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Of corse the answer to everything...42 - INFO Link- Done w/ Masking from a Gerber edge II Cutter...
Questions:What potential problems can arise from typecasting a base class pointer into a derived class pointer so that the derived class's member functions can be called?
Answers: Syntactically this is allowable. There is always a possibility of a base pointer actually pointing to a base class. If this is typecast to a derived type, the method being called may not exist in the base class. Therefore, you would be grabbing the address of a function that does not exist.
TURBO C/C++: Installer and InstallationTURBO C/C++: Integrated EnvironmentVariables Pointer Array And FilesArrays Linked List Sorting Wild PointerQuestions:What's the difference between the keywords STRUCT and CLASS?Answers:The members of a STRUCT are PUBLIC by default, while in CLASS,they default to PRIVATE. They are otherwise functionally equivalent.
Questions:I have declared a derived class from a base class, but I can't access any of the base class members with the derived class function.Answers:Derived classes DO NOT get access to private members of a base class.In order to access members of a base class, the base class members must be declared as either public or protected. If they are public, then any portion of the program can access them. If they are protected, they are accessible by the class members, friends, and any derived classes.Questions:How can I use the Paradox Engine with C++?,Answers:Because the Paradox Engine functions are all compiled as C functions you will have to assure that the names of the functions do not get "mangled" by the C++ compiler. To do this you need to prototype the Engine functions as extern "C". In the pxengine.h header file insert the following code at the lines indicated.
/* inserted at line # 268 */
#ifdef __cplusplus
extern "C" {
#endif
/* inserted at line # 732, just before the final #endif */
#ifdef __cplusplus
}
#endifQuestions:I have a class that is derived from three base classes. Can I insure that one base class constructor will be called before all other constructors?Answers:If you declare the base class as a virtual base class, its constructor will be called before any non-virtual base class constructors. Otherwise the constructors are called in left-to-right order on the declaration line for the class.Questions:Are the standard library I/O functions still available for use with the C++ iostreams library?Answers:Yes, using
#include
functions such as printf() and scanf() will continue to be available.Questions:When debugging my program in Turbo Debugger, I notice that none of my inline functions are expanded inline. Instead, they are all done as function calls.Answers:Whenever you compile your program with debugging information included,no functions are expanded inline. To verify that your inline functions are indeed expanding inline, compile a module with the -S flag of the command-line compiler, then examine the .asm file that is generated.
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via IngenuityDias www.ingenuitydias.com/2016/01/common-c-questions-turbo-cc...
Manchester UK's : The Answering Machine
Pat Fogarty: Guitar, Backing Vocals
all rights reserved; www.rockographer.com
When you need something blown up without a trace...send in Snake Eyes!
Sabo-June rolls on Joe style.
Photos from February 18, 2017 Public Square. What does equity look like? Why citizenship? As our nation enters a new political era, this question is more urgent than ever. Born from the YBCA 100 Summit, the bi-annual Public Square gathers our community’s collective imagination around big questions. In this case: What does equity look like? Why citizenship? For several months, this question has been deeply investigated by a cohort of YBCA Fellows. On February 18th, their answers to this question were revealed and offered up for community response. Equity Fellows: Shalini Agrawal, Kristy Alfieri Higares, Trisha Barua, A’darius Bell, Alex Bledsoe, Katherin Canton, Fay Darmawi, Ugo Edu, Saideh Eftekhari, Hunter Franks, Noah Frigault, Malcolm Gin, Juan Carlos Ibarra, Niema Jordan, Mansi Kakkar, Joan Tarika Lewis, Eli Marienthal, Hoi-Fei Mok, Rebecca Novick, Fran Osborne, Mariah Rankine-Landers, Candace Roberts, Jennifer Tacheff, Lauren Marie Taylor, Justin Warren, Marvin K. White, Chelsea Wills; Citizenship Fellows: Luiza Berthoud, Lukas Brekke-Miesner, Yueqi Chen, Roberta D’alois, Amelia Evans, Maria Faini, Cristiana Giordano, Rufaro Gwarada, Chris Hamamoto, Chris Hambrick, Sabereh Kashi, Paul Loper, Candi Martinez-Carthen, E. “Oscar” Maynard, Marlena Mendoza, David Moren, Takeshi Moro, Lex Non Scripta, Rebecca Ora, Katina Papson-Rigby, Devon Sampson, Dorothy Santos, Suzanne Schmidt, Jonel Seon, Sameena Sitabkhan, Emma Tramposch, Shamsher Virk, Miriam Wolodarski See more at ybca.org/whats-on/public-square. Event photography by Tommy Lau, tommylau.net
Join the London Roller Girls on November 21st as they answer the killer London question:
NORTH or SOUTH?
