#Dependency Inversion

[sforzesco]

the general concept for this was: it belongs to an oracle deck (non existent, this came out of a dream I had awhile back) where the illustrations are all romans and they all straight up tell you that everything is doomed to failure no matter what you pull lol

also this is quintus arrius

[poorly-drawn-mdzs]

Bestie Deficiency

[First] Prev <–-> Next

[kaiasky]

feel like some enterprise "java"-inflected developers and/or "medium writers who purport to talk about code patterns" live in an alternate world where their goal is to create Intricate Structures and not. to ship a fuckin product.

[inverse-problem]

my two ultrakill moods:

“oh no, this horrifying killing machine is adorable”

“oh no, this horrifying killing machine is hot”

[oocslayers]

Happy thanksgiving everyone!

[sombersigns]

Not enough cosmic horror in the utmv. The idea of the creators is perfect, eldritch horror fodder right there. In my head, I imagine there to be religions 'n shit. I can't imagine there aren't since otherworldly creators

[rasairui]

Post: gender identity is complicated and everyone has their own unique relationship with it. Presentation does not equal gender and not everyone likes strict labels!

Me: Yeah! True! This is great so far please don't turn this into-

Post: I will now use this as an excuse to obsessively list every possible way in which a lesbian ends up with a man. I will equate butches and gnc women to men, completely missing my own point when I said presentation doesn't equal gender. Also being transmasc is always the same as being male aligned btw. I'm going to find a way to fit dissociative identity disorder into this for some reason. I'm also going to be really condescending and talk like no lesbian has ever understood the concept of gender noncomformity, ambiguity and complex relationships to gender. No, I never talk this way about gay men and nblm why do you ask

[warningsine]

[heirtocragflame]

*applies your inverse function*

becomes the identity function on my domain

[dewgongs]

lock in. walk the tightrope

[arifinfrds-blog]

The Dependency Inversion Principle (DIP) is a fundamental concept in software development that helps create flexible and maintainable code. In this article, I'll explore its history, the problem of tight coupling, and different approaches to applying DIP in Swift.

[nippular]

I’m soooo ready for tumblr to ditch live so the post button won’t be in my fuckin way all the time on mobile. Ruining my screenshots n shit

[retiredteabag]

Unknown Rivals

Pairing: Sukuna x Reader

Synopsis: There was only one thing worse than being paired with Sukuna for an important school project, and that was realizing the slacker somehow had a higher class standing than yourself.

Tags: Academic rivals, enemies to eventual lovers, type A reader.

pt. 1 - next part

〰・♡・〰〰・♡・〰〰・♡・〰〰・♡・〰〰・♡・〰

Sukuna would be a super challenging project partner in school.

Say what you like but he absolutely would be the type of person to expect you to do all the work. That, or he would pretend he didn’t understand and wait for you to get frustrated and do it yourself.

He would be popular, but not in the “likable” kind of way, but in the same way that kids always love the teacher that (not so secretly) hates them. He despised how people followed him around, trying to hold a conversation. Despite this, it was as if his fellow students were attracted to him like magnets.

Not you though, you didn’t like a man with an ego. You saw him roll his eyes and sleep in class. You saw as he crawled into his desk at the far back of the classroom, spreading his tattooed thighs in an undignified manor.

And when you were paired with him from a dual project? You could cry with frustration.

He would simply raise a brow at you with his arms crossed as you tried to explain what was needed for the assignment.

“Do you… understand?” Sukuna had hardly spoken a word to you, not just in this exchange, but in all your time at the school.

He would simply grunt, smacking his palms on the table, rising from his chair and sliding your page of notes into his hand. “Cool to go?”

How was it he could sound annoyed without you even doing anything to upset him?

“Right…” you sigh.

You would be working together for up to an hour after class twice a week, and as finals approached, you decided you needed to meet once on Fridays as well in the library.

The pink-haired man would hardly spare you so much as a glance as he scrolled on his phone during class and work time.

