Search
1000 results for “asynchronaut”
-
A look back at all the tech podcasts that you liked in Q1
- You loved to explore the new metric system to measure engineering excellence in this podcast: https://ter.li/3fwfrt
- Dived deep to understand the difference between remote working and asynchronous working in this podcast: https://ter.li/1ntn3m
- Explored the future of automative industry with software-defined vehicles in this episode: https://ter.li/qckt1f
1/2
#SoftwareDefinedVehicle #AsynchronousWorking #DoraMetrics #Tech
-
Some Krell-sounding type of asynchronous loop out of PD.
https://hub.kliklak.net/attach/785117fb-aec8-4ada-af73-ccff5c27dcf0 #looptober #looptober2025 -
Асинхронность в blueprints и Unreal Engine
Если вы давно работаете с unreal engine, то точно должны знать, что в движке есть различные ноды, которые можно вызвать сейчас, а получить результат функции потом, да еще и продолжить логику, когда функция выполнится.
https://habr.com/ru/articles/862660/
#latent #латентные #async #asynchronous #unreal_engine #blueprints #ноды #функции #асинхнонные #асинк
-
Итерация по UENUM в Unreal Engine
Понадобилось мне создать панель категорий размещаемых предметов в UI. В наследие мне достался уже готовый UENUM, который в будущем будет изменен. Естественно, очень не хотелось вручную перемещать и настраивать каждый отдельный виджет. Так еще и заниматься этим в будущем с изменениями категорий. Хотелось чего-то простого и универсального. Чтобы вот вызвал условный For Each Loop и сгенерировал все как надо, еще и не обязательно только для этого енама. Выход был найден! Если мы создаем UENUM, то unreal сам генерит всю нужную инфу и создает для нас UEnum класс, который является UObject. Нужно лишь правильно использовать эту информацию.
https://habr.com/ru/articles/861944/
#uenum #unreal_engine #c++ #blueprints #iterator #iterators #tutorial #async #asynchronous #for_each
-
Spocklight: Testing Asynchronous Code With PollingConditions https://blog.mrhaki.com/2023/04/spocklight-testing-asynchronous-code_10.html #spock #spockframework #java
-
Spocklight: Testing Asynchronous Code With DataVariable(s) https://blog.mrhaki.com/2023/04/spocklight-testing-asynchronous-code.html #spock #spockframework #testing #java
-
Geese – Getting Killed [Things You Might Have Missed 2025]
By Dear Hollow
When a non-metal album is this good, the Great Ape mandates that we write about it – it’s unclear if it’s for posterity or humiliation. But when you have a band called Geese, the latter seems more likely. New York City fowl collective owe just as much of their attack to Bruce Springsteen and Television as to Swans and The Velvet Underground, as its drawling and honkin’ blend of roots rock, noise rock, blues, country, funk, and post-punk is a clusterfuck that feels distinctly like something a band called Geese would make. Mastermind Cameron Winter’s warbling drawls, Emily Green’s smooth bluesy plucking and jagged shutters, Dominic Digesu’s groovy bass undercurrent, and Max Bassin’s rock-solid drumming collide – all in the service of the sonic incarnation of the uncanny. Geese offers another slab of rock’s fringe movements that builds upon critically acclaimed predecessor 4D Country. Like its cover, Getting Killed is both angelic and violent, smooth and jagged – and undeniably American.
While its openers serve to showcase Geese’s two extreme sides in explosively screamy noise rock (“Trinidad”1) and bluesy pop-country (“Cobra”), the uncanniness of Getting Killed is much more nuanced. Beneath each guitar riff and yearning melody, just as much with its more jagged movements, is a dedication to deterioration. Most tracks begin with a solid funk groove or a predictable chord progression, an undercurrent of dissolution growing over the course of its three-to-six minutes. Unlike the improvised randomness so many artists claim as a reflection of group chemistry, Geese’s movements feel calculated to the minutest detail in the service of a parodied and uncanny version of rock music, such as maddeningly repetitive riffs (“Husbands,” “Islands of Man,” “100 Horses”), repetitive cliche lyrics drawled with irony and apathy (“Cobra,” “Half Real”), and splattered movements guided by heart and hate (“Trinidad,” “Getting Killed”).