For one bout only LRG skaters will be geographically split into two kickass teams according to their home postcodes. Will North prevail or will South be victorious? Make sure you get your tickets quick for the last home game of the London Rollergirls' season and watch killer mash-up teams of Brawling and Brawl Saints skaters pull out some of the most hardcore roller derby action you'll see this year - it's the ULTIMATE LONDON GRUDGE MATCH.
And the North/South battle continues as Batter C Power take on Hot Wheel Roller Derby to make this a double-header doozy of a day out not to be missed.
Pick your side of the Thames and join us for all of the fun at our family-friendly, fast paced, full contact roller derby bout.
This event is sponsored by our title sponsor Bont Quad Skates!
Tickets: On sale now!
We're back in our old stomping ground at Tottenham Green Leisure Centre which is easily accessible by tube at Seven Sisters and also boasts a large car park.
Who can find the problem on the white board? I think these answers are as good as any.
Management by 8 Ball.......
Gathering Before ANSWER Coalition U. S. HANDS OFF VENEZUELA Rally at Lafayette Park, NW, Washington DC on Saturday morning, 16 March 2019 by Elvert Barnes Photography
Follow Saturday, 16 March 2019 ANSWER Coalition U. S. HANDS OFF VENEZUELA NATIONAL MARCH ON WASHINGTON at www.facebook.com/events/242059076711261/
Elvert Barnes Saturday, 16 March 2019 ANSWER Coalition U. S. HANDS OFF VENEZUELA / Washington DC docu-project at elvertbarnes.com/16March2019
Pilot reports are one of the most critical pieces of communication that occurs between pilots and controllers. In Tuesday’s presentation of “ATC & You: How Do I Answer That?” at the NATCA booth at #OSH23, NATCA members reviewed different ways to describe aviation concepts, and how proper phraseology helps keep communication effective when it counts the most. Presenters: Marcus Miller (Houston Center, ZHU), Eric Avila (Houston Center, ZHU).
A.N.S.W.E.R Coalition Martin Luther King Jr. Day Anti-War March on Washington Rally on the National Mall on Saturday morning, 18 January 2003 by Elvert Barnes Protest Photography
Project #03.02
ANSWER J18-03 MLK Anti-War MOW
Film Roll #3/25
January 18 NATIONAL MARCH ON WASHINGTON
TO DEMAND NO WAR AGAINST IRAQ
ELIMINATE U.S. WEAPONS OF MASS DESTRUCTION
Follow ANSWER COALITION at www.facebook.com/AnswerCoalition
Elvert Barnes Saturday, 18 January 2003 WDC ANTI-WAR PROTEST docu-project at elvertbarnes.com/J18-2003-WDC
This image shows some more reaseach from the 'I am Here' project. I emailed one of the artists, Andrea Zimmerman who made the project and she answered some of my questions.
'Where did you get your ideas for this piece? And what inspired you to do it?
This is explained on our website – www.iamhere.org.uk/background
How long did the project take to achieve?
We had to get signatures of tenants (70%) for the landlord to give the go ahead. We got 98%. We photographed in an empty flat on the estate, setting up a make shift photographic studio. We thought/planned 4 weekends, but it took only two.
Why did you choose to do such a large scale project?
