CGlad model returned by the CGlad method
DawidSkene model returned by the DawidSkene method
DawidSkene model returned by the DawidSkene method
0.2
Probability that the annotator "annotator" labels an example with true class "c" as "k".
Probability that the annotator "annotator" labels an example with true class "c" as "k".
annotator of the relation
true class
labeled class
0.2
Cluster number for each instance
Cluster number for each instance
example
cluster
0.16
Beta parameter for each instance in the Glad model
Beta parameter for each instance in the Glad model
vector of features
0.16
Beta parameter for each instance in the Glad model
Beta parameter for each instance in the Glad model
example
beta estimate
0.1
Glad model returned by the Glad method
Glad model returned by the Glad method
0.1
Raykar Binary model returned by the RaykarBinary method
Raykar Binary model returned by the RaykarBinary method
0.1
Raykar Continuous model returned by the RaykarCont method
Raykar Continuous model returned by the RaykarCont method
0.2
Raykar Multiclass model returned by the RaykarMulti method
Raykar Multiclass model returned by the RaykarMulti method
0.1
Annotator importance in the label aggregation.
Annotator importance in the label aggregation.
annotator of the relation
the weight of the annotator
0.2
CGlad model returned by the CGlad method
0.2.1


Feeling good about your JavaScript knowledge? Try this test. You won't feel good anymore.
1. Which of the following is true about variable naming conventions in JavaScript?
2. Which of the following function of Array object returns a string representing the array and its elements?
3. Which built-in method calls a function for each element in the array?
4. Which built-in method returns the calling string value converted to upper case?
5. Which of the following function of String object returns the calling string value converted to lower case?


To make a Horizontal Form you must first add the .form-horizontal
to the surrounding form
.
Each control must also be wrapped in .form-group
. Think of each .form-group
as a new row in our form.
For controls with labels we must add .control-label
, .form-label
and column width .col-sm-*
classes.
We also need to specify the width the control can take up so we wrap the control in a div and give it a column width .col-sm-*
.
For controls that don’t have a left hand label, such as the check box in our example, it is still wrapped in .form-group
but we must wrap the control in a div
with the same column width .col-sm-*
as the above controls and specify an offset
.col-sm-offset-*
the same size as the label column width .col-sm-*
.


U.S. ZIP Codes
ZIP codes were introduced to the U.S. in 1963 (ZIP is actually an acronym for Zone Improvement Plan). There are more than 40,000 U.S. ZIP codes, all made up of digits (the first digit is assigned from East to West, with 0 being on the East Coast and 9 being on the West Coast). In 1983, the post office began using an expanded ZIP code called ZIP+4. The extra four digits provide a greater level of granularity (often a specific city block or sometimes a specific building), which in turn provides for greater mail reliability. Use of ZIP+4 is optional, and as such, ZIP-code validation usually must be able to accommodate both five-digit ZIP codes and ZIP+4 (with a hyphen separating the first five digits from the additional four digits).
999 1st Avenue, Bigtown, NY, 11222
123 High Street, Any City, MI 48034-1234
\d{5}(-\d{4})?
999 1st Avenue, Bigtown, NY, 11222
123 High Street, Any City, MI 48034-1234
\d{5} matches any five digits, and -\d{4} matches a hyphen followed by the +4 digits. Because these additional four digits are essentially optional, -\d{4} is enclosed within parentheses (turning it into a subexpression), and ? is used to optionally allow a single instance of that subexpression.
|


My Louisville based venture began during the summer of 1985. I was waiting to catch a military hop out of Travis AFB (now closed) and had to suffer through a 3-day delay.
That's where the discovery began; I was hooked on the beauty, the landscape, the wines, the foods and the incredibly friendly people of Napa. Ever since, I’ve been going back for my yearly “pilgrimage” once or twice a year for over 30 years. Over the years, my knowledge of their wines, wineries and winemakers has expanded and deepened. I hope to share this knowledge with you in three ways:
(1) wine tasting experience,
(2) wine and food pairing dinners and
(3) a guided tour of the best wine producing region in the world.
With the wine tasting experience, gather your friends and family for an introduction into wine tastings from the Napa and Sonoma regions. Click the above link to learn more about the wine tasting package and experience!
The wine pairing event offers the next level experience for the wine enthusiasts. A full dinner awaits with the perfect wine pairing and information about how to find the best pairing for future meals. Click the above link to learn more about the wine pairing package and experience!
With the Guided Tour package, experience the Napa and Sonoma region like never before with a fully planned itinerary. With Frank as your guide, you'll learn about everything these regions have to offer in an unforgetful experience. Click the above link to learn more about the Guided Tour package and experience!


Cooperative
PH
: Banking Solutions
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Log Out
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class: center, middle, inverse, title-slide # Testing pleiotropy vs. separate QTL in multiparental populations ### Frederick Boehm, Brian Yandell, and Karl Broman ### July 30, 2018 --- # Introduction - Experimentalists can now measure tens of thousands of phenotypes with RNA sequencing and mass spectrometry - Multiparental populations enable high-resolution QTL mapping - Together, high-dimensional phenotypes and multiparental populations can inform complex trait genetics - New analysis tools, such as our test of pleiotropy vs. separate QTL, are needed --- # Multiparental populations  --- # Background - Jiang and Zeng (1995) developed a pleiotropy vs. separate QTL test for F2 mice - Applies to two traits that map to a single genomic region - Pleiotropy is the null hypothesis - Separate QTL is the alternative hypothesis - Perform a two-dimensional QTL scan - Calculate likelihood ratio test statistic --- # Challenges in multiparental populations - Complex patterns of relatedness - Multiple founder lines (vs. exactly two founder lines in Jiang & Zeng) - Test statistic calibration --- # Solutions to challenges - Multivariate random effects to account for relatedness - Fixed effect for each founder allele - Parametric bootstrap for test statistic calibration --- # Test procedure - Fit the model: `$$Y = XB + G + E$$` for each ordered pair of markers - `\(G \sim MN(0, K, V_g)\)` - `\(E \sim MN(0, I, V_e)\)` - `\(X\)` contains allele probabilities - `\(B\)` contains allele effects - Calculate likelihood for each model fit - Test statistic: `$$- \log_{10} \frac{\max \text{likelihood under pleiotropy}}{\max \text{likelihood for separate QTL}}$$` - Parametric bootstrap to get p-value --- # Application to behavioral genetics data - Logan, et al. (2013) and Recla, et al. (2014) genotyped and phenotyped 261 Diversity Outbred mice - Identified *Hydin* as the chromosome 8 gene affecting "hot plate latency" at 57 cM - Identified chromosome 8 QTLs for "percent time in light" and "distance traveled in light" at 55 cM - Motivated us to ask if *Hydin* also affects "percent time in light" and "distance traveled in light"  --- # Allele effects plots - Suggest that "percent time in light" and "distance traveled in light" share a single QTL - *Hydin* is distinct from that QTL  --- # Profile LOD calculations 1. `\(LOD_{pvl}(\text{marker1}, \text{marker2}) =\)` `\(\text{log-likelihood}(\text{marker1}, \text{marker2}) - \max \text{log-likelihood}(\text{marker}, \text{marker})\)` 2. `\(\text{profile LOD}_1(\text{marker1}) = \max_{\text{marker2}}\text{LOD}_{pvl}(\text{marker1}, \text{marker2})\)` 3. `\(LOD_{p}(\text{marker}) = \text{log-likelihood}(\text{marker}, \text{marker}) - \max \text{log-likelihood}(\text{marker}, \text{marker})\)` --- # Profile LOD plots for 3 pairwise analyses  --- # Three pairwise tests - "percent time in light" & "hot plate latency": p = 0.109 - "distance traveled in light" & "hot plate latency": p = 0.108 - "percent time in light" & "distance traveled in light": p = 0.871 --- # Conclusions - Evidence for two separate QTL affecting the 3 phenotypes - One QTL affects both "distance traveled in light" and "percent time in light" - Second QTL contains *Hydin* and affects "hot plate latency" --- # Future directions - Develop methods for analyzing multiple phenotypes in a single test - Accelerate calculations by writing costly calculations in C++ - Enhance user interface for R package, qtl2pleio --- # Contact information -<EMAIL_ADDRESS>- https://github.com/fboehm/qtl2pleio - https://fboehm.us/ --- # References Jiang, C. and Z. Zeng (1995). "Multiple trait analysis of genetic mapping for quantitative trait loci." In: _Genetics_ 140.3, pp. 1111-1127. Logan, R. W, R. F. Robledo, et al. (2013). "High-precision genetic mapping of behavioral traits in the diversity outbred mouse population". In: _Genes, Brain and Behavior_ 12.4, pp. 424-437. Recla, J. M, R. F. Robledo, et al. (2014). "Precise genetic mapping and integrative bioinformatics in Diversity Outbred mice reveals Hydin as a novel pain gene". In: _Mammalian genome_ 25.5-6, pp. 211-222.


