So you convert the resolution to that.īut that's the extent of my knowledge so we'll likely be guessing. So it should be the active area (screen size?) in cm.s or mm.s converted to micrometers. Some combination of the active area and resolution? Unfortunately I don't know how to figure out the touchscreen coordinates. A pre-Natty release like Lucid might only support single finger touch with the default kernel and evdev driver, once we figure out the correct coordinates to use. I'm hoping with multitouch working on evdev (we can install mtview to check) then ginn and its wishes.xml may give us multitouch gestures. Then rely on Canonical's implementing multitouch stuff in Natty. Get the touch working on evdev if possible. ![]() I'm thinking the following might only work for Natty. ![]() The scaling to the custom coordinate system is done in-driver and the X server is unaware of the transformation. This feature is required for devices that need to scale to a different coordinate system than originally reported by the kernel (e.g. Option "Calibration" "min-x max-x min-y max-y"Ĭalibrates the X and Y axes for devices that need to scale to a different coordinate system than reported to the X server. What I will try to do this weekend is get a clean install of Natty up, try fixing the Nvidia driver issue and then seeing how it goes from there. There are no extra settings under the MultiTouch mouse. In the mouse configuration program there are 2 mice displayed: the actual mouse and the 'LG Display LGD-MultiTouch'. Is this important? The event codes seem to go to the max resolution. The reason I brought that up is the monitor was unknown in the GNOME Display Settings configuration app and I can't get a resolution higher than 1024x768. (I've tried installing a fresh version of Natty, but didn't try fixing the drivers, and I had no joy with the touchscreen). I am running a pretty old GeForce2 MX/MX 400 card, and I've had nightmares trying to get the legacy drivers running on Fedora, I'm going to have another bash this weekend with a clean install of Natty. Something broke a while back (when I upgraded to Maverick) and I haven't yet got the proprietory Nvidia ones working again. However I do have an issue with the graphics card. (interrupt to exit)I am running Natty xubutntu, updated from Maverick and beyond that in the past. Input device name: "LG Display LGD-MultiTouch" Input device ID: bus 0x3 vendor 0x1fd2 product 0圆4 version 0x100 ![]() USB 2.0 Hubīus 001 Device 001: ID 1d6b:0002 Linux Foundation 2.0 root hub Keyboard Hubīus 003 Device 001: ID 1d6b:0001 Linux Foundation 1.1 root hubīus 002 Device 001: ID 1d6b:0001 Linux Foundation 1.1 root hubīus 001 Device 002: ID 0424:2514 Standard Microsystems Corp. ![]() Optical Wheel Mouseīus 003 Device 003: ID 413c:2002 Dell Computer Corp. Bus 004 Device 001: ID 1d6b:0001 Linux Foundation 1.1 root hubīus 003 Device 004: ID 046d:c00c Logitech, Inc.
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I have run DW over a couple of HFS+ drives connected to the M1 MacBook Pro and all the functions I tried worked nominally including directory optimisation and file tests. You will need to have your license code handy when requesting the updater. Update : I downloaded the updater to my existing v5 copy of DW and it brought both the app in the Applications folder and the folder on the DW thumb drive to version 5.3.1 in the same operation. Hopefully Apple will continue to bring the experience of iPadOS to the Mac in this regard. 1) Apple File System (APFS) disks (typically a macOS 10.13 High Sierra or later Startup Disk) are recognized but ARE NOT able to be rebuilt by DiskWarrior 5.3. The Mac still needs far too much tending & maintenance for my liking whereas my M1 iPad Pro needs essentially none and is doing more and more of what previously had to be done on the Mac. ![]() ![]() I also use Techtool Pro and CleanMyMacX as part of the armoury but macOS is now in charge of maintaining APFS volumes and I have had no cause to need any repair so far. This will be useful for the many HFS+ volumes that I still have that can now be checked by DW while running Ventura on my M1 MacBook Pro. DiskWarrior 5.0 Serializable Torrent Incl Latest Crack With Full Version Setup DiskWarrior Torrent - Recovery disk with a Recovery Maker. #1648: iPhone passcode thefts, Center Cam improves webcam eye contact, APFS Uncertainty Principle Download Disk Warrior 5.0 DiskWarrior torrent or any other torrent from Applications >Mac Direct download via magnet link.#1649: More LastPass breach details and 1Password switch, macOS screen saver problem, tvOS 16.3.3 fixes Siri Remote bug DiskWarrior verifies your repaired directory to ensure it is error free.#1650: Cloud storage changes for Box, Dropbox, Google Drive, and OneDrive quirky printing problem.#1651: Dealing with leading zeroes in spreadsheet data, removing ad tracking from ckbk.#1652: OS updates, DPReview shuttered, LucidLink cloud storage. ![]() ![]() How often does McAfee scan for my data on these sites? While no one can ever be completely immune from privacy and identity risks, knowing where your personal data is being collected and sold is a step in the right direction to reclaiming your privacy online. We selected the sites that we think pose the most privacy threats by looking at a number of criteria, including how prominent they are online, how much data they have in their database, the types of information they collect, and if a site is a data source for other people search sites. How did McAfee choose which 40+ data broker sites to monitor? McAfee’s Virus Protection Pledge that includes our 100% Guarantee: Viruses removed or your money back, available with auto-renewal.