与“Rockstars”面对面
ARM汇编手册
ARM 汇编手册
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目录
寄存器装载和存储.............................................................................................................................5 传送单一数据.............................................................................................................................5 传送多个数据.............................................................................................................................7 SWP : 单一数据交换................................................................................................................ 9
乘法指令........................................................................................................................................... 19 MLA : 带累加的乘法..............................................................................................................19 MUL : 乘法..............................................................................................................................19
与赫尔佐格的对话
赫尔佐格访谈录（1993）原作者：Alejandro Zaera原出处：EL Croquis60+84翻译：南萧亭艺术/建筑学在你的谈话里,艺术像是不变的参照系. 你如何定义艺术和建筑学之间的关系?艺术是什么? 建筑学是什么? 事实上，我们非常感兴趣地研究建筑学是什麽. 为了寻找建筑学和都市在今天的可能性.从这个角度看建筑学的话，这些学科可以对每天的生活和每个人的生活有所帮助。
艺术变得非常重要是因为,在过去几十年内.，它发展了更有趣的手段，它比建筑学的领域吸引了更多和更有趣的人。
这些人的研究更开放，对发现一些什么比保守一些什么更感兴趣。
我们从不希望我们的建筑作品被视为艺术品. 我们总是将其作为城市的部份，例如受变化影响的一些事物的一部分。
无论是否由于我们的参与，我们经常与艺术家或科学家合作的事实也不会把我们的建筑学转变成艺术品.我们的很多建筑产生于非常建筑化的事实，在整个设计和思考过程在我们的办公室里完成之后，它们充满了建筑的力量，当我们谈论这些建筑的艺术个性的时候，你听起来可能觉得有些自相矛盾。
是否在艺术家在六十年代宣布建筑仅仅在于它变成每天的生活部份的时候才意义深长之后，建筑学不再是为 "艺术的"程序的发展理想的领域？与我们合作的大多数艺术家，尤其是Remy Zaugg，它更像一个思想家而不是一个画家。
在我们尝试寻找当代的手段和形式用于城市和公共建筑的领域与我们的合作(例如，Dijon校园 , 巴塞尔的三国交界的都市研究 , 和Munich的20世纪博物馆方案。
) 超过在美学方面的讨论。
我们也感觉许多当代艺术家在参加和工作与公共空间的兴趣与我们相同. 对他们，这也提供了在大的尺度，在城市尺度发展想法的可能性。
历史性的看，这一直是对艺术家的挑战. 他们其中的一些是非常有兴趣的合伙人，他们自己对于建筑的思想在他们和建筑师合作之前很久就产生了。
如果我们的巴黎 Jussieu 图书馆方案得以实现，我们将与德国画家Gerhard Richter合作，他的早期作品包括大的室内甚至大尺度的建筑的模型。
[原创]刺客信条3各阶段R组存档大全
![[原创]刺客信条3各阶段R组存档大全](https://img.taocdn.com/s3/m/8bbe9f16f02d2af90242a8956bec0975f465a408.png)
原创刺客信条3 各阶段R 组存档大全古剑奇谭2 3dmgame/games/gjqt2/ 4bb4刺客信条 3 各阶段R 组存档大全此页面是否是列表页或首页？未找到合适正文内容。
最高指挥官钢铁联盟经济篇FA 经济全面详解最高指挥官钢铁联盟中，无论是打AI 还是打对战，经济都是基础中的基础。
下面就让小编为大家带来本篇：FA 经济全面详解最高指挥官钢铁联盟攻略之经济篇，在任何一款即时战略游戏中，经济都是你实现战略战术的基础，RTS 游戏每款战术都差别很大，但却都有一种战术名为《经济战》，经济的重要性在RTS 中可见一斑。
在FA 中也同样如此，学好经济发展，你就打下了坚实的基础，无论接下来你出什么，都比别人多，比别人快。
那么你就可以立于不败之地。
下面就让小编全面教你如何玩转最高指挥官钢铁联盟经济系统。
（一）前言：有人可能觉得，您说都了那么半天废话了，还来前言？前面是为了把大家引进门，说了一些和FA 只能算沾边儿的事。
这里的前言着重为大家渲染一下FA 里的经济战。
1、首先FA 有两种资源（1）质量（2）能量，制造任何东西两者缺一不可。
但大多数情况下，能量是溢出一些，而质量则是长期处于平衡状态，不增不减。
换句话说，高手中质量才是决定你产量的最根本资源（前提是你不卡电啊，不过一般只有新手才卡电，掌握了方法就不会卡）。
古剑奇谭 2 3dmgame/games/gjqt2/ 4bb4 2、其次FA 的资源是持续性的，他和采矿不同，由于他是每秒钟都会产生资源，所以在FA 中，资源通常都是大批的用，大批的回收（残骸），然后再利用这些回收的发展出指数上升的暴增型经济（因为T1 矿才加2，而T3 矿最高27，差距非常大）好了下面就赶快让我们进入FA 的战斗中去吧！是成长过程中难能可贵的一部分。
地铁2033 完美结局攻略请大家仔细看说明，特别是括号里的。
终于到了游戏中比较烦人的成就了，这游戏中包含两个结局。
其中一个结局就是将人们拯救。
我与名家面对面作文50字
我与名家面对面作文50字英文回答：Meeting a famous person face to face was an unforgettable experience for me. I had the opportunity to meet my favorite author, J.K. Rowling. She is the genius behind the Harry Potter series. Meeting her was like a dream come true.When I first saw her, I was starstruck. She was kind and approachable, which made it easier for me to strike up a conversation. We talked about her writing process and the inspiration behind her characters. She shared some interesting anecdotes about the challenges she faced while writing the books.One of the things she emphasized was the importance of perseverance. She told me how she faced numerous rejections before finally getting her first book published. It was inspiring to hear about her journey to success.We also discussed the impact of her books on readers around the world. She mentioned how she receives letters from fans who have found solace and inspiration in her stories. It was amazing to see how her work has touched the lives of so many people.Overall, meeting J.K. Rowling was a once-in-a-lifetime experience. It was incredible to have a conversation with someone who has had such a profound influence on my life. Her words of wisdom and personal stories will stay with me forever.中文回答：与一位名人面对面见面对我来说是一次难以忘怀的经历。
Marker Tracking and HMD Calibration for a Video-based Augmented Reality Conferencing System
1. uction
Computers are increasingly used to enhance collaboration between people. As collaborative tools become more common the Human-Computer Interface is giving way to a Human-Human Interface mediated by computers. This emphasis adds new technical challenges to the design of Human Computer Interfaces. These challenges are compounded for attempts to support three-dimensional Computer Supported Collaborative Work (CSCW). Although the use of spatial cues and three-dimensional object manipulation are common in face-to-face collaboration, tools for three-dimensional CSCW are still rare. However new 3D interface metaphors such as virtual reality may overcome this limitation. Virtual Reality (VR) appears a natural medium for 3D
OSHA现场作业手册说明书
DIRECTIVE NUMBER: CPL 02-00-150 EFFECTIVE DATE: April 22, 2011 SUBJECT: Field Operations Manual (FOM)ABSTRACTPurpose: This instruction cancels and replaces OSHA Instruction CPL 02-00-148,Field Operations Manual (FOM), issued November 9, 2009, whichreplaced the September 26, 1994 Instruction that implemented the FieldInspection Reference Manual (FIRM). The FOM is a revision of OSHA’senforcement policies and procedures manual that provides the field officesa reference document for identifying the responsibilities associated withthe majority of their inspection duties. This Instruction also cancels OSHAInstruction FAP 01-00-003 Federal Agency Safety and Health Programs,May 17, 1996 and Chapter 13 of OSHA Instruction CPL 02-00-045,Revised Field Operations Manual, June 15, 1989.Scope: OSHA-wide.References: Title 29 Code of Federal Regulations §1903.6, Advance Notice ofInspections; 29 Code of Federal Regulations §1903.14, Policy RegardingEmployee Rescue Activities; 29 Code of Federal Regulations §1903.19,Abatement Verification; 29 Code of Federal Regulations §1904.39,Reporting Fatalities and Multiple Hospitalizations to OSHA; and Housingfor Agricultural Workers: Final Rule, Federal Register, March 4, 1980 (45FR 14180).Cancellations: OSHA Instruction CPL 02-00-148, Field Operations Manual, November9, 2009.OSHA Instruction FAP 01-00-003, Federal Agency Safety and HealthPrograms, May 17, 1996.Chapter 13 of OSHA Instruction CPL 02-00-045, Revised FieldOperations Manual, June 15, 1989.State Impact: Notice of Intent and Adoption required. See paragraph VI.Action Offices: National, Regional, and Area OfficesOriginating Office: Directorate of Enforcement Programs Contact: Directorate of Enforcement ProgramsOffice of General Industry Enforcement200 Constitution Avenue, NW, N3 119Washington, DC 20210202-693-1850By and Under the Authority ofDavid Michaels, PhD, MPHAssistant SecretaryExecutive SummaryThis instruction cancels and replaces OSHA Instruction CPL 02-00-148, Field Operations Manual (FOM), issued November 9, 2009. The one remaining part of the prior Field Operations Manual, the chapter on Disclosure, will be added at a later date. This Instruction also cancels OSHA Instruction FAP 01-00-003 Federal Agency Safety and Health Programs, May 17, 1996 and Chapter 13 of OSHA Instruction CPL 02-00-045, Revised Field Operations Manual, June 15, 1989. This Instruction constitutes OSHA’s general enforcement policies and procedures manual for use by the field offices in conducting inspections, issuing citations and proposing penalties.Significant Changes∙A new Table of Contents for the entire FOM is added.∙ A new References section for the entire FOM is added∙ A new Cancellations section for the entire FOM is added.∙Adds a Maritime Industry Sector to Section III of Chapter 10, Industry Sectors.∙Revises sections referring to the Enhanced Enforcement Program (EEP) replacing the information with the Severe Violator Enforcement Program (SVEP).∙Adds Chapter 13, Federal Agency Field Activities.∙Cancels OSHA Instruction FAP 01-00-003, Federal Agency Safety and Health Programs, May 17, 1996.DisclaimerThis manual is intended to provide instruction regarding some of the internal operations of the Occupational Safety and Health Administration (OSHA), and is solely for the benefit of the Government. No duties, rights, or benefits, substantive or procedural, are created or implied by this manual. The contents of this manual are not enforceable by any person or entity against the Department of Labor or the United States. Statements which reflect current Occupational Safety and Health Review Commission or court precedents do not necessarily indicate acquiescence with those precedents.Table of ContentsCHAPTER 1INTRODUCTIONI.PURPOSE. ........................................................................................................... 1-1 II.SCOPE. ................................................................................................................ 1-1 III.REFERENCES .................................................................................................... 1-1 IV.CANCELLATIONS............................................................................................. 1-8 V. ACTION INFORMATION ................................................................................. 1-8A.R ESPONSIBLE O FFICE.......................................................................................................................................... 1-8B.A CTION O FFICES. .................................................................................................................... 1-8C. I NFORMATION O FFICES............................................................................................................ 1-8 VI. STATE IMPACT. ................................................................................................ 1-8 VII.SIGNIFICANT CHANGES. ............................................................................... 1-9 VIII.BACKGROUND. ................................................................................................. 1-9 IX. DEFINITIONS AND TERMINOLOGY. ........................................................ 1-10A.T HE A CT................................................................................................................................................................. 1-10B. C OMPLIANCE S AFETY AND H EALTH O FFICER (CSHO). ...........................................................1-10B.H E/S HE AND H IS/H ERS ..................................................................................................................................... 1-10C.P ROFESSIONAL J UDGMENT............................................................................................................................... 1-10E. W ORKPLACE AND W ORKSITE ......................................................................................................................... 1-10CHAPTER 2PROGRAM PLANNINGI.INTRODUCTION ............................................................................................... 2-1 II.AREA OFFICE RESPONSIBILITIES. .............................................................. 2-1A.P ROVIDING A SSISTANCE TO S MALL E MPLOYERS. ...................................................................................... 2-1B.A REA O FFICE O UTREACH P ROGRAM. ............................................................................................................. 2-1C. R ESPONDING TO R EQUESTS FOR A SSISTANCE. ............................................................................................ 2-2 III. OSHA COOPERATIVE PROGRAMS OVERVIEW. ...................................... 2-2A.V OLUNTARY P ROTECTION P ROGRAM (VPP). ........................................................................... 2-2B.O NSITE C ONSULTATION P ROGRAM. ................................................................................................................ 2-2C.S TRATEGIC P ARTNERSHIPS................................................................................................................................. 2-3D.A LLIANCE P ROGRAM ........................................................................................................................................... 2-3 IV. ENFORCEMENT PROGRAM SCHEDULING. ................................................ 2-4A.G ENERAL ................................................................................................................................................................. 2-4B.I NSPECTION P RIORITY C RITERIA. ..................................................................................................................... 2-4C.E FFECT OF C ONTEST ............................................................................................................................................ 2-5D.E NFORCEMENT E XEMPTIONS AND L IMITATIONS. ....................................................................................... 2-6E.P REEMPTION BY A NOTHER F EDERAL A GENCY ........................................................................................... 2-6F.U NITED S TATES P OSTAL S ERVICE. .................................................................................................................. 2-7G.H OME-B ASED W ORKSITES. ................................................................................................................................ 2-8H.I NSPECTION/I NVESTIGATION T YPES. ............................................................................................................... 2-8 V.UNPROGRAMMED ACTIVITY – HAZARD EVALUATION AND INSPECTION SCHEDULING ............................................................................ 2-9 VI.PROGRAMMED INSPECTIONS. ................................................................... 2-10A.S ITE-S PECIFIC T ARGETING (SST) P ROGRAM. ............................................................................................. 2-10B.S CHEDULING FOR C ONSTRUCTION I NSPECTIONS. ..................................................................................... 2-10C.S CHEDULING FOR M ARITIME I NSPECTIONS. ............................................................................. 2-11D.S PECIAL E MPHASIS P ROGRAMS (SEP S). ................................................................................... 2-12E.N ATIONAL E MPHASIS P ROGRAMS (NEP S) ............................................................................... 2-13F.L OCAL E MPHASIS P ROGRAMS (LEP S) AND R EGIONAL E MPHASIS P ROGRAMS (REP S) ............ 2-13G.O THER S PECIAL P ROGRAMS. ............................................................................................................................ 2-13H.I NSPECTION S CHEDULING AND I NTERFACE WITH C OOPERATIVE P ROGRAM P ARTICIPANTS ....... 2-13CHAPTER 3INSPECTION PROCEDURESI.INSPECTION PREPARATION. .......................................................................... 3-1 II.INSPECTION PLANNING. .................................................................................. 3-1A.R EVIEW OF I NSPECTION H ISTORY .................................................................................................................... 3-1B.R EVIEW OF C OOPERATIVE P ROGRAM P ARTICIPATION .............................................................................. 3-1C.OSHA D ATA I NITIATIVE (ODI) D ATA R EVIEW .......................................................................................... 3-2D.S AFETY AND H EALTH I SSUES R ELATING TO CSHO S.................................................................. 3-2E.A DVANCE N OTICE. ................................................................................................................................................ 3-3F.P RE-I NSPECTION C OMPULSORY P ROCESS ...................................................................................................... 3-5G.P ERSONAL S ECURITY C LEARANCE. ................................................................................................................. 3-5H.E XPERT A SSISTANCE. ........................................................................................................................................... 3-5 III. INSPECTION SCOPE. ......................................................................................... 3-6A.C OMPREHENSIVE ................................................................................................................................................... 3-6B.P ARTIAL. ................................................................................................................................................................... 3-6 IV. CONDUCT OF INSPECTION .............................................................................. 3-6A.T IME OF I NSPECTION............................................................................................................................................. 3-6B.P RESENTING C REDENTIALS. ............................................................................................................................... 3-6C.R EFUSAL TO P ERMIT I NSPECTION AND I NTERFERENCE ............................................................................. 3-7D.E MPLOYEE P ARTICIPATION. ............................................................................................................................... 3-9E.R ELEASE FOR E NTRY ............................................................................................................................................ 3-9F.B ANKRUPT OR O UT OF B USINESS. .................................................................................................................... 3-9G.E MPLOYEE R ESPONSIBILITIES. ................................................................................................. 3-10H.S TRIKE OR L ABOR D ISPUTE ............................................................................................................................. 3-10I. V ARIANCES. .......................................................................................................................................................... 3-11 V. OPENING CONFERENCE. ................................................................................ 3-11A.G ENERAL ................................................................................................................................................................ 3-11B.R EVIEW OF A PPROPRIATION A CT E XEMPTIONS AND L IMITATION. ..................................................... 