The blend of tones that exist here is noteworthy, as the sunny country, groovy punk, and jagged noise movements feel anachronistic on paper yet somehow feel exactly what Geese ought to be doing. Noisier tracks move seamlessly into the more melodic and vice versa (the brooding “100 Horses” to the ethereal “Half Real”; the smooth ballad “Au Pays du Cocaine” to the chaotic and arrhythmic “Bow Down” and explosive “Taxes”), highlighting the intentionality behind the curtain of Getting Killed. Winter’s vocals are initially jarringly loud and off-kilter, but just as the twinkling quality that emerges from asynchronous guitar/piano noodles (“Getting Killed,” “Islands of Man”) or the brass emerges in short bursts like gusts of wind (“Trinidad,” “Husbands”), the drawling baritone stumbles upon vocal lines that get seared into the mind, catchy and seamless in their delivery – although initially feared lazy (“Cobra,” “Half Real,” “Long Island City Here I Come”). Geese, while embodying much more than just noise rock, nonetheless captures lightning in the bottle with its layers of intensity giving way to an uncanny catchiness.
Geese’s more intense moments recall the noise rock/post-punk misanthropy of White Suns or the quirky squonks of Black Midi, but its uncanny country twang recalls the clouded and colloquial conversations of Mark Z. Danielewski’s book Tom’s Crossing: yes, it’s a western, but a caricature of it with a bleak heart beating at its core. Geese embodies rock’s most extreme peripheries in a breed of music that is as alienating as it is catchy, unique and on-brand for a band whose caliber of sound feels uncanny, otherworldly, and delightfully apeshit. Sure, it ain’t metal, but Geese offers some of the most intriguing music of the year regardless.
Tracks to Check Out: “Trinidad,” “Cobra,” “Getting Killed,” “100 Horses,” “Long Island City Here I Come”2
#2025 #AmericanMetal #BlackMidi #Blues #bruceSpringsteen #Country #FunkMetal #Geese #GettingKilled #JPEGMAFIA #NoiseRock #NonMetal #PartisanRecords #postPunk #Rock #Swans #Television #TheVelvetUnderground #ThingsYouMightHaveMissed2025 #WhiteSuns
-
Geese – Getting Killed [Things You Might Have Missed 2025]
By Dear Hollow
When a non-metal album is this good, the Great Ape mandates that we write about it – it’s unclear if it’s for posterity or humiliation. But when you have a band called Geese, the latter seems more likely. New York City fowl collective owe just as much of their attack to Bruce Springsteen and Television as to Swans and The Velvet Underground, as its drawling and honkin’ blend of roots rock, noise rock, blues, country, funk, and post-punk is a clusterfuck that feels distinctly like something a band called Geese would make. Mastermind Cameron Winter’s warbling drawls, Emily Green’s smooth bluesy plucking and jagged shutters, Dominic Digesu’s groovy bass undercurrent, and Max Bassin’s rock-solid drumming collide – all in the service of the sonic incarnation of the uncanny. Geese offers another slab of rock’s fringe movements that builds upon critically acclaimed predecessor 4D Country. Like its cover, Getting Killed is both angelic and violent, smooth and jagged – and undeniably American.
While its openers serve to showcase Geese’s two extreme sides in explosively screamy noise rock (“Trinidad”1) and bluesy pop-country (“Cobra”), the uncanniness of Getting Killed is much more nuanced. Beneath each guitar riff and yearning melody, just as much with its more jagged movements, is a dedication to deterioration. Most tracks begin with a solid funk groove or a predictable chord progression, an undercurrent of dissolution growing over the course of its three-to-six minutes. Unlike the improvised randomness so many artists claim as a reflection of group chemistry, Geese’s movements feel calculated to the minutest detail in the service of a parodied and uncanny version of rock music, such as maddeningly repetitive riffs (“Husbands,” “Islands of Man,” “100 Horses”), repetitive cliche lyrics drawled with irony and apathy (“Cobra,” “Half Real”), and splattered movements guided by heart and hate (“Trinidad,” “Getting Killed”).
