text:
Q: Why is the plus sign (+) before a string value accepted in Oracle? Ok, this is perhaps a quirkiness of the Oracle parser.
The following query works. Note the + before 'Y' on the last line.
SELECT *
  FROM (SELECT 'Y' AS field FROM DUAL
        UNION ALL
        SELECT 'X' AS field FROM DUAL) t
 WHERE t.field = +'Y'

Why is the Oracle parser accepting this? For a second I thought it was because of the old outer join syntax but in that syntax the + is surrounded with parentheses.
This works as well:
select +'Y1' from dual;

and this:
select 'A' || + 'Y1' from dual;

This works (oracle converts the string to a number):
select -'1' from DUAL;

but not this ([Error] Execution (223: 9): ORA-01722: invalid number
):
select -'A' from DUAL;

I wonder why the + can be used before a varchar2 value. The Arithmetic Operators section doesn't mention specific rules that would apply to string values.

A: The unary + operator is defined as identity See the Table 4-1 "SQL Operator Precedence" in About SQL Operators.
Also:
select + date '2015-01-01' from dual;

January, 01 2015 00:00:00

Edited to add.
"Identity" being to return its argument. For another example from a different language see Clojure's identity function. Wikipedia has a page for "identity function".

redpajama_set_name: RedPajamaStackExchange


text:
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La jeune maman a, quant à elle, dévoilé une partie du visage de son en...

redpajama_set_name: RedPajamaCommonCrawl


text:
package brut.androlib.res.decoder;

import brut.androlib.res.xml.ResXmlEncoders;
import brut.util.ExtDataInput;
import java.io.IOException;
import java.nio.ByteBuffer;
import java.nio.charset.*;
import java.util.Arrays;
import java.util.logging.Level;
import java.util.logging.Logger;

/**
 * @author Ryszard Wiśniewski <brut.alll@gmail.com>
 * @author Dmitry Skiba
 *
 *         Block of strings, used in binary xml and arsc.
 *
 *         TODO: - implement get()
 *
 */
public class StringBlock {

    /**
     * Reads whole (including chunk type) string block from stream. Stream must
     * be at the chunk type.
     */
    public static StringBlock read(ExtDataInput reader) throws IOException {
        reader.skipCheckChunkTypeInt(CHUNK_STRINGPOOL_TYPE, CHUNK_NULL_TYPE);
        int chunkSize = reader.readInt();

        // ResStringPool_header
        int stringCount = reader.readInt();
        int styleCount = reader.readInt();
        int flags = reader.readInt();
        int stringsOffset = reader.readInt();
        int stylesOffset = reader.readInt();

        StringBlock block = new StringBlock();
        block.m_isUTF8 = (flags & UTF8_FLAG) != 0;
        block.m_stringOffsets = reader.readIntArray(stringCount);
        block.m_stringOwns = new int[stringCount];
        Arrays.fill(block.m_stringOwns, -1);

        if (styleCount != 0) {
            block.m_styleOffsets = reader.readIntArray(styleCount);
        }
        {
            int size = ((stylesOffset == 0) ? chunkSize : stylesOffset) - stringsOffset;
            block.m_strings = new byte[size];
            reader.readFully(block.m_strings);
        }
        if (stylesOffset != 0) {
            int size = (chunkSize - stylesOffset);
            block.m_styles = reader.readIntArray(size / 4);

            // read remaining bytes
            int remaining = size % 4;
            if (remaining >= 1) {
                while (remaining-- > 0) {
                    reader.readByte();
                }
            }
        }

        return block;
    }

    /**
     * Returns number of strings in block.
     */
    public int getCount() {
        return m_stringOffsets != null ? m_stringOffsets.length : 0;
    }

    /**
     * Returns raw string (without any styling information) at specified index.
     */
    public String getString(int index) {
        if (index < 0 || m_stringOffsets == null || index >= m_stringOffsets.length) {
            return null;
        }
        int offset = m_stringOffsets[index];
        int length;

        if (m_isUTF8) {
            int[] val = getUtf8(m_strings, offset);
            offset = val[0];
            length = val[1];
        } else {
            int[] val = getUtf16(m_strings, offset);
            offset += val[0];
            length = val[1];
        }
        return decodeString(offset, length);
    }

    /**
     * Not yet implemented.
     *
     * Returns string with style information (if any).
     */
    public CharSequence get(int index) {
        return getString(index);
    }

    /**
     * Returns string with style tags (html-like).
     */
    public String getHTML(int index) {
        String raw = getString(index);
        if (raw == null) {
            return raw;
        }
        int[] style = getStyle(index);
        if (style == null) {
            return ResXmlEncoders.escapeXmlChars(raw);
        }
        StringBuilder html = new StringBuilder(raw.length() + 32);
        int[] opened = new int[style.length / 3];
        int offset = 0, depth = 0;
        while (true) {
            int i = -1, j;
            for (j = 0; j != style.length; j += 3) {
                if (style[j + 1] == -1) {
                    continue;
                }
                if (i == -1 || style[i + 1] > style[j + 1]) {
                    i = j;
                }
            }
            int start = ((i != -1) ? style[i + 1] : raw.length());
            for (j = depth - 1; j >= 0; j--) {
                int last = opened[j];
                int end = style[last + 2];
                if (end >= start) {
                    break;
                }
                if (offset <= end) {
                    html.append(ResXmlEncoders.escapeXmlChars(raw.substring(offset, end + 1)));
                    offset = end + 1;
                }
                outputStyleTag(getString(style[last]), html, true);
            }
            depth = j + 1;
            if (offset < start) {
                html.append(ResXmlEncoders.escapeXmlChars(raw.substring(offset, start)));
                offset = start;
            }
            if (i == -1) {
                break;
            }
            outputStyleTag(getString(style[i]), html, false);
            style[i + 1] = -1;
            opened[depth++] = i;
        }
        return html.toString();
    }

    private void outputStyleTag(String tag, StringBuilder builder, boolean close) {
        builder.append('<');
        if (close) {
            builder.append('/');
        }

        int pos = tag.indexOf(';');
        if (pos == -1) {
            builder.append(tag);
        } else {
            builder.append(tag.substring(0, pos));
            if (!close) {
                boolean loop = true;
                while (loop) {
                    int pos2 = tag.indexOf('=', pos + 1);

                    // malformed style information will cause crash. so
                    // prematurely end style tags, if recreation
                    // cannot be created.
                    if (pos2 != -1) {
                        builder.append(' ').append(tag.substring(pos + 1, pos2)).append("=\"");
                        pos = tag.indexOf(';', pos2 + 1);

                        String val;
                        if (pos != -1) {
                            val = tag.substring(pos2 + 1, pos);
                        } else {
                            loop = false;
                            val = tag.substring(pos2 + 1);
                        }

                        builder.append(ResXmlEncoders.escapeXmlChars(val)).append('"');
                    } else {
                        loop = false;
                    }

                }
            }
        }
        builder.append('>');
    }

    /**
     * Finds index of the string. Returns -1 if the string was not found.
     */
    public int find(String string) {
        if (string == null) {
            return -1;
        }
        for (int i = 0; i != m_stringOffsets.length; ++i) {
            int offset = m_stringOffsets[i];
            int length = getShort(m_strings, offset);
            if (length != string.length()) {
                continue;
            }
            int j = 0;
            for (; j != length; ++j) {
                offset += 2;
                if (string.charAt(j) != getShort(m_strings, offset)) {
                    break;
                }
            }
            if (j == length) {
                return i;
            }
        }
        return -1;
    }

    private StringBlock() {
    }

    /**
     * Returns style information - array of int triplets, where in each triplet:
     * * first int is index of tag name ('b','i', etc.) * second int is tag
     * start index in string * third int is tag end index in string
     */
    private int[] getStyle(int index) {
        if (m_styleOffsets == null || m_styles == null|| index >= m_styleOffsets.length) {
            return null;
        }
        int offset = m_styleOffsets[index] / 4;
        int style[];
        {
            int count = 0;
            for (int i = offset; i < m_styles.length; ++i) {
                if (m_styles[i] == -1) {
                    break;
                }
                count += 1;
            }
            if (count == 0 || (count % 3) != 0) {
                return null;
            }
            style = new int[count];
        }
        for (int i = offset, j = 0; i < m_styles.length;) {
            if (m_styles[i] == -1) {
                break;
            }
            style[j++] = m_styles[i++];
        }
        return style;
    }

