOV_Stereo
is based upon Daniel Ott's 2D "DomeAFL" Angular fisheye lens shaders
http://www.thedott.net/shaders/domeAFL/
Domemaster3D Softimage Wiki
https://github.com/zicher3d-org/domemaster-stereo-shader/wiki/Softimage-Domemaster3D-Install
The Domemaster Stereo lens shader is a custom mental ray shader that creates a stereoscopic 3D fisheye image. The lens shader provides advanced controls to optimize the viewing experience for stereoscopic dome renderings.
The Domemaster3D shader for Softimage includes a new toolbar which automates the most common tasks.
The Softimage Domemaster3D toolbar has buttons for the following features:
The Domemaster3D v1.6 release for Windows has been compiled with Visual Studio 2012. If your system doesn't have the Visual Studio 2012 (VC++ 11.0) x64 Redistributable Package installed you can download it here: http://www.microsoft.com/en-us/download/details.aspx?id=30679
The starglobe tool for Softimage makes it easy to add a starry night backdrop to your fulldome renderings. You can access the tool by opening the Domemaster3D toolbar.
The DomeViewer tool allows you to preview a fulldome angular fisheye image in Softimage.
Open Softimage.
From the File Menu Select > Add-On > Install...
In the Install Add-On window next to the Filename "Select a File..." section click on the button labeled "..."
In the file dialogue select the file domemaster3D.xsiaddon
. This is the add-on package file that contains the Domemaster3D shader .dll and .spdl files. Click the "OK" Button.
The files that are contained in the domemaster3D.xsiaddon
package will be listed in the Install Add-On window. Click the "Install" button to load the Domemaster3D files. By default the files will be copied into the Softimage Addons folder:
C:\Users\<your user id>\Autodesk\Softimage_<Version Number>\Addons\domemaster3D
Quit Softimage.
When you restart Softimage you can begin using the new lens shaders. The Domemaster3D lens shaders will be listed in the Lens tab of the Render Tree.
You should now have the following new lens shaders:
domeAFL_FOV
domeAFL_FOV_Stereo
domeAFL_WxH
latlong_lens
LatLong_Stereo
rob_lookup_background
Step 1. Select Your Camera
Open the explorer window to view all of the cameras in the current scene(hotkey Ctrl-8).
Next, select a camera in the explorer window.
Press Alt-Enter to open the Scene_Root:Camera:Camera
editor window
Step 2. Choose your lens shader
In the Camera Editor window click on the "Lens Shaders" tab. This view lists lens shaders currently applied to your camera.
Let's attach a new lens shader to the current camera. In the "Lens Shaders" tab click the Add button.
Pick one of the lens shaders from the pop-up menu such as domeAFL_FOV_Stereo
.
The Domemaster3D v1.6 release has added a new LatLong_Stereo
node that makes it easy to render spherical stereoscopic images.
You can access the controls by expanding the LatLongStereoCamera_Root
object in the Explorer window, and double clicking on the LatLong_Camera_Controls
object.
Field of View Vertical: Controls the vertical FOV angle (in degrees) of the rendered Latitude/Longitude image.
Field of View Horizontal: Controls the horizontal FOV angle (in degrees) of the rendered Latitude/Longitude image.
Flip X: Flips the view horizontally
Flip Y: Flips the view vertically
Camera: Choices are Center/Left/Right. Selects the camera to use for rendering. Center skips 90% of the calculations and gives you a highly optimized standard latlong image.
Parallax Distance (focus plane): This is the distance at which the camera's line of sight converges. This is also known as the zero parallax distance.
Camera Separation: The initial separation of the left and right cameras.
Separation Multiplier: A value between 0-1 that multiples the Camera Separation. This attribute is meant to be used with a grayscale texture mapped to the screen space. It's used to control the amount of 3D effect, and eliminate it where desired.
Zenith Mode: This attribute allows you to adjust the LatLong Stereo
lens shader to work with either a horizontal orientation (Zenith Mode Off), or an upwards / vertical orientation (Zenith Mode ON) that lines up with the upright view orientation of the DomeAFL_FOV / Domemaster Stereo shaders.
Field of View: Controls the field of view for the rendered angular fisheye image. A "Domemaster" formatted image has a 180 degree field of view, and a "light probe" style angular image has a 360 degree field of view.
Flip X: Flips the view horizontally
Flip Y: Flips the view vertically
Camera: Choices are Center/Left/Right. Selects the camera to use for rendering. Center skips 90% of the calculations and gives you a highly optimized standard angular fisheye shader.
Dome Radius (focus plane): This is actually the distance at which the camera's line of sight converges. This is also known as the zero parallax distance so the control isn't really the dome size.
Dome Forward Tilt: Dome tilt in degrees. Note that this value is not used unless you enable Dome Tilt Compensation.
Camera Separation: The initial separation of the left and right cameras.
Separation Multiplier: A value between 0-1 that multiples the Camera Separation. This attribute is meant to be used with a grayscale texture mapped to the screen space. It's used to control the amount of 3D effect, and eliminate it where desired.
Turn Multiplier: A value 0-1 that controls the amount of the head turn. This attribute is meant to be used with a grayscale texture mapped using the screen space. Typical use, keep the head straight while looking at the top of the dome.
Head Tilt: A value 0-1 (with 0.5 being the "neutral" value) that tilts the cameras (or head) left/right. This attribute is meant to be used with a grayscale texture mapped using the screen space. 0 means 90 degrees to the left, 1 means 90 degrees to the right.
Dome Tilt Compensation: Enabling this option, shifts all the calculations by the # of degrees specified in Dome Forward Tilt. (Basically, it keeps the fulldome cameras / viewer's head vertical while the dome rotates forward.)
Maps used for the various multipliers and tilt settings will have to be custom made for the proper dome tilt.
Vertical Mode: Enables the vertical dome mode which automatically adjusts the head turn setting and adds a turn compensation for the upper and lower part of the dome. It's a simplified and optimized version of the Dome Tilt Compensation with a 90 degree tilt angle, but with a different automatic handling of the top and bottom pinch correction. It is faster and easier to use.
Set the mib_texture_vector
"selspace" aka. select space value to 4 (screen space) to enable the camera UV space projection. This means the texture will be loaded using a projection to the UV space coordinates of the camera.
mib_texture_vector.out -> mib_texture_remap.input
mib_texture_remap.out -> mib_texture_filter_lookup.coord
separation_map_png.tex -> mib_texture_filter_lookup.tex
mib_texture_filter_lookup.out -> Color_to_Scalar.input -> rob_lookup_background.tex
rob_lookup_background.out -> Camera Lens Shader.item
Start by placing your texture maps for controlling the camera separation and turn maps in the "Pictures" folder for your current Softimage project.
Select your current camera and open the Render tree. (Shift-7)
In the Render Tree toolbar click the update icon (circular arrows) to load the current nodes in the Render Tree view. Display the preset manager view.
Step 1. Connect the Domemaster 3D Shader
Scroll down in the Render tree sidebar to the SPDL Shaders -> lens section. Add a domeAFL_FOV_stereo
shader to the work area.
Connect domeAFL_FOV_Stereo.out
to the Camera lens Shaders.item
Step 2. Let's create the supporting nodes for the custom separation map
The rob_lookup_background
shader lets you preview your camera coordinate space Separation and Head Turn Map textures before you map them to the domemaster shader DomeAFL_FOV_Stereo
.
Scroll up to the Processing -> Conversion section in the render tree.
Add a "Color to Scalar" node to the work area. This node will convert the texture from an RGB image into a greyscale "tex" image.
Connect Color_To_Scalar.out
to rob_lookup_background.tex
Scroll down in the Render tree sidebar to the mental ray -> texture section. Add a mib_texture_filter_lookup
node to the work area. This node merges the image data with our custom camera space UV coordinates.
Connect mib_texture_filter_lookup.out
to Color_to_Scalar.input
.
Double click on the mib_texture_filter_lookup
node in the render tree to open the editor. In the editor window next to the tex attribute click the New button. In the pop-up menu select "New From File...".
A "New Image Clip" dialogue will appear that lets you select a file texture from your hard drive. Select the file separation_map.png
from the domemaster3D_sample_project\Pictures
folder. Click the "OK" Button.
The mib_texture_filter_lookup
node should now display a crescent shaped preview icon in the "tex" section.
Let's connect the custom nodes to create the camera space UV coordinates. Start by closing any floating editor windows.
We need to add two more nodes to the Render Tree. In the sidebar click on the mental ray -> textures section add a mib_texture_vector
and a mib_texture_remap
node.
Double click on the mib_texture_vector
node. In the editor window change the mib_texture_vector
node's selspace value to 4. This means the node will select the UV space for the texture from the current camera's UV coordinates. Close the floating editor window.
Connect the mib_texture_vector.out
to the mib_texture_remap
.input.
Connect the mib_texture_remap.out
to the mib_texture_filter_lookup.coord
.
Deselect all of the nodes in the render tree. From the Tools menu in the Render Tree window select Rearrange (Ctrl-R) to cleanup the work area.
To see the results of the rob_lookup_background
shader you need to click the 'preview' or 'render' buttons.
This is the version history for the Softimage Domemaster3D shader.
Updated the Domemaster3D toolbar scripts to set the camera aspect ratio to 1.
Updated the Linux shader files.
Recompiled the domeAFLFOVStereo shader to implement the RZ shader improvements.
Added the LatLongStereo Shader that renders stereoscopic equirectangular output.
Added the Stereo 3D View tool that creates a Softimage Fx Tree node graph that performs red/cyan anaglyph stereo merging of your left and right render passes.
Updated the Automagic toolbar button script.
Updated the Starglobe script to add realtime openGL and rendertime polygon subdivision smoothing on the "starry sky" quadsphere mesh.
Added a DomeViewer toolbar button that creates a fulldome media viewer in Softimage. You can use the tool to review domemaster angular fisheye images, or video files.
Updated the toolbar scripts to stop Softimage from opening the floating property windows when the python button scripts are launched. This significantly reduces the floating window clutter.
Improved the toolbar with a revised stereo camera rig, and improved starglobe tool, added a reference grid, an automagic fulldome tool, and new resolution presets. Fixed an outstanding issue with the domeAFL_FOV spdl file so the 2D lens shader works correctly.
Ported the Domemaster3D shelf from Maya to Softimage, added a Softimage version of the Starglobe tool.
The domeAFL library has been recompiled to match the shader binary in the Maya and 3DS Max release and the latlong_lens shader has been added to the addon.
This is the beta version of the Domemaster3D Lens Shader for Softimage. It has been tested with Softimage 2013 64-bit on Windows 7.


