![]() You can download your version for the WPS office through this link and comment about your experience with it. Since you have now witnessed that this application is user-friendly, you can use it anytime as it’s also time-saving. It is free to download, and you can use it on Windows, Mac, and smartphones. It’s even simpler when you are using a robust application like WPS. You can instantly add a QR code to any of your PDF files after learning how to use a PDF QR code generator. Learning how to use a PDF QR code generator and using it through WPS is a simple task. The QR code will be ready to use once its resized and positioned. The QR code image will be free in size and you will have to resize it as per the requirement. Click ‘Insert picture’ to upload it.Ĭlick Open. Download a copyright-free QR code picture from the internet and upload it in your PDF file. You will need a QR code image to generate a QR code for your PDF file. When you click the option for edit pdf, you’ll also get the chance to upload your PDF files.Ĭlick ‘Open,’ and the file will be ready to edit. Go to the WPS office homepage and click ‘PDF’ to access its toolkit.Ĭlick ‘Edit PDF’ and upload your PDF file. You cannot do this task offline, so an internet connection is important. Just click on the Download button to get the created QR code image then (the image is available as EPS or SVG vector graphic, as well as high-resolution PNG, GIF or JPEG raster graphics format). The QR code will be generated automatically as you type. To use the WPS PDF online QR generator, you will need to install WPS Office. Just enter your text, your URL, a SMS or vCard contact information. ![]() ![]() We will show you how these three points are fact-based while learning how to use a PDF QR code generator through the tutorial below. WPS office is the best application for tasks like editing or converting files, including Word, PPT, PDF, and Excel. It lets employers or clients receive all the information through online channels by scanning the QR code.Īmazing, right? If you’re wondering how to use a PDF QR code generator, read this guide, where we will teach you how to do it using the WPS PDF office. Adding QR codes to your PDF files is all the rage in 2023.
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Team Contacts - Rules of Volleyball A contact is any contact with the ball by a legal player.Ī team is entitled to a maximum of 3 contacts. The free zone and the service zone on adjacent courts is a playable area. When competition is occurring or is scheduled on adjacent courts, it is a fault for a player to enter an adjacent court to make a play on a ball or after playing a ball. Any other area outlined by the Referee in the pre-match conferenceĬontacting the Ball - Rules of Volleyball If a divider or net is separating courts, only the player making an attempt on the ball may move the divider or net to play the ball.The area between the scorers table and team benches.Team benches and any area behind the team benches.Walls, bleachers, or spectator seating areas.In the rules of volleyball non-playable areas are defined as Playing a ball over a non-playable area - Rules of Volleyball The player retrieving a volleyball over a non-playable area must be in contact with the playing surface when contact with the ball is made. The surface change is less than 1.25 centimeters (1/2 inch), the secondary surface is lower than the free zone, and the area is free of obstruction. The volleyball may be retrieved from beyond the free zone if. However, the ball may be played beyond the "free zone". If an official, media equipment, or spectator interferes with a players legal attempt to play the ball.Įach team must play within its own playing area.The volleyball comes to rest on an overhead object above a teams playing area and is still a playable ball.The volleyball contacts an overhead object that is less than 4.6 meters (15 feet) above a playable area and would have remained playable if the object wasn't present.The volleyball is "Out" and a playover is directed when. The volleyball remains "in play" if it contacts objects or the ceiling that is higher than 4.6 meters (15 feet) above the playing area. The volleyball completely crosses the space under the net.The volleyball crosses the vertical plane of the net either partially or totally outside the crossing space (above or completely outside the antennae).The volleyball touches the ropes, antennae, posts, or net itself that is outside the antennae.The volleyball touches an object outside the court, the ceiling or person that is "out of play".The volleyball contacts the floor completely