    private String decodeString(int offset, int length) {
        try {
            return (m_isUTF8 ? UTF8_DECODER : UTF16LE_DECODER).decode(
                    ByteBuffer.wrap(m_strings, offset, length)).toString();
        } catch (CharacterCodingException ex) {
            LOGGER.log(Level.WARNING, null, ex);
            return null;
        }
    }

    private static final int getShort(byte[] array, int offset) {
        return (array[offset + 1] & 0xff) << 8 | array[offset] & 0xff;
    }

    private static final int getShort(int[] array, int offset) {
        int value = array[offset / 4];
        if ((offset % 4) / 2 == 0) {
            return (value & 0xFFFF);
        } else {
            return (value >>> 16);
        }
    }

    private static final int[] getUtf8(byte[] array, int offset) {
        int val = array[offset];
        int length;

        if ((val & 0x80) != 0) {
            offset += 2;
        } else {
            offset += 1;
        }
        val = array[offset];
        if ((val & 0x80) != 0) {
            offset += 2;
        } else {
            offset += 1;
        }
        length = 0;
        while (array[offset + length] != 0) {
            length++;
        }
        return new int[] { offset, length};
    }

    private static final int[] getUtf16(byte[] array, int offset) {
        int val = ((array[offset + 1] & 0xFF) << 8 | array[offset] & 0xFF);

        if (val == 0x8000) {
            int high = (array[offset + 3] & 0xFF) << 8;
            int low = (array[offset + 2] & 0xFF);
            return new int[] {4, (high + low) * 2};
        }
        return new int[] {2, val * 2};
    }

    private int[] m_stringOffsets;
    private byte[] m_strings;
    private int[] m_styleOffsets;
    private int[] m_styles;
    private boolean m_isUTF8;
    private int[] m_stringOwns;

    private final CharsetDecoder UTF16LE_DECODER = Charset.forName("UTF-16LE").newDecoder();
    private final CharsetDecoder UTF8_DECODER = Charset.forName("UTF-8").newDecoder();
    private static final Logger LOGGER = Logger.getLogger(StringBlock.class.getName());

    // ResChunk_header = header.type (0x0001) + header.headerSize (0x001C)
    private static final int CHUNK_STRINGPOOL_TYPE = 0x001C0001;
    private static final int CHUNK_NULL_TYPE = 0x00000000;
    private static final int UTF8_FLAG = 0x00000100;
}