PEE WEE'S BIG ADVENTURE A film review by Chad Polenz Copyright 1997 Chad Polenz
*** (out of 4 = good) 1985, PG, 90 minutes [1 hour, 30 minutes] [comedy] starring: Paul Reubens (Pee Wee Herman), Elizabeth Daily (Dottie), Mark Holton (Francis), Diane Salinger (Simone), written by Paul Reubens, Phil Hartman, Michael Varhol, produced by Robert Shapiro, Richard Gilbert Abramson, directed by Tim Burton.
"Pee Wee's Big Adventure" is a live action cartoon farce that epitomizes stupidity... and I liked it.
Paul Reubens stars as Pee Wee Herman, an adult with a 4-year-old boy's face and personality. Pee Wee does not live in the real world; his house is a cross between an amusement park, a funhouse, and a huge toy store. He has an "Absent-Minded Professor"-type device that makes his breakfast for him while he wraps Scotch tape around his head in the bathroom. This opening scene is only the first of countless sight gags, and what's amazing is they actually work!
The zaniness continues throughout the film with one of the best scenes occurring when Pee Wee opens his secret storage facility for his bicycle (which looks like the kind of bike the guys from "Mission: Impossible" would have used as kids). The music becomes overly dramatic and spotlights and dramatic camera angles are used to highlight the bike's gizmos and gadgets and its importance to Pee Wee.
But where there is good there must be evil, and we get the typical rich, snobby "kid" Francis (Holton), who wants Pee Wee's bike more than anything. As Pee Wee goes shopping for x-ray glasses and boomerang bow ties (to match the tight grey suit he always wears), he is shocked to find his bike missing from the robotic clown he chained it to.
And so we get the typical road trip comedy as our small hero tries to hitchhike 2,000 miles to San Antonio, Texas because a phony psychic told him his bike is in the basement of the Alamo.  And if that wasn't enough, he must escape the 300-pound boyfriend of a friendly waitress, and is almost killed again when he accidentally messes with a biker gang.
Although most of the jokes stem from Pee Wee's wild antics and zany sight gags, there is a good amount of witty satire here. In fact, the film uses its childish attitude to make for some of the funniest satire I've ever seen. There are many "goofs" throughout this film where crew and/or equipment is visible, but since there is such a "don't care" attitude to everything, it's funny and quite original.
"Pee Wee's Big Adventure" isn't anything genius, but it is very funny. There is a laugh-out-loud joke a few times a minute and most of them work (unlike most commercial comedies). Maybe it's likable because it speaks to the child inside of us, or maybe we just like to see stupidity once in a while.
please visit Chad'z Movie Page @ http://members.aol.com/ChadPolenz
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
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Related links: index of all rec.arts.movies.reviews reviews


Operations on range iterators
[Range iterators]
Collaboration diagram for Operations on range iterators:
Detailed Description
Requires #include "gecode/iter.hh"
Enumerations | |
| enum | Gecode::Iter::Ranges::SubsumtionStatus { Gecode::Iter::Ranges::SS_SUBSUMED, Gecode::Iter::Ranges::SS_EMPTY, Gecode::Iter::Ranges::SS_NONE } |
| Is one iterator subsumed by another, or is the intersection empty? More... | |
Functions | |
| template<class I> | |
| unsigned int | Gecode::Iter::Ranges::size (I &i) |
| Size of all ranges of range iterator i. | |
| template<class I, class J> | |
| bool | Gecode::Iter::Ranges::equal (I &i, J &j) |
| Check whether range iterators i and j are equal. | |
| template<class I, class J> | |
| bool | Gecode::Iter::Ranges::subset (I &i, J &j) |
| Check whether range iterator i is subset of range iterator j. | |
| template<class I, class J> | |
| bool | Gecode::Iter::Ranges::disjoint (I &i, J &j) |
| Check whether range iterators i and j are disjoint. | |
| template<class I, class J> | |
| SubsumtionStatus | Gecode::Iter::Ranges::subsumes (I &i, J &j) |
| Check whether range iterator i subsumes j, or whether intersection is empty. |
Enumeration Type Documentation
|
|
Is one iterator subsumed by another, or is the intersection empty?
Definition at line 49 of file ranges-operations.icc. |
Function Documentation
|
|
Size of all ranges of range iterator i.
Definition at line 63 of file ranges-operations.icc. |
|
|
Check whether range iterators i and j are equal.
Definition at line 73 of file ranges-operations.icc. |
|
|
Check whether range iterator i is subset of range iterator j.
Definition at line 86 of file ranges-operations.icc. |
|
|
Check whether range iterators i and j are disjoint.
Definition at line 101 of file ranges-operations.icc. |
|
|
Check whether range iterator i subsumes j, or whether intersection is empty.
Definition at line 116 of file ranges-operations.icc. |


P.S. This extension has read-only access to your emails; it cannot create, send, modify or delete your emails.
This extension makes no external network calls so your emails are safe and will never leave your system.
Check the
source code for more details.


Check to ensure that unused protocols are blocked by default when configuring your network firewall.
Adapted from Microsoft patterns & practices guidance.


| DOSE: |
30 mg |
oral |
AMT |
(pill / tablet) |
Having previously attended raves, normally without the use of drugs, I was unaware what I was in store for after buying an approximately 30mg capsule of AMT (sold to me under the name 'Matrix'). I will list for you a recount of my experiences on AMT in chronological order as I attended 2 of the greatest raves of my life, Ultra 4 and Sasha/Digweed.
0 hr: Paul Van Dyke is starting a set on the main stage as my friend and I (we'll call him K*dd) purchase 4 AMT capsules (only one of which we will use each that night) We took these pills orally and began to do what any courteous candy kid would do, give light shows to those who were already feeling it.
15 min: We give our arms a break and sit to watch Van Dyke spin, my friend is fine, I begin to experience mild nausea.
30 min: My friend, having significantly more experience with hallucinogens, is still unaffected, whereas I am beginning to be overwhelmed by a strong sense of paranoia and fear. Trees start to bend and other party-goers seem to be moving unnaturally. I lay back and try to cope, hoping this phase would pass.
45 min: We leave the first rave and continue to the after party. I am overcome by an overwelming sense of sourceless fear and I begin to vomit and shake. My friend is beginning to experience a feeling of euphoria. One comment I make stands out in my mind, 'Am I going to die? Is someone going to hurt me?'
1 hr: We are traveling the streets of South Beach on the way to the after party and I am beginning to come to terms with the drug and its hallucinations. My friend is beginning to experince mild fear and strong nausea as he vomits by the side of the road. After this point there seems to be no other negative effects of the drug.
1 hr 30 min: Stronger hallucinations set in and all traces of nausea and fear are gone. While traveling, I ask for directions to the club from a passerby. Receiving no response, I ask another person who doesn't respond to me either. This goes on for another few minutes until I end up yelling 'CAN ANYONE HEAR ME?!?!' which yeilds no response either, from ANYONE. My friend tries asking and we receive directions to the party.
1 hr 50 min: We locate the club and approach it. When we arrive at the place the club should be, we find it has moved 2 blocks away from us. As we approach the club a second time, it has dissapeared and reappeared behind us at twice the original size and reversed. We enter the club.
2 hr 30 min: Having danced for about 30 minutes, we realize that the rolling/tripping seems to be hitting us in waves, light trails become significantly longer, and we are both experiencing medium to strong hallucinations and a sense of empathy, love and fellowship among the other ravers.
2 hr 45 min: We exit the actual rave and enter the concession area. As we enter, the entire area seems to be filled with dense clouds. We feel as if we have entered a dream which seems more realistic than any other we have ever experienced. We feel a slight tightening of the joints (which could be attributed to the 15 hours of dancing we have already committed ourselves to). Over the course of this experience, we find we have been sweating perfusely (although we are not physically hot). We drink water regularly for the remainder of the night.
3 hr - 6 hr: The trippy/rolling experience continues to hit us in waves usually hourly and overlapping. We feel more capable of feeling the music and flowing with it as we dance to the dark trance sounds of Digweed and Sasha. The experience has been overly enjoyable and hallucinations and ecstasy-like effects of love and friendship continue more strongly through the night. Visuals coming from the DJ booth are beautiful and soothing. During this time, I close my eyes and instantaniously I encounter a type of visual story being played out and narrated by the music. Sweet tastes such as Sprite and hard candy taste incredible. Tactile contact with others feels incredible and sex is unbelievable.
6 hr: We have to leave to catch a bus home. The before described effects of the AMT are still as strong as ever. On the way to the station, we stop by a gas station to pick up drinks. While we walk, we notice the time is passing by extremely slowly. We encounter the same realistic hallucinations as we did while trying to approach the after party originally (building moving around)
7 hr - 14 hr: We catch our bus and the effects seem to dissapate in much the same way as they came, in waves. It is a very easy, peaceful and enjoyable comedown. The bus ride seems to move very quickly.
This was one of the most incredible experiences of my life and AMT seems to have both aspects of ecstasy and hallucinogens. Highly recommended.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