outside the boundary lines. ![]() The courts boundary lines are part of the court and are "In". The Ball is In - Rules of Volleyball The volleyball is "In" once it touches the court. ![]() If an inadvertent whistle occurs, the rally is ended and the referee must make a ruling that doesn't penalize either team. Out of Play The volleyball is "out of play" once a fault has occurred and is whistled by a referee. ![]() In Play After the Referee's whistle for service, the volleyball is "in play" wants the contact for serve has been made. Whether a beginning player, coach or fan, learn the rules and you'll make volleyball a much more enjoyable experience. Rules of volleyball can seem intimating to learn at first. Rules of Volleyball What's Legal for Playing the Ball ![]() The Colonial Club burned in the 1930s.īy 1915 Lexington had become a center for "truck farming". In 1928 the former Benjamin Wellington farm at 177 Concord Avenue) became the Minuteman Golf Club and the Dick Dunn farm on Cedar Street gave way to the Paul Revere, later Pine Meadows, Golf Club. Golf was a popular recreational activity. Land off Bedford Street in North Lexington was purchased by the town in 1917 for a new cemetery, Westview Cemetery, which was laid out by landscape architect A.A. ![]() Other open space was put to different uses. An addition was made to the Adams School (739 Mass. Avenue, 1902) saw a substantial addition/remodeling in 1925, and the Franklin School was constructed on Stedman Road in the southern district of Lexington in 1930. ![]() Avenue, 1904) was enlarged in 1915 and the Parker School was built on Bedford Street in North Lexington in 1920 with an addition constructed just five years later. The rise in the number of children meant new school buildings and additions to existing facilities. In 1937 the Charles Goodwin Estate on Meriam Hill was divided into house lots and the house and stable were demolished. Following this burst of real estate activity, a number of local estates and farms were sold during the Depression. In 1927, some 53 acres of land were laid out on a hill in East Lexington, south and east of Locust Avenue. In North Lexington, the Lexington Manor neighborhood (see Area AU) was developed by the Lexington Building Trust beginning in the early 1920s. By 1925 he had built over sixty houses on his Lexington properties and was also active in other communities including Wellesley and Arlington. All told, McIntosh developed over 500 acres of land in various parts of town including Farmhurst, Fair Oaks, the 178-acre Cary Estate (on Cary Avenue near Shade Street), and the Prospect Hill Road area. The Fair Oaks development (see Area Y) off Marrett Road was originally conceived by landscape architect Arthur Horton in 1910 although most of the houses built there were not constructed until the mid-1920s when the development was taken over by McIntosh. Off Marrett Road, the former Valley Field Farm/Grassland Farm was being developed into "Farmhurst" by Neil McIntosh who lived on Middle Street in Lexington. It was one of the numerous developments in the region constructed by developer J.W. The Liberty Heights development (see Area Q) was under construction in East Lexington, south of Massachusetts Avenue. In 1921 there were thirty-five developments underway in Lexington, encompassing 1,431 acres. The first house connection with sewer occurred in 1916 and the first Planning Board was elected in 1918. Avenue, 1936) also dates to this period.Įlsewhere in town housing developments continued to fill former open spaces. Avenue, 1928) and the Town Offices (1625 Mass. New municipal buildings were constructed including Cary Memorial Hall (1605 Mass. Avenue opposite Waltham Street was demolished in 1928. Avenue (1930) and the building at 1846 Mass. New brick commercial blocks included the Aldrich Block at 1736 Mass. ![]() The Theatre Block at 1792-1804 Massachusetts Avenue was erected in 1916 and the Ribock Block (now Michelson's/Theatre Pharmacy) was built at 1780 Mass. The town's central business district saw considerable activity during this period. Despite these major events, Lexington continued to prosper and develop. A decade later the stock market crashed in October 1929 and the Great Depression followed. The soldiers were welcomed home in June 1919. War broke out in Europe in August 1914 and Lexingtonians anxiously followed the events leading up to the United States' entry in April 1917 into what became World War I. Globally, the early modern period was full of apprehension and change. Equally important but not apparent in the numbers alone is the fact that the town's population was much more