ac plus two separate display screens quotation

Under System , select Display . Your PC should automatically detect your monitors and show your desktop. If you don"t see the monitors, select Multiple displays , then Detect.

You may be able to connect one or more external displays to your Mac (you may need a video cable or adapter for each display). See the Apple Support article Adapters for the Thunderbolt 4, Thunderbolt 3, or USB-C port.

For each display, securely connect a video cable (and adapter, if necessary) from a video output port on your Mac to the video input port on the display. See About the video ports.

You can connect one or more external displays, depending on your Mac.For Mac computers with the Apple M1 Chip: You can connect a single external display to your Mac. Docks don’t increase the number of displays you can connect. On a Mac mini with M1 chip, you can connect a second display to the HDMI port. See the Apple Support article Mac computers with Apple silicon.

For Mac computers with Thunderbolt 3 (USB-C): You can connect a single display to each port. If you connect multiple Thunderbolt devices to each other, the Thunderbolt 3 display must be the last device in the chain. If your Thunderbolt 3 display has USB ports, those can be used for data and power.

For Mac computers with Mini DisplayPort, Thunderbolt, or Thunderbolt 2: You can connect up to two displays. If the displays themselves have Thunderbolt ports, you can connect one display to another, and then connect one of the displays to a Thunderbolt port on your Mac. If your Mac has two Thunderbolt ports, you can connect each display to separate Thunderbolt ports on your Mac. A DisplayPort device must be the last device in a chain of connected Thunderbolt devices. See Connect a display, TV, or projector to Mac.

For Mac computers with Thunderbolt 4 (USB-C) and HDMI ports: You can connect up to four external displays to your Mac, depending on your Mac model. See the Apple Support article Connect a display to your Mac.

Note:Only the device directly connected to your Mac receives power from the computer’s Thunderbolt port. The other devices in the chain must be powered by separate power adapters.

You can arrange your displays in any configuration to create an extended desktop. For example, you can set your external display side by side with your Mac to create one large continuous desktop.

If more than two displays are connected to your Mac, you can specify that some displays use mirroring (showing the entire desktop) and other displays show the extended desktop (displaying the desktop across two or more displays). For example, if you have three displays, you can have two displays showing the same information and the third display showing the extended desktop.Press and hold the Option key and drag one display icon onto another display icon to mirror those two displays.

If you experience the problem of external monitors, such as abnormal display or audio is not working, please refer to the troubleshooting in this article.

If you don’t experience the issue after restarting your computer, the external device may be the cause of the problem. We recommend that you do not use this device and contact your device manufacturer for support.

Note: Please don’t remove the AC adapter for ASUS laptop TP420IA and UX425IA model. (These models need to plug in the AC adapter to do the Hard reset process.)

Re-install the AC adapter and battery, then power on the computer and check whether the problem is resolved or not. If the problem persists, please continue to the next chapter for troubleshooting.

Note: Some models possess both two graphics (so-called integrated & dedicated graphics, such as Intel & NVIDIA) and both can be seen in Device Manager. We suggest that you can follow step 2 and 3 to uninstall each graphics driver.

If the problem persists after all troubleshooting steps are completed. Please backup your personal files, then reset the PC to back to its original configuration. Here you can learn more about:

If you don’t experience the issue after restarting your computer, the external device may be the cause of the problem. We recommend that you do not use this device and contact your device manufacturer for support.

Note: Please don’t remove the AC adapter for ASUS laptop TP420IA and UX425IA model. (These models need to plug in the AC adapter to do the Hard reset process.)

Re-install the AC adapter and battery, then power on the computer and check whether the problem is resolved or not. If the problem persists, please continue to the next chapter for troubleshooting.

Note: Some models possess both two graphics (so-called integrated & dedicated graphics, such as Intel & NVIDIA) and both can be seen in Device Manager. We suggest that you can follow step 2 and 3 to uninstall each graphics driver.

If the problem persists after all troubleshooting steps are completed. Please backup your personal files, then reset the PC to back to its original configuration. Here you can learn more about:

In an office, it"s common to see people using multiple monitors at the same computer. It"s a great way to expand your workspace and use lots of different apps at once.

Luckily, dual monitors aren"t just for professionals. You can set up dual monitors on your PC and Mac easily. You just need the monitors and cables to connect them.Important: You can set up dual monitors on a laptop, too. The laptop"s screen will just count as one of the monitors.