'NO EXCUSE'
Health Secretary admits girl, 10, may have died because of contaminated water at Glasgow’s superhospital
by Blair MeikleTHE Health Secretary has admitted contaminated water at Glasgow's superhospital may have been behind the death of a 10-year-old girl.
Jeane Freeman has slammed NHS Greater Glasgow and Clyde over their handling of the passing of cancer patient Milly Main at Queen Elizabeth University Hospital.
This came after she was forced to make an apology at Holyrood, where she also brought up concerns raised by other patients.
She branded the health board's handling of the situation 'appalling' and blasted them for criticising the whistleblower who exposed the scandal.
The source claimed Milly died after contracting an infection from dirty water at the hospital - one of 25 who had picked up the bug.
A probe was launched but never made public by NHSGCC.
Milly's mum Kimberly Darroch said she felt "let down and lied to" and "100 per cent convinced" that he daughter was killed by contaminated water.
Freeman told the Daily Record: "There is no excuse for Milly’s parents not to have been given the full information at the time when their child died.
“I don’t believe people are wilfully intending to cause more pain and upset to others, but their actions, or their failure to act, clearly in this instance, absolutely do.”
The health board previously admitted Milly contracted a bug, but said there was no proof it came from the hospital.
But Freeman added: "That’s not really helpful to Milly’s mum, and it is reasonable that, knowing what she knows now, that she would suspect that it came from the water in the hospital.”
Asked whether she suspected Milly’s infection had come from the QEUH, Freeman said: “I don’t know, but given what we know about levels of water borne infections in and around the period that I know of, which is 2018….then I think it is a reasonable position to take that it could have come from the hospital.”
She also urged them to make the findings of the investigation public, adding: “First of all, why did we not know? Secondly, what does it say? Give us it.
"Let’s see that information in full. And thirdly, what did you do when you got that information?”
On the criticism of the whistleblower, she said: "I thought that was appalling. That’s why in the statement I made today in Parliament I said whistleblowers should not be publicly or privately criticised.
"I think the board have moved away from that position in recent days, but nonetheless that doesn’t mean that what they initially said in their comments is the least bit acceptable, because it is not.”
NHS Greater Glasgow and Clyde has been contacted for comment.


Scintilla has not been tested as thoroughly as it should in the past leading to occasional regressions. One noticeable case is the implementation of undo batching which has changed several times, not all of which have been improvements.
It can be hard to consistently test a component in a real world setting as asynchronous actions can lead to non-repeatable results. By testing classes in an isolated environment, a good set of unit tests can be built up to safeguard against regressions and ensure correct and reasonable behaviour under both common and uncommon sets of actions.
Unit testing frameworks have become more popular, polished and useful over the past couple of years due to the growing popularity of Extreme Programming. I particularly like JUnit, a unit testing framework for Java and NUnit, a unit testing framework for any of the languages available for .NET. Java and .NET provide accessible metadata and dynamic loading which makes it easier to write good testing frameworks. There are unit testing frameworks available for C++, but they are more constrained due to the absence of these higher level features.
Using unit testing frameworks should be particularly useful to ensure code translated from one language to another, as is envisaged on the portability page, behaves identically to the original code.
Another potential outcome of SinkWorld is the use of assertions, preconditions and postconditions to ensure correct behaviour and to discover problems earlier.
The primary interface to Scintilla is based upon the non-typesafe interface used for communicating with windows on Win32. The single entry point takes 3 integer arguments and returns an integer. Pointers are coerced into integers to be passed to or returned from this interface. This interface does no type checking and crashes can occur when the data is transferred over the interface incorrectly. Managed execution environments do not allow breaking type safety in this way and so crashes are less likely to occur. There are, however, also benefits to this single entry point such as making it easy to log all activity or record actions to produce macros.
SinkWorld will explore the possibility of exposing a typesafe interface as well as continuing to provide the current less safe interface to current clients.


!= include("css"); ?>
Json Input
Compute
Cancel
!= include('intents/javascript/submit_form'); ?> != include('intents/javascript/helper_functions'); ?>


interface NavigationSection : Parcelable
A section for navigation flow. Join a menu button with a section fragment. The position must be the same position on that menu.
The endpoint just is used if the fragment is connected with specific and unique section api.
Used in MainFragment to instantiate a fragment and set a title.
abstract val endpoint: String |
|
abstract val idMenu: Int |
|
abstract val position: Int
The menu position in the same order |
|
abstract val titleSection: String |
abstract fun fragment(: String): Fragment
The fragment to manage this section |
fun <T> T.ifNull(block: () -> T?): T?
Execute the block only if null |


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Cup of Sugar
An app for neighbors to offer and request goods and services.
Cup of Sugar utilizes MVC architecture, Node, Express, MySQL, Sequelize, Handlebars, jQuery, JavaScript, Bcrypt and CSS.
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Travel Today
A travel app that does the hard work for you!
Travel Today utilizes Google Places API, Google Maps API, jQuery, JavaScript, Bootstrap and CSS.
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Dashboard
Generate ReportNumber of registered
technicians
3.0 K
Number of registered
customers
1.5 K
Number of today’s orders
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About Me
I am a current student in UC Davis’s continuing education full stack coding bootcamp. I enjoy finding solutions to complex problems. After gaining more skills from this bootcamp I will build an app for food intake analysis and blood sugar trend analysis to aid type 1 diabetics in optimal blood sugar management. One of the things that keeps me busy during my spare time is leading a multi-level Girl Scout troop. I also plan to build an app that will help troop leaders manage their troop members' badge work and cookie sale information.


Ayurveda: The doctrine of Ayurveda aims to keep structural and functional entities in a functional state of equilibrium, which signifies good health. Any imbalance due to internal and external factor causes disease and restoring equilibrium through various techniques, procedures, regimes, diet and medicine constitute treatment. The philosophy of Ayurveda is based on the theory of Pancha bhootas (five element theory) of which all the objects and living bodies are composed of.
Siddha: Siddha system of medicine emphasize that medical treatment is oriented not merely to disease, but also has to take into account the patient, environment, age, habits, physical condition. Siddha literature is in Tamil and it is largely practiced in Tamil speaking parts of India and abroad.
Unani: Unani System of medicine is based on established knowledge and practices relating to promotion of positive health and prevention of diseases. Although Unani system originated in Greece, passed through many countries, Arabs enriched it with their aptitude and experience and the system was brought to India during Medieval period. Unani System emphasise the use of naturally occurring, most herbal medicines, though it uses ingredients of animal and marine origin.
Homeopathy: Homeopathy is a system of medicine, which believes in a specialized method of treatment of curing diseases by administration of potency drugs, which have been experimentally proved to possess the power of producing similar artificial systems on human beings.
Yoga and Naturopathy: Yoga is a way of life, which has the potential for improvement of social and personal behavior, improvement of physical health by encouraging better circulation of oxygenated blood in the body, restraining sense organs and thereby inducing tranquility and serenity of mind. Naturopathy is also a way of life, with drugless treatment of diseases. The system is based on the ancient practice of application of simple laws of nature. The advocates of naturopathy focus on eating and living habits, adoption of purification measures, use of hydrotherapy, baths, massage etc.


Last night, Tesla wowed the car world with a radical new electric truck – the Tesla Cybertruck. It’s angular, Blade Runner-like appearance is unmistakable and polarizing. However, while the presentation was filled with much fanfare, as Tesla events often are, there was one embarrassing hiccup. Though some are arguing the entire truck is an embarrassment. During the presentation, Tesla CEO Elon Musk boasted about the truck’s toughness, even taking a sledgehammer to the shiny body, and wanted to demonstrate said toughness by throwing a metal ball at the truck’s side window. It didn’t go as planned, as you can see in the video above.
Welcome To The Future:
The ball hits with a cringe-worthy crack that covers the driver’s window in a web of fissures. It doesn’t shatter the glass, which is notable, but it’s certainly not the result Musk wanted to show when demonstrating the Cybertruck’s Armor glass. Musk tries to downplay the embarrassment by saying, “Well, maybe that was a little too hard.” Instead of calling it quits, Musk agrees to have the ball thrown at the back window, and the results are the same – a window covered in cracks, something that's obviously not intended.
To be fair, Musk shared a video of what should've happened during the launch, which you can watch below:
The embarrassing incident shouldn’t detract from what Musk rolled out as Tesla’s next, next, next model. It doesn’t look like any truck we’ve ever seen, but it has a standard 6.5-foot bed, a tailgate, and a tonneau cover.
Gallery: Tesla Cybertruck Pickup Truck Debut
Like other Teslas, the Cybertruck will offer multiple powertrains – either a single-motor / rear-wheel-drive setup, a dual-motor / all-wheel-drive setup, or a tri-motor / all-wheel-drive arrangement. It starts at $39,900 for the single-motor, RWD model. It comes with 250 miles of range and a 6.5-second 0-60 time. The range-topping model starts at $69,000, offers 500 miles of range, a 14,000-pound tow rating, and hits 60 in 2.9 seconds.
It’s an impressive statement, and could change how consumers view trucks, possibly upending the Big Three’s century-long dominance in the segment. The Cybertruck is scheduled to begin production in late 2021. However, much like last night’s presentation, Tesla doesn’t have the best of luck rolling out new products on time.


