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Q: Is it possible to loop through the style attributes of a div with javascript or jquery? As the title says I am wondering if it is possible to loop through the style attributes of a div with javascript or jquery. What I want to do is loop through the styles and create an object containing these style names and values.
Here is an example of what I am trying to do:
alert($('#mydiv').attr('style'));

Gives the following:
background-color: #CCCCCC; border-width: 2px; border-style: solid; width: 250px;

And I want to create a object which looks like this:
{"background-color":"#CCCCCC","border-width":"2px","border-style":"solid","width":"250px"}

What I can't figure out is whether this is achievable by looping through the styles or whether I will have to create the object myself using code similar to below:
var style = {};

style['width'] = $('#mydiv').css('width');

Any input of this would be appreciated.

A: Version 1, using inline style

const style = $("#myDiv").attr("style");
const parts = style.split(";")
console.log(parts)

let obj = {}
parts.forEach(part => {
  if (part.length > 0) { // skip the empty element after the last ;
    const [key,val] = part.split(':');
    obj[key] = val.trim();
  }
})

console.log(obj)

My div

Version 2 using computed style of a list of elements

// more code needed to handle rgba
const rgbToHex = rgb => '#' + (rgb.match(/[0-9|.]+/g).map((x, i) => i === 3 ? parseInt(255 * parseFloat(x)).toString(16) : parseInt(x).toString(16)).join('')).padStart(2, '0').toUpperCase();

let obj = {}
const style = window.getComputedStyle(document.getElementById('myDiv')); //
["background-color", "border-width", "border-style", "width"]
.forEach(rule => {
  const val = style.getPropertyValue(rule)
  obj[rule] = val.includes('rgb') ? rgbToHex(val) : val;
})

console.log(obj)
#myDiv {
  background-color: #CCCCCC;
  border-width: 2px;
  border-style: solid;
  width: 250px;
}

My div

A: For
, $('#id').attr('style') will return a string color: red so i guess, you can't loop them directly.
However you can create an array string.split(';') and loop over them.
But CSS associated with in inside

redpajama_set_name: RedPajamaStackExchange


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text:
Q: Stop Render of Reactjs Component? I am wondering what is best practice. Should you let all components render or should you stop them from rendering? Say I have a delete modal that only gets shown on a click.
Should I put in my render of my modal
render() {
  // if something return false to stop rendering
  return ( )
}

A: Design your DeleteModal component so that in its render() method it renders the required UI, always. Then in the parent component, the one that uses the dialog, you conditionally show/hide it:
render() {
    return (
        <div>
            some content here
            ...

