text:
package dep

import (
	"log"
	"os"
	"path/filepath"
	"runtime"
	"sort"
	"time"

	"github.com/golang/dep/gps"
	"github.com/golang/dep/gps/paths"
	"github.com/golang/dep/gps/pkgtree"
	"github.com/golang/dep/gps/verify"
	"github.com/golang/dep/internal/fs"
	"github.com/pkg/errors"
)

// Ctx defines the supporting context of dep.
//
// A properly initialized Ctx has a GOPATH containing the project root and non-nil Loggers.
//
//	ctx := &dep.Ctx{
//		WorkingDir: GOPATH + "/src/project/root",
//		GOPATH: GOPATH,
//		Out: log.New(os.Stdout, "", 0),
//		Err: log.New(os.Stderr, "", 0),
//	}
//
// Ctx.DetectProjectGOPATH() helps with setting the containing GOPATH.
//
//	ctx.GOPATH, err := Ctx.DetectProjectGOPATH(project)
//	if err != nil {
//		// Could not determine which GOPATH to use for the project.
//	}
//
type Ctx struct {
	WorkingDir     string        // Where to execute.
	GOPATH         string        // Selected Go path, containing WorkingDir.
	GOPATHs        []string      // Other Go paths.
	ExplicitRoot   string        // An explicitly-set path to use as the project root.
	Out, Err       *log.Logger   // Required loggers.
	Verbose        bool          // Enables more verbose logging.
	DisableLocking bool          // When set, no lock file will be created to protect against simultaneous dep processes.
	Cachedir       string        // Cache directory loaded from environment.
	CacheAge       time.Duration // Maximum valid age of cached source data. <=0: Don't cache.
}

// SetPaths sets the WorkingDir and GOPATHs fields. If GOPATHs is empty, then
// the GOPATH environment variable (or the default GOPATH) is used instead.
func (c *Ctx) SetPaths(wd string, GOPATHs ...string) error {
	if wd == "" {
		return errors.New("cannot set Ctx.WorkingDir to an empty path")
	}
	c.WorkingDir = wd

	if len(GOPATHs) == 0 {
		GOPATH := os.Getenv("GOPATH")
		if GOPATH == "" {
			GOPATH = defaultGOPATH()
		}
		GOPATHs = filepath.SplitList(GOPATH)
	}

	c.GOPATHs = append(c.GOPATHs, GOPATHs...)

	c.ExplicitRoot = os.Getenv("DEPPROJECTROOT")

	return nil
}

// defaultGOPATH gets the default GOPATH that was added in 1.8
// copied from go/build/build.go
func defaultGOPATH() string {
	env := "HOME"
	if runtime.GOOS == "windows" {
		env = "USERPROFILE"
	} else if runtime.GOOS == "plan9" {
		env = "home"
	}
	if home := os.Getenv(env); home != "" {
		def := filepath.Join(home, "go")
		if def == runtime.GOROOT() {
			// Don't set the default GOPATH to GOROOT,
			// as that will trigger warnings from the go tool.
			return ""
		}
		return def
	}
	return ""
}

// SourceManager produces an instance of gps's built-in SourceManager
// initialized to log to the receiver's logger.
func (c *Ctx) SourceManager() (*gps.SourceMgr, error) {
	cachedir := c.Cachedir
	if cachedir == "" {
		// When `DEPCACHEDIR` isn't set in the env, use the default - `$GOPATH/pkg/dep`.
		cachedir = filepath.Join(c.GOPATH, "pkg", "dep")
		// Create the default cachedir if it does not exist.
		if err := os.MkdirAll(cachedir, 0777); err != nil {
			return nil, errors.Wrap(err, "failed to create default cache directory")
		}
	}

	return gps.NewSourceManager(gps.SourceManagerConfig{
		CacheAge:       c.CacheAge,
		Cachedir:       cachedir,
		Logger:         c.Out,
		DisableLocking: c.DisableLocking,
	})
}

// LoadProject starts from the current working directory and searches up the
// directory tree for a project root.  The search stops when a file with the name
// ManifestName (Gopkg.toml, by default) is located.
//
// The Project contains the parsed manifest as well as a parsed lock file, if
// present.  The import path is calculated as the remaining path segment
// below Ctx.GOPATH/src.
func (c *Ctx) LoadProject() (*Project, error) {
	root, err := findProjectRoot(c.WorkingDir)
	if err != nil {
		return nil, err
	}

	err = checkGopkgFilenames(root)
	if err != nil {
		return nil, err
	}

	p := new(Project)

	if err = p.SetRoot(root); err != nil {
		return nil, err
	}

	c.GOPATH, err = c.DetectProjectGOPATH(p)
	if err != nil {
		return nil, err
	}

	if c.ExplicitRoot != "" {
		p.ImportRoot = gps.ProjectRoot(c.ExplicitRoot)
	} else {
		ip, err := c.ImportForAbs(p.AbsRoot)
		if err != nil {
			return nil, errors.Wrap(err, "root project import")
		}
		p.ImportRoot = gps.ProjectRoot(ip)
	}

	mp := filepath.Join(p.AbsRoot, ManifestName)
	mf, err := os.Open(mp)
	if err != nil {
		if os.IsNotExist(err) {
			// TODO: list possible solutions? (dep init, cd $project)
			return nil, errors.Errorf("no %v found in project root %v", ManifestName, p.AbsRoot)
		}
		// Unable to read the manifest file
		return nil, err
	}
	defer mf.Close()

	var warns []error
	p.Manifest, warns, err = readManifest(mf)
	for _, warn := range warns {
		c.Err.Printf("dep: WARNING: %v\n", warn)
	}
	if err != nil {
		return nil, errors.Wrapf(err, "error while parsing %s", mp)
	}

	// Parse in the root package tree.
	ptree, err := p.parseRootPackageTree()
	if err != nil {
		return nil, err
	}

	lp := filepath.Join(p.AbsRoot, LockName)
	lf, err := os.Open(lp)
	if err == nil {
		defer lf.Close()

		p.Lock, err = readLock(lf)
		if err != nil {
			return nil, errors.Wrapf(err, "error while parsing %s", lp)
		}

		// If there's a current Lock, apply the input and pruneopt changes that we
		// can know without solving.
		if p.Lock != nil {
			p.ChangedLock = p.Lock.dup()
			p.ChangedLock.SolveMeta.InputImports = externalImportList(ptree, p.Manifest)

			for k, lp := range p.ChangedLock.Projects() {
				vp := lp.(verify.VerifiableProject)
				vp.PruneOpts = p.Manifest.PruneOptions.PruneOptionsFor(lp.Ident().ProjectRoot)
				p.ChangedLock.P[k] = vp
			}
		}

	} else if !os.IsNotExist(err) {
		// It's fine for the lock not to exist, but if a file does exist and we
		// can't open it, that's a problem.
		return nil, errors.Wrapf(err, "could not open %s", lp)
	}

	return p, nil
}

func externalImportList(rpt pkgtree.PackageTree, m gps.RootManifest) []string {
	rm, _ := rpt.ToReachMap(true, true, false, m.IgnoredPackages())
	reach := rm.FlattenFn(paths.IsStandardImportPath)
	req := m.RequiredPackages()