Once we knew we wanted to change the orange boards there was no smaller way of doing it, this is very site/time specific.
How many people worked on this project in total?
Three of us.
What was your budget for the project?
we got a small grant from the community growth fund that paid for the prints, the rest was all in-kind, including the labour of installing, the cherry picker etc.
Did you use any software and what did you use?
Photoshop
How did you meet the other artists you did the project with?
Lasse and I live on the estate since over a decade, and Tristan worked with Lasse on another project, so it kind of just happened.
Are you working on any projects at the moment? If so what are they about and what is your inspiration for these?
We just published a book, called ‘estate’, and you can read a bit about this on the fugitive images website (www.fugitiveimages.org.uk/projects), and Lasse and I are making a long film here.
Did you go to university and what and where did you study?
Lasse and Tristan have a ma in sociology and photography, I have a PhD and am a filmmaker. I was the first in my family to go to university.
What photographer/artists have you studied, and which have inspired you over the years?
Jean Rouch, Miles Horton, Neil Cummings, many more
Do you have a website each where I can research you a bit more?
Music Live is the Uk's Biggest and Best Music Making Event. Held Every November at the NEC Birmingham. Live stage
Artists and Clinics 2006:
Adrian Erlandsson (Cradle of Filth), Breed 77, Chris George Band, Greg Bissonette (David Lee Roth), Guthri Govan, Gyn Ashton, Imperial Vipers, Oceansize, Sikth, Rick Parfitt (Status Quo), The Answer and The Vincent Razorbacks.
These folks know the answer to the title question. Debbie Coleman teaches at the Mashburn Elementary School in Cumming, Georgia. Julie Kelley and Courtney Douglas teach at Chestatee Elementary in Gainesville, Georgia. If you see someone who attended Camp K, ask them about the Purple Cow.
STOP ISRAELI MASSACRE OF GAZA Pro-Palestinian Assemblance Rally at Lafayette Park (across from the White House) in NW Washington DC on Saturday afternoon, 2 August 2014 by Elvert Barnes Protest Photography
Follow A.N.S.W.E.R Coalition NATIONAL MARCH ON THE WHITE HOUSE: STOP THE MASSACRE IN GAZA facebook event page at www.facebook.com/events/1505340756367346/
Elvert Barnes Saturday, 2 August 2014 STOP THE MASSACRE IN GAZA NATIONAL MARCH ON THE WHITE HOUSE docu-project at elvertbarnes.com/StopGazaMassacre2August2014
A Conversation between Lauren Grodenstein and Steven King sponsored by Algonquin Books and Water Street Bookstore
Chair Powell answers reporters' questions at the FOMC press conference on June 18, 2025. www.federalreserve.gov/monetarypolicy/fomccalendars.htm
Explosions have been reported across Caracas, Venezuela as an apparent U.S. bombing campaign has begun targeting the country. This war is not about drug trafficking, it is not about democracy -- it is about stealing Venezuela's oil and dominating Latin America. It is an outrageous escalation in a campaign of murder in international waters and piracy targeting civilian ships trading with Venezuela.
*****
a. type your answer to each of the questions below into flickr search.
b. using only the first page, pick an image.
c. copy and paste the html into your blog or flickr stream (the easiest way is to copy the URLs and then head over to the fd's flickr toys link above and use the mosaic maker).
the questions:
1. What is your first name? Rafael
2. What is your favorite food? Pizza
3. What high school did you go to? São Cristovão
4. What is your favorite color? Red
5. Who is your celebrity crush? John Barrowman
6. Favorite drink? Coke
7. Dream vacation? South Africa
8. Favorite dessert? passion fruit mousse
9. What you want to be when you grow up? Rich
10. What do you love most in life? Family and friends
11. One Word to describe you. Funny
12. Looked up my flickr name (Rafa from Brazil) and found a photo that my friend Route79 posted about me.
1. Rafael #1, 2. Pizza Mau, 3. São Cristovão..., 4. London Eye Red Colors, 5. John Barrowman, 6. CokeCan3, 7. African Lioness carrying 22-24 day old cub Kalahari Gemsbok National Park South Africa, 8. Passion fruit mousse - Pastries by Edie - Canoga Park, CA, 9. Autumn RICH, 10. FRIENDS HOME FAMILY, 11. IT'S A FUNNY, FUNNY WORLD, 12. Moo cards from Brasil!