ISOHYBRID(1) Syslinux Project ISOHYBRID(1) NAME isohybrid - Postprocess ISO images for hybrid mode SYNOPSIS isohybrid [OPTIONS] IMAGE DESCRIPTION Starting in version 3.72, ISOLINUX supports a "hybrid mode" which can be booted from either CD-ROM or from a device which BIOS considers a hard disk or ZIP disk, e.g. a USB key or similar. To enable this mode, the .iso image needs to be postprecessed with this utility. OPTIONS -h HEADS Number of default geometry heads. -s SECTORS Number of default geometry sectors. -e, --entry Specify partition entry number (1-4). -o, --offset Specify partition offset (default 0). -t, --type Specify partition type (default 0x17). -i, --id Specify MBR ID (default random). --forcehd0 Assume we are loaded as disk ID 0. --ctrlhd0 Assume disk ID 0 if the Ctrl key is pressed. --partok Allow booting from within a partition. -?, --help Display help. -v, --verbose Display verbose output. -V, --version Display version information. SEE ALSO syslinux(1) HOMEPAGE More information about the Syslinux project can be found on the homepage at <http://syslinux.zytor.com/>. AUTHOR isohybrid was written by H. Peter Anvin<EMAIL_ADDRESS>This manual page was written by Daniel Baumann <daniel.baumann@progress- technologies.net>. 4.00 2010-06-22 ISOHYBRID(1)


old.reddit.com
Note 1: If checked, xyz.com will not match xyz.com/abc, xyz.com/abc/def etc.
xyz.com
xyz.com/abc
xyz.com/abc/def
Note 2: Does not use Reddit's search API and is therefore faster and more reliable
i.e. search using the video ID only instead of the full URL to find all variations of YouTube links e.g. youtu.be/dQw4w9WgXcQ, youtube.com/watch?v=dQw4w9WgXcQ and more.
youtu.be/dQw4w9WgXcQ
youtube.com/watch?v=dQw4w9WgXcQ
Note: Only applies to auto-search.
Add a domain (e.g. facebook.com or reddit.com/me) to the blacklist, one per line. Auto-search will not run on URLs belonging to these domains.
facebook.com
reddit.com/me
Note 1: the search button in the popup always bypasses cache
Note 2: the entire cache is cleared on browser start (not on exit because the Chrome API doesn't provide an event for that)


Gigs.com
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Following severe flooding in Johannesburg on Wednesday night, 9 November, the South African Weather Service has issued a warning of more heavy rains underway for Gauteng on Thursday, 18 May. Gauteng Weather tweeted saying the heavy rains, severe thunderstorms and hail can be expected between 12:00 and 23:00 on Thursday. The SA Weather Service warns that thunderstoms will spread to places over the central and eastern Free State, eastern parts of the North West, Mpumalanga highveld, Gauteng and southern parts of Limpopo on Thursday. The rain in Gauteng is expected to carry through to Friday.
White maize futures rose by the daily limit for a second day as dry weather and forecasts for two weeks without rain raised concern about the strength of a recovery from last year’s poor harvest. The country’s prime corn-growing areas in the Free State and Mpumalanga provinces had strong rain in November, following the worst drought since records started in 1904 last year. The dry weather has returned to the Free State this month, Brink van Wyk, a trader at BVG, said by phone. White corn for delivery in March climbed by as much as R100, to R3 895 a metric ton by 9:38 in Johannesburg. The most actively traded contract touched a low this year of R3 428 on October 10.


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Although our phasing analysis indicates a high sensitivity of the Great Basin to high-latitude ice sheet forcing, two prominent periods are not easily explained by this relationship: the pronounced δ 18O ivc minimum at ISS 5.4 (MIS 5d), and decreasing Holocene δ 18O ivc. How could climate be so apparently cold in the Great Basin in ISS 5.4 when global ice volume was small and northern hemisphere temperatures were warm? Rising greenhouse gas concentrations and reduced North American ice sheet extent (Fig. 3) would be expected to lead to warm ISS 5.4 temperatures, in contrast to low and cold δ 18O ivc values. To test the idea that the forcing may reside in the fast-response variation of northern hemisphere sea ice, we compared the Leviathan δ 18O ivc to the Arctic Paleoclimate Index (API o), which characterizes ostracod density in Arctic ocean sediments 18, which in turn were forced by sea-ice mediated productivity changes. The API o shows high productivity during high NHSI, and vice versa for low NHSI. A major productivity decrease during ISS 5.4 suggests a glacial-like sea-ice expansion despite intermediate global temperatures and ice volume, and is supported by cold climate conditions in the Siberian Arctic 26 at this time when permafrost ice wedge growth was vigorous. A decrease in high latitude temperature 27 and expanded snow fields 2, 28 coincident with the ISS 5.4 insolation minimum may have driven sea ice expansion and amplified Arctic cooling, and both cryosphere indicators exhibit a fast response to orbital forcing. The low ISS 5.4 δ 18O ivc in Leviathan could be interpreted as forced by an increase in Arctic sea ice extent and high-latitude snow fields driven by the period’s lowest temperatures and summer insolation. Such a contention is supported by the strong influence between NHSI and Arctic summer sea ice extent (and weak influence from greenhouse gas forcing) in modeling studies 29. Stadial conditions during ISS 4.0 and 2.0 were associated with a cessation of growth in stalagmite LC-1 from possible periglacial conditions overlying the high-altitude (2400 m) Leviathan Cave 8, and both hiatuses also coincided with pronounced Arctic productivity minima and high sea-ice extent (Fig. 3).
We also observe a prominent (2.9‰) decrease in δ 18O ivc from ca. 8400 ka to 2400 yr B2k, indicative of increasingly colder winters, despite the lack of North American ice sheet growth. Likewise, stable or rising northern hemisphere temperatures and increasing carbon dioxide and methane concentrations (Fig. 4) cannot easily explain cooling in the Great Basin. Because NHSI decreased in tandem with δ 18O ivc, we suspect that cryosphere changes in the Arctic may be responsible. Two indicators of Arctic warmth are the presence of melt layers in the Agassiz ice cap on Ellesmere Island, Canada 30, which were most abundant in the early Holocene (ca. 9.1 ka) and pollen evidence for decreasing Holocene summer temperatures in the Western Canadian Arctic 31 (Fig. 5). An increase in fossil trees near the Russian Arctic treeline 32 also indicate early Holocene warmth and subsequent decline that synchronously tracks Leviathan cooling. All records transition to cooler conditions during the late Holocene coincident with falling NHSI. The Holocene trends are substantiated by proxy evidence for an extended Arctic sea ice minimum from ca. 8550 and 6000 years ago 33, widespread evidence for late Holocene Arctic cooling 34– 36 and sea-ice expansion 37, and model results 38, 39 demonstrating an insolation forcing of sea-ice extent 29, 40.
Great Basin links to the Arctic over the Holocene. Comparison of ( A) unfiltered Leviathan δ 18O ivc and ( B) insolation, ( C) fossil tree radiocarbon dates at the Russian treeline 32, ( D) pollen-based summer temperature anomalies in the Western Canadian Arctic 31, ( E) and melt layer percentage in the Agassiz ice cap 30 shows an orbital-scale control on Holocene Arctic and Great Basin paleotemperature. YD indicates the Younger Dryas chronozone.
Because Great Basin climates lagged insolation even during periods of low global ice volume (e.g., during ISS 5.5–5.1), it is difficult to attribute forcing solely to ice sheet effects on northern hemisphere paleoclimate. Changes in both high latitude sea ice and snow cover are likely to influence the mid latitudes via atmospheric teleconnections 41. Modern observations suggest that the impact of increasing snow cover may have resulted in decreased atmospheric pressure and increases in storm track intensity and cyclogenesis in the eastern North Pacific Ocean 42. Such forcings would result in stronger storms that deliver greater winter precipitation to the Great Basin. In contrast, a reduction in modelled sea ice extent resulted in pronounced winter precipitation deficits, by up to 50%, in the Great Basin and Western U.S. 41. The reduced sea ice extent increased the 500-mb geopotential height, diverting storms away from the southwest to higher latitudes, resulting in a northward shift of the mid latitude storm track 43. During winters following sea ice lows from the previous summer, the atmosphere may ‘remember’ the summer sea ice extent because of a lowered mid- to high-latitude temperature gradient, which weakens the Aleutian Low 44 and results in fewer and less intense storms reaching the Great Basin. A strengthening of the subtropical highs arising from decreased sea ice and snow cover extents 43 also results in fewer storms impacting the southwestern United States. This atmospheric configuration typically produces high pressure over the Great Basin and inhibits delivery of Pacific moisture to the Great Basin 45 today, and we suggest that similar climate dynamics applied in the past. Similarly, increased snow cover extent results in cooling via the snow-albedo feedback 28, 46, and advection of cold high-latitude moisture to the Great Basin during periods of greater sea-ice and snow-field extent is a plausible explanation for the ISS 5.4 and Holocene cooling in the absence of significant ice sheet extent.
On long orbital timescales, similar relationships may also be operative: changes in atmospheric circulation as a result of insolation changes are largely mediated through sea ice and positive feedbacks in the Arctic 27 driven by changes in the meridional temperature gradient. Our data strongly support the hypothesis that, on orbital time scales, reduction in sea-ice extent is associated with higher temperature and less precipitation over the Great Basin. Arctic sea ice extent likely exerts control on mid-latitude atmospheric circulation via a weakening of the jet stream associated with a decreased latitudinal temperature gradient.
The large and variable phase lag (−900 to 6600 yr) appears to be a robust feature of our data, as the lags are considerably larger than the age model uncertainties (Table 1). A possible explanation is that other seasonal insolation variations (Figure S1) may exert a control on Great Basin paleoclimate. For example, during ISS 3.1 (when high Leviathan δ 18O ivc at 38,500 yr B2k leads June 21 insolation by 900 years), it lags peaks in April 21 and May 21 insolation which arrive at 39,000 to 40,000 yr B2k, respectively. July 21 and August 21 insolation would reduce the lags at other time intervals. Clearly, reducing the complex Earth climate system to a single month of insolation is an oversimplification, a fact noted by previous workers 10. In addition to variable seasonal sensitivity, the variable phase lag may also arise from multiple feedback processes in the climate system, each of which may have different time-variable response times to insolation forcing that depends on changing boundary conditions, e.g., ice-sheet size, the carbon cycle, Arctic Ocean temperatures, and the state of the biosphere. To test for this possibility, we find a weak but apparent negative correlation (r 2 = 0.3 for a linear and 0.53 for second order polynomial fits) between Leviathan δ 18O ivc lags and the correlative NHSI value (Figure S5): the lags appear to be largest during glacial stages of ISS 2.0 (the LGM) and 6.0 (the PGM), and interglacial stages ISS 5.2 and 5.4, suggesting that the lags may arise in part from ice sheet influences on atmospheric circulation. We do not see similar correlations to CH 4, CO 2, or benthic δ 18O, suggesting that insolation – likely mediated through sea ice and snow cover – is the driver of Great Basin paleoclimate. We also do not see any systematic influence of Great Basin background hydrologic state (e.g., pluvials and interpluvials) in the δ 18O ivc lag times. We would expect to see shorter lag times during pluvial climates if effective moisture variations in the Great Basin were driving faster infiltration rates into the cave systems, or if the δ 18O ivc values were influenced by local pluvial lakes. That we do not see such effects is likely due to the rapid response time of drips into the shallow vadose zone caves and a lack of any significant local control on precipitation δ 18O values. Lag times in phreatic zone caves, such as Devils Hole, however, may have been influenced by such local hydroclimatic variations.
Our observations also have implications for broader Great Basin paleoclimate and the interpretation of the phreatic zone Devils Hole calcite record 47. First, maximum expansion of mountain glaciers during the LGM was reached around 20,000 yr BP 48, some four thousand years after minimum NHSI at 24,000 yr BP. Second, the formation of the iconic Great Basin pluvial lakes typically reached highest levels around 17,000 to 18,000 yr B2k associated with Heinrich stadial 1 49, 50, and which also lagged insolation. Both observations suggest that lake and glacier hydroclimatic indicators lagged insolation to similar degrees as Leviathan δ 18O ivc record, but the lake and glacier records were also associated with abrupt millennial-scale forcing associated with Heinrich stadials and the Bolling/Allerod interstadial 48, 49.
Finally, our vadose-zone cave climate record constrains atmospheric circulation changes that are later recorded in phreatic zone calcite at Devils Hole. The amplitude of the ice-volume corrected δ 18O ivc record (see Methods) in Devils Hole is significantly smaller (Figure S5) than Leviathan, suggesting that dispersion of the δ 18O signal in aquifer water reduced the amplitude of climatically driven δ 18O values. Such dispersion and delay of waters through the regional aquifer may also explain the lag of correlative interglacial δ 18O ivc peaks behind Leviathan. For example, peak ISS 5.5 δ 18O ivc at Devils Hole arrived 2400 years after Leviathan, (and 3400 years after peak insolation), and the Holocene δ 18O ivc peaks at ca. 5000 yr B2K, compared to 7600 yr B2K in the filtered Leviathan δ 18O ivc and 11,100 yr B2K for insolation. Further support for dispersion of the δ 18O signal in the aquifer is that the last interglacial optimum (MIS 5e) duration is half again as long (17,500 yr) in Devils Hole as in surface climate. The timing of lags in Devils Hole may also be related to changes in hydroclimate via effective recharge rates in the phreatic aquifer, a possibility that merits further investigation. We conclude that Devils Hole δ 18O represents a delayed and dampened response to surface climate variations; ages and durations of isotopic anomalies are thus minima and maxima, respectively.


