Installing Everything
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List of NMAP Scripts Use with the Nmap –Script Option
List of NMAP Scripts Use with the nmap –script option Retrieves information from a listening acarsd daemon. Acarsd decodes ACARS (Aircraft Communication Addressing and Reporting System) data in real time. The information retrieved acarsd-info by this script includes the daemon version, API version, administrator e-mail address and listening frequency. Shows extra information about IPv6 addresses, such as address-info embedded MAC or IPv4 addresses when available. Performs password guessing against Apple Filing Protocol afp-brute (AFP). Attempts to get useful information about files from AFP afp-ls volumes. The output is intended to resemble the output of ls. Detects the Mac OS X AFP directory traversal vulnerability, afp-path-vuln CVE-2010-0533. Shows AFP server information. This information includes the server's hostname, IPv4 and IPv6 addresses, and hardware type afp-serverinfo (for example Macmini or MacBookPro). Shows AFP shares and ACLs. afp-showmount Retrieves the authentication scheme and realm of an AJP service ajp-auth (Apache JServ Protocol) that requires authentication. Performs brute force passwords auditing against the Apache JServ protocol. The Apache JServ Protocol is commonly used by ajp-brute web servers to communicate with back-end Java application server containers. Performs a HEAD or GET request against either the root directory or any optional directory of an Apache JServ Protocol ajp-headers server and returns the server response headers. Discovers which options are supported by the AJP (Apache JServ Protocol) server by sending an OPTIONS request and lists ajp-methods potentially risky methods. ajp-request Requests a URI over the Apache JServ Protocol and displays the result (or stores it in a file). -
Development Production Line the Short Story
Development Production Line The Short Story Jene Jasper Copyright © 2007-2018 freedumbytes.dev.net (Free Dumb Bytes) Published 3 July 2018 4.0-beta Edition While every precaution has been taken in the preparation of this installation manual, the publisher and author assume no responsibility for errors or omissions, or for damages resulting from the use of the information contained herein. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. To get an idea of the Development Production Line take a look at the following Application Integration overview and Maven vs SonarQube Quality Assurance reports comparison. 1. Operating System ......................................................................................................... 1 1.1. Windows ........................................................................................................... 1 1.1.1. Resources ................................................................................................ 1 1.1.2. Desktop .................................................................................................. 1 1.1.3. Explorer .................................................................................................. 1 1.1.4. Windows 7 Start Menu ................................................................................ 2 1.1.5. Task Manager replacement ........................................................................... 3 1.1.6. Resource Monitor ..................................................................................... -
Oracle Internet Application Server 8I
Oracle Internet Application Server 8i Migrating from Oracle Application Server Release 1.0 June, 2000 Part No. A83709-01 Oracle Internet Application Server Migrating from Oracle Application Server, Release 1.0 Part No. A83709-01 Copyright © 2000, Oracle Corporation. All rights reserved. The Programs (which include both the software and documentation) contain proprietary information of Oracle Corporation; they are provided under a license agreement containing restrictions on use and disclosure and are also protected by copyright, patent, and other intellectual and industrial property laws. Reverse engineering, disassembly, or decompilation of the Programs is prohibited. The information contained in this document is subject to change without notice. If you find any problems in the documentation, please report them to us in writing. Oracle Corporation does not warrant that this document is error free. Except as may be expressly permitted in your license agreement for these Programs, no part of these Programs may be reproduced or transmitted in any form or by any means, electronic or mechanical, for any purpose, without the express written permission of Oracle Corporation. If the Programs are delivered to the U.S. Government or anyone licensing or using the programs on behalf of the U.S. Government, the following notice is applicable: Restricted Rights Notice Programs delivered subject to the DOD FAR Supplement are "commercial computer software" and use, duplication, and disclosure of the Programs, including documentation, shall be subject to the licensing restrictions set forth in the applicable Oracle license agreement. Otherwise, Programs delivered subject to the Federal Acquisition Regulations are "restricted computer software" and use, duplication, and disclosure of the Programs shall be subject to the restrictions in FAR 52.227-19, Commercial Computer Software - Restricted Rights (June, 1987). -