redpajama_set_name: RedPajamaGithub


text:
Category Archives: Hamlet
The 10 best Hamlets
30 Αυγούστου, 2010 – 4:14 πμ
From David Tennant's sardonic and volatile performance to John Gielgud's choked-up ferocity, Susannah Clapp picks the 10 best portrayals of Hamlet
Susannah Clapp
The Observer,	Sunday 22 August 2010
Illustration of English actors Ellen Terry and Henry Irving in Hamlet. Photograph: Time Life Pictures/Getty Image
Henry Irving
In the 1870s, Henry Irving was the most popular actor on the London stage. He produced himself in Hamlet in a version that, though heavily cut, was, due to long intervals with incidental music and elaborate scene-changes, more than five hours long. For Yeats, he was a «lean image of hungry speculation». In pale make-up, his white face emphasised by blue-black hair, Irving was also a lovable, scholastic prince. Playing opposite his future lover, Ellen Terry (above), he clearly yearned for Ophelia. Terry paid him a cherishable compliment: he «did not go to the audience. He made them come to him».
John Gielgud posing in costume as Hamlet. Photograph: Hulton Archive/Getty Images
John Gielgud
He became the Hamlet by which 20th-century performances were judged. John Gielgud played the role more than 500 times, in six productions: at 26 and at 44, in London, in Elsinore, and on Broadway, where he triumphed over a production starring Leslie Howard. At the end of the second world war, he performed for troops in the Far East, although he had «rather wanted to do Charley's Aunt«. A 1941 radio recording demonstrates his wonderful power, capturing not only the mellifluousness for which he was famous, but a choked-up ferocity. He could make paralysis sound like an assault on himself.
It was a device of the director Richard Eyre that made Jonathan Pryce's terrific, febrile Hamlet soar. Looking for a way to make sense of the Ghost to a sceptical audience, Eyre hit on the notion of a spirit that came out of the prince's own body. Pryce, his arms wrapping round his body, hand reaching up to his throat, seemed to vomit up the sepulchral voice of the old fellow. He was also one of many actors to have played the part of Hamlet under the influence of a parent's death. «I approached Hamlet,» Pryce said, «as someone who had seen his own father's ghost.»
David Tennant as the Prince of Denmark in the RSC's 2008 production. Photograph: Ellie Kuurtz/RSC
Sardonic and volatile, David Tennant's Hamlet was so graceful that at times he seemed almost to dance across the stage. The idea of seeing Dr Who in the flesh brought schoolchildren thronging into Gregory Doran's modern-dress production for the RSC two years ago. What they saw was a japester who pushed himself squealing along on a caster chair, a young man sunk in a melancholy dream and a prince of parody, a compulsive mimic who kept becoming someone other than himself. This was a Hamlet who continually played with the idea that wit can look like witlessness. And vice versa.
Anastasia Vertinskaya as ophelia and Innokenti Smoktunovsky as Hamlet. Photograph: Ronald Grant Archive
Innokenti Smoktunovsky
For sheer excitement, the 1964 Russian film directed by Grigori Kozintsev is hard to beat. Innokenti Smoktunovsky's strong, disgusted prince was utterly of a piece with Kozintsev's political interpretation. Based on a translation by Pasternak, with music by Shostakovich, much of the action was set outside, with crashing waves, battlements and a large cast of underlings. For non-Russian speakers, the delivery of the verse ceased to be the point. What became clear was something often missing from more personally inflected interpretations: the sense that Hamlet's actions, or lack of them, have weighty public consequences.
Jamie Ballard in Jonathan Miller's Hamlet
In Jonathan Miller's 2008 production at the Tobacco Factory in Bristol, Jamie Ballard was an almost revolutionarily sane Hamlet: flushed, disturbed but clear-sighted. This was Hamlet as a young man whose incisive mind was running away with itself. He was also a prince with a finely articulated past: from the beginning, he eyed up Laertes suspiciously; he debated with the adroitness and avidity of the philosophy student that he was; he seemed (unusually) truly to be in love with Ophelia. When he cried, he blubbed like a man whose flesh – and substance – really was beginning to melt.
He spoke the verse conversationally. He slouched. He looked trapped by his elders. In 1965, the 24-year-old David Warner, the youngest actor to have taken on the role at the RSC, played Hamlet in a long red scarf and a corduroy jacket and became a pin-up for a generation of teenagers. Peter Hall's production, in which Glenda Jackson was an aggressive beatnik Ophelia, had touches of absurdist drama, but Warner's demeanour was rebellious, surly: «nasty» was how he described himself. His duel looked dangerous and, in keeping with his prevailing irony, he died on a sardonic laugh.
Mark Rylance let Hamlet's madness rip across the stage. In Ron Daniels's 1989 production, derangement was stripped of any stage decorativeness. Rylance, wearing striped, shit-stained pyjamas, was wild. He mooned, he jeered, he spat in Ophelia's face. He exercised his exceptional gift of seeming entirely rapt in his own mental universe and yet speaking directly to the audience, as if he were alighting on particular individuals. When the production was performed in Broadmoor, one of his inmate spectators approached him afterwards: «You were really mad – take it from me, I should know. I'm a loony.»
Angela Winkler in Peter Zadek's production of Hamlet. Photograph: Murdo Macleod
Angela Winkler
Angela Winkler was by no means the first woman to play Hamlet. But in Peter Zadek's production, seen at the Edinburgh festival 10 years ago, the German actress bought something other than femininity to the part. Winkler was Hamlet as waif, always engaging, sometimes too endearing: she jumped for joy at the sight of the Players. Against a grim grey background and a prevailing note of snarling anarchy, surrounded by well-upholstered courtiers, this ragamuffin, spindly prince looked like a changeling and behaved with innocence. She delivered the soliloquies, scarcely moving, looking straight out into the audience with an extreme candour.
Simon Russell Beale as Hamlet at the Lyttelton in 2000. Photograph: Tristram Kenton
Simon Russell Beale
Ironic, heartfelt, spoken with exemplary clarity, Simon Russell Beale's Hamlet was a study of grief. And a performance that radiated intelligence. Russell Beale, acting in John Caird's cathedral-like production in 2000, soon after the death of his own mother, was often almost totally still, as if misery were making him heavy. And yet Beale could flash into sudden liveliness: when he talked of hawks, he suggested – without exactly mimicking – the cocked head of a bird of prey. And when he approached the point of death, he made you believe, as is seldom the case, that the readiness is all.
Από damiza | Also posted in Αμλετ | Comments (0)
The Fine Mismating of a Him and Her
7 Νοεμβρίου, 2009 – 8:20 πμ
Gugu Mbatha-Raw and Jude Law in the Donmar Warehouse production of "Hamlet," directed by Michael Grandage.
By BEN BRANTLEY
The New York Times: September 9, 2009
YOU know the scenario: Boy meets girl. Boy hits girl. Girl hits boy. And the fight continues, amid thick hormonal steam, until one of them doesn't get up.
It has been well over a century since August Strindberg forged the template for this savage alternative to the sentimental love story. When published in 1888, his fast, cruel and muscular little drama about a well-brought-up young woman known as Miss Julie — who, by the way, looks to be the muse of this fall's theater season — was greeted with the kind of welcome reserved for a slop bowl on a doorstep.
"A heap of ordure," wrote one journalist in Strindberg's native Sweden of "Miss Julie," which was understandably slow to find theatrical producers. Another reviewer described it as "a filthy bundle of rags which one hardly wishes to touch even with tongs." Exciting, huh? When critics spewed like that, you knew that something serious was going on.
And so it has proved. Strindberg's self-destructive heroine, who falls into a fatal liaison with her father's footman, took a while to find her stage legs in this country. But once she did, there was no avoiding her influence. Hollywood might continue to prefer sunnier romantic formulas that ended with weddings instead of funerals. But theater artists, including the Olympian American dramatists Eugene O'Neill and Tennessee Williams, figured out that nothing strikes sparks like characters for whom making love and war is the same thing.
The next few months will find an assortment of marquee stars picking up their Strindbergian weapons and testing their muscles against the opposite sex. These are not featherweight matches. Miss Julie herself — or an identical British cousin of hers — returns to New York in the person of the eternal starlet Sienna Miller, bearing arms against Jonny Lee Miller as her erotic adversary, in Patrick Marber's "After Miss Julie," which reimagines Strindberg's play in an English country house in 1945 and opens Oct. 22 at the American Airlines Theater. (The author of the bleak and biting "Closer," the love-is-death psychodrama that was made into a film, Mr. Marber is naturally suited to such material.)
The Oscar-winning chameleon Cate Blanchett steps into the well-worn dressing gown of Blanche DuBois in the Sydney Theater Company's production of "A Streetcar Named Desire," Williams's benchmark drama of beauty versus brutality, which runs Nov. 27 through Dec. 20 at the Brooklyn Academy of Music. Bill Pullman and Julia Stiles come to blows in "Oleanna," David Mamet's 1992 play about sexual harassment, set on a college campus, directed by Doug Hughes, which starts previews this month at the Golden Theater. And to remind us that love as a death sport did exist before Strindberg, Jude Law will be on hand to push his girlfriend into madness and a watery grave in the title role of the Donmar Warehouse's production of "Hamlet," opening Oct. 6 at the Broadhurst Theater, directed by Michael Grandage.
The nail-biting question is whether these stars, all better known for film than stage work, will plumb the full complexity of characters who are more than their battle positions. (It seems fitting that "Streetcar" is being directed by Liv Ullmann, who became famous acting in film for one of the most nuanced anatomists of sexual conflict and its casualties, Ingmar Bergman.) In great drama, man against woman is never just a story of yin and yang, or of the clear-cut quest for dominance so memorably portrayed in James Thurber cartoons.
You want the actors to give good fight but also to reveal the restless psyches within that keep the balance of power unsettled. And it's crucial that they make it clear that issues other than sexuality, riveting though that may be, are at stake. Of these the most obvious is — to use what has become a dirty word in recent years — class.