            {showDeleteModal ? <DeleteModal /> : null}
        </div>
    );
}


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A Case Study in Narrative Design
Half rant, half case study, this long entry discusses the implications of implicit versus explicit narrative in video games. It also does a fair amount of complaining.
Douglas Lynn
Below is a passage I originally wrote back in September in response to the massive amounts of hate that were spewed for Metroid: Other M, a game which, while flawed, made me understand the meaning of the term "nerdgasm." In terms of overall presentation, it's one of my favorite games of all time. As I began my rant, I noted an interesting case study appearing. I continued my line of thinking into a discussion of the differences between implicit and explicit game narrative, the emotional power of implicit narrative, and the largely unrealized potential video games have over traditional forms of narrative delivery. In early April, I posted this essay to my blog, "Welcome to Gameland".
This admittedly unorganized essay is half case study and half fan rant, resulting in a work that jumps around a bit and gets a little…well, fanboyish. Regardless, I've tried to make some points about game writing. Prepare 8 or 9 sheets of A4 and make of it what you will.
Now that I've had time to cool down and return to normal following my combat high and subsequent crash, I wanted to mention the fact that I find this game to be a fascinating case study in game writing. Other M finds itself in a unique position in terms of narrative. Most game franchises already have an established storytelling format with well-established characters. Nintendo, however, has a long history of not recognizing character traits in their lead characters. It isn't so much that Nintendo characters historically have no motivations or relationships, but rather that Nintendo characters have been built almost entirely through implicit narrative and gameplay. Nintendo characters have a tendency to not speak, even when being spoken to by other characters.
A key example is The Legend of Zelda: Twilight Princess. Though the story is told largely through cutscenes, the speech is all executed with text. Even without the prospect of voice acting, however, Nintendo's golden boy isn't permitted to say anything. Occasionally, in a cutscene, Link will be need to tell something to another character. The other character will begin the conversation, then preface Link's speech with something like, "Huh? What's that you say, boy?" The scene will then fade to black, fade back in, and the character will "respond" to what Link has just "said." It works somewhat in this scenario since previous events make clear to the player the gist of what Link is saying. Still, it can feel pretty forced and silly to see the scene deliberately omitting a potentially important speech by the main character.
This is where Metroid comes in. Metroid has followed a similar philosophy of using implicit narrative for a long time. Samus was at least given some identifiable character traits through some short monologues and scripted events. In Metroid II: Return of Samus, she spares the life of the last infant metroid on SR388, and players are unable to do anything about it. This, however, chiefly serves to establish the plot of the next game. Appropriately enough, it's in Super Metroid, that next game, where Samus first provides her first brief monologue, very matter-of-factly explaining the events that set up the game. Still, out of the first three games, we're left with only one identifiable trait for the character – she's merciful. Of course, given that she saved (more or less) one life out of thousands, even that's somewhat debatable. Not only that, the one life she saved, she proceeded to simply hand over to scientists for biological studies.
In response, we have two different paths. In one corner, we have Metroid Fusion and Zero Mission; in the other, we have the Metroid Prime trilogy. Fusion, in following Super Metroid and being produced by many of the same staff members, continues to build on the narrative structure established by Return of Samus and Super. The monologues Samus presents in Fusion begin to paint a bit more of a picture in regards to her thought processes, but in being presented through text once again, they do little to provide emotional context. She even has a conversation with another character, but it experiences the same setback. Some simple responses, such as "!" or "…", show an effort to convey a way of thinking, but provides little in the way of deeper emotion. Does "!" imply surprise? Shock? Anger? Awe? Only the writers know this answer for sure. Nintendo provides players with an outlook of what Samus thinks about, but not much in regards to how she feels about it. Players are still left as the chief creators of the character, and it stands to reason that what players think and feel as they go through the game become the emotions and thoughts that they pin onto Samus. There's nothing inherently wrong with this, but it does seem to have caused quite a rift to develop in the fan base.
Prime, on the other hand, focuses less on the thoughts of Samus and more on providing atmosphere through backstory. Through the lore and research scans players make, information becomes available about Samus's relationships as delivered from outside sources. Space Pirates complain about her raids and Chozo talk about finding her and make reference to her fighting prowess. A few cutscenes throughout the games of the trilogy suggest a certain stoicism and hint at the "merciful" tone again, but a lack of speech (Samus doesn't speak one word in the course of the trilogy, even in text) and a… limited use of facial expressions restricts the amount of information that can be deciphered about what sort of character she really is. The player, once again, is left to construct his or her own vision of what's going on behind the eyes.
The Prime trilogy represents perhaps the most extreme presentation on implicit narrative in the entire series, mainly through its first-person perspective. The interface design of Metroid Prime clearly goes to great pains to suggest that you, the player, are standing inside a metal suit, looking through the visor. Various fluids and gases, from water and steam to insect guts, spray onto and run off of your visor in various ways. However, Prime also takes this a step further by adding in a reflection of Samus's eyes when a bright flash occurs, and for the first time, providing a vocal grunt upon taking damage. These final two items are used to suggest to players that they are not the ones walking around in this suit – they are a completely different person. At first, it seems like these two concepts are at odds. The interaction of exterior elements with the "visor" implies that players are inside the suit, while the depiction of interior elements, like Samus's eyes, implies that it is Samus, not the player, inside the suit. However, what this interface design achieves is a combination of an "implicit" technique (you are the person inside the suit) with an "explicit" technique (Samus Aran is the person inside the suit) to create an effect that is actually more implicit in nature than the initial. Instead of canceling each other out, the effects are cumulative, leading to an end result of "You are Samus Aran."
Okay, perhaps I'm being a little overly-dramatic about an interface design, but this sort of effect is what makes the video game medium unique. People often tout the fact that interactivity is what differentiates games from media such as film. It's true that interactivity is a big part of what makes a game a game, but in looking at video games as a storytelling medium, the real key is the implicit narrative derived from this interactivity. "Choose-your-own-adventure" novels have been utilizing a second-person format for years to generate interactivity much in the same way as games, a style reflected in many of the early text adventures. "You see the door to the King's chambers at the end of a long hallway. Another door lies to your right. Which way do you choose to go?" The reader (or player) then makes a choice, which carries with it certain consequences. Since the player is responsible for making the choice, the player is the one who accepts the consequences.
Our personalities are characterized by the choices we make, the consequences they yield, and how we respond to those consequences. Since the game character's choices are produced by the player, the two individuals share very similar personalities. It's fairly natural to assume, under such circumstances, that the player might experience a certain understanding of the character's motivations, mannerisms, and ways of thinking. After all, the player and character share the same experiences and choices – they have an intimate knowledge of each other.
Another interesting dynamic also takes shape in this situation. Games are designed, created, and written by a group of people that may or may not share personality traits with the player. The designers and writers work to create the situations and settings that generate the decisions the player encounters. Many times, a game situation will have a very specific set of circumstances that must be followed in order to achieve the desired result. A video game, particularly one centered around a plot or character, has a clearly-defined ending point. Thus, if a player makes a choice that results in the game ending prematurely (e.g., being killed in a boss battle), the player knows that this was the wrong choice to make. If the game character's implied thoughts were entirely based upon the thoughts of the player, this would indeed be the end of the game. However, in making a wrong choice and being aware that it was the wrong choice to make, the player can go back again and make a different choice. The game's creators have an idea of the choice that would be made to produce the desired result, and the character's following of these choices will eventually lead to the end of the game. As a result, the game character has a defined way of thinking – a personality that is derived from the game's structure. It's true that the player controls the choices made by the character, but the game controls the consequences of those choices. In order for the player to reach the end of the game, he or she must make choices that correspond to those that the character would make. The end result? The player has a style of thinking that is projected onto the character, but at the same time, the character has a way of thinking that is projected onto the player.
The relationship between the player, the player character, and the rest of the game is very much a subconscious one in an implicit narrative. There's a constant conversation throughout the process of developing the narrative. It goes something like this:
GAME: Who are you?
PLAYER: I am me.
GAME: Not anymore, you're not.
PLAYER: Oh…okay, so who am I?
GAME: You are this game character.
PLAYER: Okay. What's my motivation?
GAME: For now, you're trying not to die. Is that motivation enough?
PLAYER: Works for me.
GAME: Alright. Here's a problem for you. This is Art Intel. We call him A.I. He's playing a character we call "The Situation."
SITUATION: My horrible deadliness of deadly death-bringing is the "situation"!
PLAYER: He seems like kind of a jerk.
GAME: Trust me, he knows what he's doing. Now, A.I. here is going to try to kill you. ACTION!
SITUATION: Here I come!
PLAYER: I'll do…this!
(The Player performs an action.)
SITUATION: You shouldn't have done that.
PLAYER: Why not?
SITUATION: Because I'm going to do THIS!
(The Situation performs an action.)
GAME: And cut. You're dead.
PLAYER: Oh dear…can I try again?
GAME: Sure. Take him down, A.I. ACTION!
SITUATION: Here I come again!
PLAYER: Okay, I'll do…THIS!
(The Player performs a new action.)
SITUATION: Oh. Damn. I don't have a good response for that.
(The Situation dies. There is much rejoicing.)
GAME: And cut. Well done. So, your character survived this problem by doing 'this.' I like it. Cut and print. Moving on…
PLAYER: When do I get paid?
GAME: When you finish the rest of the movie. Shut up and do your job.
PLAYER: Don't go giving me lip! I signed on as Executive Producer. If I leave, this movie NEVER gets made!
GAME: …Touché.
The limits of a game's design generate the "personality" of the player character. The player operates within these parameters by making a series of decisions. As the player's base personality is limited by the design and the character's actions are controlled by the player, the personalities of the character and player slowly merge. The closer these personalities become to being one cohesive unit, the better the player becomes at the game. The player "understands" the character.
For all of these reasons, implicit narrative is a very powerful tool in generating an emotional connection between the player and the character. A player who becomes very good at a game quite literally thinks just as the character would. This connection, however, doesn't necessarily apply to a non-gameplay situation. While a player and character may deal with a situation in the same way, their reasoning behind the action may be completely different. The character's motivations are imaginary, of course, but they do theoretically exist within the context of the game environment. Consequently, a large gray area is left in which those deeper questions of "why" reside. Implicit narrative leaves that area open for interpretation. It's assumed or invented – hence the very name, "implicit narrative." Players can choose to invent or ignore their characters' reasoning for actions that are performed in the game.
Explicit narrative exists in games to help colorize the gray area. By its very nature, explicit narrative is something very simple. Explicit narrative deals with closing that window for interpretation by stating, with certainty, the facts behind a character or event. In a way, explicit narrative is harder to explain than implicit narrative simply because essentially every human being on the planet knows more or less what it is. Explicit narrative is what we usually describe as a story (though "story" and "narrative" are technically different concepts). It has a specific series of events contained within it. Its plot is objective – it plays out the same way for every person who experiences the story, as opposed to the more subjective plot of an implicit narrative, which can vary for each person. Any complete sentence ending with a period or exclamation point (including this one) displays explicit narrative.
The Metroid series, for the first 15 years of its existence, was centered almost entirely upon implicit narrative. This is hardly surprising – games of the 8- and even 16-bit eras simply didn't possess the processing power to depict high levels of explicit narrative elements, except through text. Regardless, many games, particularly RPGs, took full advantage of what was available to provide an explicit plot for players. The original Metroid had next to nothing to do with these sorts of elements. The bulk of Metroid's explicit narrative is presented in the user manual through the background story. Beyond that, there are only two real bits of exposition in the game – a block of text in the opening titles explaining the mission (essentially an abridged version of the manual's story), and a second block of text at the end of the game warning players of the potential threats elsewhere in the galaxy, closing out the game and setting up very loose potential for a sequel.
Again, this sort of thing isn't all that unusual in a game of this era. Explicit narrative, however, is laid out not just in elements such as blocks of text, but also in a game's very structure. Metroid not only lacks explicit narrative outside of the game space, but it even had little explicit narrative within its game structure. Games built upon a linear level structure, such as the classic Super Mario Bros. games, are laid out in an explicit way. Players progress through organized "plot points" by traveling from Level 1 to Level 2 and so on, developing a story that is, to some degree, the same for every player. Nonlinear adventure games don't offer such a rigid structure. Players may pass from Area 1 to Area 4 back through to Area 2 however they choose. Metroid follows the latter structure, but also does as many nonlinear games do – it lays out a certain sequence to be followed based upon a "lock-and-key" system. Players must perform specific tasks in order to move on. By forcing players to progress along this sequence, the game establishes a certain degree of explicit narrative.
Before moving on, however, it's important to mention another characteristic of the Metroid series that has generated an entire subset of fans – sequence breaking. Sequence breaking – the practice of violating the game's established sequence of events – is a defining piece of the series for many fans. It demonstrates significant attention to detail and great skill, but in addition, it provides another interesting quality in the dynamic of Metroid's narrative. For a serious sequence breaker, the entire structure of the game breaks down. The established plot points can be mixed, warped, or even skipped altogether. As a result, the elements of explicit narrative presented by the game structure also cease to exist, making for a story almost entirely determined by player actions. The character-to-player connections established by implicit narrative become even more thorough as the player and character not only share decisions on how to overcome in-game obstacles, but also work as one to overcome the obstacle of the game itself. The conversation between the player and game becomes more like this:
(The Player stands off to the side, chatting with Little Bug, another supporting actor, who also happens to be romantically involved with the Game.)
GAME: Player?
PLAYER: Huh? Oh, sorry, I was just chatting with Little Bug over here. You know, she was telling me about how she thinks you should write her into the script.
GAME: I really don't think that's a good idea.
LITTLE BUG: Excuse me?
GAME: I mean, no offense, Little Bug, but you really shouldn't be here in the first place. You're not an actor or anything. I just brought you along because, well, what can I say…we're inseparable.
BUG: Aw, that's nice. But I was thinking, as long as I'm here…
PLAYER: Yeah, I mean, can't I do a scene with her? I mean, she just seems so cool. I really feel like she'd enhance the script.
GAME: Do you know how much trouble I went through to get Art Intel on this project? I really feel like he's the best choice for…
BUG: I don't like A.I. He strikes me as a bit of a jerk.
GAME: Come on, Player, we've got a script all made up here. I mean, there's a lot of improv involved in this project, but that's just in the specifics. You're talking about changing the entire structure of this movie.
PLAYER: No, no, hold on a second. I can totally see it. What if I do something like this?
PLAYER: Bug doesn't even have to do anything! She can just be herself and be brilliant!
GAME: But…
PLAYER: You know what? I'm the Executive Producer here. I'll figure out how we're spending the money. Someone roll the cameras! I want to try this out.
GAME: *Sigh.* A.I., go wait in your trailer. I'll call if we need you.
SITUATION: I hate you all.
(A.I. storms off, ignoring the scene being played out.)
PLAYER: …And then I do this, and this, and THIS! Ha ha!
GAME: I'll give him credit…he's certainly committed to the role.
By having more control over the game, the player subsequently increases the level of implicit narrative and decreases the level of explicit narrative presented. When you consider the connection between player and character personality, it's likely fair to assume that an avid Metroid sequence-breaker might tend to view Samus as being a tiny bit more rebellious and independent than would someone who feels tied down to the structure of the game.
Sequence-breakers make up a large segment of the fan base for the three "classic" Metroid games – Metroid, Metroid II, and especially Super Metroid. In these fans, you have the group that is most heavily exposed to the implicit narrative the series provides. Ironically enough, through being devoted fans of the series and the character in this way, their views on the specifics of what sort of person Samus is tend to vary considerably. For players following the established sequence of events, Samus's personality and style of thinking become more explicit. (As previously discussed, the game character's "personality" is projected onto the player via the nature of the game's victory conditions. In the case of "average" players, more of the character is projected onto the player – in the case of sequence-breakers, more of the player is projected onto the character.)
So where does this take us? We had begun a discussion on Metroid Prime's interface, and how this presentation greatly facilitates the development of implicit narrative. However, the Prime trilogy also presents some significant steps forward in the series' use of explicit narrative. Again, we turn to an interface tool – the Scan Visor. At first glance, it seems innocuous enough – it's a device which allows the player to gather information, particularly on enemies and environments. The team at Retro Studios decided to take this a step further, though, by providing "Lore" objects to be scanned. Depending on how involved a player chooses to get, the Scan Visor becomes not just a tactical tool, but a thorough plot-delivery system.
Regardless of how much implicit and explicit narrative is presented in Metroid Prime, the narrative is still presented largely externally from Samus herself. Lore entries may detail Samus's past or present, but they do so from an outside perspective. This system, though utilizing explicit narrative techniques, still preserves the integrity of the developing implicit narrative. It does, however, serve as a sort of half-step into the text-based explicit-narrative-heavy Metroid Fusion, released at the same time. With Fusion attempting to move towards a more character-based narrative, the Prime trilogy expanded its own explicit narrative, leaning towards a more plot-driven structure. Metroid Prime 3 even featured full-on voice acting for the first time, though Samus herself remained silent. Even with the combination of all of these storytelling elements throughout the series, a vast amount of space was still left open for interpretation.
This is what brings us to Other M. Over the course of the series, a series spanning 23 years, the most that had been overtly explained about Samus, at least in terms of character traits, is that she has a merciful side (possibly) and is a highly skilled and powerful warrior. Also, she has a certain respect for the late Adam Malkovich, though in what regard is not entirely clear. It's suggested that she's a bit more intelligent (or perhaps a more accurate term is "wiser") than the average Galactic Federation official. One could also use the term "stoic," though this is, to some degree, only implied. The entire remainder of her character traits are based on the minds of the players, and each view tends to be a little bit different. With so many gaps to fill, fans had the opportunity to sculpt whatever character they wanted to fit the bill. Thus, it's not that surprising that so many fans reacted so strongly to the depiction of Samus provided in Other M.
Fans on the disgruntled end of the spectrum used words like "weak," "subservient," "scared," "emotional," "desperate," and even "helpless" or "pathetic" to describe the version of Samus portrayed in Metroid: Other M. More cool-headed fans lean towards words like "respectful," "traumatized," "a little over-confident," "trusting," "heroic," and "highly competent." Personally, I play the field. My Other M trait list for Samus includes (but is not limited to) the following words: understanding, desperate, emotional, heroic, cautious, deadly, and gentle (a word I feel is overlooked in this portrayal). All in all, it's a pretty broad assortment of character traits, and frankly, a bit odd for a video game action hero (possibly what throws off a lot of non-fans). Yet even with a wide set of traits being potentially depicted, it still isn't even close to providing the character many people are looking for. The reason is implicit narrative.
Fans of the series (and, specifically, the character) were looking for a character they knew, but not in the same sense as in literature or film. This character had a few clearly-defined traits, but she was built largely from interpretation. In other words, players weren't looking for the one and only Samus Aran – they were looking for their own personal Samus Aran. The sheer range of specific interpretations for the character, a range as wide as that of the players themselves, makes it impossible to depict a character that meets everyone's expectations.
It's clear that there was verylittle love for the end product. The exceptions are people like me, who happened to have a very similar interpretation of the character to Other M writer and director Yoshio Sakamoto. Those of us who got what we expected didn't feel betrayed, and thus had far less to complain about. Sure, there's a little to complain about in elements like the writing, voice acting, level design, artwork, and that ridiculous, ridiculous title (seriously…"Other M"? What the hell is that? I know the game inside and out and it still doesn't make sense.), but they don't stand out nearly as much when you don't feel like the purveyors of the product have destroyed a childhood hero. That, I feel, I where the real hate for the game came from.
And speaking strictly as a fan, I reserve the right to state that any and all players who were not already Metroid fans who hated the game are just cynical idiots who are too stuck-up to broaden their horizons and are definitely in no way reflections of my own personality. No. Definitely not like me at all.
I've made this into a discussion about Metroid, simply because that's what I know. The real topic here, however, is on the power of implicit narrative and how this gives games a unique edge over other media. Games, through their ability to carry out a "conversation" with the player, have the potential to generate a true emotional bond. A player who controls a game character blurs the lines of reality. The player who understands the game understands the character. As the player's thoughts and action become more in sync with how the game works, the player and the character become more and more alike. In this sense, the player understands a game character better than he or she can possibly understand a movie character. After all, is there anyone easier to empathize with than yourself?
Don't let this serve as a rallying cry against formal explicit narrative. I love a nice cinematic game (as I've hopefully just demonstrated), and even in a game centered around implicit narrative, formal exposition serves a valuable purpose in generating context and setting. What I've noticed, however, is a continual desire to figure out how to take game narrative to the next level. I've seen questions of why stories in games have seemingly failed to garner the same respect and emotional impact as movies. Most game writers seem to understand that the answers lie in interactivity, yet the most popular games seem to move farther and farther away from making interactivity an integral part of the narrative. We need to take a look into the past, back to the days before games had the ability to imitate movies. When we get back to that mentality, we can investigate alternatives to the modern game narrative structure and, hopefully, find a way to bring games into a world all their own.