William Antonelli/InsiderQuick tip: You can also get to your Display settingson Windows by going to Settings > Ease of access > Display, and then click on the Additional display settingslink in the Related settingssection.

3.Scroll down to the Multiple Displays section, open the drop-down menu, and choose how you want the dual monitors to work. Here are your options:Extend these displays: You can set your screens up so that they display different things and your mouse cursor can move between them.

6.Click on the second display in the left sidebar, and set the Use asdropdown to one of the following options:Extended display: This will allow you to display different things on the screens. That means you can, for example, have Finder open on one screen while browsing Google Chrome on the other.

Stefan Ionescu/InsiderNote: If you want to use an iPad as a second monitor for your Mac, you"ll have to use the Sidecar feature. Check out our article on the feature for tips on setting it up.

The short answer is yes – an HDMI splitter will work in a dual monitor setup. However, it"s important to note that the device will only split the signal between the added monitors. That means both monitors will mirror what is being displayed on your computer"s screen.William Antonelli

William Antonelli (he/she/they) is a writer, editor, and organizer based in New York City. As a founding member of the Reference team, he helped grow Tech Reference (now part of Insider Reviews) from humble beginnings into a juggernaut that attracts over 20 million visits a month.

This website is using a security service to protect itself from online attacks. The action you just performed triggered the security solution. There are several actions that could trigger this block including submitting a certain word or phrase, a SQL command or malformed data.

Quotation marks (also known as quotes, quote marks, speech marks, inverted commas, or talking markspunctuation marks used in pairs in various writing systems to set off direct speech, a quotation, or a phrase. The pair consists of an opening quotation mark and a closing quotation mark, which may or may not be the same character.

The single quotation mark is traced to Ancient Greek practice, adopted and adapted by monastic copyists. Isidore of Seville, in his seventh century encyclopedia, diplé (a chevron):

[13] ⟩ Diplé. Our copyists place this sign in the books of the people of the Church, to separate or to indicate the quotations drawn from the Holy Scriptures.

The double quotation mark derives from a marginal notation used in fifteenth-century manuscript annotations to indicate a passage of particular importance (not necessarily a quotation); the notation was placed in the outside margin of the page and was repeated alongside each line of the passage.Aristotle, which appeared in 1483 or 1484, the Milanese Renaissance humanist Francesco Filelfo marked literal and appropriate quotes with oblique double dashes on the left margin of each line.Non-verbal loansSpecific language features below) is a remnant of this. In most other languages, including English, the marginal marks dropped out of use in the last years of the eighteenth century. The usage of a pair of marks, opening and closing, at the level of lower case letters was generalized.

By the nineteenth century, the design and usage began to be specific to each region. In Western Europe the custom became to use the quotation mark pairs with the convexity of each mark aimed outward. In Britain those marks were elevated to the same height as the top of capital letters: “…”.

The curved quotation marks ("66-99") usage, “…”, was exported to some non-Latin scripts, notably where there was some English influence, for instance in Native American scriptsIndic scripts.Greek, Cyrillic, Arabic and Ethiopic adopted the French "angular" quotation marks, «…». The Far East angle bracket quotation marks, 《…》, are also a development of the in-line angular quotation marks.

In Central Europe, the practice was to use the quotation mark pairs with the convexity aimed inward. The German tradition preferred the curved quotation marks, the first one at the level of the commas, the second one at the level of the apostrophes: „…“. Alternatively, these marks could be angular and in-line with lower case letters, but still pointing inward: »…«. Some neighboring regions adopted the German curved marks tradition with lower–upper alignment, while some adopted a variant with the convexity of the closing mark aimed rightward like the opening one, „…”.

The reemergence of single quotation marks around 1800 came about as a means of indicating a secondary level of quotation.‹…›, became obsolete, being replaced by double curved ones: “…”, though the single ones still survive, for instance, in Switzerland. In Russia, Ukraine and Belarus, the curved quotation marks, „…“, are used as a secondary level when the angular marks, «…» are used as a primary level.

‘…’ and “…” are known as typographic, curly, curved, book, or smart quotation marks. (The doubled ones are more informally known as "66 and 99".manuscript, printing, and typesetting. Type cases (of any language) generally have the curved quotation mark metal types for the respective language, and may lack the vertical quotation mark metal types. Because most computer keyboards lack keys to enter typographic quotation marks directly, much that is written using word-processing programs has vertical quotation marks. The "smart quotes" feature in some computer software can convert vertical quotation marks to curly ones, although sometimes imperfectly.