When you would text, requesting his portion of the project, he would respond hours later with, “I’ll just turn it in myself.”

You would grind your teeth.

No. Way. Absolutely no shot in the world were you going to allow this delinquent to turn in homework correlated with your name inversely bring your grade down.

You would politely insist on seeing (editing) his work, for organizational purposes only, of course. And his response?

“You worry too much”

You near throttled your innocent roommate with anger at his laissez faire attitude after reading his late message one evening.

On one particularly cruel Friday, you were seriously feeling the effects of finals crawling into your brain. You had hardly slept, spilled coffee on your textbook, and experienced car troubles that caused you to be late to class.

Staying to the end of the lecture to apologize to your professor for this lapse, you expected an understanding, “Hey, no worries, life happens, I’ve been there.” And instead received an overtly harsh, “Do you know how much participation counts for in my class? Don’t let it happen again.”

Was it childish? Yes. Was it overly emotional? Also yes. But did every ounce of your validation come from the adult figures in your life? Of course. So how could you not cry at the knowledge that you had disappointed, let down, upset, one of the professors you had previously admired?

By the time you reached your seats in the library Sukuna was already laid across his own spot, not unlike a jungle cat.

This was the first time he had arrived before you.

Another wave of shame passed your consciousness at the thought of this no-good-trouble-maker showing up to the library with more dependability than you, and huffed a sigh.

Sukuna rolled his neck back down when you sat across from him. As usual, no words passed between you, but he seemed to be observing you closely.

He didn’t pull out his phone, he didn’t grumble responses. No, in fact, be pulled out a notebook and took notes. Finalized an outline for points of contention in his part of the project. And even seemed to consider your own writings (that you had been sending him weekly).

And this time, as you were starting to rise from your seat, he didn’t race off, groaning as if he had just wasted an hour of his life he regretted to never see again, but rather, stood slowly, and leaned down to try and catch your gaze.

Eventually, you had to meet his eyes, patient beast he was, and as your arms fumbled with your backpack, he just raised an eyebrow and murmured,

“Take care.”

Before he was gone.

Imagine your shock when your professor grades the preliminary paper and presentation you had been slaving over, after being horrified with the end result due to Sukuna inability to send his part in and after a panicked email about how unsportsman your teammate was, begging to please please please take into consideration the difference between students, with a glowing review, claiming that it was always a privilege to read “the two of y’all’s work”.

Turns out the delinquent who slept in class, avoided contact with fellow students, never so much as attempted to prove his understanding of the project, and stared blankly at you as your “tutored” him on the subject, was neck and neck with you as top student in class.

Son of a bitch.

[mumblingstudent]

Инверсия контроля и Внедрение зависимостей (IoC и DI)?

Инверсия контроля (она же инверсия управления или inversion of control) подразумевает ослабление связей между объектами в программе и передачу управления потоком выполнения фреймворку.

Ослабления связей между объектами

Существует два класса: Person (человек) и Dress (платье). Человеку нужно носить одежду и мы можем дать ему платье следующим образом:

class Person { private Dress clothes = new Dress(); }

Вроде всё получилось, но теперь этот человек может носить только платья. А если ему придётся надеть что-то другое?

Это сильная зависимость. И её можно ослабить, написав интерфейс:

interface Clothes { //какие-то методы одежды }

Далее, классом Dress реализовать данный интерфейс:

class Dress implements Clothes { //какие-то поля платья }

И заменить класс Dress у поля Person на интерфейс Clothes:

class Person { private Clothes clothes = new Dress(); }

Теперь, если мы захотим одеть человека во что-нибудь другое, мы можем написать новый класс, скажем, для костюма, реализовать им интерфейс одежды и просто передать человеку:

class Suit implements Clothes { //какие-то поля костюма }

class Person { private Clothes clothes = new Suit(); }

Отлично, теперь наш код стал гибче, но осталось исправить ещё одну вещь.