redpajama_set_name: RedPajamaCommonCrawl


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Midtown W
"The dialogue veers uneasily between realistic rough-and-tumble banter that disguises feelings behind its bluntness, and elegiac riffs. Rather than playing down the disconnect, the direction emphasizes it…Allowing New York audiences a (literal) front-row seat allows the dilemma these people face to sink in...If 'Sweat' is the imperfect vehicle to portray their angst, at least their angst is being portrayed in some way on Broadway." Full Review
Nathan the Wise
"'Nathan the Wise' is a rollicking tall tale, full of crazy coincidences, lost and found children, and mistaken identity...Heading the cast in a fantastic performance is F. Murray Abraham...He tones down the (kosher) ham here but lets 'er rip when necessary in a climactic scene. But the entire cast shines...Not only is nothing of importance lost in this freewheeling adaptation, but much is gained in audience engagement, especially given Brian Kulick's innovative and fast-moving direction." Full Review
Sisters' Follies: Between Two Worlds
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"Unfortunately, the evening doesn't quite work, because the pacing is badly off. The snippets of shows go on too long, like an 'SNL' sketch that makes you channel surf. Between the scenes, there's endless bitchy banter between the intrepid sisters who founded the arts center...The whole magic of a Basil Twist show are the puppets, to which the real, live humans should be secondary, instead of the other way around. During most of the sketches, I felt like shouting, 'Where are the damn puppets?'" Full Review
My Big Gay Italian Wedding
"Everyone is going to have his or her favorite moment in My Big Gay Italian Wedding, the insanely funny and fun confection playing in a church basement on Restaurant Row. The mixture of the sacred and profane, the ultra-serious and ultra-silly makes this the perfect play to see on a humid summer night." Full Review
"There are only three actors on board the entire time. This often means the playwright has limited the scope of his drama; although 'Deconstruction' manages to construct at least two full realized characters, it runs true to form...Arendt herself comes across as rather banal...I hope Leaf plays with his play, because there's definitely something here. Maybe a little self-deconstructing of his own might workshop this into a meatier meal about three powerhouse thinkers." Full Review
"This sexed-up version of the fairy tale falls flat. What was inventive, funny and subversive the first time around [in the company's 'Nutracker Rouge'] came across as flat, reductive and way too much like the first, without any redemptive additions...One of the major problems with this production is that there is so much 'business' going on, it is hard to discern the outlines of the plot from here to there." Full Review
for a previous production "It's a sexy, silly, thrilling and very, very enjoyable mash-up of baroque, ballet and burlesque, pas de deus and pole dancing. Above all, it's entertaining...The tiniest smidgeon of context would have transformed the wonderful performances into something greater than themselves...If all of this sounds like too much, it is. But then again, so is the 'Nutcracker.'" Full Review


text:
Q: r: arc length of a plotted line? Can r do arc lengths of plots?
Say I have
library("DiagTest3Grp", lib.loc="~/R/win-library/3.2")

data <- c(34,46,47,48,52,53,55,56,56,56,57,58,59,59,68)
bw <- BW.ref(data)
x0 <- seq(0, 100, .1)
KS.cdfvec <- Vectorize(KernelSmoothing.cdf, vectorize.args = "c0")
x0.cdf <- KS.cdfvec(xx = data, c0 = x0, bw = bw)
plot(x0, x0.cdf, type = "l")

Produces graph

Could I derive the arc length of the plotted line given any x (say arc length is measured from the left), or given any two x's?