--- layout: page title: Articles subtitle: I like to post articles (on coping) desc: I like to post articles (on coping) ---
Articles containing primarily academic content.
Articles which pertain primarily to the consequences of being human.


Originally as an R version of Preseq <doi:10.1038/nmeth.2375>, the package has extended its functionality to predict the r-species accumulation curve (r-SAC), which is the number of species represented at least r times as a function of the sampling effort. When r = 1, the curve is known as the species accumulation curve, or the library complexity curve in high-throughput genomic sequencing. The package includes both parametric and nonparametric methods, as described by Deng C, et al. (2018) <arXiv:1607.02804v3>.
| Version: | 4.0.0 |
| Imports: | polynom, graphics, stats |
| Published: | 2018-06-27 |
| Author: | Chao Deng, Timothy Daley and Andrew D. Smith |
| Maintainer: | Chao Deng <chaodeng at usc.edu> |
| License: | GPL-3 |
| NeedsCompilation: | no |
| Citation: | preseqR citation info |
| Materials: | README |
| CRAN checks: | preseqR results |
| Reference manual: | preseqR.pdf |
| Package source: | preseqR_4.0.0.tar.gz |
| Windows binaries: | r-devel: preseqR_4.0.0.zip, r-release: preseqR_4.0.0.zip, r-oldrel: preseqR_4.0.0.zip |
| OS X binaries: | r-release: preseqR_4.0.0.tgz, r-oldrel: preseqR_4.0.0.tgz |
| Old sources: | preseqR archive |
Please use the canonical form https://CRAN.R-project.org/package=preseqR to link to this page.


EdLab founded and supports a Media Design Center (MDC) that serves as a resource for the creation of multimedia products for faculty, students, and administration at Teachers College. MDC is a service unit of the Gottesman Libraries. MDC is a hub for production, and staff engage in all kinds of design and audio/video production work for internal and external clients. They support and document this work with a goal of expanding the community's knowledge of design processes. Documentation is also a vehicle for collaboration on projects within the community. Located on the fifth floor of Russell Hall at Teachers College, MDC is situated within the EdLab Atelier. This semi-public workspace is home to several functional workgroups. Visitors experience MDC as a temporary home for their projects, as well as a source of expert knowledge on art, design, and production. Based on the atelier model, the physical layout of the Center is meant to encourage collaboration and hands-on, over-the-shoulder instruction. Examples of projects by EdLab's Design Team:


Ease of search
Lorem Ipsum is simply dummy text of the printing industry.
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's
| +1430 | +2430 | +1430 | +10.430 |
|---|---|---|---|
| clients | Beneficiaries | positive reviews | Downloads |
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s.
Lorem Ipsum is simply dummy text of the printing and typesetting industry.
Lorem Ipsum has been the industry's


Changing direction.
Deciding whether something needs to be done or not is often a job in itself, and Oddjob takes this view too. Rather than have a job that runs if a property is set or a file available, Oddjob has jobs that checks if a property is set (check) or a file is available (exists) and jobs that execute depending on the state of the jobs that did the checking.
There are two main jobs that can be used to do something depending on the outcome of a job. They are:
Trigger was introduced in the scheduling section of this manual, because it was developed sharing a lot of functionality with timer and retry and so was placed in the scheduling namespace. Conceptionally though it is more related to the state jobs and so is included here too.
The big difference between them is that the if
job is synchronous
and state is evaluated after the child job runs, where as the trigger
job is asynchronous. Oddjob activates the trigger then moves on to
execute the next job. The trigger will then fire (or cancel itself)
at some point in the future depending on the state of the job it depends
on.
There are also two jobs that will stop Oddjob from executing anything else until another job is in a certain state. They are:
Both these jobs block Oddjob, which is OK in small configurations but could leave too many threads blocked and thus hog resources in larger deployments. It's nearly always possible to come up with an alternative configuration using other jobs listed on this page.
The join
job will only continue it's child job has
finished running. The if
, trigger
and
wait
jobs take a property that is a State Condition
that tests states to see if the condition is met. This provides
more flexibility than just checking a job is in a single state. Oddjob
provides a number of useful State Conditions with a conversion from
a text constant (you can set the property with a single word).
The provided State Conditions are:
An '!' can also be place in front of any of these state conditions to negate them.
As stated previously, the join
has it's state condition
hard coded. That value is equivalent to !RUNNING. Note that this is
different to FINISHED because finished does not include the READY state.
Oddjob 1.6 introduces events. The idea is to allow jobs to trigger from events other than state changes.
The starting points are:
Currently supported event types are:
Event logic can be combined with:


#include <GrUberPatchSet.h>
Classes | |
| struct | SPatchTileInfo |
Public Member Functions | |
| GrUberPatchSet (GrPolygonUberPatchGroup *uberData, const GrPolygonUberUVMapper &uberMapper) | |
| class GrUberPatchSet | |
| GrUberPatchSet (UReader &reader) | |
| ~GrUberPatchSet () | |
| void | SetWorldXForm (const MMat4x4 &worldXForm, const MMat3x3 &worldNormalRot, const MMat4x4 &invWorldXForm) |
| sets the world transform. | |
| void | CacheTiles (const GrCamera *camera, unsigned int screenWidth, unsigned int screenHeight) |
| calculates tile LOD and then caches tiles. | |
| void | Load (UReader &reader) |
| load/save functionality. | |
| void | Save (UWriter &writer) |
Definition at line 27 of file GrUberPatchSet.h.
| GrUberPatchSet::GrUberPatchSet | ( | GrPolygonUberPatchGroup * | uberData, | |
| const GrPolygonUberUVMapper & | uberMapper | |||
| ) |
class GrUberPatchSet
ctor & dtor
build the data out of the uberData.
Definition at line 45 of file GrUberPatchSet.cpp.
| GrUberPatchSet::GrUberPatchSet | ( | UReader & | reader | ) |
| GrUberPatchSet::~GrUberPatchSet | ( | ) |
Definition at line 81 of file GrUberPatchSet.cpp.
| void GrUberPatchSet::CacheTiles | ( | const GrCamera * | camera, | |
| unsigned int | screenWidth, | |||
| unsigned int | screenHeight | |||
| ) |
calculates tile LOD and then caches tiles.
bias.
get the current look direction. We can use this to perform an early rejection of some patches (we can simply exclude patches facing away from the camera).
calculate minimum width and height (one pixel).
get the field of view and calculate LOD distance function.
for each patch.
determine if we can reject the current patch entirely.
check to see if the current patch is in the view frustum. If not, we can simply skip the current patch.
calculate the number of texels in the patch along each axis.
determine the maximum LOD and the falloff function based on the size of the bounding box on the screen.
get the corners of the box, transformed into screen space.
calculate the bounding volume in screen space.
cache all tiles based on their LODs.
draw the current AA-Box.
finally calculate the LOD for the current patch.
project the position on the approximate plane into texture space.
calculate the size of the LOD boxes in texture space.
intersect the approximate plane with the sphere to determine the falloff size.
calculate the circle's radius in tile space.
clamp the circle radius at 8 so that we never end up with groups larger than 16x16 tiles.
simply use the AA-box of the circle, clipped to the current patch's bounds, for tile caching.
skip the current group if the current tile is outside of patch.
adjust tiles by the LOD.
print out statistics if necessary.
request tiles.
Definition at line 110 of file GrUberPatchSet.cpp.
| void GrUberPatchSet::Load | ( | UReader & | reader | ) |
load/save functionality.
free anything that was previously allocated.
read in the patch count.
read in the total number of tiles per meter.
allocate space for patch data and read it in.
load each ubertexture.
now read the data.
get the ubertexture patch info.
load world data.
set the world transform to identity by default.
Definition at line 252 of file GrUberPatchSet.cpp.
| void GrUberPatchSet::Save | ( | UWriter & | writer | ) |
write out the patch count.
write out the total number of tiles per meter.
write out the name of each ubertexture.
now write the data.
get the ubertexture patch info.
load world data.
Definition at line 297 of file GrUberPatchSet.cpp.
| void GrUberPatchSet::SetWorldXForm | ( | const MMat4x4 & | worldXForm, | |
| const MMat3x3 & | worldNormalRot, | |||
| const MMat4x4 & | invWorldXForm | |||
| ) |
sets the world transform.
public methods
set the world transform.
calculate world space data.
Definition at line 93 of file GrUberPatchSet.cpp.


javah(1) javah(1) Name javah - C Header and Stub File Generator javah produces C header files and C source files from a Java class. These files provide the connective glue that allow your Java and C code to interact. SYNOPSIS javah [ options ] fully-qualified-classname. . . DESCRIPTION javah generates C header and source files that are needed to implement native methods. The generated header and source files are used by C pro‐ grams to reference an object's instance variables from native source code. The .h file contains a struct definition whose layout parallels the layout of the corresponding class. The fields in the struct correspond to instance variables in the class. The name of the header file and the structure declared within it are derived from the name of the class. If the class passed to javah is inside a package, the package name is prepended to both the header file name and the structure name. Underscores (_) are used as name delimiters. By default javah creates a header file for each class listed on the com‐ mand line and puts the files in the current directory. Use the -stubs option to create source files. Use the -o option to concatenate the results for all listed classes into a single file. The new native method interface, Java Native Interface (JNI), does not require header information or stub files. javah can still be used to gen‐ erate native method function proptotypes needed for JNI-style native methods. javah produces JNI-style output by default, and places the result in the .h file. OPTIONS -o outputfile Concatenates the resulting header or source files for all the classes listed on the command line into outputfile. Only one of -o or -d may be used. -d directory Sets the directory where javah saves the header files or the stub files. Only one of -d or -o may be used. -stubs Causes javah to generate C declarations from the Java object file. -verbose Indicates verbose output and causes javah to print a message to stdout concerning the status of the generated files. -help Print help message for javah usage. -version Print out javah version information. -jni Causes javah to create an output file containing JNI-style native method function prototypes. This is the default output, so use of -jni is optional. -classpath path Specifies the path javah uses to look up classes. Overrides the default or the CLASSPATH environment variable if it is set. Direc‐ tories are separated by colons. Thus the general format for path is: .:<your_path> For example: .:/home/avh/classes:/usr/local/java/classes As a special convenience, a class path element containing a base‐ name of * is considered equivalent to specifying a list of all the files in the directory with the extension .jar or .JAR (a java pro‐ gram cannot tell the difference between the two invocations). For example, if directory foo contains a.jar and b.JAR, then the class path element foo/* is expanded to a A.jar:b.JAR, except that the order of jar files is unspecified. All jar files in the speci‐ fied directory, even hidden ones, are included in the list. A classpath entry consisting simply of * expands to a list of all the jar files in the current directory. The CLASSPATH environment vari‐ able, where defined, will be similarly expanded. Any classpath wildcard expansion occurs before the Java virtual machine is started -- no Java program will ever see unexpanded wildcards except by querying the environment. For example; by invoking Sys‐ tem.getenv("CLASSPATH"). -bootclasspath path Specifies path from which to load bootstrap classes. By default, the bootstrap classes are the classes implementing the core Java 2 platform located in jre/lib/rt.jar and several other jar files. -old Specifies that old JDK1.0-style header files should be generated. -force Specifies that output files should always be written. -Joption Pass option to the Java virtual machine, where option is one of the options described on the reference page for the java(1). For exam‐ ple, -J-Xms48m sets the startup memory to 48 megabytes. ENVIRONMENT VARIABLES CLASSPATH Used to provide the system a path to user-defined classes. Directo‐ ries are separated by colons, for example, SEE ALSO javac(1), java(1), jdb(1), javap(1), javadoc(1) 16 Mar 2012 javah(1)


PLEASE REPLY TO<EMAIL_ADDRESS>Good day and a happy and prosperous new year ! I am Kolapo Omidire, company secretary and manager, internal and external services of COMMERCIAL BANK OF AFRICA. I am writing in respect of a foreign customer of my bank who perished with his entire family (His wife and only son) in a plane crash (Korean Air Line 801) on August 6, 1997. Since the demise of this customer of ours , the bank management of COMMERCIAL BANK OF AFRICA has made valuable efforts to get in touch with any of the late customer's Next-of-Kin or relative anywhere in the world but unfortunately, all our efforts did not yield any positive results as no one has come to claim his funds to the tune of Twenty one million, five hundred thousand united states dollars(USD21.5m) which has been with my bank all these while. Recently, the Federal Government of Nigeria directed that all funds not claimed (which has exceeded the stipulated banking period of seven years for such money) should be confiscated to the Federal Government Treasury Because the banking ethics here does not allow such money to stay more than seven years.This means that this money will be recalled to the federal Government treasury as unclaimed after this period, precisely within this first quater of this year. On this note, the chairman of the board of directors of the bank recently called me and told me in confidence and trust to source for a reliable foreigner who would stand as our foreign customer's next of kin. We (myself and the chairman) have reasoned that if we fail to collect this money the Nigerian government will confisticate it and someone else will end up looting it. Thats's why we have decided to contact you, hoping you will prove to be a reliable foreigner to stand as next of Kin to the deceased customer to claim the total fund from his account with the bank so that the proceeds of his account can be paid to you. Be assured that this transaction is risk free and we will do all possible to give it the legal and legitimate backing it requirs so that both parties will be protected from breach of the law both locally and internationally. Upon receipt of your response, I shall furnish you with the next step to take on how you shall prosecute this claim to your account. The entire transaction should be completed within 10 official working days from the day the bank receives your initial application. When you receive this letter, Kindly send me an e-mail signifying Your acceptance or otherwise, include your private Telephone numbers for more explanation and confidential communication. Waiting to hear from you soon, Best Regards, K. Omidire. PLEASE REPLY TO<EMAIL_ADDRESS>___________________________________________ Look Good, Feel Good www.healthiest.co.za