Decouple policy decisions from your services to achieve unified control across the entire stack with any language or service.
Express policies in a high-level declarative language that promotes safe, fine-grained logic and enables powerful features such as impact analysis, hot reloading, query optimization, and more.
Leverage arbitrary external document-oriented data (JSON) in policies to ensure that important requirements are enforced throughout the organization.
OPA is a general-purpose policy engine that helps solve use cases ranging from authorization and admission control to resource placement. OPA provides greater flexibility and expressiveness than hard-coded service logic or ad-hoc domain-specific languages and comes with powerful tooling to help you get started.
Administrators can manage policies dynamically without requiring changes to services.
OPA has zero deployment dependencies. It runs as a daemon side-by-side with your service and shares its fate for the purposes of high availabilty.
OPA’s RESTful APIs use JSON over HTTP so you can integrate OPA with your service no matter which programming language you use.
OPA is designed from scratch with latency-sensitive applications in mind, enforcing policies with minimal performance impact.
Anyone can use OPA’s interactive shell to quickly experiment with queries and data sets.
Services written with Go can use OPA as a library and do not need to run a separate daemon.


THE JUROR A film review by Steve Rhodes Copyright 1996 Steve Rhodes
RATING (0 TO ****): 1/2
I have a theory that some actors can not read. As proof of this I present Demi Moore in THE JUROR. If she had been able to read, surely she would have read the script and seen that it had bomb written on every page. There was probably a Surgeon General's warning on the cover about taking this job being hazardous to an actor's wealth.
As further proof of my theory, there was her recent disastrous choice of doing THE SCARLET LETTER. When she has good material to work with as she did in GHOST and A FEW GOOD MEN, her incredible talents radiate so it must be her inability to read that is causing her to make such poor decisions about which projects to undertake.
The plot of THE JUROR is that Annie Laird (Demi Moore) is on a jury trying a big time Mafia boss, Louie Boffano (Tony Lo Bianco), for murder. Boffano gets The Teacher (Alec Baldwin) to threaten juror Laird to not only vote not guilty in an open and shut case, the police even have a tape of Boffano talking about the murder, but to convince the rest of the jury to vote not guilty as well. The show is filled with major implausibilities and improbabilities. In an unbelievable show, the ending manages to be even worse. I did not think this possible.
Annie Laird is an avant-garde artist who makes boxes people stick their hands in to get an artistic tactical feel. Sure. After the trial begins, a creepy stranger called The Teacher comes with her to her remote cabin in the woods to see her art. This is a set up for her to be able to use lines like, "would you like to feel another one." You must check your brains at the lobby or you will never be able to buy a minute of this preposterous script. When The Teacher is threatening to kill her son Oliver (Joseph Gordon-Levitt), she is consoled by The Teacher's partner in crime, Eddie (James Gandolfini), "Hey, I got a kid too. I know what you're going through."
The cliched hyper-spooky music by James Newton Howard has to be the most ludicrous of the year. The cinematography by Jamie Anderson is of the ugly, dark and dreary school with various shades of dirty blues and grays.
I was very sad to see one of my favorite actresses, Lindsay Crouse getting a terrible part as Prosecutor Tallow. She has to utter absurd lines as her advice to Laird on the relative danger of the mob, "They always threaten, but they don't do squat." On the other hand, there are almost no good parts in this film. Most of the film is an embarrassment as when they show Oliver, aged 12, playing pornographic video games for no reason. It is completely out of character for Oliver.
Even given the low quality of the script by Ted Tally based on a novel by George Dawes Green, the overacting by Moore and Baldwin transforms from merely awful into a colossal disaster. Too bad director Brian Gibson didn't pay more attention to the dailies and just abandon the project before it was completed and save the backers some money.
Is there anything good in this turkey? Well, there are a few very minor actors in almost trivial roles that are good. My favorite is Jack Gilpin (SOMETHING WILD and BARCELONA) playing a juror who is tired of deliberating and ready to go home regardless, saying, "These people are scum, but I don't care anymore."
THE JUROR runs forever at 1:58. It is rated R for bad language, sex, brief nudity, and violence. It would probably be okay for most teenagers, but I hope none of them waste their time seeing it. I hated the show, and I feel certain you will too. I am giving it 1/2 of a * only because I have seen worse. At least the show is more utterly ridiculous than painfully unbearable.
**** = 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: April 29, 1996
Opinions expressed are mine and not meant to reflect my employer's.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


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'JFK'
A retrospective movie review by Walter Frith.
If anything, Oliver Stone's 1991 pseudo propaganda film 'JFK' certainly infuriated many who believed that Stone had no right to mix together film clips of authenticity with his own injection of the truth. Outraged media jackals still draw references to Stone and this film when making a point, mostly to complain about the inaccuracies of a certain scenario. It just so happens that I admire Stone for his complex and PROVEN statement that a conspiracy took place in the murder of John F. Kennedy.
Because of the shocking nature of the assassination, a quick rush to judgment, called the Warren Commission, tried to calm America's fears of a government over throw and blamed everything on a half baked ex-Marine using a rifle with a faulty scope. Like most important fragments of historical documentation, they sometimes aren't recognized for what they are at the time of their occurrence until years later when the whole mix has time to settle and the public ranks it in order of importance. Most surveyed at the time 'JFK' came out, believed that the Warren Commission's findings were severely flawed. A much different opinion in contrast to the first release of the report in 1964.
I'm not about to go over the entire process of re-creating the assassination scenario but over 80% of people surveyed believe there was a conspiracy. Where Stone makes a mistake in his film is in the outright declaration of multiple government forces strung together to kill the president. Certainly, it is a good theory that some body of government probably had a hand at bringing down Kennedy's presidency but Stone should have pin pointed one theory instead of speculating on many different organizations. Television's 'The X-Files makes assumptions that a government conspiracy is on its way to changing the outright lifestyle of America's (and perhaps the world's) civilization, but the show only portrays dark figures in the commission of these crimes and points the finger directly at no one. A smart style of presentation. In fairness, Stone does point out that Kennedy was killed because he would have withdrawn troops from Vietnam and eventually the profitable war machine would have slowed down and the war never would have taken place. A good theory but as debatable as any other to come along.
The film opens with a startling mix of edited clips from documented history which have a narrative added to them and the moments leading up to the assassination are pin pointed. Word of this reaches New Orleans district attorney Jim Garrison (Kevin Costner) who witnesses the breaking news of it all on television along with a colleague and the weekend that follows is as crazy to everyone in the D.A.'s office as the entire staff witnesses on television the murder of JFK's accused assassin, Lee Harvey Oswald (Gary Oldman). Things settle down but Garrison is strangely drawn back into the investigation of the presidents death three years later, in 1966.
Throughout the course of the investigation which wraps up after a trial in 1969, when Garrison unsuccessfully prosecuted an internationally known businessman named Clay Shaw (Tommy Lee Jones), 'JFK' movies like a high tech thriller which combines the most gripping photography and impressive editing ever seen in motion pictures. Both the editing and camera work were awarded well deserved Oscars.
Oliver Stone's "in your face" style of film presentation is done with the most multi-media like tools. Using echoed and sharp sound effects, black and white photography, slow motion and many other mixes of film enhancement, Stone certainly holds nothing back and those who criticized the film as fiction only did more to enhance the film's appeal in making people want to see it.
'JFK' answers no serious questions for most who were around at the time of the assassination, but the film raises some very interesting points and although Oliver Stone's career has been sagging somewhat since it came out, at least Stone's protest against the alleged cover-up that took place in 1963 is a testament to one man's courage using the world's most emotional medium.
Visit FILM FOLLOW-UP by Walter Frith
http://home.netinc.ca/~wfrith/movies.htm
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


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Premier Glass and Aluminium (Pty) Ltd is a manufacturer, repairer and installer of aluminium windows and doors for residential and commercial projects.
Over the years we have steadily developed a reputation for technical competence, high quality and excellent customer service.
Backed by Wispeco Aluminium and Crealco, our main aim is to meet your design expectations and as such our aluminium windows and doors are manufactured to your specification, ensuring a perfect fit all the time.
Premier Glass and Aluminium (Pty) Ltd strives to deliver excellent levels of quality, service and responsiveness, price competitiveness and technical support.