The romantic adversaries of "Miss Julie" glare at each other across a great social divide before crossing it with disastrous consequences. She's an anemic relic of a crumbling Swedish aristocracy; he's the full-blooded member of a rising working class. Mr. Marber didn't have to look hard to find their parallels in 20th-century England. "After Miss Julie" takes place on the night of the epochal landslide victory by the Labour Party, which many upper-class Britons took as a personal death knell. (Such cultural transliterations in theater can feel painfully strained. But when I saw the Donmar Warehouse's "After Miss Julie" in London in 2004, Strindberg's poisoned story nestled most comfortably in its new context.)
As remnants of dying civilizations go, Blanche DuBois is even more threadbare than Miss Julie, though she holds on to enough life force to go a few rounds with the blue-collar lug Stanley Kowalski (Joel Edgerton in this version) before he breaks her spirit. In "Oleanna," arguably the ultimate he-said, she-said drama, Mr. Mamet reverses the equation, pitting a defensive and undereducated graduate student against a pedantic professor. Like Blanche and Stanley, Carol (Ms. Stiles) and John (Mr. Pullman) speak different languages. The only way they're going to connect — for better or worse — will have to be beyond words.
As pungent and even transcendent as the dialogue is in these plays, it's that area beyond words where we need actors to take us: a place where sex and class blur at the edges, and identity is in crisis. It may be the fights, the fusillades of accusations and insults, that raise our adrenaline. But the vision of personalities shifting and warping under threat is finally what haunts us.
In his much-quoted preface to "Miss Julie," Strindberg wrote, "My souls (or characters) are agglomerations of past and present cultures, scraps from books and newspapers, fragments of humanity, torn shreds of once-fine clothing that has become rags, in just the way that a human soul is patched together."
Of course the plays in this mold must exude the heat of battle. That's a large part of what makes them so compulsively watchable. But like all great war stories, when they show us the scars and stitches — of both the victors and the defeated — they move us to terror and pity.
At the Stage Door
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Interactive Feature
Memorable Hamlets
Hello, Sweet Prince (September 6, 2009)
Craig Schwartz
Julia Stiles and Bill Pullman in David Mamet's "Oleanna," directed by Doug Hughes. Top left,
Από damiza | Also posted in BRANTLEY BEN, Αμλετ | Comments (0)
Δεν άρεσε σε όλους ο Τζουντ Λο ως Αμλετ…
11 Οκτωβρίου, 2009 – 7:44 πμ
Ανάμεικτες εντυπώσεις άφησε ο Τζουντ Λο ως Αμλετ στην πρεμιέρα του ομώνυμου θεατρικού έργου του Σαίξπηρ στη σκηνή του Μπρόντγουεϊ. Τρεις μεγάλες εφημερίδες της Νέας Υόρκης αποκαλούν την ερμηνεία του «ηλεκτρισμένη» και επαινούν το μοναδικό ταλέντο του, που του δίνει άλλη υπόσταση από αυτήν που του έχουν προσδώσει τα σκάνδαλα της ερωτικής του ζωής. Ωστόσο, υπάρχουν και άλλες δύο σημαντικές εφημερίδες που μιλούν για «μεγάλη απογοήτευση», χρησιμοποιώντας βαριές εκφράσεις. Οπως και να χει, αυτή είναι η δεύτερη φορά που ο Λο εμφανίζεται στο Μπρόντγουεϊ μετά τη βραβευμένη με Τόνι ερμηνεία του στις «Αδιακρισίες», το 1995. [ΕΘΝΟΣ]
THEATER REVIEW | 'HAMLET'
Ready, Set, Emote: A Race to His Doom
By BEN BRANTLEY, Published: October 7, 2009
If vigor were all in acting Shakespeare, Jude Law would be a gold medal Hamlet. Playing the doomed Prince of Denmark in the barnstorming production that opened on Tuesday night at the Broadhurst Theater, directed by Michael Grandage, Mr. Law approaches his role with the focus, determination and adrenaline level of an Olympic track competitor staring down an endless line of hurdles.
Sara Krulwich/The New York Times
«Hamlet»: Jude Law plays the Danish prince at the Broadhurst Theater.
Hold your breath, sports fans! Here's Mr. Law, lithe and taut, bracing himself for that first tricky soliloquy, "O that this too too solid flesh would melt." No melting here. Mr. Law, gesturing and enunciating violently, nails the speech with the attack of an electric hammer. But can he keep it up for "O what a rogue and peasant slave am I" and "To be or not to be" and "Alas, poor Yorick"? Yes, he can, bringing the same athletic gusto and no trace of fatigue (or modulation) to each and every one.
People who ask for a little introspection from the man whose name is a byword for that activity may find it perplexing that this Hamlet never seems to look inward, which means that he never grows up — or grows, period. When Mr. Law's hyperkinetic Dane announces early that "I have that within which passeth show," it is a promise that will not be fulfilled.
Mr. Law, a rakish leading man of film, doesn't disappear onstage the way some screen stars do. Though small-boned and delicately featured, he fills the theater to the saturation point. But the finer shades of feeling that a movie camera has been known to extract from his face — most notably in his Oscar-nominated performance in "The Talented Mr. Ripley" (1999) — are rarely in evidence here.
His Hamlet — which has only increased in intensity, if not in depth, since I saw it in London last summer — is, above all, an externalizer, never shy about acting out his inner conflicts and acting on his instincts. It is hard to understand the distress of Hamlet's friends and family when he feigns madness, since the prince, in this case, appears to be as he always was: sarcastic, contemptuous, quick-witted and mad only in the sense of being really, really angry.
Mr. Law conveys these traits with a grandstanding bravado and annotative clarity that is often pitched full throttle into the audience. The much-quoted instructions that Hamlet delivers to a troupe of visiting players apparently do not apply to princes in mourning. This one mouths his words like a town crier and saws the air with his hands.
He does follow his own advice in suiting "the action to the word, the word to the action." If Hamlet talks about his mind, you can bet that Mr. Law will point to his forehead; when he mentions the heavens, his arm shoots straight up; and when the guy says his gorge rises, rest assured that he clutches at his stomach. If every actor were like Mr. Law, signed performances for the hard of hearing would be unnecessary.
Most of the supporting cast members have chosen to follow Mr. Law's semaphore style, though in a scaled-down manner that befits a team that knows its raison d'être is to avoid obstructing the view of the name above the title. (As Gertrude, Hamlet's mother, Geraldine James goes for a more impassive effect, and as a consequence, vanishes before your eyes.) Though the look of Christopher Oram's black-on-black set (exquisitely lighted by Neil Austin) is very of the moment, the overall effect is what you imagine a 19th-century touring production of "Hamlet" might have been like, with a crowd magnet like Edwin Booth or Henry Irving.
Such histrionic bluster, enhanced by Adam Cork's scary-movie music and sound effects, is not without its advantages. This is one production in which I could understand every word, and you feel the heat of energy from the stage. In the sequence in which Hamlet and the Player King (the resonant-voiced Peter Eyre, who doubles memorably as the weary, tortured ghost of Hamlet's father) swap favorite memorized speeches from hoary old tragedies, you sense the pleasure the characters and the men playing them derive from the ripe theatricality of it all.
But that's one of the few times you are viscerally connected to the people onstage. As the artistic director of the Donmar Warehouse, Mr. Grandage has been responsible for some of the most emotionally engaging shows I've seen in London in recent years, including marvelous revivals of "Passion Play," "The Wild Duck" and "Caligula." (He was nominated for a Tony for his ingenious staging of Peter Morgan's "Frost/Nixon.")
His "Hamlet" generates little psychological tension, though. And it is remarkably lacking in the vivid, specific characterizations you expect of Shakespeare in performance. If the actors playing the villainous Claudius (Kevin R. McNally) and the pompous Polonius (Ron Cook) — or the stalwart Horatio (Matt Ryan) and the aggrieved Laertes (Gwilym Lee) — changed parts midway, I doubt anyone would care much. It's as if they were all Rosencrantzes and Guildensterns (played here, for the record, by John MacMillan and Harry Attwell).
Granted, Mr. Law doesn't give his fellow actors much in the way of interpersonal connection. When Polonius tells his daughter, Ophelia (the beautiful, unconvincing Gugu Mbatha-Raw), that Hamlet is "out of thy star," he could be speaking to anyone. This Hamlet occupies — nay, is — his own constellation, and his radiance is bestowed almost exclusively upon the audience.
Still, Mr. Law's undeniable charisma and gender-crossing sex appeal may captivate Broadway theatergoers who wouldn't normally attend productions of Shakespeare. (When I caught the show in London I was heartened by the sizable presence of teenagers who seemed truly enthralled by the performance.) And, by the way, the sleeves on which Hamlet wears his feelings are seriously chic.
Mr. Oram has created an array of Pradaesque costumes — in shades of black, gray and navy — that could step right into the windows of Barneys. Hamlet's cardigan, short raincoat and pea jacket are all must-have items for fall. If Mr. Law's Prince seems way too active for a hero known for inaction, no one is going to argue when Ophelia calls him "the glass of fashion."
By William Shakespeare; directed by Michael Grandage; sets and costumes by Christopher Oram; lighting by Neil Austin; music and sound by Adam Cork; technical supervisors, Aurora Productions and Patrick Molony. A Donmar Warehouse production, presented by Arielle Tepper Madover, the Donmar Warehouse, Matthew Byam Shaw, Scott M. Delman, Stephanie P. McClelland, Neal Street Productions/Carl Moellenberg, Ruth Hendel/Barbara Whitman and Philip Morgaman/Frankie J. Grande. At the Broadhurst Theater, 235 West 44th Street, Manhattan; (212) 239-6200. Through Dec. 6. Running time: 3 hours 15 minutes.
WITH: Ross Armstrong (Cornelius), Harry Attwell (Guildenstern), Ron Cook (Polonius/First Gravedigger), Ian Drysdale (Osric), Peter Eyre (Ghost/Player King), Sean Jackson (Reynaldo), Geraldine James (Gertrude), Jude Law (Hamlet), Gwilym Lee (Laertes), John MacMillan (Rosencrantz), Gugu Mbatha-Raw (Ophelia), Kevin R. McNally (Claudius) and Matt Ryan (Horatio).
Audio Slide Show
Behind the Scene: 'Hamlet'
Times Topics: Jude Law | William Shakespeare
Jude Law in the title role of a kinetic "Hamlet."
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We never imagined the day we wouldn't feel safe in our own school. Our agency is devastated by the recent news of the Rancho Tehama Elementary School and want to help those impacted by the mass shooting.
We are raising funds to unite the community after this tragedy and help out where we can. The funds raised will go towards medical expenses, physical therapy and household needs and bills while Tiffany's husband, Johnny, takes off work to care for his family.
Recommend your friends, family, and co-workers to receive an insurance quote from us and we'll donate $10 for every person you recommend! It's that easy!!!
They only need to receive a quote – there is no obligation to purchase.
Getting involved has never been so simple – or Free!


