Barbie s Untold Heritage in .NET

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given in Fig. 13.17, con-
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Box 6.2 Classi cation of surgical wounds (based on Cruse & Foord, 1980). Clean Surgery where there was no infection seen, no break in asepsis and hollow muscular organs not entered. Could include hysterectomy, cholcystectomy or appendectomy in passing if no evidence of in ammation. Infection rate: 1.5% Clean-contaminated Where a hollow muscular organ was entered but only minimal spillage of contents. Infection rate: 7.7% Contaminated When a hollow organ was opened with gross spillage of contents, acute in ammation without pus found, a major break in asepsis or traumatic wounds less than four hours old. Infection rate: 15.2% Dirty Traumatic wounds more than four hours old. Surgery where a perforated viscus or pus is found. Infection rate: 40%
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Durant provided these words, too, quoted from his Epilogue to Caesar and Christ.48 The scene then fades out. Whereas the opening credits had shown us a series of elegantly stylized paintings in color, many of them based on actual Roman statues, paintings, and works of architecture, now a nal card appears on the screen in black and white. The words THE END are anked by an image of desolation that leaves us with a sense of irreparable loss. On the left appear architectural ruins, most prominently the capital of a column toppling over, and a dejected human gure sitting on the ground. He may be a beggar, representing the state of poverty the Roman people have fallen into. On the right we see an aqueduct, also in ruins, and on the ground in front of it two heads and a foot of large marble statues, now broken apart. The image is in the spirit of Piranesi s engravings of Roman ruins, although it is not modeled on any particular one.49 It is also a visual summary of Gibbon s description, in his last chapter, of the Roman ruins at the time of Poggio Bracciolini and their emotional effect on all who contemplate them:
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FIGURE 29.24
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TABLE 9.14 Operational Semantics of Interactions (Part of Positive Fragment)
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Authenticated or encrypted transfer can be done with IPsec or TLS. The endpoints of these tunnels can be end hosts or security gateways. Security gateways serve multiple hosts, and may be implemented in LAN servers, in routers, or in firewalls. IPsec IPsec, introduced in 5, provides tunnels that provide authentication, confidentiality, or both. As a tunneling protocol, it allows the creation of VPNs over any IP transport. IPsec security services are one-directional relationships called security associations. Think of a security association as a secure flow, which can be one to one or one to many. Each IPsec security association is explicitly identified by the combination of a destination address and a security parameter index (SPI). Destination addresses may be unicast or multicast IP addresses. SPIs always contain the source of the secure information and the lifetime of both the SA and the key in use. They may contain additional information depending on whether IPsec is providing authentication, confidentiality, or both. Authentication services put an authentication header (AH) into each packet, while confidentiality services insert an encapsulating security payload (ESP) header and encrypted payload. Layer 2 Tunneling The layer 2 tunneling protocol (L2TP) is an IETF protocol that carries a virtual PPP connection over arbitrary IP networks. It is a fusion of the L2F proposal from Cisco and the PPTP proposal from Microsoft. L2TP is meant to run between access servers, while PPTP is oriented more to run between hosts. Because the user payloads are carried in PPP, all PPP services are available, including dynamic address assignment with IPCP. Any protocol that can be carried in PPP can be carried in L2TP, allowing such non-IP services as AppleTalk Remote Access to run across the Internet. To understand how L2TP works, think of a Presidential appearance. Before the VIPs enter, the Men in Black . . . er . . . Secret Service agents
Part XI: Appendixes
FIGURE 11.10
Troubleshooting Faxing
The long period of peace here referred to can only be identi ed with Commodus rule. Indeed, the thirteen years must fall either into the age that preceded the wars begun under Septimius Severus or into the subsequent age. According to the second hypothesis, the dating would go back to 232, but this chronology is too late for the composition of this treatise, which repeatedly refers to Montanism as a recent movement. Therefore the only alternative left is to date the composition of this work shortly after 192, the year of Commodus death. Besides, the years between 179 and 192 were a period of peace for Christians not only because there were no major wars but also because Commodus left them largely undisturbed. His leniency toward Christians is well known, not least to those ancient historians who belong to traditional Roman culture and are therefore not particularly well disposed toward the new religion. Cassius Dio writes:
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void RHerculesSession::CancelCleanAugeanStables() { SendReceive(ECancelCleanAugeanStables, TIpcArgs()); }
The Anisotropic shader is characterized by non-circular highlights. The Anisotropy value is the difference between the two axes that make up the highlight. A value of 0 is circular, but higher values increase the difference between the axes, and the highlights are more elliptical. Most of the parameters for this shader are the same as those for the Blinn shader, but several parameters of the Anisotropic type are unique. The Diffuse Level value determines how bright the Diffuse color appears. This is similar to Self-Illumination, but it doesn t affect the specular highlights or the shadows. Values can range from 0 to 400. Compared with the Blinn shader, the Specular Highlight graph looks very different. That is because it displays two highlight components that intersect at the middle. The Specular Level value still controls the height of the curve, and the Glossiness still controls the width, but the Anisotropy value changes the width of one axis relative to the other, creating elliptical highlights. The Orientation value rotates the highlight. Figure 23-6 compares the Specular Highlight graphs for the Blinn and Anisotropic shaders.
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