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When
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Visualizations used in Project
| # | Visualizations | Views |
|---|---|---|
| 1 | Bubble Chart | |
| 2 | Chord Diagram | |
| 3 | Drag and Drop Collapsible Tree Layout | |
| 4 | 3D Donut | |
| 5 | Time series | |
| 6 | Interactive Bubble Menu |
| # | Visualizations | Views |
|---|---|---|
| 1 | Bubble Chart | |
| 2 | Chord Diagram | |
| 3 | Drag and Drop Collapsible Tree Layout | |
| 4 | 3D Donut | |
| 5 | Time series | |
| 6 | Interactive Bubble Menu |


{% extends 'base/base.html' %} {% load static %} {% block content %}
I offer services in a warm and comfortable environment conveniently located in Seattle's Fremont neighborhood. My office is in the Seattle Space Building
Paid street parking is available 8am to 8pm on the street surrounding the Fremont Office.
I offer services in a warm and comfortable environment conveniently located in Seattle's Fremont neighborhood. My office is in the Seattle Space Building
Please contact me directly to inquire about available time slots.
Call<PHONE_NUMBER> or email me at<EMAIL_ADDRESS>Paid street parking is available 8am to 8pm on the street surrounding the Fremont Office.
Please contact me directly to inquire about available time slots.
Call<PHONE_NUMBER> or email me at kyeisha@kyeishahodge.com


The purpose of this program is to generate plots for comics I was trying to write in the 90's. It is named for Grant Morrison because of his inspirational Vertigo Doom Patrol series.
Copyright (c) 2020 Andy Grossberg under MIT license I guess


PLIS is a multiple testing procedure for testing several groups of hypotheses. Linear dependency is expected from the hypotheses within the same group and is modeled by hidden Markov Models. It is noted that, for PLIS, a smaller p value does not necessarily imply more significance because of dependency among the hypotheses. A typical application of PLIS is to analyze genome wide association studies datasets, where SNPs from the same chromosome are treated as a group and exhibit strong linear genomic dependency.
| Version: | 1.1 |
| Published: | 2012-08-11 |
| Author: | Zhi Wei & Wenguang Sun |
| Maintainer: | Zhi Wei <zhiwei04 at gmail.com> |
| License: | GPL-3 |
| NeedsCompilation: | no |
| CRAN checks: | PLIS results |
| Reference manual: | PLIS.pdf |
| Package source: | PLIS_1.1.tar.gz |
| Windows binaries: | r-devel: PLIS_1.1.zip, r-release: PLIS_1.1.zip, r-oldrel: PLIS_1.1.zip |
| OS X binaries: | r-release: PLIS_1.1.tgz, r-oldrel: PLIS_1.1.tgz |
| Old sources: | PLIS archive |
Please use the canonical form https://CRAN.R-project.org/package=PLIS to link to this page.


I am a Student, Graphic Designer, DJ, Husband and Father.
Art and music are my passions and my family is my life
I have big plan fo rmy life and it all starts with taking the first step.


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PC is better than Mac becuase it is cheaper and not as overpriced as Apple products. PC components are much easier to upgrade compared to Mac computers. I also think that PC is better for gaming since many games are more compatible with windows software.
Macs are better because apples are tastier than windows. You can’t even eat a window. It has not nutritional value other than some possible fibre. Fibre is not enough to survive. Also Windows is the most used computer for old people. Old People — Fibre is not enough — Apples are tastier.


Choose one battle on each level.
Each battle has it's difficulty and reward.
When you choose battle:
- with probability difficulty / (farm * idleBonus + difficulty) you die (lose 1 life) and all three battles renewed
- otherwise, you win and gain reward added to your farm and also advance 1 level
Each next level has harder battles and bigger rewards
Your idleBonus is amount of seconds since last battle - wait to make your next fight more efficient
If you die with 1 life, game is over. No saves, no undos. Be careful.
Each 10 levels you gain extra life
Each 100 levels you gain x100 quest rewards
Each 1000 levels you gain extra x10 quest rewards
Each 10000 levels you gain extra x10 quest rewards
These buffs are passive, stack multiplicatively, no separate UI for them
All battles are generated randomly, but more dangerous often means more reward.
Try to choose battles optimally to advance faster.


The page you are looking for might have been removed, doesn't exist, had its name changed or is temporarily unavailable.
Please return to the homepage.
Good luck.


--- layout: post status: publish published: true title: Samardzija optioned back to Iowa. author: display_name: Corey Fineran login: Corey email<EMAIL_ADDRESS>url: '' author_login: Corey author_email<EMAIL_ADDRESS>wordpress_id: 795 wordpress_url: http://ivyenvy.com/?p=795 date: '2009-05-06 18:06:41 +0000' date_gmt: '2009-05-07 00:06:41 +0000' categories: - Relief Pitching - Starting Pitching tags: - Des Moines - Iowa Cubs - Jeff Samardzija - I-80 comments: [] ---
Jeff Samaradzija will head West on I-80, back to Des Moines. I'm glad to see him going back to Iowa. Ideally, the Cubs would not have needed to bring him up already. It's my understanding that the goal is for him to develop his third pitch in Iowa to become a Starter.
Flat out, Samardzija did not pitch well in this stint with the Cubs. He didn't look anywhere as sharp as he did last year. He only got charged with 3 runs, but it seemed like he let a lot of inherited runners score. I really hope that we don't need to see Samardzija for the rest of the year. First, that would mean that our pitching staff stays healthy enough that we don't need to dip into the guys in Iowa. Also, it means that he is receiving the development that he needs and deserves.
I hope fans don't let this little blip leave a sour taste in their mouth with Samardzija. He's still young and he over-achieved last year. Hey Jeff, if you come through the Quad Cities on I-80, swing by and I'll buy you a beer. Go Irish. Go Cubs.


- click left mouse button over any tile
- neighbouring tiles with the same color (including tile that you clicked) will change their colors


HAMLET (director/writer: Michael Almereyda; screewriter: based on the play by William Shakespeare "Hamlet"; cinematographer: John de Borman; editor: Kristina Boden; cast: Ethan Hawke (Hamlet), Kyle MacLachlan (Claudius), Sam Shepard (Ghost), Diane Venora (Gertrude), Bill Murray (Polonius), Liev Schreiber (Laertes), Julia Stiles (Ophelia), Karl Geary (Horatio), Steve Zahn (Rosencrantz), Dechen Thurman (Guildenstern); Runtime: 110; 2000)
Reviewed by Dennis Schwartz
Inspired by the maverick Finnish director Aki Kaurismaki's 1987 "Hamlet Goes Business," Michael Almereyda (Another Girl, Another Planet/Nadja) directs this updated mainstream, mock serious version of Hamlet with great wit, style, and immediacy. He effortlessly transfers locations from Denmark to the New York City of 2000, which shows how malleable Hamlet is and how right it seems to take it away from its staginess and sole reliance on dialogue instead of making it a more cinematic experience. Denmark is changed from being a country to the name of the multinational corporation that must endure the slings and arrows from the pen of William Shakespeare. But what Almereyda fails to do in this slenderized (no gravediggers here) version of Hamlet, is make his modern visuals jive with the staginess of the bard's words, therefore the film always felt jarring. Even in some very beautifully mannered scenes, there was a note of clumsiness, indicating something was missing or didn't match about this far-reaching production that bordered on mawkish giddiness, though not quite falling down that hole. The old style English dialogue and the new visuals did not make for a coherent film, with the visuals being spectacular and relevant, while the dialogue seemed to be from another planet, or from another venue. I thought I would never say that Shakespeare's Hamlet is better visually than its dialogue, but in this film version, that is clearly the case.
By not changing the tone of the Shakespearian dialogue to the neurotically nasal everyday speech of the modern New Yorker, while radically altering the visual effects to fit in with the current times, the film developed a split-personality, which it was never able to recover from. If you are going to change things, why make half the film conform to traditional Shakespeare, when you could have taken a further risk and made the entire film a glittering display of inventiveness, and perhaps achieve a major breakthrough in how to present Hamlet to a modern audience!
This Hamlet tale concerns the machinations of a power struggle in the corporate world and about a young man named Hamlet (Ethan Hawke), shocked that his mother Gertrude (Diane Venora) would marry her husband's brother Claudius (Kyle MacLachlan), so soon after his death. A death that Hamlet suspects was accomplished by Claudius and confirmed when he chats with his father's ghost (Sam Shepard), who is first seen on a security guard's monitor.
Instead of the castle at Elsinore, we have the Hotel Elsinore as the business headquarters for the Denmark Corporation, which is located in the heart of Manhattan's sleek tinted-glass world of offices. Hamlet is a troubled soul who is a struggling digital videomaker, with fits of self-importance and bouts of illusionary grandeur.
Hamlet makes a fashion statement by wearing a woolen Scandinavian type ski hat with flaps hanging down the sides, something the kids in NYC's ghetto popularized in the 1980s when their dress code had an attitude. Hamlet has such a grungy attitude.
To get a rise out his stepfather, Hamlet makes a video called "The Mousetrap" and succeeds in getting his ire by showing it to him along with invited guests, in what appears to be the Guggenheim. The video is a comically haphazard avant-garde work by the animator Lewis Klahr, showing a variety of historical film footage.
Hamlet's girl is the teenager Ophelia (Julia Stiles), who lives in an artist's loft and suffers from peevishness. She is annoyed by Hamlet's amorous advances, not knowing what to make of them, and she is also annoyed by her overbearing father Polonius (Bill Murray) who lectures her, and her big brother Laertes (Liev Schreiber) who coddles her in a brotherly fashion, as both men seek to control her. Hamlet and Ophelia are a perfectly beautiful looking but obnoxious couple, who are plagued by the modern problem of lack of communication. Hawke is a bland but effective Hamlet, Stiles is a childish and limited Ophelia, Murray is a deliciously hammy Polonius, MacLachlan is a transparently ruthless CEO, Diane Venora is a physically manipulative Gertrude, whose performance brings out both a mother's anguish for her son and her lust for her husband, Schreiber is simply brilliant as an affecting Laertes, playing his part more in the traditional Shakespearian mode, Sam Shepard makes for a hell of a forceful ghost, while Steve Zahn is a sleazy Rosencrantz and Dechen Thurman (a relative of Hawke's) is his sleazy counterpart Guildenstern.
It is difficult to take this Hamlet in quite the same serious way it is usually presented onstage, and that's just fine. Refreshingly, this film does not have one ounce of pretention to high culture. The cast all come with their own individual ideas about the characters they are playing and offer their odd renditions for the traditional roles. Ophelia receives the news from Hamlet that she should "get thee to a nunnery" via a bevy of telephone answering messages. Hawke delivers his "To be or not to be" soliloquy in the action video section of a Blockbuster store. He prepared his first soliloquy about his father's death on his laptop computer, as the ghost of his father is reported seen by the amiable Horatio (Geary).
The story, though almost cut in half, still is basically the same. But the dramatic effect is different. You have to lose something when you throw away all that Shakespeare dialogue. In some scenes we look through all the egotism of the characters through glass that is crystal clear and easy to shatter, and the effect is a sharpened sense of what we are seeing. But when the final tragedy unfolds, there is no real emotion in it, the film failed to pull us into that scene. It seemed as if the soul had been taken out of it. And that is the major fault of the film.
What lingers, is a strong sense that we are steeped in a Hamlet who must be viewed with urgency, a sense of foreboding gloom, and with a sense of ticklish glibness. The picture was shot in super 16 millimeter. Its NYC face is given a glossy, bluish and grayish tint, catching all the limos, glass closets, and glass high-rise structures John de Borman could film with his superlative camerawork. He nearly transforms this into a neo-noir film on his own terms. NYC never looked more like a glistening Denmark or a glass house, while "Hamlet" looks more like a work of visual poetry instead of sounding like great literature. An interesting concept, too bad Almereyda couldn't completely pull it off. Yet I applaud the chances he took and all the misses never completely deterred me from enjoying the film. It came awfully close to being camp, but the oddness of this unlikely cast playing Shakespeare, somehow, held the film together and made it accessible to an audience that Shakespeare might not have reached before. I actually missed Bill Murray when he departed the film after Hamlet accidently plugs him while he's in the closet. Even though Hawke's Hamlet had the edge of a young man's immaturity and impetuousness, what would have really given this film a sense of manic self-consciousness, would have been to cast Sean Penn as Hamlet, though James Dean in that part would have been the ultimate coup de grace.
REVIEWED ON 7/20/2000 GRADE: B
Dennis Schwartz: "Ozus' World Movie Reviews"
http://www.sover.net/~ozus
<EMAIL_ADDRESS>© ALL RIGHTS RESERVED DENNIS SCHWARTZ
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


