#anobject | Explore Tumblr posts and blogs

creckling · 4 years ago

Text

Line

The above image is 3 frames of a storyboard from Jaws

Jaws is probably one of the most famous movies of all time and a personal favorite of mine. I remember when I was younger and being terrified to watch it, but still knew of it, and finally I watched it with my mom and it pretty much being the first scary movie I saw. Jaws just had a whole craze about it and it still kind of has it. It was pretty cool to stumble onto these story boards and when I saw them, I knew had to analyze them. I think the lines of action are very cool, specifically on Jaws. He is briefly out of the water and his whole body is thrashing and you can tell as his tail bends towards the right as well as his head is (making somewhat of a “U” shape) suggesting that he is building momentum to then swing his head and tail quickly to the opposite side. As this is all occurring, two of the three men out to capture jaws are depicted with gesture lines as one of the men on the top frame is throwing his hands up in shock/panic as he launches back as the other is very rigid as his body is locked up and yet breaking trying to hold on to the line or net that has (temporarily) trapped Jaws. The lines of action in the bottom frame are great too. The man holding an oxygen tank can clearly be seen cowering away as he tries to smash the nose of Jaws with the tank in a last ditch effort to defend their boat- the only thing separating them from Jaws (for the moment...). The contour lines are very interesting too. The bow of the Orca is very finely and definitely drawn, they are explicit lines, where as Jaws has many contour lines to create the rounding and softness of his body, head/face, and fins while he trashes.

Line Glossary

Explicit Lines

Explicit means clear, direct, and obvious. If a drawing is easy to read it may be that thelines are explicit, clean, with efficient use of variety. There are explicit lines around theframe of the Dutch Tilt illustration.

Gesture Lines capture motion, such as in an action pose when gesture drawings areused in storyboards. The figures at the head of the Rembrandt Elephant drawing showthe quickly sketched human gestures responding to the elephant.Implied LinesImplied lines in 3-D scenes a line in a scene that is not physically there but is suggestedby points in the art.Implied lines suggest the edges of an object or planes within anobject. The line may be broken such as a dotted line, it may be defined by value, color,or texture, or it may not be visible at all. With implied lines, our brain interprets that aline exists.

Implied lines in 3-D scenes a line in a scene that is not physically there but is suggestedby points in the art.Implied lines suggest the edges of an object or planes within anobject. The line may be broken such as a dotted line, it may be defined by value, color,or texture, or it may not be visible at all. With implied lines, our brain interprets that aline exists.

Line As Value has a long history. Artists have used line drawings to create value, orshading, and to achieve the impression of volume. In this quick sketch of a live elephantRembrandt used outline contour lines around the edges of the elephant and curvedcontour lines around the big legs and belly. Most of the lines are at the lower part of theelephant to show that the light source was from above.

Line of Action (Also see motion) is an imaginary line that extends through the main action of the figure.When you draw an action figure you can capture the line of action on one layer thendraw the figure drawing on another layer.https://art103robatkinson.files.wordpress.com/2014/04/line-of-action-1.jpeg

Line quality is the espressive essence of lines. Varying the line quality makes objectsappear more 3-dimensional and exciting. Range in line quality heightens descriptive and suggestive potential. A single line can change in darkness and width, can vanish alltogether to mentally reconnect later on an edge.

Line weight refers to the thickness or thinness of a line.

Lost and Found Lines

We don’t really need a strong contour line around every part of an object because ourbrain will fill in the blank where the edge disappears. When a line fades out and thenrestarts further along the edge it is called a lost and found line. There is a lost and foundline at the top of Rembrandt’s elephant behind the head. There is a strong contour lineof the skull of the elephant and a strong bulge of the back, but between the 2 curvedshapes the line fades out, yet we still know that the elephant shape continues.

Psychic lines are invisible. Psychic lines form between characters or between a gun anda target, or a hand pointing in a direction. There is no real line yet we feel a line. Eyeslooking in a direction, especially characters looking at each other create a psychic line.

0 notes

carolinemillet · 4 years ago

Photo

The popular movie trilogy “The Hunger Games” exhibits several principles of line types and movement as seen in the snapshots above. In the first image we see an example of a psychic line between the characters Katniss and Peeta. This line goes between their eyes, forming an invisible line of eye-contact. The second image shows a diagonal line formed by the arrow Katniss draws with her bow. The line grows more prominent as it comes forward and points to the compositions vanishing point as you look back. The third image showcases the dutch tilt, creating a sense of imbalance in the composition.

Line Glossary

Lines have both a direction and a length. Line means a mark, streak, stroke, slash, path, stripe, border, contour, striation, course, route, and track. Curved, bent, thick, wide, broken, vertical, horizontal, burred, or freehand, lines delineate shapes, forms, and spaces, volumes, edges, movement and patterns. Not only that -- lines create both2D and 3D objects and figures. Lines are awesome and powerful.

Contour Lines

Contour lines indicate the edge around an object or the changes in volume within anobject. Contour lines dramatize changes of plane within the form. The curve of a beltaround the waist is a contour line.