3-13C.R EVIEW S CREENING FOR P ROCESS S AFETY M ANAGEMENT (PSM) C OVERAGE............................. 3-13D.R EVIEW OF V OLUNTARY C OMPLIANCE P ROGRAMS. ................................................................................ 3-14E.D ISRUPTIVE C ONDUCT. ...................................................................................................................................... 3-15F.C LASSIFIED A REAS ............................................................................................................................................. 3-16VI. REVIEW OF RECORDS. ................................................................................... 3-16A.I NJURY AND I LLNESS R ECORDS...................................................................................................................... 3-16B.R ECORDING C RITERIA. ...................................................................................................................................... 3-18C. R ECORDKEEPING D EFICIENCIES. .................................................................................................................. 3-18 VII. WALKAROUND INSPECTION. ....................................................................... 3-19A.W ALKAROUND R EPRESENTATIVES ............................................................................................................... 3-19B.E VALUATION OF S AFETY AND H EALTH M ANAGEMENT S YSTEM. ....................................................... 3-20C.R ECORD A LL F ACTS P ERTINENT TO A V IOLATION. ................................................................................. 3-20D.T ESTIFYING IN H EARINGS ................................................................................................................................ 3-21E.T RADE S ECRETS. ................................................................................................................................................. 3-21F.C OLLECTING S AMPLES. ..................................................................................................................................... 3-22G.P HOTOGRAPHS AND V IDEOTAPES.................................................................................................................. 3-22H.V IOLATIONS OF O THER L AWS. ....................................................................................................................... 3-23I.I NTERVIEWS OF N ON-M ANAGERIAL E MPLOYEES .................................................................................... 3-23J.M ULTI-E MPLOYER W ORKSITES ..................................................................................................................... 3-27 K.A DMINISTRATIVE S UBPOENA.......................................................................................................................... 3-27 L.E MPLOYER A BATEMENT A SSISTANCE. ........................................................................................................ 3-27 VIII. CLOSING CONFERENCE. .............................................................................. 3-28A.P ARTICIPANTS. ..................................................................................................................................................... 3-28B.D ISCUSSION I TEMS. ............................................................................................................................................ 3-28C.A DVICE TO A TTENDEES .................................................................................................................................... 3-29D.P ENALTIES............................................................................................................................................................. 3-30E.F EASIBLE A DMINISTRATIVE, W ORK P RACTICE AND E NGINEERING C ONTROLS. ............................ 3-30F.R EDUCING E MPLOYEE E XPOSURE. ................................................................................................................ 3-32G.A BATEMENT V ERIFICATION. ........................................................................................................................... 3-32H.E MPLOYEE D ISCRIMINATION .......................................................................................................................... 3-33 IX. SPECIAL INSPECTION PROCEDURES. ...................................................... 3-33A.F OLLOW-UP AND M ONITORING I NSPECTIONS............................................................................................ 3-33B.C ONSTRUCTION I NSPECTIONS ......................................................................................................................... 3-34C. F EDERAL A GENCY I NSPECTIONS. ................................................................................................................. 3-35CHAPTER 4VIOLATIONSI. BASIS OF VIOLATIONS ..................................................................................... 4-1A.S TANDARDS AND R EGULATIONS. .................................................................................................................... 4-1B.E MPLOYEE E XPOSURE. ........................................................................................................................................ 4-3C.R EGULATORY R EQUIREMENTS. ........................................................................................................................ 4-6D.H AZARD C OMMUNICATION. .............................................................................................................................. 4-6E. E MPLOYER/E MPLOYEE R ESPONSIBILITIES ................................................................................................... 4-6 II. SERIOUS VIOLATIONS. .................................................................................... 4-8A.S ECTION 17(K). ......................................................................................................................... 4-8B.E STABLISHING S ERIOUS V IOLATIONS ............................................................................................................ 4-8C. F OUR S TEPS TO BE D OCUMENTED. ................................................................................................................... 4-8 III. GENERAL DUTY REQUIREMENTS ............................................................. 4-14A.E VALUATION OF G ENERAL D UTY R EQUIREMENTS ................................................................................. 4-14B.E LEMENTS OF A G ENERAL D UTY R EQUIREMENT V IOLATION.............................................................. 4-14C. U SE OF THE G ENERAL D UTY C LAUSE ........................................................................................................ 4-23D.L IMITATIONS OF U SE OF THE G ENERAL D UTY C LAUSE. ..............................................................E.C LASSIFICATION OF V IOLATIONS C ITED U NDER THE G ENERAL D UTY C LAUSE. ..................F. P ROCEDURES FOR I MPLEMENTATION OF S ECTION 5(A)(1) E NFORCEMENT ............................ 4-25 4-27 4-27IV.OTHER-THAN-SERIOUS VIOLATIONS ............................................... 4-28 V.WILLFUL VIOLATIONS. ......................................................................... 4-28A.I NTENTIONAL D ISREGARD V IOLATIONS. ..........................................................................................4-28B.P LAIN I NDIFFERENCE V IOLATIONS. ...................................................................................................4-29 VI. CRIMINAL/WILLFUL VIOLATIONS. ................................................... 4-30A.A REA D IRECTOR C OORDINATION ....................................................................................................... 4-31B.C RITERIA FOR I NVESTIGATING P OSSIBLE C RIMINAL/W ILLFUL V IOLATIONS ........................ 4-31C. W ILLFUL V IOLATIONS R ELATED TO A F ATALITY .......................................................................... 4-32 VII. REPEATED VIOLATIONS. ...................................................................... 4-32A.F EDERAL AND S TATE P LAN V IOLATIONS. ........................................................................................4-32B.I DENTICAL S TANDARDS. .......................................................................................................................4-32C.D IFFERENT S TANDARDS. .......................................................................................................................4-33D.O BTAINING I NSPECTION H ISTORY. .....................................................................................................4-33E.T IME L IMITATIONS..................................................................................................................................4-34F.R EPEATED V. F AILURE TO A BATE....................................................................................................... 4-34G. A REA D IRECTOR R ESPONSIBILITIES. .............................................................................. 4-35 VIII. DE MINIMIS CONDITIONS. ................................................................... 4-36A.C RITERIA ................................................................................................................................................... 4-36B.P ROFESSIONAL J UDGMENT. ..................................................................................................................4-37C. A REA D IRECTOR R ESPONSIBILITIES. .............................................................................. 4-37 IX. CITING IN THE ALTERNATIVE ............................................................ 4-37 X. COMBINING AND GROUPING VIOLATIONS. ................................... 4-37A.C OMBINING. ..............................................................................................................................................4-37B.G ROUPING. ................................................................................................................................................4-38C. W HEN N OT TO G ROUP OR C OMBINE. ................................................................................................4-38 XI. HEALTH STANDARD VIOLATIONS ....................................................... 4-39A.C ITATION OF V ENTILATION S TANDARDS ......................................................................................... 4-39B.V IOLATIONS OF THE N OISE S TANDARD. ...........................................................................................4-40 XII. VIOLATIONS OF THE RESPIRATORY PROTECTION STANDARD(§1910.134). ....................................................................................................... XIII. VIOLATIONS OF AIR CONTAMINANT STANDARDS (§1910.1000) ... 4-43 4-43A.R EQUIREMENTS UNDER THE STANDARD: .................................................................................................. 4-43B.C LASSIFICATION OF V IOLATIONS OF A IR C ONTAMINANT S TANDARDS. ......................................... 4-43 XIV. CITING IMPROPER PERSONAL HYGIENE PRACTICES. ................... 4-45A.I NGESTION H AZARDS. .................................................................................................................................... 4-45B.A BSORPTION H AZARDS. ................................................................................................................................ 4-46C.W IPE S AMPLING. ............................................................................................................................................. 4-46D.C ITATION P OLICY ............................................................................................................................................ 4-46 XV. BIOLOGICAL MONITORING. ...................................................................... 4-47CHAPTER 5CASE FILE PREPARATION AND DOCUMENTATIONI.INTRODUCTION ............................................................................................... 5-1 II.INSPECTION CONDUCTED, CITATIONS BEING ISSUED. .................... 5-1A.OSHA-1 ................................................................................................................................... 5-1B.OSHA-1A. ............................................................................................................................... 5-1C. OSHA-1B. ................................................................................................................................ 5-2 III.INSPECTION CONDUCTED BUT NO CITATIONS ISSUED .................... 5-5 IV.NO INSPECTION ............................................................................................... 5-5 V. HEALTH INSPECTIONS. ................................................................................. 5-6A.D OCUMENT P OTENTIAL E XPOSURE. ............................................................................................................... 5-6B.E MPLOYER’S O CCUPATIONAL S AFETY AND H EALTH S YSTEM. ............................................................. 5-6 VI. AFFIRMATIVE DEFENSES............................................................................. 5-8A.B URDEN OF P ROOF. .............................................................................................................................................. 5-8B.E XPLANATIONS. ..................................................................................................................................................... 5-8 VII. INTERVIEW STATEMENTS. ........................................................................ 5-10A.G ENERALLY. ......................................................................................................................................................... 5-10B.CSHO S SHALL OBTAIN WRITTEN STATEMENTS WHEN: .......................................................................... 5-10C.L ANGUAGE AND W ORDING OF S TATEMENT. ............................................................................................. 5-11D.R EFUSAL TO S IGN S TATEMENT ...................................................................................................................... 5-11E.V IDEO AND A UDIOTAPED S TATEMENTS. ..................................................................................................... 5-11F.A DMINISTRATIVE D EPOSITIONS. .............................................................................................5-11 VIII. PAPERWORK AND WRITTEN PROGRAM REQUIREMENTS. .......... 5-12 IX.GUIDELINES FOR CASE FILE DOCUMENTATION FOR USE WITH VIDEOTAPES AND AUDIOTAPES .............................................................. 5-12 X.CASE FILE ACTIVITY DIARY SHEET. ..................................................... 5-12 XI. CITATIONS. ..................................................................................................... 5-12A.S TATUTE OF L IMITATIONS. .............................................................................................................................. 5-13B.I SSUING C ITATIONS. ........................................................................................................................................... 5-13C.A MENDING/W ITHDRAWING C ITATIONS AND N OTIFICATION OF P ENALTIES. .................................. 5-13D.P ROCEDURES FOR A MENDING OR W ITHDRAWING C ITATIONS ............................................................ 5-14 XII. INSPECTION RECORDS. ............................................................................... 5-15A.G ENERALLY. ......................................................................................................................................................... 5-15B.R ELEASE OF I NSPECTION I NFORMATION ..................................................................................................... 5-15C. C LASSIFIED AND T RADE S ECRET I NFORMATION ...................................................................................... 5-16。
poker face《亚瑟和他的迷你王国2》主题曲
poker face《亚瑟和他的迷你王国2》主题曲Mum mum mum mahMum mum mum mahI wanna hold them like they do in Texas pleaseFold them let them hit me raise it baby stay with me(I love it)Luck and intuition play the cards with spades to startAnd after he's been hooked I'll play the one that's on his heartOh, oh, oh, oh, ohhhh, ohh-oh-e-ohh-oh-ohI'll get him hot, show him what I've gotOh, oh, oh, oh, ohhhh, ohh-oh-e-ohh-oh-oh,I'll get him hot, show him what I've gotCan't read myCan't read myNo he can't read my poker face(She's got me like nobody)Can't read myCan't read myNo he can't read my poker face(She's got me like nobody)P-P-P-POKER FACE, P-P-POKER FACE,(Mum mum mum mah)P-P-P-POKER FACE, P-P-POKER FACE,(Mum mum mum mah)(Mum mum mum mah)(Mum mum mum mah)I wanna roll with him a hard pair we will beA little gambling is fun when you're with me(I love it)Russian Roulette is not the same without a gunAnd baby when it's love if it's not rough it isn't fun, funOh, oh, oh, oh, ohhhh, ohh-oh-e-ohh-oh-ohI'll get him hot, show him what I've gotOh, oh, oh, oh, ohhhh, ohh-oh-e-ohh-oh-oh,I'll get him hot, show him what I've gotCan't read myCan't read myNo he can't read my poker face(She's got me like nobody)I won't tell you that I love youKiss or hug youCause I'm bluffing with my muffinI'm not lying I'm just stunning with my love-glue-gunning Just like a chick in the cas*inoTake your bank before I pay you outI promise this, promise thisCheck this hand cause I'm marvelous我想要牵制他们就像他们在德克萨斯赌场那样让他们注意到我加注吧宝贝和我呆在一起吧(我喜欢)要有好运气还得凭直觉出牌先出黑桃引他上钩之后我就要亮出我的底牌赢得他我要让他兴奋起来让他好好瞧瞧我的本事我要让他兴奋起来让他好好领教一下我的本事猜不透…我总是一副毫无表情的面孔他根本无法读懂我(没有人像她那样如此地吸引我)猜不透…我总是一副毫无表情的面孔他没法猜透我(没有人像她那样如此地吸引我)我想要和他在一起我们会是所向披靡的一对你和我在一起时哪怕是玩一场小小的赌博都会很有趣我喜欢俄罗斯轮盘要是少了枪那就完全不一样了宝贝爱情这玩意不刺激就不好玩了我要让他兴奋起来让他好好瞧瞧我的本事我要让他兴奋起来让他好好领教一下我的本事猜不透…我总是一副毫无表情的面孔他根本无法读懂我(没有人像她那样如此地吸引我)我不会告诉你我爱你亲吻你或是拥抱你因为我虚张声势想吓吓你我没有说谎我只是对那如胶似漆的爱情感到吃惊就像赌场里的小妞在你赢钱之前就已经将你洗劫一空了我保证我手上有王牌因为我可是很不可思议的喔I wanna hold them like they do in Texas我想要牵制他们就像他们在德克萨斯赌场那样Hold持有，拥有，控制，约束He has been trying hard to hold on to his temper.他努力控制自己的情绪Luck and intuition play the cards with spades to start要有好运气还得凭直觉出牌先出黑桃Intuition 直觉She sensed what was wrong by intuition .她凭直觉意识到什么地方出毛病了。
性福人生2：三重烦恼 Singles2攻略秘籍
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Quest5-2：Find a way to get rid of Simon(Natascha). Let Nicolas(Linda), Linda(Simon) and Bernie(Ellen) help you.