Class: Aws::SageMaker::Types::CreateInferenceExperimentRequest
| Relationships & Source Files | |
| Super Chains via Extension / Inclusion / Inheritance | |
|
Class Chain:
self,
Struct
|
|
|
Instance Chain:
self,
::Aws::Structure ,
Struct
|
|
| Inherits: |
Struct
|
| Defined in: | gems/aws-sdk-sagemaker/lib/aws-sdk-sagemaker/types.rb |
Overview
Constant Summary
Instance Attribute Summary
-
#data_storage_config ⇒ Types::InferenceExperimentDataStorageConfig
rw
The Amazon
::Aws::S3
location and configuration for storing inference request and response data. -
#description ⇒ String
rw
A description for the inference experiment.
-
#endpoint_name ⇒ String
rw
The name of the Amazon SageMaker endpoint on which you want to run the inference experiment.
-
#kms_key ⇒ String
rw
The Amazon Web Services Key Management Service (Amazon Web Services
::Aws::KMS
) key that Amazon SageMaker uses to encrypt data on the storage volume attached to the ML compute instance that hosts the endpoint. -
#model_variants ⇒ Array<Types::ModelVariantConfig>
rw
An array of
ModelVariantConfig
objects. -
#name ⇒ String
rw
The name for the inference experiment.
-
#role_arn ⇒ String
rw
The ARN of the
::Aws::IAM
role that Amazon SageMaker can assume to access model artifacts and container images, and manage Amazon SageMaker Inference endpoints for model deployment. -
#schedule ⇒ Types::InferenceExperimentSchedule
rw
The duration for which you want the inference experiment to run.
-
#shadow_mode_config ⇒ Types::ShadowModeConfig
rw
The configuration of
ShadowMode
inference experiment type. -
#tags ⇒ Array<Types::Tag>
rw
Array of key-value pairs.
-
#type ⇒ String
rw
The type of the inference experiment that you want to run.
Instance Method Summary
::Aws::Structure
- Included
| #to_hash | Alias for Aws::Structure#to_h. |
Instance Attribute Details
#data_storage_config ⇒ Types::InferenceExperimentDataStorageConfig (rw)
The Amazon ::Aws::S3
location and configuration for storing inference
request and response data.
This is an optional parameter that you can use for data capture. For more information, see Capture data.
# File 'gems/aws-sdk-sagemaker/lib/aws-sdk-sagemaker/types.rb', line 6378
class CreateInferenceExperimentRequest < Struct.new( :name, :type, :schedule, :description, :role_arn, :endpoint_name, :model_variants, :data_storage_config, :shadow_mode_config, :kms_key, : ) SENSITIVE = [] include Aws::Structure end
#description ⇒ String
(rw)
A description for the inference experiment.
# File 'gems/aws-sdk-sagemaker/lib/aws-sdk-sagemaker/types.rb', line 6378
class CreateInferenceExperimentRequest < Struct.new( :name, :type, :schedule, :description, :role_arn, :endpoint_name, :model_variants, :data_storage_config, :shadow_mode_config, :kms_key, : ) SENSITIVE = [] include Aws::Structure end
#endpoint_name ⇒ String
(rw)
The name of the Amazon SageMaker endpoint on which you want to run the inference experiment.
# File 'gems/aws-sdk-sagemaker/lib/aws-sdk-sagemaker/types.rb', line 6378
class CreateInferenceExperimentRequest < Struct.new( :name, :type, :schedule, :description, :role_arn, :endpoint_name, :model_variants, :data_storage_config, :shadow_mode_config, :kms_key, : ) SENSITIVE = [] include Aws::Structure end
#kms_key ⇒ String
(rw)
The Amazon Web Services Key Management Service (Amazon Web Services
::Aws::KMS
) key that Amazon SageMaker uses to encrypt data on the storage
volume attached to the ML compute instance that hosts the endpoint.
The KmsKey
can be any of the following formats:
::Aws::KMS
key ID
"1234abcd-12ab-34cd-56ef-1234567890ab"
- Amazon Resource Name (ARN) of a
::Aws::KMS
key
"arn:aws:kms:us-west-2:111122223333:key/1234abcd-12ab-34cd-56ef-1234567890ab"
::Aws::KMS
key Alias
"alias/ExampleAlias"
- Amazon Resource Name (ARN) of a
::Aws::KMS
key Alias
"arn:aws:kms:us-west-2:111122223333:alias/ExampleAlias"
If you use a ::Aws::KMS
key ID or an alias of your ::Aws::KMS
key, the Amazon
::Aws::SageMaker
execution role must include permissions to call
kms:Encrypt
. If you don't provide a ::Aws::KMS
key ID, Amazon SageMaker
uses the default ::Aws::KMS
key for Amazon S3 for your role's account.
Amazon SageMaker uses server-side encryption with ::Aws::KMS
managed keys
for OutputDataConfig
. If you use a bucket policy with an
s3:PutObject
permission that only allows objects with server-side
encryption, set the condition key of
s3:x-amz-server-side-encryption
to "aws:kms"
. For more
information, see KMS managed Encryption Keys in the Amazon
Simple Storage Service Developer Guide.
The KMS key policy must grant permission to the ::Aws::IAM
role that you
specify in your CreateEndpoint
and UpdateEndpoint
requests. For
more information, see Using Key Policies in Amazon Web Services
KMS in the Amazon Web Services Key Management Service Developer
Guide.
# File 'gems/aws-sdk-sagemaker/lib/aws-sdk-sagemaker/types.rb', line 6378
class CreateInferenceExperimentRequest < Struct.new( :name, :type, :schedule, :description, :role_arn, :endpoint_name, :model_variants, :data_storage_config, :shadow_mode_config, :kms_key, : ) SENSITIVE = [] include Aws::Structure end
#model_variants ⇒ Array
<Types::ModelVariantConfig> (rw)
An array of ModelVariantConfig
objects. There is one for each
variant in the inference experiment. Each ModelVariantConfig
object in the array describes the infrastructure configuration for
the corresponding variant.
# File 'gems/aws-sdk-sagemaker/lib/aws-sdk-sagemaker/types.rb', line 6378
class CreateInferenceExperimentRequest < Struct.new( :name, :type, :schedule, :description, :role_arn, :endpoint_name, :model_variants, :data_storage_config, :shadow_mode_config, :kms_key, : ) SENSITIVE = [] include Aws::Structure end
#name ⇒ String
(rw)
The name for the inference experiment.
# File 'gems/aws-sdk-sagemaker/lib/aws-sdk-sagemaker/types.rb', line 6378
class CreateInferenceExperimentRequest < Struct.new( :name, :type, :schedule, :description, :role_arn, :endpoint_name, :model_variants, :data_storage_config, :shadow_mode_config, :kms_key, : ) SENSITIVE = [] include Aws::Structure end
#role_arn ⇒ String
(rw)
The ARN of the ::Aws::IAM
role that Amazon SageMaker can assume to access
model artifacts and container images, and manage Amazon SageMaker
Inference endpoints for model deployment.
# File 'gems/aws-sdk-sagemaker/lib/aws-sdk-sagemaker/types.rb', line 6378
class CreateInferenceExperimentRequest < Struct.new( :name, :type, :schedule, :description, :role_arn, :endpoint_name, :model_variants, :data_storage_config, :shadow_mode_config, :kms_key, : ) SENSITIVE = [] include Aws::Structure end
#schedule ⇒ Types::InferenceExperimentSchedule (rw)
The duration for which you want the inference experiment to run. If you don't specify this field, the experiment automatically starts immediately upon creation and concludes after 7 days.
# File 'gems/aws-sdk-sagemaker/lib/aws-sdk-sagemaker/types.rb', line 6378
class CreateInferenceExperimentRequest < Struct.new( :name, :type, :schedule, :description, :role_arn, :endpoint_name, :model_variants, :data_storage_config, :shadow_mode_config, :kms_key, : ) SENSITIVE = [] include Aws::Structure end
#shadow_mode_config ⇒ Types::ShadowModeConfig (rw)
The configuration of ShadowMode
inference experiment type. Use
this field to specify a production variant which takes all the
inference requests, and a shadow variant to which Amazon SageMaker
replicates a percentage of the inference requests. For the shadow
variant also specify the percentage of requests that Amazon
::Aws::SageMaker
replicates.
# File 'gems/aws-sdk-sagemaker/lib/aws-sdk-sagemaker/types.rb', line 6378
class CreateInferenceExperimentRequest < Struct.new( :name, :type, :schedule, :description, :role_arn, :endpoint_name, :model_variants, :data_storage_config, :shadow_mode_config, :kms_key, : ) SENSITIVE = [] include Aws::Structure end
#tags ⇒ Array
<Types::Tag> (rw)
Array of key-value pairs. You can use tags to categorize your Amazon Web Services resources in different ways, for example, by purpose, owner, or environment. For more information, see Tagging your Amazon Web Services Resources.
# File 'gems/aws-sdk-sagemaker/lib/aws-sdk-sagemaker/types.rb', line 6378
class CreateInferenceExperimentRequest < Struct.new( :name, :type, :schedule, :description, :role_arn, :endpoint_name, :model_variants, :data_storage_config, :shadow_mode_config, :kms_key, : ) SENSITIVE = [] include Aws::Structure end
#type ⇒ String
(rw)
The type of the inference experiment that you want to run. The following types of experiments are possible:
ShadowMode
: You can use this type to validate a shadow variant. For more information, see Shadow tests.
^
# File 'gems/aws-sdk-sagemaker/lib/aws-sdk-sagemaker/types.rb', line 6378
class CreateInferenceExperimentRequest < Struct.new( :name, :type, :schedule, :description, :role_arn, :endpoint_name, :model_variants, :data_storage_config, :shadow_mode_config, :kms_key, : ) SENSITIVE = [] include Aws::Structure end


Virtual repeat monitor
| Name |
--- Value --- |
| Size | ${virtualRepeat.items.length} |
| Item height |
${virtualRepeat.itemHeight} |
| Total size |
${virtualRepeat.items.length * virtualRepeat.itemHeight} |
| Active views count |
${virtualRepeat.viewSlot.children.length} |
| Max views required |
${virtualRepeat.minViewsRequired * 2} |
| Min Views Required |
${virtualRepeat.minViewsRequired} |
| First | ${virtualRepeat.$first} |
| Top Buffer height |
${virtualRepeat.topBufferHeight} |
| Bottom Buffer height |
${virtualRepeat.bottomBufferHeight} |
| Distance to top |
${virtualRepeat.distanceToTop} |
| Is Attached |
|
| Ticking |
|
| Fixed height Container |
|
| Called Get More |
|
| Skip Next Scroll |
|
| Handling Mutation |
|


This note demonstrates some of what [Markdown][1] is capable of doing.
Note: Feel free to play with this page. Unlike regular notes, this doesn't automatically save itself.
Paragraphs can be written like so. A paragraph is the basic block of Markdown. A paragraph is what text will turn into when there is no reason it should become anything else.
Paragraphs must be separated by a blank line. Basic formatting of italics and bold is supported. This can be nested like so.
Note: the fourth item uses the Unicode character for [Roman numeral four][2].
Code blocks are very useful for developers and other people who look at code or other things that are written in plain text. As you can see, it uses a fixed-width font.
You can also make inline code
to add code into other things.
Here is a quote. What this is should be self explanatory. Quotes are automatically indented when they are used.
There are six levels of headings. They correspond with the six levels of HTML headings. You've probably noticed them already in the page. Each level down uses one more hash character.
inline code
Of course, demonstrating what headings look like messes up the structure of the page.
I don't recommend using more than three or four levels of headings here, because, when you're smallest heading isn't too small, and you're largest heading isn't too big, and you want each size up to look noticeably larger and more important, there there are only so many sizes that you can use.