Diagonal Lines

Diagonal Lines are useful to draw the eye into a composition such as toward thevanishing points. Three common types of diagonals are 1) actual diagonal lines 2)objects placed diagonally in a scene 3) a diagonal line created by the viewpoint such as the Dutch tilt.

Dutch Tilt

Dutch Tilt (known as a dutch angle, canted angle, or oblique angle) is a type of camerashot that has a noticeable tilt on the camera’s “x-axis.” The Dutch tilt camera techniquewas introduced by German Expressionists in the 1920s — so it's not actually Dutch.Directors often use a Dutch angle to signal to the viewer that something is wrong,disorienting, or unsettling.

Explicit Lines

Gesture Lines

Implied Lines

Line as Value

Line of Action (Also see motion)

Line of action is an imaginary line that extends through the main action of the figure.When you draw an action figure you can capture the line of action on one layer then draw the figure drawing on another

Line Quality

Line quality is the espressive essence of lines. Varying the line quality makes objectsappear more 3-dimensional and exciting. Range in line quality heightens descriptive and3suggestive potential. A single line can change in darkness and width, can vanish alltogether to mentally reconnect later on an edge.

Line Weight

Line weight refers to the thickness or thinness of a line.

Lost and Found Lines

We don’t really need a strong contour line around every part of an object because our brain will fill in the blank where the edge disappears. When a line fades out and thenrestarts further along the edge it is called a lost and found line. There is a lost and foundline at the top of Rembrandt’s elephant behind the head. There is a strong contour line of the skull of the elephant and a strong bulge of the back, but between the 2 curved shapes the line fades out, yet we still know that the elephant shape continues.

Psychic Lines

1 note · View note

desi6n · 5 years ago

Text

Lines are used everywhere in design; Specifically in concept art lines can be used to plan out ideas and rough out designs.

In this piece of Morrowind concept art illustrating a member of the Morag Tong, we can investigate how line is strategically used by the artist. Line Weight is seen to be noticeably thin in order to go with the somewhat realistic style. Thick lines pair well with highly stylized or cartoonish illustrations whereas thin lines pair better with realism. We can see also that between the layers of clothing the artist has drawn several groups of lines clumped together to create shadows through Line as Value which adds depth. Throughout the piece you can see Lost and Found Lines especially in the clothing in order to give the appearance and texture of fabric further adding to the realism.

In summary, lines are used here in concept art to build up the art direction of a game and overall feel that is trying to be achieved.

Line Glossary

Contour Lines

Diagonal Lines

Diagonal Lines are useful to draw the eye into a composition such as toward thevanishing points. Three common types of diagonals are 1) actual diagonal lines 2) objects placed diagonally in a scene 3) a diagonal line created by the viewpoint such as the Dutch tilt.

Dutch Tilt

Dutch Tilt (known as a dutch angle, canted angle, or oblique angle) is a type of camerashot that has a noticeable tilt on the camera’s “x-axis.” The Dutch tilt camera techniquewas introduced by German Expressionists in the 1920s. Directors often use a Dutch angle to signal to the viewer that something is wrong,disorienting, or unsettling.

Explicit Lines

Explicit means clear, direct, and obvious. If a drawing is easy to read it may be that the lines are explicit, clean, with efficient use of variety.

Gesture Lines

Gesture Lines capture motion, such as in an action pose when gesture drawings areused in storyboards.

Implied Lines

Implied lines in 3-D scenes a line in a scene that is not physically there but is suggested by points in the art. Implied lines suggest the edges of an object or planes within an object. The line may be broken such as a dotted line, it may be defined by value, color, or texture, or it may not be visible at all. With implied lines, our brain interprets that a line exists.

Line as Value

Line As Value has a long history. Artists have used line drawings to create value, or shading, and to achieve the impression of volume.

Line of Action (Also see motion)

Line of action is an imaginary line that extends through the main action of the figure. When you draw an action figure you can capture the line of action on one layer then draw the figure drawing on another layer.

Line Quality

Line quality is the espressive essence of lines. Varying the line quality makes objects appear more 3-dimensional and exciting. Range in line quality heightens descriptive and suggestive potential. A single line can change in darkness and width, can vanish all together to mentally reconnect later on an edge.

Line Weight

Line weight refers to the thickness or thinness of a line.

Lost and Found Lines

Psychic Lines

Psychic lines are invisible. Psychic lines form between characters or between a gun and a target, or a hand pointing in a direction. There is no real line yet we feel a line. Eyes looking in a direction, especially characters looking at each other create a psychic line.

0 notes

deomnibuscontradictionibus · 6 years ago

Text

Circuitries, by Nick Land

LAND, Nick. Fanged Noumena: Collected writings 1987-2007. Edited by R. Mackay & R. Brassier. 3 ed. Urbanomic, 2014, pp. 289-318.

“Our human camouflage is coming away, skin ripping oJff easily, revealing the glistening electronics.” (p.292)

“Since central nervous-systern functions -especially those of the cerebral cortex -are amongst the last to be technically supplanted, it has remained superficially plausible to represent technics as the region of anthropoid knowing corresponding to the technical manipulation of nature, subsumed under the total system of natural science, which is in turn subsumed under the universal doctrines of epistemology, metaphy:sics, and ontology. Two linear series are plotted; one tra.cking the progress of technique in historical time, and the other tracking the passage f rom abstract idea to concrete realization. These two series chart the historical and transcendental dominion of man.