	// If there are any requires, slide them into the reach list, as well.
	if len(req) > 0 {
		// Make a map of imports that are both in the import path list and the
		// required list to avoid duplication.
		skip := make(map[string]bool, len(req))
		for _, r := range reach {
			if req[r] {
				skip[r] = true
			}
		}

		for r := range req {
			if !skip[r] {
				reach = append(reach, r)
			}
		}
	}

	sort.Strings(reach)
	return reach
}

// DetectProjectGOPATH attempt to find the GOPATH containing the project.
//
//  If p.AbsRoot is not a symlink and is within a GOPATH, the GOPATH containing p.AbsRoot is returned.
//  If p.AbsRoot is a symlink and is not within any known GOPATH, the GOPATH containing p.ResolvedAbsRoot is returned.
//
// p.AbsRoot is assumed to be a symlink if it is not the same as p.ResolvedAbsRoot.
//
// DetectProjectGOPATH will return an error in the following cases:
//
//  If p.AbsRoot is not a symlink and is not within any known GOPATH.
//  If neither p.AbsRoot nor p.ResolvedAbsRoot are within a known GOPATH.
//  If both p.AbsRoot and p.ResolvedAbsRoot are within the same GOPATH.
//  If p.AbsRoot and p.ResolvedAbsRoot are each within a different GOPATH.
func (c *Ctx) DetectProjectGOPATH(p *Project) (string, error) {
	if p.AbsRoot == "" || p.ResolvedAbsRoot == "" {
		return "", errors.New("project AbsRoot and ResolvedAbsRoot must be set to detect GOPATH")
	}

	if c.ExplicitRoot != "" {
		// If an explicit root is set, just use the first GOPATH in the list.
		return c.GOPATHs[0], nil
	}

	pGOPATH, perr := c.detectGOPATH(p.AbsRoot)

	// If p.AbsRoot is a not a symlink, attempt to detect GOPATH for p.AbsRoot only.
	if equal, _ := fs.EquivalentPaths(p.AbsRoot, p.ResolvedAbsRoot); equal {
		return pGOPATH, perr
	}

	rGOPATH, rerr := c.detectGOPATH(p.ResolvedAbsRoot)

	// If detectGOPATH() failed for both p.AbsRoot and p.ResolvedAbsRoot, then both are not within any known GOPATHs.
	if perr != nil && rerr != nil {
		return "", errors.Errorf("both %s and %s are not within any known GOPATH", p.AbsRoot, p.ResolvedAbsRoot)
	}

	// If pGOPATH equals rGOPATH, then both are within the same GOPATH.
	if equal, _ := fs.EquivalentPaths(pGOPATH, rGOPATH); equal {
		return "", errors.Errorf("both %s and %s are in the same GOPATH %s", p.AbsRoot, p.ResolvedAbsRoot, pGOPATH)
	}

	if pGOPATH != "" && rGOPATH != "" {
		return "", errors.Errorf("%s and %s are both in different GOPATHs", p.AbsRoot, p.ResolvedAbsRoot)
	}

	// Otherwise, either the p.AbsRoot or p.ResolvedAbsRoot is within a GOPATH.
	if pGOPATH == "" {
		return rGOPATH, nil
	}

	return pGOPATH, nil
}

// detectGOPATH detects the GOPATH for a given path from ctx.GOPATHs.
func (c *Ctx) detectGOPATH(path string) (string, error) {
	for _, gp := range c.GOPATHs {
		isPrefix, err := fs.HasFilepathPrefix(path, gp)
		if err != nil {
			return "", errors.Wrap(err, "failed to detect GOPATH")
		}
		if isPrefix {
			return filepath.Clean(gp), nil
		}
	}
	return "", errors.Errorf("%s is not within a known GOPATH/src", path)
}

// ImportForAbs returns the import path for an absolute project path by trimming the
// `$GOPATH/src/` prefix.  Returns an error for paths equal to, or without this prefix.
func (c *Ctx) ImportForAbs(path string) (string, error) {
	srcprefix := filepath.Join(c.GOPATH, "src") + string(filepath.Separator)
	isPrefix, err := fs.HasFilepathPrefix(path, srcprefix)
	if err != nil {
		return "", errors.Wrap(err, "failed to find import path")
	}
	if isPrefix {
		if len(path) <= len(srcprefix) {
			return "", errors.New("dep does not currently support using GOPATH/src as the project root")
		}

		// filepath.ToSlash because we're dealing with an import path now,
		// not an fs path
		return filepath.ToSlash(path[len(srcprefix):]), nil
	}

	return "", errors.Errorf("%s is not within any GOPATH/src", path)
}

// AbsForImport returns the absolute path for the project root
// including the $GOPATH. This will not work with stdlib packages and the
// package directory needs to exist.
func (c *Ctx) AbsForImport(path string) (string, error) {
	posspath := filepath.Join(c.GOPATH, "src", path)
	dirOK, err := fs.IsDir(posspath)
	if err != nil {
		return "", errors.Wrapf(err, "checking if %s is a directory", posspath)
	}
	if !dirOK {
		return "", errors.Errorf("%s does not exist", posspath)
	}
	return posspath, nil
}

// ValidateParams ensure that solving can be completed with the specified params.
func (c *Ctx) ValidateParams(sm gps.SourceManager, params gps.SolveParameters) error {
	err := gps.ValidateParams(params, sm)
	if err != nil {
		if deduceErrs, ok := err.(gps.DeductionErrs); ok {
			c.Err.Println("The following errors occurred while deducing packages:")
			for ip, dErr := range deduceErrs {
				c.Err.Printf("  * \"%s\": %s", ip, dErr)
			}
			c.Err.Println()
		}
	}