Matthew Mcduffie
2 a monterey media presentation Written & Directed by MATTHEW MCDUFFIE Starring KALEY CUOCO SASHA PIETERSE CODY HORN LANDON LIBOIRON and VIRGINIA MADSEN PRODUCED BY: MARSHALL BEAR DIRECTOR OF PHOTOGRAPHY: DAVID J. MYRICK EDITOR: BENJAMIN CALLAHAN PRODUCTION DESIGNER: CHRISTOPHER HALL MUSIC BY: IAN HULTQUIST CASTING BY: MARY VERNIEU and LINDSAY GRAHAM Drama Run time: 93 minutes ©2015 Best Possible Worlds, LLC. MPAA: R 3 Synopsis Lifelong friends stumble back home after high school when word goes out on Facebook that the most popular among them has died. Old girlfriends, boyfriends, new lovers, parents… The reunion stirs up feelings of love, longing and regret, intertwined with the novelty of forgiveness, mortality and gratitude. A “Big Chill” for a new generation. Quotes: “Deep, tangled history of sexual indiscretions, breakups, make-ups and missed opportunities. The cinematography, by David J. Myrick, is lovely and luminous.” – Los Angeles Times "A trendy, Millennial Generation variation on 'The Big Chill' giving that beloved reunion classic a run for its money." – Kam Williams, Baret News Syndicate “Sharply written dialogue and a solid cast. Kaley Cuoco and Cody Horn lend oomph to the low-key proceedings with their nuanced performances. Virginia Madsen and Andy Buckley, both touchingly vulnerable. In Cuoco’s sensitive turn, this troubled single mom is a full-blooded character.” – The Hollywood Reporter “A heartwarming and existential tale of lasting friendships, budding relationships and the inevitable mortality we all face.” – Indiewire "Honest and emotionally resonant. Kaley Cuoco delivers a career best performance." – Matt Conway, The Young Folks “I strongly recommend seeing this film! Cuoco plays this role so beautifully and honestly, she broke my heart in her portrayal.” – Hollywood News Source “The film’s brightest light is Horn, who mixes boldness and insecurity to dynamic effect. -
The Underrepresentation of African Americans and the Role of Casting
Grand Valley State University ScholarWorks@GVSU Undergraduate Research School of Communications 1-17-2017 The ndeU rrepresentation of African Americans and the Role of Casting Directors Chantal Suhling Grand Valley State University, [email protected] Follow this and additional works at: http://scholarworks.gvsu.edu/com_undergrad Part of the Film and Media Studies Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Suhling, Chantal, "The ndeU rrepresentation of African Americans and the Role of Casting Directors" (2017). Undergraduate Research. 1. http://scholarworks.gvsu.edu/com_undergrad/1 This Open Access is brought to you for free and open access by the School of Communications at ScholarWorks@GVSU. It has been accepted for inclusion in Undergraduate Research by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. Running head: AFRICAN AMERICANS, CASTING DIRECTORS AND HOLLYWOOD 1 The Underrepresentation of African Americans in Hollywood and the Role of Casting Directors Chantal Suhling Grand Valley State University AFRICAN AMERICANS, CASTING DIRECTORS AND HOLLYWOOD 2 Abstract Films are cultural products, which reflect the existing and often underlying ideologies in a culture. In the American culture the two dominant ideologies are white normativity and patriarchy, which reinforce historical ideas, beliefs, and stereotypes about minorities. These ideologies are reflected in media. With the Oscars right around the corner, the -
A Look at Race-Based Casting and How It Legalizes Racism, Despite Title VII Laws Latonja Sinckler
Journal of Gender, Social Policy & the Law Volume 22 | Issue 4 Article 3 2014 And the Oscar Goes to; Well, It Can't Be You, Can It: A Look at Race-Based Casting and How It Legalizes Racism, Despite Title VII Laws Latonja Sinckler Follow this and additional works at: http://digitalcommons.wcl.american.edu/jgspl Part of the Law Commons Recommended Citation Sinckler, Latonja. "And the Oscar Goes to; Well, It Can't Be You, Can It: A Look at Race-Based Casting and How It Legalizes Racism, Despite Title VII Laws." American University Journal of Gender Social Policy and Law 22, no. 4 (2014): 857-891. This Article is brought to you for free and open access by the Washington College of Law Journals & Law Reviews at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in Journal of Gender, Social Policy & the Law by an authorized administrator of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. Sinckler: And the Oscar Goes to; Well, It Can't Be You, Can It: A Look at R AND THE OSCAR GOES TO . WELL, IT CAN’T BE YOU, CAN IT?: A LOOK AT RACE-BASED CASTING AND HOW IT LEGALIZES RACISM, DESPITE TITLE VII LAWS LATONJA SINCKLER I. Introduction ............................................................................................ 858 II. Background ........................................................................................... 862 A. Justifications for Race-Based Casting........................................ 862 1. Authenticity ......................................................................... 862 2. Marketability ....................................................................... 869 B. Stereotyping and Supporting Roles for Minorities .................... 876 III. Analysis ............................................................................................... 878 A. Title VII and the BFOQ Exception ............................................ 878 B. -