Traditional schemas which oppose technics to nature, to literate culture, or to social relations, are all dominated by a phobie resistance to the sidelining of human intelligence by the coming techno sapiens. Thus one sees the decaying Hegelian socialist heritage clinging with increasing desperation to the theological sentimentalities of praxis, reification, alienation, ethics, autonomy, and other such mythemes of human creative sovereignty. A Cartesian howl is raised: people are be.ing treated as things! Rather than as ... soul, spirit, the subject of history, Dasein? For how long will this infantillism be protracted?” (pp. 293-294)

“There is no real option between a cybernetics of theory or a theory of cybernetics, because cybernetics is neither a theory nor its object:, but an operation within anobjective partial circuits that r1eiterates 'itself' in the real and machines theory through the unknown. 'Production as a process overflows all ideal categories and f orms a cycle that relates itself to desire as an immanent principle.' (G. Deleuze and F. Guattari, Anti-Oedipus: Capitalism and Schkophrenia, Minnesota: University of Minnesota Press, 1983, p. 5.) Cybernetics develops functionally, and not representationally: a 'desiring machine, a partial object, does not represent anything' (Ibid., 47). (Its semi-closed assemblages are not descriptions but programs, 'auto'-replicated by way of an operation passing across irreducible exteriority. This is why cybernetics is inextricable from exploration, having no integrity transcending that of an uncomprehended circuit within which it is embedded, an outside in which it must swim. Reflection is always very late, derivative, and even then really something else.” (p. 296)

“Reality is immanent to the machinic unconscious: it is impossible to avoid cybernetics. 1We are already doing it, regardless of what we think. Cybernetics is the aggravation of itself happening, and wha1tever we do will be what made us have to do it: we are doing things before they make sense.” (p. 297)

[superação do design e de toda teopolítica]

“Long-range positive feedback is neither homeostatic, nor amplificatory, but escalative. Where modernist cybernetic models of negative and positive feedback are integrated, escalation is integrating or cyber-emergent. I t is the machinic convergence of uncoordinated elements, a phase-change from linear to non-linear dynamics. Design no longer leads back towards a divine origin, because once shifted into cybernetics it ceases to commensurate with the theopolitical ideal of the plan. Planning is the creationist symptom of underde:signed software circuits, associated with domination, tradition, and inhibition; with everything that shackles the future to the past. All planning is theopolitics, and theopolitics is cybernetics in a swamp.” (pp. 298-299)

“A machinic assemblage is cybernetic to the extent that its inputs program its outputs and its outputs program its inputs, with incomplete closure., and without reciprocity. This necessitates that cybernetic systems emerge upon a fusional plane that reconnects their outputs with their inputs in an 'auto-production of the unconscious' (Ibid, p. 26) [...] It is thus that machin:ic processes are not merely functions, but also sufficient conditions for the replenishing of functioning; immanent reprogrammings of the real, 'not merely functioning, but formation and autoproduction' (Ibid)”

[para além da moral]

“Wiener, of course, was still a moralist:

Those of us who have contributed to the new sci ence of cybernetics stand in a moral position which is, to say the least, not very çomfortable. We have contributed to the initiation of a new science which, as I have said, embraces technical developments with great possibilities for good or evil. (N. Wiener, Cybernetics or Control and Communication in the Animal and the Machine. NY: MIT Press, 1965, p. 28.)

Whilst scientists agonize, cybernauts drift. We no longer judge such technical developments from without, we no longer judge at all, we function: machined/machining in eccentric orbits about the technocosno. Humanity recedes like a loathsome dream.“ (pp. 209-300)

[superação do transcendental e do juízo; dominação X controle]

“Transcendental philosophy is the consummation of philosophy construed as the doctrine of judgment, a mode of thinking that finds its zenith in Kant and its senile dementia in Hegel. Its architecture is determined by two fundamental principles: the linear application of judgment to its object, form to intuition, genus to species, and the non-directional reciprocity of relations, or logical symmetry. Judgment is the great fiction of transcendental philosophy, but cybernetics is the reality of critique.

Where judgment is linear and non-directional, cybernetics is non-linear and directional. It replaces linear application with the non-linear circuit, and non-directional logical relations with directional rnaterial flows. The cybernetic dissolution of judgment i:s an integrated shift from transcendence to immanence, from domination to control, and from meaning to function. Cybernetic innovation replaces transcendental constitution, design loops replace faculties. This is why the cybernetic sense of control is irreducible to the traditional political conception of power based on a dyadic master/slave relation, i.e. a transcendent, oppositional, and signifying figure of domination. Domination is merely the phenomenological portrait of circuit inefficiency, control malfunction, or stupidity. The masters do not need intelligence, Nietzsche argues, therefore they do not have it. It is only the confused humanist orientation of modernist cybernetics which lines up control with domination. Emergent control is not the execution of a plan or policy, but the unmanageable exploration that escapes all authority and obsoles:ces law. According to its futural definition control is guidance into the unknown, exit from the box.” (pp. 300-301)