Contemporary Bulgarian employs em dash or quotation horizontal bar ( followed by a space characer) at the beginning of each direct-speech segment by a different character in order to mark direct speech in prose and in most journalistic question and answer interviews; in such cases, the use of standard quotation marks is left for in-text citations or to mark the names of institutions, companies, and sometimes also brand or model names.

Air quotes are also widely used in face-to-face communication in contemporary Bulgarian but usually resemble " ... " (secondary: " ... ") unlike written Bulgarian quotation marks.

Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia.

You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing Dutch Wikipedia article at [[:nl:Aanhalingsteken]]; see its history for attribution.

Alternatively, an en-dash followed by a (non-breaking) space can be used to denote the beginning of quoted speech, in which case the end of the quotation is not specifically denoted (see section Quotation dash below). A line-break should not be allowed between the en-dash and the first word of the quotation.

French uses angle quotation marks (guillemets, or duck-foot quotes), adding a "quarter-em space"non-breaking space, because the difference between a non-breaking space and a four-per-em is virtually imperceptible (but also because the Unicode quarter-em space is breakable), and the quarter-em glyph is omitted from many fonts. Even more commonly, many people just put a normal (breaking) space between the quotation marks because the non-breaking space cannot be accessed easily from the keyboard; furthermore, many are simply not aware of this typographical refinement. Using the wrong type of space often results in a quotation mark appearing alone at the beginning of a line, since the quotation mark is treated as an independent word.

French double angle quotes (left and right), legacy (approximative) spacing usual on the web, with normal (four per em) no-break space (justifying, thus inappropriate)

French double angle quotes (left and right), correct spacing used by typographers, with narrow (six per em) non-breaking spaces, represented on the web using narrow no-break space

French single angle quotes (left and right), alternate form for embedded quotations, legacy (approximative) spacing usual on the web, with normal (four per em) no-break space (justifying, thus inappropriate)

French single angle quotes (left and right), alternate form for embedded quotations, correct spacing used by typographers, with narrow (six per em) non-breaking spaces, represented on the web using narrow no-break space

Initially, the French guillemet characters were not angle shaped but also used the comma (6/9) shape. They were different from English quotes because they were standing (like today"s guillemets) on the baseline (like lowercase letters), and not above it (like apostrophes and English quotation marks) or hanging down from it (like commas). At the beginning of the nineteenth century, this shape evolved to look like (( small parentheses )). The angle shape appeared later to increase the distinction and avoid confusions with apostrophes, commas and parentheses in handwritten manuscripts submitted to publishers. Unicode currently does not provide alternate codes for these 6/9 guillemets on the baseline, as they are considered to be form variants of guillemets, implemented in older French typography (such as the Didot font design). Also there was not necessarily any distinction of shape between the opening and closing guillemets, with both types pointing to the right (like today"s French closing guillemets).

They must be used with non-breaking spaces, preferably narrow, if available, i.e. U+202F narrow no-break space which is present in all up-to-date general-purpose fonts, but still missing in some computer fonts from the early years of Unicode, due to the belated encoding of U+202F (1999) after the flaw of not giving U+2008 punctuation space non-breakable property as it was given to the related U+2007 figure space.

Legacy support of narrow non-breakable spaces was done at rendering level only, without interoperability as provided by Unicode support. High-end renderers as found in Desktop Publishing software should therefore be able to render this space using the same glyph as the breaking thin space U+2009, handling the non-breaking property internally in the text renderer/layout engine, because line-breaking properties are never defined in fonts themselves; such renderers should also be able to infer any width of space, and make them available as application controls, as is done with justifying/non-justifying.

In old-style printed books, when quotations span multiple lines of text (including multiple paragraphs), an additional closing quotation sign is traditionally used at the beginning of each line continuing a quotation; any right-pointing guillemet at the beginning of a line does not close the current quotation. This convention has been consistently used since the beginning of the 19th century by most book printers, but is no longer in use today. Such insertion of continuation quotation marks occurred even if there is a word hyphenation break. Given this feature has been obsoleted, there is no support for automatic insertion of these continuation guillemets in HTML or CSS, nor in word-processors. Old-style typesetting is emulated by breaking up the final layout with manual line breaks, and inserting the quotation marks at line start, much like pointy brackets before quoted plain text e-mail:

According to current recommendation by the Hungarian Academy of Sciences the main Hungarian quotation marks are comma-shaped double quotation marks set on the base-line at the beginning of the quote and at apostrophe-height at the end of it for first level, („Quote”), reversed »French quotes« without space (the German tradition) for the second level, and thus the following nested quotation pattern emerges:

In Israel, the original practice was to use modified German-style „low-high” quote marks, however since the 1990s, American-style "quote marks" have become the standard. (Note that Hebrew is written from right to left.)