The blend of tones that exist here is noteworthy, as the sunny country, groovy punk, and jagged noise movements feel anachronistic on paper yet somehow feel exactly what Geese ought to be doing. Noisier tracks move seamlessly into the more melodic and vice versa (the brooding “100 Horses” to the ethereal “Half Real”; the smooth ballad “Au Pays du Cocaine” to the chaotic and arrhythmic “Bow Down” and explosive “Taxes”), highlighting the intentionality behind the curtain of Getting Killed. Winter’s vocals are initially jarringly loud and off-kilter, but just as the twinkling quality that emerges from asynchronous guitar/piano noodles (“Getting Killed,” “Islands of Man”) or the brass emerges in short bursts like gusts of wind (“Trinidad,” “Husbands”), the drawling baritone stumbles upon vocal lines that get seared into the mind, catchy and seamless in their delivery – although initially feared lazy (“Cobra,” “Half Real,” “Long Island City Here I Come”). Geese, while embodying much more than just noise rock, nonetheless captures lightning in the bottle with its layers of intensity giving way to an uncanny catchiness.
Geese’s more intense moments recall the noise rock/post-punk misanthropy of White Suns or the quirky squonks of Black Midi, but its uncanny country twang recalls the clouded and colloquial conversations of Mark Z. Danielewski’s book Tom’s Crossing: yes, it’s a western, but a caricature of it with a bleak heart beating at its core. Geese embodies rock’s most extreme peripheries in a breed of music that is as alienating as it is catchy, unique and on-brand for a band whose caliber of sound feels uncanny, otherworldly, and delightfully apeshit. Sure, it ain’t metal, but Geese offers some of the most intriguing music of the year regardless.
Tracks to Check Out: “Trinidad,” “Cobra,” “Getting Killed,” “100 Horses,” “Long Island City Here I Come”2
#2025 #AmericanMetal #BlackMidi #Blues #bruceSpringsteen #Country #FunkMetal #Geese #GettingKilled #JPEGMAFIA #NoiseRock #NonMetal #PartisanRecords #postPunk #Rock #Swans #Television #TheVelvetUnderground #ThingsYouMightHaveMissed2025 #WhiteSuns
-
Geese – Getting Killed [Things You Might Have Missed 2025]
By Dear Hollow
When a non-metal album is this good, the Great Ape mandates that we write about it – it’s unclear if it’s for posterity or humiliation. But when you have a band called Geese, the latter seems more likely. New York City fowl collective owe just as much of their attack to Bruce Springsteen and Television as to Swans and The Velvet Underground, as its drawling and honkin’ blend of roots rock, noise rock, blues, country, funk, and post-punk is a clusterfuck that feels distinctly like something a band called Geese would make. Mastermind Cameron Winter’s warbling drawls, Emily Green’s smooth bluesy plucking and jagged shutters, Dominic Digesu’s groovy bass undercurrent, and Max Bassin’s rock-solid drumming collide – all in the service of the sonic incarnation of the uncanny. Geese offers another slab of rock’s fringe movements that builds upon critically acclaimed predecessor 4D Country. Like its cover, Getting Killed is both angelic and violent, smooth and jagged – and undeniably American.
While its openers serve to showcase Geese’s two extreme sides in explosively screamy noise rock (“Trinidad”1) and bluesy pop-country (“Cobra”), the uncanniness of Getting Killed is much more nuanced. Beneath each guitar riff and yearning melody, just as much with its more jagged movements, is a dedication to deterioration. Most tracks begin with a solid funk groove or a predictable chord progression, an undercurrent of dissolution growing over the course of its three-to-six minutes. Unlike the improvised randomness so many artists claim as a reflection of group chemistry, Geese’s movements feel calculated to the minutest detail in the service of a parodied and uncanny version of rock music, such as maddeningly repetitive riffs (“Husbands,” “Islands of Man,” “100 Horses”), repetitive cliche lyrics drawled with irony and apathy (“Cobra,” “Half Real”), and splattered movements guided by heart and hate (“Trinidad,” “Getting Killed”).