Final-Thesis.Pdf (1.648Mb)
VYSOKÉ UČENÍ TECHNICKÉ V BRNĚ BRNO UNIVERSITY OF TECHNOLOGY FAKULTA INFORMAČNÍCH TECHNOLOGIÍ FACULTY OF INFORMATION TECHNOLOGY ÚSTAV INTELIGENTNÍCH SYSTÉMŮ DEPARTMENT OF INTELLIGENT SYSTEMS ZPŘÍSTUPNĚNÍ OBRAZU Z IP KAMER V PROHLÍŽEČI WEB BROWSER FOR IP CAMERAS BAKALÁŘSKÁ PRÁCE BACHELOR’S THESIS AUTOR PRÁCE PAVEL ČERNÝ AUTHOR VEDOUCÍ PRÁCE doc. Ing. FRANTIŠEK ZBOŘIL, Ph.D. SUPERVISOR BRNO 2020 Vysoké učení technické v Brně Fakulta informačních technologií Ústav inteligentních systémů (UITS) Akademický rok 2019/2020 Zadání bakalářské práce Student: Černý Pavel Program: Informační technologie Název: Zpřístupnění obrazu z IP kamer v prohlížeči Web Browser for IP Cameras Kategorie: Umělá inteligence Zadání: 1. Prozkoumejte způsob přenosu obrazu z IP kamer a možnosti přenosu a zobrazení obrazu (videa) do webových prohlížečů. Věnujte pozornost možnostem HTML5 (např. použití tagu <video>). Seznamte se s problematikou používaných kodeků. 2. Na základě průzkumu navrhněte systém, který bude umožňovat především zobrazit živý obraz z kamer, včetně jednoduchého administračního rozhraní (správa kamer a přístupových práv uživatelů). 3. Systém implementujte pomocí vhodných programovacích jazyků. Použijte volně dostupné knihovny a programy (licencované pod GNU GPL, Apache a podobně). Webové rozhraní nechť je funkční v aktuálních verzích nejrozšířenějších prohlížečů (Firefox, Chrome, MS Edge). 4. Zhodnoťte dosažený výsledek a navrhněte možnosti dalšího vývoje. Literatura: Russel, S., Norvig, P.: Artificial Intelligence, A Modern Approach, Pearson, 2009 Podrobné -
Hyperion System 9 Products
HYPERION® SYSTEM™ 9 RELEASE 9.2.0.3 CONFIGURING HYPERION® SYSTEM™ 9 IN SSL-ENABLED ENVIRONMENTS CONTENTS IN BRIEF About This Document .................................................. 2 Assumptions ......................................................... 2 Information Sources .................................................... 2 Identifying SSL Points for Hyperion System 9 Products .......................... 3 Common Activities ..................................................... 9 Deploying Hyperion System 9 Products for SSL ............................... 10 Shared Services ....................................................... 12 Analytic Administration Services .......................................... 15 Planning ........................................................... 16 Financial Management ................................................. 16 BI+ ............................................................... 18 Performance Scorecard ................................................. 28 P/N: DH98892030 About This Document This document describes how to deploy Hyperion® System™ 9 in Secure Sockets Layer (SSL)- enabled environments. SSL is a cryptographic protocol used to secure data exchange over the network. The procedures in this document are designed for users who intend to use SSL in their Web environments to secure communication with Hyperion System 9 products. Assumptions l You know how to SSL-enable the following: m Application servers: Apache Tomcat, BEA WebLogic, Oracle 10g, and IBM WebSphere m Web Servers: Apache, -
WSGI from Start to Finish
WSGI from Start to Finish EuroPython 2010. Gustavo Narea Who's speaking ● ¡Hola! ● Web Application Developer. ● Contributes to WSGI projects. Goals ● Explain what your framework does under- the-hood. ● More efficient troubleshooting. ● Integrate third party libraries and applications. ● Write framework-independent libraries and applications. ● Learn about existing WSGI-based software. Updates after the tutorial ● This presentation was modified to refer to working examples and fix errata. ● You probably downloaded this presentation with the examples. If not, go to gustavonarea.net/talks/ to get them. ● Read the instructions on how to install some of them. ● They are not essential to understand the presentation. The big picture 1.Introduction. 2.HTTP and WSGI. 3.WSGI applications. 4.WSGI middleware. 5.Testing and debugging. 6.Embedded Web applications. 7.Deployment. 8.Limitations. 9.Conclusion. Introduction What's WSGI? HTTP = HyperText Transfer Protocol WSGI = Web Server Gateway Interface Key facts about WSGI ● Python “Standard” (PEP-333). ● Created in 2003. ● Inspired by CGI. ● Officially supported by all the popular frameworks. ● Applications can run on virtually any HTTP server. Servers and gateways ● Server with Python embedded: ● Python-powered gateway: Requests and responses HTTP and WSGI HTTP requests and responses Response Request HTTP/1.1 200 OK Server: EP2010 Server GET /greeting HTTP/1.1 Content-Length: 12 Host: example.org Content-Type: text/plain User-Agent: EP2010 Client empty line Hello world! Request Response POST /login -
Aris Server Update Installation Guide