text:
Fantasy Stories 175
Love of the Damned - Chapter Thirty Five
The Archangels paid the fallen angels a visit, and the angels didn't know how to react. What would happen when their prosecutors, punishers decide to come down? Perhaps a sentence even more painful than the current one....
Chapter Thirty Five: An Even Match
"They are here?!" Roger Carter's eyes widened in shock. His handsome face looked helpless, even a little scared.
"Correction, my lord Carter," Master Holland flicked dust off his robe, "HE is here."
"But Archangel Luke? Why would he visit the fallen angels?" Roger ran a hand through his hair, "haven't the Archangels done enough to us?"
Master Holland put a hand on his arm, "The Archangels didn't do anything we don't deserve, my lord Carter. I believed, you have a strong regard for the Archangels by the way?"
Roger scoffed, "That was before they sent down the ridiculous Order of the Archangels and send Alex into some sort of love-crazed frenzy. Have you even looked at the boy, Master Holland?" He turned towards him exasperatedly, "that whore Anastasia has been playing with him like she plays with food."
Holland's jaw tightened at the word "whore", but he said nothing about it. He clasped his hands together in front of him, and raised his eyes at Roger.
"My lord Carter, perhaps it's time we present you to the Archangel Luke. He doesn't like waiting."
"Of course," he flashed over to Holland's side and the both of them were out of the room.
They entered the hall, and Archangel Luke, his blonde hair gleaming under the sunlight, his skin pale as milk, sat on the armchair nearest the fireplace. When they arrived, he stood up and bowed, though he didn't look very sincere in his manners, Roger thought.
"My beloved brothers, Master Holland, and my dear Carter!" Luke said in a falsely cheery voice, "how nice to see you after so long."
"My lord Archangel," Roger returned his bow with a look of contempt. Then he straightened up and looked at the smirking Archangel in the eye, "what can we do for you?"
"Oh, it's just a friendly call from my fellow Archangels, Carter, nothing more."
"You cast us down, my lord Archangel, forgive me if I don't regard this as a friendly call," Roger shot back.
Archangel Luke's face darkened, and gleams of gold threatened to show on his back. His eyes were cold when they looked at Roger.
"Very well. You don't want to be civil, I see. Well, my dear Carter, maybe you could start by explaining why Alexander Giovanni is chasing after our most beloved Anastasia?"
"He was her lover, my lord Archangel. And even though she had had many lovers at the same time, he doted on her," Roger said smoothly, "is it really so surprising that he wanted her back? However… I can tell you her conduct with other men hadn't been… satisfactory."
Luke scowled, but when he spoke, his tone was still strictly polite, "So, you have been monitoring her. Well, thank you for that. But do I need to remind you, Carter, that Archangel Gabriel had sentenced that if Giovanni succeeded in finding her a Mate, all of you are welcome back to Heaven?"
"Yes, we know that, my lord Archangel," Roger nodded curtly, "but your beloved Anastasia had not been successful in choosing a mate for herself. And anyone who have eyes can tell you that Alexander Giovanni considered himself her one and only mate. The Archangels had given him an even larger punishment by ordering him to find another man for the woman he loved. Though I can assure you, my lord, that I don't know why he would still want her after what she did to him, after how she got himself surrounded by other lovers, just to hurt him. Maybe Alex is a fool, my lord, but even the dumbest of fools will not chase after a woman who have betrayed him, body and soul."
Archangel Luke's wings burst out of his back and he stood up angrily. The gigantic golden wings spread out, burning with crimson because of his anger.
"You dare accuse Anastasia of being a whore, you unworthy, insolent fool? Has your sinful lust for her turned to hate, Carter?"
Roger's face paled, but his voice remained steady, "That is a very serious accusation, which I will not respond. I never had any desire for the slutty Archangel. Not in Heaven in 1600, or on Earth. She is just an immoral woman, a woman unworthy to be an Archangel."
There was a flash of gold, and Roger found himself slammed onto the wall with a hand around his throat, blocking his windpipe. He gasped for breath, and twisted his neck, desperate for air.
"It's not her fault, Carter. It's not her fault that her sexuality attracts men. It's not her fault that she fell in love with the wrong men. And you… do you think the Archangels, my brothers, do not know you lust after her like a man who sees a pretty woman? Compared with Giovanni, Carter, your sins are far greater indeed."
"I do not lust after anyone," Roger gritted his teeth.
"I can see it in your eyes, Carter. Do you think I don't know why you hated me back in Heaven? Because I have the one thing you want most. I repeat, WANT. You do not love. You do not love anyone but your ambition, your pride, your glory. But your lust for sexual intimacies makes YOU unworthy to be an angel of any kind. It is a mercy for you that we cast you down." Luke grinned savagely, "but we offered you a second mercy, did we not, by welcoming you, alone with other angels, a chance to come back? Yet you have been so selfish about what you want that you wasted away every second chance we have given you. It's kinda sad, actually."
Roger twisted his neck, and gripped a hand on the one which was holding his throat, "What do you want from me, you son of a bitch?"
Luke cocked his head to the side, and loosened his hold a little. "Oh, now we are talking," he grinned. He cupped Roger's throat in both hands, and locked his gaze with his own, "I want you to bring Anastasia back to us."
Roger froze, then shook his head, "It would be impossible."
"Why? You know she wanted to be back in Heaven, with her new found mate," Luke said softly, "and either way, she belongs to us."
"He will never allow it," Roger said roughly, "you will have to go through Alex first. And he will never let her go."
"Ah yes, of course," Luke nodded understandingly, a smile on his face, "but YOU have a claim over her, don't you? She owes you a favor. A favor which you MERCIFULLY didn't demand repayment. But isn't it time now, my dear Carter, to remind her of it?"
All color left Roger's face, and he shoved Roger away. He swept to the window, and pressed himself against the window pane, defensively, "No. No, I won't ask her to repay me that way."
"But you loved her. If you do not LUST after her, like you said, then there is only one explanation to why you wanted her. You cared about her."
Roger gritted his teeth, "I won't do this to her."
"You remembered that night. Yes, you remember it well. The memory was as fresh in your mind like it was yesterday. Carter…" Luke took a step toward him, "you have the power to sever all ties between Anastasia and the unworthy Alexander, and you, my dear angel, will be able to return to Heaven. Everyone will thank you for getting mercy for them."
"If you think I am going to hurt Ana like this…."
"Funny. You just called her an unworthy whore. Look, none of that matters. I don't care whether you love her, you want her, or whether she is a whore or whether you are a bastard. I don't care. I need to protect Anastasia. And I was selected to be her mate. An Archangel's mate protects the other, and cherish her, and loves her until the Wheel of Time stops spinning," the Archangel held up both hands, "trust me when I say I would do anything for her."
Roger clenched his fists. He won't, WOULDN'T, use the night they had together as a weapon against her. He wouldn't. Still… what else could he do if he didn't do as the Archangel wants? They have higher authority, higher claim over him. And, like Luke said, he had a claim over Anastasia, because of the most perfect night he had with her.
He looked up at Luke, who was watching him with that cold, emotionless look on his face. He drew a deep breath.
Luke narrowed his eyes, and then he was in front of Roger, his lips curled in a cold sneer, "You don't believe that I love her, don't you?"
"No, I don't believe a cold, conceited, selfish-"
"Say that again, I dare you."
"I said you are an-"
Suddenly someone was dragging the Archangel away from him. He gasped, and saw Alex, with his white wings bursting from his back, tackling Luke onto the floor, rolling with him. Alex had the element of surprise, so, with sheer luck, he was able to flip Luke onto his back, and closed a hand around his throat.
"If you have a bone to pick with me, you can always come here and find me instead," Alex growled.
The Archangel tried to roll over, but Alex's angry grip on him was strengthened by adrenaline. He gritted his teeth.
"You were too busy chasing after a woman who you could never have," Luke said vengefully.
In a blur, Alex had Luke pinned to the wall by his hand on his throat. His wings were streaked by crimson, and his eyes grew black in anger. Streaks of ice blossomed around them, and ice crept up on the Archangel, freezing him up to his chin and threatening to cover his whole torso in deadly ice.
"You will never take Anastasia away from here, not when I am still breathing," Alex hissed, "you know what I could do in Heaven. I can freeze both Heaven and Earth IF you force me to. And I will, my lord Archangel, if you push me to the limits."
Luke's lips were turning blue with cold, and he shivered uncontrollably, spasming. But his eyes never left Alex. He stared him down, "You won't kill me. Because you know if you do, SHE will know."
"Do I look like I give a damn what she knows and what she doesn't know, my lord Archangel? Do I look like I even care about anything-"
"Yes, you do, Alex. Don't act like you don't," Luke choked out. The ice was cracking up to coat his jaw now. He twisted his neck, and gasped in a gulp of air, "you care about her, even though she had betrayed you."
A flash of red crossed Alex's eyes. He tightened his hold and Luke gagged, the ice coming up to his mouth and nose…. Alex, don't.
The voice echoed in Alex's head, like the bad reception of a radio. He felt a current run through him. It wasn't the voice that shocked him. It was HER voice.
Anastasia.... When she was still in love with him. When he did something he didn't like, back in 1600, where he was in Heaven and was going to pluck a rose for her, but she laid a hand upon his and shook her head, alarmed. Uncaring as she was, she didn't like destroying nature…
Alex. Please. Don't do this. Please don't do this. I beg you.
His hand loosened automatically, and the ice on Luke's neck shrunk back. He wanted to kill the Archangel, he really wanted to, but…
Alex. For me.
'For you, Anastasia?' He thought, his fingers moving up Luke's neck again. You know I would do anything for you. But what do you give me in return, Ana? More lies and more pushing me away?
Of course, she fell silent. What did he expect anyway? It's just his imagination playing tricks on his conscience. He chuckled darkly, and strengthened his hold on Luke.
Alex. They will never forgive you if you killed him. Don't do this for me. Do it for yourself. Alex. This isn't who you are.
He froze, and then the red disappeared from Alex's eyes. He stumbled back, the ice finally fading from Luke's mouth and neck. Roger wrapped an arm around Alex's waist and pulled him backwards, as if he were afraid that Luke might regain his power and attack them. Luke coughed, and choked in the air.
"My lord Archangel, I apologize," Roger said, though he didn't look like he meant it.
Luke gagged in air, and his chest heaved up and down. Then he spoke, his voice so choked that it was like every word gave him a lot of pain.
"It… will never work you know, Giovanni," Alex heard. "You… and her… she will never…."
Alex jerked his body and made a move to pounce on him. Roger pressed him close to his body, his arm restraining him in his waist.
"NO, ALEX. You missed your chance, and I am glad you did. Or we will never escape. Don't tempt yourself again."
