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|Kevin Dooley||O'Reilly Media||ePub|
Over the last few years, wireless networking has seen a huge increase in public acceptance and in use. It is still considerably more expensive, less reliable, and slower than conventional wire-based networks. However, in many cases, wireless is the most convenient method for delivering network services.
Two main standards are currently used for wireless local area communications: 802.11 and Bluetooth. In their most popular current implementations, both protocols use the 2.4 GHz ISM and 5 GHz UNII bands. (ISM stands for Industrial, Scientific, and Medical, and UNII for Unlicensed National Information Infrastructure.) These bands are reserved sets of frequencies that can be used without a license.
Despite having the same frequencies and similar throughput capabilities, these two protocols are not compatible with one another. Thus, it is important to understand the strengths and weaknesses of both.
Bluetooth (whose underlying protocol is currently being standardized by the IEEE under the 802.15 designation) was created as a wireless method for replacing serial, parallel, and USB-type cables. It also includes a LAN specification, but even this specification is based on an underlying serial cable emulation. Thus, the LAN links created with Bluetooth always use point-to-point protocol (PPP), which is a logical link protocol frequently used over modem-type links.See All
|Zach Savich||Center for Literary Publishing||ePub|
for David Bartone
A ladder built into the exterior of a truck,
beginning now, decency its own kind
from a café with little outdoor seating,
is that from,” the mother says. “First century
for Jeff Downey
We proceed by pattern and anomaly, had
and a florist, just-aged flowers free
I always take “the secret way,” two fingers
for Hilary Plum
We go to the cinema merely
from a balcony, to be in
zinnia market in the churchyard,
a watermark on foreign currency.
I sang: Tell me of the heart which exists
Then dreamed I sang so loudly, I woke
The cygnets’ feet were lost in snow
The cygnets were lovely because footless
|Nathalia Brodskaya||Parkstone International|
orival classified Jean Puy as “le demi-fauve,”68 the reason being the distinctive place which Puy always occupied among his friends. He exhibited together with them at the Salon des Indépendants and the Salon d’Automne, he became friends with Matisse, Marquet, Manguin, and Camoin, yet at the same time he stood somewhat apart, as if evaluating their emotional outbursts and their attempts to shock with a detached eye.
Puy’s character had one specific feature: he always opposed any pressure whatsoever. In the words of his brother, the critic Michel Puy, he resisted his father’s desire to see him as a budding architect and then later the influence of the classical school of art. He equally, stubbornly, refused to succumb to the effect that Matisse’s will and Matisse’s art had on him. As a result, Puy’s painting, although linked to the art of the other Fauves by a heightened sense of colour and a search for terse means of expression, bore within it a steady striving after the classical finished quality in a work and a constant sense of strict measure in the arrangement of colours and the texture of the paints.See All
|Edited by Kenneth L. Untiedt||University of North Texas Press|
“JULY 4, 1976”: A FOLKTALE FROM
THE HELOTES SETTLEMENT by John Igo
Instead of a sermon that day, Our Lady of Guadalupe Church in
Helotes had an organ recital by Marie Conley. Without preamble,
Father Louis Trawalter introduced her.
She was old, old—upper ’80s, maybe ’90s—but her fingers were agile. I can believe that she had introduced Khachaturian,
Shostakovich, and Prokofiev to San Antonio with Max Reiter decades back, from her house/studio in the now long-gone Irish
Flats. Her program was unannounced and there were no printed programs: “The National Emblem March,” a Stephen Foster, a colonial tune, “Battle Hymn of the Republic,” “Tenting on the
Old Camp Ground,” an unfamiliar 19th century hymn, a minstrel show tune, “Rock of Ages,” a spiritual, a George M. Cohan song,
“America the Beautiful,” “I Love You Truly,” and “Dixie.” Every resource of that organ was called into use: whispering, humming, fluting, booming, with bugle effects, drum effects, crashing and roaring, and chiming. Her “Battle Hymn of the Republic” was enough to give hackles; it was a martial hymn, with drums and muskets in it. It was not a pious sentimentality but a triumphant war cry. Her Hallelujahs floated over drums.See All
|Kim Cameron||Berrett-Koehler Publishers||ePub|
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