用等級二以上的烹飪技術煮一頓晚餐。3 f3 ?! M5 z) T- d+ z8 I$ h
Quest3-2：Invite Anna(Josh) to your romantic candlelit-dinner.
邀請Anna(Josh)共度燭光晚餐。玩家完成3-1的任務後，點選Anna(Josh)就會出現要請燭光晚餐的指令。必須在1900~2200這段時間內進行燭光晚餐，太早、太晚都不行。- a6 }; ?' o; T8 J. z
想辦法支開Simon(Natascha)。玩男主角會遇到Nicolas, Linda and Bernie這三個人，玩女主角則會遇到Linda, Simon and Ellen這三個人。主要是讓兩個男的(或兩個女的)互換衣服就行了。四個步驟如下~1 W$ c7 K, Z1 S
一、先和Linda(Simon)打招呼，然後選擇Pay a compliment對話。
和Mike一同演奏音樂。必須先完成6-6至6-8這三個條件。) @, v' Y2 B b: ?
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Quest2-3：Arrange the objects as they were placed in Anna(Josh)'s photos.$ Z8 ^1 W$ d+ k: H0 m 示的照片擺設。比較需要注意的是，坐墊和椅子一樣是有方向性的，不要擺錯方向，不然角色會無法坐下。+ J% \& J- B: O S' W8 W0 d, p
【Unit1单元检测(含答案)人教版七年级英语下册】
【Unit1单元检测（含答案）人教版七年级英语下册】Unit 1单元测试一、单选题1. —Can you speak ______ Japanese? — No, I canˈt. I canˈt speak Japanese very______ . A. well, good B. good, well C. good, good D. well, well 2. Miss Wang is good _________ music. She can be good _________ children in the music club. A. at; at B. at; with C. with; with D. with; at 3. Tom ________ me that he can ________ Chinese and English very well. A. speaks; talk B. tells; speak C. says; talk D. talks; speak 4. Art is difficult for me. I can＇t sing ________ dance. A. and B. or C. but D. ／5. Can you help me _____ my English?A. withB. ofC. forD. about 6. Jim likes playing chess. He wants ________ a chess club. A. to join B. joins C. joining D. join 7. Bruce likes playing ________ soccer, so his father bought him ________ soccer ball. A. a; an B. the; a C. /; the D. /; a 8. Doing exercise is ________ our health. A. good at B. good for C. good with D. well in 9. —________? —He wants to join the swimming club. A. What can he do B. What club does he want to join C. Can he swim D. Where can he swim 10. I know you can __________. You can join our __________ club. A. swim; swim B. swim; swimming C. swimming; swim D. swimming; swimming 11. —You play the guitar so well, Emma. —______. A. It＇s OK B. Thanks C. You＇re welcome D. Sorry, I don＇t know 12. I can＇t sing ______ I can＇t dance. ______ I can play the violin and the piano. A. and; And B. but; But C. but; And D. or; But 13. —Why not ______ the music club? —I＇m sorry.I can＇t dance and I can＇t sing, ______. A. joining; either B. join; either C. join; too D. to join, too 14. We are playing football. Come and ______ us. A. join B. take part in C. Play D. do 15. —Can you speak English ___________ Chinese? —I can speak English. A. or B. of C. for D. with 二、完形填空Kate is a high school student. She has a sister (16)a brother. They are Sally and Jim. They are also high school students. Kate and Sally can (17) . Kate can sing and play (18) guitar well, (19) Sally can＇t. Sally doesn＇t like (20) instruments （乐器）. She (21) chess, but she doesn＇t play chess (22) Kate. Sally often plays it with Jim, because Jim plays it very well. Jim can (23) play basketball well. And he is (24) the school basketball club. He often (25) other students with basketball. All of them enjoy high school life. 16. A. and B. or C. but D. so 17. A. show B. dance C. speak D. study 18. A. the B. a C. / D. an 19. A. so B. and C. but D. then 20. A. any B. some C. an D. much 21. A. likes B. does C. have D. do 22. A. on B. for C. with D. in 23. A. too B. only C. also D. with 24. A. about B. in C. of D. on 25. A. joins B. helps C. plays D. runs 三、阅读理解A Teacher Needed The English Study Center needs an English teacher. You must: ▲be good at English ▲be good with children ▲be a woman over the age of 26 ▲w ork from 9:00 a.m. to 4:30 p.m. on weekends. Call Mrs. Jin at 3042-5509 for more information. Babysitter Wanted We have two daughters. We need a babysitter. The pay is $10 per hour. You must: ▲look after them ▲read to them ▲play with them ▲do some housewor k in our house ▲work from 9:00 a.m. to 4:00 p.m. on weekdays.Please call Mrs. Smith at 9064-2573 or 9203-3675. Cook Wanted Our restaurant serves noodles, dumplings, rice and different kinds of dishes. We need three cooks. You must: ▲be a man over the age of 30 ▲have over three years of cooking experience ▲work from 9:00 a.m. to 10:00 p.m. (six days a week) For more information, you can call us at 3762-7035 or come to our restaurant at 23 Center Street. 26. Jenny wants to be an English teacher. She should call us at ________. A. 3042-5509 B. 9203-3675 C. 3762-7035 D. 9064-2573 27. An English teacher in the English Study Center has to work at ________. A. 9:00 a.m. on Monday B. 2:00p.m. on Wednesday C. 8:30 a.m. on Saturday D. 3:00 p.m. on Sunday 28. The babysitter can get ________ a day. A. $70 B. $140 C. $350 D. $490 29. How many cooks does the restaurant want? A. Two. B. Three.C. Four.D. Five. 30. From the third column, we can＇t know ________.A. what the restaurant servesB. the work time of the cooksC. how much a cook can getD. the address of the restaurant B Chicken can talk? Cows can dance? They are all in Louis Black＇s comic books. Louis Black was born on a farm. The quiet young man spent most of his life helping his parents on the farm. When he was nine, he started to draw the animals on the farm. Later, he put them into his comic books in his own funny way. His family enjoyed his comic books very much but never showed them to people outside the farm. The farmer＇s comic books became famous only after he passed away in a fire. When the fire happened, he was only 35. To remember him, his family showed his comic books in the town museum, and people liked them very much. Now people can see the original (原稿) pictures of Louis Black＇s farm animals at the City Art Centre for one month. Come and visit the beautiful world of Louis Black! 31. What does the underlined word “them“ refer to(指代)? A. Animals on the farm. B. Louis Black＇s family.C. People outside the farm.D. The pictures of farm animals. 32. What d oes the underlined part “passed away“ mean in Chinese? A. 受伤B. 逝世C. 跌倒 D. 导致33. Which is TRUE according to this passage?A. Louis Black was a farmer.B. Louis Black drew the animals outside the farm.C. The Blacks didn＇t enjoy Louis＇comic books very much.D. Louis Black＇s comic books became famous when he was nine. 34. What is this passage for? A. Planning a trip to visit a farm. B. Telling people about an art show. C. Celebrating the opening of a museum.D. Sharing ideas about how to draw comic books. 35. Where can you read this passage? A. In a newspaper. B. In a comic book. C. In amagazine. D. In a storybook. 四、单词1. Gina wants to j________ the music club. 2. Can you s__________ English? 3. She likes music, and she can dance and s________. 4. Beethoven(贝多芬) is a famous m____________. 5. I like telling s___________, so I want to join the story telling club. 6. My sister ____________(跳舞) well. 7. Can Jack play the ___________(钢琴)? 8. Bill can’t play the ___________(鼓). 9. Mr. Smith __________(教) us Engl ish. 10. Please come to the Students’ Sports __________(中心). 五、适当形式填空 1. My friends often help me _________(do) my homework. 2. We need you _________(help) me. 3. Jim is good at ___________(play) soccer. 4. He can play the guitar __________(good). 5. I think you can ________(be) in our sports club. 6. Joe likes ________(play) the drums. 7. Let’s ___________(join) now. 8. What about ____________(eat) an apple? 9. I’m busy ____________(do) homework. 10. My mother wants me __________(drink) milk every day.六、任务型阅读Swimmers Wanted Can you swim? Do you like kids? Can you help them with swimming on weekends? Come and join us．Call Janice at 880-9132 for more information(信息)．Chess Club Do you like to play chess? Do you want to play chess well? Miss Zhang teaches you．You can come here every Friday afternoon．Tel：855-2828 Room 510 in school’s P．E．building Let’s Learn English Can you speak English? Do you want to learn more English? Join the English Club now．Musicians Wanted Boys and girls，are you music lovers? Can you sing or dance? Can you play any instruments(乐器)? Welcome to our Star Rock Band．Please call Sally at 302-6730 or send an e-mail to *****． 1. What can Miss Zhang teach you? _______________________________________________________________________ ___ 2. Mary can swim well and she wants to find a job．Whom can she call for more information? __________________________________________________________________________ 3. Tommy wants to join the chess club．When can he go to the club?_______________________________________________________________________ ___ 4. You love music and you want to be a singer．What can you do? _______________________________________________________________________ ___ 5. Cindy can’t speak English very well and she learns English．She learns from Monday to Friday．Where does she learn? _______________________________________________________________________ ___ 七、阅读下面短文，在空白处填入一个适当的词，或填入括号中所给单词的正确形式。
Glider Flying Handbook说明书
Glider Flying Handbook2013U.S. Department of TransportationFEDERAL AVIATION ADMINISTRATIONFlight Standards Servicei iPrefaceThe Glider Flying Handbook is designed as a technical manual for applicants who are preparing for glider category rating and for currently certificated glider pilots who wish to improve their knowledge. Certificated flight instructors will find this handbook a valuable training aid, since detailed coverage of aeronautical decision-making, components and systems, aerodynamics, flight instruments, performance limitations, ground operations, flight maneuvers, traffic patterns, emergencies, soaring weather, soaring techniques, and cross-country flight is included. Topics such as radio navigation and communication, use of flight information publications, and regulations are available in other Federal Aviation Administration (FAA) publications.The discussion and explanations reflect the most commonly used practices and principles. Occasionally, the word “must” or similar language is used where the desired action is deemed critical. The use of such language is not intended to add to, interpret, or relieve a duty imposed by Title 14 of the Code of Federal Regulations (14 CFR). Persons working towards a glider rating are advised to review the references from the applicable practical test standards (FAA-G-8082-4, Sport Pilot and Flight Instructor with a Sport Pilot Rating Knowledge Test Guide, FAA-G-8082-5, Commercial Pilot Knowledge Test Guide, and FAA-G-8082-17, Recreational Pilot and Private Pilot Knowledge Test Guide). Resources for study include FAA-H-8083-25, Pilot’s Handbook of Aeronautical Knowledge, FAA-H-8083-2, Risk Management Handbook, and Advisory Circular (AC) 00-6, Aviation Weather For Pilots and Flight Operations Personnel, AC 00-45, Aviation Weather Services, as these documents contain basic material not duplicated herein. All beginning applicants should refer to FAA-H-8083-25, Pilot’s Handbook of Aeronautical Knowledge, for study and basic library reference.It is essential for persons using this handbook to become familiar with and apply the pertinent parts of 14 CFR and the Aeronautical Information Manual (AIM). The AIM is available online at . The current Flight Standards Service airman training and testing material and learning statements for all airman certificates and ratings can be obtained from .This handbook supersedes FAA-H-8083-13, Glider Flying Handbook, dated 2003. Always select the latest edition of any publication and check the website for errata pages and listing of changes to FAA educational publications developed by the FAA’s Airman Testing Standards Branch, AFS-630.This handbook is available for download, in PDF format, from .This handbook is published by the United States Department of Transportation, Federal Aviation Administration, Airman Testing Standards Branch, AFS-630, P.O. Box 25082, Oklahoma City, OK 73125.Comments regarding this publication should be sent, in email form, to the following address:********************************************John M. AllenDirector, Flight Standards Serviceiiii vAcknowledgmentsThe Glider Flying Handbook was produced by the Federal Aviation Administration (FAA) with the assistance of Safety Research Corporation of America (SRCA). The FAA wishes to acknowledge the following contributors: Sue Telford of Telford Fishing & Hunting Services for images used in Chapter 1JerryZieba () for images used in Chapter 2Tim Mara () for images used in Chapters 2 and 12Uli Kremer of Alexander Schleicher GmbH & Co for images used in Chapter 2Richard Lancaster () for images and content used in Chapter 3Dave Nadler of Nadler & Associates for images used in Chapter 6Dave McConeghey for images used in Chapter 6John Brandon (www.raa.asn.au) for images and content used in Chapter 7Patrick Panzera () for images used in Chapter 8Jeff Haby (www.theweatherprediction) for images used in Chapter 8National Soaring Museum () for content used in Chapter 9Bill Elliot () for images used in Chapter 12.Tiffany Fidler for images used in Chapter 12.Additional appreciation is extended to the Soaring Society of America, Inc. (), the Soaring Safety Foundation, and Mr. Brad Temeyer and Mr. Bill Martin from the National Oceanic and Atmospheric Administration (NOAA) for their technical support and input.vv iPreface (iii)Acknowledgments (v)Table of Contents (vii)Chapter 1Gliders and Sailplanes ........................................1-1 Introduction....................................................................1-1 Gliders—The Early Years ..............................................1-2 Glider or Sailplane? .......................................................1-3 Glider Pilot Schools ......................................................1-4 14 CFR Part 141 Pilot Schools ...................................1-5 14 CFR Part 61 Instruction ........................................1-5 Glider Certificate Eligibility Requirements ...................1-5 Common Glider Concepts ..............................................1-6 