OverlayTemplateAlignment
public enum OverlayTemplateAlignment
It defines items alignment for the overlay.
Overlays Docs (96% documented)
public enum OverlayTemplateAlignment
It defines items alignment for the overlay.


RAW
Section: Maintenance Commands (8)Updated: Aug 1999
Index Return to Main Contents
NAME
raw - bind a Linux raw character deviceSYNOPSIS
raw /dev/raw/raw<N> <major> <minor>raw /dev/raw/raw<N> /dev/<blockdev>
raw -q /dev/raw/raw<N>
DESCRIPTION
raw is used to bind a Linux raw character device to a block device. Any block device may be used: at the time of binding, the device driver does not even have to be accessible (it may be loaded on demand as a kernel module later).raw is used in two modes: it either sets raw device bindings, or it queries existing bindings. When setting a raw device, /dev/raw/raw<N> is the device name of an existing raw device node in the filesystem. The block device to which it is to be bound can be specified either in terms of its major and minor device numbers, or as a path name /dev/<blockdev> to an existing block device file.
The bindings already in existence can be queried with the -q option, with is used either with a raw device filename to query that one device, or with the -a option to query all bound raw devices.
Unbinding can be done by specifying major and minor 0.
Once bound to a block device, a raw device can be opened, read and written, just like the block device it is bound to. However, the raw device does not behave exactly like the block device. In particular, access to the raw device bypasses the kernel's block buffer cache entirely: all I/O is done directly to and from the address space of the process performing the I/O. If the underlying block device driver can support DMA, then no data copying at all is required to complete the I/O.
Because raw I/O involves direct hardware access to a process's memory, a few extra restrictions must be observed. All I/Os must be correctly aligned in memory and on disk: they must start at a sector offset on disk, they must be an exact number of sectors long, and the data buffer in virtual memory must also be aligned to a multiple of the sector size. The sector size is 512 bytes for most devices.
OPTIONS
- -q
- Set query mode. raw will query an existing binding instead of setting a new one.
- -a
- With -q , specifies that all bound raw devices should be queried.
- -h
- provides a usage summary.
BUGS
The Linux dd (1) command should be used without bs= option or the blocksize needs to be a multiple of the sector size of the device (512 bytes usually) otherwise it will fail with "Invalid Argument" messages (EINVAL).
Raw I/O devices do not maintain cache coherency with the Linux block device buffer cache. If you use raw I/O to overwrite data already in the buffer cache, the buffer cache will no longer correspond to the contents of the actual storage device underneath. This is deliberate, but is regarded either a bug or a feature depending on who you ask!
AUTHOR
Stephen Tweedie (sct@redhat.com)AVAILABILITY
The raw command is part of the util-linux-ng package and is available from ftp://ftp.kernel.org/pub/linux/utils/util-linux-ng/.
Index
This document was created by man2html, using the manual pages.
Time: 05:34:29 GMT, December 24, 2015


Automated Scoring for Axe Throwing
Summary
I helped the Lumberjaxes axe-throwing company in Pittsburgh, PA develop an automated scoring system for axe throws with mentorship from Dr. George Kantor. In axe throwing, there are three rings that make up a bullseye, and the deepest ring that an axe lies in determines the score. Working from inside to outer ring, scores are 5, 3, 1, and 0 where 0 score is given if the axe does not lie in any ring. Having an automated scoring system for a static bullseye is not useful since people will need to pry their axe off a target and can calculate the score while doing so with no extra effort. However, this project is a foundation for more interesting games with moving targets and multiple throws where score-keeping would grow complicated.
Data Collection + Detection
My first step was to implement axe detection (not scoring) and set up a system to take a picture whenever an axe appears on the target. This serves the dual purpose of collecting images for the dataset as well as detecting on the real system. Axe detection was accomplished by using the SSIM algorithm, which essentially compares two different images based on luminance, contrast, and structure. Then, if similarity is within some bound (different enough to not be identical images, but similar enough to not be caused by a person moving into view), the image is saved. With all these images, I manually parsed through all the positives and negatives and hand-labeled the bounding box of the axe tip for every positive image. This makes up the axe dataset. Future work could include negative hard mining, a CNN-based axe detector, and the inclusion of edge-case images where the axe is still visible, but part of the image is occluded by a person:
Ring Detection
The next component is ring detection, which involves classical copmuter vision. Each ring has a distinct color, so I tuned basic RGB color filters to isolate pixels of each ring. Since filtering isn't perfect, I then implemented RANSAC to extract the best fit circle for each ring. As long as one ring is detected, the other rings can be approximated using hard-coded offsets for radii, which works since our camera is assumed to a fixed distance from the target. Relevant code can be found in this directory.
Axe Scoring
I tried multiple methods for axe tip detection (Blob detection + PCA, Fully Connected Network (FCN)) before finalizing on MaskRCNN, a pixel-level segmentation CNN. The Blob detection would often fail due to shadows and noise in the image, while precisely detecting the axe tip location with PCA did not work. The FCN was a naive modification of a previous homework assignment since I had no in-depth knowledge of Deep Learning at the time. MaskRCNN served well to handle the complexities in lighting, shadows, and size of the axes.
Results
The above figure compares performance between (top) MaskRCNN and (bottom) classical Blob Detection + PCA. A confusion matrix plots true scores vs predicted scores from the model/algorithm. Ideally, all counts or probability should lie on the diagonal from top left to bottom right. This means the true score matches the predicted score. The left plot is simply the normalized version of the right plot, showing percentages instead of counts, where each row should sum to 1. As a refresher, here are the definitions of precision and recall:
- Precision = True Positives / Predicted Positives
- Recall = True Positives / Actual Positives
The above only has mentioned software. For hardware, I used a Raspberry Pi 4 Model B since this is the only model that supports Tensorflow for MaskRCNN. Average runtime for axe detection was 1.2s, while axe scoring was 11s. This long runtime for scoring is unacceptable since we want scoring done in a matter of 2 to 3 seconds, but is left as future work. Choice of macro lens and camera can be found here.
Mechanical Design
I designed a custom mount system with adjustable angles for the camera. The below pictures show different angles of the final design and orientation of the camera with respect to the bullseye target. More pictures can be found here. Please contact Dr. George Kantor for access to the CAD files.
The red lines above represent a rubber band that create tension force and lock the teeth into place.