* For more information, see here.įor any questions, free customer support is there when you need it, whether by phone, chat or online. Get expanded monitoring with auto-renewal turned on. Identity Monitoring Service provides a guided identity monitoring experience including dark web monitoring for your email. 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You can even keep track of their location when they’re getting some much-needed outdoor time.īecause much of your digital life exists in files on your computer, you can use McAfee ® QuickClean™ and Shredder™ to manage your privacy. Packed with useful features, Safe Family gives you an extra set of hands to juggle your kids’ digital lives, from helping them build good habits to managing their app usage and online time. ![]() ![]() PC Optimization features help your PC go faster while ensuring you still have top-notch security. Web Boost helps rescue both your battery and bandwidth from distracting auto-play videos by automatically pausing them. And with App Boost, apps that you’re actively working on will automatically receive a boost in resources, so you can get the job done faster.Īvailable with McAfee Total Protection for 10 devices, McAfee ® Safe Family provides robust parental controls for your kids’ Windows PCs and Android/iOS devices. 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It can sound like a joke but it's true, it will be your only help! To help you to learn the different elements, Atomix Production wrote a skin development knowledge base : This is very important, the most you'll learn about the skin engine, the better the skin is. You will use paint to get the pos and width of the buttons, then report them in the xml file, and again, and again in order to get the skin working.Īll the objects in the skin have name, coordinates, and even some special fields that you have to know. WOW there are MANY numbers here! These are the coordinates you saw in paint. The xml script will tell to VDJ all the skin's picture informations, such as the position of the different buttons, where the highighted buttons are, where the browser will be, and so on. Okay now you can find the line 768 (depending on the skin resolution) in the pic : below this limit, the skin user won't see anything look around you can see there are all the highlighted and animated stuffs, lightening visual parts, moving sliders and so on. Try to draw a selection box : the status line tells you the width and the height of the box. You can focus very precisely when zooming a part of the pic. Let's move your mouse around in the pic, and see in the status bar (right) the coordinates of the point you focus. When Paint appears, make sure you can see the status line or click on the view menu then check for the status bar. Open the skin.bmp file with PAINT, the windows tool. Two (or more) new files should appear : skin.bmp, and skin.xml. This way you won't need to rezip and move files these operations take many mouse clicks and time. I would recommand to unzip directly in the skin folder, this way the skin will appear in VDJ with it's filename only (easier to rapidely check the results of the modifications). I always will consider you chose a 1024x768 skin. Take an easy skin, with less buttons or functions in order to make sure you understand the way it works. Personally I only use Paint and Notepad cause those offer the simplicity and the rapidity I am looking for.Ĭhoose your favorite skin in the skin download section. For xml editing you can use Purple Editor Pro, or AXE Editor. Maybe you could find some cool effects in PhotoShop, PaintShop, ACDSee. ![]() ![]() You don't need any specific tool either, just Paint and Notepad, the Windows tools. This topic is divided in two parts : handling and modifying, and start a new skin.įirst of all, always remember you don't need to be a genius to begin to skin. ![]()
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![]() Unfortunately, DBeaver does not use tabs well and is not good with intra-script spaces but still a good tool for a wide variety of tasks.Positive comment
![]() There is no perfect happiness in "Shifting Through Neutral," just a gnawing dissatisfaction interrupted by moments of deep pain and of real, if fleeting, joy.Spring is here and a couple in their autumn years have decided to go for a ride in their car just like in the old days. Instead people make do and make time and make decisions that seem right at the moment but always have unforeseen consequences. Her first car accident, a minor rear-end collision, opens a floodgate of trapped tears and buried emotions, and she finds herself finally giving in to the ebb and flow of life. With so many leavings and goings in her life, Rae learns to rely on her father - and her well-honed driving skills, perfected at her job as a test driver for General Motors. And when her father is freshly showered and shaved, he smells like a mixture of Old Spice, Vaseline and Jergens lotion. Rae and JD laugh at Flip Wilson in drag and eat Shake'n Bake chicken and Beans 'N Fixin's. When Kimmie returns years later, she's a hip, stylish teenager with day-of-the-week panties and Native American jewelry. Her Detroit is a city of cars and music and riots, motoring and grooving. Rarely do we come across such a loving portrait of father and daughter, particularly in African American literature, where the absentee father is a standard character.