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Medium 9780596003746

28. Formats

Slice ePub May 27, 2014

Formats list according to picture and accumulates the result into $^A.

Writes a formatted record to the specified file, using the format associated with that file. If filehandle is omitted, the currently selected one is taken.

Formats are defined as follows:

format [ name ] =

formlist

.

formlist is a sequence of lines, each of which is either a comment line (# in the first column), a picture line, or an argument line. A picture line contains descriptions of fields. It can also contain other text that will be output as given. Argument lines contain lists of values that are output in the format and order of the preceding picture line.

name defaults to STDOUT if omitted.

To associate a format with the current output stream, assign its name to the special variable $~. A format to handle page breaks can be assigned to $^. To force a page break on the next write, set $- to zero.

Picture fields are:

@<<<

Left-adjusted field. Repeat the < to denote the desired width.

@>>>

Right-adjusted field.

@|||

Centered field.

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Medium 9780596527877

4. THE DISPLAY LIST

Slice ePub May 27, 2014

One of the most dramatic changes introduced by ActionScript 3.0, particularly for designers accustomed to prior versions of ActionScript, is the way in which visual elements are added to an application at runtime. In prior versions of ActionScript, a separate approach was used to add most kinds of visual assets at runtime, requiring varied syntax. Management of those assetsparticularly depth managementand creating and destroying objects, were also fairly restrictive and could be relatively involved depending on what you were trying to accomplish.

ActionScript 3.0 brings with it an entirely new way of handling visual assets. Its called the display list. Its a hierarchical list of all visual elements in your file. It includes common objects such as movie clips, but also objects such as shapes and sprites that either didnt previously exist or could not be created programmatically.

In this chapter, well look at the following topics:

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Medium 9781906188078

We Being Ghosts Cannot Catch Hold of Things

Slice PDF April 24, 2015

Medium 9781883217419

Chapter One – Melody & Embellishment

Source: Forward Motion
Slice ePub May 27, 2014

“Learn how to play a melody before you do all them fancy embellishments.” Joe “King” Oliver to Louis Armstrong

Joe Oliver’s advice distinguishes between two different types of improvisation; melodic and embellishment. His intuitively founded concept is based upon a fundamental scientific principle about how the ear works, particularly when a musician “plays by ear.” (King Oliver was, it should be noted, an “ear player.”) This being: complexity is based upon a foundation of simplicity. If one can’t hear and execute simple musical ideas then one hasn’t yet established in the ear the foundation required upon which to execute more complex ideas. In his study of the relationship between mental processes and the playing of music (The Art of Piano Playing: A Scientific Approach, Summy-Birchard), George Kochevitsky presented convincing evidence that virtually all music is played “by ear.”

Douglas Hofstadter, in his Pulitzer Prize winning book: “Godel, Escher, Bach,” (Vintage Books) suggests that the ear hears in a linear (horizontal) fashion, from line to line, idea to idea, as opposed to a “stacked” (linear) fashion. As an example, he sites the experience of listening to a Bach four-part fugue. The listener can’t perceive all the parts at once, on the same level. The ear can hear a fugue in either one of two ways: As soon as the ear selects a particular line of the fugue, the others recede into the background. When trying to hear the sum of the four parts at the same time, the ear can only perceive the total as an aural “color.”

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Medium 9781847770684

Love in Three Movements

Slice PDF April 24, 2015

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