The all new Search Engine
Orange Juice! uses the results of existing Search Engines and combines them with a well renowned clustering algorithm known as K-Means. Unlike traditional Search Engines, Orange Juice! shows links segregated into different clusters. All links within the same cluster can be described to be more similar to each other than links from different clusters. Hence, it goes without saying that users interested in a particular page may benefit from visiting the other links from the cluster.
VISION: Our vision stems from the basic motivation to provide users a simpler way to obtain information from the Internet. In order to provide relevant information to the user, we crawl through web pages using an in-depth approach. We use Side Information obtained in the initial seed pages and try to find additional resources. Even though better ways to analyze text data exist such as Natural Language Processing, these are generally very computation heavy. In order to deliver effective results faster, we rely on the methods employed by existing Search Engines and combine it with a fairly fast K Means approach.
Rajat spearheaded the project and designed the application with regard to both structure and aesthetics. Rajat is also responsible for the implementation of the project.
Omkar had fun breaking the application time and again during testing (and ensuring that it was fixed). Naturally, if anything breaks after deployment, Omkar is probably the person to blame.
Juilee kept the rest of the team from going insane by carefully documenting every step in our adventure. As expected, the consistency of the application can be attributed to Juilee.
What our teachers say
"Lorem ipsum.."
Prof. Poonam Toke, Guide
"Lorem ipsum.."
Prof. Y. B. Gurav, Guide
"Lorem ipsum..."
Prof. N. D. Kale, HOD


MISSION: IMPOSSIBLE A film review by Steve Rhodes Copyright 1996 Steve Rhodes
RATING (0 TO ****): ** 1/2
Sometimes excessive, but fairly consistently good director Brian DePalma (CARRIE, DRESSED TO KILL, SCARFACE, BODY DOUBLE, THE UNTOUCHABLES, and CARLITO'S WAY) takes a TV classic and brings it to your local monsterscreen. As the movie going public now knows, megastar and suburb actor Tom Cruise plays point man Ethan Hunt in MISSION: IMPOSSIBLE. The film has Cruise's usual good acting, some excellent stunts (actually done by Cruise), and many effective uses of the TV theme music (Lalo Schifrin) with its heavy beat, but for me the film was a disappointment. Although I think the film is worth seeing, much of the script (Willard Huyck, Gloria Katz, David Koepp, and Robert Towne) is plodding and tedious.
The plot of the story is that the IM force (Jon Voight as Jim Phelps, Emmanuelle Beart as his wife Claire, Kristin Scott Thomas as Sarah Davies, Emilio Estevez as Jack, and Ingeborge Dapkunaite as Hannah) is supposed to foil the theft of a list of our covert agents in Eastern Europe, but things do not turn out as the IM force would like. This puts them on a big cat and mouse game where it is not clear who are the bad guys, and who are the good until the end. There may or may not be a mole. It's that sort of story.
We also have Vanessa Redgrave as Max, Henry Czerny as CIA agent Kittridge, Ving Rhames as ex-IMer Luther Stickell, and Jean Reno as ex-IMer Krieger. Evil seeming, but is he really, Kittridge gets lots of overwritten lines like, "If you want to play with the devil, that's fine with me. I just want to make sure you do it in hell." Jim Phelps gets similar lines including the Biblical one of, "thou shall not covet thy neighbor's wife."
I have already said that Cruise is consistently good in all of his picture including this one. Most of the other IM actors have a lot of talent, but I didn't see much of it in evidence in this movie. Jon Voight has not given a convincing performance since RUNAWAY TRAIN (1985), but the potential remains. Emmanuelle Beart is absolutely wonderful in the just about to be released in the US, NELLY AND MONSIEUR ARNAUD. Kristin Scott Thomas was brilliant in RICHARD III earlier this year. Emilio Estevez specializes in poor performances in terrible movies like THE MIGHT DUCKS, but can be good as in REPO MAN (1984). Only Ingeborge Dapkunaite have I never seen before.
Other than Tom Cruise's excellent acting ability and body, the only reason to see the show are the action sequences. They do not happen that often and some, as in the computer room, are mercilessly slow, but most are fresh and fascinating. The best is the quintessential chase on top of a train. Here they decide to do it on the super fast French TGV and add enough elements to make it fascinating and unusual. If the script had created characters I cared about, which it didn't, then I would have been more impressed by this scene because I would worry that someone would get hurt. Another excellent action sequence has to do with a blown fish tank.
Technically, the shows a few realistic aspects like the user groups on the Internet (only alt.stuff and sadly not rec.arts.movies.reviews) and adds on a lot of outlandish technology like a computer console in a sealed room that has an unbelievably complex security system guarding it. Suspending disbelief and going along with this was no problem for me. It is close enough to reality, and this is like a James Bond film anyway.
MISSION: IMPOSSIBLE runs 1:50.  It would be fine for kids say 9 and up. I was disappointed by the way the show drags a lot, but the action is good as is Cruise so I give it a thumbs up and award it ** 1/2.
**** = One of the top few films of this or any year. A must see film. *** = Excellent show. Look for it. ** = Average movie. Kind of enjoyable. * = Poor show.  Totally unbearable.
REVIEW WRITTEN ON: June 7, 1996
Opinions expressed are mine and not meant to reflect my employer's.
From<EMAIL_ADDRESS>Mon Jun 10 15:05:14 EDT 1996 Article: 3658 of rec.arts.movies.reviews Path: nntphub.cb.att.com!not-for-mail From<EMAIL_ADDRESS>(Steve Rhodes) Newsgroups: rec.arts.movies.reviews Subject: REVIEW: MISSION: IMPOSSIBLE (1996) Followup-To: rec.arts.movies.current-films Date: 10 Jun 1996 18:27:29 GMT Organization: Tandem Computers, Inc. Lines: 82 Sender<EMAIL_ADDRESS>(Evelyn C. Leeper) Approved<EMAIL_ADDRESS>Message-ID<EMAIL_ADDRESS>Reply-To<EMAIL_ADDRESS>(Steve Rhodes) NNTP-Posting-Host: mtcts2.mt.lucent.com Summary: r.a.m.r. #05429 Keywords: author=Rhodes Originator: ecl@mtcts2 Status: RO
MISSION: IMPOSSIBLE A film review by Steve Rhodes Copyright 1996 Steve Rhodes
RATING (0 TO ****): ** 1/2
Sometimes excessive, but fairly consistently good director Brian DePalma (CARRIE, DRESSED TO KILL, SCARFACE, BODY DOUBLE, THE UNTOUCHABLES, and CARLITO'S WAY) takes a TV classic and brings it to your local monsterscreen. As the movie going public now knows, megastar and suburb actor Tom Cruise plays point man Ethan Hunt in MISSION: IMPOSSIBLE. The film has Cruise's usual good acting, some excellent stunts (actually done by Cruise), and many effective uses of the TV theme music (Lalo Schifrin) with its heavy beat, but for me the film was a disappointment. Although I think the film is worth seeing, much of the script (Willard Huyck, Gloria Katz, David Koepp, and Robert Towne) is plodding and tedious.
The plot of the story is that the IM force (Jon Voight as Jim Phelps, Emmanuelle Beart as his wife Claire, Kristin Scott Thomas as Sarah Davies, Emilio Estevez as Jack, and Ingeborge Dapkunaite as Hannah) is supposed to foil the theft of a list of our covert agents in Eastern Europe, but things do not turn out as the IM force would like. This puts them on a big cat and mouse game where it is not clear who are the bad guys, and who are the good until the end. There may or may not be a mole. It's that sort of story.
We also have Vanessa Redgrave as Max, Henry Czerny as CIA agent Kittridge, Ving Rhames as ex-IMer Luther Stickell, and Jean Reno as ex-IMer Krieger. Evil seeming, but is he really, Kittridge gets lots of overwritten lines like, "If you want to play with the devil, that's fine with me. I just want to make sure you do it in hell." Jim Phelps gets similar lines including the Biblical one of, "thou shall not covet thy neighbor's wife."
I have already said that Cruise is consistently good in all of his picture including this one. Most of the other IM actors have a lot of talent, but I didn't see much of it in evidence in this movie. Jon Voight has not given a convincing performance since RUNAWAY TRAIN (1985), but the potential remains. Emmanuelle Beart is absolutely wonderful in the just about to be released in the US, NELLY AND MONSIEUR ARNAUD. Kristin Scott Thomas was brilliant in RICHARD III earlier this year. Emilio Estevez specializes in poor performances in terrible movies like THE MIGHT DUCKS, but can be good as in REPO MAN (1984). Only Ingeborge Dapkunaite have I never seen before.
Other than Tom Cruise's excellent acting ability and body, the only reason to see the show are the action sequences. They do not happen that often and some, as in the computer room, are mercilessly slow, but most are fresh and fascinating. The best is the quintessential chase on top of a train. Here they decide to do it on the super fast French TGV and add enough elements to make it fascinating and unusual. If the script had created characters I cared about, which it didn't, then I would have been more impressed by this scene because I would worry that someone would get hurt. Another excellent action sequence has to do with a blown fish tank.
Technically, the shows a few realistic aspects like the user groups on the Internet (only alt.stuff and sadly not rec.arts.movies.reviews) and adds on a lot of outlandish technology like a computer console in a sealed room that has an unbelievably complex security system guarding it. Suspending disbelief and going along with this was no problem for me. It is close enough to reality, and this is like a James Bond film anyway.
MISSION: IMPOSSIBLE runs 1:50.  It would be fine for kids say 9 and up. I was disappointed by the way the show drags a lot, but the action is good as is Cruise so I give it a thumbs up and award it ** 1/2.
**** = One of the top few films of this or any year. A must see film. *** = Excellent show. Look for it. ** = Average movie. Kind of enjoyable. * = Poor show.  Totally unbearable.
REVIEW WRITTEN ON: June 7, 1996
Opinions expressed are mine and not meant to reflect my employer's.
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