"Let go of me," Luke chuckled, and heaved himself up. He looked so weakened that Alex felt that he could snap his neck with a twist. And that was exactly what he wanted to do. If he didn't kill Luke now, he would never get another chance.
Alex, for the love of God, let him out of here alive. He will owe you one mercy, and he will repay you. You will regret killing him. Spare him… at least for now.
'Damn you, Anastasia,' he thought savagely, and tore his eyes away from Luke.
Roger made sure he wouldn't move, then crawled over to the fallen Archangel. He heaved him up, and used fire to reduce the ice formed on his body.
"My lord, it is best you leave," he said.
Luke pushed him away and stood up, swaying slightly. He cast one searing glance at Alex, who didn't even blink an eye at him. Then, tiredly, he extended his wings, and was out of the window in a flash of gold.
Roger walked back to Alex.
"Hey. You okay?"
Alex didn't reply. Roger held out a hand.
"Come on, brother. I have to thank you for saving me."
Alex raised his eyes tiredly at him.
"It wasn't for you," he said softly.
Roger frowned, then shrugged.
"Fine. But I saved you too, from killing an Archangel."
"Then we are even and we don't have to talk about this ever again, right?" Alex stood up and left the room without another word.
By Katherine-Asha-Elena-Gabrielle Bathsheba Constantine
Trails of Tales...
Love of the Damned - Chapter Thirty Four
Love of the Damned - Chapter Thirty Three
Love of the Damned - Chapter Thirty Two
Love of the Damned - Chapter Thirty One
Down the Rabbit Hole...
Love of the Damned - Chapter Thirty
Love of the Damned - Chapter Twenty Nine
Love of the Damned - Chapter Twenty Eight
Love of the Damned - Chapter Twenty Seven
Love of the Damned - Chapter Twenty Six
Love of the Damned - Chapter Twenty Five
Love of the Damned - Chapter Twenty Four
Love of the Damned - Chapter Twenty Three
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Rye and Bourbon: Shared Bloodline With Dutch Gin?
July 27, 2019 September 17, 2017 by Gary
It has been speculated that early distilleries in Manhattan made genever. This is the Dutch gin still consumed in its homeland albeit in a typically more neutral form than originally.
The Dutch or "Knickerbockers" as called by the English and Yankees settled what became known as Manhattan. England took over the island in 1664. Holland wrested control a dozen years later, but the English soon took it back. It stayed with the Crown until the American Revolution and Independence.
Still, Dutch cultural influence long-endured, in fact well into the 19th century. It may surprise some that a variant of the American Dutch vernaculars, Jersey Dutch, was spoken even into the 20th century.
The first distillery in Manhattan was opened by the notorious Willem Kieft in 1640. He was a merchant and governor of New Netherlands, the name of the new Dutch possession. He may have made genever, known in Holland since the late 1500s.
Various histories of early New York, and books on spirits, describe his product as genever, whiskey, or fruit brandy.
In Holland today a variety of genever types is made. Tristan Stephenson gives a succinct summary in his 2016 book The Curious Bartender's Gin Palace. The more flavourful ones rely on a good dose of "maltwine" (moutwijn) as the heart. This is a cereal beer distillate brought off the still in the low range typical for genuine whisky. Indeed Stephenson's outline of double distillation is very similar to the procedure used to make bourbon or rye whiskey today.
Wheat, rye, corn, and/or barley malt can be used for genever but rye figures in most mashes, often prominently. In some 19th century recipes rye alone is used with barley malt to make genever.
Juniper, the piney, purple berry of the forest, has always been a flavouring for Dutch gin. It was originally employed to mask the pungent flavours of new distillation and probably as a would-be medicament. Coriander and many other spices and flavourings were and are also used, but each producer had his style.
Originally the berries were ground with the grains and mashed fo their slight saccharine value. Later, the spirit was re-distilled with these flavourings to infuse their essence. Today, the latter method is used or alternatively, the flavourings are simply macerated in the finished spirit.
English gin derives from Dutch gin with two main differences. 19th century London distillers hit on a formula to use neutral spirit as the base, not a congeneric white spirit. This resulted in a cleaner style than for traditional genever.
Also, the flavourings in English gin have greater prominence than for traditional genever. The reason is simply that without the strong flavour of maltwine to inform the taste, the "botanicals" must provide that function. Hence, to blend and infuse assumes primary importance, and becomes the art for the English gin distiller.
Almost all genever today is blended but the better grades have a decent percentage of maltwine, it runs from a few percentage points to 51% ormore.
Anchor Distillery in Brooklyn, NY was a noted gin distillery between 1808 and 1819. It was owned by a scion of a famous family, Hezekiah Pierrepont – the surname was sometimes spelled Pierpont. The image below is via www.nypl.org:
Pierrepont bought the property in Brooklyn, apparently in 1808, from Philip Livingston, a signer of the Declaration of Independence. Livingston had operated the site according to various accounts as either a brewery or distillery. Older sources suggest, a brewery. It may have been both, or at different times.
The distillery was near a grain mill on the East River. Henry R. Stiles described the venture and special reputation the gin enjoyed in his 1869 A History of the City of Brooklyn:
Pierrepont's Anchor gin distillery was on the site of the old Livingston brewery, at the foot of Joralemon's lane. Mr. Pierrepont had rebuilt the old brewery building, a large wharf, a windmill, which was exclusively used for the purposes of the distillery, and several large wooden storehouses, in which he kept the gin stored for a full year after it was made, by which it acquired the mellowness for which it was peculiarly esteemed. The distillery was discontinued about 1819; was sold to Mr. Samuel Mitchell who used it as a candle factory for a time, and subsequently was occupied as a distillery by Messrs. Schenck & Rutherford; and having since been raised and enlarged is now (1869), occupied as a sugar house.
The first image above is from an 1818 issue of the Northern Budget, via NYS digitized newspapers. This newspaper was published in what is now Troy, NY, a city near Albany, up the Hudson from Manhattan.
Pierrepont gin is offered as part of E. Warren's stock of goods. The merchant with ad juxtaposed to the immediate left sold both "American gin" and "Holland gin", the original.
Troy was settled by Dutch colonists, with English-speakers arriving later. One ad still touts "Dutch goods" 154 years after the English first took Manhattan!
While four generations had lived in former Dutch New York from the English takeover until the heyday of Anchor Distillery, there is no reason to think Anchor Gin was anything other than a domestic take on Dutch gin. Via local distilleries such as (probably) Kieft's and imports to New York from the mother land, genever would have been familiar to the citizens of New Netherlands.
True, New York's population was heterogenous by 1800 and this was so even under Dutch rule, but it makes sense that tastes imparted by the first arrivals remained rooted.
Not that other residents in Manhattan wouldn't have enjoyed genever. "Hollands", as the English called it, was one of the first truly international spirits. The English and their possessions drank lot of it until late in the 1800s. Also, the English form of gin c. 1800 was still in gestation: all gin was Dutch in style and the only question for foreign types was one of fidelity.
Moreover the English had no whiskey tradition to joust with Hollands gin until Scotch whisky was well on the march. That only occurred much later in the 1800s.
There was of course rum on the eastern U.S. seaboard and no doubt many in Manhattan drank it, or brandy, but there was lots of room for the gin introduced likely by the first settlers.
Pierrepont's product had cachet for being aged and similarly some modern genever receives a period of barrel aging – the Dutch connection all ties it together.
Period distilling manuals, e.g., by the Americans Harrison Hall and Samuel M'Harry, state rye whiskey was the base for American gin. What made it gin was addition of juniper berries, juniper oil, turpentine (felt to be similar to the piney smell and taste of juniper), and/or other flavourings, all as discussed by these authors.
Did Pierrepont make a rye whiskey to serve as the base of his gin, as advised by these contemporary writers? Yes he did. Here is the proof, from the 1962 enlarged and updated biography of the Pierrepont family, The Pierreponts, 1802-1962; the American forebears and the descendants of Hezekiah Beers Pierpont and Anna Maria Constable by Abbot Low Moffat.
A rye-and-corn spirit base makes sense given that Dutch maltwine, the heart of true genever, is precisely a cereal whiskey of which rye is an important element. Maize is frequently used as well today.
Did Pierrepont sell any of his whisky not ginned up, sell that is the rye schnapps of the German farmer-distillers in Pennsylvania? Perhaps, but I haven't seen any evidence. Maybe the gin was so good no one wanted the rye spirit on its own, at any price.
Pierrepont's gin was long-remembered in New York. Even in the 1880s, the Evening Post called it the "most celebrated American brand of gin" ever made.
And so one way to look at Pennsylvania rye is the frontier distillers were simply making a stripped-down gin. Maybe the juniper and other flavourings were hard to find in many areas, or viewed as dispensable in the rude conditions of frontier.
You might ask: how would German speakers deep in the new frontier, or unlettered Scots-Irish farmers, know about Dutch or even Manhattan gin?
Perhaps one answer is not to look at these traditions hermetically. Europe had a unified culture, and still does, from the Holy Roman Empire (at least) on. From art to literature to food to music and more vast areas of knowledge are common to countries or regions separated by long distances, borders, and languages.
Maybe grain and wine distillation across Europe was a common patrimony by 1700. Seeking precise national and ethnic demarcations to determine stylistic origins, in this light, may be unhelpful.
And another point. While scholarly studies have been written on the history of distillation and stills, how often has this history been linked to the spirits that became standardized in different places? Distillers' business records might be quite revealing in this regard.
Does it not make sense that someone proposing to make a costly investment in a copper still and related equipment would ask the maker, what grains do you recommend for your apparatus? We can only get buckwheat and rye in our section of the state, can I use them in your tubs and stills? Should I malt everything? Have you heard of anyone adding burnt sugar to finished spirit?
Maybe those who supplied stills to frontier distillers also supplied them to Manhattan distilleries, and relayed some important information. It makes sense, eh?
To sum up: American moonshine whiskey and by extension bourbon, straight rye, and Canadian whisky may be first cousins with, or even the New World children of, Dutch gin, rather errant relations given the monastic and learned associations with gin's origin. Difford's Guide outlines some essential early history.
As with all whose lineage is tangled or dubious, surpassing success confers all necessary breeding. Today, bourbon and rye are gentry in the spirits world.
Note re images: the images above were sourced from the links mentioned in the text. All intellectual property therein or thereto belongs solely to the lawful owner or authorized user, as applicable. Images are used for educational and historical purposes. All feedback welcomed.
The Arc of Rye in America
A Distiller Retires