Frequency Rated [R], 120 minutes Starring Dennis Quaid and Jim Caviezel Screenplay by Toby Emmerich Directed by Gregory Hoblit website: www.frequencymovie.com
IN SHORT: Wow. Flat out wow.
Have you ever had one of those moviegoing experiences where your eyes were so fixated on the screen that your hand went down into the popcorn .. . . and stayed there? That you called all of your friends afterwards and told them "YOU MUST SEE THIS MOVIE!" and when they asked "Why?," you had to answer
"I can't tell you."
If not, you are about to.
This is not a question of not giving away the ending, like last year's Sixth Sense.
Not me. You get the bare bones, like the skeleton found out behind an abandoned diner in Queens, New York. Through flat out sheer luck, NYPD Detective John Sullivan (Jim Caviezel) gets a match on an old dental record, showing that this girl was reported missing in 1968. The M.O. of the killer makes her the first victim of the notorious Nightingale Killer who terrorized the Big Apple and killed three nurses in 1969, the year the Mets worked a miracle out at Shea Stadium.
In 1969, Firefighter Frank Sullivan (Dennis Quaid) is loving husband to wife Julia (Elizabeth Mitchell) and only son, 6 year old Johnny (Daniel Henson). At night, Frank likes to ride the airwaves of the world with his Heathkit Ham Radio. There's a lot to talk about on the night of October 10, for an aurora borealis has lit up the night sky with brilliant colors that had never before been seen as far south as Bayside Queens. That night, Frank reached parts of the world he had never talked to. That night, he stumbled upon another Ham radio operator somewhere in Queens, named John.
In 24 hours, Frank Sullivan will be killed in a fire . . . unless John can convince him that, for reasons unknown, they are not talking across distance. They are talking across time. If John can save his father's life, his world will be inalterably changed. He doesn't realize that until it happens and everything he's known for thirty years goes down the tubes.
Which is all I'll tell you about the first, knockdown, get on line immediately blockbuster to be movie of the year 2000. Except that Andre Braugher plays an integral part as a detective whose career spans the decades and whose path crosses both Sullivans many, many times.
 Not a note was taken.  It's the kind of flick that falls into the science fantasy genre and fits so perfectly with tales of time travel (H.G. Wells started the genre a century ago) and parallel universes (and no one messed with continuity more than DC Comics did in its Crisis on Infinite Earths a decade or so ago)
We walked into Frequency without our SF heads screwed on, and ignoring the press notes that explain all the intricacies and theories about the space-time continuum and all that stuff. We did have out continuity caps on, looking for script errors and discrepancies and the story moved back and forth over the thirty year time period -- and didn't see any.  Frequency is an absolute smackdown. A flat out perfect, mesmerizing thriller, from the director of Primal Fear (and the teevee pilot of NYPD Blue, after a run exec producing Hill Street Blues and LA Law).
On average, a first run movie ticket will run you Eight Bucks. Were Cranky able to set his own price to Frequency, he would have paid...
$8.00
See it twice. Not because it's confusing or because it's so complicated that you'll miss something. See it twice, 'cuz you'll want to. You will.
The Cranky Critic® is a Registered Trademark of, and Copyright © 2000 by, Chuck Schwartz. All Rights Reserved. Cranky on the web at www.crankycritic.com
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


How to Add a New Ego Vehicle
This tutorial works with LGSVL Simulator release 2019.05.
This document will describe how to create a new ego vehicle in the LGSVL Simulator.
Video#
(Link) Adding a new ego vehicle in LGSVL Simulator.
Getting Started#
The following text is a list of the steps described in the above YouTube video.
- Launch LGSVL Simulator from the Unity Editor (as described here).
- Create a new scene and add an existing ego vehicle prefab to the hierarchy. This makes it easy to copy components to the new vehicle.
- Toggle the reference vehicle prefab to inactive.
Create and Name Your Vehicle#
- Create a new empty root gameobject for your vehicle and give it a name.
- Place vehicle meshes as a child of the root gameobject.
- Assign root gameobject tag to "Player".
- Right click on each component on the reference prefab root and copy it.
- Then paste each copied component onto the new vehicle gameobject root. You'll need to go back to the reference prefab root to copy each additional object before pasting.
- Note: We will fix the missing references later.
Add Child Components#
Add the following components as children:
- MainCollider
- WheelColliders
- Lights
- GroundTruthDetectBoundingBox
- DriverCamera
- DriverCameraPositions
- DashInteriorUICanvas
- SensorArray
- Note: These are prefabs that were created from an existing ego vehicle prefab.
- For this tutorial the hierarchy and scripts were adjusted. You don't need to alter them to match; just use the reference vehicle.
- Next, drag the root object into the project panel to create a prefab. This will serialize the gameobject as a prefab.
Apply the Correct References#
We need to apply the correct references to the vehicle scripts since the public variables are still referencing the other vehicle:
Note: Be sure to click the Apply button in the Inspector after each component change. This saves the change to the prefab in the project. Check that no variable references are still bold after updating the references.
Vehicle Controller script#
For the Vehicle Controller script, reference the following colliders and meshes:
- Reference the FL WheelColliders in Axles Element 0 (Left)
- Reference the FR WheelColliders in Axles Element 0 (Right)
- Reference the RL WheelColliders in Axles Element 1 (Left)
- Reference the RR WheelColliders in Axles Element 1 (Right)
- Reference the FL_PARENT WheelMeshes in Axles Element 0 (Left Visuals)
- Reference the FR_PARENT WheelMeshes in Axles Element 0 (Right Visuals)
- Reference the RL_PARENT WheelMeshes in Axles Element 1 (Left Visuals)
- Reference the RR_PARENT WheelMeshes in Axles Element 1 (Right Visuals)
- Reference the MainCollider in Car Center
Car HeadLights script#
For the Car Headlights script, reference the following Lights:
- Reference the XE Left Headlight Spot
- Reference the XE Right Headlight Spot
- Reference the XE Left Tail Spot
- Reference the XE Right Tail Spot
Car Input Controller script#
For the Car Input Controller script, reference the DriverCamera.
Force Feedback script#
For the Force Feedback script, reference the FL and FR WheelColliders.
Vehicle Animation Manager script#
For the Vehicle Animation Manager script, reference the following meshes:
- Reference WiperLeft mesh object (under MeshHolder, DashMeshes, then WindshieldWipers) in WiperLeft (Animator)
- Reference WiperRight mesh object (under MeshHolder, DashMeshes, then WindshieldWipers) in WiperRight (Animator)
Vehicle Position Resetter script#
For the Vehicle Position Resetter script, reference the GpsSensor under SensorArray.
Agent Setup script#
For the Agent Setup script, update the following references:
- Reference the DriverCamera in Follow Camera.
- Reference the NewVehicle in Camera Man.
Note that the AgentSetup script has an extra step needed to reference bridge classes in each object of the Needs Bridge array.
To do this, you'll need to drag each class from a second inspector panel:
- Add a new Inspector tab next to the Console tab.
- Lock one panel and use the other to select the sensor object.
- Then drag the class into the NeedsBridge array.
- Do this for all sensors that require a bridge connection:
- LidarSensor (from sensor inspector)
- GpsSensor (from sensor inspector)
- TelephotoCamera (from sensor inspector)
- CaptureCamera (from sensor inspector)
- ImuSensor (from sensor inspector)
- RadarSensor (from sensor inspector)
- VehicleInputController (from NewVehicle inspector)
- CanBusSensor (from sensor inspector)
- SegmentationCamera (from sensor inspector)
- VehiclePositionResetter (from NewVehicle inspector)
- UserInterfaceTweakables (from NewVehicle inspector)
- Unlock and close the extra inspector panel
- Now select NewVehicle, and click the Apply button to apply changes.
Next, update the child objects public references:
- For the Driver Camera, update the following camera position items:
- DriverCameraPosition
- ThirdPersonCameraPosition
- ReverseViewCameraPosition
- For Cam Fix To, update Fix To with ThirdPersonCameraPosition
- For Cam Smooth Follow:
- Update Target Position Transform with ThirdPersonCameraPosition
- Update Target Object with NewVehicle
- Click the Apply button to apply changes
Next, update the SensorArray public references:
- For Can Bus script:
- Update MainRigidBody with NewVehicle
- Update Controller with NewVehicle
- Update Input_controller with NewVehicle
- Update Gps with GpsSensor
- Click the Apply button to apply changes
- For GpsSensor script:
- Update Target with NewVehicle
- Update Agent with NewVehicle
- Update MainRigidBody with NewVehicle
- Click the Apply button to apply changes
- For ImuSensor script:
- Update Target with NewVehicle
- Update MainRigidBody with NewVehicle
- Click the Apply button to apply changes
Adaptation to Cluster Simulation#
Cluster Simulation provides synchronization of every Rigidbody
component in the vehicle, no changes are required in the prefab.
For advanced solutions in the cluster simulations, like synchronization of other components, refer to the Cluster Simulation Introduction.
Final Steps#
- Set the vehicle and all child objects to the Duckiebot layer.