Terminology...............................................................1-6 Converting Metric Distance to Feet ...........................1-6 Chapter 2Components and Systems .................................2-1 Introduction....................................................................2-1 Glider Design .................................................................2-2 The Fuselage ..................................................................2-4 Wings and Components .............................................2-4 Lift/Drag Devices ...........................................................2-5 Empennage .....................................................................2-6 Towhook Devices .......................................................2-7 Powerplant .....................................................................2-7 Self-Launching Gliders .............................................2-7 Sustainer Engines .......................................................2-8 Landing Gear .................................................................2-8 Wheel Brakes .............................................................2-8 Chapter 3Aerodynamics of Flight .......................................3-1 Introduction....................................................................3-1 Forces of Flight..............................................................3-2 Newton’s Third Law of Motion .................................3-2 Lift ..............................................................................3-2The Effects of Drag on a Glider .....................................3-3 Parasite Drag ..............................................................3-3 Form Drag ...............................................................3-3 Skin Friction Drag ..................................................3-3 Interference Drag ....................................................3-5 Total Drag...................................................................3-6 Wing Planform ...........................................................3-6 Elliptical Wing ........................................................3-6 Rectangular Wing ...................................................3-7 Tapered Wing .........................................................3-7 Swept-Forward Wing ..............................................3-7 Washout ..................................................................3-7 Glide Ratio .................................................................3-8 Aspect Ratio ............................................................3-9 Weight ........................................................................3-9 Thrust .........................................................................3-9 Three Axes of Rotation ..................................................3-9 Stability ........................................................................3-10 Flutter .......................................................................3-11 Lateral Stability ........................................................3-12 Turning Flight ..............................................................3-13 Load Factors .................................................................3-13 Radius of Turn ..........................................................3-14 Turn Coordination ....................................................3-15 Slips ..........................................................................3-15 Forward Slip .........................................................3-16 Sideslip .................................................................3-17 Spins .........................................................................3-17 Ground Effect ...............................................................3-19 Chapter 4Flight Instruments ...............................................4-1 Introduction....................................................................4-1 Pitot-Static Instruments ..................................................4-2 Impact and Static Pressure Lines................................4-2 Airspeed Indicator ......................................................4-2 The Effects of Altitude on the AirspeedIndicator..................................................................4-3 Types of Airspeed ...................................................4-3Table of ContentsviiAirspeed Indicator Markings ......................................4-5 Other Airspeed Limitations ........................................4-6 Altimeter .....................................................................4-6 Principles of Operation ...........................................4-6 Effect of Nonstandard Pressure andTemperature............................................................4-7 Setting the Altimeter (Kollsman Window) .............4-9 Types of Altitude ......................................................4-10 Variometer................................................................4-11 Total Energy System .............................................4-14 Netto .....................................................................4-14 Electronic Flight Computers ....................................4-15 Magnetic Compass .......................................................4-16 Yaw String ................................................................4-16 Inclinometer..............................................................4-16 Gyroscopic Instruments ...............................................4-17 G-Meter ........................................................................4-17 FLARM Collision Avoidance System .........................4-18 Chapter 5Glider Performance .............................................5-1 Introduction....................................................................5-1 Factors Affecting Performance ......................................5-2 High and Low Density Altitude Conditions ...........5-2 Atmospheric Pressure .............................................5-2 Altitude ...................................................................5-3 Temperature............................................................5-3 Wind ...........................................................................5-3 Weight ........................................................................5-5 Rate of Climb .................................................................5-7 Flight Manuals and Placards ..........................................5-8 Placards ......................................................................5-8 Performance Information ...........................................5-8 Glider Polars ...............................................................5-8 Weight and Balance Information .............................5-10 Limitations ...............................................................5-10 Weight and Balance .....................................................5-12 Center of Gravity ......................................................5-12 Problems Associated With CG Forward ofForward Limit .......................................................5-12 Problems Associated With CG Aft of Aft Limit ..5-13 Sample Weight and Balance Problems ....................5-13 Ballast ..........................................................................5-14 Chapter 6Preflight and Ground Operations .......................6-1 Introduction....................................................................6-1 Assembly and Storage Techniques ................................6-2 Trailering....................................................................6-3 Tiedown and Securing ................................................6-4Water Ballast ..............................................................6-4 Ground Handling........................................................6-4 Launch Equipment Inspection ....................................6-5 Glider Preflight Inspection .........................................6-6 Prelaunch Checklist ....................................................6-7 Glider Care .....................................................................6-7 Preventive Maintenance .............................................6-8 Chapter 7Launch and Recovery Procedures and Flight Maneuvers ............................................................7-1 Introduction....................................................................7-1 Aerotow Takeoff Procedures .........................................7-2 Signals ........................................................................7-2 Prelaunch Signals ....................................................7-2 Inflight Signals ........................................................7-3 Takeoff Procedures and Techniques ..........................7-3 Normal Assisted Takeoff............................................7-4 Unassisted Takeoff.....................................................7-5 Crosswind Takeoff .....................................................7-5 Assisted ...................................................................7-5 Unassisted...............................................................7-6 Aerotow Climb-Out ....................................................7-6 Aerotow Release.........................................................7-8 Slack Line ...................................................................7-9 Boxing the Wake ......................................................7-10 Ground Launch Takeoff Procedures ............................7-11 CG Hooks .................................................................7-11 Signals ......................................................................7-11 Prelaunch Signals (Winch/Automobile) ...............7-11 Inflight Signals ......................................................7-12 Tow Speeds ..............................................................7-12 Automobile Launch ..................................................7-14 Crosswind Takeoff and Climb .................................7-14 Normal Into-the-Wind Launch .................................7-15 Climb-Out and Release Procedures ..........................7-16 Self-Launch Takeoff Procedures ..............................7-17 Preparation and Engine Start ....................................7-17 Taxiing .....................................................................7-18 Pretakeoff Check ......................................................7-18 Normal Takeoff ........................................................7-19 Crosswind Takeoff ...................................................7-19 Climb-Out and Shutdown Procedures ......................7-19 Landing .....................................................................7-21 Gliderport/Airport Traffic Patterns and Operations .....7-22 Normal Approach and Landing ................................7-22 Crosswind Landing ..................................................7-25 Slips ..........................................................................7-25 Downwind Landing ..................................................7-27 After Landing and Securing .....................................7-27viiiPerformance Maneuvers ..............................................7-27 Straight Glides ..........................................................7-27 Turns.........................................................................7-28 Roll-In ...................................................................7-29 Roll-Out ................................................................7-30 Steep Turns ...........................................................7-31 Maneuvering at Minimum Controllable Airspeed ...7-31 Stall Recognition and Recovery ...............................7-32 Secondary Stalls ....................................................7-34 Accelerated Stalls .................................................7-34 Crossed-Control Stalls ..........................................7-35 Operating Airspeeds .....................................................7-36 Minimum Sink Airspeed ..........................................7-36 Best Glide Airspeed..................................................7-37 Speed to Fly ..............................................................7-37 Chapter 8Abnormal and Emergency Procedures .............8-1 Introduction....................................................................8-1 Porpoising ......................................................................8-2 Pilot-Induced Oscillations (PIOs) ..............................8-2 PIOs During Launch ...................................................8-2 Factors Influencing PIOs ........................................8-2 Improper Elevator Trim Setting ..............................8-3 Improper Wing Flaps Setting ..................................8-3 Pilot-Induced Roll Oscillations During Launch .........8-3 Pilot-Induced Yaw Oscillations During Launch ........8-4 Gust-Induced Oscillations ..............................................8-5 Vertical Gusts During High-Speed Cruise .................8-5 Pilot-Induced Pitch Oscillations During Landing ......8-6 Glider-Induced Oscillations ...........................................8-6 Pitch Influence of the Glider Towhook Position ........8-6 Self-Launching Glider Oscillations During Powered Flight ...........................................................8-7 Nosewheel Glider Oscillations During Launchesand Landings ..............................................................8-7 Tailwheel/Tailskid Equipped Glider Oscillations During Launches and Landings ..................................8-8 Aerotow Abnormal and Emergency Procedures ............8-8 Abnormal Procedures .................................................8-8 Towing Failures........................................................8-10 Tow Failure With Runway To Land and Stop ......8-11 Tow Failure Without Runway To Land BelowReturning Altitude ................................................8-11 Tow Failure Above Return to Runway Altitude ...8-11 Tow Failure Above 800' AGL ..............................8-12 Tow Failure Above Traffic Pattern Altitude .........8-13 Slack Line .................................................................8-13 Ground Launch Abnormal and Emergency Procedures ....................................................................8-14 Abnormal Procedures ...............................................8-14 Emergency Procedures .............................................8-14 Self-Launch Takeoff Emergency Procedures ..............8-15 Emergency Procedures .............................................8-15 Spiral Dives ..................................................................8-15 Spins .............................................................................8-15 Entry Phase ...............................................................8-17 Incipient Phase .........................................................8-17 Developed Phase ......................................................8-17 Recovery Phase ........................................................8-17 Off-Field Landing Procedures .....................................8-18 Afterlanding Off Field .............................................8-20 Off-Field Landing Without Injury ........................8-20 Off-Field Landing With Injury .............................8-20 System and Equipment Malfunctions ..........................8-20 Flight Instrument Malfunctions ................................8-20 Airspeed Indicator Malfunctions ..........................8-21 Altimeter Malfunctions .........................................8-21 Variometer Malfunctions ......................................8-21 Compass Malfunctions .........................................8-21 Glider Canopy Malfunctions ....................................8-21 Broken Glider Canopy ..........................................8-22 Frosted Glider Canopy ..........................................8-22 Water Ballast Malfunctions ......................................8-22 Retractable Landing Gear Malfunctions ..................8-22 Primary Flight Control Systems ...............................8-22 Elevator Malfunctions ..........................................8-22 Aileron Malfunctions ............................................8-23 Rudder Malfunctions ............................................8-24 Secondary Flight Controls Systems .........................8-24 Elevator Trim Malfunctions .................................8-24 Spoiler/Dive Brake Malfunctions .........................8-24 Miscellaneous Flight System Malfunctions .................8-25 Towhook Malfunctions ............................................8-25 Oxygen System Malfunctions ..................................8-25 Drogue Chute Malfunctions .....................................8-25 Self-Launching Gliders ................................................8-26 Self-Launching/Sustainer Glider Engine Failure During Takeoff or Climb ..........................................8-26 Inability to Restart a Self-Launching/SustainerGlider Engine While Airborne .................................8-27 Self-Launching Glider Propeller Malfunctions ........8-27 Self-Launching Glider Electrical System Malfunctions .............................................................8-27 In-flight Fire .............................................................8-28 Emergency Equipment and Survival Gear ...................8-28 Survival Gear Checklists ..........................................8-28 Food and Water ........................................................8-28ixClothing ....................................................................8-28 Communication ........................................................8-29 Navigation Equipment ..............................................8-29 Medical Equipment ..................................................8-29 Stowage ....................................................................8-30 Parachute ..................................................................8-30 Oxygen System Malfunctions ..................................8-30 Accident Prevention .....................................................8-30 Chapter 9Soaring Weather ..................................................9-1 Introduction....................................................................9-1 The Atmosphere .............................................................9-2 Composition ...............................................................9-2 Properties ....................................................................9-2 Temperature............................................................9-2 Density ....................................................................9-2 Pressure ...................................................................9-2 Standard Atmosphere .................................................9-3 Layers of the Atmosphere ..........................................9-4 Scale of Weather Events ................................................9-4 Thermal Soaring Weather ..............................................9-6 Thermal Shape and Structure .....................................9-6 Atmospheric Stability .................................................9-7 Air Masses Conducive to Thermal Soaring ...................9-9 Cloud Streets ..............................................................9-9 Thermal Waves...........................................................9-9 Thunderstorms..........................................................9-10 Lifted Index ..........................................................9-12 K-Index .................................................................9-12 Weather for Slope Soaring .......................................9-14 Mechanism for Wave Formation ..............................9-16 Lift Due to Convergence ..........................................9-19 Obtaining Weather Information ...................................9-21 Preflight Weather Briefing........................................9-21 Weather-ReIated Information ..................................9-21 Interpreting Weather Charts, Reports, andForecasts ......................................................................9-23 Graphic Weather Charts ...........................................9-23 Winds and Temperatures Aloft Forecast ..............9-23 Composite Moisture Stability Chart .....................9-24 Chapter 10Soaring Techniques ..........................................10-1 Introduction..................................................................10-1 Thermal Soaring ...........................................................10-2 Locating Thermals ....................................................10-2 Cumulus Clouds ...................................................10-2 Other Indicators of Thermals ................................10-3 Wind .....................................................................10-4 The Big Picture .....................................................10-5Entering a Thermal ..............................................10-5 Inside a Thermal.......................................................10-6 Bank Angle ...........................................................10-6 Speed .....................................................................10-6 Centering ...............................................................10-7 Collision Avoidance ................................................10-9 Exiting a Thermal .....................................................10-9 Atypical Thermals ..................................................10-10 Ridge/Slope Soaring ..................................................10-10 Traps ......................................................................10-10 Procedures for Safe Flying .....................................10-12 Bowls and Spurs .....................................................10-13 Slope Lift ................................................................10-13 Obstructions ...........................................................10-14 Tips and Techniques ...............................................10-15 Wave Soaring .............................................................10-16 Preflight Preparation ...............................................10-17 Getting Into the Wave ............................................10-18 Flying in the Wave .................................................10-20 Soaring Convergence Zones ...................................10-23 Combined Sources of Updrafts ..............................10-24 Chapter 11Cross-Country Soaring .....................................11-1 Introduction..................................................................11-1 Flight Preparation and Planning ...................................11-2 Personal and Special Equipment ..................................11-3 Navigation ....................................................................11-5 Using the Plotter .......................................................11-5 A Sample Cross-Country Flight ...............................11-5 Navigation Using GPS .............................................11-8 Cross-Country Techniques ...........................................11-9 Soaring Faster and Farther .........................................11-11 Height Bands ..........................................................11-11 Tips and Techniques ...............................................11-12 Special Situations .......................................................11-14 Course Deviations ..................................................11-14 Lost Procedures ......................................................11-14 Cross-Country Flight in a Self-Launching Glider .....11-15 High-Performance Glider Operations and Considerations ............................................................11-16 Glider Complexity ..................................................11-16 Water Ballast ..........................................................11-17 Cross-Country Flight Using Other Lift Sources ........11-17 Chapter 12Towing ................................................................12-1 Introduction..................................................................12-1 Equipment Inspections and Operational Checks .........12-2 Tow Hook ................................................................12-2 Schweizer Tow Hook ...........................................12-2x。
《明星玩家》第一期,YOYO超人采访+回答问题
《明星玩家》第一期，YOYO超人采访+回答问题大家好，为了丰富无码区群众的精神文化生活（= =），也为了让更多的人参与到与各位明星玩家的交流之中。
NGA无码区展开了《明星玩家访谈与在线交流》系列活动，将以特派记者的访问为“前戏”，明星玩家还将在特定时间接受无码区会员的在线提问，与会员们互动（并且无问题审核机制哦～当然，前提是不违法不违背道德）。
第一期，我们联系到了在《我叫MT》中，为傻馒配音的YOYO超人。
在本次采访里，YOYO超人向我们爆料了MT4的剧情，还透露了她自己喜欢的职业和男生，以及，奶茶的一个众所周知的小秘密。
是不是很期待？是不是很想跟她说点什么？11月11日下午14时至16时，yoyo超人将在本帖回答你的提问！看完采访，赶紧想一想要问些什么吧～（可在本帖回复先行提问，yoyo超人将在互动时间统一回答）下面是原汁原味的采访内容（毫无删减），闲话也就不说了，请看：- MT剧情爆料月如玡好吧，我其实是第一次搞这个··YOYO超人别紧张妹子月如玡咳，其实我不是妹子，你荡漾了。
突然觉得，在MT第4季前采访你是件多么明智的事。
YOYO超人为啥不去采访别人压力好大- -月如玡因为你最合适呀··YOYO超人合适啥。
MT不是更合适噶- -正好还一个公司的。
噗月如玡奶茶不是妹子YOYO超人SOGA。
奶茶好可怜月如玡必须的·· 话说，第4季马上就要播出了，你感觉怎么样YOYO超人大家都很期待哇。
虽然很体谅核桃大叔的辛苦。
但是我当然也很期待啦。
哈哈哈月如玡自己打分呢YOYO超人其实每次MT出来都特紧张。
生怕自己的那一句台词又说错了。
效果不好。
- - 月如玡那MT第4季有什么剧透没··YOYO超人。
我忘了说了。
第一集。
我和熊猫都木有台词。
我们就都木有收到台词稿 =。
=月如玡哦这个是内幕YOYO超人木有错。
知道了就没意思了噶。
月如玡那么我们可以猜到第一集就是联盟的故事了YOYO超人惊。
新浪潮灵魂与浪漫城市奇幻：桥上的情人说明书