ĭavis also excels at including the little details that mark a particular era and place. What makes "Shifting" compelling nonetheless is the tenderness between Rae and her father, JD. Even the father's beloved Oldsmobile Cutlass Supreme dies following a fairly harmless fender bender.ĭavis's narrative style is readable, and her characters well thought out, but the novel's tone is depressing. Death - actual and metaphoric - and abandonment are themes throughout. With its constant drum of tragic accidents and blues-filled relationships, it feels more like something for autumn or winter, when leaves fall off trees and death seems natural and inevitable. "Shifting" is not your typical breezy summer read. He offers her his broad back as a comforting pillow at night. She places cold compresses on his head when the pain comes. He is her primary caregiver, and she is his. Downstairs in his den, her father dotes on her. Upstairs, her very removed mother languishes in a haze of Valium and Stevie Wonder records, with rare moments of lucidity. Shortly thereafter Rae's father sneaks off in the early morning to live with another woman, with whom he is in love, only to return three days later.Įventually, Rae's world splits into two domains. Rae's older half-sister, Kimmie, provides a kind of safe harbor in the war zone of the family house, but Kimmie is sent to live in Louisiana with her biological father, with whom Rae's mother maintains a not-so-discreet love affair. An old clunker could charge right through it, but a new car, its axle untested, never rides the same again." That misfortune was like a pothole on a dark road. "They dug a grave for him in the backyard, beneath the apple tree. "My parents' first baby was born premature and stillborn, the fetus falling amid gushing blood in the toilet," Rae writes. While their relationship begins promisingly - slow dances to Sam Cooke, card parties and scenic drives - it undergoes a fatal strain within months of their marriage. Ultimately, she chooses her father.īoth parents suffer from debilitating maladies - the mother from chronic depression, the father from dangerously high blood pressure and chronic migraines that drive him to rely on prescription painkillers. Like any child, she wants love from both her mother and father but early on learns to choose sides. It's the adults around her who can't seem to find their way, whose false dreams and smoldering regrets leave Rae pulled in different directions. But of all the characters Rae seems the most self-contained. On the surface, it is a coming-of-age story, in that we watch the protagonist, Rae Dodson, grow from girl to young adult. Davis has written a beautifully rendered first novel that captures the complications of children caught between discontented parents with secret lives. In "Shifting Through Neutral" Bridgett M. ![]() ![]() There is where I start to add more cache('.') commands, usually after any major munging step. There are some quirks, such as having to use dots instead of underlines in the object names, but that's tolerable if only slightly annoying.įrom there, I set the data loading config to FALSE, so I don't accidentally start loading data anymore, and then work on munging. Once I have the data loaded, I'll restart R, load the project, and use the caching function to have ProjectTemplate automatically cache all the files it loads. Using scripts, I can use data.table::fread or readxl easily, supply column types up front, filter out unneeded columns, and work through whatever other ugly data steps are required. I do this rather than rely on automatic data loading by file type because files are often never as clean as I need them to be. R scripts within data to write code to load the data files. I set the recursive data loading to false in the global.dcf confg file, and create. Starting clean, I throw all my data into subfolders within the data folder. I like the workflow that ProjectTemplate sets up for you. I don't use setwd or rm(list=ls(), instead prefering to make sure RStudio never saves my workspace on exit, habitually restarting R, and using ProjectTemplate for caching, loading and munging. Being able to "show your work" with intermediate files can help when sending the analysis to a non-R-using client. The point being, definitely save your intermediate steps! If the object itself is a reasonably small and simple data frame (no nested columns/strange attributes/etc), it can even make sense to save it out to a csv instead of a rds. And then, inevitably, you make an irreversible change while to an object that takes some time to generate while testing syntax, and so you try to include the steps that the produced the change in your source file, but you won't run it because that would mean wasting multiple minutes of your life. In my personal experience, not getting into the habit of saving intermediate steps to a file was the biggest impediment to completely internalizing the idea that "source is real" ((c) It makes you very dependent on your workspace, as a section of code that takes even two minutes to run seems highly wasteful to re-run when you are in the middle of an analysis. It is a good idea to break data analysis into logical, isolated pieces anyway. Now you can develop scripts to do downstream work that reload the precious object via my_precious <- readRDS(here("results", "my_precious.rds")). ![]() What about objects that take a long time to create? Isolate that bit in its own script and write the precious object to file with saveRDS(my_precious, here("results", "my_precious.rds")). Double-click the shortcut to launch Revolution R Enterprise in the future.