- Finally, select the ROSAgentManager prefab from the project and increase the size of the AgentPrefabs array by one.
- Add the NewVehicle prefab to the Agent Prefabs array.
- Be sure to add the prefab from the PROJECT panel, not the scene!
- Press Play to launch the new scene.
- Click the Vehicle popup to see the new vehicle in the vehicle list.
Congratulations! You have successfully added a new ego vehicle!


C# API SDK which enables you to seamlessly integrate the Bitmovin API into your projects.
Using this API client requires an active account.
Don't have an account yet? Sign up for a free Bitmovin trial plan!
Documentation & Release Notes
- Full Bitmovin API reference documentation: https://bitmovin.com/docs/encoding/api-reference
- SDK reference documentation for .NET: https://bitmovin.github.io/bitmovin-api-sdk-dotnet
- Release Notes: https://bitmovin.com/docs/encoding/changelogs/rest
Support
If you have any questions regarding the SDK, provided examples or our services, please log in to your Bitmovin Dashboard at https://bitmovin.com/dashboard and create a support ticket. Our team will get back to you as soon as possible 👍
Installation
Nuget
Add this dependency to your project:
Package Manager
Install-Package Bitmovin.Api.Sdk -Version 1.171.0
.NET CLI
dotnet add package Bitmovin.Api.Sdk --version 1.171.0
Initialization
using Bitmovin.Api;
var bitmovinApi = BitmovinApi.Builder
.WithApiKey(API_KEY)
.WithLogger(new XunitLogger(output))
.Build();
Examples
You can find sample workflow scripts in the Bitmovin API SDK examples repository.
Deprecated API Client (Legacy)
bitmovin-api-sdk-dotnet
is the latest Bitmovin API client for .NET Core 2.0+ and .NET Framework 4.6.1+. It guarantees 100% specification conformity at any given time and access to all features of the API as soon as they are released.
However, if you need to use the previous version for legacy reasons, you can still find it at bitmovin-dotnet.


My Pocket Solitaire:
animate solution 1
,
animate solution 2
,
animate solution 3
,
animate solution 4
and
animate solution 5
.
Survo solver:
Run SulvoSolver
Lines:
Play


--- layout: presta-cms-core-documentation title: PrestaCMS extensions navigation_active: extensions.html extensions: - { id: "prestacmsthemebasicbundle", link: "prestaconcept/PrestaCMSThemeBasicBundle", title: "PrestaCMSThemeBasicBundle", description: "Adds basic themes" } - { id: "prestacmsmediabundle", link: "prestaconcept/PrestaCMSMediaBundle", title: "PrestaCMSMediaBundle", description: "This bundle provides media blocks for the PrestaCMS" } ---


UD for Xibe
Tokenization and Word Segmentation
- A Xibe sentence is tokenized by space, each element is considered as a token.
Morphology
Tags
- The current Xibe treebank uses all 17 universal POS categories, including particles (PART).
- There are five main (de)verbal forms, distinguished by the value of the VerbForm feature;
they all keep the VERB (or AUX) UPOS tag:
- Finite verb
Fin
. - Participle
Part
. - Converb
Conv
. - Infinitive
Inf
. - Verbal noun
Vnoun
.
- Finite verb
Nominal Features
- The two main values of the Number feature are
Sing
andPlur
. The following parts of speech inflect for number: NOUN, PRON, DET, PART. - Case has 10 possible values:
Nom
,Gen
,Dat
,Acc
,Loc
,Lat
,Abl
,Ins
,Com
,Cmp
. It occurs with the nominal words, i.e., NOUN, PROPN, PRON, DET, NUM, as well as nominalized forms of VERB.- The
Case
feature also occurs with adpositions (ADP). Here it is a lexical feature.
- The
Degree and Polarity
- Degree applies to adjectives (ADJ) and has one of three possible values:
Pos
,Cmp
,Sup
. - Polarity has one value,
Neg
(while positive polarity is not explicitly annotated), and applies primarily to verbs (VERB, AUX) and adverbs (ADV).
Verbal Features
- Verbs inflect for Aspect, either imperfective (
Imp
), perfective (Perf
), or progressive (Prog
). - Finite verbs always have one of five values of Mood:
Ind
,Imp
,Cnd
,Sub
orOpt
. - Verbs in the indicative mood always have one of three values of Tense:
Past
,Pres
orFut
. - There are four values of the Voice feature:
Act
,Pass
,Rcp
andCau
.
Pronouns, Determiners, Quantifiers
- PronType is used with pronouns (PRON), determiners (DET) and adverbs (ADV).
- NumType is used with numerals (NUM), adjectives (ADJ), and pronouns (PRON).
- The Poss feature marks possessive personal pronouns.
- The Reflex feature marks reflexive pronouns.
- Person is a lexical feature of personal pronouns (PRON) and has three values,
1
,2
and3
. - Clusivity is a lexical feature of first person plural pronouns and distinguishes inclusive (
In
) from exclusive (Ex
) pronouns. - Politeness has one value
Elev
for honorific pronouns.
Syntax
- The basic word order of Xibe is Subject-Obejct-Verb (SOV). To be added.
Dependency Relations
Treebanks
There is 1 Xibe UD treebank:


Email Address: {{email}}
Office Address: {{address.street}}, {{address.city}}, {{address.state}} {{address.zipcode}}
Hobbies:


Sprucewood Shores Estate Winery, a family run business, opened its doors November 1st 2006 in the quickly growing viticulture region located on the North Shores of Lake Erie. Situated within 52 acres of land, the event facility was designed in a beautiful Tuscan style "old world" concept, with extensive balconies that overlook breathtaking views of both the vineyard and Lake Erie.
Sprucewood Shores is located an approximate 35 minute drive from downtown Windsor, and 40 minute drive from Leamington, Ontario. Shuttle services will be provided to and from Sprucewood Shores. See ‘Shuttle’ page for more information.