Maj. Gen. Roger Cloutier, commanding general of U.S. Army Africa, gave remarks and answered questions July 24, 2019, to the Europe and Africa Contracting Coordination Board at Caserma Ederle, Vicenza, Italy.
More than 60 Soldiers, Sailors, Airmen, and civilians met in order to share information, coordinate acquisition strategies, and alleviate duplicative efforts to fulfill similar contracting support requirements through theater-strategic sourcing.
"We couldn't execute our mission without your support," Cloutier said to the room. "You're the unsung heroes of every exercise and training. I'm here today to say thank you for all you do."
After the presentation members of the audience got to ask questions of the delegates. The converstaion covered eveything from the femicide in Juarez to the struggle of the braceros and how those struggles could be related to the struggle so many people have trying to get thierSocial Security.
The enigmatic Japanese photographer, who took some of the 20th century’s most compelling images, is finally getting his first retrospective in the UK - and Switzerland. ‘Yes, it’s a bit late,’ he tells our writer
Charlotte Jansen
It isn’t easy to get to know Daidō Moriyama. The Japanese photographer, 85, answers my questions from his home in Tokyo via an interpreter, and is quick to bat off personal questions. “Photographers can only take pictures,” he shrugs.
But Moriyama has done far more than take pictures. Although best known as a street photographer, he has pushed the form to its limits, interrogating what photographs are, how they are experienced, their ethics and effect. He is also behind some of the most iconic and influential pictures of the last 50 years – from closeups of fishnet stockings to portraits of stray dogs they are regarded as lyrical, symbolic expressions of the postwar era in Japan.
“He is shy, inconspicuous, and concentrated. He is a real brain – very articulated and well-read, who speaks in elegant, metaphoric ways,” says Thyago Nogueira, the curator of a rare retrospective exhibition at the Photographers’ Gallery that gives an unprecedented view of Moriyama’s dazzling work.
The show is a riveting, rapturous exploration of the enigmatic and prolific photographer, spanning from his earliest works in the late 1960s to today – he continues to go out with his camera, and a cigarette. “Although I have some constraints, including my health, I want to take as many photos as possible each day.”
Moriyama set about photographing the world not as it was but as he saw it – a confused, chaotic and fragmented reality.
Photographs are presented in myriad ways: at times completely overwhelming the viewer. There are slideshows on projectors (some more than an hour long), installations of images covering entire walls, magazine and book spreads, and sequences of glorious prints, mostly in black and white, changing in scale. In their various incarnations, with repeated images amounting to a kind of neuroticism, the photographs have a relentless pace. “They are a punch in the stomach,” as Nogueira puts it.
Moving back and forth between decades, the black and white film imbuing the images with a kind of timelessness, Moriyama contests photography as a form rooted in a moment or place. His photographs articulate something else, they palpitate with mystery – the great inexplicable essence of life. Perhaps this is why he is reluctant to speak for the images.
Moriyama was born in Osaka (then Ikeda), Japan, in 1938. “I was raised in a very ordinary way. My father was an office worker, and my mother was a housewife,” he says. His childhood wasn’t easy. Against the backdrop of US occupation and the second world war, home life was punctuated by loss. A twin brother died when Moriyama was two. The family moved often for his father’s work, before his early death. “I did not fit in at school. I lost my father when I was young. But I have always loved to draw so I became a designer through an acquaintance.” He apprenticed at a graphic design studio. His first photographs, he recalls, were of the family dog. In a later series “Memories of a Dog”, Moriyama returned to places of his childhood, to photograph his memories.