Īll your startup settings should be applied and the default working directory should now be changed.I followed a little bit of that Twitter discussion and was somewhat surprised by the pushback the idea received (though, as you point out, the wording may have had something to do with that). Change the 'Start in:' field of the shortcutĬlick 'Apply' and 'OK' to change the shortcut settings.Ħ). Edit the properties of the Windows icon shortcut. Create a directory on your computer that contains the. Create a Windows icon shortcut on your desktop to:Ĭ:\Revolution\R-Enterprise-7.0\IDE64\RevoIDE.exeĤ). Change it if it is set to 'True'.Īlso verify that the option 'Automatically run. ![]() After opening the program, goto 'Tools -> Options -> Revolution RPE Options -> Load last solution at startup'Īnd verify that it is set to 'False'. Save this file into the directory 'C:\MyRdir'.Īlso save the file 'startup.R' with the above contents in this same folder.Ģ). As the 'File Type' select 'All Files'(*.*).ĭo not save the file with a (*.txt) file extension). First function that is called in a local. Because the Revolution IDE has its own startup and initialization sequence, you need to set any R commands you want to use in a. Automatically setting the default working directory is a bit different in Revolution R than it is in CRAN-R. ![]() This book also explains the role of the stationer or bookshop, often to be found near cathedral and market squares, in the commissioning of manuscripts, and it cites examples of specific scribes and illuminators who can be identified through their work as professional lay artisans.Christopher de Hamel's engaging text is accompanied by a glossary of key technical terms relating to manuscripts and illumination, providing an invaluable introduction for anyone interested in studying medieval manuscripts today.Throughout the fall, a group of students met in Dartmouth Library’s Rauner Special Collections Library to decipher handwritten texts from the Middle Ages. Each stage of production is described in detail, from the preparation of the parchment, pens, paints and inks to the writing of the scripts and the final decoration and illumination of the manuscript. But who were the skilled craftsmen who made these exquisite books? What precisely is parchment? How were medieval manuscripts designed and executed? What were the inks and pigments, and how were they applied? This book looks at the work of scribes, illuminators and book binders.Based principally on examples in the Bodleian Library, this lavishly illustrated account tells the story of manuscript production from the early Middle Ages through to the high Renaissance. Many beautiful illuminated manuscripts survive from the Middle Ages and can be seen in libraries and museums throughout Europe. This is a survey of early Gothic manuscripts illuminated in the British Isles, setting them in a historical framework, describing the influences at work, defining the types of books and their decoration, and discussing evidence for dating and localization. ![]() The Introduction sets the manuscripts in a historical framework, describes the influences at work, defines the types of books and their decoration, and discusses evidence for dating and localization. Astrological, legal, medical, topographical and historical works are also included, and the volume ends with the remarkable Hereford Mad which summarizes many of the ideas of Earth and Heaven prevailing at the time. Many of the Bibles and - notably - the Amesbury, Oscott and Rutland Psalters are some of the greatest works of the period, and among surviving religious manuscripts the earliest examples of Books of Hours reveal the increasing range of devotional interests of lay people. The magnificent examples catalogued here include the Lambeth, Metz, Douce and Trinity Apocalypses their relationships are examined and detailed iconography is described. ![]() As with cross-fertilization of ideas from Paris to London, Oxford, and Cambridge, so with the styles and techniques of illumination. Artists moved away from the monastic scriptorium to professional workshops in urban centres, and the rise of the Universities resulted in the production of new types of illustrated text. In England the art of illumination flourished widely in the second half of the 13th century - a time in which the connections with the continent, particularly France, where strong. Part 2 contains the Catalogue of Manuscripts made in the East, South-East, South-West, West and Centre, followed by the Comparative Tables and Index of Manuscripts Cited. Part 1 comprises the Introduction, the Lists of the Producers (scribes, illuminators and decorators) and Patrons whose names are known, followed by a Catalogue of Manuscripts made in the North (Paris and the Province of Sens, Normandy, the Province of Reims). ![]() This book is organized according to production in regional centres based on stylistic analysis and by comparative tables of the illustration of liturgical and devotional books, and a selection of romances, legal and historical works. (…) These years witnessed an explosion in the range of texts that were deemed worthy of illustration, extending far beyond the usual liturgical and devotional material to include works of science, medicine, law, philosophy, history and literature in verse and prose, offering a wealth of material for comparative study which is only beginning to be exploited in modern scholarship. By the end of this period French art had assimilated a rich variety of regional works and styles. 1260-1320 marks the emergence and the flowering of what has come to be known as the 'courtly style' in French painting, whose dynamic vitality is manifest throughout the region we now call France. |