(Warning, might need kleenex to watch this) One of the most beautiful stories of 2 young men and a lion and a story that was said to be impossible for them to meet up with him again. Absolutely incredible love between 3 BEings.
Two guys buy the lion from Harrods Department store because they could not stand seeing it in the cage. Christian got too big and it was not working living in their apartment. So they sought out places to take him and then set out to set his soul free.
Research this yourself online. Some beautiful footage and an amazing story.
Click on Picture to enlarge and see some of the other offerings of this story of Christian and his friends.
WOW – tons of footage – 7 more videos of Christian that I have never seen before. There is so much more to this original story~ InJOY – sit back and open your heart.


As a dad, what can you do to make the most of the limited time your kids are at home? Jeff Kemp shares what was important to his dad, which Jeff passed along to his own kids. Bill Bennett-a colleague and good friend of Jeff's late father, Jack Kemp-shares his own observations.


Hello everyone, my name is Clarissa. I am Indonesian Chinese. I've lived in South Korea and Indonesia.
Sometimes people can't guess what my ethnicity is. They think I'm either Japanese, Korean, Chinese, Singaporean, Filipino, or Taiwanese, especially when I lived in South Korea or traveled outside Indonesia.
Being Hapa is a blessing for me. I've learned to be a chameleon, to be open minded, and to respect different points of view.
South Korea feels like my second home. I am getting used to the culture there and loving it. I've made close friends from diverse nations and I believe friendship is the language everyone can speak regardless of nationality. I make friends with everyone, and I try to appreciate people for their personality and their heart because I believe that's the important thing.
I celebrate both Indonesian Independence Day and Chinese New Year. I've never seen myself as only Indonesian or only Chinese, because I am part of both, and I am happy to be Hapa.
Being Hapa has given me an appetite for language, travel, and meeting people because it's so natural for me to absorb and speak multiple languages. I adore the beauty of languages. I can speak Korean, Japanese, Indonesian, English, German, and also a little bit of Chinese.


Your HVAC systems play an important role in maintaining fresh air and temperature in your home. Season changes can be harsh and your HVAC system backs you up with the heating and cooling. Summer and winter can be harsh sometimes, and you do not want to have a damage HVAC during those seasons.
Your HVAC systems can be difficult to maintain on your own. Call the experts or professional HVAC system maintenance service or look for an Indianapolis HVAC Repair to check your systems for damages or if it needs a clean-up. Most of the time we forget to that having the pros check them will help to assess problems and damages to keep any kind of system you have at home especially your HVAC systems.
During the summer, you will be turning up your air conditioners, and this might result to push your HVAC systems capacity. Try to look out for outdoor solutions. During the summer, maintain the landscape. Trimming your trees and bushes might not help in absorbing the heat. Plants around your property will maintain a fresh and cool air so can freely open your windows and take in fresh air inside your home and use the AC some other time.
All HVAC systems have air filters. Air filters catch the dust and other dust that comes insides the air vents. This makes sure that the air circulating in your home. However, overtime dust and dirt can accumulate on your air filters and it can damage your HVAC system. Your HVAC system can perform poorly and could also result to higher bills. Cool air or heating cannot go through, and you will be forced to turn the temperature higher. Check your air filters now and prevents damage.
Summer is the season of heat and beach. Your HVAC system will be put to the test, rather than wearing them out during the whole summer, search for tips where you can minimize you AC usage. Try using thin layers of curtains or keep the windows open during the day. At night try to keep it cool as well by opening some windows to let the air flow, just make sure you have grills for safety.
It does not take a lot of effort to keep your HVAC system well maintained. You just have to be alert at all times and regularly check its performance. You can also ask the HVAC experts to help you check and clean you HVAC systems.


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Posted on December 16, 2013 at 4:05 pm.
Optimus had provided professional healthcare design services to Glens Falls Hospital for a number of years on a variety of projects when the hospital requested our assistance with its Wilton Medical Center at Exit 16 on US Route 87 (the North Way).
In 2012, Optimus prepared a master plan to expand and maximize the long term healthcare development for this eight acre medical campus. A new eye surgery center had been proposed for attachment to the existing Medical Center. This compromised the existing building, as well as the long term development on the site. Optimus addressed this by locating the ASC in a position to anchor a new larger medical building.
Before designing the Eye Surgical Center building, Optimus studied exterior design, details, finishes and colors that would unify the new Eye Surgical Center with the existing Medical Center building. The above photos show this process. The original Medical Center colors were tan and brown which did not reinforce the Adirondack character that this gateway medical campus deserved. The Eye Center photo above depicts the character that Optimus identified as being most appropriate and effective for this north country campus. The Medical Center will eventually be painted to match the Eye Center which opened in 2013.


From time to time the total inadequacy of our parliamentary democracy is brought starkly into view. Today is one of those occasions.
Can it possibly be anything other than deeply dangerous and anti-democratic for the ruling party to make decisions on the funding of opposition parties?
Yet that is exactly what George Osborne has just done. He is proposing to take away almost a fifth of taxpayer funding from Labour and other opposition parties.
Given Labour and the Lib Dems in particular rely heavily on so-called Short Money, this seems nakedly political, striking at the heart of the opposition's ability to hold the executive to account.
Therefore, subject to confirmation by Parliament, the government proposes to reduce Short Money allocations by 19%, in line with the average savings made from unprotected Whitehall departments over this Spending Review. Allocations will then be frozen in cash terms for the rest of the Parliament, removing the automatic RPI indexation. Policy Development Grant allocations will also be reduced by a similar proportion, ensuring that political parties in receipt of taxpayer-funding contribute to the savings being asked of local and central government.
← Chancellor, with these council tax rises you are really spoiling us!


Republican senators have confirmed what women already know: Many men do not listen to women and, even if they are forced to listen, they do not believe women.
Dr. Christine Blasey Ford is a very brave woman, giving her testimony in the face of the expected disbelief and scorn from wealthy white men. Men can be confident that they will always be believed over any mere woman.
One can't help wondering what could have made senators believe Dr. Ford. Perhaps if she had two or three privileged white male witnesses when Brett Kavanaugh sexually assaulted her? But probably not; even if a woman had the foresight to take along witnesses when she feared assault, male witnesses probably would suffer the same loss of memory as Kavanaugh claimed.
Dr. Ford persisted, although she surely knows, as most women do, that privileged white men often suffer amnesia and denial when confronted. The only thing more painful than relating the most harrowing event in one's life is to be faced with the perpetrator's flat denial that it ever happened and to be disbelieved by the men who control this country.
How about some affirmative action for women? For more than three centuries, from the Founding Fathers to today, women have been treated as inferiors and ignored or disbelieved. How about treating women as equals (dare I say superiors?) to men, listening to them, and believing them the next 300 years?