	return errors.Wrap(err, "validateParams")
}


Having confronted intense self-doubt in becoming an author, the Montrealer now has major award nominations for Zolitude, which she modestly describes as "a book of weird short stories."
Paige Cooper's sense of disorientation is understandable. From a writer with a profile confined mostly to keen readers of Canadian literary journals, in a matter of weeks she has become the consensus newcomer of the year, with her debut story collection Zolitude (Biblioasis, 236 pages, $19.95) long-listed for the Scotiabank Giller Prize, a finalist for the fiction category of the Governor General's Literary Awards and a double QWF Awards finalist, for the Hugh MacLennan Prize for Fiction and the Concordia University First Book Prize.
She's not taking the attention for granted.
"Whenever I think about it, I try to think about it from my perspective of six years ago, when I was exploding my life because I had to write," the 33-year-old Villeray resident said last week.
The self-set explosion Cooper refers to came at the end of a fitful path. After growing up in Canmore, Alta., she attended the University of British Columbia, where she was in the creative writing program as an undergraduate but concluded that her early efforts weren't up to snuff.
It was in the Baltics that Cooper began serious work on the stories that came to make up Zolitude. The surroundings clearly seeped in: the title story takes its name from a bleak Soviet-vintage district of Riga, where a foreign graduate student is grappling with winter depression and relationship dysfunction.
It's a scenario that can serve as a fair representative of Cooper's story strategy: her heroines and heroes are often away from home, underfunded, out of sorts, in delicate states that might appear on the edge of epiphany but could just as easily lead to total breakdown. Add to this an element of the fantastical that grows organically out of the narratives, and these are stories that deftly combine serious inquiry and sensory immediacy with the uncanny.
An unexpected but delightful ingredient in some of the stories is Cooper's penchant for rare and exotic words: dipterocarp, imbricate, judder, hippocampal. Wisely not employed to the point of gimmickry, they serve as an incidental pleasure that pulls the reader further in.
A good sample of such words can be found in Spiderhole, a story set among a group of expats in southeast Asia. As an evocation of place, it recalls Michael Herr's Vietnam War memoir Dispatches, but with a crucial difference: the presence in the jungle of what appear to be giant prehistoric lizards.
Given Cooper's interest in escapism — "in ways in which it intersects with human emotion and leads us back around to face what we're trying so hard to avoid" — fans of Zolitude will want to investigate her first essay, Towards a Poetics of the NFL, published this summer in the online journal the Western.
That micro-to-macro permeability is showcased in Ryan & Irene, Irene & Ryan, a Zolitude highlight. Drawing on Cooper's experience working for a Montreal-based record label, it expands into a meditation on how "violence scales more effortlessly than art" — an idea that infuses the whole collection to varying degrees, and is something that preoccupies Cooper as an artist in a culture that can often feel about to implode.
For now, at least, the peripatetic author is finding that the best place to pursue her vocation is Montreal.
Meanwhile, as she works on her next book ("I think it's something about reputation, and information, and doom. I thought it was a novel, but now I'm not sure"), Cooper can't help but reflect on her sudden wave of awards-driven recognition.
The Governor General's Literary Awards winners will be announced Tuesday, Oct. 30. The QWF Awards gala is held Tuesday, Nov. 20 at Lion d'Or, 1676 Ontario St. E; see qwf.org for more details.
Literary debuts come in many forms, but rest assured, when it comes to Montreal writers, they keep on coming. Among the many joining Paige Cooper in the debutante circle this year are the four below — about as diverse an assortment of newcomers (one of them actually not so new) as could be imagined.
Reading The Art and Passion of Guido Nincheri (Véhicule Press, 236 pages, $24.95), you might sometimes have to remind yourself that the life it recounts happened mostly in Montreal. Nincheri, a master of the Old World art of stained glass, left extensive examples of his work not only in churches in and around his adopted home city, but in scattered locales all over North America. Armed with Mélanie Grondin's engaging biography and guide, you can do a European-style self-selecting tour of a great artist's legacy without the flight expenses.
Policing Black Lives: State Violence in Canada From Slavery to the Present (Fernwood, 252 pages, $25) sees Robyn Maynard bringing a feminist emphasis, a grassroots perspective and a scholarly historical sweep to a subject that couldn't be more timely. Her book is an effective corrective to any lingering notions that the issues of which she writes are American concerns that stop at the border. They don't.
It may seem strange to think of one of our most popular media presences as a newcomer, but this fall, remarkably, marks Stanley Péan's first literary translation into English. Taximan (Linda Leith Publishing, 119 pages, $16.95, translated by David Homel) is a slim but evocative novel-in-episodes. Lifelong non-driver Péan draws on his extensive experience in the back seat of taxis to provide a kaleidoscopic view of the place that has been his home since he arrived as an infant from Haiti. Think of it as the sympathetic reportage of a Montrealer with a special connection to the Haitian diaspora and other under-represented Quebecers.
Vanessa R. Sasson's Yasodhara: A Novel About the Buddha's Wife (Speaking Tiger, 304 pages, $29) is precisely what its subtitle says it is — with the proviso that, very little being known about the woman who married the prince who went on to become the Buddha, it allows itself plenty of scope for speculation and imagination. The author of several scholarly studies of religion and mythology, Sasson uses her first work of fiction to create what deserves to be a widely read introduction to an all-but-unknown player in a seminal historical episode.


Daushoroc was an Eirrauc. He and another Eirrauc named Tamoss helped each other escape from Imperial slavery, settling other slaves on a safeworld before striking out on their own.
Sometime during the Galactic Civil War, Daushoroc and Tamoss had become dealers in gems and rare artifacts. They went to Tatooine to search for the Athallian Messenger's remains, making a deal with a tribe of Tusken Raiders in order to gain access to the stretch of desert where the ship's remains were said to be hidden.


Do you often find yourself saying, audibly or even under your breath?
Do you or have you ever acknowledged audibly or to yourself?
Is this because you believe you know 'what's what'? Of course!
Is it simply something that doesn't agree with or meet your understanding? Hmmm…?
Do you believe your understanding is 'RIGHT'? Of course!
Something that puts doubt around your understanding of 'RIGHT' is therefore 'WRONG' Isn't it?
We at Your Hidden Mind are certainly sceptical about that logic.
Are you saying that unless I say or do something that satisfies your needs, wants or understanding, you have to be skeptical?
NO DOUBT ABOUT IT! YEP! BUT WHY???
Why do you believe what (or all) you have learned is 'RIGHT'? It'd be stupid if I didn't!
What makes you so sure? I just am!
Are you in fact afraid of being proved 'WRONG'? Sure am!
Are you afraid of losing a thought you've always held onto? Well wouldn't you be?
Do you even DOUBT all this???
Finding a balance between RIGHT & WRONG is critical to a balanced healthy life.
Whenever scales are tipped too far in one direction or the other i.e. too Naive or too Sceptical, something has to give.
No one person has ownership of being 100% 'Right or Wrong' in all circumstances.


text:
Showing posts with label New Games Wallpaper. Show all posts
New Games Wallpaper Biography
"Let's Ride (Strip Club)" is the second single from Doctor's Advocate. The song was written by The Game and Scott Storch and was released on September 25, 2006. The song peaked at number 46 on the Billboard Hot 100 chart. The music video for the track premiered on BET's 106 & Park on October 23, 2006. On November 14, 2006, the video debuted on MTV's TRL (Total Request Live) at number ten and stayed on the chart for over 2 weeks. In The video The Game can be seen riding in a 1964 Chevrolet Impala with hydraulics and the video contains a cameo appearance by fellow West Coast rapper Snoop Dogg. The video was also the subject of an MTV Making the Video episode as was a previous single of The Game's, "Dreams", from his The Documentary album.
"Wouldn't Get Far" is the third single from Doctor's Advocate. The song is produced by and features a verse from Kanye West. It contains a sample from Creative Source's "I'd Find You Anywhere", and a small sample from 2Pac's "All Bout U", and also a sample of Jadakiss' "By Your Side". In the song, The Game mentions and criticizes, by both name and alias, many up-and coming and established video vixens, models, and actresses. The women addressed include Nicole Alexander, Karrine Steffans, Vida Guerra, Gloria Velez, Halle Berry, Meagan Good, Lil' Kim, Kelis, Charli Baltimore, Toccara Jones, and Melyssa Ford. As a response, Vida Guerra made a 30 second rap diss to the The Game in retaliation to his negative remarks about how video models succeed in the hip hop business. She insinuates that The Game is desperate to sleep with her, and earlier, she had claimed that The Game was mad at her for turning him down. After the final verse of the song, The Game can be heard talking in a similar style as Snoop Dogg did in 2Pac's song "All Bout U" from his 1996 album All Eyez on Me. This portion of the song is not available on the radio edited version, and was also not premiered in the video. Prior to filming the music video, The Game said that he was hoping some of the video vixens he mentions in the song would come down for the shoot to lighten some of the tension that had built because of the track lyrics. In the end, only Gloria Velez turned up and is seen in the video; the others are played by look-alikes. "Why You Hate The Game" was planned as the fourth single from Doctor's Advocate. The Game revealed that the song would be a single on April 9, 2007, but it was not released.
Top 10 Best GAMES Android + DRAGONS & WORMS
Labels: New Games Wallpaper