FAQ
Renault Finance
Select from the topics below to find the answers to our most frequently asked questions.
MY AGREEMENT
I need to notify you of a change in my details. How can I do this?
You can update your details online by logging into Your Account here, by telephone on 0871 987 0091, or in writing to Customer Services Department, Egale House, 78 St Albans Road, Watford, WD17 1AF.
I would like to discuss my Agreement with someone. How do I contact you?
You can find information on your account and update your details online. Please login to Your Account here.
My bank details have changed - what do I need to do?
Just call our Customer Service Centre on 0871 987 0091 where one of our representatives will be happy to assist you.
I need to talk to you about someone else’s Agreement - can I do this?
Due to Data Protection regulations, we can only give information on an account to our Agreement holder. However, our Agreement holder can authorise a third party to act on their behalf by giving us written confirmation. For more detail on what is required please contact our Customer Services team on 0871 987 0091.
Can I transfer my Agreement to another person?
Unfortunately, we are not able to transfer a regulated Agreement into another individual’s name. Please contact us on 0871 987 0091 if you wish to discuss this further.
I am nearing the end of my Agreement and would like to discuss my options.
Just call our Customer Service Centre on 0871 987 0091 where one of our representatives will be happy to assist you.
I have a contracted mileage allowance on my Agreement. What happens if I exceed this amount?
On some Agreements, there is a mileage restriction. If so, the annual mileage is the allowance you agreed with the dealer when your Agreement was set up. If you return your vehicle to RCI Financial Services, either at the end of your Agreement or at any other time you will be liable to pay for any additional miles used beyond your mileage allowance. Your mileage allowance and cost per excess mileage will be detailed in your Agreement.Please contact us on 0871 987 0091 if you wish to discuss this further.
Is my Agreement cancellable?
If the finance Agreement is regulated, you only have 14 days from the day you sign your documents to cancel or withdraw from the Agreement. Should you exercise your right to withdraw from the Agreement we will require full settlement of the amount financed within 30 days from the date you notify us of your intention to withdraw. A daily interest charge will be applied to the amount financed until the full balance is received.Please contact us on 0871 987 0091 if you wish to discuss this further.
Can I request a copy of my Agreement?
A copy of your agreement is available to download online. Please login to Your Account here.
SETTLEMENT FIGURE
How is my settlement figure calculated?
All figures are calculated according to the Consumer Credit Act 1974 and are valid for 28 days.
I would like an early settlement figure for my Agreement. How can I obtain this?
You can obtain a settlement figure online by logging into Your Account here, or via the telephone on 0871 987 0091.
DEFINITIONS
I have just received a Statement of Account. Why has this been sent to me?
A Statement of Account will be sent to you annually, on the anniversary of your contract. This details all of the payments you have made to date and the balance outstanding. You can view your statements online by logging into Your Account here.
What are BVRLA standards?
The British Vehicle Rental and Leasing Association is also known as the BVRLA. On Agreements where a vehicle is returned to us at the end of a contract, we expect the condition of the vehicle to be at the standard as set out by the BVRLA. These vehicle return standards also apply to vehicles that are subject to Voluntary Termination. Website - http://www.bvrla.co.uk/
What is a Finance Facility Fee?
The Fee is our administration charge to cover the cost of setting up your Agreement with us.
What is an Option to Purchase Fee?
This is our administration charge for passing title of the vehicle to you once your final payment has been made.
What is a balloon payment?
If you have a Renault Selections Agreement, the “balloon payment” or "optional final payment" is the lump sum payment you will need to pay at the end of your Agreement should you wish to keep the vehicle. The amount of the balloon payment will be detailed on your Agreement. We will contact you nearer the end of your Agreement to discuss the various options available to you.
What does APR mean?
APR stands for Annual Percentage Rate. To find out how an APR is calculated please visit the Money Advice Service at https://www.moneyadviceservice.org.uk/en
PAYMENTS
I am having problems setting up my Direct Debit, is there an alternative way to pay?
- You can make payments online by logging into Your Account here. Please note that online payments will show on your account approximately 24 hours after the payment is made.
- You can make payment using a credit or debit card by calling us on 0871 987 0091. (Calls charged at 10p per minute). Payment by debit card attract a £1 fee. Payment by credit card will attract an additional charge of 2.5% of the amount paid.
- By bank transfer or standing order. Please contact us on 0871 987 0091 to obtain our bank details and please quote your Agreement number as the reference.
- By cheque – payable to RCI Financial Services. Please ensure the Agreement number is quoted on the reverse as the reference. Address - Customer Services Department, Egale House, 78 St Albans Road, Watford, WD17 1AF
Can I make a lump sum payment on my Agreement?
If your Agreement was entered into on or after 11th June 2010, you are able to make a lump sum payment towards your Agreement at any time. Any lump sum payment will be used to reduce your monthly rental. We are unable to accept part payments to reduce the term of your Agreement. If you are eligible to make a lump sum payment, you can do so online by logging into Your Account here. Please note that online payments will show on your account approximately 24 hours after the payment is made.
Can I reduce my payments/increase the term of my Agreement?
We are unable to increase the terms of your contract or reduce payments unless you are making a lump sum payment. If you are having difficulties making your payments, please contact 0333 2000 002 (calls charged at the standard geographic rate).
Why are my payments called ‘rentals’- I’m not renting the car?
The payments on your Agreement are called rentals because RCI Financial Services Limited own the vehicle until all of your payments are made or your finance Agreement is settled in full.
I am entering into an IVA. Do I need to let you know details?
Yes we will need full details of your IVA and whether the Agreement is being adopted into the IVA or not. Please send us in all documentation as soon as possible for an individual review. Address - Financial Solutions Department, Egale House, 78 St Albans Road, Watford, WD17 1AF. Please call us if you wish to discuss further on 0333 2000 002 (calls charged at the standard geographic rate).
What should I do if I am struggling to make my normal monthly payments?
If you are finding it difficult to maintain your normal monthly payments, please contact us to discuss your circumstances on 0333 2000 002 (calls charged at the standard geographic rate). We are here to assist and may be able to offer you solutions for your finance Agreement to support you through this time.
I would like to make a card payment on my Agreement. How can I do this?
You can make a payment online by logging into Your Account here. Alternatively you can call our automated payment line on 0871 987 0091. (calls charged at 10p per minute). Please note that online payments will show on your account approximately 24 hours after the payment is made.
I am having trouble meeting my payments. Is it okay to sell my car?
You are unable to sell your vehicle privately until you have made your final payment to us. However, if you are experiencing problems meeting your payments, please contact 0333 2000 002 (calls charged at the standard geographic rate).
I took the finance for someone else and they have stopped giving me the payments. I can’t afford the payments, what can I do?
Under the terms of your contract, the vehicle must be kept in your daily control and you are responsible for maintaining the payments. If you are having problems making your payments please contact 0333 2000 002 (calls charged at the standard geographic rate).
I am having difficulty making my payments, or have missed a payment- what should I do?
If you are having problems making your payments please contact 0333 2000 002 (calls charged at the standard geographic rate).
Can I have a payment holiday?
Unfortunately, we do not currently offer payment holidays. If you are experiencing difficulty in making payments please contact our Financial Solutions Department on 0333 2000 002 (calls charged at the standard geographic rate).
I have made a payment online but it does not show on my account.
Online payments will show on your account approximately 24 hours after your payment has been made. If you would like to speak to a Customer Services advisor regarding this, please call 0871 987 0091.
MISCELLANEOUS
My vehicle has been involved in an accident and is an insurance write off. Do I need to continue making payments?
Yes you must keep up your payments until the Agreement is settled by your insurer and please notify us immediately. Please ensure you inform your insurer of our interest if they are not already aware and that they must make settlement to us. In the event that your insurance settlement is more than the amount outstanding on your finance Agreement, we will refund the balance to you, if there is a shortfall you will be liable to pay us the difference. If you require an up to date settlement quote, you can view it online by logging into Your Account here.
I am considering my Voluntary Termination options. What do I need to do?
If you have a regulated Hire Purchase or Renault Selections Agreement, you have a statutory right to terminate your Agreement early. Should you wish to do so you are liable to pay 50% of the total amount payable under your Agreement, plus any arrears. This amount will be detailed on your Agreement under “Termination – Your rights”. In the event you are considering voluntary termination we ask you to contact us on 0871 987 0091.
I am thinking of purchasing another Renault vehicle. What offers are currently available?
See here for current offers.


--- layout: contact title: Contact Josh subhead: A short introduction far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast. navTitle: Contact navWeight: 6 ---


How the comment text parameter (GERRIT_EVENT_COMMENT_TEXT) should be added to the build, if available.
- Human readable:
Plain text, as it arrives to Jenkins. With quotes escaped if configured above.
- Encoded (Base64) (default):
Base64 encoded string.
- Do not add:
The parameter isn't added to the build at all.


’Black Panther’ stays strong with $108M in second weekend
NEW YORK — “Black Panther” has scored one of the best second weekends ever with an estimated $108 million in ticket sales.
Studio estimates Sunday say “Black Panther” is still performing as one of the top blockbusters of all time. This weekend’s result makes Ryan Coogler’s Marvel sensation only the fourth film to earn $100 million in its second weekend, along with “Star Wars: The Force Awakens,” “Jurassic World” and “The Avengers.”
>Of those, only “The Force Awakens” had a better second weekend.
In two weeks of release, “Black Panther” has grossed $400 million domestically and $704 million worldwide.
Of new releases, faring the best is the Warner Bros. comedy “Game Night,” starring Jason Bateman and Rachel McAdams. It debuted with $16.6 million.The well-reviewed sci-fi thriller “Annihilation” opened with $11 million.
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Small Wonders (1996) A film review by Ben Hoffman Copyright 1996 Ben Hoffman
Exhilarating, heartwarming, profoundly moving! All that and very entertaining. This is a documentary which shows that one person can move and change the environment and lives of children. Teacher Roberta Guaspari-Tzavaras has done just that. This film about her dedication and achievements leaves you with a great feeling and a hope for the future.
When school funds were cut, the Arts were the first to be axed. Music teacher Roberta would not take "no" for an answer. She rallied parents and friends to support her program to teach the violin to the little kids in three schools in NYC.: Central; Park East 1, Central Park East 2, and RiverEast Elementary School. Most of the children attending those schools were from minority and poor families but Roberta enriched their lives as she taught them to play and love the violin. Each year 150 children were chosen by lottery to be in the program. The sad part is that there was not enough funds available to include many more children and that it is just in NYC when it should be in every school in our country. Violins, not guns, should be our goal.
It is a delight to see the children from different ethnic groups, as they play Bach with an intensity and dedication one would not expect of youngsters. We see one of the annual concerts, this one at Carnegie Hall, with the great Isaac Stern and Itzhak Perlman aLong with many other famous professionals, joining them in the performances.
There is no question about Roberta Guaspari-Tzavaras' dedication and love of music and children. You will not want to miss this wonderful film.
Directed by Allan Miller
Rating: 4 Bytes
4 Bytes = Superb 3 Bytes = Too good to miss 2 Bytes = Average 1 Byte = Save your money
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Dynamic Adaptive Streaming over HTTP (DASH), also known as MPEG-DASH, is an adaptive bitrate streaming technique that enables high quality streaming of media content over the Internet delivered from conventional HTTP web servers.
WebRTC ("Web Real-Time Communication") is a collection of communications protocols and application programming interfaces that enable real-time communication over peer-to-peer connections.