4th International Conference on Modern Management, Education Technology and Social Science (MMETSS 2019)“New Wave” Spirits and Romantic Urban Fantasy: Lovers on the BridgeDuanduan ZhouDepartment of Comparative Literature, Hong Kong University, Central and Western District, HongKong, China**********************Keywords: French New Wave, art-house cinema, Leos Carax, Wong Kar-wai, auteurism, cinephilia, youthful romance, urban fantasyAbstract.During the 1950s and 1960s, the French New Wave film movement swept the film-dom around the globe and ushered in a trend of iconoclasm and aesthetic experimentation. This paper analyzes the signature art-house film Lovers on the Bridge (1999) made by Leos Carax who is credited as the torchbearer for the French New Wave cinema, in relation to another stylistic film Fallen Angels (1995) made by Hong Kong director Wong Kar-wai. Inspired by new wave spirits, both two films create an enchanted, romantic vision of the urban living, through the subject of youthful romance, highly aestheticized and personalized film language.1. IntroductionFallen Angels is a 1995 art-house film written and directed by the most renowned Hong Kong auteur Wong Kar-wai. As a sequel of the director’s 1994 breakthrough Chungking Express, the film expands the former’s theme, style and mood in a darker tone with an eye to the urbanites’ psychological interiority. It follows the interlacing urban itineraries of five socially isolated individuals in the surreal nightscape of Hong Kong (Lalanne 10). Noted for his cinematic romanticism and poetic style, French director Leos Carax is another prominent auteur in the world cinema. He has been credited as a torchbearer for the French New Wave cinema and a prominent personality in the Cinéma du Look movement (Tobias). In this essay, I will analyze Leos Carax’s notable art film Lovers on the Bridge(1999) as a primary text in relation to Fallen Angel. This essay argues that, as torchbearers of “new wave” spirits, both Wong and Carax subvert certain conventions of film-making and provides a highly aestheticized cinematic vision, expressed through a personalized film language. In particular, the urban fantasy in Lovers constructs a signature auteur romanticism of Carax. I will first tease out the synopsis of Lovers on the Bridge, followed by a theoretical overview of new wave aesthetics. The thematic concern, stylized cinematography and soundtracks are analyzed based on three essential sequences, with an emphasis on the visualization of an urban fantasy.2. Aesthetic Influence of the French New Wave2.1 CinephiliaConsidered as one of the unique personalities since the French New Wave, Leos Carax consciously follows a new wave aesthetic in his film-making, which is characterized by a self-conscious form of cinephilia, a young-generational perspective and enchanted visuals of urban space. Defined as an idiosyncratic attraction to movies, cinephilia is embodied by certain approaches like toying with genre conventions, mixing high and pop culture and citation of other movies. Arguably, Carax has also established himself as a prominent figure of the Cinéma du Look, a significant 1980s movement featuring a similar cinephile tendency, a spectacular visual style and a focus on alienated young people who represent the marginalized French youth at that time (Austin 119; Powrie & Reader 41). The thematic concerns of the cinéma du look cinema typically involve doomed love affairs, with an eye to the young generation’s affiliation with peers and an alternative society in Paris. However, as Powrie & Reader (41) point out, the films in this group are preoccupied withstyle at the cost of narrative. Alike, Wong Kar-wai also exhibits a self-conscious adherence to a kind of “new wave” style in the filmmaking of Fallen Angels.2.2 AuteurismAuteurism is another prominent cinematic theory behind Wong and Carax’s filmmaking. Santa (18) defines an auteur as “the most important figure in the art of filmmaking, a creative person equivalent to the author of a novel and play”. The auteur cinema is marked by a distinctive artistic vision that deviates from the conventions. Wong Kar-wai’s cinema explores a world of personal themes, such as loneliness and desire, memory and forgetfulness, through highly aestheticized and personalized film language. Comparably, the cinema of Leos Carax explores personal themes of youth romances through distinctive sensibilities, characterized by a particular auteur romanticism. As auteurs, both Wong and Carax take sole charge of the screenplay, directing, soundtrack and final cut of the production (Martinez 29). The following sections will discuss the aesthetics behind both films in relation to the legacy of new wave style and the cinematic conceptions associated with cinephilia and auteurism.3. Thematic Concerns: Youthful Romance and AlienationRegarding thematic content, both Lovers on the Bridge and Fallen Angels revolve around youthful romances, which is a recurring theme in the French New Wave and Cinéma du Look cinema. Lovers on the Bridge reveals a youthful exuberance by portraying an amour fou, or a reckless and idiosyncratic romance between young vagrants, while Fallen Angels points out the ephemeral nature of love affairs between alienated young urbanites. It’s noteworthy that both films pay attention to the main characters’ alienation from society: Carax portrays the harsh existence of two vagrants who evade from social life; Wong’s characters are always represented as socially isolated creatures with pathological behaviors, e.g., the aphasia of He Zhiwu and the memory loss of the killer (Teo 86). And in both films, the young characters are situated in urban spaces visualized in a certain cinematic fantasy, which will be discussed later in the film language analysis.3.1 A historical SpectacleThe ahistorical spectacle of Lovers on the Bridge further provides a fresh expression of a new generational viewpoint by divorcing contemporary society and the past. As Allmer (10) points out, the historic site of Pont Neuf is used as a shelter for the three main characters, which carries certain historical allegory. In the scene where Alex limps back to the bridge after the car accident (11:30-12:08), we are presented with a dilapidated scene of the historical site: the architecture of the bridge is closed to the public for repairs, with tiles and cobblestones lying on the ground. The maintenance notice, read allegorically, “already warns from history and connotes the process of ‘renovating’ and renewing history”, which alludes to the fragile relationship between history and contemporary society. (Allmer 10). Carax kind of manipulates the historic site to construct an ahistorical spectacle, expressing an iconoclastic attitude to the cultural establishment.The ahistorical aspect is also embodied by the character’s struggle with an inarticulable personal history: Michele remains secretive about her past and tries to divorce the current relationship from the past (Allmer 11). Comparably, Wong Kar-wai’s cinema shows a thematic concern about personal history, memory and forgetfulness. Characters in Fallen Angels either indulge in a lost love affair or completely forget about a past relationship.4. Film Language: Enchanted Urban SpaceConcerning the visuals, the Hong Kong cityscape under Wong Kar-wai’s lens is enchanted and glamorized rather than every-day. As a nocturnal flipside to Chungking Express, Fallen Angels predominantly features night-time urban scenes and antiquated streetscape unique to Hong Kong. Instead of a realistic depiction of the cityscape, the grungy visuals become part of the fantasy backdrop for the characters. Christopher Doyle’s typical use of hand-held camera, wide-anglecinematography and daring camera angles further deviate the urban visuals from reality. The hand-held movement conveys a sense of disorientation and jumps out of the every-day reality. Furthermore, the super wide-angle lens throughout Fallen Angels invites a visual distortion of space, which emphasizes the psychic distance between characters (Teo 84). For instance, in the sequences where Michele Reis smokes alone in the restaurant with nonchalance to the fight happening behind, her face is extremely close and somewhat distorted, with her sorrowful facial expressions amplified under the lens. The isolated figure in the foreground of the mise-en-scéne is emphasized, in contrast with the background crowds. In this way, the young urbanites are represented as “physically close to each other but mentally apart” and isolated from the society (Teo 85). Beyond that, when the female agent Reis goes to hitman Lai’s apartment to clean up, we are presented with several Dutch angle shots of the night-time streets. The night view is split into unequal halves by highways and glamorized by the flashing neon lights, which exerts on the viewers an effect of surrealism.Wong Kar-wai also constructs a fantasy urban space through subjective time, embodied by frequent use of slow-motion or speed-up. For instance, the traffic outside the killer’s apartment moves quickly, exhibiting a dense and fast-paced urban environment; Wong uses stylized step-printing in the black-and-white pub scene, with passengers moving fast in the background and main characters idling about in the foreground. The seemingly different time movement emphasizes the characters’ alienation from the world outside. The urban environment is transformed into a psychological or spiritual world where they immerse into.4.1 The Opening Scene AnalysisSimilarly, the urban space in Lovers on the Bridge functions as a fantasy backdrop for the romantic relationship. First and foremost, the entire film is set in the fantasy space of the ancient bridge. As the real Pont Neuf in Paris was not closed when Carax wanted to shoot there, an enormously expensive set re-creating the Pont Neuf was built for the film in the French countryside – that’s where the illusion of movie begins (Jones 4). In the opening scene, the hand-held camera leads us across the night-time Paris streets, followed by a documentary-like sequence portraying the homeless people crowding the asylum and streets, which gives us a glimpse of the alternative society in Paris. The main characters are introduced as two vagrants among the crowd of homeless wanderers. Resembling the urban scenes in Fallen Angels, the run-down neighborhood in Lovers on the Bridge endues the visuals with a grungy and gritty quality, in sharp contrast with the visual excessiveness of the fireworks scenes. Upon Alex’s return to his shelter, the Pont Neuf, the cinematic space transits from a mundane urban setting to a fantasy space constructed by the ancient bridge. Accordingly, the people are quickly assimilated into the fantasy space associated with the bridge. Rather than depicts the reality, Carax in a way transforms the reality into a fantasy backdrop for the happening of a romantic relationship.4.2 The Spectacular Set Pieces and Soundtrack AnalysisThe three-minute fireworks scene (46:05-49:10) is a typical example to illustrate Carax’s urban expressionist fantasy and cinematic romanticism, where Bastille Day celebration is recreated as a personal ecstatic outburst of passion (Tobias). As the impressive fireworks erupt into the sky throughout Paris, Michele drunkenly dances along the bridge and soon passes the infection onto Alex. As Michele remarks, “City is full of music”, a mixing of various music genres fills the air of the bicentennial celebration night. From classical waltz to Iggy Pop’s rock music to Public Enemy’s hip-hop, music seems piping in “from some magical jukebox in the sky” (Tobias). By playing with the genre of Hollywood musical films, Carax reveals his self-consciousness in the medium of cinema. The characters also act dramatically as if they are in the movies. Beyond that, the following scene where Alex knocks out the keeper brings in comedy elements. In the final scene where the couple snuggles at the bow, Carax pays a more direct homage to Jean Vigo’s masterpiece L'Atalante. Fallen Angels is more characteristic of a playful, self-conscious form of cinephilia: Leon Lai’s gun-killing scene pays attribute to the gangster film or crime film, while the Michele Reis’ middlewoman alludes to the femme fatale in the film noir. Both Carax and Wong masterfully play around with genre conventions, exhibiting their reflexivity of the medium of film.The following water-skiing scene further brings fantasy elements and visual extravagance to extremes: the fancy speedboat appears out of nowhere, and there is a surreal beauty to the pyrotechnic display above water. With stylized lighting, fancy fireworks and eclectic use of soundtrack music, the Paris city on the Bastille Day is transformed into an enchanted playground for the characters, which is characteristic of new wave and Wong Kar-wai’s cinema. The urban fantasy contributes to the resurgence of cinematic romanticism in Carax’s film; In comparison, despite the urban environment is as much glamorized in Fallen Angels, it presents the city as a dystopia, a map of desire and loneliness where the urbanites have no access to an intimate relationship.As mentioned in the fireworks scene analysis, the soundscape becomes part of the urban fantasy in Lovers on the Bridge. Films of Wong Kar-wai are similarly marked by an eclectic use of different genres of music. The soundscape of Fallen Angels includes pop songs, Cantonese opera, western experimental music, Acapella music and Indian-style songs. Wong’s use of music “evokes a purely referential, even interior world” and emphasizes the emotional dimension rather than the real context (Matinez 30). The same applies to Leos Carax: the switch between different music genres indicates changes in the characters’ emotional intensity. Wong’s sound design is more evocative in a sense, with a constant soundscape of radios and televisions playing late into the night. Moreover, their deliberate collage of classic and pop culture shows an iconoclastic attitude towards cinematic conventions and high culture, reminiscent of the new wave spirit.5. Stylized CinematographyThe cinematography of Carax is deeply intertwined with the characters, with camera movements constantly directed by characters’ activities and perspectives (Film Walrus). For instance, Carax employs a relatively static camera and long shots to shoot the peaceful moments, when characters are sleeping or deep in thoughts; In Alex’s fire-spewing performance sequence (32:38-33:20), the handheld camera pans, cuts and spins frequently to emphasize the visual intensity (Film Walrus). Another typical scene is Michele’s rushing out from the subway back to the bridge (40:45-41:20). Having woken up from the gun-killing dream, Michele desperately dashes along the Parisian streets, where a military parade is in progress on the Bastille Day. The violently shaking camera represents Michele’s vision, constructed from chaotic images of the Bastille Day’s Paris. The camera tilts wildly from the skyscape to the marching tanks, and then pans and spins above the uniformly dressed military parade, exerting a sense of dizziness on the viewers – the subjective feeling of Michele is thus emphasized. Jump cuts to the running Michele and the drinking Alex interlude in between. Accompanied by the soundtrack of dramatic cello classic, the stylized cinematography and jump cuts produce a particular intense rhythm to the scene.The intellectual montage is key feature shared by Wong and Carax’s cinematography, which refers to the combined use of shots eliciting intellectual meaning. In the opening scene of Fallen Angels, shots of the middle-woman’s trial run and the hit-man’s gun-killing are juxtaposed together, tactfully revealing their psychological alienation despite the tacit cooperation. When Alex attempts to uncover fainted Michelle’s eyelids, the shot abruptly cuts to a dying fish in an illusionary montage, implying Michele’s deteriorating eye disease. In both films, the stylized cinematography adds layers to the narrative and thematic expression.6.ConclusionOn balance, The Lovers on the Bridge is an extravagant art film revolving around the subject of urban youthful romance. Inspired by “new wave” spirits, Leos Carax creates a unique auteur romantic vision through highly aestheticized and personalized film language. As a prominent auteur and cinephile, Carax shares similar cinematic conceptions with his comparable peer Wong Kar-wai, embodied by the self-reflexivity of the medium of cinema, exploration of personal themes and a distinctive, personal cinematic vision. In particular, both Lovers on the Bridge and Fallen Angels visualize urban spaces as a cinematic fantasy backdrop for the happening of relationships; Wongand Carax share an eclectic use of music genres, which contributes to the audio extravagance of the urban fantasy. Comparatively, Fallen Angels is more gloomy than romantic, with an eye to the loneliness and detachment in a dense urban environment. The two films poetically present an enchanted experience of the urban living, in a one-of-a-kind cinematic vision.References[1]Allmer, Patricia. “Window shopping"? -- Aesthetics of the Spectacular and Cinéma du Look.”Scope.University of Nottingham. 