CONFLICT+WITHIN+VIRTUAL+TEAMS+litt+review
人物素材英语作文
人物素材英语作文Character ProfileCrafting a compelling character is a fundamental aspect of storytelling. Whether you're writing a novel, a screenplay, or a short story, the characters that populate your narrative world are what bring it to life and captivate your audience. A well-developed character can elevate a plot from mundane to mesmerizing, evoking emotions and drawing readers deeper into the fictional realm you've created.At the heart of a character profile lies a deep understanding of the individual's unique personality traits, background, motivations, and flaws. These elements work in tandem to create a multidimensional persona that feels authentic and relatable. As you delve into the process of character development, consider the following key components that will help you bring your characters to life.Backstory and Formative ExperiencesThe foundation of a character's personality is often rooted in theirpast. Exploring the significant events, relationships, and circumstances that have shaped an individual's worldview can provide invaluable insights into their present-day attitudes, behaviors, and decision-making processes.What were the pivotal moments in their childhood that influenced their development? How did their family dynamics or socioeconomic status impact their formative years? Did they experience any traumatic events or significant losses that left a lasting impression? By uncovering the threads of a character's backstory, you can imbue them with a depth and complexity that resonates with readers.Personality Traits and QuirksBeyond the broad strokes of a character's history, delving into their distinct personality traits and quirks can lend them a heightened sense of authenticity. Consider the character's dominant personality traits – are they introverted or extroverted, confident or insecure, analytical or impulsive? How do these traits manifest in their daily interactions and decision-making?Additionally, explore the unique quirks and idiosyncrasies that make the character stand out. Perhaps they have a nervous habit of twirling their hair when they're deep in thought, or a penchant for collecting obscure trinkets. These small details can humanize a character and make them feel more tangible and relatable to thereader.Motivations and DesiresAt the heart of every compelling character lies a set of deeply-rooted motivations and desires that drive their actions and decisions. What are the character's overarching goals and ambitions? What are they striving to achieve, whether it's personal, professional, or something more abstract, like finding a sense of purpose or belonging?Equally important are the character's underlying fears, insecurities, and emotional wounds. What are the obstacles and challenges they must overcome to attain their goals? How do these internal and external conflicts shape their choices and propel the narrative forward?By understanding the motivations that fuel a character's journey, you can create a sense of emotional investment and investment in the reader, who will be compelled to follow along and discover how the story unfolds.Flaws and WeaknessesWhile it's tempting to create a protagonist who is flawless and heroic, the most captivating characters are often those who possess a rich tapestry of strengths and weaknesses. Flaws and weaknesses make characters more relatable and human, and can also serve as thecatalyst for growth and transformation throughout the narrative.Perhaps the character struggles with a short temper or a tendency to be overly critical. Maybe they have a deep-seated fear of vulnerability or a crippling sense of self-doubt. These imperfections not only make the character more multidimensional, but they also create opportunities for conflict, both internal and external, that can drive the plot forward.Appearance and MannerismsThe physical attributes and mannerisms of a character can also play a crucial role in shaping their personality and conveying important information to the reader. Consider the character's age, gender, physical build, and distinctive features. How do these elements align with or contrast with their personality traits and backstory?Additionally, pay attention to the character's body language, speech patterns, and habitual behaviors. Do they have a tendency to fidget when they're nervous? Do they maintain steady eye contact or do they often avert their gaze? The way a character carries themselves and interacts with their environment can provide valuable insights into their inner workings and the way they navigate the world around them.Relationships and InteractionsThe way a character interacts with and relates to the other individuals in the narrative can reveal a great deal about their personality and the ways in which they engage with the world. Explore the character's significant relationships – with family members, friends, romantic partners, or adversaries. How do these relationships shape the character's actions and decisions? What do these interactions say about the character's values, priorities, and interpersonal skills?Additionally, consider how the character's behavior and mannerisms may shift depending on the context and the individuals they're interacting with. Do they present a different face to the world than they do in the privacy of their own home? How do they navigate the nuances of different social situations, and what do these interactions reveal about their emotional intelligence and adaptability?By delving into the multifaceted nature of a character's relationships and interactions, you can create a rich tapestry of interpersonal dynamics that add depth and complexity to your narrative.ConclusionCrafting a compelling character is an intricate and multifaceted process, but one that is essential to creating a captivating and immersive story. By exploring the character's backstory, personality traits, motivations, flaws, physical attributes, and relationships, youcan breathe life into a protagonist (or antagonist) that will resonate with your readers and linger in their minds long after the final page has been turned.Remember, the key to creating a truly memorable character lies in striking a balance between the universal and the unique. Tap into the shared human experiences and emotions that will connect with your audience, but imbue your character with a distinct and authentic personality that sets them apart. With a deep understanding of your character's inner workings and a commitment to bringing them to life on the page, you can craft a narrative that will captivate and inspire your readers.。
A Good Team work
COMMITMENT 信守承诺
A team that commit…: 信守承诺的团队： Create clarity around direction and priorities 目标和重点清 晰 Aligns the entire team around common objectives 步调一致 Develops and ability to learn from mistakes 能从失误中学 习 Takes advantage of opportunities before competitors do 总 能抢先于竞争对手把握机会 Moves forward without hesitation 不优柔寡断 Changes direction without hesitation or guilt. 能迅速调方向
TRUST 相互信任
Members of teams with an absence of trust… 缺乏信任的团队: 缺乏信任的团队 Conceal their weaknesses and mistakes from one another 掩盖失误和弱点 Hesitate to offer help outside their own areas of responsibility 自己部门以外的事不愿帮忙 Jump to conclusions about the intensions and aptitudes of others without attempting to clarify them 对他人的倾向和动 机轻易下结论
FOCUS ON RESULTS 注重结果
A Team that is not focused on results…: 不注重结果的团队 Stagnates / fails to grow 停滞不前 Rarely defeats competitors 竞争中败绩累累 Loses achievement oriented employees 失去好员工 Encourages team members to focus on their own careers and individual goals 队员更注重个人事业发展目标。 Is easily distracted. 朝令夕改。
3GPP TS 36.331 V13.2.0 (2016-06)
3GPP TS 36.331 V13.2.0 (2016-06)Technical Specification3rd Generation Partnership Project;Technical Specification Group Radio Access Network;Evolved Universal Terrestrial Radio Access (E-UTRA);Radio Resource Control (RRC);Protocol specification(Release 13)The present document has been developed within the 3rd Generation Partnership Project (3GPP TM) and may be further elaborated for the purposes of 3GPP. The present document has not been subject to any approval process by the 3GPP Organizational Partners and shall not be implemented.This Specification is provided for future development work within 3GPP only. The Organizational Partners accept no liability for any use of this Specification. Specifications and reports for implementation of the 3GPP TM system should be obtained via the 3GPP Organizational Partners' Publications Offices.KeywordsUMTS, radio3GPPPostal address3GPP support office address650 Route des Lucioles - Sophia AntipolisValbonne - FRANCETel.: +33 4 92 94 42 00 Fax: +33 4 93 65 47 16InternetCopyright NotificationNo part may be reproduced except as authorized by written permission.The copyright and the foregoing restriction extend to reproduction in all media.© 2016, 3GPP Organizational Partners (ARIB, ATIS, CCSA, ETSI, TSDSI, TTA, TTC).All rights reserved.UMTS™ is a Trade Mark of ETSI registered for the benefit of its members3GPP™ is a Trade Mark of ETSI registered for the benefit of its Members and of the 3GPP Organizational PartnersLTE™ is a Trade Mark of ETSI currently being registered for the benefit of its Members and of the 3GPP Organizational Partners GSM® and the GSM logo are registered and owned by the GSM AssociationBluetooth® is a Trade Mark of the Bluetooth SIG registered for the benefit of its membersContentsForeword (18)1Scope (19)2References (19)3Definitions, symbols and abbreviations (22)3.1Definitions (22)3.2Abbreviations (24)4General (27)4.1Introduction (27)4.2Architecture (28)4.2.1UE states and state transitions including inter RAT (28)4.2.2Signalling radio bearers (29)4.3Services (30)4.3.1Services provided to upper layers (30)4.3.2Services expected from lower layers (30)4.4Functions (30)5Procedures (32)5.1General (32)5.1.1Introduction (32)5.1.2General requirements (32)5.2System information (33)5.2.1Introduction (33)5.2.1.1General (33)5.2.1.2Scheduling (34)5.2.1.2a Scheduling for NB-IoT (34)5.2.1.3System information validity and notification of changes (35)5.2.1.4Indication of ETWS notification (36)5.2.1.5Indication of CMAS notification (37)5.2.1.6Notification of EAB parameters change (37)5.2.1.7Access Barring parameters change in NB-IoT (37)5.2.2System information acquisition (38)5.2.2.1General (38)5.2.2.2Initiation (38)5.2.2.3System information required by the UE (38)5.2.2.4System information acquisition by the UE (39)5.2.2.5Essential system information missing (42)5.2.2.6Actions upon reception of the MasterInformationBlock message (42)5.2.2.7Actions upon reception of the SystemInformationBlockType1 message (42)5.2.2.8Actions upon reception of SystemInformation messages (44)5.2.2.9Actions upon reception of SystemInformationBlockType2 (44)5.2.2.10Actions upon reception of SystemInformationBlockType3 (45)5.2.2.11Actions upon reception of SystemInformationBlockType4 (45)5.2.2.12Actions upon reception of SystemInformationBlockType5 (45)5.2.2.13Actions upon reception of SystemInformationBlockType6 (45)5.2.2.14Actions upon reception of SystemInformationBlockType7 (45)5.2.2.15Actions upon reception of SystemInformationBlockType8 (45)5.2.2.16Actions upon reception of SystemInformationBlockType9 (46)5.2.2.17Actions upon reception of SystemInformationBlockType10 (46)5.2.2.18Actions upon reception of SystemInformationBlockType11 (46)5.2.2.19Actions upon reception of SystemInformationBlockType12 (47)5.2.2.20Actions upon reception of SystemInformationBlockType13 (48)5.2.2.21Actions upon reception of SystemInformationBlockType14 (48)5.2.2.22Actions upon reception of SystemInformationBlockType15 (48)5.2.2.23Actions upon reception of SystemInformationBlockType16 (48)5.2.2.24Actions upon reception of SystemInformationBlockType17 (48)5.2.2.25Actions upon reception of SystemInformationBlockType18 (48)5.2.2.26Actions upon reception of SystemInformationBlockType19 (49)5.2.3Acquisition of an SI message (49)5.2.3a Acquisition of an SI message by BL UE or UE in CE or a NB-IoT UE (50)5.3Connection control (50)5.3.1Introduction (50)5.3.1.1RRC connection control (50)5.3.1.2Security (52)5.3.1.2a RN security (53)5.3.1.3Connected mode mobility (53)5.3.1.4Connection control in NB-IoT (54)5.3.2Paging (55)5.3.2.1General (55)5.3.2.2Initiation (55)5.3.2.3Reception of the Paging message by the UE (55)5.3.3RRC connection establishment (56)5.3.3.1General (56)5.3.3.1a Conditions for establishing RRC Connection for sidelink communication/ discovery (58)5.3.3.2Initiation (59)5.3.3.3Actions related to transmission of RRCConnectionRequest message (63)5.3.3.3a Actions related to transmission of RRCConnectionResumeRequest message (64)5.3.3.4Reception of the RRCConnectionSetup by the UE (64)5.3.3.4a Reception of the RRCConnectionResume by the UE (66)5.3.3.5Cell re-selection while T300, T302, T303, T305, T306, or T308 is running (68)5.3.3.6T300 expiry (68)5.3.3.7T302, T303, T305, T306, or T308 expiry or stop (69)5.3.3.8Reception of the RRCConnectionReject by the UE (70)5.3.3.9Abortion of RRC connection establishment (71)5.3.3.10Handling of SSAC related parameters (71)5.3.3.11Access barring check (72)5.3.3.12EAB check (73)5.3.3.13Access barring check for ACDC (73)5.3.3.14Access Barring check for NB-IoT (74)5.3.4Initial security activation (75)5.3.4.1General (75)5.3.4.2Initiation (76)5.3.4.3Reception of the SecurityModeCommand by the UE (76)5.3.5RRC connection reconfiguration (77)5.3.5.1General (77)5.3.5.2Initiation (77)5.3.5.3Reception of an RRCConnectionReconfiguration not including the mobilityControlInfo by theUE (77)5.3.5.4Reception of an RRCConnectionReconfiguration including the mobilityControlInfo by the UE(handover) (79)5.3.5.5Reconfiguration failure (83)5.3.5.6T304 expiry (handover failure) (83)5.3.5.7Void (84)5.3.5.7a T307 expiry (SCG change failure) (84)5.3.5.8Radio Configuration involving full configuration option (84)5.3.6Counter check (86)5.3.6.1General (86)5.3.6.2Initiation (86)5.3.6.3Reception of the CounterCheck message by the UE (86)5.3.7RRC connection re-establishment (87)5.3.7.1General (87)5.3.7.2Initiation (87)5.3.7.3Actions following cell selection while T311 is running (88)5.3.7.4Actions related to transmission of RRCConnectionReestablishmentRequest message (89)5.3.7.5Reception of the RRCConnectionReestablishment by the UE (89)5.3.7.6T311 expiry (91)5.3.7.7T301 expiry or selected cell no longer suitable (91)5.3.7.8Reception of RRCConnectionReestablishmentReject by the UE (91)5.3.8RRC connection release (92)5.3.8.1General (92)5.3.8.2Initiation (92)5.3.8.3Reception of the RRCConnectionRelease by the UE (92)5.3.8.4T320 expiry (93)5.3.9RRC connection release requested by upper layers (93)5.3.9.1General (93)5.3.9.2Initiation (93)5.3.10Radio resource configuration (93)5.3.10.0General (93)5.3.10.1SRB addition/ modification (94)5.3.10.2DRB release (95)5.3.10.3DRB addition/ modification (95)5.3.10.3a1DC specific DRB addition or reconfiguration (96)5.3.10.3a2LWA specific DRB addition or reconfiguration (98)5.3.10.3a3LWIP specific DRB addition or reconfiguration (98)5.3.10.3a SCell release (99)5.3.10.3b SCell addition/ modification (99)5.3.10.3c PSCell addition or modification (99)5.3.10.4MAC main reconfiguration (99)5.3.10.5Semi-persistent scheduling reconfiguration (100)5.3.10.6Physical channel reconfiguration (100)5.3.10.7Radio Link Failure Timers and Constants reconfiguration (101)5.3.10.8Time domain measurement resource restriction for serving cell (101)5.3.10.9Other configuration (102)5.3.10.10SCG reconfiguration (103)5.3.10.11SCG dedicated resource configuration (104)5.3.10.12Reconfiguration SCG or split DRB by drb-ToAddModList (105)5.3.10.13Neighbour cell information reconfiguration (105)5.3.10.14Void (105)5.3.10.15Sidelink dedicated configuration (105)5.3.10.16T370 expiry (106)5.3.11Radio link failure related actions (107)5.3.11.1Detection of physical layer problems in RRC_CONNECTED (107)5.3.11.2Recovery of physical layer problems (107)5.3.11.3Detection of radio link failure (107)5.3.12UE actions upon leaving RRC_CONNECTED (109)5.3.13UE actions upon PUCCH/ SRS release request (110)5.3.14Proximity indication (110)5.3.14.1General (110)5.3.14.2Initiation (111)5.3.14.3Actions related to transmission of ProximityIndication message (111)5.3.15Void (111)5.4Inter-RAT mobility (111)5.4.1Introduction (111)5.4.2Handover to E-UTRA (112)5.4.2.1General (112)5.4.2.2Initiation (112)5.4.2.3Reception of the RRCConnectionReconfiguration by the UE (112)5.4.2.4Reconfiguration failure (114)5.4.2.5T304 expiry (handover to E-UTRA failure) (114)5.4.3Mobility from E-UTRA (114)5.4.3.1General (114)5.4.3.2Initiation (115)5.4.3.3Reception of the MobilityFromEUTRACommand by the UE (115)5.4.3.4Successful completion of the mobility from E-UTRA (116)5.4.3.5Mobility from E-UTRA failure (117)5.4.4Handover from E-UTRA preparation request (CDMA2000) (117)5.4.4.1General (117)5.4.4.2Initiation (118)5.4.4.3Reception of the HandoverFromEUTRAPreparationRequest by the UE (118)5.4.5UL handover preparation transfer (CDMA2000) (118)5.4.5.1General (118)5.4.5.2Initiation (118)5.4.5.3Actions related to transmission of the ULHandoverPreparationTransfer message (119)5.4.5.4Failure to deliver the ULHandoverPreparationTransfer message (119)5.4.6Inter-RAT cell change order to E-UTRAN (119)5.4.6.1General (119)5.4.6.2Initiation (119)5.4.6.3UE fails to complete an inter-RAT cell change order (119)5.5Measurements (120)5.5.1Introduction (120)5.5.2Measurement configuration (121)5.5.2.1General (121)5.5.2.2Measurement identity removal (122)5.5.2.2a Measurement identity autonomous removal (122)5.5.2.3Measurement identity addition/ modification (123)5.5.2.4Measurement object removal (124)5.5.2.5Measurement object addition/ modification (124)5.5.2.6Reporting configuration removal (126)5.5.2.7Reporting configuration addition/ modification (127)5.5.2.8Quantity configuration (127)5.5.2.9Measurement gap configuration (127)5.5.2.10Discovery signals measurement timing configuration (128)5.5.2.11RSSI measurement timing configuration (128)5.5.3Performing measurements (128)5.5.3.1General (128)5.5.3.2Layer 3 filtering (131)5.5.4Measurement report triggering (131)5.5.4.1General (131)5.5.4.2Event A1 (Serving becomes better than threshold) (135)5.5.4.3Event A2 (Serving becomes worse than threshold) (136)5.5.4.4Event A3 (Neighbour becomes offset better than PCell/ PSCell) (136)5.5.4.5Event A4 (Neighbour becomes better than threshold) (137)5.5.4.6Event A5 (PCell/ PSCell becomes worse than threshold1 and neighbour becomes better thanthreshold2) (138)5.5.4.6a Event A6 (Neighbour becomes offset better than SCell) (139)5.5.4.7Event B1 (Inter RAT neighbour becomes better than threshold) (139)5.5.4.8Event B2 (PCell becomes worse than threshold1 and inter RAT neighbour becomes better thanthreshold2) (140)5.5.4.9Event C1 (CSI-RS resource becomes better than threshold) (141)5.5.4.10Event C2 (CSI-RS resource becomes offset better than reference CSI-RS resource) (141)5.5.4.11Event W1 (WLAN becomes better than a threshold) (142)5.5.4.12Event W2 (All WLAN inside WLAN mobility set becomes worse than threshold1 and a WLANoutside WLAN mobility set becomes better than threshold2) (142)5.5.4.13Event W3 (All WLAN inside WLAN mobility set becomes worse than a threshold) (143)5.5.5Measurement reporting (144)5.5.6Measurement related actions (148)5.5.6.1Actions upon handover and re-establishment (148)5.5.6.2Speed dependant scaling of measurement related parameters (149)5.5.7Inter-frequency RSTD measurement indication (149)5.5.7.1General (149)5.5.7.2Initiation (150)5.5.7.3Actions related to transmission of InterFreqRSTDMeasurementIndication message (150)5.6Other (150)5.6.0General (150)5.6.1DL information transfer (151)5.6.1.1General (151)5.6.1.2Initiation (151)5.6.1.3Reception of the DLInformationTransfer by the UE (151)5.6.2UL information transfer (151)5.6.2.1General (151)5.6.2.2Initiation (151)5.6.2.3Actions related to transmission of ULInformationTransfer message (152)5.6.2.4Failure to deliver ULInformationTransfer message (152)5.6.3UE capability transfer (152)5.6.3.1General (152)5.6.3.2Initiation (153)5.6.3.3Reception of the UECapabilityEnquiry by the UE (153)5.6.4CSFB to 1x Parameter transfer (157)5.6.4.1General (157)5.6.4.2Initiation (157)5.6.4.3Actions related to transmission of CSFBParametersRequestCDMA2000 message (157)5.6.4.4Reception of the CSFBParametersResponseCDMA2000 message (157)5.6.5UE Information (158)5.6.5.1General (158)5.6.5.2Initiation (158)5.6.5.3Reception of the UEInformationRequest message (158)5.6.6 Logged Measurement Configuration (159)5.6.6.1General (159)5.6.6.2Initiation (160)5.6.6.3Reception of the LoggedMeasurementConfiguration by the UE (160)5.6.6.4T330 expiry (160)5.6.7 Release of Logged Measurement Configuration (160)5.6.7.1General (160)5.6.7.2Initiation (160)5.6.8 Measurements logging (161)5.6.8.1General (161)5.6.8.2Initiation (161)5.6.9In-device coexistence indication (163)5.6.9.1General (163)5.6.9.2Initiation (164)5.6.9.3Actions related to transmission of InDeviceCoexIndication message (164)5.6.10UE Assistance Information (165)5.6.10.1General (165)5.6.10.2Initiation (166)5.6.10.3Actions related to transmission of UEAssistanceInformation message (166)5.6.11 Mobility history information (166)5.6.11.1General (166)5.6.11.2Initiation (166)5.6.12RAN-assisted WLAN interworking (167)5.6.12.1General (167)5.6.12.2Dedicated WLAN offload configuration (167)5.6.12.3WLAN offload RAN evaluation (167)5.6.12.4T350 expiry or stop (167)5.6.12.5Cell selection/ re-selection while T350 is running (168)5.6.13SCG failure information (168)5.6.13.1General (168)5.6.13.2Initiation (168)5.6.13.3Actions related to transmission of SCGFailureInformation message (168)5.6.14LTE-WLAN Aggregation (169)5.6.14.1Introduction (169)5.6.14.2Reception of LWA configuration (169)5.6.14.3Release of LWA configuration (170)5.6.15WLAN connection management (170)5.6.15.1Introduction (170)5.6.15.2WLAN connection status reporting (170)5.6.15.2.1General (170)5.6.15.2.2Initiation (171)5.6.15.2.3Actions related to transmission of WLANConnectionStatusReport message (171)5.6.15.3T351 Expiry (WLAN connection attempt timeout) (171)5.6.15.4WLAN status monitoring (171)5.6.16RAN controlled LTE-WLAN interworking (172)5.6.16.1General (172)5.6.16.2WLAN traffic steering command (172)5.6.17LTE-WLAN aggregation with IPsec tunnel (173)5.6.17.1General (173)5.7Generic error handling (174)5.7.1General (174)5.7.2ASN.1 violation or encoding error (174)5.7.3Field set to a not comprehended value (174)5.7.4Mandatory field missing (174)5.7.5Not comprehended field (176)5.8MBMS (176)5.8.1Introduction (176)5.8.1.1General (176)5.8.1.2Scheduling (176)5.8.1.3MCCH information validity and notification of changes (176)5.8.2MCCH information acquisition (178)5.8.2.1General (178)5.8.2.2Initiation (178)5.8.2.3MCCH information acquisition by the UE (178)5.8.2.4Actions upon reception of the MBSFNAreaConfiguration message (178)5.8.2.5Actions upon reception of the MBMSCountingRequest message (179)5.8.3MBMS PTM radio bearer configuration (179)5.8.3.1General (179)5.8.3.2Initiation (179)5.8.3.3MRB establishment (179)5.8.3.4MRB release (179)5.8.4MBMS Counting Procedure (179)5.8.4.1General (179)5.8.4.2Initiation (180)5.8.4.3Reception of the MBMSCountingRequest message by the UE (180)5.8.5MBMS interest indication (181)5.8.5.1General (181)5.8.5.2Initiation (181)5.8.5.3Determine MBMS frequencies of interest (182)5.8.5.4Actions related to transmission of MBMSInterestIndication message (183)5.8a SC-PTM (183)5.8a.1Introduction (183)5.8a.1.1General (183)5.8a.1.2SC-MCCH scheduling (183)5.8a.1.3SC-MCCH information validity and notification of changes (183)5.8a.1.4Procedures (184)5.8a.2SC-MCCH information acquisition (184)5.8a.2.1General (184)5.8a.2.2Initiation (184)5.8a.2.3SC-MCCH information acquisition by the UE (184)5.8a.2.4Actions upon reception of the SCPTMConfiguration message (185)5.8a.3SC-PTM radio bearer configuration (185)5.8a.3.1General (185)5.8a.3.2Initiation (185)5.8a.3.3SC-MRB establishment (185)5.8a.3.4SC-MRB release (185)5.9RN procedures (186)5.9.1RN reconfiguration (186)5.9.1.1General (186)5.9.1.2Initiation (186)5.9.1.3Reception of the RNReconfiguration by the RN (186)5.10Sidelink (186)5.10.1Introduction (186)5.10.1a Conditions for sidelink communication operation (187)5.10.2Sidelink UE information (188)5.10.2.1General (188)5.10.2.2Initiation (189)5.10.2.3Actions related to transmission of SidelinkUEInformation message (193)5.10.3Sidelink communication monitoring (195)5.10.6Sidelink discovery announcement (198)5.10.6a Sidelink discovery announcement pool selection (201)5.10.6b Sidelink discovery announcement reference carrier selection (201)5.10.7Sidelink synchronisation information transmission (202)5.10.7.1General (202)5.10.7.2Initiation (203)5.10.7.3Transmission of SLSS (204)5.10.7.4Transmission of MasterInformationBlock-SL message (205)5.10.7.5Void (206)5.10.8Sidelink synchronisation reference (206)5.10.8.1General (206)5.10.8.2Selection and reselection of synchronisation reference UE (SyncRef UE) (206)5.10.9Sidelink common control information (207)5.10.9.1General (207)5.10.9.2Actions related to reception of MasterInformationBlock-SL message (207)5.10.10Sidelink relay UE operation (207)5.10.10.1General (207)5.10.10.2AS-conditions for relay related sidelink communication transmission by sidelink relay UE (207)5.10.10.3AS-conditions for relay PS related sidelink discovery transmission by sidelink relay UE (208)5.10.10.4Sidelink relay UE threshold conditions (208)5.10.11Sidelink remote UE operation (208)5.10.11.1General (208)5.10.11.2AS-conditions for relay related sidelink communication transmission by sidelink remote UE (208)5.10.11.3AS-conditions for relay PS related sidelink discovery transmission by sidelink remote UE (209)5.10.11.4Selection and reselection of sidelink relay UE (209)5.10.11.5Sidelink remote UE threshold conditions (210)6Protocol data units, formats and parameters (tabular & ASN.1) (210)6.1General (210)6.2RRC messages (212)6.2.1General message structure (212)–EUTRA-RRC-Definitions (212)–BCCH-BCH-Message (212)–BCCH-DL-SCH-Message (212)–BCCH-DL-SCH-Message-BR (213)–MCCH-Message (213)–PCCH-Message (213)–DL-CCCH-Message (214)–DL-DCCH-Message (214)–UL-CCCH-Message (214)–UL-DCCH-Message (215)–SC-MCCH-Message (215)6.2.2Message definitions (216)–CounterCheck (216)–CounterCheckResponse (217)–CSFBParametersRequestCDMA2000 (217)–CSFBParametersResponseCDMA2000 (218)–DLInformationTransfer (218)–HandoverFromEUTRAPreparationRequest (CDMA2000) (219)–InDeviceCoexIndication (220)–InterFreqRSTDMeasurementIndication (222)–LoggedMeasurementConfiguration (223)–MasterInformationBlock (225)–MBMSCountingRequest (226)–MBMSCountingResponse (226)–MBMSInterestIndication (227)–MBSFNAreaConfiguration (228)–MeasurementReport (228)–MobilityFromEUTRACommand (229)–Paging (232)–ProximityIndication (233)–RNReconfiguration (234)–RNReconfigurationComplete (234)–RRCConnectionReconfiguration (235)–RRCConnectionReconfigurationComplete (240)–RRCConnectionReestablishment (241)–RRCConnectionReestablishmentComplete (241)–RRCConnectionReestablishmentReject (242)–RRCConnectionReestablishmentRequest (243)–RRCConnectionReject (243)–RRCConnectionRelease (244)–RRCConnectionResume (248)–RRCConnectionResumeComplete (249)–RRCConnectionResumeRequest (250)–RRCConnectionRequest (250)–RRCConnectionSetup (251)–RRCConnectionSetupComplete (252)–SCGFailureInformation (253)–SCPTMConfiguration (254)–SecurityModeCommand (255)–SecurityModeComplete (255)–SecurityModeFailure (256)–SidelinkUEInformation (256)–SystemInformation (258)–SystemInformationBlockType1 (259)–UEAssistanceInformation (264)–UECapabilityEnquiry (265)–UECapabilityInformation (266)–UEInformationRequest (267)–UEInformationResponse (267)–ULHandoverPreparationTransfer (CDMA2000) (273)–ULInformationTransfer (274)–WLANConnectionStatusReport (274)6.3RRC information elements (275)6.3.1System information blocks (275)–SystemInformationBlockType2 (275)–SystemInformationBlockType3 (279)–SystemInformationBlockType4 (282)–SystemInformationBlockType5 (283)–SystemInformationBlockType6 (287)–SystemInformationBlockType7 (289)–SystemInformationBlockType8 (290)–SystemInformationBlockType9 (295)–SystemInformationBlockType10 (295)–SystemInformationBlockType11 (296)–SystemInformationBlockType12 (297)–SystemInformationBlockType13 (297)–SystemInformationBlockType14 (298)–SystemInformationBlockType15 (298)–SystemInformationBlockType16 (299)–SystemInformationBlockType17 (300)–SystemInformationBlockType18 (301)–SystemInformationBlockType19 (301)–SystemInformationBlockType20 (304)6.3.2Radio resource control information elements (304)–AntennaInfo (304)–AntennaInfoUL (306)–CQI-ReportConfig (307)–CQI-ReportPeriodicProcExtId (314)–CrossCarrierSchedulingConfig (314)–CSI-IM-Config (315)–CSI-IM-ConfigId (315)–CSI-RS-Config (317)–CSI-RS-ConfigEMIMO (318)–CSI-RS-ConfigNZP (319)–CSI-RS-ConfigNZPId (320)–CSI-RS-ConfigZP (321)–CSI-RS-ConfigZPId (321)–DMRS-Config (321)–DRB-Identity (322)–EPDCCH-Config (322)–EIMTA-MainConfig (324)–LogicalChannelConfig (325)–LWA-Configuration (326)–LWIP-Configuration (326)–RCLWI-Configuration (327)–MAC-MainConfig (327)–P-C-AndCBSR (332)–PDCCH-ConfigSCell (333)–PDCP-Config (334)–PDSCH-Config (337)–PDSCH-RE-MappingQCL-ConfigId (339)–PHICH-Config (339)–PhysicalConfigDedicated (339)–P-Max (344)–PRACH-Config (344)–PresenceAntennaPort1 (346)–PUCCH-Config (347)–PUSCH-Config (351)–RACH-ConfigCommon (355)–RACH-ConfigDedicated (357)–RadioResourceConfigCommon (358)–RadioResourceConfigDedicated (362)–RLC-Config (367)–RLF-TimersAndConstants (369)–RN-SubframeConfig (370)–SchedulingRequestConfig (371)–SoundingRS-UL-Config (372)–SPS-Config (375)–TDD-Config (376)–TimeAlignmentTimer (377)–TPC-PDCCH-Config (377)–TunnelConfigLWIP (378)–UplinkPowerControl (379)–WLAN-Id-List (382)–WLAN-MobilityConfig (382)6.3.3Security control information elements (382)–NextHopChainingCount (382)–SecurityAlgorithmConfig (383)–ShortMAC-I (383)6.3.4Mobility control information elements (383)–AdditionalSpectrumEmission (383)–ARFCN-ValueCDMA2000 (383)–ARFCN-ValueEUTRA (384)–ARFCN-ValueGERAN (384)–ARFCN-ValueUTRA (384)–BandclassCDMA2000 (384)–BandIndicatorGERAN (385)–CarrierFreqCDMA2000 (385)–CarrierFreqGERAN (385)–CellIndexList (387)–CellReselectionPriority (387)–CellSelectionInfoCE (387)–CellReselectionSubPriority (388)–CSFB-RegistrationParam1XRTT (388)–CellGlobalIdEUTRA (389)–CellGlobalIdUTRA (389)–CellGlobalIdGERAN (390)–CellGlobalIdCDMA2000 (390)–CellSelectionInfoNFreq (391)–CSG-Identity (391)–FreqBandIndicator (391)–MobilityControlInfo (391)–MobilityParametersCDMA2000 (1xRTT) (393)–MobilityStateParameters (394)–MultiBandInfoList (394)–NS-PmaxList (394)–PhysCellId (395)–PhysCellIdRange (395)–PhysCellIdRangeUTRA-FDDList (395)–PhysCellIdCDMA2000 (396)–PhysCellIdGERAN (396)–PhysCellIdUTRA-FDD (396)–PhysCellIdUTRA-TDD (396)–PLMN-Identity (397)–PLMN-IdentityList3 (397)–PreRegistrationInfoHRPD (397)–Q-QualMin (398)–Q-RxLevMin (398)–Q-OffsetRange (398)–Q-OffsetRangeInterRAT (399)–ReselectionThreshold (399)–ReselectionThresholdQ (399)–SCellIndex (399)–ServCellIndex (400)–SpeedStateScaleFactors (400)–SystemInfoListGERAN (400)–SystemTimeInfoCDMA2000 (401)–TrackingAreaCode (401)–T-Reselection (402)–T-ReselectionEUTRA-CE (402)6.3.5Measurement information elements (402)–AllowedMeasBandwidth (402)–CSI-RSRP-Range (402)–Hysteresis (402)–LocationInfo (403)–MBSFN-RSRQ-Range (403)–MeasConfig (404)–MeasDS-Config (405)–MeasGapConfig (406)–MeasId (407)–MeasIdToAddModList (407)–MeasObjectCDMA2000 (408)–MeasObjectEUTRA (408)–MeasObjectGERAN (412)–MeasObjectId (412)–MeasObjectToAddModList (412)–MeasObjectUTRA (413)–ReportConfigEUTRA (422)–ReportConfigId (425)–ReportConfigInterRAT (425)–ReportConfigToAddModList (428)–ReportInterval (429)–RSRP-Range (429)–RSRQ-Range (430)–RSRQ-Type (430)–RS-SINR-Range (430)–RSSI-Range-r13 (431)–TimeToTrigger (431)–UL-DelayConfig (431)–WLAN-CarrierInfo (431)–WLAN-RSSI-Range (432)–WLAN-Status (432)6.3.6Other information elements (433)–AbsoluteTimeInfo (433)–AreaConfiguration (433)–C-RNTI (433)–DedicatedInfoCDMA2000 (434)–DedicatedInfoNAS (434)–FilterCoefficient (434)–LoggingDuration (434)–LoggingInterval (435)–MeasSubframePattern (435)–MMEC (435)–NeighCellConfig (435)–OtherConfig (436)–RAND-CDMA2000 (1xRTT) (437)–RAT-Type (437)–ResumeIdentity (437)–RRC-TransactionIdentifier (438)–S-TMSI (438)–TraceReference (438)–UE-CapabilityRAT-ContainerList (438)–UE-EUTRA-Capability (439)–UE-RadioPagingInfo (469)–UE-TimersAndConstants (469)–VisitedCellInfoList (470)–WLAN-OffloadConfig (470)6.3.7MBMS information elements (472)–MBMS-NotificationConfig (472)–MBMS-ServiceList (473)–MBSFN-AreaId (473)–MBSFN-AreaInfoList (473)–MBSFN-SubframeConfig (474)–PMCH-InfoList (475)6.3.7a SC-PTM information elements (476)–SC-MTCH-InfoList (476)–SCPTM-NeighbourCellList (478)6.3.8Sidelink information elements (478)–SL-CommConfig (478)–SL-CommResourcePool (479)–SL-CP-Len (480)–SL-DiscConfig (481)–SL-DiscResourcePool (483)–SL-DiscTxPowerInfo (485)–SL-GapConfig (485)。
英语作文如何提升团队协作
英语作文如何提升团队协作How to Improve Team Collaboration。
Team collaboration is essential for the success of any organization. When team members work together effectively, they can achieve more than they could on their own. However, building a strong team that collaborates well can be a challenge. In this essay, we will explore some strategiesfor improving team collaboration.First and foremost, communication is key to effective team collaboration. Team members should be encouraged to communicate openly and honestly with one another. This means sharing ideas, asking questions, and providing feedback in a respectful manner. Regular team meetings can help facilitate communication and ensure that everyone ison the same page.In addition to open communication, it is important for team members to trust one another. Trust is the foundationof any successful team collaboration. When team memberstrust each other, they are more likely to share information, take risks, and support one another. Building trust takes time, but it can be fostered through team-building activities, social events, and by setting clearexpectations for behavior.Another important factor in team collaboration is diversity. Teams that are composed of individuals with different backgrounds, skills, and perspectives are often more innovative and creative. Diversity can help teamsthink outside the box and come up with new and unique solutions to problems. It is important for team leaders to embrace diversity and create an inclusive environment where all team members feel valued and respected.Furthermore, setting clear goals and expectations is crucial for team collaboration. When team members know what is expected of them and have a clear understanding of the team's objectives, they are more likely to work together towards a common goal. Team leaders should establish SMART goals that are specific, measurable, achievable, relevant,and time-bound. Regularly reviewing progress towards these goals can help keep team members motivated and focused.Finally, it is important for team members to be willing to compromise and work together to resolve conflicts. Conflict is a natural part of any team collaboration, butit can be managed effectively through open communication, active listening, and a willingness to find common ground. Team leaders should encourage team members to address conflicts openly and constructively, and to seek win-win solutions that benefit everyone involved.In conclusion, improving team collaboration requires open communication, trust, diversity, clear goals, and conflict resolution skills. By implementing these strategies, teams can work together more effectively and achieve greater success. Team collaboration is a journey, not a destination, and it requires ongoing effort and commitment from all team members. With the right approach, any team can become a high-performing and collaborative unit.。
漫威经典语录英文-概述说明以及解释
漫威经典语录英文1.I am Iron Man.2.I can do this all day.3.I am Groot.4.I have nothing to prove to you.5.With great power comes great responsibility.6.I'm always angry.7.I could do this all day.8.I'm with you 'til the end of the line.9.I am inevitable.10.We are Groot.11.I am the Black Panther.12.I'm not a queen, or a monster... I'm the Goddess of Death!13.I have nothing to prove to anyone.14.Part of the journey is the end.15.Dormammu, I've come to bargain.16.I can feel the righteousness surging!17.I don't like bullies; I don't care where they're from.18.We have a Hulk.19.He may have been your father, boy, but he wasn't your daddy.20.We don't trade lives.21.I am Iron Man.22.I can do this all day.23.I am Groot.24.I've been falling for thirty minutes!25.With great power comes great responsibility.26.I'm always angry.27.I can tell the Bifrost is vibrating, so I know he is alive.28.I'm sorry, Earth is closed today.29.Genius billionaire playboy philanthropist.30.I am Loki of Asgard, and I am burdened with glorious purpose.31.Puny god.32.We have a Hulk.33.It's not about control, it's about letting go.34.The sun will shine on us again.35.That's my secret, Cap: I'm always angry.36.I can do this all day.37.Avengers, assemble.38.I can do this all day.39.Everything burns.40.Part of the journey is the end.41.I am Iron Man.42.I could do this all day.43.With great power comes great responsibility.44.Why so serious?45.I am Groot.46.You’re a wizard, Harry.47.It’s not who I am underneath, but what I do that defines me.48.The night is darkest just before the dawn.49.I am vengeance, I am the night, I am Batman.50.I want you to remember the one man who beat you.51.A hero can be anyone, even a man doing something as simple and reassuring as putting a coat around a young boy’s shoulders to let him know that the world hadn’t ended.52.I’m not the monster. You are.53.Assemble.54.I’m gonna make him an offer he can’t refuse.55.Toto, I've a feeling we're not in Kansas anymore.56.You can't handle the truth!57.Here's looking at you, kid.58.May the Force be with you.59.You shall not pass!60.Life is like a box of chocolates; you never know what you're gonna get.62.I have nothing to prove to you.63.When you can do the things that I can, but you don't, and then the bad things happen? They happen because of you.64.Part of the journey is the end.65.I don't need a suit to protect the world.66.Underoos!67.I love you 3,000.68.Truth is, I am Iron Man.69.I understood that reference.70.Give me a scotch. I'm starving.71.He's a friend from work!72.I can do this all day.73.I can't control their fear. Only my own.74.We are Groot.75.We have a Hulk.76.Some people move on. But not us.77.Are you Tony Stank?78.Dormammu, I've come to bargain!79.I don't like bullies; I don't care where they're from.80.You're not the guy to make the sacrifice play. To lay down ona wire and let the other guy crawl over you.82.You put on that helmet, you’re the enemy of every man we’ve ever encountered!83.It’s not about control. It’s about letting go.84.I don’t have friends. I got family.85.You think you’re the only superhero in the world? Mr. Stark, you’ve become part of a bigger universe.86.When you have power, you always have to make a choice.87.Our very strength invites challenge. Challenge incites conflict.88.An empire toppled by its enemies can rise again, but one which crumbles from within? That’s dead forever.89.With great power comes great responsibility.90.Power at all costs. No matter how many lives the broken ruins beneath us.91.Humans are odd. They think order and chaos are somehow opposites.92.If we can’t protect the Earth, you can be damned well sure we’ll avenge it.93.I don’t hold people’s hand when they walk out of my movies.94.You know, it’s times like these when I realize what asuperhero I am.95.We have a Hulk.96.Can’t sleep. You know, I’ve been thinking about taking a vacation.97.There are men laying down their lives. I got no right to do any less than them.98.You will never be a god.99.I could do this all day.100.Some people move on, but not us.101.Make a list of everything you've ever feared. Start at the beginning.102.Wherever I go, he goes.103.A hero can be anyone.104.You're not the guy to make the sacrifice play.105.With great power comes great responsibility.106.I'm always angry.107.We have a Hulk.108.I could do this all day.109.Heroes are made by the path they choose, not the powers they are graced with.110.I'm with you till the end of the line.111.You're a madman.112.The world already has enough superheroes.113.This is your last chance.114.You know, I'm helpful like that.115.The price of freedom is high, and it's a price I'm willing to pay.116.Vengeance has consumed you. It is consuming them. I'm done letting it consume me.117.Part of the journey is the end.118.It's not about how much we lost, it's about how much we have left.119.I can do this all day.120.We're in the endgame now.121.I can do this all day. - Steve Rogers/Captain America122.I am Iron Man. - Tony Stark/Iron Man123.The sun will shine on us again. - Thor124.The truth is... I am Iron Man. - Tony Stark/Iron Man125.I choose to run towards my problems and not away from them. - Thor126.I can't control their fear, only my own. - Wanda Maximoff/Scarlet Witch127.It's not about saving our world. It's about saving theirs. - Natasha Romanoff/Black Widow128.Dread it, run from it, destiny arrives all the same. - Thanos 129.I can't save them all. - Peter Parker/Spider-Man130.I'm not strong enough. - Steve Rogers/Captain America131.That's my secret, Cap: I'm always angry. - Bruce Banner/The Hulk132.I don't seek vengeance. I seek justice. - T'Challa/Black Panther133.Some people move on, but not us. - Steve Rogers/Captain America134.I am inevitable. - Thanos135.Fall seven times, stand up eight. - Natashi Romanoff/Black Widow136.I know what it's like to lose. To feel so desperately that you're right, yet to fail nonetheless. - Thanos137.A hero is only as good as the villain. - Tony Stark/Iron Man 138.I don't have to prove anything to anyone. - Carol Danvers/Captain Marvel139.We are not alone. - Dr. Stephen Strange140.Even if there's a small chance, we owe this to everyone who's not in this room to try. - Natasha Romanoff/Black Widow。
第九章_Project resource management项目管理知识体系PMBOK英文第六版
Physical resource management
• Physical resource management is concentrated in allocating and using the physical resources (material, equipment, and supplies, for example) needed for successful completion of the project in an efficient and effective way.
• Failing to manage and control resources efficiently is a source of risk for successful project completion.
• For example:
– Failing to secure critical equipment or infrastructure on time may result in delays in the manufacturing of the final product,
– Virtual teams/distributed teams. The globalization of projects has promoted the need for virtual teams that work on the same project, but are not colocated at the same site.
• These processes help ensure that the right resources will be available to the project manager and project team at the right time and place.