The blend of tones that exist here is noteworthy, as the sunny country, groovy punk, and jagged noise movements feel anachronistic on paper yet somehow feel exactly what Geese ought to be doing. Noisier tracks move seamlessly into the more melodic and vice versa (the brooding “100 Horses” to the ethereal “Half Real”; the smooth ballad “Au Pays du Cocaine” to the chaotic and arrhythmic “Bow Down” and explosive “Taxes”), highlighting the intentionality behind the curtain of Getting Killed. Winter’s vocals are initially jarringly loud and off-kilter, but just as the twinkling quality that emerges from asynchronous guitar/piano noodles (“Getting Killed,” “Islands of Man”) or the brass emerges in short bursts like gusts of wind (“Trinidad,” “Husbands”), the drawling baritone stumbles upon vocal lines that get seared into the mind, catchy and seamless in their delivery – although initially feared lazy (“Cobra,” “Half Real,” “Long Island City Here I Come”). Geese, while embodying much more than just noise rock, nonetheless captures lightning in the bottle with its layers of intensity giving way to an uncanny catchiness.
Geese’s more intense moments recall the noise rock/post-punk misanthropy of White Suns or the quirky squonks of Black Midi, but its uncanny country twang recalls the clouded and colloquial conversations of Mark Z. Danielewski’s book Tom’s Crossing: yes, it’s a western, but a caricature of it with a bleak heart beating at its core. Geese embodies rock’s most extreme peripheries in a breed of music that is as alienating as it is catchy, unique and on-brand for a band whose caliber of sound feels uncanny, otherworldly, and delightfully apeshit. Sure, it ain’t metal, but Geese offers some of the most intriguing music of the year regardless.
Tracks to Check Out: “Trinidad,” “Cobra,” “Getting Killed,” “100 Horses,” “Long Island City Here I Come”2
#2025 #AmericanMetal #BlackMidi #Blues #bruceSpringsteen #Country #FunkMetal #Geese #GettingKilled #JPEGMAFIA #NoiseRock #NonMetal #PartisanRecords #postPunk #Rock #Swans #Television #TheVelvetUnderground #ThingsYouMightHaveMissed2025 #WhiteSuns
-
Geese – Getting Killed [Things You Might Have Missed 2025]
By Dear Hollow
When a non-metal album is this good, the Great Ape mandates that we write about it – it’s unclear if it’s for posterity or humiliation. But when you have a band called Geese, the latter seems more likely. New York City fowl collective owe just as much of their attack to Bruce Springsteen and Television as to Swans and The Velvet Underground, as its drawling and honkin’ blend of roots rock, noise rock, blues, country, funk, and post-punk is a clusterfuck that feels distinctly like something a band called Geese would make. Mastermind Cameron Winter’s warbling drawls, Emily Green’s smooth bluesy plucking and jagged shutters, Dominic Digesu’s groovy bass undercurrent, and Max Bassin’s rock-solid drumming collide – all in the service of the sonic incarnation of the uncanny. Geese offers another slab of rock’s fringe movements that builds upon critically acclaimed predecessor 4D Country. Like its cover, Getting Killed is both angelic and violent, smooth and jagged – and undeniably American.
While its openers serve to showcase Geese’s two extreme sides in explosively screamy noise rock (“Trinidad”1) and bluesy pop-country (“Cobra”), the uncanniness of Getting Killed is much more nuanced. Beneath each guitar riff and yearning melody, just as much with its more jagged movements, is a dedication to deterioration. Most tracks begin with a solid funk groove or a predictable chord progression, an undercurrent of dissolution growing over the course of its three-to-six minutes. Unlike the improvised randomness so many artists claim as a reflection of group chemistry, Geese’s movements feel calculated to the minutest detail in the service of a parodied and uncanny version of rock music, such as maddeningly repetitive riffs (“Husbands,” “Islands of Man,” “100 Horses”), repetitive cliche lyrics drawled with irony and apathy (“Cobra,” “Half Real”), and splattered movements guided by heart and hate (“Trinidad,” “Getting Killed”).