TProcessingEvent = procedure(Sender: TObject;
ProcessingOn: boolean) of Object;
The TProcessingEvent type is the type for the OnProcessing event. This event occurs whenever the viewer begins or finishes an operation.
ProcessingOn is set True at the start of an operation and False when the operation is completed.
See also:


Hello! I'm a political science PhD turned data scientist.
This website is less a personal site and more a place for me to house my experiments in front-end coding and data visualization (as well as to showcase my nerdy obsessions with hiking, running, and attempting to make my own backpacking gear).
I'd planned to have a bit more here before I launched, but in the interest of not letting the perfect be the enemy of the good, I decided to go ahead and throw up some very rough experiments.
D3.js assignments from the Knight Center's Infographics and Data Visualization with D3:


Check your details are correct
| Name on the account: | Alex Smith |
| Sort code: | 400500 |
| Account number: | 12345678 |
We will notify you by email 3 days before each future payment.
Payment summary
Dartford Crossing charge
Total amount:
£2.50 for each journey, collected monthly
Your payments are protected by the Direct Debit guarantee.


Numpy and Scipy Trivia #2¶
Selecting subsets of an array¶
In [1]: import numpy as np
In [2]: test = np.arange(10)
In [3]: selected = np.nonzero(test < 5)
In [4]: test[selected]
Out[4]: array([0, 1, 2, 3, 4])
In [5]: selected = np.nonzero(np.logical_or(test < 3, test > 7))
In [6]: test[selected]
Out[6]: array([0, 1, 2, 8, 9])
Finding indices of particular values¶
In [1]: import numpy as np
In [2]: test = np.arange(10)
In [3]: test = np.append(test, test)
In [4]: np.where(test == 5)
Out[4]: (array([ 5, 15]),)


This is a draft document for Jenkins 2.x. None of this is real (yet).
Problem
Several reasons have been mentioned for the storage backend changes, such as performance, startup time, and HA.
Description
TDB
Participants
- Andrew Bayer
Related Issues
- JENKINS-26545 Persist build(s) log(s) in MySQL (or similar)
- Mailing list discussion


Experience
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never
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Learn More
Kanye West
Kanye West
Kanye West
Kanye West
Kanye West
Kanye West


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We will promptly provide customers with access to our policies and procedures for the administration of individual data.
We are focused on leading our business as per these standards with a specific end goal to guarantee that the privacy of individual data is secure and maintained.


Killing Time (1998, R)
Directed by Baharat Nalluri
Written by Casper Berry, Fluer Costello, and Neil Marshall
Starring Kendra Torgan, Craig Fairbass, and Nigel Leach
As Reviewed by James Brundage (MovieKritic2000)
The problem with the movie Cube is that it couldn't decide which it wanted to be: studio or independent. Cube was your basic horror movie, filmed for about $300,000 on a single 14' by 14' set with a total of seven people in the cast. It was a concept easily pitchable to the studios and done with corresponding quality, ending up coming out a fair disaster yet it persisted in giving the same cheesy enjoyment as any 80s schlock horror film. It wanted to be done independently, with all of the special attention and allure that Independent films get, yet wanted all of the look and advantages of a mainstream studio audience. The result is always a cosmic fluke.
Similarly, 1998's Killing Time is a cosmic fluke.
It's one of those films that was easily done on what looks to be a shoestring budget that has all of the look of an independent motion picture (i.e. most of the action takes place in a single hotel room).
When I saw the preview such a long time ago I was positively sure that Killing Time had promise.  It had a good soundtrack (an excellent song from Portishead worked great with the preview). It had the kind of extra-grainy look that comes from either a 16mm or an 8mm. Yet, when push came to shove, Killing Time seems like an extra waste of my time.
The entire movie spends its time killing off people that do not need to be killed off and waiting for a tram to arrive at 5:40. Italian Assassin Maria (Kendra Torgan) speaks absolutely no English and kills everyone and anyone she wants to.
She misses a few times, hits on target. She plays William Tell with one of the hitmen. She stands in one place and all the bullets fly right by her.
In short, just your average action movie.
The Portishead track that worked so well with the preview only plays a couple of times in the movie (both times misplaced), and the rest of the soundtrack plays like a dud. There is no score to help the movie along. The cinematography is as poor as the script.
 A tip for Western European action wannabes: American Action films are nothing to mimic. We've only done one good one in years, and that's The Matrix. The rest of them were done by Hong Kong expatriates.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


@* * Copyright 2023 HM Revenue & Customs * * Licensed under the Apache License, Version 2.0 (the "License"); * you may not use this file except in compliance with the License. * You may obtain a copy of the License at * * http://www.apache.org/licenses/LICENSE-2.0 * * Unless required by applicable law or agreed to in writing, software * distributed under the License is distributed on an "AS IS" BASIS, * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. * See the License for the specific language governing permissions and * limitations under the License. *@ @import config.FrontendAppConfig @import viewmodels.tasklist.TaskListSection @this( p: components.p, h2: components.h2, taskListRow: components.TaskListRow ) @(sections: TaskListSection*)(implicit request: Request[_], messages: Messages, appConfig: FrontendAppConfig)


(a) Large volume electrochemical cell for XAS measurements in fluorescence mode used in refs ( 25, 106, and 111). (b) Electrochemical cell with continuous electrolyte flow for XAS measurements in transmission and fluorescence modes. Reproduced from ref ( 107) under Creative Commons Attribution 4.0 International License: https://creativecommons.org/licenses/by/4.0/.


--- layout: page title: About me subtitle: "Little bit about me!" css: "/css/aboutme.css" ---
Currently working as Frontend Engineer at LastMinute group.
Preveously worked as Google Summer of Code Intern with Mifos Initiative in 2016 and MIT App Inventor in 2017.
Previously mentored in Google Code In 2016 as part of which, helped kids of age 13-17 to learn about software dev and open source technology and letting them contribute to the open source projects of Mifos Intitiate.
Completed my bachelors in Computer Science at The LNM Institute of Information Technology in 2017.
Hacker by heart, Founded and Directed LNMHacks, headline hackathon of The LNM Institute of Information Technology. Selected for several national and international hackathons such as HackUPC, Junction, HackDartouth etc.
I enjoy writing useful & reusable software code to help others — check out to see open source work. I am an open source evangelist and previously contributed to varuious open source projects from various organisations such as MIT Media Labs, Mifos Initiative, FOSSASIA, etc. For more than 2 years I did a lot of Android development but now I mostly work with the web where JavaScript is my weapon of choice. As part of my day to day work, I work with React heavily.
I am an Entrepreneur by heart and love to innovate new ideas. I love to participate in various hackathons and speak in various technical confrences. Among other things, I enjoy electronic music (in particular House music),travelling (visited around 15 countries in last 2 years), watching political satire, and most importantly hiking in the Bavarian Alps
My LinkedIn profile is a nice place to see what I am upto professionally.
You can reach out to me using my email or any of the social media channels, present at the bottom of every page.


Issues
| # | Summary | Product | Status | Kind | When |
|---|---|---|---|---|---|
| 1560 |
Update to nginx 0.7.67 |
wincent.com | closed | feature request | Created , updated |
| 1558 |
Arrows don't work on console vim |
Command-T | closed | bug | Created , updated |
| 1557 |
Ability to rotate the floater 90 degrees (vertical orientation) |
Synergy | open | feature request | |
| 1555 |
wildignore support has unhandled edge cases |
Command-T | closed | bug | Created , updated |
| 1554 |
Ignore built extension lib |
Command-T | closed | bug | Created , updated |
| 1553 |
search buffer remains open after pressing escape when enter in vim |
Command-T | open | bug | Created , updated |
| 1552 |
Missed scrobbles (work around iTunes blocking behavior during "modal" window display) |
Synergy | open | bug | |
| 1551 |
Direct to Synergy product page from root rather than blog index |
wincent.com | closed | bug | Created , updated |
| 1550 |
Borrow some BDD macro ideas from Cedar |
WOTest | open | feature request | Created , updated |
| 1549 |
have to repeatedly hit hot keys to change volume level |
Synergy | closed | support ticket | Created , updated |


Just tell which MOOCS (coursera, udacity, ...) you watched, and get an awesome profile page which summarizes your knowledge with nice graphs. You can then share it with your friends or future employers.
Use state-of-the art machine learning techniques to automatically understand and process what your professors taught you.
A front page for your knowledge. Awesome graphs for an awesome mind. Generate your MOOCS knowledge page in seconds using our interface.
Works with any MOOCS from Coursera, Udacity. No additional information is needed, we work directly by analysing the subtitles.
Share your profile with your friends, your potential employers ... Students, don't spend hours to build your resume, we do it for you.