redpajama_set_name: RedPajamaCommonCrawl


the shifting sequence control. Here.from emphasize given to comfort and optimized fuel consumption up to extremely sporty. Page 2/4.Presseinformation Press Information concept was supplemented by using hydraulically operated constant-mesh elements. a multilevel torsion damper system minimizes hydraulic losses while. already at low speeds. 2011-06-07 Enhanced performance and less fuel consumption A torque converter is used in the 9HP as the standard starting element: Particularly customers in the USA and the Asian markets esteem its smooth starting and maneuvering quality. Flexible transmission control Direct multiple gearshifts are also possible with the 9HP and give the automatic transmission its sporty character. ZF benefits from its expertise in the area of software development when engineering such highly flexible transmission controls: ATSYS. the driving strategy. For an even more direct driving experience. This aspect is particularly important with regard to the multi-speed concept of the 9HP: Thus. as a result of cost efficiency and installation space optimization reasons. ZF has designed all control components for shorter response and shift times. contains all clutch controls. Thus.unnoticed by the driver! With the 9HP. While multidisk shift elements in the open condition create drag torques. and transmission protection functions while ASIS. This is not only beneficiary for fuel consumption and comfort but also for driving dynamics. the transmission controls can be influenced by the OEM and the end customer: Shifting points and shifting dynamics are highly variable . ensures that the optimal gear is selected for each driving situation . adaptation functions. ZF engineers did not use a fully-integrated ZF Friedrichshafen AG Konzernkommunikation Corporate Communications 88038 Friedrichshafen Deutschland · Germany . these losses are very low in dog clutches. facilitating quick bridging of the torque converter lock-up clutch. actually below the threshold of perception. enhanced efficiency generated by small transmission steps is not lost again via drag losses due to the rather complex design. since these can be integrated without a major impact on the overall transmission length and still enable high efficiency.
it has been prepared as a 'construction kit': e.Presseinformation Press Information Page 3/4. The EGS's hardware layout has been designed in such a way that the different OEM requirements can be applied without any problems. It actuates the rear axle drive only when needed and. Photo: ZF ZF Friedrichshafen AG Konzernkommunikation Corporate Communications 88038 Friedrichshafen Deutschland · Germany . This diversity of the 9HP construction kit makes the transmission especially efficient for OEMs. thanks to its open software and interface structure as well as the powerful electronic control unit. hybrid drive. To this end. In addition. and cost-efficient. Thus. a stop-start function. stop-start capable. in the case of restarting. Flexible construction kit So that the new 9-speed automatic transmission can be installed in as many vehicle applications as possible. by default and without an additional oil pump. 2011-06-07 mechatronics module for all sensors. Instead.now significantly smaller . actuators. The 9 HP construction kit is designed for different starting elements.hydraulic control unit (HSG). and all-wheel drive. Finally. Since. powerful. an additional transfer case can be connected for the all-wheel drive operation. it will be possible to integrate the unit flexibly in different vehicle concepts. The 9-speed automatic transmission is. the 9HP is also equipped for even more comprehensive software functions in the future. ZF developed an allwheel drive that can be decoupled (AWD Disconnect). and the electronic control unit (EGS). Caption: Flexible. the torque converter is then replaced by an electric motor. thus. The EGS's computing performance can be increased by another 30 percent when needed. response times are indeed highly spontaneous. namely on the upper side of the transmission housing.g. it is only one friction shift element that needs to be closed. saves five percent fuel compared to the permanent all-wheel drive. ZF develops and produces the EGS under its own aegis: It is installed separately from the . the 9HP is easy to hybridize: On the basis of an parallel hybrid architecture.
2011-06-07 Press contact: Thomas Wenzel. ZF annually invests about five percent of its sales (2010: EUR 646 million) in research and development.000 employees. In 2010.Presseinformation Press Information Page 4/4. +49 7541-77 2543.com ZF is a leading worldwide automotive supplier for Driveline and Chassis Technology with 117 production companies in 26 countries. In order to continue to be successful with innovative products. E-Mail: thomas. Tel. For photos and further press information please visit: www.com ZF Friedrichshafen AG Konzernkommunikation Corporate Communications 88038 Friedrichshafen Deutschland · Germany . the Group achieved a sales figure of EUR 12.zf. Manager Technical Press.wenzel@zf. Fax: +49 7541-77 902543.9 billion with approximately 70.