text:
No one picks up Canberra's call, warns first envoy
Australia is at risk of being left out in the cold with China, with few government-to-government communication lines open for a diplomatic resolution to the stand-off.
Michael SmithNorth Asia correspondent
Updated Sep 1, 2020 – 7.33am, first published at 12.01am
Australia's first ambassador to China has warned that the relationship between the two countries could get even worse because of the breakdown in normal communication channels between Canberra and Beijing.
Stephen Fitzgerald, who helped to establish Australia's diplomatic ties with Mao Zedong's China in 1971, warned that relations would continue to break down unless Canberra found a way to rebuild the network of personal ties with China's leaders which has largely disappeared since the Hawke and Howard governments.
China's foreign minister, Chiao Kuan-Hua, and Australia's ambassador to China, Stephen Fitzgerald, in a deep conversation in 1975.
"That is very serious," he told The Australian Financial Review.
"You have to be able to pick up the phone and talk to your opposite number at the very highest level.
"There is no one in Canberra in the government or the Opposition who can pick up the phone and talk to the people at the top in China."
Fitzgerald is one of a group of former diplomats and government ministers involved in Canberra's dealings with Beijing over the past three decades to warn that a collapse in personal relationships and diplomatic back channels has left Australia out in the cold.
Last month, Prime Minister Scott Morrison said it was up to China's President, Xi Jinping, to pick up the phone and open dialogue.
Australia is responsible for the current tense situation in the China-Australia relationship. Whoever started the trouble should end it.
— China's foreign ministry
Trade Minister Simon Birmingham has also complained that his counterpart in China would not take his calls.
But China watchers also point to rising authoritarianism under Xi's leadership, along with the Trump administration's nativist approach to trade and diplomacy, for the deterioration in relations.
Assumptions by successive governments in Australia that China's growing wealth would lead towards political liberalism had also caught Canberra off-guard.
Their comments came as the bilateral relationship sinks to new lows, with the Morrison government stepping up measures to counter Chinese infiltration, and Beijing launching an anti-dumping inquiry into Australian wine imports. China last week also banned exports from a fifth Australian meatworks.
While the Morrison government has made it clear it would not succumb to Beijing's bullying, China's foreign ministry said it was up to Australia to get the relationship back on track.
"Australia is responsible for the current tense situation in the China-Australia relationship. Whoever started the trouble should end it," China's foreign ministry said in response to written questions from The Australian Financial Review.
Work the back channels
Speaking about the stand-off, Fitzgerald said when he worked with former prime minister Gough Whitlam to establish relations with China under Mao, they had to use personal connections to open up back channels and eventually get access to senior officials.
He said there were always ways to work with even the most "unsavoury" regimes.
Wang Xining, deputy head of mission at the Chinese embassy in Australia, has criticised Australia for failing to consult China before calling for an inquiry into the origins of coronavirus. Alex Ellinghausen
"When you have a stand-off such as we have now, you have to think about the diplomacy of it," he says. "If you're blocked straight up embassy to embassy, you have got to be imaginative and clever in using those back channels. I don't see any of that going on at the moment.
"There is a lack of interest in real deep expertise on China on both sides of the Parliament."
Sources in China said while regular diplomatic channels remained open, the dialogue was at a lower level and Australian officials had no access to senior Chinese officials.
Wang Xining, the deputy head of the Chinese embassy in Canberra, last week criticised the Morrison government for failing to consult China before calling for a global inquiry into the origins of coronavirus.
China has slapped restrictions on Australian barley and beef and warned its tourists and students to avoid Australia since the inquiry call was made in April.
Former foreign minister Julie Bishop said while she supported the call for the inquiry, Chinese officials reacted badly when issues affecting the relationship were not raised privately beforehand.
"In my experience, it is possible to have robust private discussions with Chinese officials about all aspects of the relationship," she said. "They react badly when such discussions are in the public domain, particularly if such matters were not first raised in confidence."
'Poisoned' but not irreparable
Craig Emerson, former trade minister under the Gillard/Rudd governments, said Canberra's relationship had been "poisoned" but it was not irreparable.
"These relationships can be incredibly robust. You will see public statements but sooner or later channels open or reopen which allow for more measured rhetoric. But there are bigger issues around national security and cyber security now," he said.
"I'm not saying we should pander to China; if we need to have hard conversations, we should have them. The whole system needs to assess the cost of indulgent public statements against any benefits."
Morrison, Birmingham and Agricultural Minister David Littleproud have complained that Chinese officials have refused to take their phone calls since a series of trade disputes have broken out in the past three months.
China's foreign ministry declined to answer questions about this, hinting that it wanted to see more conciliatory behaviour from Canberra before agreeing to open up channels of communication.
"We expect Australia to take more concrete measures to improve the bilateral relationship and to enhance mutual trust and co-operation between the two countries," it said.
Other key players in Australia's relationship with China said successive governments had incorrectly assumed China's rising wealth would pave the way to political liberalism.
"China changed more than we did. They got wealthier and more assertive and more of the view that the United States didn't want to be seen to be equal to them," said Warwick Smith, a director at Seven Group and the former chairman of the National Foundation for Australia-China Relations.
"Australia ... misread it to the extent we thought there would be an automatic flip from a one-party state."
Fitzgerald added: "We definitely have [got it wrong]. That idea, it was not universal in Australia in the way that it seemed to be in Washington in the 1990s ... but it led us astray."
Michael Smith is the North Asia correspondent for The Australian Financial Review. He is based in Tokyo. Connect with Michael on Twitter. Email Michael at michael.smith@afr.com
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Welcome back to control structures, part two featuring the three types of loops. Here we go!
If you're building a 100-foot fence, with fence posts spaced 10 feet apart, how many fence posts do you need?
The question will be answered near the end.
We will cover the standard while loop first. When typing up a while loop, simply begin with the "while" keyword followed by the condition within parenthesis followed by the body of statements inside a pair of curly braces. Take a look at the following code and its syntax.
The code we have above declares an integer variable called "i" initialized with 0. The condition in the while loop compares the variable i and sees if it is less than 10 and "while the condition is true", the body will be executed. Every time the body is executed, it will print "Don't repeat yourself!" and then increment the i variable.
Note: The operator "++" increments the variable to which it is attached.
Style Note: Usually, the variable "i" is used as a counter or an index.
How many times do you think the will the loop execute?
A successful compilation and run! How many times did it print? Well, by piping our program's output into the "wc" tool to count lines, it says 10! Is this correct? Seems like it! Need to count to verify? Knock yourself out!
The for loop is almost the same thing however, it's a more compressed version of the while loop. Take a loop at the example below and familiarize yourself with the syntax.
If you think this looks like a lot, it isn't, really. You just need to get used to the two little extra initializing and increment part which are separated by semicolons. Note that the increment part does not have the semicolon after it. Can you have more than just one variable? Yes! All you need to do is add it into the appropriate part separating the two variables with a comma.
We should get the same result as the first part if we run this.
Again, printing it and then piping it into wc shows 10 lines, exactly as it should.
The do while loop is also pretty much the same as the while loop. In this case, the content of the loop is executed at least once before checking the condition. If the condition is satisfied, it will execute the loop again. This is especially handy if you wish to execute something at least once before verifying that it should be looped again as required.
The syntax this time looks quite different. You must start off with the "do" keyword followed by a pair of curly braces to create the block where the body is placed, then typing the "while" keyword and a semicolon after the closing curly brace. Remember to put that semicolon!
The condition has changed to "i != 0" which means "i does not equal to zero". How many times will it print this time?
Note: The "!=" comparison operator means "not equal to". We will further discuss comparison operators in another tutorial.
As expected. Since this is a do while loop, it will run the body at least once before checking the condition. When we reached the condition, it failed to satisfy and therefore exited the loop having only printed once.
So, back to that question I gave you at the beginning... Have you got an answer yet? Obviously it's 10, right? Pfft, of course it's 10, how can anything be easier than that? Okay, the answer isn't 10, sorry. If you said 11, then you'd be right! Try draw it out on paper and prove me wrong. This occurs when you've confused the items and spaces. This is called a fencepost error or an off-by-one error.
Once more, off-by-one errors can cause some serious havoc, allowing for the classic buffer overflow to deliver arbitrary code execution (involuntary execution of code), memory corruption and even information leakage. But alas, we have not touched on buffers yet and they sure do seem very interesting! Don't worry, we'll get there... eventually.
A real-world example of an off-by-one error in OpenSSH allowed users to gain unauthorized privileges due to a tiny, tiny bug in an if statement condition! Want to know more? Hop on over to the National Vulnerability Database's (NVD) summary on CVE-2002-0083.
Okay, that's it for loops and control structures. Be sure to practise and play around with what you have currently learned! If you're unsure of anything, ask around or you'll fall behind!
for massive fun run this script.


text:
AI Algorithm That Detects Brain Abnormalities Could Help Cure Epilepsy
Aug 12, 2022 | AI & Machine Learning |
A University College London (UCL)-led team of international researchers has developed an artificial intelligence (AI) algorithm that can detect subtle brain abnormalities which cause epileptic seizures.
The Multicentre Epilepsy Lesion Detection project (MELD) used more than 1,000 patient MRI scans from 22 global epilepsy centers to develop the algorithm, which provides reports of where abnormalities are in cases of drug-resistant focal cortical dysplasia (FCD), a leading cause of epilepsy.
FCDs are areas of the brain that have developed abnormally and often cause drug-resistant epilepsy. It is typically treated with surgery, however identifying the lesions from an MRI is an ongoing challenge for clinicians, as MRI scans in FCDs can look normal.
To develop the algorithm, the team quantified cortical features from the MRI scans—such as how thick or folded the cortex/brain surface was—and used around 300,000 locations across the brain. Researchers then trained the algorithm on examples labeled by expert radiologists as either being a healthy brain or having FCD, depending on their patterns and features.
The findings, published in Brain, found that, overall, the AI algorithm was able to detect the FCD in 67% of cases in the cohort (538 participants). Previously, 178 of the participants had been considered MRI negative, which means that radiologists had been unable to find the abnormality—yet the MELD algorithm was able to identify the FCD in 63% of these cases. This is particularly important, since physicians can surgically remove abnormalities if they detect them on a brain scan.
According to co-first author, Mathilde Ripart of the UCL Great Ormond Street Institute of Child Health, "We put an emphasis on creating an AI algorithm that was interpretable and could help doctors make decisions. Showing doctors how the MELD algorithm made its predictions was an essential part of that process."
Konrad Wagstyl, PhD, co-senior author from the UCL Queen Square Institute of Neurology, adds: "This algorithm could help to find more of these hidden lesions in children and adults with epilepsy, and enable more patients with epilepsy to be considered for brain surgery that could cure the epilepsy and improve their cognitive development.."
Around 1% of the world's population have the serious neurological condition epilepsy, that is characterized by frequent seizures. In the UK, some 600,000 people are affected. While drugs treatments are available for most people with epilepsy, 20%-30% do not respond to medications.
In children who have had surgery to control their epilepsy, FCD is the most common cause, and in adults it is the third most common cause. Additionally, of patients who have epilepsy that have an abnormality in the brain that cannot be found on MRI scans, FCD is the most common cause.
Hannah Spitzer, PhD, co-first author and a postdoctoral researcher in machine learning at Helmholtz Munich, adds: "Our algorithm automatically learns to detect lesions from thousands of MRI scans of patients. It can reliably detect lesions of different types, shapes, and sizes, and even many of those lesions that were previously missed by radiologists."
This study on FCD detection uses the largest MRI cohort of FCDs to date, meaning it can detect all types of FCD. The MELD FCD classifier tool can be run on any patient with a suspicion of having an FCD who is over the age of 3 years and has an MRI scan.
Different MRI scanners were used at the 22 hospitals involved in the study around the globe, which enables the algorithm to be more robust but might also affect algorithm sensitivity and specificity.
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You can of course also use a mixture of Anycast and Unicast Nameservers.
Anycast is not free of charge and the relevant DNSZone needs to have Anycast activated.
You can even add your own (hidden) Primary NS to your Domain configuration.
You need to have a proper Master-Slave configuration to use your own primary nameserver.