[beyond psychoanalysis; beyond Oedipus]

“In its early stages psychoanalysis discovers that the unconscious is an impersonal machinism and that desire is positive non-representational flow, yet it 'remains in the precritical age' , (Deleuze and Guattari, Anti-Oedipus, p. 339) and stumbles before the task of an immanent critique of desire, or decathexis of society. Instead it moves in exactly the opposite direction: back nto fantasy, representation, and the pathos of inevitable frustration. Instead of rebuilding reality on the basis of the productive forces of the unconscious, psychoanalysis ties up the unconscious ever more tightly in conformity with the social model of reality. Embracing renunciation with a bourgeois earnestness, the psychoanalysts begin their robotized chant: 'of course vve have to be repressed, we want to fuck our mothers and kill our fathers' They settle clown to the grave business of interpretation, and all the stories lead back to Oedipus: 'so you want to fuck your mother and kill your father:' (Ibid.)” (pp. 302-303)

“The word 'schizophrenia' has both a neurotic and a schizophrenic usage. On the one hand condemnation, on the other propagation.“ (p. 305)

“Since the neuroticization of schizophrenia is the molecular reproduction of capital1, by means of a reaxiomatization ( reterritorialization) of decoding as accumulation, the historical sense of psychoanalytic practice is evident. Schizophrenia is the pattern to Freud's repressions, it is that which does not qualify to pass the screen of Oedipal censorship.” (p. 306)

“Far from being a specifiable defect of human central nervous system functioning, schizophrenia is the convergent motor of cyberpositive escalation: an extraterritorial vastness to be discovered. Although such discovery occurs under conditions that might be to a considerable extent specifiable, whatever the progress in mapping the genetic, biochemical, aetiological, socio-economic, etc. 'bases' of schizophrenia, it remains the case that conditions of reality are not reducible to conditions of encounter.” (p. 308)

“conditions of reality are not reducible to conditions of encounter.” (p. 308)

“It is not merely that schizophrenia is pre-anthropoid. Schizophrenia is premammalian, prezoological, pre-biological ... It is not for those trapped in a constrictive sanity to terminate this regression. Who can be surprised when schizophrenics delegate the question of malfunc:tion? I t is not a matter of what is wrongwith them, but of what is wrongwith life, with nature, with matter, with the preuniversal cosmos. Why are sen.tient life forms crammed into boxes made out of lies? Why does the universe breed en tire populations of prison guards? Why does it feed its broken explorers to packs of dogs? Why is the island of reality lost in an ocean of madness? I t is all very confusing.” (pp. 309-310)

“Capital is not overdeveloped nature, but underdeveloped schizophrenia, which is why nature is contrasted to industrial organization, and not to the escalation of cybertechnics, or anorganic convergence: 'reality ... is not yet constructed' 36 Schizophrenia is nature as cyberpositive mutation, at ·war with the security complex of organic judgment.” (pp. 313-314)

1 note · View note

babyawacs · 6 years ago

Text

@losalamosnatlab @brookhavenlab @llnl .@sciam @cern @lhcb @sciam @nature @naturephysics ‎@harvardph ysics @techreview some cute meme video with a quicker spin of a gravitic momentum with tighter radius. this is deep atom ics and implies mass. it implies a constant energy from its mass wrapping quicker aroun d anobject in smal radius and slower inbigradius massless and or mechanisms that are a transition from energy already do not follow this mechanism‎ massless spiked out charge imbalance forinstance is already on a movement of a chargeimbalance ‎ the bonding forces are not gravitic cumulative flux but strong nuclear force spikeouts ‎ ‎lets checkthis critically

massless and or mechanisms that are a…

View On WordPress

0 notes

chemicalreactionsworld-blog · 7 years ago

Text

Module 3: Evaluation and assessment

A) TOOLS FOR ASSESSMENT

Teacher’s assessment

Pupils should be able to make a presentation and make conclusions of an experiment. The rubric is shown in the next page. With this rubric I’m going to assess not only theoretical concepts but the organization and the verbal and nonverbal language or expression as well. Each item will be divided into 5 categories where the five is the maximum score and correspond to an excellent and a 1 is the minimum and correspond to a fail.I am going to assess this task at the end of the unit

Peer’s assessment

Self-assessment: CHEMICAL REACTIONS

Name:______________________________________Date: ___________

Here you have some questions to do the self-assessment of this unit. Read them carefully and complete the self-assessment target below with your answers

1. I can distinguish between physical and chemical changes

.... almost always ( 4 )

.... sometimes ( 3 )

.... not very often ( 2 )

.... I can’t do it ( 1 )

2. I can describe when a chemical reaction has taken place by observing the changes produced

.... almost always ( 4 )

.... sometimes ( 3 )

.... not very often ( 2 )

.... I can’t do it ( 1 )

3. I can classify chemical reaction in different types.

.... almost always ( 4 )

.... sometimes ( 3 )

.... not very often ( 2 )

.... I can’t do it ( 1 )

4. I can explain, accurately, what happens in a chemical reaction at atomic level

.... almost always ( 4 )

.... sometimes ( 3 )

.... not very often ( 2 )

.... I can’t do it ( 1 )