diverse in ethnicity and class than it had been a century, or even 75 years, earlier. In 1915, Lexington's population stood at 5,538 by 1940 it had grown to 13,113. ![]() Click Edit Merge Properties icon to see a list of contacts.Check your work with a print preview as follows (and edit if required) These fields can be arranged on the same line with spaces or placed on new lines by editing the text in the right pane window. A pick list allows you to select the fields you need for the envelope using the field numbers mentioned in step 18. Select the Text tab in the right pane and click the Insert merge field button. Click the 'Create Text Object' and click/drag to create a text rectangle aligned to the top left corner of the envelope area.You can create a shortcut to this on your desktop for convenience. Clicking the left triangle next to the contact data will expand the record vertically showing field numbers and the data held therein. Unselect All> then tick the record corresponding to the contact you want to address on the envelope.You'll be able to check all is OK because you will see data listed from the first field in the preview pane. Location: - Navigate to the CSV saved in step 11. Select Objects>Merge properties> Format: Text:Comma Separated Values (CSV).Open the envelope template you have created.You have an orientation option at this point - select 'Rotated'. When your envelope template is completed click File>New>Custom and follow the wizard.You only want 1 label - about envelope sized! This can be confirmed in the Layout(s) tab. Use the dimensions width and height from the Page size tab to define the label dimensions on the 'Label or Card Size' tab.Follow the Wizard using the page size to define the size of the envelope.This is the CSV that will be used by gLabels.ĬREATE ENVELOPE TEMPLATE FILES IN gLabels Save the Calc file as CSV in a location you will remember.Right Mouse click in cell A1 and select.Select File>New>Spreadsheet to open a new LO Calc file.Right click on the Base query and select.This will be used as a record identifier in gLabels.ĮXPORT THE REQUIRED DATA TO A CSV FILE THAT CAN BE READ BY gLabels TOP TIP Have the first field/column containing concatenated first and family names (in TB Contacts this is called 'Display'). ![]() Change the order of fields and sort/filter the data as required. Right mouse click on the query and select Edit.Select Queries>Use Wizard to Create Query>Select the table storing your contact data and pick the fields holding the salutations, names and address data.Open LO Base>Open an existing database file>navigate to your saved.odb file.ĬREATE A LIBREOFFICE DATABASE FILE TO PROCESS THUNDERBIRD CONTACT DATA This creates a data connection between TB contacts and LO. In LO Writer select File>Wizard>Address Data Source> Thunderbird/Icedove>.GIVE LIBREOFFICE ACCESS TO THUNDERBIRD CONTACT DATABASE gLabels installed from Ubuntu Software Centre.LO Base (the database module) installed.Once the templates are there, printing direct to envelopes is easy. This method requires a fair amount of non-technical effort to set up. That software is gLabels and it is available from the Ubuntu Software Centre. If anything doesn't work as advertised, bugs can be reviewed and reported here: Īn additional software application is needed to print a selected Thunderbird (TB) contact to an envelope using LibreOffice (LO). Make final adjustments/corrections so that everything aligns the way you want, insert your envelope in the printer based on the orientation chosen previously and click print. (For more on registering a database see Help, address books registering)or check the documentation here or perhaps hereĬhange to the Format tab displaying this:įinally, move to the Printer tab and choose the orientation at which you will feeding your envelope as below, adjusting any other settings as necessary to your requirements: Here you'll choose your registered database details for pulling your contact info in. ![]() Personally, I put addresses on my letters and use window envelopes but perhaps this will be more to your liking.įrom the writer menu select File->Insert->Envelope. 