Native Instruments MASCHINE MIKRO MK3用户手册说明书
The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu-ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments.“Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru-ments GmbH.ASIO, VST, HALion and Cubase are registered trademarks of Steinberg Media Technologies GmbH.All other product and company names are trademarks™ or registered® trademarks of their re-spective holders. Use of them does not imply any affiliation with or endorsement by them.Document authored by: David Gover and Nico Sidi.Software version: 2.8 (02/2019)Hardware version: MASCHINE MIKRO MK3Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product.NATIVE INSTRUMENTS GmbH Schlesische Str. 29-30D-10997 Berlin Germanywww.native-instruments.de NATIVE INSTRUMENTS North America, Inc. 6725 Sunset Boulevard5th FloorLos Angeles, CA 90028USANATIVE INSTRUMENTS K.K.YO Building 3FJingumae 6-7-15, Shibuya-ku, Tokyo 150-0001Japanwww.native-instruments.co.jp NATIVE INSTRUMENTS UK Limited 18 Phipp StreetLondon EC2A 4NUUKNATIVE INSTRUMENTS FRANCE SARL 113 Rue Saint-Maur75011 ParisFrance SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 5F, Shenzhen Zimao Center111 Taizi Road, Nanshan District, Shenzhen, GuangdongChina© NATIVE INSTRUMENTS GmbH, 2019. All rights reserved.Table of Contents1Welcome to MASCHINE (23)1.1MASCHINE Documentation (24)1.2Document Conventions (25)1.3New Features in MASCHINE 2.8 (26)1.4New Features in MASCHINE 2.7.10 (28)1.5New Features in MASCHINE 2.7.8 (29)1.6New Features in MASCHINE 2.7.7 (29)1.7New Features in MASCHINE 2.7.4 (31)1.8New Features in MASCHINE 2.7.3 (33)2Quick Reference (35)2.1MASCHINE Project Overview (35)2.1.1Sound Content (35)2.1.2Arrangement (37)2.2MASCHINE Hardware Overview (40)2.2.1MASCHINE MIKRO Hardware Overview (40)2.2.1.1Browser Section (41)2.2.1.2Edit Section (42)2.2.1.3Performance Section (43)2.2.1.4Transport Section (45)2.2.1.5Pad Section (46)2.2.1.6Rear Panel (50)2.3MASCHINE Software Overview (51)2.3.1Header (52)2.3.2Browser (54)2.3.3Arranger (56)2.3.4Control Area (59)2.3.5Pattern Editor (60)3Basic Concepts (62)3.1Important Names and Concepts (62)3.2Adjusting the MASCHINE User Interface (65)3.2.1Adjusting the Size of the Interface (65)3.2.2Switching between Ideas View and Song View (66)3.2.3Showing/Hiding the Browser (67)3.2.4Showing/Hiding the Control Lane (67)3.3Common Operations (68)3.3.1Adjusting Volume, Swing, and Tempo (68)3.3.2Undo/Redo (71)3.3.3Focusing on a Group or a Sound (73)3.3.4Switching Between the Master, Group, and Sound Level (77)3.3.5Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.773.3.6Navigating the Software Using the Controller (82)3.3.7Using Two or More Hardware Controllers (82)3.3.8Loading a Recent Project from the Controller (84)3.4Native Kontrol Standard (85)3.5Stand-Alone and Plug-in Mode (86)3.5.1Differences between Stand-Alone and Plug-in Mode (86)3.5.2Switching Instances (88)3.6Preferences (88)3.6.1Preferences – General Page (89)3.6.2Preferences – Audio Page (93)3.6.3Preferences – MIDI Page (95)3.6.4Preferences – Default Page (97)3.6.5Preferences – Library Page (101)3.6.6Preferences – Plug-ins Page (109)3.6.7Preferences – Hardware Page (114)3.6.8Preferences – Colors Page (114)3.7Integrating MASCHINE into a MIDI Setup (117)3.7.1Connecting External MIDI Equipment (117)3.7.2Sync to External MIDI Clock (117)3.7.3Send MIDI Clock (118)3.7.4Using MIDI Mode (119)3.8Syncing MASCHINE using Ableton Link (120)3.8.1Connecting to a Network (121)3.8.2Joining and Leaving a Link Session (121)4Browser (123)4.1Browser Basics (123)4.1.1The MASCHINE Library (123)4.1.2Browsing the Library vs. Browsing Your Hard Disks (124)4.2Searching and Loading Files from the Library (125)4.2.1Overview of the Library Pane (125)4.2.2Selecting or Loading a Product and Selecting a Bank from the Browser (128)4.2.3Selecting a Product Category, a Product, a Bank, and a Sub-Bank (133)4.2.3.1Selecting a Product Category, a Product, a Bank, and a Sub-Bank on theController (137)4.2.4Selecting a File Type (137)4.2.5Choosing Between Factory and User Content (138)4.2.6Selecting Type and Character Tags (138)4.2.7Performing a Text Search (142)4.2.8Loading a File from the Result List (143)4.3Additional Browsing Tools (148)4.3.1Loading the Selected Files Automatically (148)4.3.2Auditioning Instrument Presets (149)4.3.3Auditioning Samples (150)4.3.4Loading Groups with Patterns (150)4.3.5Loading Groups with Routing (151)4.3.6Displaying File Information (151)4.4Using Favorites in the Browser (152)4.5Editing the Files’ Tags and Properties (155)4.5.1Attribute Editor Basics (155)4.5.2The Bank Page (157)4.5.3The Types and Characters Pages (157)4.5.4The Properties Page (160)4.6Loading and Importing Files from Your File System (161)4.6.1Overview of the FILES Pane (161)4.6.2Using Favorites (163)4.6.3Using the Location Bar (164)4.6.4Navigating to Recent Locations (165)4.6.5Using the Result List (166)4.6.6Importing Files to the MASCHINE Library (169)4.7Locating Missing Samples (171)4.8Using Quick Browse (173)5Managing Sounds, Groups, and Your Project (175)5.1Overview of the Sounds, Groups, and Master (175)5.1.1The Sound, Group, and Master Channels (176)5.1.2Similarities and Differences in Handling Sounds and Groups (177)5.1.3Selecting Multiple Sounds or Groups (178)5.2Managing Sounds (181)5.2.1Loading Sounds (183)5.2.2Pre-listening to Sounds (184)5.2.3Renaming Sound Slots (185)5.2.4Changing the Sound’s Color (186)5.2.5Saving Sounds (187)5.2.6Copying and Pasting Sounds (189)5.2.7Moving Sounds (192)5.2.8Resetting Sound Slots (193)5.3Managing Groups (194)5.3.1Creating Groups (196)5.3.2Loading Groups (197)5.3.3Renaming Groups (198)5.3.4Changing the Group’s Color (199)5.3.5Saving Groups (200)5.3.6Copying and Pasting Groups (202)5.3.7Reordering Groups (206)5.3.8Deleting Groups (207)5.4Exporting MASCHINE Objects and Audio (208)5.4.1Saving a Group with its Samples (208)5.4.2Saving a Project with its Samples (210)5.4.3Exporting Audio (212)5.5Importing Third-Party File Formats (218)5.5.1Loading REX Files into Sound Slots (218)5.5.2Importing MPC Programs to Groups (219)6Playing on the Controller (223)6.1Adjusting the Pads (223)6.1.1The Pad View in the Software (223)6.1.2Choosing a Pad Input Mode (225)6.1.3Adjusting the Base Key (226)6.2Adjusting the Key, Choke, and Link Parameters for Multiple Sounds (227)6.3Playing Tools (229)6.3.1Mute and Solo (229)6.3.2Choke All Notes (233)6.3.3Groove (233)6.3.4Level, Tempo, Tune, and Groove Shortcuts on Your Controller (235)6.3.5Tap Tempo (235)6.4Performance Features (236)6.4.1Overview of the Perform Features (236)6.4.2Selecting a Scale and Creating Chords (239)6.4.3Scale and Chord Parameters (240)6.4.4Creating Arpeggios and Repeated Notes (253)6.4.5Swing on Note Repeat / Arp Output (257)6.5Using Lock Snapshots (257)6.5.1Creating a Lock Snapshot (257)7Working with Plug-ins (259)7.1Plug-in Overview (259)7.1.1Plug-in Basics (259)7.1.2First Plug-in Slot of Sounds: Choosing the Sound’s Role (263)7.1.3Loading, Removing, and Replacing a Plug-in (264)7.1.4Adjusting the Plug-in Parameters (270)7.1.5Bypassing Plug-in Slots (270)7.1.6Using Side-Chain (272)7.1.7Moving Plug-ins (272)7.1.8Alternative: the Plug-in Strip (273)7.1.9Saving and Recalling Plug-in Presets (273)7.1.9.1Saving Plug-in Presets (274)7.1.9.2Recalling Plug-in Presets (275)7.1.9.3Removing a Default Plug-in Preset (276)7.2The Sampler Plug-in (277)7.2.1Page 1: Voice Settings / Engine (279)7.2.2Page 2: Pitch / Envelope (281)7.2.3Page 3: FX / Filter (283)7.2.4Page 4: Modulation (285)7.2.5Page 5: LFO (286)7.2.6Page 6: Velocity / Modwheel (288)7.3Using Native Instruments and External Plug-ins (289)7.3.1Opening/Closing Plug-in Windows (289)7.3.2Using the VST/AU Plug-in Parameters (292)7.3.3Setting Up Your Own Parameter Pages (293)7.3.4Using VST/AU Plug-in Presets (298)7.3.5Multiple-Output Plug-ins and Multitimbral Plug-ins (300)8Using the Audio Plug-in (302)8.1Loading a Loop into the Audio Plug-in (306)8.2Editing Audio in the Audio Plug-in (307)8.3Using Loop Mode (308)8.4Using Gate Mode (310)9Using the Drumsynths (312)9.1Drumsynths – General Handling (313)9.1.1Engines: Many Different Drums per Drumsynth (313)9.1.2Common Parameter Organization (313)9.1.3Shared Parameters (316)9.1.4Various Velocity Responses (316)9.1.5Pitch Range, Tuning, and MIDI Notes (316)9.2The Kicks (317)9.2.1Kick – Sub (319)9.2.2Kick – Tronic (321)9.2.3Kick – Dusty (324)9.2.4Kick – Grit (325)9.2.5Kick – Rasper (328)9.2.6Kick – Snappy (329)9.2.7Kick – Bold (331)9.2.8Kick – Maple (333)9.2.9Kick – Push (334)9.3The Snares (336)9.3.1Snare – Volt (338)9.3.2Snare – Bit (340)9.3.3Snare – Pow (342)9.3.4Snare – Sharp (343)9.3.5Snare – Airy (345)9.3.6Snare – Vintage (347)9.3.7Snare – Chrome (349)9.3.8Snare – Iron (351)9.3.9Snare – Clap (353)9.3.10Snare – Breaker (355)9.4The Hi-hats (357)9.4.1Hi-hat – Silver (358)9.4.2Hi-hat – Circuit (360)9.4.3Hi-hat – Memory (362)9.4.4Hi-hat – Hybrid (364)9.4.5Creating a Pattern with Closed and Open Hi-hats (366)9.5The Toms (367)9.5.1Tom – Tronic (369)9.5.2Tom – Fractal (371)9.5.3Tom – Floor (375)9.5.4Tom – High (377)9.6The Percussions (378)9.6.1Percussion – Fractal (380)9.6.2Percussion – Kettle (383)9.6.3Percussion – Shaker (385)9.7The Cymbals (389)9.7.1Cymbal – Crash (391)9.7.2Cymbal – Ride (393)10Using the Bass Synth (396)10.1Bass Synth – General Handling (397)10.1.1Parameter Organization (397)10.1.2Bass Synth Parameters (399)11Working with Patterns (401)11.1Pattern Basics (401)11.1.1Pattern Editor Overview (402)11.1.2Navigating the Event Area (404)11.1.3Following the Playback Position in the Pattern (406)11.1.4Jumping to Another Playback Position in the Pattern (407)11.1.5Group View and Keyboard View (408)11.1.6Adjusting the Arrange Grid and the Pattern Length (410)11.1.7Adjusting the Step Grid and the Nudge Grid (413)11.2Recording Patterns in Real Time (416)11.2.1Recording Your Patterns Live (417)11.2.2Using the Metronome (419)11.2.3Recording with Count-in (420)11.3Recording Patterns with the Step Sequencer (422)11.3.1Step Mode Basics (422)11.3.2Editing Events in Step Mode (424)11.4Editing Events (425)11.4.1Editing Events with the Mouse: an Overview (425)11.4.2Creating Events/Notes (428)11.4.3Selecting Events/Notes (429)11.4.4Editing Selected Events/Notes (431)11.4.5Deleting Events/Notes (434)11.4.6Cut, Copy, and Paste Events/Notes (436)11.4.7Quantizing Events/Notes (439)11.4.8Quantization While Playing (441)11.4.9Doubling a Pattern (442)11.4.10Adding Variation to Patterns (442)11.5Recording and Editing Modulation (443)11.5.1Which Parameters Are Modulatable? (444)11.5.2Recording Modulation (446)11.5.3Creating and Editing Modulation in the Control Lane (447)11.6Creating MIDI Tracks from Scratch in MASCHINE (452)11.7Managing Patterns (454)11.7.1The Pattern Manager and Pattern Mode (455)11.7.2Selecting Patterns and Pattern Banks (456)11.7.3Creating Patterns (459)11.7.4Deleting Patterns (460)11.7.5Creating and Deleting Pattern Banks (461)11.7.6Naming Patterns (463)11.7.7Changing the Pattern’s Color (465)11.7.8Duplicating, Copying, and Pasting Patterns (466)11.7.9Moving Patterns (469)11.8Importing/Exporting Audio and MIDI to/from Patterns (470)11.8.1Exporting Audio from Patterns (470)11.8.2Exporting MIDI from Patterns (472)11.8.3Importing MIDI to Patterns (474)12Audio Routing, Remote Control, and Macro Controls (483)12.1Audio Routing in MASCHINE (484)12.1.1Sending External Audio to Sounds (485)12.1.2Configuring the Main Output of Sounds and Groups (489)12.1.3Setting Up Auxiliary Outputs for Sounds and Groups (494)12.1.4Configuring the Master and Cue Outputs of MASCHINE (497)12.1.5Mono Audio Inputs (502)12.1.5.1Configuring External Inputs for Sounds in Mix View (503)12.2Using MIDI Control and Host Automation (506)12.2.1Triggering Sounds via MIDI Notes (507)12.2.2Triggering Scenes via MIDI (513)12.2.3Controlling Parameters via MIDI and Host Automation (514)12.2.4Selecting VST/AU Plug-in Presets via MIDI Program Change (522)12.2.5Sending MIDI from Sounds (523)12.3Creating Custom Sets of Parameters with the Macro Controls (527)12.3.1Macro Control Overview (527)12.3.2Assigning Macro Controls Using the Software (528)13Controlling Your Mix (535)13.1Mix View Basics (535)13.1.1Switching between Arrange View and Mix View (535)13.1.2Mix View Elements (536)13.2The Mixer (537)13.2.1Displaying Groups vs. Displaying Sounds (539)13.2.2Adjusting the Mixer Layout (541)13.2.3Selecting Channel Strips (542)13.2.4Managing Your Channels in the Mixer (543)13.2.5Adjusting Settings in the Channel Strips (545)13.2.6Using the Cue Bus (549)13.3The Plug-in Chain (551)13.4The Plug-in Strip (552)13.4.1The Plug-in Header (554)13.4.2Panels for Drumsynths and Internal Effects (556)13.4.3Panel for the Sampler (557)13.4.4Custom Panels for Native Instruments Plug-ins (560)13.4.5Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) (564)14Using Effects (567)14.1Applying Effects to a Sound, a Group or the Master (567)14.1.1Adding an Effect (567)14.1.2Other Operations on Effects (574)14.1.3Using the Side-Chain Input (575)14.2Applying Effects to External Audio (578)14.2.1Step 1: Configure MASCHINE Audio Inputs (578)14.2.2Step 2: Set up a Sound to Receive the External Input (579)14.2.3Step 3: Load an Effect to Process an Input (579)14.3Creating a Send Effect (580)14.3.1Step 1: Set Up a Sound or Group as Send Effect (581)14.3.2Step 2: Route Audio to the Send Effect (583)14.3.3 A Few Notes on Send Effects (583)14.4Creating Multi-Effects (584)15Effect Reference (587)15.1Dynamics (588)15.1.1Compressor (588)15.1.2Gate (591)15.1.3Transient Master (594)15.1.4Limiter (596)15.1.5Maximizer (600)15.2Filtering Effects (603)15.2.1EQ (603)15.2.2Filter (605)15.2.3Cabinet (609)15.3Modulation Effects (611)15.3.1Chorus (611)15.3.2Flanger (612)15.3.3FM (613)15.3.4Freq Shifter (615)15.3.5Phaser (616)15.4Spatial