text:
The JK Rowling Blues
If you search for my book Dead Mouths: Book 1 on a Kindle search on Amazon (using the term "dead mouths"), the second book that comes up is called My Sister In-Law's Mouth: Over My Wife's Dead Body Book 2. The author is listed as Kilgore Trout Jr, which is most interesting in that whoever wrote this "classic" had to have read Kurt Vonnegut's Slaughterhouse 5 or some of the other books that said author's "father" appeared as a fictional character in.
While Vonnegut's author was sold in adult stores, he was a science fiction writer, like the author who created him. It was said that he had great plots, but it was also said that these were the best parts of his writing.
Sitting here now hoping that someone finds my books and pays for them, this Amazon search makes me wonder what people will think of the fact that I am a self-published author, posting to tens of sites in the hopes that someone finds my book and decides to plunk down $3.99 on it (or $2.99 for my other book). Will they think that this could possibly be a reference to a line in Pablo Neruda's From the Heights of Machu Picchu Canto 12 ("I come to speak for your dead mouths"I come to speak for your dead mouths.I come to speak for your dead mouths.I come to speak for your dead mouths.) or am I destined to be forgotten in the where are they now bin when they think of what else a mouth does other than speak?
Of course, there are many successes out there in the demo tape world of books, but then again, if Mr. "Trout'" can be judged for his cover, there's a lot of other stuff, too. Of course, book genres like erotica sell (who am I to judge writing in supernatural fiction), and indie publishing's biggest hit is 50 Shades of Gray, which is essentially "mom porn." Who's to complain about what people read if it gets them reading? That said, I'd assume there's a plot with E.L. James (I refuse to read or watch – no matter how many books she sells), but I just am led to believe that this other "book" (a term I use loosely, though I am interested, even if only at the free Kindle Unlimited price) is simply a Penthouse letter that went long (no sexual innuendo intended).
Thus, by this book being here on Amazon's Kindle site, we are led to believe that someone put effort into writing this, publishing it, and finding a model to get scantily clad for the cover. Here, we have to believe that this cost money to do because there are many stops along the way in the Create Space process, and all of them cost money if you don't want to do it yourself (lots of money in fact). For that purpose, we'll believe Trout did this himself, but we also believe he paid a model, or at the very least, he used up a favor with a friend.
And here, we have to believe it's a he, though it could be a woman if she knows what sells to men, and yes, there is a series of these books. Like a man that my sister works with, he knows what sells, and that's why he write's romance books for $80,000 a year (if the story about him is true, and we have no reason to believe it isn't). Maybe Kilgore is actually Kim or Kylie, and she's raking in the does at $2.99 a pop to make that sweet 70% commission (as opposed to 35% if the author were to charge less) so that she can get Sandals vacations and a BMW in the driveway. Wouldn't you?
That said, most of us would, but we still won't see the rewards, no matter how long we leave our revenue streams up.
So in the end, at two dollars and change for a book, both Trout and I are giving it away to get some dream in return. Like many authors, we aspire to a movie / TV deal, Stephen King / James Patterson expectations on our book sales, and to be recognized, should we ever hire an Uber driver (which I don't expect to since I own my own car). But what do really get out of our time other than to say that unlike many who aspire, we have succeeded.
Here, I think about 15.5 months of writing 3 books (with the second volume of Dead Mouths still not done with its final edit, so a little longer to type out and edit and re-edit my 900+ pages). Even if we just look at Eureka in Flames, I put a solid 150 hours into that. With 65 books sold at about $2 a pop before taxes, I'm still not making $1 hour. Are my services worth the $15 an hour that McDonald's workers are demanding? Hell, I think I'm good for Robert Kirkman / Walking Dead money. But is anyone else buying? Thus, even at "slave" wages, McDonald's employees get more for their duties than me.
True, I haven't gone all in, as I'm still publicizing for free. I haven't boosted posts or hired an agent. I didn't send out free copies looking for reviews on them. Fortunately, I do have 2 reviews, both good, but the tastemakers aren't bursting down my doors to tell me that all my work is about to be rewarded because I posted to one of countless free promotion sites. Hell, I haven't even been spammed by someone else on them lately. Not that I want to be, but attention is a good thing.
Through it all, I'm glad I have some shred of self-esteem left, though it's really only a shred at this point. Fortunately, the good will of family and friends is still hanging on, at least in parts, though it should be said that Netflix binging is a hell of a lot easier to make happen than let's say 12 hours for the average person to read just under 400 pages.
And it's still early, and there are lots of options that I'll have to search out and apply. Hopefully, the cost / reward ratio will be there for library visitations and next year's science fiction events as well as the hope that I can at least pay off the copies of my books that I order for these. Sure, I can make more than 2:1 cash on these, but I have to go into these things with substantial copies of each book just in case because Heaven forbid that I have 12 people who all want a signed copy, and I only have 10 books. And what if they all want the complete collection of all 3 books that will be available at this time?
Right now, I feel those deep down J.K. Rowling blues. You know the kind where there's no other outlet than the major leagues saying, "Don't quit your day job" as they send her off to do whatever it is that comes next while the bills pile up, the vacations await, the car gets worn down, and the future looms with no guarantee of a day-glo lime Jeep in my parking spot any time soon.
But J.K. made it count. She stood up and tried again. That takes guts and endurance to push a kid's book that hard so that it's loved by adults as well. To get there, she went through divorce, welfare, and depression. When she was accepted, she stopped being Joanne to not put boys off from reading her work.
Now, the 12 publishing houses that sent her packing, the dumbass rejecters, that is, they have to be kicking themselves now that she had 7 movies in the top 50 movies of all time (only 1 Harry Potter didn't make it, just barely, but 1 more will soon be on the list) and more successful books than that. Oh, and ol' girl has a theme park.
If that's the goal, then the idea is that we need to go Michael Phelps and get in the zone no matter who or what gets in our head. Today, as I contemplate a publicity blitz and using up whatever assistance I can without going Kickstarter (though I'm not putting that past me), the goal is to be happy and realize that overnight success is a myth.
The goal is to avoid the J.K. Blues.
However, as I move to publish and make it count, level 2, the one that says people outside of the already established circle have to be established, I think about how to make that happen, and to make the world love my book on my terms (or if you'll give me the Jeep and the World Petroglyph Tour, I'll turn Tony Lucas into whoever you think sells).
You know, because I'm a ho like that. Aren't we all?
But yeah, there's pride and my personality and my ethics, so I'll avoid that "My Sister In-Law's Mouth Route," because not to sound whatever, but I'm kind of hoping I get big and famous before Trout.
Truth be told, I'm sure all of us would go all Dwayne "The Rock" Johnson on people for a chance at the prize of being successful.
So as those clickbait pages that tell us the stories of how many rejections the great went through to get there, we just have to believe because good things are to come if we work hard and edit our work.
I think that's how it works.
Posted by Dan at 8:35 AM No comments:
Talking to Myself 2
With the release of both Dead Mouths books on the same day, what can we expect from this monumental release? I would hope that they would signal something ambitious, like Wilco's Being There double disc, which was released together after A.M. Now, it wouldn't be a big deal to see a band like Wilco do this since they're a major player in the indie scene, but to compete with the glory that was Son Volt's Trace, Jeff Tweedy had to respond in a big way, or he would have been that other guy in Uncle Tupelo. For me, the books were always meant to be together as one unit, so it's not unthinkable that they're both out the same day. It wasn't like I always planned to hold off until I could do a Guns 'N Roses Use Your Illusion. Besides, I won't be holding the top two spots on the first week of chart sales. Instead, I want to put the backlog catalog out and move forward with halfway done projects like Intersections, The Last Day of Hunting Season, and The Wendigo Story, which will have a better name at some point. Sitting and looking at unfinished files, either for lack of time to write or inspiration to edit, is just depressing.
That both of these books are from the same work is why they're the same name? Yes. One book would have been too long and too expensive for a demo book / vanity printing. I thought about a different name for book one, but I just couldn't so they're both Dead Mouths.
There are many new characters in these books, but there are a few older ones. Can you tell us about them? First and foremost is Tony Lucas. He's the Blanding, Utah, chief of police. I'd describe him as a conservative man's man in 2016. I wanted a character that my dad would like. He's a great cop, a loving husband, a loyal friend, and the head honcho protector of his town. If I could be anyone in the story, I would be him because he balances professional between tough in a perfect way despite his use of unorthodox means like "wall to wall counselling" and the like.
However, there's another character that is more your persona? Yes, that would be Dave Robinson, who was drafted to be the lead, but as he was always the Roy Scheider in Jaws figure, it was clear that he couldn't be the lead for what this story was meant to be (originally a trilogy, but now much longer). When I jackhammered the outline and went from a secret passage in a cliff dwelling leading to a single confrontation with a demon to what it is now, which is much different, his life became necessary to make S1 happen, but it was necessary in a different way than I originally made it be.
How was it like Martin Brody? Well, Brody was a Chief of Police on an island, but he was afraid of the water. He was forced out into the ocean and left to his lonesome to confront the shark. The same is true for Kurt Russell in Executive Decision. Steven Seagal is wiped out and the desk jockey has to become a military hero. In this book, Dave's anxiety and obsessions mix with his office nature to force him to step up or die. I like that in a character. Here, he's not a hero in a traditional sense, nor is he one in an actual sense, but he does get opportunities to be heroic. Even if other characters will be the real heroes.
Heroism is important for you. It most definitely is. If we look at large groups of the characters being led to a place where they will be intersecting in the book Intersections, we see others intertwining here to lead each other to a good place. Thus, it's more like Stephen King's The Stand or The Walking Dead than The Avengers, but a character like Colin Jameson, who is the sole focus of The Wendigo Story is a Captain America style superhero for what he represents and how he can do it. His military commanders, guys like Marcus Powell and Bart Doherty, as well as other men and women he will end up with also have power and special powers.
You mention a lot of men, but who are the women? Well, Charlotte Robinson is one of these women, but she doesn't know how she will be yet. The "writer" Susan Mavern is also more a part of the story than a pair of preludes. In addition, the most central lead female character in this story so far is Suzie Heilman. She's more a paranormal source of power who is intermingling between many lives. And yeah, I'm being deliberately vague to not give things away with any of the characters, less people won't buy my book! Originally, she was a throwaway line that became a character. Now, she's kickass!
You have other characters that grew out of that. I do. Both Charles "Chuck" Johnson and Henriette Fressineau were minor characters that begged for life and a second chance at living. Both would have had quick demises in the original story, like an unnamed character assisting Jack Bauer in 24, but they didn't, and now they're part of the new jackhammered plot because I couldn't kill them off immediately, like I had planned.
Killing isn't easy, is it?!! Not at all. The most violent death in the books took me to a month-long break from writing. After that, it's easier, but it feels real to hurt an imaginary character in that way. This death rattled me, even with its toned-down writing.
Without giving the plot away, was this a main character? Well, I can't give it away, so I'll just say the character isn't as quick to enter and leave as a "Random Cop #8," if that's what you're asking!
What about the Greers? It was essential to allow the history to develop and grow. I wanted to be true to a conservative desert ranch feel with a little bit of mystery. I also wanted the family to be likable, but I wanted them to be conflicted and able to make heel turns if necessary. That they're not easy to pin down makes the book go forward into suspense.
As for your villains, what were you going for with them? With Smothers, I wanted stock evil with the potential for complete evil like Senator Palpatine in the Star Wars movies. By the way, the voices of Kaldac and Ralph Richards often sounded like the Emperor to me when I was writing their parts in Eureka in Flames. As for Thurman Strong, he was always villainous, but he was never the arch-nemesis to what was going on; he just made it happen. Gary has evil in him, but there is just a lost middle-aged man in him. He's like many bosses. People don't always like them, but he's not deliberately scheming to destroy the world. As for the demons and Visions of Clouds, they get to be and breathe, but their histories, other than what's revealed in these first two books is part of the book after Intersections, which is called A Lot of People Die.
A lot of musical and baseball things happen in this book, which seem like personal interests, but they aren't, or are they? Benson Villaneuva and Chico Gutiérrez are both central to Intersections after being background "noise" here. You may not be a baseball fan or a fan of an indie rock band, but both are needed to move the plot through to Season Three's all-out action fest that is coming. Trust me; your patience will be rewarded. That said, all of the music that's here means something to me, so I would support the bands or listen to the music to hear connections that I was intending.
So what's different here than the quick and dirty standalone Eureka in Flames than here? Well, the characters had to live and breathe instead of action from the first page to the last page. The older Greers; Harlan, Archibald, Ethan, and Willard, had to live again to make Harvey who he is. Barry Greer also had to be mentioned with members of Tony Lucas' now deceased family to understand later chapters. Dave and Charlotte's Pennsylvania lives and Suzie's upbringing, from Japan to America, had to be told. Predetermined intersections and fate needed to prepare the characters to be together, both now and in the past. How can we care for characters if we don't know who they are?
This is something you learned from literature, right? Yeah, I'm a goll-danged Russian novel, but I'm also The Walking Dead. I'm an M. Night Shyamalan movie. I'm influenced by Nathaniel Hawthorne short stories as well as Jonathan Edwards' "Sinners in the Hands of an Angry God" and George Orwell's "Shooting an Elephant." I've said it before, but I also follow the guidance of Aristotle's Poetics for rules. Nevertheless, for as literary as I once was with Orwell, Faulkner, Dostoevsky, and the like, now I prefer Destination America shows and straight forward history done well.
Is the character Wolf a product of history? Somewhat. He's based on a man that I met at Ute Tribal Park in 2003. That guy was desert-hardened and cool in an older, tough guy kind of way. I think Wolf does him well. I also want Wolf to be a voice for Native America and a hero for a history that I find very intriguing.
Dead Mouths is based on history, right? I mean not completely, but… Yeah. It was based on Waldo Wilcox's news story of giving away his land, which housed many undisturbed Native American ruins, which led to this book. I said, "What if he did it because the land was haunted?" I mixed in some things I had read about cannibalism at Cowboy Wash, which mixed with my later on reading of Christy and Jacqueline Turner's Mancorn. Between that and a healthy love for the archaeology and geology of the Colorado Plateau's wilderness mixed with the supernatural, you get Blackrock Canyon.
So what would you say to someone getting ready to read about 680 pages over two books of your story with the promise for much more to come in the indefinite future? Enjoy! I hope to have Intersections ready for Christmas sales, but all is depending on when I do The Wendigo Story and time between teaching and a planned surgery that is coming in December. I'd also say, "Thanks for supporting my writing dream." It means more than most people will ever realize.
Posted by Dan at 12:09 PM No comments:


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text:
Der Schabbat-Modus (eingedeutscht auch Sabbat-Modus) ist eine Einstellung elektrisch betriebener Geräte und Einrichtungen, die orthodoxen Juden deren Gebrauch während des Schabbats und jüdischer Feste ermöglichen soll. Die Einstellung verändert die normale Steuerung der Geräte in der Weise, dass die diesbezüglichen 39 Melachot, Regeln der Halacha, eingehalten und auch nicht unabsichtlich verletzt werden.

Hintergrund

Orthodoxe Juden verrichten am Schabbat keine Tätigkeiten, die gemäß der Halacha als Arbeit definiert sind. Neben dem Vorbereiten und Kochen von Speisen fällt darunter insbesondere das Verbot, ein Feuer zu entzünden (Mitzwa, Nummer 322 der 365 Verbote: "Dass niemand Feuer anzünde in seiner Wohnung am Shabbat." ()). Dies schließt aus orthodoxer Sicht heute auch das Ein- und Ausschalten elektrischen Lichts sowie elektrischer Geräte aus. Die Auslegung der Halacha ist im Judentum Gegenstand fortlaufender Auseinandersetzung mit unterschiedlichen Lehrmeinungen. So kann das Verbot zur Schalterbetätigung unter anderem auch aus dem Verbot der Bautätigkeit (Vollendung oder Zerstörung eines Stromkreises) abgeleitet werden.

Im Ergebnis muss ein Schalter von einem orthodoxen Juden stets vor dem Beginn des Sabbats umgelegt und darf erst nach dem Sabbat wieder zurückgestellt werden. Ein vor dem Sabbatbeginn eingeschaltetes elektrisches Licht in der Wohnung z. B. bleibt dann bis zum Ende des Ruhetages an. Die davon betroffenen Tätigkeiten können während des Schabbats prinzipiell von einem nichtjüdischen Bediensteten ("Schabbes-Goi") übernommen werden, der aber nicht überall zur Verfügung steht.

Arbeitsweise
Der Schabbat-Modus eines Geräts wird manuell oder automatisch aktiviert. Nach dem Ende des Feiertages wird er wiederum entweder manuell ausgeschaltet oder durch einen Timer automatisch beendet.

Warmhalten von Speisen
Da die Zubereitung von Mahlzeiten nur eingeschränkt und die Bedienung von Schaltern nicht während des Schabbats erlaubt sind, hat sich das lange Warmhalten einer vorgekochten Speise im Herd eingebürgert, der dazu bereits vor dem Feiertag eingeschaltet wird. Während ältere oder einfache Herde einen solchen "Dauerbetrieb" ermöglichen, haben viele moderne, elektronisch gesteuerte Geräte aus Brandschutz- und Energiespargründen eine zeitgesteuerte Abschaltautomatik. Diese Einschränkung kann durch einen Schabbat-Modus aufgehoben werden, sodass der Ofen eine gewählte Temperatur für mehrere Tage halten kann. Möglich ist auch das Abschalten von Signaltönen, Zeit- oder Temperaturanzeigen während des Schabbatprogrammes. Für das Warmhalten von Speisen auf dem Herd wurde eine spezielle Herdabdeckung erfunden, die Blech genannt wird. Statt eines Blech werden heute aber meist Warmhalteplatten eingesetzt.

Kühlschränke
Im Inneren von Kühlschränken herkömmlicher Bauart schaltet sich gewöhnlich ein Licht an, wenn die Tür geöffnet wird. Zur Einhaltung des Verbotes des Feueranzündens am Schabbat können solche Kühlschränke durch Abkleben des Türkontaktes oder Herausdrehen des Leuchtmittels manipuliert werden. Bei modernen Kühlschränken ohne mechanische Türkontakte und türgesteuerter Beeinflussung des Kühlvorgangs ist das nicht so leicht möglich. Hier hilft ein Sabbat-Modus, der über die Steuerungssoftware des Geräts alle türgesteuerten Aktivitäten verhindert. Der Kühlschrank bleibt dann dunkel, Warntöne und -meldungen bleiben aus und der Betrieb der Kühltechnik wird vom Zustand der Tür entkoppelt. Während die Gerätesoftware vieler handelsüblicher Kühlschränke heute einen Schabbatmodus beherrscht, gab es früher auch spezielle Sabbatkühlschränke.