5. I can write equations and balance correctly a chemical reaction given

.... almost always ( 4 )

.... sometimes ( 3 )

.... not very often ( 2 )

.... I can’t do it ( 1 )

6. I am able to ask for when I need it

.... almost always ( 4 )

.... sometimes ( 3 )

.... not very often ( 2 )

.... I can’t do it ( 1 )

7. I have worked really hard in class

.... totally agree ( 4 )

.... agree ( 3 )

.... I could have done a little bit more ( 2 )

.... I haven’t worked ( 1 )

B) THINKING ROUTINE:

TITLE OF THE THINKING ROUTINE: What MakesYou Say That: Interpretation with Justification Routine

EXPLANATION:

This routine helps students describe what they see or know and asks them to build explanations. It promotes evidential reasoning (evidence-based reasoning) and because it invites students to share their interpretations, it encourages students to understand alternatives and multiple perspectives.It will be also useful for gathering information on students' general concepts when introducing a new topic. In this case, for chemical reaction

RESOURCES:

As this is a a thinkingroutinethatasksstudents to describesomething, such as anobject or concept, andthensupporttheirinterpretationwithevidence I willneed:

Different pictures

Laptop

Piece of paper

HOW ARE YOU GOING TO USE IT?

First of all, I will explain them the routine and how it helps us to remember concepts explained in other courses and to realize that we know much more than we think. So, I am going to use it at the beginning of the unit: chemical reactions.

This activity can be done individually or with the whole group. If we try to make it individually then they can share their thoughts in little groups of three or four pupils and finally discuss their conclusions with the rest of the class. It depends on how much time we want to spend with this activity.

The teacher show a picture of fireworks to the pupils and make some questions such as:

What is shown in this picture?

Have you seen it before, in real life? When?

When was the picture taken? ( winter, summer, daytime, weekend … )

How many colors do you see?

Do you recognize any form? Are all the same or a different?

What do you know about fireworks?

Can you imagine what the necessary components to make fireworks are?

While a group is explaining, another student or the teacher write down on the blackboard or make a list with interesting terms, ideas, reasoning… These lists will also invite further inquiry and searches for evidence.

What did you learn? I have learnt different ways, options or tools to assess my pupils. I found very useful the different thinking routintes as they could help me to know where my students are, how they are starting the lesson, what they have understood, or what they like to know about the topic.

How did you learn? Riding the information given and thinking about what I usually do in class, how are my pupils and how can I improve

Do you have any problem? I wouldn’t say a problem but it was difficult to choose among such quantity or types of thinking routines because some of them wasn’t very clear. I would be great to have some examples for next editions of this course

Would you like to investigate a bit more about any subject? Yes, it is always good to learn new things to improve the methodology used in class

Which question do you propose to someone who read this post to help you with CLIL? Have you ever tried to assess your students with these tools? How did you manage? It was useful for you the information of this post?

0 notes

mbaljeetsingh · 7 years ago

Text

Getting Started with JavaScript Object

An object is a type of data in JavaScript. It's the only value you can pass around as variables besides primitives. For this reason, objects are really important in JavaScript.

What are objects

An object in JavaScript is a type of data that contains key-value pairs.

You can create objects by writing these key-value pairs within curly braces. If you intend to create multiple key-value pairs, you need to separate each pair with commas, like this:

const anObject = { key1: 'value1', key2: 'value2', key3: 'value3' // ... }

Each key gives you a reference to a value. If you imagine an English dictionary, the keys are the words while the values are the definition of each word.

const dictionary = { dream: "a series of thoughts, images, and sensations occurring in a person's mind during sleep", happy: "feeling or showing pleasure or contentment", // ... }

Since object stores key-value pairs, another analogy you can use is to compare objects in JavaScript with objects in real life.

For example, you can observe the device you're using to read this lesson. What device is this? What's its size? What's its operating system?

If you put these information together into a JavaScript object, it'd look like this:

const macbook = { operatingSystem: 'macOS Sierra', screenResolution: '2880x1800', screenSize: '15.4 inch', usbPorts: 2, hdmiPort: 1, storage: '512gb' // ... Other specs }

Object values

Objects can contain any value that's valid in JavaScript. This means you can store primitives (like Strings and Numbers) and other objects.

const anObject = { string: 'Yay', number: 1, boolean: true, nullPrimitive: null, undefinedPrimitive: undefined, anotherObject: {}, afunction: function () {} // more on functions later anArray: [] // more on array in the next lesson }

Getting the value of a property

Keys are also called properties. You can use two methods to get the value of a property

The first method is through the dot notation, where you write the name of the object, followed by ., followed by the property name:

const prop = object.property

So, if you'd like to get the storage of the macbook we declared above, you can write macbook.storage

const macbookStorage = macbook.storage console.log(macbookStorage) // 512gb

The second method is through the bracket notation. Here, you write the name of the object, followed by a string of the property in square brackets ([]).

const macbookStorage = macbook['storage'] console.log(macbookStorage) // 512gb

Both methods work.