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This Proposed Chinese Train Picks Up Passengers ... Without Stopping
Is it useful? Maybe not. But it's definitely cool.
By Matt Schiavenza
China is a train lover's paradise. In contrast to the United States, where even modest high-speed rail initiatives face serious opposition, fast new trains connect most of China's major cities—or will soon. And for the last decade, a magnetic levitation train has ferried passengers from Shanghai's Pudong Airport to the city center at speeds faster than any other rail service on earth.
But even these fancy Chinese trains have not solved one necessity of rail travel: Heist movies aside, trains must stop so that people can get on and off.
Via Shanghaiist, a possible solution to this problem has arrived: This concept train features an elevated compartment in which passengers enter and, after the compartment attaches itself to the train car itself, board without the train having to stop. The nifty video demonstration is here:
Aside from various logistical questions, there's the question of utility: Is it really a problem to wait a few extra minutes at each stop? Perhaps not—but for those who believe the usual line that the Chinese lack an innate ability to innovate, this is, at least, evidence to the contrary.


text:
Q: Strange offset error in PHP I am getting an error I cannot solve.
The error is:
Uninitialized string offset: 1

The code is:
if($play_count_within_45_minutes[1] > $play_history_old_over_45_minutes_ago[$i][1]){...}

The error is occurring on the $play_count_within_45_minutes[1] variable, because when I change the index to 0 (as in $play_count_within_45_minutes[0]), it works fine.
I had it display what the value would be, and it outputs fine, with this code:
print_r($play_count_within_45_minutes[1]);

The output is:
1.0E+80

The original variable declaration is:
$play_count_within_45_minutes = [0, 100000000000000000000000000000000000000000000000000000000000000000000000000000000];