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In 2022, the psychotherapist Nina Jane Patel, who does research on the metaverse, wrote of the “surreal nightmare” of being gang-raped in Horizon Venues (now Horizon Worlds). The Meta game Horizon Worlds has reportedly been the site of several sexual assaults. ![]() A police investigator told the Daily Mail that the metaverse is already “rife” with sexual offenses. If gone unchecked, sex crimes in the developing world of the metaverse, against both children and adults, will become more common. In October of last year, a bipartisan coalition of 33 attorneys general filed a lawsuit against Meta in California, alleging that Facebook and Instagram are responsible for a “national youth mental health crisis”. In 2021, the whistleblower Frances Haugen revealed that Facebook’s own internal research showed how using Instagram (which the company owns) adversely affects teen girls’ confidence and body image. For instance, Meta has a notoriously bad record when it comes to protecting children and teenagers. Their track record in regular online social media is questionable, however. So while it is necessary for the police to investigate this case – with the courts to decide on the appropriate punishment for the alleged offenders – it is equally important for companies behind games in the metaverse to be held accountable for bad actors. Meta has a notoriously bad track record when it comes to protecting children and teenagersĪs did the girl whose avatar was attacked in the metaverse, according to a senior police officer familiar with the case he told the Daily Mail: “There is an emotional and psychological impact on the victim that is longer-term than any physical injuries.” In addition, the immersive quality of the metaverse experience makes it all the more difficult for a child, especially, to distinguish between what’s real and what is make-believe. Dibbell’s piece reported on how the people behind avatars that were sexually assaulted in a virtual community felt emotions similar to those of victims of physical rape. The question of whether virtual rape is “really rape” goes back to at least 1993, when the Village Voice published an article by Julian Dibbell about “a rape in cyberspace”. The fact that they are able to in the metaverse is the issue at the heart of this case, which has attracted international attention. It isn’t yet known what game she was playing when the alleged assault occurred, but obviously there isn’t an online game where the goal for adult players is to rape children. The difference, of course, is that while Call of Duty players can expect to be virtually killed sometimes as part of the game, the girl had no reason to expect that she might be raped. The comments on an Instagram post for a story about the case in the New York Post were characteristically skeptical: “Couldn’t she have just turned it off?” “Can we focus on real-life crime please?” “I was killed in ,” one person said sarcastically: “Been waiting for my killer to be brought to justice.” ![]() Rosemary Harrison, a waitress at the Gleneagles under Sinclair, described him as "bonkers" and lacking in hospitality, deeming him wholly unsuitable for a hotel proprietor. Michael Palin states Sinclair "seemed to view us as a colossal inconvenience". Asked why anyone would want to bomb the hotel, Sinclair replied, "We've had a lot of staff problems". ![]() Among such behaviour by Sinclair was his criticism of Terry Gilliam's "too American" table etiquette and tossing Eric Idle's briefcase out of a window "in case it contained a bomb". John Cleese was fascinated with the behaviour of the owner, Donald Sinclair, later describing him as "the rudest man I've ever come across in my life". In May 1970, the Monty Python comedy group stayed at the now demolished Gleneagles Hotel in Torquay, Devon while filming on location in Paignton. Cleese stayed at the hotel with the Monty Python team in 1970, and was inspired to write the series by the eccentric behaviour of the hotel's owner Donald Sinclair. Origins Gleneagles Hotel, Torquay in 2009. Cleese subsequently confirmed to GB News that the sequel series, unlike the original series, would not be broadcast on the BBC. The BBC profile for the series states that "the British sitcom by which all other British sitcoms must be judged, Fawlty Towers withstands multiple viewings, is eminently quotable (' don't mention the war') and stands up to this day as a jewel in the BBC's comedy crown." Ī sequel series starring Cleese and his daughter Camilla is in development as of February 2023. ![]() The popularity of Fawlty Towers has endured, and it is often re-broadcast. In 1980, Cleese received the British Academy Television Award for Best Entertainment Performance, and, in a 2001 poll conducted by Channel 4, Basil Fawlty was ranked second on their list of the 100 Greatest TV Characters. In 19, Fawlty Towers won the British Academy Television Award for Best Scripted Comedy. Sinclair was the inspiration for Cleese's character Basil Fawlty. Stuffy and snobbish, Sinclair treated guests as though they were a hindrance to his