The blend of tones that exist here is noteworthy, as the sunny country, groovy punk, and jagged noise movements feel anachronistic on paper yet somehow feel exactly what Geese ought to be doing. Noisier tracks move seamlessly into the more melodic and vice versa (the brooding “100 Horses” to the ethereal “Half Real”; the smooth ballad “Au Pays du Cocaine” to the chaotic and arrhythmic “Bow Down” and explosive “Taxes”), highlighting the intentionality behind the curtain of Getting Killed. Winter’s vocals are initially jarringly loud and off-kilter, but just as the twinkling quality that emerges from asynchronous guitar/piano noodles (“Getting Killed,” “Islands of Man”) or the brass emerges in short bursts like gusts of wind (“Trinidad,” “Husbands”), the drawling baritone stumbles upon vocal lines that get seared into the mind, catchy and seamless in their delivery – although initially feared lazy (“Cobra,” “Half Real,” “Long Island City Here I Come”). Geese, while embodying much more than just noise rock, nonetheless captures lightning in the bottle with its layers of intensity giving way to an uncanny catchiness.
Geese’s more intense moments recall the noise rock/post-punk misanthropy of White Suns or the quirky squonks of Black Midi, but its uncanny country twang recalls the clouded and colloquial conversations of Mark Z. Danielewski’s book Tom’s Crossing: yes, it’s a western, but a caricature of it with a bleak heart beating at its core. Geese embodies rock’s most extreme peripheries in a breed of music that is as alienating as it is catchy, unique and on-brand for a band whose caliber of sound feels uncanny, otherworldly, and delightfully apeshit. Sure, it ain’t metal, but Geese offers some of the most intriguing music of the year regardless.
Tracks to Check Out: “Trinidad,” “Cobra,” “Getting Killed,” “100 Horses,” “Long Island City Here I Come”2
#2025 #AmericanMetal #BlackMidi #Blues #bruceSpringsteen #Country #FunkMetal #Geese #GettingKilled #JPEGMAFIA #NoiseRock #NonMetal #PartisanRecords #postPunk #Rock #Swans #Television #TheVelvetUnderground #ThingsYouMightHaveMissed2025 #WhiteSuns
-
Join @scottkeckwarren in a fascinating talk with @ericmann about PHP's asynchronous operations and remote work. Catch the full episode here: https://www.phparch.com/podcast/community-corner-interview-with-eric-mann #RemoteWork #PHPCommunity
-
Join @scottkeckwarren in a fascinating talk with @ericmann about PHP's asynchronous operations and remote work. Catch the full episode here: https://www.phparch.com/podcast/community-corner-interview-with-eric-mann #RemoteWork #PHPCommunity
-
Join @scottkeckwarren in a fascinating talk with @ericmann about PHP's asynchronous operations and remote work. Catch the full episode here: https://www.phparch.com/podcast/community-corner-interview-with-eric-mann #RemoteWork #PHPCommunity
-
JarkkoL has ported their tiled software rasterizer to #Teensy and ILI9341 using just 27kb of RAM, with 4,000 triangles stored in flash, and featuring asynchronous DMA transfer, cluster visibility culling, and texture support.
-
JarkkoL has ported their tiled software rasterizer to #Teensy and ILI9341 using just 27kb of RAM, with 4,000 triangles stored in flash, and featuring asynchronous DMA transfer, cluster visibility culling, and texture support.
-
JarkkoL has ported their tiled software rasterizer to #Teensy and ILI9341 using just 27kb of RAM, with 4,000 triangles stored in flash, and featuring asynchronous DMA transfer, cluster visibility culling, and texture support.
