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antonmedv/expr: Evaluate expression in Go
Evaluate expression in Go. Contribute to antonmedv/expr development by creating an account on GitHub.
type:library  lang:golang  rule-engine  expression  evaluation  development 
13 days ago by endorama
C# 8.0 Expected Features Part – III : Switch Expressions – Neel Bhatt
C# 8.0 is coming soon and we have already seen some amazing features lined up for C# 8. Have a look here for some features of C# 8. Pattern matching Pattern matching has already been introduced with C# 7.1 and I have written an article on the same which you can find here. .Net team has…
switch  expression  c#8 
14 days ago by gilberto5757
专访许颖婷:“我係香港人”,纪念六四反对“送中”,但其实我比以前更温和了

许:我现在有一两个我觉得头脑还蛮清晰的中国朋友,那时候文章写出来后,她们都会支持鼓励我。我们有时候也会一起讨论中国的政情,可是我始终不能很完整地跟她们讨论香港的情况,因为她们说到底也是在中共控制的教育下成长,信息和观点会有不同。
我觉得中国内部的人也开始对外界接触变多,其中一部分人的思想比起其他人更加进步及理性,也因为如此,中国内地也出现批评中共的思潮,像是我们有时会在网络上会看到一些人摄录的剖白影片,他们很多都以“最后一次说真话”的态度去向外界揭露中共的丑恶。但是这些言论通常都会被政府迅速拿下,所以中国人距离思想开放仍然还有很长的路。

端:因为有些大陆学生在谈到新疆时会有羞愧感,这也从另一个侧面显示出国家认同的强度。

这个条例如果通过的话,无论你是香港人还是外国人,在香港境内都已经成为可以被引渡的对象。我们最担心的,是如果中国成为引渡目的地的问题。中国的法治排名是82,香港是16,他们的定罪率是99.9%,我们怎么能信任中国的司法,让香港人去受审呢?
而且这个条例一旦通过,中国会有更大权力把政治犯、商人或者记者带到中国,那我们的自由基本上就没了。不管是集会、言论还是媒体自由都是如此,因为我们自己会开始自我审查,怕被抓而不敢说话。

我看到最近一项民调显示,如果条例通过,一半香港人会考虑移民,我觉得可能这就是他们(北京)想要达到的目的,因为在香港受过自由教育的人会离开,而他们会注入来自大陆的人,那香港就要“灰飞烟灭”了。
hongkong  independence  democracy  china  opinion  freedom  expression  youth  conflict  autocracy  authoritarian  ccp  leader  manif  interview  explained  stereotype  identity 
26 days ago by aries1988
After Effects Quick Tip: Linking Layers to Checkboxes - The Beat: A Blog by PremiumBeat
Learn how to turn a layer on and off in After Effects using the Checkbox Control.
expressions  expression  ae  aftereffects  work  design 
6 weeks ago by ekonon
“On a Sunbeam,” the Sci-Fi Comic That Reimagines Utopia | The New Yorker
[Full comic available to read online:
https://www.onasunbeam.com/ ]

[See also:
https://www.tilliewalden.com/
https://www.instagram.com/tilliewalden/
https://twitter.com/TillieWalden ]

"Tillie Walden is an almost shockingly young (born in 1996) comics creator who received wide attention last year for “Spinning,” a beautiful, melancholy graphic memoir about her years as a pre-teen and then teen figure skater. That book excelled in its tactful line work and use of white space; it looked neither superhero-ish nor ugly-on-purpose nor nearly realist but utterly sympathetic, with vast cold rinks and faces whose expressions you could share. “Spinning” was also a coming-out story, and a school story, and what scholars call a Künstlerroman, the story of how a young person becomes an artist—although, like most Künstlerromanen, it left unresolved the question of what she’d make next.

“On a Sunbeam” is the magnificent, sweeping, science-fictional answer. The big, densely plotted volume has all the virtues of “Spinning,” plus the scale, the sense of wonder, and the optimism intrinsic to what’s called space opera or science fantasy. (Think “Star Trek” and Starfleet Academy.) As with “Spinning,” it can be hard to equal in prose the comic’s inviting, spare line work, use of black-and-white, and expressive qualities. (Walden can make one pen stroke on one character’s face equal two pages of dialogue.) “On a Sunbeam” is at once a queer coming-of-age story, a story about how to salvage lost love and youth, and a multigenerational story about how to thrive in a society that does not understand who you are or what you can do. It is the kind of story that adults can and should give to queer teens, and to autistic teens, and to teens who care for space exploration, or civil engineering, or cross-cultural communication. It is also a story for adults who were once like those teens, and the kind of story (like the Aeneid, but happier) whose devotees might occasionally return to it, hoping for divine advice from a randomly chosen line, or panel, or page.