ARIS SERVER UPDATE INSTALLATION GUIDE VERSION 10.0 - SERVICE RELEASE 14 April 2021 SOFTWARE AG This document applies to ARIS Version 10.0 and to all subsequent releases. Specifications contained herein are subject to change and these changes will be reported in subsequent release notes or new editions. Copyright © 2010 - 2021 Software AG, Darmstadt, Germany and/or Software AG USA Inc., Reston, VA, USA, and/or its subsidiaries and/or its affiliates and/or their licensors. The name Software AG and all Software AG product names are either trademarks or registered trademarks of Software AG and/or Software AG USA Inc. and/or its subsidiaries and/or its affiliates and/or their licensors. Other company and product names mentioned herein may be trademarks of their respective owners. Detailed information on trademarks and patents owned by Software AG and/or its subsidiaries is located at https://softwareag.com/licenses. Use of this software is subject to adherence to Software AG's licensing conditions and terms. These terms are part of the product documentation, located at https://softwareag.com/licenses and/or in the root installation directory of the licensed product(s). This software may include portions of third-party products. For third-party copyright notices, license terms, additional rights or restrictions, please refer to "License Texts, Copyright Notices and Disclaimers of Third Party Products". For certain specific third-party license restrictions, please refer to section E of the Legal Notices available under "License Terms and Conditions for Use of Software AG Products / Copyright and Trademark Notices of Software AG Products". These documents are part of the product documentation, located at https://softwareag.com/licenses and/or in the root installation directory of the licensed product(s). -
P. T. Anderson‟S Dilemma: the Limits of Surrogate Paternity
CORE Metadata, citation and similar papers at core.ac.uk Provided by The University of Sydney: Sydney eScholarship Journals online Sydney Studies P.T. Anderson's Dilemma P. T. Anderson‟s Dilemma: the Limits of Surrogate Paternity JULIAN MURPHET A while ago now, Fredric Jameson located the Utopian dimension of Coppola‟s first Godfather film (1972) in „the fantasy message projected by the title of this film, that is, in the family itself, seen as a figure of collectivity and as the object of a Utopian longing‟.1 In a late-capitalist America beset by an irreversible „deterioration of the family, the growth of permissiveness, and the loss of authority of the father‟, Coppola‟s Sicilians „project an image of social reintegration by way of the patriarchal and authoritarian family of the past‟. (33) To be sure, the ethnic group may preserve within its anachronistic familial webs a relatively untarnished „Name of the Father‟, that can be trotted out for nostalgic wish-fulfilment on celluloid; but it goes without saying that commercial American cinema has always turned on the institution of the family, to the extent that „in a typical Hollywood product, everything, from the fate of the Knights of the Round Table through the October Revolution up to asteroids hitting the earth, is transposed into an Oedipal narrative‟. 2 Jameson‟s Utopian account of the „ineradicable drive towards collectivity‟ (34) betokened by the family drama in American mass culture surely overlooks that most stubborn obstacle to its realization, both within any given plot, and more practically in everyday life: namely, the father himself. -
Typecasting the Screenwriter Julius Ayodeji Nottingham Trent University UK
To Genre or Not To Genre? Typecasting the Screenwriter Julius Ayodeji Nottingham Trent University UK Abstract: positive reframing of typecasting for the screenwriter. Typecast verb “and don’t worry about being 1. assign (an actor or actress) typecast until you’ve gotten a movie repeatedly to the same type of role, as a made” result of the appropriateness of their Writer, (Go, Big Fish, appearance or previous success in such Charlie’s Angels) John August. roles. (2007) "he tends to be typecast as the caring, intelligent male" Keywords: Storytelling, Authorship, Typecasting, 2. represent or regard (a person or their Characterisation, Psychology role) as fitting a particular stereotype. Introduction Typecasting in the film world is an In his introduction to Augusto Boal’s seminal expression typically applied to the actor. book Games for actors and non-actors This paper will discuss how typecasting translator Adrian Jackson describes for the screenwriter should be seen as a participants in Image Theatre creating a positive shorthand enthusiasm for the series of stills. These groups then suggest titles or themes, before going on to “’sculpt work from that screenwriter that has three-dimensional images under these titles” resonated. (Boal, xix). The psychology of the narrative As a writer for screen and stage myself this surrounding typecasting is ordinarily one idea is analogous of the transition from the as something that should be resisted “if script to screen or page to stage. The thesis you don’t want to be typecast, then you of this paper and the focus of a book being need to fight it every step of the way and developed by its author is that there are a lot never give up.” (Cooper, B.