and Reverb Effects (617)15.4.1Ice (617)15.4.2Metaverb (619)15.4.3Reflex (620)15.4.4Reverb (Legacy) (621)15.4.5Reverb (623)15.4.5.1Reverb Room (623)15.4.5.2Reverb Hall (626)15.4.5.3Plate Reverb (629)15.5Delays (630)15.5.1Beat Delay (630)15.5.2Grain Delay (632)15.5.3Grain Stretch (634)15.5.4Resochord (636)15.6Distortion Effects (638)15.6.1Distortion (638)15.6.2Lofi (640)15.6.3Saturator (641)15.7Perform FX (645)15.7.1Filter (646)15.7.2Flanger (648)15.7.3Burst Echo (650)15.7.4Reso Echo (653)15.7.5Ring (656)15.7.6Stutter (658)15.7.7Tremolo (661)15.7.8Scratcher (664)16Working with the Arranger (667)16.1Arranger Basics (667)16.1.1Navigating Song View (670)16.1.2Following the Playback Position in Your Project (672)16.1.3Performing with Scenes and Sections using the Pads (673)16.2Using Ideas View (677)16.2.1Scene Overview (677)16.2.2Creating Scenes (679)16.2.3Assigning and Removing Patterns (679)16.2.4Selecting Scenes (682)16.2.5Deleting Scenes (684)16.2.6Creating and Deleting Scene Banks (685)16.2.7Clearing Scenes (685)16.2.8Duplicating Scenes (685)16.2.9Reordering Scenes (687)16.2.10Making Scenes Unique (688)16.2.11Appending Scenes to Arrangement (689)16.2.12Naming Scenes (689)16.2.13Changing the Color of a Scene (690)16.3Using Song View (692)16.3.1Section Management Overview (692)16.3.2Creating Sections (694)16.3.3Assigning a Scene to a Section (695)16.3.4Selecting Sections and Section Banks (696)16.3.5Reorganizing Sections (700)16.3.6Adjusting the Length of a Section (702)16.3.6.1Adjusting the Length of a Section Using the Software (703)16.3.6.2Adjusting the Length of a Section Using the Controller (705)16.3.7Clearing a Pattern in Song View (705)16.3.8Duplicating Sections (705)16.3.8.1Making Sections Unique (707)16.3.9Removing Sections (707)16.3.10Renaming Scenes (708)16.3.11Clearing Sections (710)16.3.12Creating and Deleting Section Banks (710)16.3.13Working with Patterns in Song view (710)16.3.13.1Creating a Pattern in Song View (711)16.3.13.2Selecting a Pattern in Song View (711)16.3.13.3Clearing a Pattern in Song View (711)16.3.13.4Renaming a Pattern in Song View (711)16.3.13.5Coloring a Pattern in Song View (712)16.3.13.6Removing a Pattern in Song View (712)16.3.13.7Duplicating a Pattern in Song View (712)16.3.14Enabling Auto Length (713)16.3.15Looping (714)16.3.15.1Setting the Loop Range in the Software (714)16.3.15.2Activating or Deactivating a Loop Using the Controller (715)16.4Playing with Sections (715)16.4.1Jumping to another Playback Position in Your Project (716)16.5Triggering Sections or Scenes via MIDI (717)16.6The Arrange Grid (719)16.7Quick Grid (720)17Sampling and Sample Mapping (722)17.1Opening the Sample Editor (722)17.2Recording Audio (724)17.2.1Opening the Record Page (724)17.2.2Selecting the Source and the Recording Mode (725)17.2.3Arming, Starting, and Stopping the Recording (729)17.2.5Checking Your Recordings (731)17.2.6Location and Name of Your Recorded Samples (734)17.3Editing a Sample (735)17.3.1Using the Edit Page (735)17.3.2Audio Editing Functions (739)17.4Slicing a Sample (743)17.4.1Opening the Slice Page (743)17.4.2Adjusting the Slicing Settings (744)17.4.3Manually Adjusting Your Slices (746)17.4.4Applying the Slicing (750)17.5Mapping Samples to Zones (754)17.5.1Opening the Zone Page (754)17.5.2Zone Page Overview (755)17.5.3Selecting and Managing Zones in the Zone List (756)17.5.4Selecting and Editing Zones in the Map View (761)17.5.5Editing Zones in the Sample View (765)17.5.6Adjusting the Zone Settings (767)17.5.7Adding Samples to the Sample Map (770)18Appendix: Tips for Playing Live (772)18.1Preparations (772)18.1.1Focus on the Hardware (772)18.1.2Customize the Pads of the Hardware (772)18.1.3Check Your CPU Power Before Playing (772)18.1.4Name and Color Your Groups, Patterns, Sounds and Scenes (773)18.1.5Consider Using a Limiter on Your Master (773)18.1.6Hook Up Your Other Gear and Sync It with MIDI Clock (773)18.1.7Improvise (773)18.2Basic Techniques (773)18.2.1Use Mute and Solo (773)18.2.2Create Variations of Your Drum Patterns in the Step Sequencer (774)18.2.3Use Note Repeat (774)18.2.4Set Up Your Own Multi-effect Groups and Automate Them (774)18.3Special Tricks (774)18.3.1Changing Pattern Length for Variation (774)18.3.2Using Loops to Cycle Through Samples (775)18.3.3Load Long Audio Files and Play with the Start Point (775)19Troubleshooting (776)19.1Knowledge Base (776)19.2Technical Support (776)19.3Registration Support (777)19.4User Forum (777)20Glossary (778)Index (786)1Welcome to MASCHINEThank you for buying MASCHINE!MASCHINE is a groove production studio that implements the familiar working style of classi-cal groove boxes along with the advantages of a computer based system. MASCHINE is ideal for making music live, as well as in the studio. It’s the hands-on aspect of a dedicated instru-ment, the MASCHINE hardware controller, united with the advanced editing features of the MASCHINE software.Creating beats is often not very intuitive with a computer, but using the MASCHINE hardware controller to do it makes it easy and fun. You can tap in freely with the pads or use Note Re-peat to jam along. Alternatively, build your beats using the step sequencer just as in classic drum machines.Patterns can be intuitively combined and rearranged on the fly to form larger ideas. You can try out several different versions of a song without ever having to stop the music.Since you can integrate it into any sequencer that supports VST, AU, or AAX plug-ins, you can reap the benefits in almost any software setup, or use it as a stand-alone application. You can sample your own material, slice loops and rearrange them easily.However, MASCHINE is a lot more than an ordinary groovebox or sampler: it comes with an inspiring 7-gigabyte library, and a sophisticated, yet easy to use tag-based Browser to give you instant access to the sounds you are looking for.What’s more, MASCHINE provides lots of options for manipulating your sounds via internal ef-fects and other sound-shaping possibilities. You can also control external MIDI hardware and 3rd-party software with the MASCHINE hardware controller, while customizing the functions of the pads, knobs and buttons according to your needs utilizing the included Controller Editor application. We hope you enjoy this fantastic instrument as much as we do. Now let’s get go-ing!—The MASCHINE team at Native Instruments.MASCHINE Documentation1.1MASCHINE DocumentationNative Instruments provide many information sources regarding MASCHINE. The main docu-ments should be read in the following sequence:1.MASCHINE MIKRO Quick Start Guide: This animated online guide provides a practical ap-proach to help you learn the basic of MASCHINE MIKRO. The guide is available from theNative Instruments website: https:///maschine-mikro-quick-start/2.MASCHINE Manual (this document): The MASCHINE Manual provides you with a compre-hensive description of all MASCHINE software and hardware features.Additional documentation sources provide you with details on more specific topics:►Online Support Videos: You can find a number of support videos on The Official Native In-struments Support Channel under the following URL: https:///NIsupport-EN. We recommend that you follow along with these instructions while the respective ap-plication is running on your computer.Other Online Resources:If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help:▪Knowledge Base▪User Forum▪Technical Support▪Registration SupportYou will find more information on these subjects in the chapter Troubleshooting.Document Conventions1.2Document ConventionsThis section introduces you to the signage and text highlighting used in this manual. This man-ual uses particular formatting to point out special facts and to warn you of potential issues.The icons introducing these notes let you see what kind of information is to be expected:This document uses particular formatting to point out special facts and to warn you of poten-tial issues. The icons introducing the following notes let you see what kind of information canbe expected:Furthermore, the following formatting is used:▪Text appearing in (drop-down) menus (such as Open…, Save as… etc.) in the software andpaths to locations on your hard disk or other storage devices is printed in italics.▪Text appearing elsewhere (labels of buttons, controls, text next to checkboxes etc.) in thesoftware is printed in blue. Whenever you see this formatting applied, you will find thesame text appearing somewhere on the screen.▪Text appearing on the displays of the controller is printed in light grey. Whenever you seethis formatting applied, you will find the same text on a controller display.▪Text appearing on labels of the hardware controller is printed in orange. Whenever you seethis formatting applied, you will find the same text on the controller.▪Important names and concepts are printed in bold.▪References to keys on your computer’s keyboard you’ll find put in square brackets (e.g.,“Press [Shift] + [Enter]”).►Single instructions are introduced by this play button type arrow.→Results of actions are introduced by this smaller arrow.Naming ConventionThroughout the documentation we will refer to MASCHINE controller (or just controller) as the hardware controller and MASCHINE software as the software installed on your computer.The term “effect” will sometimes be abbreviated as “FX” when referring to elements in the MA-SCHINE software and hardware. These terms have the same meaning.Button Combinations and Shortcuts on Your ControllerMost instructions will use the “+” sign to indicate buttons (or buttons and pads) that must be pressed simultaneously, starting with the button indicated first. E.g., an instruction such as:“Press SHIFT + PLAY”means:1.Press and hold SHIFT.2.While holding SHIFT, press PLAY and release it.3.Release SHIFT.1.3New Features in MASCHINE2.8The following new features have been added to MASCHINE: Integration▪Browse on , create your own collections of loops and one-shots and send them directly to the MASCHINE browser.Improvements to the Browser▪Samples are now cataloged in separate Loops and One-shots tabs in the Browser.▪Previews of loops selected in the Browser will be played in sync with the current project.When a loop is selected with Prehear turned on, it will begin playing immediately in-sync with the project if transport is running. If a loop preview starts part-way through the loop, the loop will play once more for its full length to ensure you get to hear the entire loop once in context with your project.▪Filters and product selections will be remembered when switching between content types and Factory/User Libraries in the Browser.▪Browser content synchronization between multiple running instances. When running multi-ple instances of MASCHINE, either as Standalone and/or as a plug-in, updates to the Li-brary will be synced across the instances. For example, if you delete a sample from your User Library in one instance, the sample will no longer be present in the other instances.Similarly, if you save a preset in one instance, that preset will then be available in the oth-er instances, too.▪Edits made to samples in the Factory Libraries will be saved to the Standard User Directo-ry.For more information on these new features, refer to the following chapter ↑4, Browser. Improvements to the MASCHINE MIKRO MK3 Controller▪You can now set sample Start and End points using the controller. For more information refer to ↑17.3.1, Using the Edit Page.Improved Support for A-Series Keyboards▪When Browsing with A-Series keyboards, you can now jump quickly to the results list by holding SHIFT and pushing right on the 4D Encoder.▪When Browsing with A-Series keyboards, you can fast scroll through the Browser results list by holding SHIFT and twisting the 4D Encoder.▪Mute and Solo Sounds and Groups from A-Series keyboards. Sounds are muted in TRACK mode while Groups are muted in IDEAS.。
the issue can’t be reproduced anymore
the issue can’t be reproduced anymore全文共四篇示例，供读者参考第一篇示例：最近在软件开发过程中，一个非常常见的问题是"the issue can't be reproduced anymore"，即无法再重现问题。
这种情况给开发人员和测试人员带来了极大的困扰，因为他们无法解决或验证问题是否已经解决。
造成问题无法再次重现的原因有很多种，其中一种可能是由于复制的环境不一样。
在软件开发的过程中，测试人员往往会在一个特定的环境中重现问题，一旦环境发生变化，问题就可能不再出现。
这也是为什么在软件开发过程中要尽量保持环境的一致性，以便更容易重现和修复问题。
另一个可能的原因是数据的不一致性。
在某些情况下，问题可能是由于特定的数据输入或操作触发的，一旦输入的数据不再存在或者操作不再执行，问题就不会再次出现。
这也需要测试人员详细记录并分析问题触发的条件和数据，以便更好地理解和解决问题。
此外，问题不再重现还可能是由于代码变更导致的。
在软件开发过程中，代码的变更是常有的事情，如果问题已经修复或者相关代码发生了变更，问题就有可能不再出现。
这也是为什么要及时记录和跟踪问题对应的代码变更，以便更好地理解和解决问题。
针对问题无法重现的情况，我们可以采取一些方法来解决。
首先，我们可以尝试还原问题发生时的环境和数据，以尽量模拟出问题的触发条件。
其次，我们可以尝试回顾问题的历史记录，查看相关的代码变更和提交信息，以了解问题的修复和改动情况。
最后，我们可以尝试与团队其他成员或相关利益方进行讨论，以了解问题的根本原因，并共同寻找解决方案。
总的来说，问题无法再次重现是软件开发过程中的常见问题，但我们可以通过仔细记录和分析问题的触发条件、环境、数据和代码变更等信息，来尽力解决问题并确保软件的质量和稳定性。
希望我们在今后的软件开发过程中能够更好地应对和处理这种情况，以提高软件的质量和用户体验。
虚拟乐队的英语作文带翻译
The concept of virtual bands has been around for quite some time, but recent technological advancements have made it morefeasible and accessible than ever before. With the availability of high-speed internet ans, musicians can now collaborate in real-time from different parts of the world. This has led to the emergence of virtual bands with members from diverse cultural and musical backgrounds, contributing to a rich and unique musical fusion.
Looking ahead, the potential for virtual bands is limitless. As technology continues to evolve, virtual band members will have access to even more advanced tools for music creation, production, and live performance. This will further break down barriers and allow for seamless collaboration among musicians from different parts of the world. Additionally, virtual reality and augmented reality technologies may offer new ways for virtual bands to engage with their audience, creating immersive and interactive musical experiences.