2004. Web. 8 Dec. 2018.<https:///scope/documents/2004/february-2004/allmer.pdf>[2]Austin, Guy. Contemporary French Cinema:An Introduction. 2nd ed. Manchester, UK; NewYork: Manchester UP, 2008. Print.[3]Film Walrus. “Review of The Lovers on the Bridge.” Film Walrus Reviews. 18 Dec. 2007. Web.8 Dec. 2018. <https:///the-lovers-on-the-bridge-1798217500>[4]Lalanne, Jean-Marc. “Images from the Inside.” Wong Kar-wai. Paris: Editions Disvoir, 1997.Print.[5]Martinez, David. “Chasing the metaphysical express.” Wong Kar-wai. Ed. Jean-Marc Lalanne,David Martinez, Ackbar Abbas, and Jimmy Ngai. Paris: Dis V oir, 1997. 29-38. Print.[6]Powrie, Phil, and Keith Reader. French Cinema: A Student's Guide.London: Arnold, 2002.Print.[7]Sterritt, David. “The Lovers on the Bridge.” Cineaste Magazine 42. 3 (2017): n. pag. Web. 8Dec, 2018. <https:///summer2017/the-lovers-on-the-bridge/>[8]Santas, Constantine. Responding to Film: A Text Guide for Students of Cinema Art.Washington: Rowman & Littlefield Publishers, 2002. Print.[9]Teo, Stephen. “Introduction” & “Pathos Angelical: Fallen Angels.” Wong Kar-wai.London:BFI, 2005. 1-14 & 83-97. Print.[10]T obias, Scott. “The Lovers on the Bridge.” The A.V. Club. 28 Aug. 2009. Web. 8 Dec. 2018.<https:///the-lovers-on-the-bridge-1798217500>。
gba悟空大冒险攻略
================目录=================一. 全物品和卡片收集指南（流程攻略）+ T$ h. E7 L3 f( J( f7 \+ }5 S+ @A. 悟空的故事模式0 b1 Z# q# z5 W* Y K1 \+ WB. 无限的故事模式C. 一对一生存模式D. 附加模式E. 迷你游戏模式! o [ ?' u) F5 y LD! v8 y; U' Z" R6 p二. 全人物操作指南Part 1. 附加模式% H! t5 ~5 B- p1 U9 r- z; @2 _01.悟空02.无限03.阿乐04.天津饭05.饺子( M$ @' e! e. w3 t6 H$ z06.龟仙人07.孙悟饭08.大魔王09.桃白白10.基朗11.南无12.熊人13.八戒14.皮拉夫的机械人15.索巴的机械人16.军曹17.紫曹长18.骷髅机械人19.蓝将军20.黑补佐的机械人21.恶魔人22.铃鼓23.圆鼓24.山猪25.红绸军士兵( y/ k; M4 ~$ B) F! O1 @26.狼27.机械人28.监视器29.魔族士兵K. C7 _) i9 b7 T二. 全人物操作指南Part 2. 对战模式01.悟空02.无限03.龟仙人04.桃白白05.孙悟饭# m; \) o5 M( x/ z q06.天津饭07.大魔王08.机械桃白白+ Z9 d9 y3 ~1 D三. 秘籍与其他01.日版ROM的秘籍$ c+ Y$ O8 x; H' @! c/ h2 f02.99HIT达成与赚命$ C; j* c `" ?. f, @, \- P* C3 D03.各种要素开启方法总结四. 资料出处========= 一. 全物品和卡片收集指南（流程攻略）========* G4 P! B, k" B6 i物品分散在故事模式和附加模式里面，下面的图鉴和收集方式会以游戏的流程来编写。
和宇航员对话想问的问题小学英语作文
和宇航员对话想问的问题小学英语作文My Dream Conversation with an AstronautIf I had the chance to talk to an astronaut, I would have so many questions to ask. Here are some of the things I would love to know:1. What was it like to travel in space?2. How did you feel when you first stepped onto the moon or another planet?3. What do you eat in space, and how do you prepare your meals?4. Can you see Earth clearly from space, and what does it look like?5. How do you sleep in zero gravity, and do you ever feel lonely or homesick?6. What are some of the most interesting things you've seen or experienced in space?7. How do you communicate with your family and friends back on Earth?8. What kind of training did you have to go through to become an astronaut?9. How do you deal with emergencies or unexpected situations in space?10. What inspired you to become an astronaut, and what advice would you give to kids who dream of becoming one?I would be so excited to have this conversation with an astronaut andlearn more about their incredible experiences in space. It would truly be a dream come true!。
以如何提高面对面交流为主题的英语作文
以如何提高面对面交流为主题的英语作文全文共3篇示例，供读者参考篇1How to Be a Great Face-to-Face CommunicatorHi everyone! My name is Jamie and I'm 10 years old. Today I want to talk to you about something that's really important - how to be a great face-to-face communicator.Face-to-face communication means talking to someone in person, not through a screen or device. It's how people communicated for thousands of years before phones and computers came along. And you know what? Even with all our cool technology now, face-to-face communication is still super important!Why is it so important? Well, there are lots of reasons. First, when you communicate face-to-face, you can pick up on all sorts of extra cues from the other person's body language, facial expressions, and tone of voice. Those cues help you understand them better. Second, it allows you to build stronger connections and relationships with people. And third, it's just a vital life skill that will help you in all parts of your life!So how can you become a great face-to-face communicator? I've got some tips for you...Tip #1: Make Eye ContactLooking someone in the eyes when you talk to them is so important. It shows you're focused and paying attention. It also helps the other person feel valued and respected. My dad always reminds me - "eye contact opens the door to great communication."Tip #2: Listen ActivelyThis means really listening, not just waiting for your turn to talk. Put away distractions like phones or toys. Nod your head to show you're following along. Ask follow-up questions to make sure you understand. The person you're talking to will feel heard and appreciated.Tip #3: Speak ClearlyMumbling with poor pronunciation makes it really hard for others to understand you. Take a breath, don't rush, and enunciate your words. Using a clear voice shows confidence and consideration for your listener.Tip #4: Watch Your Body LanguageYour body can say just as much as your words! Good posture, a friendly face, and open hand gestures all make you appear more engaged and approachable. Crossing your arms or looking away seems defensive or uninterested. Be aware of the signals you're sending.Tip #5: Ask Good QuestionsAsking questions shows you want to understand and learn more. What questions? "What did you mean by that?" "How did you figure that out?" "Can you give me an example?" Questions keep the conversation flowing and make it a two-way street.Tip #6: Be Patient and PresentGreat communication means being patient, not interrupting, and staying in the moment. If you get distracted or start thinking about what you'll say next, you'll miss important stuff. Slow down, don't interrupt, and just focus on the person talking.Tip #7: Tell StoriesEveryone loves a good story! By sharing personal stories and experiences, you instantly make your communication more engaging, memorable, and human. Just don't veer off into super long rambling tales - keep it concise and relevant.Tip #8: Use NamesUsing someone's name when you greet them or refer to them makes the interaction more warm and personal. Just don't overdo it, or it can sound awkward! A well-placed "Sarah" or "Miguel" here and there works great.Tip #9: Have an Open MindsetDon't forget to be open-minded when communicating face-to-face. Different people have different backgrounds, perspectives, and communication styles. Being judgemental or closed off prevents you from understanding them fully. Embrace differences!Tip #10: Practice!Like anything, becoming a great face-to-face communicator takes practice. The more you exercise these tips through daily interactions, the more natural and effective your skills will become over time. Be patient with yourself, learn from mistakes, and keep practicing!Mastering face-to-face communication will make you a better friend, family member, student, and future professional. You'll connect better with those around you, be able to express yourself clearly, and develop awesome interpersonal skills.Those screens and devices are awesome, but they can't ever fully replace the power of two people connecting and communicating in person. By putting some effort into your face-to-face skills now, you'll be set for success later in life. You got this!篇2How to Be a Awesome Face-to-Face CommunicatorHi there! My name is Emily and I'm 10 years old. Today I want to talk to you about something super important - how to be an awesome face-to-face communicator!Face-to-face communication means talking to someone in person, not through a screen or phone. It's how people communicated for thousands of years before modern technology. And you know what? It's still just as important today!Being a great face-to-face communicator will help you make new friends, do better in school by participating more in class, and even get along better with your family. Plus, it's a key skill for any job you might have when you're older. Companies really value employees who can communicate clearly and confidently in person.So how can you level up your face-to-face communication abilities? I've got some great tips to share! Let's dive in:Tip #1: Make Eye ContactLooking someone in the eyes when you're talking to them is so important! It shows you're focused and engaged in the conversation. It also makes you appear more confident and trustworthy.I know making eye contact can feel a little weird or uncomfortable at first. But keep practicing and it will start to feel natural. Just don't stare at the person too intensely - that could come across as rude or confrontational. A nice, relaxed eye contact is perfect.Tip #2: Have An Open Body PositionYour body language says just as much as your words when you're face-to-face with someone. You want to have an open, relaxed posture that faces the other person. Avoid crossing your arms tightly or hunching over.Instead, keep your arms relaxed at your sides or resting in your lap. Lean in slightly towards the person to show you're interested. And don't forget to smile! A warm, friendly smile makes people feel welcome and comfortable around you.Tip #3: Speak Slowly and ClearlyHave you ever been around someone who mumbles and rushes through their words? It's hard to understand what they're saying, right? That's why speaking slowly and clearly is so important for effective face-to-face communication.Take your time with your words. Pause between sentences if needed. Make sure to enunciate each word properly too. Don't be afraid to ask the person to repeat something if you missed it. Saying "Sorry, could you repeat that please?" is totally okay!Tip #4: Ask QuestionsConversations are a two-way street. You can't just ramble on and on about yourself. Instead, make sure to ask questions and let the other person share their thoughts and experiences too.Ask follow up questions to keep the conversation flowing smoothly. For example, if someone tells you about their pet dog, you could ask "What's your dog's favorite game to play?" or "How long have you had her?"Asking good questions shows you're an active listener who really cares about what the other person has to say. That makes for a much more engaging interaction!Tip #5: Pay Attention To Non-Verbal CuesA big part of face-to-face communication happens through body language and facial expressions - not just words. You have to pay close attention to someone's non-verbal cues to fully understand them.If someone is frowning, fidgeting, or avoiding eye contact, they may be feeling uncomfortable, bored, or distracted. On the other hand, leaning in, smiling, and nodding signals they're engaged in the conversation.Notice these little hints so you can adjust how you're communicating. For example, if the person seems confused, rephrase your point more clearly. If they look distracted, try to re-engage them by asking a question.Tip #6: Put Away DistractionsThese days, we're constantly surrounded by potential distractions like phones, video games, and TV shows. But to be a rockstar face-to-face communicator, you need to minimize those distractions as much as possible.When you're in a conversation, silence your phone and put it away somewhere you can't see it. Same goes for any other tech devices. Give the person your full, undivided attention.If there are other distractions around like a loud TV or people talking nearby, try to minimize or eliminate those too. Or suggest moving to a quieter space where you can concentrate fully on your face-to-face chat.Tip #7: Practice, Practice, Practice!Just like anything else worth doing, becoming an awesome communicator takes practice. The good news? You can practice your skills every single day through all your face-to-face interactions!Chat with your parents over breakfast about your day. Have a friendly conversation with the person ringing up your groceries. Call on your courage to speak up more in class and offer answers or ideas.Each little exchange gives you a chance to work on skills like making eye contact, asking questions, minimizing distractions, and more. The more you practice, the more natural and easy it will become. Before you know it, you'll be a face-to-face communication superstar!Why Face-to-Face Still MattersIn today's digital world, it can sometimes feel likeface-to-face communication isn't as important anymore. We can just text, video chat, or message each other online, right?While those technologies are super useful, face-to-face interactions are still incredibly valuable. Research shows thatin-person communication boosts our ability to read body language and facial expressions. It also increases feelings of bonding, trust, and empathy between people.Plus, many of the most important moments in life happen face-to-face - hanging out with friends, celebrating special occasions, interviewing for jobs, and more. You'll want to have those irreplaceable personal connection skills!So keep working on those face-to-face skills, my friends. They'll help you navigate our modern world with confidence and create deeper bonds with the people around you. You've got this!