Fahrstühle

In Israel sind häufig Schabbat-Fahrstühle im Einsatz. Im Schabbat-Modus fahren sie automatisch jedes Stockwerk an, wobei sich dort die Türen automatisch öffnen und schließen, sodass bei ihrer Benutzung kein Schalter betätigt werden muss.

Siehe auch
 Grama-Technologie

Weblinks

 Video zum Schabbat-Aufzug (englisch)

Einzelnachweise

Halacha
Küche
Feste und Brauchtum (Judentum)
Schabbat

redpajama_set_name: RedPajamaWikipedia


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text:
Zimbabwe eyes business chances at China-Africa Economic and Trade Expo
0	June 25, 2019 2:53 PM
Source: Zimbabwe eyes business chances at China-Africa Economic and Trade Expo – Xinhua | English.news.cn
File photo shows a visitor views an artwork at the second Belt and Road Afro-Sino Art Exchange Exhibition in National Gallery of Zimbabwe in Harare, Zimbabwe, April 29, 2019. (Xinhua/Chen Yaqin)
HARARE (Xinhua) — Zimbabwe will explore ways of boosting the country's exports to China at the forthcoming China-Africa Economic and Trade Expo.
Established under the framework of the Forum on China-Africa Cooperation as a new mechanism for economic and trade cooperation between China and African countries, the expo is scheduled for June 27-29 in central China's Hunan Province.
James Manzou, permanent secretary in the Ministry of Foreign Affairs and International Trade, told Xinhua in an interview that the southern African country is looking at forging strong economic and trade ties with China, particularly anchored on its vast potential in the agriculture, mining and tourism sector, the mainstay of the country's economy.
He said there were opportunities for cooperation with China on growing some of the crops in the country for export.
"We have agricultural products that China can grow here because we have a beautiful climate which is very good for agriculture," he said.
China has been the biggest buyer of Zimbabwe's tobacco for several years, and has also been a major funder of the production of the crop through contract farming.
Manzou said there were also other potential areas of trade and economic cooperation between the two countries, including in mining and tourism.
"There are a number of Chinese companies already operating in our mining sector but tourism is also a low hanging fruit as you saw with the recent visit of Chinese tourists that came to Zimbabwe," he said.
Zimbabwe National Chamber of Commerce chief executive Takunda Mugaga said the trade expo was important for Zimbabwe to showcase its trade and economic potential.
"A platform like the expo is important for Zimbabwe in particular, knowing the infrastructure deficit the country is currently facing," he said.
He noted the dearth of foreign direct investment into the country due to frosty ties with multilateral financial institutions requires Zimbabwe to fully exploit trade opportunities with China.
"I think it's a very good platform to try to attract very good investors, especially from the infrastructure side of the Chinese," Mugaga said.
The African Union Commission also hailed the expo and said it will present huge trade and economic opportunities especially for Africa which was moving towards a single, integrated free trade zone through the African Continental Free Trade Area (AfCFTA) which entered into force in May this year.
"The Chinese investors can come and scout for opportunities in the AfCFTA. They can come and produce goods in Africa for the African market and the rest of the world," senior expert in the African Union Commission's Department of Trade and Industry Khauhelo Mawana told Xinhua.
Said Adejumobi, the United Nations Economic Commission for Africa (UNECA) Southern Africa Office director, hailed the launch of the expo as a platform that will further boost trade and economic ties between the two sides.
He told Xinhua that the expo will provide Zimbabwe and other African countries with an opportunity to explore trade and economic opportunities in the vast Chinese market.
"It's an opportunity to expose the goods and services. It's an opportunity to broker networks, form partnerships and to really be able to learn lessons from the Chinese experiment," Adejumobi said.
He said Zimbabwe should also clamor for more Chinese investment in the manufacturing sector, especially the textile industry.
Trade between China and Zimbabwe stood at 1.3 billion U.S. dollars in 2018, with Zimbabwe enjoying a trade surplus of 445 million dollars with the Asian country.
Chinese ambassador to Zimbabwe Guo Shaochun said the country wishes to expand trade scale with Zimbabwe and help Zimbabwe reconstruct its economy.
"We hope Zimbabwe can actively participate in the first China-Africa trade expo. It's a great opportunity for Zimbabwe to show the advantages of its products to Chinese buyers," Guo said.
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Q: InDesign CS5 / Extendscript -- What are the parameters for exportFile, and what are its' related properties? There is very poor documentation on Extendscript for InDesign online, and I otherwise cannot find any detailed / useful information on the exportFile method... this is all I could find, which is fairly well garbled:   http://jongware.mit.edu/idcs5/pe_ExportFormat.html.

A common such statement I have seen using exportFile would be:

       imgs[i].exportFile(ExportFormat.JPG, img, false).

This statement uses the JPG property of ExportFormat, is passing a file object img, and is passing the parameter false.

I know that the file object has to be instantiated in such a way:

       var img = new File(folder + "/" + fileName).

...but WTF is false for?

Also, it seems as if different file-type properties for the ExportFormat object are instantiated in different ways... For instance, I have seen a PDF's ExportFormat to be instantiated as ExportFormat.pdfType. This variation throws me off, and other file-types seem to have unique property names as well.

So, what exactly are the parameters for the exportFile method, and what are all of the properties of these parameters?

A: I think resources are quite numerous if you where to find them ;)
I really advise you having this bookmark as a favourite :
http://jongware.mit.edu/idcs5js_html_3.0.3i/idcs5js/
Once that done, navigate to the pageItem ( Layout ) link and see for exportFile method :
void exportFile (format: varies, to: File[, showingOptions: bool=false][, using: PDFExportPreset][, versionComments: string][, forceSave: bool=false])
Exports the object(s) to a file.
the false means you do not want to use a PDF Export Preset.
Loic

A: //PDF export preset)
//The default PDF export preset names are surrounded by square breackets

//(e.g., "[High Quality Print], [Press Quality], or [Smallest File Size]").
var myPDFExportPreset = app.pdfExportPresets.item("[Press Quality]");

myDocument.exportFile(
    ExportFormat.pdfType,
    File(Folder.desktop + "/ExportPDFWithPreset.pdf"),
    false,
    myPDFExportPreset
);

A: Yes, no doubt jongware has done a lot for the InDesign scripting community, as well as http://indesignsecrets.com/...

I do think that Adobe should provide more thorough documentation themselves though, if they want to reach a wider audience (click here to see the Adobe documentation).

I think this guy Andy Matthews put it well when he said:

"It's worth noting that the documentation for ExtendScript isn't the
  greatest. If you're used to the docs for Actionscript or ColdFusion,
  then not only will you be disappointed, but you're going to be
  confused as well...  ...I do wish that Adobe would put a
  litle more effort into making their tooling and documentation top
  notch. It would definitely make a difference, and would greatly reduce
  frustration and could encourage more designers/developers to talk
  about this software."  (click here to see this page)

As far as books go:

In seeking good resources on Extendscript in InDesign, I have found that the book Scripting InDesign CS3/4 with JavaScript was a really good introduction to Extendscript in InDesign, but it gives only very basic examples...