Категорически не рекомендуется создавать необходимые объекты через new внутри других классов. Вместо этого надо принимать объекты извне. Для этого используются конструкторы или сеттеры.

class Person { private Clothes clothes; //конструктор public Person(Clothes clothes) { this.clothes = clothes; } //сеттер public void setClothes(Clothes clothes) { this.clothes = clothes; } }

И после этого объект Person можно будет создать в главном классе, который является точкой начала выполнения программы:

public class Main { public static void main(String[] args) { //создали человека в платье Person person = new Person(new Dress()); //переодели человека в костюм person.setClothes(new Suit()); } }

Передача объектов внутрь других объектов и называется Dependency Injection (внедрение зависимостей)

Передача управления фреймворкам

Без фреймворков программист сам решает что, где, и в какой последовательности работает. В ином случае, уже фреймворк решает, что и когда заработает в коде (чаще всего это реакции на действия пользователей web-приложений), а программист пишет код только там, где дозволено (в контроллерах, сервисах и пр.).

Ну вроде понятно.

[valtsv]

bite that which feeds (on) you

"fun" optional design notes (CWs for self harm/mutilation, body horror):

this is meant to be a drawing of VAL having bitten off or otherwise removed her own tongue, but you may also interpret it as a depiction of the canonical suffering she increasingly experienced and tried unsuccessfully to deny while using her power. either way, it's meant to be an act of self harm. this started out as a vent doodle and then i got attached, so i hope you won't hold it against me too much.

i intentionally styled this to look like a “botched” artwork of saintly transfiguration (rather than gazing upwards towards the divine, VAL makes direct eye contact with the viewer, and though she's smiling with a hint of triumph, it's clear she's in terrible pain, and there is no ecstasy or transcendence in her agony, her halo is breaking and rusted) - an anti-hallowing, if you will. however, the connection to her hallowing cannot entirely be subverted and ignored - the barbed wire, though tarnished, still surrounds her in vicious broken tangles that snag on her clothes and hair; she's still soaked in blood, if only her own. she cannot truly escape it - not through further violence, at least.

i dressed VAL in clothes that are an inversion of my "default" outfit for her, ie: her battle-saint uniform. instead of a collared shirt (for some semblance of formality despite her position as a covert agent) layered over a black turtleneck to conceal her prayer marks from immediate scrutiny and suspicion and weather stains more effectively, she's wearing a light coloured shirt that only emphasises the patches of scarred skin it doesn't cover and is very obviously stained with blood. her jacket is unremarkable and chosen for comfort rather than military issue, but she's clearly not experiencing much comfort from it right now. her skirt is a soft, peaceful pale blue-grey instead of an eyecatching, provocative red-brown, evoking religious iconography of saints and other holy figures, particularly the virgin mary (whose story of immaculate conception forms an apt horrifying parallel to the process of sainthood as depicted in tsv; bodily violation by a divine figure and forced 'god birthing', to utilise the show's own terminology - emphasis is placed in biblical canon on mary's willing consent, but tsv illustrates the horrifying side effects of such a choice, however freely made, with characters like VAL and paige) - but like the shirt this only serves to highlight the blood staining it.

for her expression, i tried to evoke this scene from s1 ch4 (again, drawing a connection to the hallowing that put her in the position to consider an act like this in the first place). i was particularly struck by the idea of ‘not needing to worry anymore’, and the potential for double meaning there (being afraid for someone, and being afraid of them) - of VAL conceiving of a way to make it so that no one would “worry” about her by sacrificing that which enables her to wield words as a weapon.

i personally don't think that VAL would be very likely to bite or cut out her own tongue, because of the vulnerability and dependence on the kindness of others that would necessarily require her to accept. i imagine it rather as a simultaneous guilty fantasy and intrusive fear-obsession she might have, neutering herself into something safe and sympathetic in a single decisive act of sacrifice that spites both the god that ate her and the girl she was who volunteered her life to it in the process, whilst knowing from experience that it wouldn't truly satisfy anyone, nor bring her peace or improve her quality of life.