I don't think the number is too large, as I tried changing it 1 and I got the same error.
I found it has something to do with this loop (print_r() is in there as I was testing it, and it gives the same error):
for($i=0; $i <= (count($play_history_old_over_45_minutes_ago)-1); $i++ ){
    echo "
";
    print_r($play_count_within_45_minutes[1]);
    echo "
";
    if($play_count_within_45_minutes[1] > $play_history_old_over_45_minutes_ago[$i][1]){
        $play_count_within_45_minutes = $play_history_old_over_45_minutes_ago[$i][1];
    }
}

A: Alright, I found the reason I couldn't figure it out.
What I didn't know about the PHP errors is that it treats everything after the original if statement as the same line, so even though the error was on line 105, it kept telling me it was on 104.
However, I still don't know why changing the original $play_count_within_45_minutes[1] to $play_count_within_45_minutes[0] solved the problem. Nonetheless, that would have still had a problem.
The fixed code is:
for($i=0; $i <= (count($play_history_old_over_45_minutes_ago)-1); $i++ ){
    echo "
";
    print_r($play_count_within_45_minutes[1]);
    echo "
";
    if($play_count_within_45_minutes[1] > $play_history_old_over_45_minutes_ago[$i][1]){
        $play_count_within_45_minutes[1] = $play_history_old_over_45_minutes_ago[$i][1];
    }
}

It seems like a dumb error, but I really didn't know about PHP treating the entire line following the if statement as the same line.


Note that the Max-Q GPU design allows it to perform well within a more stringent thermal envelope, and Nvidia has noted that overall performance may degrade slightly on a like-for-like configuration basis. Nvidia tells us that the GPU clock rate for a Max-Q GTX 1080 is 1101-1290 MHz (base), and 1278-1468 MHz (boost). The clock rate depends on the laptop's thermal and electrical system design. For comparison purposes, a non-Max-Q GTX 1080 GPU has a base clock of 1556 MHz and a boost clock of 1733 MHz. Nvidia states that a Max-Q laptop is likely to get anywhere from 72 - 83% of the performance of a similar non-Max-Q laptop. We'll see how that plays out.
As we noted on the previous page, we do not have a system with identical specifications, namely a GTX 1080 GPU with an Intel Core i7-7700HQ CPU, not to mention the 24GB of DDR-2400 memory the Zephyrus dons. While some of the following results are attributable to some of the differences between the various configuration, we will have a better idea of Max-Q performance impact after more testing—of more Max-Q products in various configurations, including the GTX 1070 GPU, but also with more non-Max-Q designs with equivalent specifications.
Specifically, we do not have the Eurocom Tornado F5 in our labs. It should arrive back shortly, and we can conduct more testing to compare what happens during GPU-bound games, and what performance degradation takes place due to various factors at play, but the consistent differences we see between the Eurocom Tornado F5 (non-Max-Q GTX 1080) and the Asus Zephyrus (Max-Q GTX 1080) are largely attributable to the clock rate differences mentioned above. We've made a few notes on a couple games regarding the average clock rates we're seeing during the benchmark run, just to take a pulse of Max-Q. In general, we see the Zephyrus hovering toward the top end of the frequency range.
Ashes of the Singularity presents the Zephyrus with its first major gaming challenge, as it is wont to do. This game brings even the most powerful systems to their knees. Because this title makes heavier demands on the CPU, the odds are a bit stacked against the Zephyrus with this comparison grouping. In fact, the Zephyrus doesn't score much better than the Alienware offering, with only an 8% gap. Meanwhile, the i7-7700K lifts the Eurocom up 13% higher than the Asus. Both fall shy of 60 FPS, the Eurcocom laptop just barely so.
We test Ashes in DirectX 11 mode because of some mGPU-related issues under DirectX 12. The game doesn't support SLI, which is another reason why the Eurocom product bests MSI's Titan SLI.
At UHD, the Zephyrus is barely capable of maintaining 30 FPS, so you'll have to dial back the settings for a smoother frame rate to play at this resolution.
DiRT Rally puts demands on more than just the GPU, which works against the Zephyrus in this comparison set also. As such, the Eurocom laptop takes the lead once more, outscoring the Zephyrus by 19%. The Asus laptop only scores 5% better than the Alienware system, which contains the same CPU and a GTX 1070. Nvidia tells us that a Max-Q 1080 GPU will perform somewhere between a standard GTX 1070 and 1080, and with the CPU also in play here, this result seems to fall in line with expectations.
A GTX 1080 can handle Grand Theft Auto V for the most part, although the Vinewood Sign scene has proven to be extremely taxing due details like rendering distant objects. So while the Zephyrus delivers close to 60 FPS in most cases, you'll find your frame rate suffering at times—but this is hardly different than any of the other well-equipped gaming laptops we've tested.
Have you ever seen a flipbook animation? They're nifty to look at, but we'd prefer not experiencing this while gaming. Unfortunately, that's exactly how it feels to play GTA V at UHD on the Zephyrus; the frame rate hovers around 20 FPS, and even drops down to 15 FPS during the infamous Vinewood Sign scene.
We have yet another platform-based title in GRID Autosport, so the Zephyrus is a bit bottlenecked by its mobile Core i7 CPU. At FHD, it only scores 5% better than the Alienware laptop, whereas the more aptly equipped Eurocom breezes by with a 23% performance lead (and a slight lead over the MSI Titan SLI).
UHD appears to be an equalizer in titles that require balanced platforms. The Eurocom's once significant lead drops to 13%, while the MSI Titan SLI jumps ahead thanks to its second GTX 1070.
Like DiRT Rally and GRID Autosport, performance in Hitman requires a bit more balance from the overall platform. Also, Hitman doesn't play well with multi-GPU configurations in DirectX 11 mode. Therefore, the Eurocom laptop takes first place thanks to its desktop-class processor, while the MSI Titan SLI is relegated to a single GTX 1070. Even still, the Titan SLI outperforms the Zephyrus by a whisker, likely due to its more robust i7-7820HK.
We went a little further and measured the average clock rate and temperature during the benchmark. The Max-Q design GTX 1080's average clock rate is 1452MHz, although it frequently rises higher than Nvidia's estimated boost clock of 1468 MHz. The GTX 1080's average temperature is 66° C.
UHD performance paints a similar picture, with the gap between the MSI and the Asus widening to about four frames, or about 8%. Meanwhile, the Eurocom just barely maintains 60 FPS. Titles like Hitman are best left to systems with adequate CPUs when it comes to UHD; or compromise on some of the higher settings. We tested clock rates and temperatures once more at UHD. This time, the average clock rate is lower at 1320 MHz, and rarely exceeds the estimated maximum boost clock of 1468 MHz. The average temperature is also much higher, at 76° C.
Most of the games tested so far were platform-based, so it's time to let the GPUs shine. Metro: Last Light Redux's GPU-focused benchmark can be handled by a single GTX 1070. The Alienware proves that, but the Zephyrus, with its GTX 1080, offers 10% more performance at FHD. A higher clock rate GPU (or an additional GPU) provides even more still.
The average clock rate is roughly 1377 MHz, with an average temperature of 77° C, although we see a maximum temperature of 81° C.
Unfortunately, the GTX 1080 doesn't quite cut it at UHD. Both the Tornado F5 and Zephyrus laptops suffer, falling well below playable frame rates. The Titan SLI's additional GTX 1070 has it hanging on by a thread. This time, the average clock rate rises a bit higher, to 1409 MHz, although it doesn't quite match Nvidia's 1468 MHz maximum. The average temperature is also slightly lower, at 74° C, and it never reaches 80° C.
Rise of the Tomb Raider pushes the graphics workload harder, and the Asus Max-Q laptop falls short of the coveted 60 FPS, whereas the Eurocom manages to surpass the threshold. Here we see the difference the regular GTX 1080 makes compared with Max-Q. Either way, some minor tweaks to the Asus laptop gets you plenty of performance in this game.
Once again, at UHD, the GTX 1080-equipped laptops fall well below playable frame rates, and you'll need at least two GTX 1070s to get close to a serviceable experience.
The Division is yet another GPU-reliant title, although it isn't nearly as demanding as RotTR. Any GTX 1070-based system and above can enjoy solid frame rates here at the highest settings, and you can expect the Asus Zephyrus to perform around 7% better than a similarly configured laptop with a GTX 1070 (ie, the Alienware 15).
Luckily, The Division isn't as demanding as other games at UHD, and here, the Zephyrus secures a playable frame rate. Unfortunately, additional CPU and GPU power don't provide enough assistance, so although the Tornado F5 and Titan SLI offer roughly 16% and 26% more performance, respectively, this doesn't amount to much frame rate-wise.
Our gaming benchmarks conclude with Thief, yet another title demanding balanced platform performance. In fact, the GTX 1080 only grants the Zephyrus 2% additional performance over the Alienware system. Meanwhile, the Eurocom and MSI laptops trade blows. At these framerates, if you're looking for good performance, you don't have to look further than a GTX 1070, but asking for more will come with a higher price tag.
Meanwhile, the Zephyrus framerate falls below 60 FPS at UHD, but it's still close enough that reduced settings will get you past that magic barrier. If you want to game at 60+ FPS without such compromises, you'll need a Titan-like configuration.