The MACHAR function determines and returns machine-specific parameters affecting floating-point arithmetic. Information is returned in the form of a structure with the fields listed in the "Return Value" section.
MACHAR is based on the routine machar described in section 20.1 of Numerical Recipes in C: The Art of Scientific Computing (Second Edition), published by Cambridge University Press, and is used by permission. See that section for more details on and sample values of the various parameters returned.
The radix in which numbers are represented. A longword integer.
The number of base-IBETA digits in the floating-point mantissa M. A longword integer.
A code in the range 0 – 5 giving information on what type of rounding is done and how underflow is handled. A longword integer.
The number of "guard digits" used when truncating the product of two mantissas. A longword integer.
The exponent of the smallest power of IBETA that, added to 1.0, gives something different from 1.0. A longword integer.
The exponent of the smallest power of IBETA that, subtracted from 1.0, gives something different from 1.0. A longword integer.
The number of bits in the exponent. A longword integer.
The smallest value of IBETA consistent with there being no leading zeros in the mantissa. A longword integer.
The smallest positive value of IBETA that causes overflow. A longword integer.
The floating-point number IBETANEGEP, which is another way of determining floating-point precision.
The floating-point number IBETAMINEXP, generally the magnitude of the smallest usable floating-point value.
The largest usable floating-point value, defined as the number (1-EPSNEG)xIBETAMAXEXP.
The information returned is normally for single-precision floating-point arithmetic. Specify DOUBLE to see double-precision information.


text:
Temporal trends in calls for suicide attempts to poison control centers in France during the COVID-19 pandemic: a nationwide study
Jollant F., Blanc-Brisset I., Cellier M., Ambar Akkaoui M., Tran VC., Hamel J-F., Piot M-A., Nourredine M., Nisse P., Hawton K., Descatha A., Vodovar D.
AbstractConcerns have been raised about early vs. later impacts of the COVID-19 pandemic on suicidal behavior. However, data remain sparse to date. We investigated all calls for intentional drug or other toxic ingestions to the eight Poison Control Centers in France between 1st January 2018 and 31st May 2022. Data were extracted from the French National Database of Poisonings. Calls during the study period were analyzed using time trends and time series analyses with SARIMA models (based on the first two years). Breakpoints were determined using Chow test. These analyses were performed together with examination of age groups (≤ 11, 12–24, 25–64, ≥ 65 years) and gender effects when possible. Over the studied period, 66,589 calls for suicide attempts were received. Overall, there was a downward trend from 2018, which slowed down in October 2019 and was followed by an increase from November 2020. Number of calls observed during the COVID period were above what was expected. However, important differences were found according to age and gender. The increase in calls from mid-2020 was particularly observed in young females, while middle-aged adults showed a persisting decrease. An increase in older-aged people was observed from mid-2019 and persisted during the pandemic. The pandemic may therefore have exacerbated a pre-existing fragile situation in adolescents and old-aged people. This study emphasizes the rapidly evolving situation regarding suicidal behaviour during the pandemic, the possibility of age and gender differences in impact, and the value of having access to real-time information to monitor suicidal acts.
European Journal of Epidemiology


At Preserve Dentistry we offer the speed and convenience of digital x-rays.
Dental cleaning involves the removal of plaque deposits or tartar. If allowed to accumulate, bacteria can thrive next to the gums leaving the teeth susceptible to decay and gum disease. Hard deposits on teeth can only be removed by a hygienist or dentist. We all form these deposits on our teeth, some more than others. This highlights the importance of seeing us at Preserve Dentistry for regular visits.
Dental radiographs, also known as x-rays, are an important tool for the dentist to check for tooth decay in and between the teeth. Bitewing x-rays also provide opportunity for early detection of decayed teeth. They can also show bone loss around teeth when gum disease is present. These x-rays allow the dentist to make a proper diagnosis of health or disease and what treatment, if any, is needed.
We recommend this type of x-ray be taken every 3-5 years to evaluate for problems such as: impacted teeth, bone abnormalities, cysts, tumors, infections and fractures. If a problem arises, we will discuss them in detail and make a plan for treatment.


text:
Q: Is there a way to avoid login when using --privileged to run a docker container I'm using a docker of image centos:7.9.2009, is there a way to avoid login when using --privileged=true to run a container?
Here is the command:
docker run -d --privileged=true -v /sys/fs/cgroup:/sys/fs/cgroup --name centos_base centos:7.9.2009 /usr/sbin/init

enter image description here


The lack of blockchain skills is a top concern and significant inhibitor to blockchain adoption in companies across a variety of industries. According to Bloomberg, blockchain-related job postings on LinkedIn increased four-fold in 2017. If you are new to blockchain and wonder what it takes to build the skills and habits necessary to be a successful blockchain talent, this guide is for you.
Blockchain architectures predominantly focus on technology and less on business process simplification, so business-led architecture is the key. Understanding the business outcomes is crucial. Also, explore data flows and build direct connections between trading partners, suppliers and customers across the ecosystem. You want to rationalize the business architecture all the way through to the value chain and partner ecosystem.
Spearhead pilots and proofs of concept and collaborate with consortiums and Blockchain as a Service (BaaS) providers. Collaboration and negotiation skills are crucial during the formation of consortium.
Interconnecting ledgers across different technology platforms poses deployment risks, so evangelize an open source mindset. Integration with enterprise systems is also crucial to reduce latency and drive business outcomes.
Not all blockchain frameworks support smart contracts. Build distributed ledger technology expertise to accelerate smart contracts development.
I am a strong proponent of a T-shaped employee. A blockchain practitioner must possess not only block chain skills — the long, vertical stroke on the "T"— but also cross-discipline broad skills — the horizontal part of the "T" — such as Design Thinking, Agile, DevOps and Continuous Delivery.
Having business and technology experience is not enough. End to end life cycle experience to design, develop, test, deploy and maintain has merits but success lies in using disruptive technologies in unison rather than in a silo fashion. For more on this check out my previous blog on blockchain and IoT.
Selecting the right blockchain platform is a key challenge for the firms today, because the multitude of frameworks often creates confusion. Deep understanding of various blockchain platforms including Hyperledger Fabric, Ethereum, Ripple and R3 Corda, will enable you to identify the right use case for the right blockchain platform and articulate their differences.
Security frameworks are still evolving for compliance, legal and regulatory needs. Security skills such as public and private key cryptography, cryptographic hashing, Merkle proofs and elliptic curve digital signatures are great assets.
Blockchain is not an enterprise resource planning (ERP) replacement technology. Instead use it to simplify your business process to drive business outcomes. Invest in design thinking methodology to spur innovation. Partnering with blockchain service providers like IBM can provide the full range of capabilities including IBM Cloud Garage to ensure success in all stages of a new blockchain project.
Learn to explain how a blockchain-based solution is more efficient, secure, and cheaper than any of the available alternatives. Using alternative architecture skills, review the technical designs of your blockchain partners and assist in the selection and planning processes.
Understanding standards is a must. Participate in ISO/TC 307 initiatives and hyperledger working groups to develop standards around terminology and concepts, personally identifiable information (PII), security risks and vulnerabilities. Be sure to partner with blockchain consortia, and academic institutions to advocate blockchain principles for a progressive ecosystem.
Because blockchain is not a database technology, it requires a breadth and depth of capabilities that every successful blockchain practitioner should acquire as skills. To be successful, you should get an understanding of blockchain principles and practices and how they can be applied within your business environment.
Blockchain is still a relatively new technology, and implementation requires a new set of skills and capabilities. What capabilities have you used for blockchain skill development? What have I missed? Please join the conversation and let me know what you think.