Normally, you'll use the dot notation. You'll only use the bracket notation in special occasions where the dot notation doesn't work. These special occasions include:

When your property name is an invalid identifier

When you need get the value of a property through a variable

Invalid identifiers

When you declare variables in JavaScript, you need to adhere to four rules:

The variable must be written as a single word

The variable must consist only of letters, numbers or underscores (0-9, a-z, A-Z, _).

The variable cannot begin with a number.

The variable cannot be any of these reserved keywords

If your variable follows these four rules, it's a valid identifier; if your variable doesn't follow any of these rules, it's an invalide identifier.

Objects can have invalid identifiers as properties. Here's one example:

const ObjWithInvalidIdentifer = { 'First Name': 'Zell' }

When you have an invalid identifier, you can't use the dot notation. You need to use the bracket notation:

const firstName = ObjWithInvalidIdentifer.First Name // Syntax Error: Unexpected identifier const firstName2 = ObjWithInvalidIdentifer['First Name'] // Zell

Of course, when you create objects, try to make properties with valid identifiers so you can use the dot notation. Don't make life hard for yourself!

Getting the value of a property through a variable.

When you write more advanced code, you may need to get the value of a property through a variable. In this case, you can only use the bracket notation.

For example, let's say you store the property to search in a variable called propertyToGet.

const propertyToGet = 'storage'

There's no property called propertyToGet in the object, so you can't use the dot notation. If you try doing it, you'll get undefined.

const storageWithDotNotation = macbook.propertyToGet console.log(storageWithDotNotation) // undefined

You can only use the bracket notation, like this:

const macbookStorage = macbook[propertyToGet] console.log(macbookStorage) // 512gb

That's all you need to know about getting property values. Let's move on and learn to set property values.

Setting the value of a property

You can set the value of a property either with the dot notation or the bracket notation. Likewise, the dot notation is always preferred.

// Dot notation macbook.storage = '256gb' // Bracket notation macbook['usbPorts'] = 2 console.log(macbook) // { // storage: '256gb', // usbPorts: 2 // }

Deleting properties

You can delete key-value pairs from objects with the delete keyword. To do so, you write delete, followed by the property either in dot or bracket notation.

delete object.property

Here's an example where we delete the storage property from the macbook Object.

delete macbook.storage console.log(macbook) // The storage property is already deleted, hence you don't see it anymore when you console.log it // { // usbPorts: 2 // }

Functions are Objects in JavaScript

Functions are a special kind of Object in JavaScript. It can have properties too (even though you'd most likely won't declare any).

// You can add properties to functions function sayName () {} sayName.property = 'Hallelujah' console.log(sayName.property) // Hallelujah

Since functions are objects, you can write functions as values in objects. The properties that contain functions as their values are called methods.

const anObject = { aMethod: function() { // Do something in function } }

In the following example, we say playMusic is a method of macbook.

const macbook = { playMusic: function () { /* some code to play music */ } }

Since methods are functions, they behave exactly like functions.

To call a method, you write parenthesis () after getting the method through the dot or bracket notation

// Calling a method with the dot notation macbook.playMusic() // Calling a method with the bracket notation macbook['playMusic']()

You can also add arguments to methods, just like normal functions:

const greeter = { sayHello: function (name) { console.log('Hello ' + name + '!') } } greeter.sayHello('Zell') // Hello Zell!

You may hear phrases like "higher order functions" and "functions are first class objects" when you browse outside tutorials. Ignore these phrases. They both mean functions are objects, which means you can pass functions around as a variable. People like to introduce important-sounding jargons to make functions sound more amazing (and confusing) than they really are.

Exercises to help you get better with objects

You'll use a lot of objects in JavaScript. Make sure you know them inside-out. Here are some exercises to use can for practice:

Make an empty object

Make a property for your object with the dot notation. Give it a value

Make a property for your object with the bracket notation. Give it a value

Get the value of a property with the dot notation

Get the value of a property with the square bracket notation

Set the value of a property with the dot notation

Set the value of a property with the square bracket notation

Make a method. Call this method

Make a method that takes in an argument. Call this method

via Scotch.io https://ift.tt/2z45BAf

#IFTTT #Feedly

0 notes

djangofreeeman-blog · 8 years ago

Text

Appdelegate

let ad = UIApplication.shared.delegate as! AppDelegate

let context = ad.persistentContainer.viewContext

Save

let store = Store(context: context)

store.name = "Amazon"

let store1 = Store(context: context)

store1.name = "Pchome"

let store2 = Store(context: context)

store2.name = "Yahoo"

let store3 = Store(context: context)

store3.name = "Asos"

ad.saveContext()

Fetch

let fetch : NSFetchRequest<Store> = Store.fetchRequest()

do {

self.stores = try context.fetch(fetch)

self.selector.reloadAllComponents()

}catch{

//Handle error

}

-----------------------With table view

#PREPARE

UITableViewDelegate,UITableViewDataSource,NSFetchedResultsControllerDelegate

func controllerWillChangeContent(_ controller: NSFetchedResultsController<NSFetchRequestResult>) { tableView.beginUpdates()

}

func controllerDidChangeContent(_ controller: NSFetchedResultsController<NSFetchRequestResult>) { tableView.endUpdates()