running of the hotel (a waitress who worked for him stated "it was as if he didn't want the guests to be there"). The idea of the show came from Cleese after he stayed at the Gleneagles Hotel in Torquay, Devon, in 1970 (along with the rest of the Monty Python troupe), where he encountered the eccentric hotel owner Donald Sinclair. They show their attempts to run the hotel amidst farcical situations and an array of demanding and eccentric guests and tradespeople. The plots centre on the tense, rude and put-upon owner Basil Fawlty (Cleese), his bossy wife Sybil ( Prunella Scales), the sensible chambermaid Polly (Booth) who often is the peacemaker and voice of reason, and the hapless and English-challenged Spanish waiter Manuel ( Andrew Sachs). The series is set in Fawlty Towers, a fictional hotel in the English seaside town of Torquay in Devon. The show was ranked first on a list of the 100 Greatest British Television Programmes drawn up by the British Film Institute in 2000 and, in 2019, it was named the greatest ever British TV sitcom by a panel of comedy experts compiled by the Radio Times. Two series of six episodes each were made. Fawlty Towers is a British television sitcom written by John Cleese and Connie Booth, originally broadcast on BBC Two in 19. ![]() =(TIME(10) - TIME(Return10)) * 24Ĭonvert difference between two times expressed in hours (only works when working day = 24 hrs) =(TIME(10) - TIME(Return10))ĭifference between two times as a fraction of a working day Column or Data TypeĬreate a time object referencing another cellĪdd 5 minutes to a time object - example 1Īdd 5 minutes to a time object - example 2Īdd 5 minutes to a time object - example 3Įxpress a time object in a 12 hour formatĮxpress a time object in a 24 hour formatĪppend a string of information to a time objectĬonvert last modified time into time 8)) + 4 If you receive an #UNPARSEABLE error after copy-pasting, try typing the formula manually into the cell instead. The following chart shows example results based on the order in which you use TIME and the column type. When performing calculations, the order in which you use TIME() with other values matters. ![]() For example, =TIME("15") returns 15, whereas =TIME("3 PM") returns 3 PM. If you omit the optional format and precision arguments, the TIME function's output will depend on how time_value is expressed. For example, to send morning emails before 9:00 AM, the formula could be: TIME outputs a 'time object' that you can utilize in other formulas. ![]() To extract the time component from System columns such as 'Modified (Date)' and 'Created (Date)', use the RIGHT() function set to return the last 8 characters, like so: 8)). All three components-hour, min, and sec-must be specified to avoid an #UNPARSEABLE error when using optional arguments.Numeric Inputs : Use up to three numbers for hours, minutes, and seconds, separated by commas.Another common reference source is cells that already contain TIME() function formulas. Cell Reference : Reference a cell, typically in a Date/Time Column (e.g., start and end date columns).String Format : Input numbers and text to represent time.You can input the time_value argument in one of these three distinct formats: If you use a track matte, no matter where you move your layer, the track matte stays in place. What that means for you is that if you put a mask onto a layer, then move the layer, the mask goes with it. Now, you might be asking, why not use a mask? Here’s the main difference: Track mattes are not layer dependent, masks are. ![]() You want a picture of a flower placed in your text? Or a graphic to hide your video clip until you want it to be revealed? Track mattes are your friend. ![]() Simply put, you can shape a particular layer using the appearance of a track matte above it. Track mattes are a fun and powerful tool in After Effects that allows you to use a clip, still image, or text to dictate the transparency of the layer beneath. Users are encouraged to further their knowledge and skills in After Effects and Video Editing by enrolling in specific courses offered by Noble Desktop.Adding effects such as Drop Shadow and creating a vignette to frame the animation are thoroughly explained, allowing users to enhance their projects visually.Animating and using a Track Matte are explained in detail, introducing users to a simple technique that opens up a multitude of options for animation projects.The tutorial includes a dedicated section on how to use transparency, demonstrating how to create a precomp to organize layers and make animation easier. ![]()
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