But I’m getting ahead of myself. “On a Sunbeam”—whose five hundred and thirty-eight pages, rendered in three colors, first appeared serially, online, where it can still be read for free—begins, like some Victorian novels, with two separate plots and settings, years apart. In the A plot, we meet three adult engineers and construction workers who fly their own fish-shaped spaceship from job to job, rebuilding and restoring architecture from their past (which is our distant future). The charismatic, impulsive Alma reports to Charlotte, their cautious commander; Elliot, “our very own mechanical genius,” is nonbinary (taking they/them pronouns) and non-speaking, like many autistic adults in our day. Formerly a trio “together for ages,” the team now has two younger employees: Jules, Alma’s voluble niece, and the anxious newbie Mia, fresh out of her space-based boarding school.

We see through Mia’s eyes, and through Walden’s pen, the comforting intimacy of their sleeping quarters, with its Teddy bears and bunk beds; the sublime ruined space cathedral and the other flying buildings they restore; and the realistic tasks that Mia and Jules slog through—hauling rubble, sharing sandwiches, and trying to “get through a whole day without turning into jelly” from overwork. We worry when Mia worries, and we have fun when she has fun. Jules puts into words the way Mia feels: “We don’t actually do this job to fix things,” she says. “We do it ’cause we get to climb and jump off stuff.”

Before she joined this close-knit crew, Mia attended an élite boarding school. This is where Walden sets her B plot, a place of crushes, mean girls, shifting rivalries, vast halls, anti-gravity stations, and a school-wide, slightly Quidditch-like sport called Lux, whose fish-shaped flight craft race and dodge through tunnels and in midair. Almost as soon as we meet Mia, she falls hard for a new and far more academically talented student named Grace, who reciprocates. Grace convinces a forbidding coach to let Mia chase her dream of playing Lux. The sport is normally off limits to first-years, but our couple won’t let that rule stop them. “We may be freshmen,” Grace declares, “but you can’t put an age limit on passion and dedication.”

“On a Sunbeam” is less like any other American comic, page by page, than it is like a film by Hayao Miyazaki. For Walden, faces and bodies are not types or dummies for action scenes but ways to convey emotion and expression, even as the backdrops—speleological, astronomical, aquatic, or forested—flourish and shine. Walden’s dialogue—never talky, but never too sparse to follow—complements her characters’ body language; it also brings out the feeling of ninth and tenth grade, when every impediment seems like an apocalypse, and every kind word like an angel’s violin. But that dialogue is also a clue to a set of cosmic mysteries that connect younger and older characters, present and backstory, A plot and B plot. Why does Charlotte’s employer distrust her? What does Elliott fear, and why can’t they go home? Can Mia and Jules adjust to life with this tightly knit, and apparently romantic, triad? Will Mia find love?

Mia has already found it, with Grace, and then lost it. Just as in “Spinning”—and in several other comics by Walden, short and long—our point-of-view character fell hard for a smart, dark-skinned girl when both were in their teens, and then that girl left, suddenly, and without much explanation. In “Spinning,” the real Walden goes on with her heartbroken life. In this much longer but equally heartbreaking epic, the school-age couple of Mia and Grace break up for far more complex reasons, and a mission to a secluded planet of volcanic tunnels and warriors with Amish hats (really) is required to rescue Grace, who may not want to be rescued.

It’s probably no coincidence that this comic, so sensitive to its characters’ feelings, is also uncommonly sensitive to newly visible identities: non-speaking autistics, people in triads, people trying to make queer romance work under pressure and across a racial divide. One identity Walden doesn’t draw: men. There are none here, and no one asks why, which means—as in earlier utopias—that all romantic love in this universe would read as queer, or gay, in ours. (Since there are no men, there are no gay men or trans men; perhaps they live on other planets, or in other books.)

Like all science-fictional utopias, “On a Sunbeam” feels imperfect, even (to quote Ursula K. Le Guin) “ambiguous.” But it also feels magnificent: it’s a world in which many readers would want to live, and a way to envision solutions to real-life problems that seem intractable now. It’s a queer love story in a universe where benevolent authorities still get things wrong; it’s also, for all its spacecraft and planets and xenogeology and (eventually) aliens, a story that purists might label not as science fiction but as science fantasy. But such genre labels—though inevitable—seem beside the point. As always for Walden, even when she is writing and drawing pilots and engineers, the point is not how things work but how people feel, and what choices they help one another make.

Comics critics and would-be comics sophisticates—especially the kind who spurn superheroes—may think we have to choose between realistic characters who experience permanent loss and change, on the one hand, and escape, sublimity, and sheer wonder, on the other. Those sophisticates are wrong. “On a Sunbeam” is not the first American science-fiction comic to say so (consider “Finder,” or “Saga”), but it may be the most consistently beautiful, the most self-assured, the one with the best love story, and the one most vaultingly effective in its transitions between small-scale and large, between the deadly caverns under an exoplanet’s mountain and the look on a hopeful girl’s face."
comics  toread  stephanieburt  tilliewalden  2018  illustration  storytelling  utopia  queer  autism  sciencefiction  scifi  hayaomiyazaki  emotions  expression  nonbinary  künstlerroman  comingofage  teens  youngadult  fiction  srg  emotion  bodylanguage  howwewrite  ambiguous  ursulaleguin 
6 weeks ago by robertogreco

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