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Figure 26-8: A completed Description tag s code, along with its appearance in the Inspector and the Meta icon within Layout mode
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interactions at a given point of space time only involve the eld values around that point. In Sections 8.3 and 8.5, we will see that this property dictates the communication patterns in a massively parallel supercomputer. Quarks come in six types ( avors), whimsically named up, down, strange, charm, top, and bottom. In addition to avor, quarks carry a color charge that is the origin of the strong nuclear force. Gluons, which mediate the force, also have color but no avor. Unlike the electric charge that can take only two values (positive/negative), there are three values for color. Physicists use the shorthand notation of red, green, and blue to represent the three colors of the strong force. Gluons carry pairs of colors (red/blue, green/blue, etc.). In keeping with tradition in physics, where important ideas are given Greek names, the quantum theory of the interaction of these colored quarks and gluons is called quantum chromodynamics since the Greek word for color is chroma. There are many nuclear particles that can be made by combining the six avors and three colors. There are two broad categories of nuclear particles. Those made from two quarks are called mesons and those made from three quarks are called baryons. The former includes the pi- rho-, and K-mesons and the latter includes the proton and neutron. However, all of these particles eventually either decay into protons via the strong interaction or into electrons and neutrons via the weak and electromagnetic interaction. Nevertheless, most of these particles do exist long enough to signi cantly in uence the properties of nuclear matter. One of the amazing properties of QCD is the behavior of quarks inside nuclear particles. Using powerful accelerators, it has been possible to take the equivalent of an X-ray of nuclear particles and see what is going on inside. It turns out that the quarks inside nuclear particle behave like free particles, with no force acting on them. The nuclear force seems to vanish at very small distances. This property of the nuclear force is called asymptotic freedom. However, if one tries to pull out a quark, a tube of gluons forms ( ux tube) that exerts a very strong force to pull the quark back into the particle. It takes so much energy to pull the quark out of the nucleus that it is energetically favorable to create a quark/antiquark pair from the vacuum to break the gluon tube. One of the particles in the pair goes back into the original particle and the other pairs with the quark being pulled out to create a meson. This property of the strong force, which does not allow free quarks to be seen outside nuclear particles, is called infrared slavery or con nement. It guarantees that the quarks can never exist by themselves. They are slaves of the enormous strong nuclear force and are kept permanently inside nuclear particles. These properties of asymptotic freedom and con nement are very useful for numerical computation. They imply that one can describe nuclear particles by focusing only in the small region of space time that contains them. With an appropriate de nition of the quark and gluon elds, the interactions between them can be represented as local interactions in space time (see Section 8.3). Experimentally, isolated quarks have never been observed. It is believed that the only time when quarks existed as free objects was until 10 s after the big bang when the universe was small and temperatures were high enough to overcome the strong color force. Simulations show that when nuclear particles are subjected to
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The DTEXT command does not offer the same type of formatting options that are available for paragraph text (covered later in this chapter). Therefore, you have to use codes to create special characters and formats. These codes are shown in Table 13-2.
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Although many artists use adjustment layers to edit multilayer compositions, they are equally applicable to flat photos. Originally printed in the February, 1996 issue of Macworld magazine, Color Plate 17-16 shows how I corrected an image shot with a Polaroid PDC-2000 using a total of three color corrections, layered one on top of the other. (Much of the following text also comes from that same article.) At first glance, the original photo on the left side of the color plate is a textbook example of what happens if you ignore backlighting. But as you have probably figured out by now, an image that appears black may actually contain several thousand colors just itching to get out. Adjustment layers make it easier than ever to free these colors and make them fully visible to the world. Because my image was in such rotten shape, I decided to start with the Curves command. I clicked on the black-and-white circle button and selected Curves Layer from the pop-up menu. Then I used the pencil tool in the Curves dialog box to draw a radical upswing on the left side of the graph, dramatically lightening the blacks right out of the gate. I clicked on the Smooth button a few times to even out the color transitions, as demonstrated in the second example in Color Plate 17-16. All this lightening resulted in some very washed-out colors (a typical side effect), so I created a second adjustment layer using the Hue/Saturation command. By raising the Saturation value, I quickly breathed a little enthusiasm into these tired old hues a sufficient amount, in fact, to make it clear how soft the focus was. So I went back to the original image layer and applied the Unsharp Mask filter. Had it not been for the advent of adjustment layers, I would have had to sharpen the image either before color correcting it, making it impossible to accurately gauge the results, or after correcting, which might bring out compression artifacts and other undesirable anomalies. With adjustment layers, however, I can sharpen and correct at the same time, giving no operation precedent over the other. The hedge monster remained a little dark, so I selected it with the Color Range command and then created a third adjustment layer for the Levels command. Using Levels, I quickly enhanced the brightness and contrast of the green beast, bringing him out into the full light of day. As I mentioned earlier, Photoshop automatically generated a layer mask for my selection, which appears as a tiny white silhouette in the Layers palette.
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Note that each case construct has a break statement at the end of it. Why are these break statements necessary Well, when the PHP engine finds a case value that matches the expression, it not only executes the code block for that case statement, but it then also continues through each of the case statements that follow, as well as the final default statement, executing all of their code blocks in turn. What s more, it does this regardless of whether the expression matches the values in those case statements! Most of the time, you don t want this to happen, so you insert a break statement at the end of each code block. break exits the entire switch construct, ensuring that no more code blocks within the switch construct are run. For example, if you didn t include break statements in this example script, and $userAction was equal to open , the script would open the file, save the file, close the file, log the user out and, finally, display Please choose an option , all at the same time! Sometimes, however, this feature of switch statements is useful, particularly if you want to carry out an action when the expression matches one of several different values. For example, the following script asks the users to confirm their action only when they re closing a file or logging out:
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10 Working with Files and Directories
Supportability The contractor may not be able to vary supply either upwards or downwards, for example to meet operational contingencies or surge requirements, at an acceptable cost. The contractor may not be able to provide support over geographically dispersed locations. Conditions of employment of contractor staff may not ensure that the contractor is able to provide intense or sustained support when needed. Contractor communication equipment may not be inter-operable with public-sector users. Civilian contractors may rely on public-sector transport for access to remote areas.
Exercise 6 Solution
Patch antennas can conveniently be configured for dual polarised operation by simply employing an additional feed point for the second polarisation at the appropriate location. Circular polarisation operation is obtained in the same manner as linear polarisation except that appropriate phasing of the two waves is required between the two feed points, i.e. 90".
The rst two methods are really the same as if you use the Guide to schedule a recording or use the search function in the Guide to nd shows. The second two options are not available from the Guide and add strong features to schedule recordings. Figure 10-15 shows the screen when you select recording by channel and time. This feature covers recording spans of TV shows and also shows that rotate within speci c time slots an example being PBS shows that follow a theme at a certain time each week but have different show titles.
WHAT S IN A WORD (continued)
Like the saying goes, why reinvent the wheel After you create an element, you don t need to re-create it. Instead, you can use it over and over again. The following GoLive features enable you to use elements repeatedly: Stationery enables you to create the basics of a page once, and then use that page as a starting point for countless other pages. All you do is create the page in the same way you create any other page, and then save or move it into a special folder aptly called Stationery. After that it s available from the Objects palette any time you want it.
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