}

func controller(_ controller: NSFetchedResultsController<NSFetchRequestResult>, didChange anObject: Any, at indexPath: IndexPath?, for type: NSFetchedResultsChangeType, newIndexPath: IndexPath?) {

switch type {

case .insert:

if let indexPath = newIndexPath{

tableView.insertRows(at: [indexPath], with: .fade)

}

break

case .delete :

if let indexPath = indexPath{

tableView.deleteRows(at: [indexPath], with: .fade)

}

break

case .update :

if let indexPath = indexPath{

let cell = tableView.cellForRow(at: indexPath) as! ItemCell

ConfigCell(cell: cell, indexPath: indexPath as NSIndexPath)

}

break

case .move :

if let indexPath = indexPath{

tableView.deleteRows(at: [indexPath], with: .fade)

}

if let indexPath = newIndexPath{

tableView.insertRows(at: [indexPath], with: .fade)

}

break

}

------FETCH

let fetchRequest : NSFetchRequest<Item> = Item.fetchRequest()

let dateSort = NSSortDescriptor(key: "created", ascending: false)

fetchRequest.sortDescriptors = [dateSort]

let controller = NSFetchedResultsController(fetchRequest: fetchRequest, managedObjectContext: context, sectionNameKeyPath: nil, cacheName: nil)

self.controller = controller

do{

try controller.performFetch()

}catch{

let error = error as! NSError

print("\(error)")

}

0 notes

patientshealthcare · 8 years ago

Text

3D modeling to utilize unique programming in making three-dimensional models

3D modeling utilizes various types of hardware to test any sort of object. A white light scanner, for example, is a blend of a camera and a scanner, which makes 3D examine by utilizing a white light. Many individuals utilize this for computer-aided design or CAD drawings and building. This instrument takes numerous photographs in various points to accumulate an immaculate 3D model. The scanners can be manual or programmed, contingent upon the object individuals need to examine.

The principle advantage of 3D CAD White Light Scanning Servicesis you can see anobject in a strong digital form. This helps people who are in the medical and engineering field. Most medicinal specialists concentrate the body's 3D model to know where to performan incision on the patient. Educators who teach science classes similarly give 3D models of little logical parts, for example, particles, electrons, plasma, and different matters the exposed eye can't see.

Most architectural organizations require 3D modeling because it helps them see the result of a building or any property before it is completed. Individuals can see these 3D structures from real estate organizations that recently begun on their housing ventures. Animation and gaming are additionally great cases. 3D CAD White Light Scanning Services help in making advanced illustrations for computer games and animated films.

Numerous activities today utilize various types of 3D modeling. Medical, engineering, and entertainment industries utilize this to enhance their ways. It makes practical models of medical viewpoints, structures and houses, and human-like characters.

You can inquire with companies such as Centy Product Design Solutions that offers white light scanner and help you more on how 3D CAD White Light Scanning Services can help you. It’s the right time to get in touch with the professionals today.

#3D CAD White Light Scanning Services #3D White Light Scanner Suppliers of India #3D white light scanner suppliers India #3D White Light Scanners Suppliers in India

0 notes

allcheatscodes · 8 years ago

Text

mass effect 3 xbox 360

http://allcheatscodes.com/mass-effect-3-xbox-360/

mass effect 3 xbox 360

Mass Effect 3 cheats & more for Xbox 360 (X360)

Cheats

Unlockables

Hints

Easter Eggs

Glitches

Guides

Achievements

Get the updated and latest Mass Effect 3 cheats, unlockables, codes, hints, Easter eggs, glitches, tricks, tips, hacks, downloads, achievements, guides, FAQs, walkthroughs, and more for Xbox 360 (X360). AllCheatsCodes.com has all the codes you need to win every game you play!

Use the links above or scroll down to see all the Xbox 360 cheats we have available for Mass Effect 3.

Check PC cheats for this game

Check PlayStation 3 cheats for this game

Genre: Role-Playing, Third-Person 3D Action RPG

Developer: BioWare

Publisher: Electronic Arts

ESRB Rating: Mature

Release Date: March 6, 2012

Hints

ENDING

I JUST REVIEWED RIDE TO HELL SO IM STILL CALMING DOWN so the ending while horrible actually makes sense just reverse everything. So instead of your army dying they survive and win and the relays don’t blow up the reapers are Defeated. There is ending DLC but I hope this helped.

Infinite Missile – Multiplayer Platinum Runs Made Easy

To get this glitch to work there are a few items needed and a preferred character (even though it can be done temporarily with all characters). N7 destroyer soldier (spec’d with devastator mode maxed along max ammo build) Main weapon m37 falcon or striker assault rifle or any rifle that shoots grenade rounds and equip any second hand weapon as well. This glitch only works with a full group of 4 players reliably any less and the glitch tends to stop working from time to time, this glitch can also only be done by the second and third people to join the party. Now at the start of the match you need to switch to your missiles and fire off all but the last shot, then shoot off the last round and hold down the trigger until you hear the missile launcher clicking, while its making the clicking noises switch to your primary weapon while still holding the trigger down if the glitch worked you will now have infinite missiles, its best use devastator mode to reload as well you only have to turn the ability on and off to reload.