text:
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Health Journalism 2018: Field trips
Each conference offers a selection of optional field trips showing research in action, unique patient care, the latest in medical training or public health concerns. Local hosts are given the opportunity to provide site options, as they are often area health leaders. Non-host suggestions are also considered. Seating is limited for these tours.
To be eligible to sign up for a field trip, you must be a journalist and you must be registered for the conference.
Field trip 1
Get an inside look of the Muhammad Ali Parkinson Center
Reporters will have an opportunity to tour a comprehensive Parkinson's disease treatment center, named for Muhammad Ali, who was a patient of the center. The Muhammad Ali Parkinson Center located at the Barrow Neurological Institute, features a wide variety of visual opportunities during this tour, including patient classes such as boxing. Reporters will also have an opportunity to test their balance on the center's unique balance machine and visit with Holly Shill, M.D., the medical director of the center.
Training like a surgeon – view a live brain surgery
Watch a live brain surgery at the hospital where the largest number of brain surgeries is performed in the United States. During the live broadcast, attendees will be able to not only see the operating room but also take a look deep inside the brain as a Barrow surgeon operates. Reporters will also have an opportunity to communicate directly with the surgeon in the OR.
The live broadcast will take place inside the Telepresence Room, a real-time theater at Barrow Neurological Institute. The theater was the first of its kind in the United States and is used as a training ground for medical students and medical residents. It has the capability to broadcast live across the globe.
Equipped with a CT scanner and other advanced diagnostic tools for stroke patients, this Barrow Emergency Stroke Treatment Unit enables the medical team to evaluate, diagnose and start treatment on the patient before the patient arrives at the hospital. (Credit: Barrow Neurological Institute)
Tour the "ER on wheels" revolutionizing stroke treatment
Barrow Neurological Institute is revolutionizing the way stroke victims receive medical treatment by creating and deploying a mobile stroke unit to treat strokes in the field. It is expected to dramatically speed the process in which strokes are diagnosed and treated, while greatly reducing death and long-term disability in stroke victims. It is one of 10 in the United States and is the first in the nation to operate around the clock in a city with a population greater than 1 million.
The Barrow Emergency Stroke Treatment Unit, which looks like a large emergency service vehicle, enables the medical team to evaluate, diagnose and start treatment on the patient before the patient arrives at the hospital, helping to decrease long-term side effects or death from stroke. It is equipped with a CT scanner and other advanced diagnostic tools for faster diagnosis and treatment. It also includes live telemedicine capabilities to connect with a Barrow stroke physician.
Reporters will be able to tour the mobile stroke unit, meet a patient whose life was saved by the unit, and speak with Michael Waters, M.D., Ph.D., the medical director of Barrow's stroke program.
A Circle the City Medical Respite Center patient interacts with a therapy dog. The center is a 50-bed facility serving ill and injured adults experiencing homelessness. (Credit: Circle the City)
A national model for homeless health care
This is your opportunity to witness the work of a dynamic and rapidly growing nonprofit community health organization. Circle the City has developed a homeless continuum of care that is the first-of-its-kind in Arizona, and one of the only models of its kind in the nation. The nonprofit's medical respite center was one of five demonstration sites nationwide selected for a three-year study to affirm the effectiveness of homeless respite care relative to cost savings and patient success. Circle the City will share data from this study funded by the Centers for Medicare and Medicaid Services.
The tour will give you an opportunity to meet Circle the City's founder and Chief Medical Officer Sister Adele O'Sullivan, a visionary physician who has devoted her life and career to advocating for homeless individuals and making health care services available where no other resources existed before.
The tour starts where her vision began, at the downtown Phoenix Human Services Campus where hundreds of individuals experiencing homelessness congregate each day for shelter, clothing, food, counseling, health care and other services. You'll get a quick tour of medical facilities that Circle the City has under construction on the campus. From there you'll head to Circle the City's Medical Respite Center, a 50-bed facility where ill and injured adults experiencing homelessness have an opportunity to heal and regain hope. You'll have an opportunity to tour the facility and talk to physicians, patients and volunteers.
Walk through an augmented reality with 3-D accuracy
What makes Mayo Clinic tick? Catch a glimpse from the inside – literally. At the clinic's Precision Neurotherapeutics Lab, you can walk through a brain mass with the help of virtual reality.
At the lab, neurosurgeons and researchers work to deliver more precise and personal neuro therapies using augmented reality, mathematical modeling, 3-D printing, artificial intelligence and more.
At the Mayo Clinic's Precision Neurotherapeutics Lab, neurosurgeons and researchers use augmented reality to deliver more precise and personal neuro therapies. (Credit: Mayo Clinic)
Meet experts at the "Mayo Expo"
This is a chance to go behind the scenes of one of the nation's premier health care facilities and talk with physicians and scientists face-to-face. Catch up with experts at a "Mayo Expo" featuring innovations from many medical disciplines.
During this show-and-tell, physicians and researchers will be on hand to meet, greet, display and demo some of the projects and procedures that they are currently working on.
Tour a leading cancer center
Visit the nation's only three-site National Cancer Institute-designated cancer center. Led by cancer specialists, tour the three-story, 400,000-square-foot Mayo Cancer Center, which houses therapies from proton beam to integrative medicine.
Watch an extra layer of care delivered through telemedicine
Banner Health's TeleICU program uses Philips eICU technology with predictive analytics and a remote team of critical care medicine physicians and intensive care unit registered nurses. Because this remote team is constantly watching for early signs of potential problems via vitals, they can alert the traditional bedside caregivers quickly of a patient's changing status.
High-definition video cameras and microphones in every patient room allow those remote experts to partner with bedside physicians and nurses to deliver personalized minute-by-minute care and reduce ICU mortality. Reporters can experience this technology from the patient's perspective and ask questions about these care teams.
The program has become the standard of care in all Banner adult ICUs and additionally provides support to critical access hospitals in Arizona, Colorado, Wyoming, Nebraska and Nevada covering over 750 beds. Banner is one of largest TeleICU programs in the world.
See how professionals handle emergencies in air and sea
About 29,000 medical events occur in flight each year – but at 30,000 feet in the air who can help in an emergency? Reporters will get a first-hand look at a call center in the middle of a busy downtown emergency room that supports traveling passengers on commercial airliners, as well as private planes and ships, during medical emergencies. The MedLink service, operated by MedAire, operates globally and is located inside Banner – University Medical Center Phoenix. MedLink is comprised of communication specialists and emergency medicine physicians. Watch and listen as calls come in throughout your visit.
The Center for Simulation and Innovation state-of-the-art medical training facility features simulated labor and delivery emergency with a mannequin. (Credit: Banner-University Medical Center Phoenix)
Training physicians: Next generation medical education
Visit the University of Arizona College of Medicine-Phoenix, one of the nation's youngest medical schools, for a tour led by physician-scientist Dean Guy Reed, M.D., M.S. Hear firsthand how the college successfully flipped the classroom and embraced technology which led to 6,800 applicants for just 80 spots this past year.
The tour will visit the Center for Simulation and Innovation, a 33,000-square-foot, state-of-the art medical training facility. Reporters will scrub in and experience a suspended reality labor and delivery emergency led by the chair of the Department of Obstetrics and Gynecology with a mannequin that delivers babies.
The final tour stop will visit the Center for Applied NanoBioscience and Innovation research lab. Reporters will see Star Trek-like devices including organ-on-a-chip technology, which acts as a digital stomach; a rapid blood test being developed for NASA to determine astronauts' radiation exposure with a pinprick; and an innovative mobile health platform that can diagnose pathogens, Ebola and neglected tropical diseases.