篇3How to Be a Great Face-to-Face CommunicatorHi there! My name is Emma and I'm a 4th grader. Today I want to talk to you about something really important - how to bea great face-to-face communicator. You might be wondering why this matters for kids our age. Well, I'll tell you!Being able to communicate well when you're talking to someone in person is a super useful skill. It helps you make friends, work better in groups at school, listen and understand what others are saying, and express your own thoughts and feelings clearly. The best part is, by practicing good face-to-face communication now, you'll get really good at it. Then when you're older, you'll be awesome at things like job interviews, making presentations, and just getting along with all kinds of people.Pretty cool, right? So let me share some tips I've learned for being an A+ face-to-face communicator. Ready? Let's go!Tip #1: Make Eye ContactThis one is so important! When you're talking to someone, look them in the eyes. It shows you're focused on them and what they're saying. It also helps you pick up on their facial expressions and body language so you can better understand how they're feeling. My mom says making eye contact is a sign of confidence too.Tip #2: Listen CarefullyYou've got two ears and one mouth, which means you should listen twice as much as you speak! When someone is talking, really pay attention. Don't get distracted by what's going on around you. Nod your head once in a while to show them you're listening. And don't interrupt them until they're completely finished.Tip #3: Ask QuestionsOne of the best ways to be a good communicator is to ask questions. If you don't understand something, ask the person to explain it again. You can also ask questions to learn more about what they're talking about because it shows you're interested. Just don't ask tooooo many questions or it might seem likeyou're interrogating them!Tip #4: Speak Clearly and Louder Than You ThinkYou want to make sure the person can hear and understand you properly. Speak nice and loud, but don't shout at them! Pronounce your words clearly too instead of mumbling. My teacher taught us to pretend there's a tiny banana in our mouths when we talk to help keep our words nice and crisp.Tip #5: Use Good Body LanguageYour body movements and posture tell the other person a lot about how you're feeling. Sit or stand up straight to look confident and interested. Lean in a little bit when they're talking so they know you're engaged. Use hand gestures and facial expressions to match what you're saying. And don't fidget or look around the room too much.Tip #6: Be Polite and FriendlyHaving good manners goes a long way! Say "please" and "thank you." Don't interrupt people. Use their name when you greet them. Smile and make eye contact. It helps make the other person feel comfortable and respected. If you get upset or frustrated, stay calm and be polite about it instead of being rude or mean.Tip #7: Give It Your Full FocusWhen you're face-to-face with someone, don't let your mind wander or get distracted. Put away any phones, video games or other digital devices. Those can wait! Give your full attention to the person you're communicating with. That way, you won't miss any important information or details.Tip #8: Read Body Language TooJust like your body language tells the other person about how you're feeling, their body language gives you clues about their emotions. If their arms are crossed or they aren't making eye contact, they might be feeling anxious, bored or uncomfortable. Picking up on those signals can help you communicate better.Tip #9: Find Common GroundOne of the best ways to have great conversations is to find things you both can relate to and bond over. Maybe you're both really into a certain sports team, video game, book series or type of music. Or you've had similar experiences. The more you can connect over shared interests and backgrounds, the easier it'll be to communicate.Tip #10: Practice!Like anything, the more you practice face-to-face communication, the better you'll get at it. So don't be shy—strike up conversations with your friends, family members, teachers and other people you meet. The more you do it, the more confident and skilled you'll become as a communicator.Those are my top 10 tips for being a rockstar at face-to-face communication. I'll admit, some of them can feel a little awkwardor unnatural at first, especially if you're on the shyer side. But stick with it! These skills will help you make more friends, get better grades on group projects, and feel more confident in social situations.And trust me, all that practice will pay off big time. The better you can communicate face-to-face now, the less anxious and more successful you'll be when it comes to things like interviewing for jobs, giving presentations in class, expressing your thoughts and feelings clearly, and just getting along with all kinds of people throughout your life.Communicating effectively face-to-face is one of the most important life skills you can develop. So keep working on it, be patient with yourself, and before you know it, you'll be afirst-class communicator! Thanks for reading, and happy communicating!。
观看《面对面》落坡岭观后感
观看《面对面》落坡岭观后感（最新版3篇）目录（篇1）一、引言1.介绍《面对面》落坡岭的背景和相关信息。
2.强调该节目的意义和价值。
二、节目内容1.描述节目中的主要人物和事件。
2.分析节目中的主题和观点。
3.讨论节目中涉及的社会问题和现象。
三、个人观点1.分享观看节目的感受和思考。
2.阐述节目对自己的启发和影响。
3.提出对节目未来发展的建议和展望。
正文（篇1）《面对面》落坡岭是一部引人深思的节目，它以独特的视角和深入的剖析，揭示了当下社会的一些问题和现象。
观看这部节目，我深感震撼和启发。
节目以生动的形式，展示了落坡岭地区的历史和文化，让人们更深入地了解了这个地方。
节目中的主人公们，用他们的亲身经历，讲述了他们的故事，让我们感受到他们的艰辛和坚持。
同时，节目也探讨了一些社会问题，如环境保护、文化传承等，引起了广泛的社会关注和讨论。
个人认为，《面对面》落坡岭不仅是一档优秀的电视节目，更是一次文化的盛宴。
它以深入浅出的方式，传递了历史文化价值和社会责任意识，激发了观众的爱国情怀和民族自豪感。
目录（篇2）一、介绍* 简述《面对面》落坡岭的背景和故事情节* 解释为什么选择这部电影作为观后感的对象二、电影分析* 描述电影的主要情节和角色* 分析电影的视觉效果、音效和表演* 讨论电影的主题和价值观三、个人观点* 分享自己观看电影时的情感体验* 分析电影中的优点和缺点* 阐述自己从电影中获得的思想启示或感悟四、结论* 总结自己观看电影的感受和收获* 对电影进行总体评价和推荐正文（篇2）《面对面》落坡岭是一部关于友谊、家庭和成长的电影。
故事讲述了一群青少年在落坡岭这个地方共同成长的故事，他们经历了许多挑战和困难，最终找到了自己的方向。
电影的视觉效果非常出色，特别是落坡岭的美景和建筑，给人留下了深刻的印象。
音效也很到位，特别是背景音乐和人声，营造了温馨的氛围。
演员们的表演也非常到位，特别是主人公的成长过程，让人感同身受。
勇闯夺命岛安德鲁队长对话
勇闯夺命岛安德鲁队长对话
【原创版】
目录
1.引言：介绍勇闯夺命岛安德鲁队长对话的背景
2.对话内容：概述安德鲁队长与队员之间的对话
3.对话分析：深入剖析对话中的关键信息和亮点
4.总结：回顾对话内容，得出结论
正文
勇闯夺命岛是一部非常著名的动作片，讲述了一群特种部队成员执行任务的故事。
在这部电影中，安德鲁队长与队员之间的对话非常精彩，不仅展示了他们在执行任务过程中的紧张气氛，还揭示了他们之间的团队合作和信任。
在对话中，安德鲁队长向队员介绍了任务的背景和目标。
他告诉队员，他们需要进入夺命岛，夺取岛上的秘密文件。
这个任务非常危险，因为他们可能会遇到敌人的抵抗。
但是，安德鲁队长相信，只要他们团结一致，就能完成任务。
在对话中，安德鲁队长还强调了团队合作的重要性。
他告诉队员，他们必须相互信任，并且要互相支持。
只有这样，他们才能在执行任务的过程中取得成功。
此外，安德鲁队长还展示了他的领导才能和对队员的关心。
他鼓励队员，让他们相信自己能够完成任务。
同时，他也关心队员的安全，提醒他们要注意安全。
通过分析勇闯夺命岛安德鲁队长对话，我们可以得出结论，安德鲁队长是一个非常出色的领导者。
他善于团队合作，关心队员，并且有足够的信心带领团队完成任务。
面对面do的难度
面对面do的难度一、引言面对面do（Face-to-face Do）是指人们在直接面对面的情况下进行某项活动或任务。
在现代社会中，随着科技的发展，很多活动和任务可以通过网络和其他远程方式完成，但面对面do仍然是一种重要的交流和合作方式。
然而，面对面do也存在一定的难度，本文将深入探讨面对面do的难度及其原因，并提出相应的解决方法。
二、面对面do的难度及原因2.1 难度一：时间和地点的限制面对面do需要参与者在相同的时间和地点进行活动或任务，这对参与者的时间和空间安排提出了较高的要求。
参与者可能需要调整自己的日程安排，确保能够在特定的时间和地点参与活动或任务。
这对于工作繁忙或地理位置分散的团队来说尤其具有挑战性。
2.2 难度二：沟通和协作的困难面对面do可以实现实时的沟通和协作，但也存在一些困难。
首先，语言和文化差异可能会导致沟通障碍，影响参与者之间的理解和合作。
其次，面对面do需要参与者进行实时的互动和讨论，这要求参与者具备较高的沟通和协作能力。
对于一些羞涩或内向的人来说，面对面do可能会增加他们的压力和不安。
2.3 难度三：个人关系和情绪的影响面对面do可能涉及到个人关系和情绪的因素，这可能会对参与者的表现和结果产生影响。
例如，如果参与者之间存在紧张的关系或冲突，可能会影响他们的合作和沟通。
此外，个人情绪的波动也可能影响参与者的专注和效率，进而影响面对面do的结果。
三、面对面do的解决方法3.1 解决方法一：灵活的时间和地点安排为了解决时间和地点的限制，可以采取以下措施： - 制定合理的日程安排，充分考虑参与者的时间和地理位置差异。
- 利用科技手段，如视频会议和远程协作工具，实现虚拟的面对面do，减少时间和地点的限制。
3.2 解决方法二：加强沟通和协作能力为了应对沟通和协作的困难，可以采取以下方法： - 提供相应的培训和教育，提高参与者的跨文化沟通和协作能力。
- 制定明确的沟通和协作规范，明确参与者的责任和要求，减少沟通障碍。
克诺尔15周年年会视频文案
我和我的克诺尔章节1画面：石雁秋周六的早上8点突然接到电话，领班说缺料了：有件没到位；电话里也说不清，最好现场了解，然而女儿上午有培训班，又要接送，看着女儿期待的眼神，石雁秋跟女儿不舍的告别。
旁白：你拼搏着，但也割舍着。
画面：顿新炎每天在儿子熟睡中出门；儿子唱着生日歌过生日时，他正在与客户艰难谈判。
旁白：你追赶着，但也缺失着。
画面：阳志皋面对此起彼伏的故障处理，紧锣密鼓的原理学习，白天工作，晚上学习，疲惫的爬在桌上睡着。
旁白：你努力着，但也迷茫着。
章节2字幕：石雁秋，2005年加入克诺尔，朝目标奋斗的十三万一千四百个小时。
画面：到公司了解后，喷涂件还未及时到位，经协调，问题解决，没有影响，生产继续。
和同事们小小的击掌庆祝。
旁白：十五年里，你享受着每一次突破的喜悦。
字幕：阳志皋，2007年加入克诺尔，朝目标奋斗的十万零五千一百二十个小时。
画面：白天向同事咨询问题，晚上熬夜学习资料，遇到不清楚的问题总是马上写邮件向专家请教。
旁白：十五年里，你珍惜着每一次学习的机会。
字幕：顿新炎，2008年加入克诺尔，朝目标奋斗的十万零四千九百三十个小时。
画面：逛街的路上接到了出差的任务，迅速从背包里拿出早已准备好的衣服，匆匆换上，反方向与人流逆行。
旁白：十五年里，你践行着每一次出发的坚定。
章节3旁白：为什么选择努力？你回答说，因为努力过后，才能找到努力的意义。
画面：和欧洲同事交流项目方案，晚上继续和欧洲同事电话会议联系，自愿加班去积极有效的沟通，及时进行信息交流，终于得到他们的意见和反馈。
旁白：为什么选择坚持？你回答说，因为坚持过后，才能找到坚持的答案。
画面：沈阳皇姑屯的救援，零下二十几度的气温，漫天飞雪，电脑被冻得无法开机，他们坚持趴在铁轨上处理好故障。
旁白：为什么要共同推进目标？你回答说，目标并不是遥不可及，越过高山，穿过大海。
你会看到，它在闪闪发光，指引着前行的力量！画面：孩子指着缓缓停靠进车站的动车，说这是爸爸制造的刹车系统。
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与“Rockstars”面对面从高效省电的酷睿2微架构，到性能强悍无比的酷睿i7处理器；从开创无线应用的迅驰笔记本电脑，到更加自由、高速的WIMAX技术；从创新的High-K(铪材料)的发现，到革命性的45纳米制程彻底改变处理器的能效比……这些技术背后，隐藏着-个神秘的团体，这个团体可谓是整个Intel 公司创新的原动力，也是这些年Intel成功与发展的基础。
借着这次ResearchDay(研究日)活动，我们有幸与他们――InteILabs(英特尔研究院)的“Rock Slars'’(摇滚明星们)面对面。
相信你也和我一样，对InteI Labs充满了好奇，那就一起来瞧瞧Intel位于美国加州圣克拉拉(硅谷)总部的神秘之处吧!和IDF(Intel Developer Forum，英特尔信息技术峰会)相似但不同，Research Day(研究日)是Intel每年一次的研究成果展示活动，用于介绍Intel Labs(英特尔研究院)面向未来准备的大量最新技术，甚至一些仍只是概念，代表的是一种科技发展方向和趋势。
而IDF多是成果展示，细化到具体产品和各种解决方案。
这样说吧，很多IDF上展示的技术早在2-3年前的Research Day上就已经展示过了。
这就是Research Day的魅力所在。
今年的研究日是Intel举办的第七次活动，整个活动在加州山景城的计算机历史博物馆拉开了序幕，由来自Intel实验室的“摇滚明星们”现场展示了四十多项技术规划与概念，涉及环保生态，互联网3D图形，无线移动，企业IT等诸多领域。
活动一开始便是英特尔首席技术官兼Intel研究院总负责人贾斯汀(JustinRattnen的致辞，他简单介绍了Intel实验室的工作内容和构成(全球10个研究所，超过1000名研究员)，并表示：“今天英特尔研究人员在实验室里所做的工作将会从根本上改变未来的计算和通信，让人们能够享受到更加高效，便捷且能耗更低的计算体验，从而对人们未来的工作和生活方式产生深远的影响。
”有趣的是，英特尔新近广告“不同的巨星，同样的闪耀”中的两位主角：计算机与外围设备的连接标准USB的联合发明人巴特(Ajay Bhan)和无线电源和机器人研究的先锋人物史密斯(Joshua Smith)也出席了本次活动。
不过和广告上的人有很大的不同，无论是身高，长相，皮肤和头发的颜色都不一样，一问才得知，原来广告中是专业演员出演，而真正的明星也许并不愿意上镜头。
无论怎样，我们终于见到了另一个领域的明星，想想他们就是USB和无线输电(后续会介绍到)的发明人，崇敬之情油然而生。
环保创新旨在通过更智能的计算机能耗方式来改善环境，并应用相应的技术解决现实问题。
互联网3D图形研究范围包括：超逼真图形、自然人机界面、3D互联网、社交网络、万亿级架构和编程技术。
移动技术开发那些能够帮助用户在日常移动生活中保持在线互联、实现连续计算的技术。
企业级技术旨在开发可扩展、有助于保护隐私和具有安全性的通用互联网基础架构。
花絮：俗话说“好事多磨”，就在记者出发的当天(6月16日)，北京的天气突然雷雨交加，不得已飞机只能迫降太原，等天气转好再到北京时，飞往旧金山的航班已经起飞。
原定行程从重庆至北京再转机飞旧金山只能取消，不得已只能改签――先飞洛杉矶，再转机到旧金山，最后乘车至圣克拉拉。
原先总共不到20小时的行程变成了30多个小时，等赶到圣克拉拉时，已是当地时间第二天凌晨1点。
幸好早上加州明媚的阳光驱散了疲劳，迎接我们的是全新一天的开始――Research Day(6月17日)在计算机历史博物馆展开。
We are RocK StarS……谁是Rock Starts?在Intel最新的广告中，一位戴眼镜、身着Intel工装的工程师，面带微笑、春风得意地缓步走入办公室，Intel员工如同见到自己的偶像般，异常的兴奋和激动，于是纷纷索要签名，争先恐后与其拍照……最后的广告语是：“不同的巨星。
同样的闪耀”。
如果你看过国外的版本就更好理解了，“Our rock stars aren't like your rock stars”(我们的“摇滚明星”不是你们的摇滚明星)。
换句话讲，Intel员工们的明星是业内的高级工程师和各种技术的发明者，以他们为榜样，积极探索新技术改善人们的生活，而不是和普通人一样崇拜影视明星。
中国版广告的主角J?史密斯乃Intel Labs负责无线电源和机器人研究的先锋人物。
今天我们有幸在Research Day活动中见到了其本人。
不过，广告中的J?史密斯是由专业演员饰演，同时为了赢得中国观众的认同，特别挑选了一位华裔演员，而J?史密斯本人则是老美。
展示区部分新技术一览在计算机历史博物馆的二楼，是Intel本次Research Day 的展示区和Dem0研讨区。
来自Intel研究院的近百名“Rock Starts”展示了他们在各个领域超过45项最新的研究成果。
其中大多数是我们前所未闻的新技术，新概念，有的令人耳目一新，充满期待，有的则看似有点无聊――也许明星都有点疯狂，他们也不例外，只要我们孩子的孩子的孩子不会认为他们是一群疯了的家伙就行了。
由于篇幅所限，本文只挑选了Research DayN示区中的部分技术进行讲解，更多精彩内容，请登录 观看。
让NB看网路视频更省电――通信辅助式平台电源管理这项研究主要是分析Intel移动平台连续从网络获取数据时(例如目前流行的网络视频播放)，如何能延长电池的续航时间。
其成果是通过调整发射、接收和I／O中断等事件，使CPU和平台能够更快进入并长时间保持低功耗状态。
这种增强型电源管理方式可为各种负载节省高达30％的cPU能量损耗。
每个人都是环境监测者――移动社区环境数据感应网络的兴起和无处不在的移动设备，为人们创建新应用模式提供了独特的机会。
而这项在我们很多人看来并不感兴趣的研究中，英特尔的研究人员正在探索如何让移动设备集成环境传感器，这样全世界的日常用户就能收集并共享大量数据。
这些数据不仅能影响环境政策和法规，还可支持大量新的科学和医疗研究。
正在展示的是一个可随身携带的样机。
用来收集空气质量数据，并通过手机网络上传数据到一个网站，供大家直观地查看并讨论。
未来的游戏怎么玩一虚拟光击剑决斗去年，英特尔与微软在伊利诺斯大学共同注资建立了通用并行计算研究中心(UPCRC)，研究如何将(多核)并行计算应用程序推向主流。
而今天会场上也演示了许多基于并行计算技术的Demo。
其中最让记者们兴奋的一个程序，就是利用摄像头捕捉玩家影像，经过计算机处理后，让两个联网且处于不同空间的玩家可在同一个3D虚拟环境中进行互动，共同完成任务，或者一起玩击剑或跳绳这样的游戏。
网络版的分歧终端机――互联网的争议信息检索随着互联网的普及，我们现在已经习惯在网络上获取各种信息。
可是，这些信息真的准确，真实吗?这就需要网络版的分歧终端机来解决。
这项研究是Intel Labs的早期研究项目之一，目的是使互联网用户更轻松地穿越布满矛盾信息的雷区。
用户在线浏览新闻、博客或网站时，如果其它信息来源与某一观点有矛盾，页面自动就会突出显示这段文字。
点击这段文字，比如“每日一杯酒有利于健康”，就会跳出一个论点图框，显示对立双方观点信息的来源。
丰富你的起居室――MID充当万能遥控器“轻装上阵，畅想生活”的概念源自Intel Labs的设想，期望通过无线技术来提供更强大的移动应用体验。
例如在卧室，我们可以将笔记本电脑、MID和消费类电子设备(例如机顶盒，高清电视机，游戏主机等)通过无线技术串联在一起，以实现这些设备单独使用时所不能实现的娱乐体验。
例如你可以利用MID充当万能遥控器，控制笔记本电脑播放MP3音乐，同时打开电视机和机顶盒，选择你最喜欢的体育频道，接着又将数码相机里的照片传送到MID上观赏……上课讲话要小心――Classic PC上的声音监控程序这是Intel的研究人员正在演示一个基于ClassicPC的智能程序，它能通过Classic PC上的麦克风采集环境声音并分析，从而将两台或多台环境声音差不多的Classic PC组成一个组(前提是这些Classic PC都接入网络并都运行此程序)。
这样，就能方便中小学生在课堂听课，学习小组聚会、班级活动时自动切换群组，省去了操作软件的麻烦和时间。
当然，对于大学生而言，我相信他们更情愿卸载这个程序，以避免一些不必要的麻烦。
)实时光线追踪――三维水和三维显示尽管Intel的Larrabee迟迟未能见到其庐山真面目，但基于众核架构的运算――实时光线追踪技术(利用光物理学逼真地渲染交互式三维场景)已经进入实用阶段。
在这项演示中，Intel展示了实时光线追踪研究项目中的最新创新技术，包括更逼真的3D水面以及一次渲染500多个动画人物的能力。
其中一个版本还将在立体显示屏上渲染多摄像机视图，观众无需特殊的眼镜就可以看到三维场景。
在空气中传播电能――无线电源研究在5年前(迅驰技术推出以前)，我们很难想象笔记本电脑可以剪掉网线，实现无线上网。
而在这项我本人认为最值得赞赏的技术问世以前，我们更不能想象，Intel研究人员已经将下一个目标锁定，那就是剪掉笔记本电脑最后那根线――电源线。
Intel研究人员展示了一种名为“无线共振能源连接(WREL)”的无线电源技术。
其无线电力传输的能力可在一定范围内为手机，数码相机，笔记本电脑等设备“隔空充电”。
据悉，这项研究目前仍处于初级阶段，其原理是利用“共振”原理――两个振动频率相同的物体能高效传输能量。
研究人员已经成功运用上图装置在1米距离点亮一个60瓦的电灯泡。
未来的目标包括如何扩大无线电力的覆盖范围，如何在一个房间中同时为多台设备充电，如何提高传输效率等。
至于我提出的“辐射”是否会对人体造成伤害，Intel的工程师回答说，所有研究都是基于国际安全标准展开的，未来用户可以放心使用这些新技术。
探秘Intel总部除了Research Day展示区外，本次活动我们还有幸参观了Intel位于硅谷的总部及其博物馆。
尽管时间匆忙，但是我们仍看到了两项Intel最尖端、最神秘的技术――硅光子技术(SiliconPhotonics)和众核万亿次计算(Teraflops)。
硅光子技术(Silicon Photonics)简单的理解，硅光电技术就是用光来替代传统的铜导线传输信号，以获得更高的传输带宽。
研究人员早在上个世纪末就设想如果能将光纤设备集成到芯片中，那必将使得处理器乃至整个PC的传输效率发生质的改变―――这也就是后来出现的“光脑”的概念。
但问题在于传统的光传输设备异常昂贵，且体积较大，无法“集成”到芯片内部。
直到近两年，Intel才率先宣布成功将激光的产生，传输，编码，解码都集成到了一块芯片当中去，硅光子(Silicon Photonics)技术终于成功地在单片硅晶中得到了实现!这预示着我们即将进入一个200Gbps，甚至更高带宽都很稀松平常的时代。