text:
package com.jfixby.scarabei.red.io;

import com.jfixby.scarabei.api.io.Buffer;
import com.jfixby.scarabei.api.java.ByteArray;
import com.jfixby.scarabei.api.util.Utils;

public class RedBuffer implements Buffer {

	private ByteArray bytes;

	public RedBuffer (ByteArray bytes) {
		this.bytes = bytes;

	}

	public RedBuffer () {
		this.bytes = Utils.newByteArray(0);
	}

	@Override
	public ByteArray getBytes () {
		return bytes;
	}
}


text:
Q: How do I evaluate a graph to know where my node can make the most beneficial connections? I want to learn more about graph and node algorithms and how to improve the health of the graph. The graph I am thinking about would be something akin to a hub and spoke layout. The improvements I'd like to make would be:

*

*Segment the graph into clusters and find clusters that are not well connected to each other, than improve this by making various connections between the clusters

*Find desirable endpoints to the graph (hubs that send/receive a lot of traffic) and create more efficient routes between them and other hubs, and/or them and clusters of spokes/nodes that are many hops away from them

*Evaluate the "centrality" of a node

What are some methods for evaluating the best connections I can make from a node I control to improve the overall connectivity of this (loosely defined) graph?
Any information about graphs, algorithms, or distributed computing that might be useful is welcome (for example I understand Dijkstra's algo for finding the shortest path). I'm happy to add more detail, not trying to be obscure, I'm just in a don't know what I don't know state.
Thanks!

A: It all depends on what you mean by improving the overall connectivity of a graph.
For example:

*

*The graph might have two or more disconnected parts.  The connectivity will be improved if your node has a connection to one node in each disconnected part.

*You might want to measure the longest path.  Then your node should have connections to the start and end nodes, reducing the longest path to 2 hops.
... The possibilities are endless, unless you clarify what you mean.


text:
[Video] Are We Heading ...
[Video] Are We Heading To The Society Of Lawlessness? Former CJI RM Lodha On Hyderabad Encounter
LIVELAW NEWS NETWORK
10 Dec 2019 2:36 PM GMT
Former Chief Justice of India Justice RM Lodha has condemned the alleged Encounter killing of Four Accused by Police in the Hyderabad rape and murder Case. "Are we heading to the society of lawlessness? Has rule of law run its course? What has happened to the constitutional rights and procedural safeguards? When a Telangana minister says that reconstruction of crime scene was in...
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Former Chief Justice of India Justice RM Lodha has condemned the alleged Encounter killing of Four Accused by Police in the Hyderabad rape and murder Case.
"Are we heading to the society of lawlessness? Has rule of law run its course? What has happened to the constitutional rights and procedural safeguards? When a Telangana minister says that reconstruction of crime scene was in the instruction from above and police did what they were asked to do, it raises a big question. Are we junking due process and justice system? The demand of such treatment by people to accused of Unnao Rape and Murder Case shows that the atmosphere of mob mentality is prevailing in the society".
He was speaking at an event organised by The International Institute of Human Rights Society to celebrate the Human Rights Day
"While we are celebrating the human rights day, the fact of the matter is that we are struggling in protection of human rights. The case in point is the Hyderabad rape and murder of a 27 year old veterinary doctor and the killing of the accused in a police encounter. That the crime of rape and murder are happening everyday in one part of the country or other reflect the deep malice that has crept in the society. The criminals are not afraid of committing such heinous crimes. Sadder is the killing of the four accused in the police encounter"
He also opined that the people are going back to the seventeenth century Hammurabi's code, eye for eye, tooth for tooth, nail for nail.The prologue of Hammurabi states, to make justice visible in the land, destroy the wicked person and evil doer.
"Call for lynching of rapists reminds us that society is going back to the days of code of Hammurabi. If there is no rule of law, and no procedural due process, how would human rights survive? For the protection of inherent and natural human rights, it is essential that we work for the fundamental protection in the nature of fair trial and procedural due process", He added.


text:
LOKOMOTIV MOSCOW – ARSENAL TULA PREDICTION (18.07.2017)
in Predictions
Lokomotiv Moscow vs Arsenal Tula: Preview & Prediction
The capital city Lokomotive Moscow is one of the most popular clubs in Russia. Despite the strong competition in the city, the traditional club has a big fanbase behind it. At the beginning of the 2000s, it was possible to achieve some great success and thus achieved a greater degree of popularity. In the years 2002 and 2004 the only championships of the club history could be entered. More successful was the cup competition. This one could be decided seven times for itself. The last time in the past season, with a sovereign 2: 0 victory against Ural Oblast Sverdlovsk. It was the second title in the last ten years and thus balm for the loyal fans. Also this season one has made a lot. On the one hand you want to get back into the top 5. On the other hand, the group stage of the Europa League is to be successful. Two ambitious goals, given that they have not been approached in the recent past. To change this, the club has strengthened itself during the summer break. With Solomon Kvirkvelia an experienced interior defender was brought. This is to give the defense in the newly formed triple chain. Igor Denisov, also a new addition, The central midfielder can already look back on 54 international matches as well as some European Cup games. On Sunday the two experienced players were able to prove their skills. In the Supercup came the duel with the local rival and champion Spartak Moscow. In a thrilling game Lok Moscow had to be defeated in the extra time with 1: 2. Both Kvirkvelia and Denisov were immediately convinced. The latter led the team even as captain on the playing field. On Tuesday, the Russian league will start and the duel with Arsenal Tula will start. Against the relegation candidates, a clear victory is indispensable for their own demands. With the performance shown on Sunday, this should not be a problem either.
For the Russian big clubs, Tula has been a really nice trip. On the one hand, the city of Tula is only about 2 hours south of Moscow and is therefore easy to reach. On the other hand, this has sporting reasons. Against the big clubs from Moscow and St. Petersburg had so far not much to report and went mostly as losers from the place. A draw is already the highest of emotions. In the last season, too, they were fighting for the descent. First, after 38th game days, you were penultimate in the table. So you could just climb a relegation place. In the relegation followed two games against Yenisei Krasnoyarsk. These were again very exciting and in the end, the goal of the goal was decisive. After this flattering victory in the relegation, the fate was secured in the highest Russian game class. This season will again be a serious one. In the summer break, only a potential reinforcement has been undertaken so far. With Goran Causic comes a new strong man for the midfield center. But also with this new commitment one will probably again play around the descent. On Tuesday, the start of the season will be a difficult duel. Although Lok Lok have still the best statistics compared to the other capital clubs, but this is not a good thing. In addition, Lok Moscow has quite ambitious goals this season and will be able to start from the start. A small advantage could be that Lok's easily redesigned team has not yet been perfect. But even if this is so, it will be a difficult first day for Arsenal Tula.
Lokomotiv Moscow vs Arsenal Tula: Betting Tips
Lokomotiv Moscow win – Odds: 1.55
tags: LOKOMOTIV MOSCOW - ARSENAL TULA PREDICTION LOKOMOTIV MOSCOW - ARSENAL TULA TIPS
DYNAMO MOSCOW – SPARTAK MOSCOW PREDICTION (18.07.2017)
VARDAR SKOPJE – MALMO PREDICTION (18.07.2017)


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