组织行为学译文
第一章组织行为学概述TAKEAWAYS重点掌握1. 1Organization behavior is a field of study devoted to understanding and explaining the attitudes and groups in organizations. More simply, it focuses on why individuals and groups in organizations act the way they do.1。
1组织行为学的研究领域是一个致力于理解和解释的态度和组织的组合。
通俗地讲，它着重于个人和组织原因群体行为的方式做。
1.2 The two primary outcomes in organizational behavior are job performance and organizational commitment.1.2组织行为中的两个主要成果是工作绩效与组织承诺。
1.3 A number of factors affect performance and commitment, including individual (job satisfaction; stress; motivation; trust, justice, and ethics; learning and decision making), individual characteristics (personality, cultural values, and ability), group mechanisms (teams, leadership), and organizational mechanisms (organizational structure, organizational cultural)1.3许多因素会影响性能，包括个人承诺，（工作满意度;压力;动机，信任，正义，道德，学习和决策），个人特征（个性，文化价值和能力），组机制（队，领导），和组织机制（组织结构，组织文化）。
Virtual Books
Virtual Books:Integrating Hypertext and Virtual RealityMaster’s Thesis of Jouke C. VerlindenGraduation Committee:prof. dr. H.G. Solir. C.A.P.G. van der Mastdr. Jay David Bolter (GVU Center, Georgia Tech)dr. James D. Foley (GVU Center, Georgia Tech)ir. B.R. SodoyerDelft University of Technology, Faculty of Technical Matematics and Informatics, HCI group.August 1993.Abstract“Think of computers as a medium, not as a tool” - Alan Kay in “The Art of User Inter-face Design”, 1989.Virtual Reality technology gives us new ways to represent information, based on spatial dis-play and multisensory interactivity. At present both commercial products and scientific re-search in VR create and explore relatively simple environments. These environments are often purely perceptual: that is, the user is placed a in world of color and shape that represents or re-sembles the “real” world. Objects (tables, doors, walls) in these environments have no deeper semantic significance.The Virtual Books project is an exploration of introducing semantics into three-dimensional space, by inclusions and manipulation of information, based on traditional writing technolo-gies (e.g. printed books) and the emerging electronic books (hypertexts, hypermedia etc.) Printed books often combine pictures and text. Hypermedia integrates texts with graphics, an-imation, video, and audio. Our goal is to extend these existing techniques of integration so that we can deploy text or other information in three dimensions and allow for effective interaction between the writer/reader/user and the text. We believe that this approach will provide solu-tions to prominent problems in the fields of hypertext and Virtual Reality. Four prototypes were developed to illustrate our ideas: The Georgia Tech Catalog, the Textured Book, the V oice Annotation System, and the World Processor. Silicon Graphics workstations with both immersive and non-immersive Virtual Reality technology were employed. To implement the prototypes, two software libraries were made (the bird and the SVE library); they facilitate easy creation and reuse of virtual environments. This project was done at the Graphics, Visual-ization, and Usability (GVU) Center, Georgia Tech, Atlanta, U.S.A. My advisor was dr. Jay David Bolter, professor in the School of Literature, Communications, and Culture.PrefaceAlmost 10 months of work are lying behind me. They seemed to have last a lifetime, that will come to an sudden end within a few days. Moreover, the project is the final step towards ob-taining my Master’s Degree in Computer Science -- a “project” that lasted 5 years! That means I can only say:The project has died, long live the project!Together with another Dutch exchange student, Anton Spaans, I have lived in Atlanta (Geor-gia, USA) for about eight months. We were both temporary members of the Graphics, Visual-ization, and Usability Center at the Georgia Institute of Technology. Daily (and nightly) we worked with advanced computer systems, faculty, and graduate students. These inspired me to do what I did and to pursue a further career in R&D. During my stay, I was also involved in various other activities, including the Apple Design Contest, the spatial audio research, and 3D algorithm visualization. And, of course, the band and the movie committee.It was a fascinating stay that taught me a lot. Not just about science or user interfaces: in those eight months I was a member of american society. A society in which the artificial has become natural -- a society that sells “I Can’t Believe it’s not Butter”™ and where the slogan “Just Add Water..” seems to be ubiquitous.AcknowledgmentsThe Dutch often say American friendships are superficial. Not in my experience: the people I met in Atlanta, Chapel Hill, Palo Alto, and so many other places turned out to be good friends. It is impossible to thank them all, even if I had ten months time to do so. I thank all people who made may stay as it was, and those who supported me during this unforgettable time. Es-pecially:Jay Bolter, my advisor at the GVU Center. His enthusiastic and open-minded approach made the project what it became. He treated me as a companion, not as a student. Yet he taught me so much...Jim Foley, for giving me the opportunity to come to his extraordinary lab and for putting me on the right track by introducing me to Jay.Joan Morton was an angel. She helped us whenever it was needed and did so many other things for the exchange students. Larry Hodges, who tolerated my work on “his” machines and introduced me to many other computer graphics researchers.Charles van der Mast, my advisor at the Delft University of Technology, who made this possi-ble. Without knowing him, I probably would not have ended up working abroad. Furthermore, he patiently awaited my results and provided me with suitable criticism.Daryl Lawton for bringing us to the fattest and fanciest dinner places. Mimi Recker, who ad-vised me during the usability tests. David Burgess and Beth Mynatt for distracting me from my actual project and involving me in their remarkable work.And of course all the GVU “Rats”, including: Jack Freeman, Jasjit Singh, Wayne Woolton, James O’Brien, Joe Wehrli, Heather Pritchett, Tom Meyer, Augusto op den Bosch, Anton Spaans, Mary-Ann Frogge, Jerome Salomon, Todd Griffith, Thomas Kuehme, Krishna Barat and all the others..The participants of the tests: Robert Hamilton (who I met again a month ago in Amsterdam), Gary Harrison, David Hamilton, and the eight students of Stuart Moultrop’s technical writing class.Dan Russell, who was my indespicable host at Xerox PARC. And of course the graduate stu-dents at UNC; especially Russell Taylor, who gave me the opportunity to have a look in the kitchen of the world famous Virtual Reality lab and introduced me to his friends Stephan, Rich, and John.The other members of the band: Tim, Ted and Mike. It was great to start a musical conversa-tion with you, guys!Dimitri, once a student and now a married engineer, who helped me tremendously during the last (and critical) days.My family and friends in holland, who didn’t forget me (even when I forgot them..) And fi-nally, I thank the one who supported me and had to deal with my stress during this long period that didn’t seem to end: Simone.Table of ContentsAbstract (1)Preface (2)Acknowledgments (3)1.Introduction (7)1.1Project8 1.2Environment9 1.2.1GVU Center 9 1.2.2Jay David Bolter 101.3Report112.Problem Analysis (12)2.1Background 1: Hypertext13 2.1.1Short (Hi)story of Media 13 2.1.2Hypertext 17 2.1.3Problems 21 2.2Background 2: Virtual Reality23 2.2.1Introduction 23 2.2.2Survey 24 2.2.3Problems with current Virtual Reality systems. 26 2.3Virtual Books: Integrating Hypertext and Virtual Reality28 2.3.1Proposal 28 2.3.2Related Research 282.3.3Requirements and Constraints 303.Functional Design (31)3.1Spatial Authoring concepts32 3.1.1Concepts of Hypertext environments 32 3.1.2Virtual Reality concepts 33 3.1.3Virtual Books Concepts 34 3.2Functionality36 3.3Presentation issues37 3.3.1Representation of hypertextual structure. 37 3.3.2Navigation and the representation of links. 37 3.3.3Representation of information. 38 3.3.4Virtual Reality issues. 38 3.4prototypes40 3.4.1Catalog 40 3.4.2Textured Book 42 3.4.3Voice Annotation System. 433.4.4World Processor 454.Technical Design (51)4.1Platform524.1.1Hardware 52 4.1.2Software Support 53 4.2Prototypes59 4.2.1The Catalog 59 4.2.2The Textured Book 59 4.2.3Speech Annotation System 594.2.4World Processor 595.Implementation and Evaluation (61)5.1The Catalog62 5.2Textured Book64 5.3Voice Annotation System67 5.4World Processor696.Conclusions and Future Research (71)6.1Conclusions and Results72 6.2 Future Research74Bibliography (77)Appendix A: PapersAppendix B: Prototypes ListAppendix C: Manuals of the Software LibrariesAppendix D: User’s Manual of the World ProcessorAppendix E: Voice Annotation testsAppendix F: A short report about my trip to Xerox and UNC1. IntroductionThe Master’s program of informatics at the Delft University of Technology requires a research project of six to nine months, with a thesis as result. Fortunately, through the contacts of Charles van der Mast (Delft University of Technology) with James Foley (Georgia Institute of Technology) I had the opportunity to work with prof. Jay David Bolter at the Graphics, Visual-ization and Usability Center in Atlanta, U.S.A., during a period of eight months. We explored our mutual interests in virtual reality, hypertext, writing and media. This Master’s thesis is considered to be the final, but certainly not the only result of our cooperation: 4 faculty reports and several videoclips were made as well.In the first months, october and november, we tried to formulate the Virtual Books Project as clear as possible. At the same time, I developed and implemented general GVU demonstra-tions for the Virtual Reality equipment. This equipment was recently purchased and just un-packed. In december, prof. Bolter went to Milan to give a keynote speech at ECHT’92, called “Virtual Reality and Hypertext”. A month later, I had the unexpected opportunity to visit three interesting research laboratories: the Virtual Reality lab at the university of North Carolina, Chapell Hill, the Xerox Palo Alto Research Center (PARC) and the world famous M.I.T. Me-dia Lab in Boston.By that time, I finished working on the lower-level software support (the bird- and the SVE-li-brary) and began to develop two complex Virtual Book-prototypes: the Voice Annotation sys-tem and the World Processor. Exploratory user tests were conducted during march and april. Both prototypes seemed interesting enough to start writing two separate papers on them, one has recently been accepted to the European Simulation Symposium (ESS ‘93), to be held on october 25-28, 1993 at the Delft University of Technology in the Netherlands.During the last month in Atlanta (may ‘93), I expanded the SVE- library and updated its docu-mentation in cooperation with Drew Kessler. One of the additions enables relatively easy tex-ture mapping, which was used in the last prototype called the Textured Book. After my return to Holland in june, I proceeded with writing this thesis and finishing the ESS ‘93 paper.1.1ProjectInitially, the project did not have distinct objectives. Jay Bolter and I introduced the term “Vir-tual Book”, which represented our interest in the exploration of Virtual Reality as a medium -a medium that could be used to communicate and structurize information in new ways. We fo-cused on some of the shortcomings of today’s upcoming electronic media: Hypertext and Vir-tual Reality.Hypertext and hypermedia are considered to be the new avenues in textual and reflective com-munication. These so-called “electronic books” have great perspectives. Their potential is in-creasing every day due to growing infrastructures and computing power. At the same time, these communication channels threaten the efficient and effective use of information. These disadvantages are often summarized as “information overload”. I will unravel this problem in several parts including 1) the getting lost in information space problem 2) the cognitive task switching problem. It will be argued that such problems are related to the limitations of the ap-plied metaphors and interaction techniques, that did not change significantly since the late six-ties.On the other hand, the sensory illusion of television, movies and computer games seem to be upgraded by the ultimate form of visual and engaging media:Virtual Reality. Virtual Reality is considered to be the most interactive medium of the future. The techniques involved generate three-dimensional environments that maximize the naturalness of the user interface - by three dimensional direct manipulation and perceptual immersion. Although the quality of the im-ages and devices has improved since its introduction in 1968, its theoretical potential did not change. The user is placed in a world of color and shape that represents or resembles the real world. Objects (tables, doors, walls) in these environments have no deeper semantic signifi-cance. This makes Virtual Reality a poor medium for symbolic communication.This project explores the integration of the traditional electronic books and virtual reality. Printed books often combine pictures and text. Hypermedia integrates texts with graphics, an-imation video and audio. Our goal is to extend these existing techniques of integration so that we can deploy information in three dimensions and allow for effective interaction between the writer/reader/user and the information. We think this synergetic approach will solve some of the most prominent problems in both fields, e.g. the “getting lost in hyperspace” problem. The project can be divided into three steps:1)Framing and testing ideas and testing in mockups or modest prototypes. These mockupsmay be on paper or in the computer. Of course, this phase includes a search of the rele-vant literature as well as attempts to get familiar with the available Virtual Reality hard-and software.2)Developing more elaborate prototypes that highlight specific aspects for creating andreading virtual books. This includes:a) developing a software layer that allows fast creation and modification of virtual book-prototypes.b) developing a prototype that illustrates how problems associated with current elec-tronic books can be solved or diminished.c) developing a prototype that illustrates how to add facilities for verbal communicationinto existing virtual reality applications.3)Based upon the second phase, I will: a) conduct some usability tests with groups of di-verse disciplines. b) identify strengths and weaknesses of the environments. c) draw con-clusions about the feasability and usefulness of such a virtual book and discussdirections for future research.1.2Environment1.2.1GVU CenterThe Graphics, Visualization and Usability Center is one of the most active and outstanding re-search institutes on Human-Computer Interfaces (HCI) in the world. The center houses a wide variety of faculty, who try to explore new frontiers of HCI. Members and graduate students or-igin from the College of Architecture, School for Civil Engeneering, College of Computing, School of Industrial and Systems Engineering, Office for Information Technology, School of Literature, Communication and Culture, School of Mathematics, Multimedia Technology Lab, and School of Psychology. James D. Foley, the well known computer graphics scientist, is the Center’s director. His careful management and open mindedness are the crucial driving forces to the quality and diversity of the Center’s research. His vision of the GVU is formulated as follows:“Making computers accesible and usable by every person represents the next and per-haps final great frontier int he computer/information revolution which has swept the world during the last half of this century.... The Center’s vision is of a world in which individuals are empowered in their everyday pursuits by the use of computers; of a world in which computers are used as easily and effectively as are automobiles, ste-reos, and telephones”(GVU 1992, p. 1)The Center’s research covers: realistic imagery, computer- supported collaborative work, al-gorithm visualization, medical imaging, image understanding, scientific data visualization, animation, user interface software, usability, virtual environments, image quality, user inter-faces for blind people,and expert systems in graphics and user interfaces. These projects are lead by several well know scientists, including John Stasko, Al Badre, Jessica Hodgins, Scott Hudson, Piyawadee “Noi” Sukaviriya and Christine Mitchell. Apart from the regular objective to publish and present high-quality scientific work, faculty and graduate students put a lot of effort into the creation of convincing demonstrations of their findings. MIT media lab’s “demo or die”-rule (brand 1987) seems to apply to the GVU as well: guided tours and demonstrations are frequently given to many visitors (including funders and scientists).Most graduate students do their research in the Graphics, Visualization, and Usability lab, which offers many high-end workstations and audio/video facilities. Furthermore, the lab also includes a conference room (with HCI library), a professional animation production area, and an isolated room for usability tests. A special “usability manager” takes care of the software, hardware and people of the lab (currently Suzan Liebeskind). However, the lab does not only provide technical support. The presence of so much “brains” in concentrated doses adds a so-cial dimension to the lab’s activities, a valuable -informal- communications channel that was certainly beneficial for my projects. Discussions, trouble-shooting sessions, and expert consul-tancies are held daily (and nightly!) every now and then. More formal meetings include the weekly brown bag meetings and the distinguished lecturer’s series (held each quarter). The completely renovated lab was officially opened 7 days after Anton Spaans and I arrived. This “convocation” day included several talks of celebrities in HCI research (e.g. Stuart Card and Andy van Dam) and, of course, many demonstrations of the GVU research in the lab.The GVU Center and its Lab can not easily be compared with the user interface research group at Delft. Apart from its interdisciplinary character and the wide variety of high-perfor-mance (graphics) workstations at the Center, there is another important difference between the the GVU lab and the HCI group at Delft: the GVU lab has a broad focus of research and does not fear to go beyond applied research. Companies like Siemens, SUN, DEC and Silicon Graphics fund projects that are focused on “technology Push”. This kind of research gets little attention in Delft, where research is primarily limited to applied problems, with its focus on validity and methods.As a part of the graphics research, professor Larry F. Hodges directs the virtual environments research group. At the beginning of the summer quarter in 1992 dr. Hodges ordered Virtual Reality equipment (see chapter 4.1 for a technical description). When I arrived in october ‘92 about 5 members were just unpacking the parts and trying to connect the systems together. From that moment on the research rapidly evolved to new, sophisticated uses and applications of virtual environments, including developing navigation interface techniques and metaphors, assessing display parameters for manipulation in virtual environments, making scientific visu-alization applications, and developing therapy for phobias (especially fear of heights). The group has weekly meetings to discuss strategies and the progress of the projects.1.2.2Jay David BolterMy advisor, Dr. Jay David Bolter is a professor in the School of Literature, Communication and Culture. He teaches technical writing, classical languages and the use of multimedia appli-cations. His research is directed toward communication, hypertext and new multimodal inter-faces for writing. He has written two books on the cultural and social significance of the computer: “Turing’s Man: Western Culture in the Computer Age” (1984) and “Writing Space: The Computer, Hypertext and the History of Writing” (1991). His books show that he is a gifted writer who has an understanding of both humanities and computer science. Apart from his writing, he co-designed and implemented a very interesting hypertext system called Sto-ryspace. In my experience, this application is one of the few hypertexts system that augments the writing task instead of disorienting the user with an overload of functionality. The usability is high, as can be noticed by the number of people that buy and employ it (it is comercially available for the Apple Macintosh).1.3ReportAlthough the project consisted of many small seemingly unrelated parts, one main thesis was pursued. This report will present the results of the Virtual Books project in a top-down fashion in 6 chapters. After describing the two backgrounds (hypertext and Virtual Reality), a more detailed discussion of Virtual Books is held in chapter 2 (Problem Analysis).Chapter 3 (Functional Design) elaborates on the the design of Virtual Books. It includes a dis-cussion of the general concepts, functions, and user interface issues. These evolve into the functional design of four prototypes:1) the Georgia Tech Catalog2) the Textured Book3) the V oice Annotator4) the World ProcessorTheir