-
JarkkoL has ported their tiled software rasterizer to #Teensy and ILI9341 using just 27kb of RAM, with 4,000 triangles stored in flash, and featuring asynchronous DMA transfer, cluster visibility culling, and texture support.
-
Jules: An Asynchronous Coding Agent
https://jules.google/
#ycombinator #code #agent #jules #gemini -
regreSSHion: Remote Code Execution in OpenSSH Server (CVE-2024-6387)
Date: July 1, 2024
CVE: CVE-2024-6387
Vulnerability Type: Race Condition
CWE: [[CWE-362]], [[CWE-665]]
Sources: QualysSynopsis
A critical remote code execution (RCE) vulnerability has been identified in OpenSSH's server on glibc-based Linux systems, allowing unauthenticated attackers to execute arbitrary code as root.
Issue Summary
The vulnerability, identified as CVE-2024-6387, is a regression of a previously patched issue (CVE-2006-5051) and affects OpenSSH versions from 8.5p1 to 9.8p1. It arises from a signal handler race condition in the
sshdserver, leading to unsafe function calls within asynchronous signal handlers.Technical Key Findings
The flaw involves
sshd's SIGALRM handler, which calls non-async-signal-safe functions likesyslog(), potentially leading to a heap corruption and enabling remote code execution. The exploit requires precise timing to interrupt specific code paths, leaving the system in an inconsistent state that can be exploited.Vulnerable Products
- OpenSSH versions 8.5p1 to 9.8p1 on glibc-based Linux systems.
Impact Assessment
Exploitation of this vulnerability allows an attacker to execute arbitrary code as root on affected systems, potentially leading to complete system compromise.
Patches or Workaround
A fix has been implemented in OpenSSH by moving the async-signal-unsafe code to a synchronous context. Users are advised to update to the latest version or set
LoginGraceTimeto 0 as a temporary mitigation.Tags
#OpenSSH #CVE-2024-6387 #RCE #RaceCondition #Linux #glibc #SecurityVulnerability #Exploit #Patch
-
ASP.NET for .NET 11 summarized roadmap
The upcoming version of .NET 11, which is going to be a short term release of .NET that succeeds .NET 10, will feature improvements that are planned for the ASP.NET framework for web applications, such as Blazor and Blazor WebAssembly applications.
The top feedback and pain points will be addressed in the live roadmap for ASP.NET for .NET 11, which will improve your web application usability and reliability for developers and users alike.
You can find the live roadmap on this GitHub page, along with the discussion.
The roadmap addresses the points, including, but not limited to:
- It has been planned that the discriminated unions is expected to be added to this version of .NET and ASP.NET.
- The feature parity for the static server-side rendering is expected to be addressed.
- The form validation component for Blazor will be improved in this version, such as asynchronous validation enhancements.
- WebAssembly will be supported on CoreCLR interpreter runtime, eliminating the need for Mono, with .NET 12 being the version that completes the transition.
- Progressive Web Applications (PWA) will be added to the Blazor Web App template.
- The concept of state transitions for animations will be added in Blazor to better support animated components.
In real-world projects, the AOT and trimming support is still fragile, because of the following challenges:
- Reflection remains a blocker, since trimmed web applications that use reflection-based frameworks and other components may fail to render with error messages or components failing to load.
- System.Text.Json is currently hostile to AOT, since it uses reflection for serialization and deserialization operations by default, unless explicit source code generation is used.
- AOT + Trimming currently doesn’t fail at build time if trimming is deemed to be unsafe due to reflection and other incompatible features. Also, the documentation suffers from fragmented trimming guidance for third-party libraries.
If everything goes as planned, .NET 11 Preview 1 will be released as early as today, and developers and curious bleeding-edge users will be able to try it out.
#Net #ASPNET #Blazor #C #csharp #dotnet #news #Razor #Tech #Technology #update -
Personalized Souvenirs, Custom Coloring Books, Gamified Kids Art Digitization, and Asynchronous Rewatches
#podcast #startups #tech #spitball
Special thanks to Marie for joining us on this episode!