In 1961 he moved to Tokyo to pursue a dream of becoming a photojournalist, like his sensei, Shōmei Tōmatsu – Japan’s pre-eminent postwar photographer. “I became a photographer because I found the photographers I worked with very sporty and cool – and I guess I was never cut out for desk work,” Moriyama says wryly.
From early staid, documentary, journalistic-style images, mostly shot at the American base at Yokosuka (some of which are presented at the Photographers’ Gallery’s show) Moriyama’s approach quickly evolved into an expressive, subjective style that evoked his own experience of the world. He was invited to join Provoke – a collective of young photographers determined to revolutionise photography – by Takuma Nakahira, a photographer and critic, who died in 2015. “Takuma Nakahira was then, and still is, my only friend and my only rival.”
Provoke published just three issues of a visual manifesto between 1968 and 1969, but they had a profound effect. Japanese critics ridiculed the group’s lack of technical skills as “are, bure, boke” (“grainy, blurry, out-of-focus”). These terms were later reclaimed to describe the style pioneered by Moriyama. But, he says, “I never consciously shot that way, nor did I care.”
Moriyama set about photographing the world not as it was but as he saw it – a confused, chaotic and fragmented reality. There is a furious urgency to the pictures he took between 1968 and 1972: black and white photographs of everything and nothing, of underground kabuki actors and other avant garde artists and performers, erotic scenes, portraits of animals and street life, photographs of photographs, and of TV screens and newspaper headlines – precursors to screenshots and reels. “I was strongly inspired by William Klein’s books of New York, Moscow, Rome, Tokyo, published when he was still young. It was something in particular that I saw in his photographs that seemed to connect me to my own photography.”
Questioning the purpose of photography so deeply led Moriyama down a dark road.
Moriyama’s photographs have become a testament of a tumultuous time in Japan, conveying a sense of the grim and gritty reality of the underbelly of the city in grainy images. “I understood the social atmosphere at that time, but personally I had no interest in politics,” Moriyama reflects. Many of these images were originally shot as photo essays for magazines – it was the golden age of the Tokyo publishing industry, and magazines were museums for photography as it became a new artistic form. The pictures were later printed again, sometimes at different scales, reshuffled and reordered, and compiled into the photobooks Moriyama is famous for – such as his acclaimed work, A Hunter, shot from the window of a car as Moriyama hitchhiked around Japan. “When I am going along the road, snapping the shutter as I read each moment, I become at times a poet, a scientist, a critic, a philosopher, a labourer, or a politician,” he said.
A less familiar, groundbreaking series of work on show at the Photographers’ Gallery is a monthly column Accidents produced throughout 1969 for a mass media publication. Each series took on a different aspect of photography and its exploitation by the mass media – a poster of a car crash designed to shock and scare; photographs of TV screens and newspapers in Japan in the week after JFK’s assassination. It shows Moriyama’s concern with the ethics of photography and its exploitative nature.
But questioning the purpose of photography so deeply led him down a dark road. In 1972 Moriyama published “Farewell Photography”, a swan song to his chosen medium, a mashup of old negatives, scraps and prints gathered from his archives and thrown together. Photography, Moriyama realised, wasn’t going to change the world as he had once believed.
He suffered depression and became addicted to sleeping pills. It was almost a decade before he picked up the camera again, when he was commissioned by two editor friends concerned for his well being. Just as the camera had plunged him into an existential void, it pulled him back from the brink of self-obliteration.
“Moriyama spent his life asking a basic, fundamental question: What is photography?” Nogueira says. “He never answered that question, but his life’s work is a constant and honest response to that.”
Today, Moriyama is humble about his achievements. “I am happy to know that many people around the world have been exposed to my photographs and photo books,” he says. Photographing daily for so many decades, “there is nothing that has not already been taken – each photograph becomes a great cycle. It is connected to the past and to the future – and that is why there is the most reality in the current photograph that captures it.
“Beyond the photographer, the work returns to society – and that is the most powerful force of photography.”