technical aspects are described in chapter 4 (Technical Design). This chapter also pre-sents a short overview of the computer hard/software that was used and the development of the Simple Virtual Environment(SVE) library.The implementation and evaluation of the prototypes appear in chapter 5 (Implementation and Evaluation). A short videoclip will accompany this report to illustrate the user interface and usability.The last chapter, chapter 6 (Conclusions and Future Research), includes the conclusions of this project and presents possibilities for future Virtual Books research.Several papers were written during this project, including: “The World Processor: an Interface for Textual Display and Manipulation in Virtual Reality”, “Virtual Annotation: Verbal Com-munication in Virtual Reality”, and “A First Experience with Spatial Audio in a Virtual Envi-ronment”. These articles can be found in Appendix A.Appendix B gives a short list of the prototypes; where they are located and how they are startedA description of the libraries that were developed during the project are presented in appendix C.Appendix D is the user’s manual that was used during the usability tests of the World Proces-sor.After the V oice Annotator was tested, the participants were interviewed. The questionaire and its answers are presented in the appendix E.Finally, appendix F is an informal report of my trip to Chapel Hill and Palo Alto.2. Problem AnalysisA more detailed analysis of the backgrounds is needed in order to design Virtual Books. The first sections of this chapter survey the two fields of interest: hypertext and Virtual Reality. Then I will propose to combine these two in the Virtual Books project. By integrating hyper-text facilities in virtual reality applications or adding virtual reality interfaces to hypertext sys-tems, some prominent problems of these fields can be solved.2.1Background 1: HypertextWe are living in the information age: our society produces, consumes and transforms data. The importance of information increases every day, and yet at the same time the amount of data seems to grow without bounds. Some researchers hold that one issue of a today’s newspaper contains more information than a medeival human would have encountered in his or her entire life.Computer science and informatics have introduced a paradigm to model the enormous com-plexity of generating and processing information. This paradigm considers all entities and ac-tivities that are involved during information processing as information systems - human beings as well as computers, faxes, phones etc.I will present a different view on information systems. It is a more literary view, focused on the history of writing and communication as it can be found in Jay Bolter’s book “Writing Space”. Instead of seeing computerized information systems as tools to process information, they are thought to be the decessors of earlier media (papyrus, codex, printed book). The ori-gins of information and its purposes (i.e. communication) have to be considered. In this vision, one of the most distinctive concepts computers contributed to media technology was hyper-text. This will be discussed in the second part of this section. However, current hypertext sys-tems do not always prove to be beneficial. The last section will identify the most prominent problems of these applications.2.1.1Short (Hi)story of MediaIn this section I want to introduce some aspects of media that seem to be relevant to this project. None of the ideas mentioned below are new, most of them originate from Jay Bolter’s book “Writing Space” (Bolter 1991). Reading this work results in a paradigm shift; I don’t percieve computers as tools (information processors with widgets) any more, but as media (substrates for communication).In his book, Jay Bolter initially focuses on the history of writing. One of the most important milestones in history was the introduction of the printing press by Gutenberg in the seven-tienth century. It ended an era in which the written page was only shared by an elite (monks and royal community). The rest of society was not able to read or write and relied on the estab-lisment to pass on information1. Society’s balance was disrupted by the printing press. Sud-denly everybody could purchase a book and get information at first hand; established authorities losed their exclusive rights to share (and create) information. In his book, Jay Bolter tells about the social and cultural impact of new technology. More specifically, he dis-cusses how the shift from traditional to electronic media will change writing and reading. Be-fore presenting electronic media in more detail, a short and a rather simplified excursion into cognitive science will be held to explain the word “medium”. Simplistically speaking, our thoughts are chunked into small entities, optimistically called “ideas” or “concepts” (this ap-proach to thinking is discussed further in the next section on hypertext). To communicate with others, we cluster our thoughts into “information”, and transfer those to a specific mediumthe ancient greek strongly preferred speech to written communication; the last was considered to weaken intellectual skills and memory(e.g. air for speaking, paper for writing/reading). The transfer from brain to medium involves a representation scheme.Figure 1: medium, representation scheme and thoughtsThis representation scheme is a structure or template to shape thoughts into symbols, that are in fact elements that can be embedded in the medium. In other words, the abstract scheme is a method to make our thoughts publicly available while the medium serves as a substrate for symbols. Spoken and written language are the most popular schemes in our everyday life. Other existing media (e.g. television, fax) do afford other (but not necessarily disjunct) repre-sentation schemes. Theories on media, schemes, and communication are rapidly evolving. As for now, we will focus on the history and potential of computer-based media. In the post-war period the introduction of computer technology slowly changed society. At first, the expensive power of computers was only exploited for mathematical purposes. A handful of visionaries accomplished the thought that computers were general-purpose machines; due to its quick ac-cess storage memory, the ability to create huge communication networks and its capacity to manipulate symbols, the computer has an unequalled power to act as a new medium. Influ-enced by the great media-guru Marshall McLuhan, computer scientist Alan Kay1 points out the computer’s unique properties in the context of media: he considers the computer as a meta-medium: a container that can hold information of any form, representation schemes and me-dia. Kay was familiar with the possibilities of digital media, in which arbitrary information is converted into digital symbols before storing it into the computer memory. At present, audio, video, pictures, and text exist side by side in popular multimedia systems.The number of facilities to exchange information by computer are rapidly increasing. In the seventies it started with electronic mail and Bulletin Board Systems. Today, a wide variety of communication channels can be used including:• the Online Book Initiative- a database that can be reached on the internet2. It includes elec-tronic versions of literature, children’s books, fairy tales and poems.• the USENET news system - a distributed Bulletin Board-alike system that includes hundreds of discussion groups. The subjects vary from antroposophy to computer science and from rock groups to biology, all these groups receive for about 20-100 postings a day. USENET news is often employed as an informal communication channel among scientists to discuss ongoing research and opinions.•Gopher- a distributed database with campus information, electronic versions of technical re-graphical interfaces. He also introduced the imaginary personal desktop computer called dynabook.2. the internet is a worldwide cluster of networks that connects universities, researchinstitutes and several industries。
人物分析英语作文
人物分析英语作文The human experience is a complex tapestry woven with the threads of diverse personalities and characters. As we navigate the intricate landscapes of our lives, we encounter a myriad of individuals, each with their own unique set of traits, motivations, and idiosyncrasies. The art of character analysis allows us to delve into the depths of these complex beings, shedding light on the nuances that shape their actions, thoughts, and interactions.At the heart of any compelling narrative, whether it be a novel, a film, or a play, lies the characters that drive the story forward. These characters, like the people we encounter in our daily lives, are not mere plot devices but rather living, breathing entities that possess their own agency and depth. Through the process of character analysis, we can unravel the layers of their personalities, gaining a deeper understanding of their motivations, fears, and the experiences that have molded them into the individuals they have become.One of the key aspects of character analysis is the examination of acharacter's physical and psychological traits. The way a character presents themselves physically, from their appearance to their mannerisms, can provide valuable insights into their inner world. Is the character tall or short, slender or stocky, well-groomed or disheveled? These physical attributes can convey information about a character's social status, profession, or even their emotional state. Similarly, a character's psychological traits, such as their temperament, values, and decision-making processes, can shed light on the driving forces behind their behavior.Another important element of character analysis is the exploration of a character's relationships and interactions with others. The way a character responds to and engages with the people in their life can reveal a great deal about their personality. Do they exhibit empathy and compassion, or are they more aloof and detached? How do they handle conflict and navigate the complexities of interpersonal dynamics? By examining these relational aspects, we can gain a deeper understanding of the character's emotional intelligence, their capacity for growth and change, and the ways in which they are shaped by the people around them.Furthermore, the analysis of a character's arc, or the evolution of their personality and choices throughout a narrative, can provide valuable insights into the human condition. As characters face challenges, overcome obstacles, or succumb to their own flaws, wewitness the dynamic nature of the human experience. We see how external circumstances and internal struggles can transform a character, sometimes in unexpected ways, and how these transformations can mirror our own personal journeys.Through the process of character analysis, we can not only appreciate the richness and complexity of fictional characters but also gain a deeper understanding of the human experience itself. By delving into the motivations, desires, and struggles of these carefully crafted individuals, we can uncover universal truths about the human condition and the myriad ways in which we navigate the complexities of our lives.In conclusion, the art of character analysis is a powerful tool that allows us to explore the depths of the human experience. By examining the physical, psychological, and relational aspects of characters, as well as their narrative arcs, we can gain a deeper appreciation for the nuances that shape the individuals we encounter, both in fiction and in our own lives. Through this process, we can not only enhance our understanding of the characters we encounter but also deepen our own self-awareness and empathy, ultimately enriching our own journeys through the tapestry of human existence.。
虚拟乐队英语作文
虚拟乐队英语作文Title: The Rise of Virtual Bands。
In recent years, the music industry has witnessed a fascinating phenomenon: the emergence of virtual bands. These bands, composed of fictional characters or avatars, have gained significant popularity and influence, challenging traditional notions of what constitutes a musical group. In this essay, we will delve into the concept of virtual bands, explore their impact on the music industry, and discuss their significance in contemporary culture.Firstly, let's define what virtual bands are. Unlike conventional bands consisting of real-life musicians, virtual bands are comprised of fictional characters or avatars created by artists or developers. These characters are often given unique personalities, backstories, and visual identities, blurring the lines between reality and fantasy. One of the most iconic examples of a virtual bandis Gorillaz, created by musician Damon Albarn and artist Jamie Hewlett. Gorillaz features animated members – 2-D, Murdoc Niccals, Noodle, and Russel Hobbs – who appear in music videos, live performances, and various multimedia projects.The appeal of virtual bands lies in their ability to transcend traditional limitations. Unlike human musicians, virtual band members are not bound by physical constraints such as age, nationality, or even mortality. They canevolve and adapt endlessly, providing endless opportunities for creativity and innovation. Additionally, virtual bands offer a level of escapism for both artists and audiences, allowing them to explore fantastical worlds and narratives beyond the confines of reality.Moreover, virtual bands have revolutionized the way music is produced, distributed, and consumed. With advancements in technology and animation, artists cancreate stunning visuals and immersive experiences that complement their music. Virtual bands leverage social media, streaming platforms, and online communities to connect withfans worldwide, breaking down geographical barriers and reaching diverse audiences. This digital-first approach has enabled virtual bands to thrive in the age of the internet, where viral marketing and multimedia content reign supreme.Furthermore, virtual bands have sparked discussions about the nature of authenticity and authorship in music. While some critics argue that virtual bands lack the authenticity and emotional depth of traditional bands, others praise them for pushing the boundaries of artistic expression and storytelling. In a world where algorithms and AI are increasingly shaping our cultural landscape, virtual bands raise important questions about the role of human creativity and agency in the digital age.In conclusion, virtual bands represent a fascinating intersection of music, technology, and imagination. By transcending physical limitations and embracing digital mediums, virtual bands have reshaped the music industry and captured the hearts of audiences worldwide. Whether they are challenging conventional notions of authenticity or pioneering new forms of expression, virtual bands continueto push the boundaries of what is possible in music and culture. As we look to the future, it's clear that virtual bands will remain a driving force in shaping the evolution of music in the digital age.。
虚拟合唱团利弊英语作文
Virtual Choir: Weighing the Pros and Cons In the age of digital technology, the concept of a virtual choir has gained popularity, offering a unique way for singers to come together despite geographical barriers. While this innovation presents numerous advantages, it also comes with its share of challenges and limitations.**Advantages of a Virtual Choir**1. **Accessibility and Convenience**: The virtual choir eliminates the need for physical gatherings, making it accessible to singers regardless of their location. Participants can rehearse and perform from their own homes, saving time and resources that would be spent on commuting.2. **Diversity and Inclusion**: The virtual format allows for a more diverse choir membership, including singers who might not have had the opportunity to participate in a traditional choir due to factors like age, disability, or busy schedules. This diversity not only enriches the musical experience but also promotes inclusivity.3.**Flexibility and Scalability**: Virtual choirs can adapt quickly to changes in membership, easily accommodating new participants or scaling down when necessary. Thisflexibility is essential in today's fast-paced world where people's availability and interests can change rapidly. 4. **Collaborative Potential**: Despite being dispersed geographically, virtual choir members can still collaborate effectively through online platforms. They can share ideas, provide feedback, and refine their performances in a collaborative environment that fosters creativity and teamwork.**Disadvantages of a Virtual Choir**1. **Lack of Face-to-Face Interaction**: While technology can facilitate communication, it cannot fully replicate the experience of face-to-face interaction. This can affect the cohesion and dynamics of the choir, as members may not develop the same level of trust and understanding as they would in a traditional choir setting.2. **Technological Hurdles**: Reliance on technology introduces potential issues such as connectivity problems, latency, and sound quality issues. These technical challenges can disrupt rehearsals and performances, affecting the choir's ability to perform at its best.3.**Difficulty in Establishing a Shared Identity**: In avirtual choir, members may lack a sense of shared identity and purpose that is typically found in traditional choirs. Without a physical space and regular face-to-face interactions, it can be harder for members to feel connected to the choir and its mission. 4. **Limited Rehearsal Time**: With participants located acrossdifferent time zones, finding a suitable time for everyone to rehearse can be challenging. This can limit the amount of rehearsal time available, affecting the choir's ability to refine its performances.**Conclusion**The virtual choir represents a significant evolution in the field of music, offering new opportunities for singers to connect and create beautiful music together. While it comes with its own set of challenges, the advantages it brings in terms of accessibility, diversity, andflexibility are too valuable to ignore. As technology continues to improve, it is likely that the virtual choir will become an increasingly viable option for singers looking to pursue their passion without the limitations of geography.**虚拟合唱团的利弊**在数字技术的时代，虚拟合唱团的概念逐渐流行，为歌手们提供了一种尽管地理隔阂却能够聚集在一起的独特方式。
虚拟合唱团优缺点英语作文
虚拟合唱团优缺点英语作文Virtual choir, also known as virtual choir project, is a type of choir that performs together remotely, each member recording their own part individually and then combining the recordings to create a unified performance. This innovative concept has gained popularity in recent years, especially during the COVID-19 pandemic when traditional choir rehearsals and performances were not possible.There are several advantages of virtual choirs. One of the main benefits is the ability to bring together singers from different locations, allowing for a diverse and inclusive group of participants. This can lead to a greater sense of community and collaboration among choir members who may not have had the opportunity to sing together otherwise. Additionally, virtual choirs provide flexibility in terms of scheduling and rehearsal times, as members can record their parts at their own convenience and then submit them for editing and mixing.Another advantage of virtual choirs is the opportunity for singers to focus on their individual vocal parts and improve their singing skills. By recording their partsindividually, singers have the chance to listen to their own performance and make adjustments as needed. This can lead to personal growth and development as a singer, as well as a deeper understanding of music theory and vocal technique.Despite the many advantages of virtual choirs, there are also some challenges and limitations to consider. One of the main drawbacks is the lack of real-time interaction and communication among choir members. Traditional choirs benefit from in-person rehearsals where singers can receive immediate feedback from the conductor and their fellowchoir members. In a virtual choir setting, this real-time feedback is often missing, which can make it more difficult to achieve a cohesive and polished performance.Additionally, technical issues can arise when recording and editing individual vocal parts for a virtual choir. Ensuring that all members have access to the necessary recording equipment and software, as well as the technical skills to use them effectively, can be a challenge. Furthermore, the process of editing and mixing multiplerecordings to create a seamless performance can be time-consuming and require a high level of expertise.In conclusion, virtual choirs offer a unique and innovative way for singers to come together and make music, especially during times when traditional choir rehearsals are not possible. While there are many advantages tovirtual choirs, such as inclusivity, flexibility, and individual skill development, there are also challenges to consider, such as the lack of real-time interaction and technical issues. By understanding and addressing these limitations, virtual choirs can continue to thrive and provide opportunities for singers to connect and create music together.虚拟合唱团，也被称为虚拟合唱项目，是一种远程进行的合唱团，每个成员单独录制自己的部分，然后将录音合并起来，创造出统一的表演。