Cheats

Currently we have no cheats or codes for Mass Effect 3 yet. If you have any unlockables please feel free to submit. We will include them in the next post update and help the fellow gamers. Remeber to mention game name while submiting new codes.

Unlockables

Hidden Character: Battlefield 3 Soldier

Have a Battlefield 3 Online Pass Linked on your EA account to unlock the Multiplayer character BF3 Soldier.

Avatar Awards

N7 Helmet : Return to Active Duty.

Omniblade : Kill 25 Enemies with Melee Attacks.

Easter eggs

Currently we have no easter eggs for Mass Effect 3 yet. If you have any unlockables please feel free to submit. We will include them in the next post update and help the fellow gamers. Remeber to mention game name while submiting new codes.

Glitches

Currently we have no glitches for Mass Effect 3 yet. If you have any unlockables please feel free to submit. We will include them in the next post update and help the fellow gamers. Remeber to mention game name while submiting new codes.

Guides

Currently no guide available.

Achievements

DLC Achievements: Citadel

High Society – Go undercover to follow a lead. – 25

King of the Castle – Win a prize at one of the arcade games. – 15

Last Resort – Stop an out-of-control scheme before it’s too late. – 50

Perfect Host – Throw a party for your friends. – 10

Priority Target – Discover a plot against you. – 25

Simulated Hero – Score 9999 points in the combat simulator on Normal, Hardcore, or Insanity. – 25

Team Player – Infiltrate an enemy stronghold with your crew. – 25

Technical Issues – Investigate a strange occurrence in the combat simulator. – 25

The One and Only – Defeat a group of Spectre-level opponents on Normal, Hardcore, or Insanity. – 50

DLC Achievements: Mass Effect 3 – Leviathan

Conspiracy Theorist (25) : Use clues to pinpoint the exact location of anobjective.

Family Matters (25) : Rescue a civilian from Reaper forces

No Stone Unturned (25) : Investigate a sinister conspiracy.

Under Pressure (50) : Uncover an ancient secret.

Achievement List

A Personal Touch (10) – Modify a weapon.

Almost There (15) – Reach level 15 in multiplayer or level 50 in single-player.

Always Prepared (10) – Obtain two non-customizable suits of armor.

Arbiter (25) – Win a political stand-off.

Battle Scarred (25) – Promote a multiplayer character to the Galaxy at War or import an ME3 character.

Bringer of War (10) – Chase down an assassin.

Bruiser (10) – Kill 100 enemies with melee attacks.

Combined Arms (25) – Perform any combination of 50 biotic combos or tech bursts.

Defender (25) – Attain the highest level of readiness in each theater of war.

Driven (5) – Return to active duty.

Enlisted (5) – Start a character in multiplayer or customize a character in single- player.

Executioner (25) – Defeat an old adversary.

Explorer (15) – Complete three multiplayer matches or five N7 missions.

Eye of the Hurricane (10) – Kill a brute while it’s charging you.

Fact Finder (15) – Discover an enemy’s monstrous origin.

Focused (25) – Evolve any of your powers to rank 6.

Giant Killer (10) – Defeat a harvester.

Gunsmith (25) – Upgrade any weapon to level 10.

Hard Target (15) – Call down an orbital strike.

Hijacker (10) – Hijack an Atlas mech.

Insanity (75) – Finish the game on Insanity without changing difficulty after leaving Earth.

Last Witness (25) – Extract ancient technology.

Legend (50) – Mission accomplished.

Liberator (15) – Stop a Cerberus kidnapping.

Long Service Medal (50) – Complete Mass Effect 3 twice, or once with a Mass Effect 2 import.

Lost and Found (25) – Dispatch 10 probes to retrieve people or resources in Reaper territory.

Mail Slot (10) – Kill 10 guardians with headshots from the front while their shields are raised.

Master and Commander (50) – Deliver most of the Galaxy at War assets to the final conflict.

Mobilizer (15) – Bring a veteran officer aboard.

Overload Specialist (15) – Overload the shields of 100 enemies.

Paramour (25) – Establish or rekindle a romantic relationship.

Party Crasher (15) – Sabotage a dreadnought.

Pathfinder (15) – Explore a lost city.

Patriot (25) – Make the final assault.

Peak Condition (25) – Reach level 20 in multiplayer or level 60 in single-player.

Problem Solver (15) – Evacuate a scientific facility.

Pyromaniac (15) – Set 100 enemies on fire with powers.

Recruit (10) – Kill 250 enemies.

Saboteur (15) – Disable a group of fighter squadrons.

Shopaholic (10) – Visit a store in the single-player campaign.

Sky High (15) – Lift 100 enemies off the ground with powers.

Soldier (15) – Kill 1,000 enemies.

Tour of Duty (20) – Finish all multiplayer maps or all N7 missions in single-player.

Tourist (5) – Complete one multiplayer match or two N7 missions.

Tunnel Rat (15) – Survive the swarm.

Untouchable (10) – Escape a Reaper in the galaxy map.

Unwavering (50) – Finish all multiplayer maps on Gold or all single-player missions on Insanity.

Veteran (25) – Kill 5,000 enemies.

Well Connected (15) – Send a warning across the galaxy.

World Shaker (15) – Destroy an Atlas dropped from orbit.

0 notes