00:00:00 - Intro
00:00:47 - K12 LOL
00:09:00 - Personalized Souvenirs
00:12:37 - Custom Coloring Books
00:20:53 - Gamified Kids Art Digitization
00:33:40 - Asynchronous Rewatches
00:48:16 - Outro -
My friend Eliot West is an independent editor and educator whose work is informed by a background in literary studies and deep interests in inclusive language, gender diversity, human sexuality, consent, and trauma and healing. I can’t imagine taking on a writing task without their help.
Eliot is also offering an online asynchronous, on-demand, text-based 15-week course on inclusive language!
https://heartofthestory.teachable.com/p/inclusive-language-explorations
-
Want to see what a Climatematch Academy course is like…on your own time? Our full course materials are freely available for anyone to explore, anytime.
While the live courses include team projects, TAs, & learning pods, the content itself is always open. You can dive into computational tools & techniques in climate science at your own pace!
🤓 Check out the resources: https://buff.ly/8cFBEPE
#AsynchronousLearning #STEMEducation #ClimateMatch #OpenAccess #ComputationalScience #ClimateScience
-
Want to see what a Climatematch Academy course is like…on your own time? Our full course materials are freely available for anyone to explore, anytime.
While the live courses include team projects, TAs, and learning pods, the content itself is always open. You can dive into computational tools and techniques in climate science at your own pace!
🤓 Check out the resources: https://buff.ly/8cFBEPE
#AsynchronousLearning #ClimateMatch #OpenAccess #ComputationalScience #ClimateScience
-
Итерация по UENUM в Unreal Engine
Понадобилось мне создать панель категорий размещаемых предметов в UI. В наследие мне достался уже готовый UENUM, который в будущем будет изменен. Естественно, очень не хотелось вручную перемещать и настраивать каждый отдельный виджет. Так еще и заниматься этим в будущем с изменениями категорий. Хотелось чего-то простого и универсального. Чтобы вот вызвал условный For Each Loop и сгенерировал все как надо, еще и не обязательно только для этого енама. Выход был найден! Если мы создаем UENUM, то unreal сам генерит всю нужную инфу и создает для нас UEnum класс, который является UObject. Нужно лишь правильно использовать эту информацию.
https://habr.com/ru/articles/861944/
#uenum #unreal_engine #c++ #blueprints #iterator #iterators #tutorial #async #asynchronous #for_each
-
Итерация по UENUM в Unreal Engine
Понадобилось мне создать панель категорий размещаемых предметов в UI. В наследие мне достался уже готовый UENUM, который в будущем будет изменен. Естественно, очень не хотелось вручную перемещать и настраивать каждый отдельный виджет. Так еще и заниматься этим в будущем с изменениями категорий. Хотелось чего-то простого и универсального. Чтобы вот вызвал условный For Each Loop и сгенерировал все как надо, еще и не обязательно только для этого енама. Выход был найден! Если мы создаем UENUM, то unreal сам генерит всю нужную инфу и создает для нас UEnum класс, который является UObject. Нужно лишь правильно использовать эту информацию.
https://habr.com/ru/articles/861944/
#uenum #unreal_engine #c++ #blueprints #iterator #iterators #tutorial #async #asynchronous #for_each
-
Итерация по UENUM в Unreal Engine
Понадобилось мне создать панель категорий размещаемых предметов в UI. В наследие мне достался уже готовый UENUM, который в будущем будет изменен. Естественно, очень не хотелось вручную перемещать и настраивать каждый отдельный виджет. Так еще и заниматься этим в будущем с изменениями категорий. Хотелось чего-то простого и универсального. Чтобы вот вызвал условный For Each Loop и сгенерировал все как надо, еще и не обязательно только для этого енама. Выход был найден! Если мы создаем UENUM, то unreal сам генерит всю нужную инфу и создает для нас UEnum класс, который является UObject. Нужно лишь правильно использовать эту информацию.
https://habr.com/ru/articles/861944/
#uenum #unreal_engine #c++ #blueprints #iterator #iterators #tutorial #async #asynchronous #for_each