文学导论the plot
6. Is the ending appropriate to and consistent with the rest of the plot?
2. Complication
发展 Rising Action
---- The part of the plot in which the conflict is developed and intensified.
A building of interest or suspense occurs.
Eg: Shift from president in oval office to a scene from his high school experience
2. Foreshadowing 铺垫，伏笔 ---- A device by means of which the author hints at sth. to follow.
Internal Conflict 内部冲突
---- Moral, psychological, or spiritual struggle within the character itself.
Man versus Self
The protagonist in the story experiences conflict with her or his conscience
Special Techniques of Plot
1. Flashback
倒叙 Retrospect
---- The interruption of a story’s narrative in order to present an earlier scene or episode. A method of Exposition
团队合作有冲突有合作英语作文
团队合作有冲突有合作英语作文Conflicts and Cooperation" with a word count of over 1000 words.Effective team collaboration is essential for the success of any organization. When a group of individuals with diverse backgrounds, skills, and perspectives come together to achieve a common goal, the potential for both conflicts and productive cooperation arises. Understanding the dynamics of team collaboration and how to navigate through challenges is crucial for fostering a harmonious and productive work environment.One of the primary benefits of team collaboration is the ability to leverage the collective knowledge and expertise of the group. By bringing together individuals with different areas of specialization, teams can tackle complex problems from multiple angles, leading to more comprehensive and innovative solutions. This collaborative approach encourages the exchange of ideas, the cross-pollination of perspectives, and the generation of fresh insights that may not have emerged from individual efforts.However, the very diversity that makes team collaboration so valuable can also be a source of conflict. Differing opinions,communication styles, and working preferences can sometimes lead to misunderstandings, disagreements, and even tensions within the group. These conflicts can stem from a variety of factors, such as personality clashes, power struggles, or simply a lack of clear communication and understanding.One common source of conflict in team collaboration is the clash of individual agendas. Each team member may have their own priorities, goals, and personal motivations, which can sometimes diverge from the overall team objectives. This can lead to a lack of alignment, with individuals pursuing their own interests at the expense of the collective good. Effective team leaders must be able to navigate these competing interests and foster a shared sense of purpose, ensuring that the team's efforts are focused on achieving the common goal.Another potential source of conflict is the distribution of workload and responsibilities. Team members may perceive an imbalance in the distribution of tasks or feel that their contributions are not being recognized or valued. This can lead to resentment, frustration, and a breakdown in trust within the team. Effective communication, transparent decision-making, and a fair allocation of responsibilities are crucial in mitigating these issues.Despite the challenges, team collaboration also presents numerousopportunities for cooperation and synergy. When team members are able to set aside their differences and work towards a common goal, the results can be truly remarkable. Collaborative problem-solving, where team members build upon each other's ideas and expertise, can lead to innovative solutions that would not have been possible through individual efforts.Moreover, team collaboration can foster a sense of camaraderie and mutual support among team members. By working together, individuals can learn from each other, develop new skills, and gain a deeper understanding of their colleagues' perspectives. This cross-pollination of knowledge and the development of interpersonal relationships can strengthen the team's overall cohesion and resilience.Effective team collaboration also requires the cultivation of trust, open communication, and a willingness to embrace diversity. Team members must feel comfortable expressing their ideas, sharing their concerns, and offering constructive feedback without fear of judgment or repercussions. A collaborative environment that values transparency, active listening, and mutual respect can help to resolve conflicts and foster a culture of cooperation.Furthermore, the role of the team leader is crucial in navigating the complexities of team collaboration. Effective leaders must be able tobalance the needs and interests of individual team members while ensuring that the team's collective goals are achieved. They must possess strong communication skills, emotional intelligence, and the ability to mediate conflicts and facilitate consensus-building.In conclusion, team collaboration is a complex and dynamic process that involves both challenges and opportunities. While conflicts may arise due to the diverse nature of team members, the potential for cooperation and synergy is immense. By embracing the diversity of the team, fostering open communication, and cultivating a culture of trust and mutual respect, organizations can harness the power of team collaboration to achieve remarkable results. The ability to navigate through conflicts and leverage the strengths of team members is a critical skill for leaders and team members alike, as it ultimately contributes to the overall success and growth of the organization.。
ideal 解决冲突 方法
ideal 解决冲突方法【原创版4篇】篇1 目录1.引言2.什么是冲突3.解决冲突的重要性4.解决冲突的有效方法5.结论篇1正文【引言】在人类的社会生活中，冲突是不可避免的现象。
无论是个人生活还是组织、国家之间，都会遇到各种各样的冲突。
如何有效地解决冲突，维护和谐的关系，成为人们关注的焦点。
本文将探讨解决冲突的有效方法。
【什么是冲突】冲突，简单来说，就是双方或多方在某些问题上存在不同的利益、观点、需求等，导致双方或多方无法达成一致。
冲突可以是利益冲突、价值观冲突、认知冲突等。
【解决冲突的重要性】解决冲突的重要性不言而喻。
有效的冲突解决，可以维护和促进人们之间的关系，推动组织和国家的发展。
反之，如果冲突不能得到有效解决，可能会导致关系破裂，甚至战争。
【解决冲突的有效方法】理想的冲突解决方法应该遵循以下原则：1.理性原则：双方或多方在解决冲突时，应该保持理性，避免情绪化。
2.信息充分原则：冲突双方应该充分了解对方的利益、观点和需求，以便找到共同的解决方案。
3.双赢原则：冲突解决的结果应该是双方都能接受的，而不是一方胜出，另一方失败。
具体来说，有效的冲突解决方法包括：1.沟通：通过沟通，理解对方的需求和观点，找到可能的解决方案。
2.协商：在理解对方的基础上，通过协商，找到双方都能接受的解决方案。
3.妥协：在某些情况下，可能需要双方都做出一些让步，以达成共识。
4.仲裁：如果双方无法达成一致，可以寻求第三方的仲裁。
【结论】总的来说，解决冲突是维护和谐关系的重要手段。
篇2 目录1.引言2.什么是 ideal 解决冲突的方法3.ideal 解决冲突的方法的具体步骤4.ideal 解决冲突的方法的优势5.结论篇2正文【引言】在人类社会的各个领域，冲突都是不可避免的现象。
如何有效地解决冲突，维护和谐稳定的社会环境，一直是人们关注的焦点。
在众多解决冲突的方法中，ideal 解决冲突的方法因其独特性和实用性而备受推崇。
虚拟团队协作与远程办公的技巧与挑战
虚拟团队协作与远程办公的技巧与挑战1. 引言1.1 概述随着技术的不断进步和全球化的发展，虚拟团队协作和远程办公正越来越成为一种常见的工作模式。
虚拟团队协作是指由跨地域甚至不同国家的成员组成的团队，在网络平台上进行协同工作和信息交流。
而远程办公则是指不需要身体上亲临工作场所，通过使用互联网等工具，在任何地点都能完成工作任务。
1.2 文章结构本文将从虚拟团队协作技巧、远程办公技巧以及虚拟团队协作挑战三个方面讨论与揭示虚拟团队协作与远程办公的相关内容。
在“虚拟团队协作技巧”部分，我们将探讨沟通与协调、任务分配与管理以及建立信任与合作关系等方面的关键技巧。
接着，“远程办公技巧”将涵盖选择和使用设备和工具、时间管理和自我约束力以及心理调适和工作效率提升等重要内容。
最后，在“虚拟团队协作挑战”部分，我们将分析时区和语言差异、团队成员缺乏面对面互动以及难以建立团队凝聚力和文化共识等方面的挑战。
1.3 目的本文的目的在于探讨虚拟团队协作和远程办公所带来的技巧与挑战，并提供一些实用的方法和策略来帮助读者更好地应对这些问题。
通过对不同方面的讨论，我们旨在增进读者对虚拟团队协作与远程办公的理解，并为那些正在或打算从事这种工作模式的人们提供一些建议和指导。
以上是“1. 引言”部分内容，接下来将详细展开介绍文章中其他各个部分的内容。
2. 虚拟团队协作技巧2.1 沟通与协调在虚拟团队中，有效的沟通和协调是至关重要的。
以下是一些实用的技巧来提高沟通和协调效果：首先，选择合适的沟通工具。
根据团队成员的偏好和需求，可以使用电子邮件、即时消息应用程序、在线会议工具等不同类型的沟通工具。
确保选择易于使用、可靠且能满足团队需求的工具。
其次，及时回复信息。
由于虚拟团队成员可能分布在不同的时区，并且无法亲自面对面交流，因此及时回复信息非常重要。
尽量保持快速响应，建立一种高效率和高质量沟通的氛围。
另外，明确沟通渠道和时间。
确定哪些事项需要在线讨论或通过电话会议解决，哪些可以通过电子邮件或即时消息应用程序进行处理。
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12
INTERNET...
/endlessknots/v irtual_teams/index.html Article on Virtual Team conflict
13
INTERNET..
/pointlookout/071 017.shtml by Rick Brenner: Chaco Canyon Consulting An Article on Virtual Conflict
6
BOOKS..
K. Fisher, S. Rayner, W.Belgard et al. 1995, Tips for teams: A ready reference for solving team problems. 1st Edition Fisher Rayner Inc.
In this book, many tips for handling team problems are offered. There are solutions for common team problems, such as cultural issues, personal issues, team issues and communication issues amongst others. They therefore provide solutions for managing team conflict by analyzing different types of conflict within teams.
a)
b) c)
d)
See conflict resolution solutions for normal face to face teams See available conflict resolution for virtual teams Talley the two, see if there are, within the similar problems, similar solutions See where current solutions are unavailable or insufficient
11
THE INTERNET..
Most of the internet research was done through these websites: /conflictvirtual-team.htm Identifying the key steps for managing conflict in a virtual team, September 23, 2006 By: Lynn Marotta
14
INTERNET..
A webinar, Given by the American Management Association on the 11th of October, specifically dealing with the growth of Virtual Teams. The Webinar was given by Jessica Lipnack, CEO of NetAge and author of Virtual Teams.
10
BOOKS..
D.Duarte, N.T.Snyder,2006, Mastering Virtual Teams, 3rd Edition, Jossey Bass Great for providing critical information on the growth, need and dynamics of virtual teams Gave great insight for HR’s role in Virtual Teams and the different types of virtual teams in organizations.
7
BOOKS..
G.M.Parker, 1994, Cross-functional teams, working with allies, enemies and other strangers, 3rd Edition, Josey Bass, San Fransisco In this book the author analyses the evolution of communication in the business world and the growing importance of team flexibility. He looks at different aspects of effective teamwork and the most common obstacles a team faces on a daily basis.
5
THE LITTERATURE
Books: J.Lipnack, J Stamps, 1997, Virtual Teams, 1st Edition, John Wiley & Sons, NY Jessica Lipnack and her partner Jeff Stamps have written many books on this subject. In fact it was coming across on of their articles on the web that I decided to study this subject
8
BOOKS..
D.Leonard, W.Swap, 2005, When sparks fly, Harnessing the power of group creativity, Harvard Business School Press In this book, they offer many solutions for enhancing group creativity, mostly for this project we looked at various conflicts and issues which would hinder a team to attain maximal efficiency and creativity.
aห้องสมุดไป่ตู้ b) c) d)
Definition of VT’s Growth of VT’s Industry standards CC: importance/not of VT’s on HR
3
II- CONFLICT WITHIN TEAMS
We will study the various types of conflicts that occur within these virtual teams and how they differ from regular face to face team conflicts this will inform the reader of the actual scope of the project and help them better understand the problem being studied.
2
I – VIRTUAL TEAMS: THE WHO, WHEN WHY AND HOW.
We will discuss the growth of virtual teams within various corporations and types of industries and see which industries set the trend - this will introduce the subject and show the reader how relevant this paper is for future HR managers.
a) b) c) d)
Conflict for regular face to face teams Conflict for virtual teams Similarities and differences Impact on HR
4
III- SOLUTIONS…
We shall propose solutions that have been offered by HR and other managers and researchers to solve these issues- this will help us potentially move forward by seeing existing solutions and try to see where actual research is lacking
9
BOOKS..
J.Schmitz, 2000, Transcendent Teams, Princeton Training Press Gave great strategies and insight in terms of sources of distance within teams Many graphs and tables used were taken from this book.
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CONFLICT WITHIN VIRTUAL TEAMS
1
HOW HUMAN RESOURCES CAN HELP RESOLVE CONFLICT WITHIN VIRTUAL TEAMS
PROJECT OUTLINE
As with regular face to face team management one can not ignore the fact that conflict is bound to occur within the scope of virtual teams as well. Although the virtual team's dynamics are different, HR managers should be prepared to resolve various conflict issues that can arise.