However, soon I will have the book InDesign CS5 Automation Using XML & JavaScript by Grant Gamble, which seems like a much more comprehensive guide. This book apparently includes the entirety of his other book InDesign CS5 JavaScript  plus the information about XML.

redpajama_set_name: RedPajamaStackExchange


text:
Les Oilers de Tulsa sont une franchise professionnelle de hockey sur glace en Amérique du Nord qui évolue dans l'ECHL. L'équipe est basée à Tulsa dans l'Oklahoma.

Historique

Logo

Personnalités

Joueurs actuels

Notes et références

Voir aussi

Articles connexes
 Ligue centrale de hockey
 Tulsa Convention Center
 BOK Center

Liens externes
  Site officiel des Tulsa Oilers

Club sportif fondé en 1928
Tulsa
Tulsa


text:
Патрісія Перес Фос (  2004, Валенсія, Іспанія)— іспанська гімнастка, що виступає в груповій першості. Срібна призерка чемпіонату Європи.

Спортивна кар'єра
Почала займатися художньою гімнастикою у п'ятирічному віці.

В жовтні 2020 року отримала травму меніску. Відновлення тривало шість тижнів.

Результати на турнірах

Примітки

Іспанські художні гімнастки
Бронзові призери чемпіонатів світу
Срібні призери чемпіонатів Європи


For anyone facing a challenge today, know that when your soul is at ease, when worry doesn't have the final say, this is the promise of peace that you, through Christ, can receive. You were not created to be burdened by stress or overwhelmed by challenges. God desires for you to be filled with joy, confidence, creativity, and peace.


text:
Study at APU
APU Outline
Accreditation/ Self-Assessment
AP House (On-Campus Housing)
Frequently searched keywords
Ritsumeikan Asia Pacific University
About APU
International & Community Service
Business,Industry & Media
Campus Terminal
Affiliated Projects
Lecture / Symposium
Top Global University (TGU)
APU supports Japanese Speech Competition for Indonesian High School Students
On Saturday, February 21, 2009, the Indonesia Japanese Speech Competition for High School Students was held in Jakarta, Indonesia. This was held with the cooperation of APU as it endeavors to nurture the human resources the approaching age of the Asia-Pacific region. APM Professor YAMAMOTO Susumu appeared on the judging panel.
This speech competition was held as a place for students studying Japanese to show the results of their hard work and study. Jointly held by The Japan Foundation and the Indonesia Ministry of Education, Primary and Secondary Department Student Division, it was also an opportunity to learn about Japan, Japanese culture and lifestyle and Indonesia. This was the first time APU had supported this event.
The thirteen students who made it through the preliminary rounds in the 8 regions showed just how much practice they had put in with their fluent command of Japanese. The winner of the competition will now go on to appear at the World Japanese Speech Competition and those who placed 2nd, 3rd and 4th were given the opportunity to go on study trips to Japan.
The current number of students in Indonesian secondary educational institutions has risen to approximately 250,000. All of the competitions, including the preliminary rounds, were packed with spectators who showed their high level of interest in both Japan, its culture and language.
There are currently 186 Indonesian international students studying at APU (as of November 1, 2008) and the number of Indonesian APU graduates has risen to 132 (Grad. March 2002 – September 2008).
APU offers Indonesian language classes where students introduce Indonesian culture through their performances. Furthermore, Ambassador Extraordinary and Plenipotentiary Dr. H. Jusuf ANWAR of the Embassy of the Republic of Indonesia in Japan has met twice with APU President CASSIM. APU enjoys strong and cooperative ties with Indonesia.
Jobs at APU
Ritsumeikan Academy
The Ritsumeikan Trust
Address:1-1 Jumonjibaru, Beppu, Oita 874-8577 Japan
Phone:+81-977-78-1111


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text:
dynaero » Electronic » Rich B + Marcella Puppini - Use The Language
Rich B + Marcella Puppini - Use The Language Album
Rich Marcella Puppini Italy Enriched Records House 2014
Performer: Rich B + Marcella Puppini
Title: Use The Language
Released: 24 Feb 2014
Catalog number: ENRR20
Label: Enriched Records
1 Revolution (Club Mix) 7:20
2 Hussy (Club Mix) 6:33
3 What Have You Done To Your Face? (Club Mix) 6:43
4 What Have You Done To Your Face? (Radio Edit) 3:10
5 What Have You Done To Your Face? (Radio Edit) (P.C. Version) 3:10
6 Hussy (Radio Edit) 3:07
7 Revolution (Radio Edit) 3:33
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Vallia - Fée Ou Sorcière Dance-pop
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United Nightshift Deejays Feat. DJ The Wave - Face 2 Face Trance
Cazwell - All Over Your Face (Special Edition Remixes) House, Electro
Amber - Anyway (Men Are From Mars) Acoustic, Dance-pop, Progressive House, Trance
Various - Disco Dance Club Vol.7.2/2015 Eurodance
Use The Language E. Rich B & Marcella Puppini. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. Исполнитель: Rich B & Marcella Puppini. 2014 pop. Use The Language Remix E. Album 2014 7 Songs. Hussy - Remixed. 2013 сингл. What Have You Done To Your Face The Complete Works. What Have You Done To Your Face The Remixes. 2012 сингл. What Have You Done To Your Face Rich B & Marcella Puppini. Marcella Puppini born in Bologna, Italy is a London-based singer, songwriter, and the founder of The Puppini Sisters. Marcella Puppini started playing the piano at age five and hoped to become an opera singer. At the age of 18, having completed her A levels in Classics Ancient Greek, Latin, Italian Literature and Art History, Puppini moved to London to study at Central Saint Martins College of Art and Design. Having graduated in fashion, Puppini became Accessories Production Manager at Vivienne. By continuing to use this website, you agree to our policies regarding the use of cookies. No, thanks. more quotes. Use the Language, 2014. Marcella Puppini. Hussy Club Mix, 06:33. Now playing . Listen free to rich b Use The Language E. 7 tracks 33:36. Get album. Similar Artists. Play all. 3,546 listeners. Rich B Marcella Puppini Фото исполнителя Rich B Marcella Puppini. All songs by Rich B Marcella Puppini. Most popular albums by Rich B Marcella Puppini: ABBA, Tones And I. Top 50 Club Tracks 4. Marcella Puppini: все альбомы, включая Stay , I'm in the Mood for Trouble , Everything Is Beautiful и другие. Rich B & Marcella Puppini - Hussy the follow-up to Revolution and What Have You Done To Your Face. Music video by Rich B & Marcella Puppini performing Hussy. C 2013 Enriched Records Catalogue number: ENRR14


This work investigates the implementation of a waste recycling process for sustainable production of chemicals and plastics with metal recovery at a Swedish chemical complex site. Plastics waste streams and forest residues undergo thermal gasification and the produced syngas is used for the synthesis of methanol and ethanol that serve as chemical intermediates at the site thus reducing the import of fossil-based feedstock. Additionally, two metal-rich waste streams are also considered: automotive shredder residues and electronic waste. These two streams are pre-treated by pyrolysis resulting in a solid residue suitable for metal recovery. The annual potential reduction of global GHG emissions of the proposed process was quantified using a life-cycle perspective. About 120 kt of ethylene per year and about 44 kt of syngas can be produced corresponding to about 15% and 26% of the site demand, respectively. The estimated contribution to global GHG emission reduction of the proposed process concepts lies in a range between 800 and 1300 kt CO2-eq per year.