[byoldervine]

Writing Tips - Character Strengths And Weaknesses

So characters need to have strong and weak points to keep them interesting and prevent them from seeming too stagnant; a character without strengths feels flat and boring, while a character without weaknesses feels overpowered and stagnant. So when it comes to character creation, how do we come up with good strengths and weaknesses?

1. Archetype. What role does your character fill in the story? Would any of the typical strengths and weaknesses for characters in that role apply to them? Could they be modified or altered to better fit?

2. Backstory. What was their childhood like? Do they have good relationships with their family? Have they worked in certain jobs or participated in activities that would lend themself to a certain skillset, or lack of? What struggles have they faced in the past that might have shaped who they are, for better or for worse?

3. Personality. What is this character like? How much of it comes naturally to them? Is any of it a learned behaviour or coping mechanism? Is any of it an act? How aware are they of this? Is it intentional or just a force of habit? Are the strengths and weaknesses you’re considering compatible with the person they truly are, even if they’re not compatible with the act they might put on?

4. Speaking of compatibility. Does it make sense that your character would have certain strengths or weaknesses depending on these other factors of their life? Are the strengths and weaknesses even compatible with each other? A patient character isn’t likely to be reckless or have a short temper, for example, though of course any combo has the possibility to work when approached with care and consideration

5. Double-edged sword. An easier and, in my personal opinion more interesting, way to approach it is to make the strength and weaknesses stem from the same character trait. A selfless character could struggle to prioritise themself. A loyal character could compromise themself or their objectivity in favour of supporting the people they care about. An overconfident character could get in over their head and underestimate the danger they’re in while taking unnecessary risks, but it would also lead them to taking on opportunities and challenges not many other people would, allowing them unique rewards for putting in the effort and courage. What character trait could you take to an extreme? Would it be good or bad for your character?

6. Character development. What about your character should be different from where they started? Think about the kind of person you want them to be at the end of the story, then inverse that to get them at the start of the story. What journey do they need to go through to develop into the new version of themself? If you want them to end as a responsible, patient and selfless person, they need to start off irresponsible, reckless and selfish. And don’t forget that you can build up negative character traits, and that even heroic characters who are objectively good can keep their less heroic qualities

7. Contextual strengths. Remember in ATLA when Katara couldn’t do much of anything in the desert and Toph was unable to effectively sandbend to the extent she needed to compensate for her blindness? Their strengths were turned into weaknesses, which they later worked to compensate for and improve on. What situation would put your character into the same sort of situation? Are their strengths actually useful in most contexts, or just the context of their environment or situation? Are their weaknesses actually useful, and they’re just not in a position to see this? When taken out of their current situation, would they fumble or thrive?

8. Types of strengths and weaknesses. Characters might have physical strengths and weaknesses, such as physical disabilities, additional features, powers or curses, literal physical strength, etc, but they also might have mental strengths and weaknesses such as intelligence, dexterity, balance, problem solving, a wide range of skills or obscure knowledge, memory, quick-thinking, resourcefulness, social skills, gullibility, etc. Beyond this, there are also separate emotional strengths and weaknesses, such as compassion, emotional intelligence, compartmentalisation, emotional range, self-awareness, insecurities, etc. There’s so much that could become a strength or weakness, and characters can have as many as you like from all three areas

9. Nature vs nurture. What your character has been taught or trained to think and feel and behave like does not inherently mean that this is who they actually are. Depending on their environment and the people around them, two people with the same strengths and weaknesses could end up diverging at critical points to become entirely different people, or two people who couldn’t be any more different could land in a position where they both become more and more alike as time goes on. Our environment and the people in it can shape us, both in our past and in our futures, so don’t leave the present as something stagnant; if a certain trait makes sense for them to have but you don’t want them to have it, have them unlearn it

10. External conflict. What literal journey will your character go on for the story? What strength might be useful for it? What weakness could hinder their efforts? Would these work for their character? If all else fails, make it practical or impractical as desired