According to current PN-83/P-55366 standard from 1983 (but not dictionaries, see below), Typesetting rules for composing Polish text (Zasady składania tekstów w języku polskim) one can use either „ordinary Polish quotes” or «French quotes» (without space) for first level, and ‚single Polish quotes’ or «French quotes» for second level, which gives three styles of nested quotes:

There is no space on the internal side of quote marks, with the exception of 1⁄4 1⁄4 em) space between two quotation marks when there are no other characters between them (e.g. ,„ and ’”).

— Ta nazwa ma pewnie swoją historię — stwierdził w końcu. — W innych okolicznościach chętnie bym jej wysłuchał. Ale chciałbym porozmawiać z tobą, kowalu, o twoim synu.

In Belarusian, Russian, and Ukrainian, the angled quotation (Belarusian: «двукоссе», Russian: «кавычки», Ukrainian: «лапки») marks are used without spaces. In case of quoted material inside a quotation, rules and most noted style manuals prescribe the use of different kinds of quotation marks.

"And, of course, you can"t avoid using a dictionary. One of my acquaintances, a poet and literary critic, once jokingly said: "I prefer to read dictionaries than poems. The dictionary has the same words as in the poem, but is presented in a systematic way". It"s a joke, but "reading dictionaries" is not as amazing and bizarre as it may seem."

Corner brackets are well-suited for Chinese, Japanese, and Korean languages which are written in both vertical and horizontal orientations. China, South Korea, and Japan all use corner brackets when writing vertically. Usage differs when writing horizontally:

In Mainland China, English-style quotes (full width “”) are official and prevalent; corner brackets are rare today. The Unicode codepoints used are the English quotes (rendered as fullwidth by the font), not the fullwidth forms.

In the Chinese language, double angle brackets are placed around titles of books, documents, movies, pieces of art or music, magazines, newspapers, laws, etc. When nested, single angle brackets are used inside double angle brackets. With some exceptions, this usage parallels the usage of italics in English:

The dash is often combined with ordinary quotation marks. For example, in French, a guillemet may be used to initiate running speech, with a dash to indicate each change in speaker and a closing guillemet to mark the end of the quotation.

The Ægypt Sequence by John Crowley, in extracts from the fictional writings of the character Fellowes Kraft, a historical novelist. According to another character, Kraft used dashes to indicate imaginary dialogue that was not documented in the original sources.

Dave Eggers, in which spoken dialogues are written with the typical English quotation marks, but dialogues imagined by the main character (which feature prominently) are written with quotation dashes

In Italian, Catalan, Portuguese, Spanish, Ukrainian, Russian, Polish, Bulgarian, Georgian, Romanian, Lithuanian and Hungarian, the reporting clause in the middle of a quotation is separated with two additional dashes (also note that the initial quotation dash is followed by a single whitespace character as well as the fact that the additional quotation dashes for the middle main clause after the initial quotation dash are all with a single whitespace character on both of their sides):

"You are a good one!" remarked Oblonsky, laughing. "And you call me a Nihilist! But it won"t do, you know; you must confess and receive the sacrament."

The Unicode standard introduced a separate character U+2015― HORIZONTAL BAR to be used as a quotation dash. It may be the same length as an em-dash, which is often used instead. Some software will insert a line break after an em-dash, but not after a quotation dash. Both are displayed in the following table.

"Ambidextrous" or "straight" quotation marks " " were introduced on typewriters to minimise the number of keys on the keyboard, and were inherited by computer keyboards and character sets. The ASCII character set, which has been used on a wide variety of computers since the 1960s, only contains a straight single quote (U+0027" APOSTROPHE) and double quote (U+0022" QUOTATION MARK).

Many systems, such as the personal computers of the 1980s and early 1990s, actually drew these ASCII quotes like closing quotes on-screen and in printouts, so text would appear like this (approximately):

These same systems often drew the backtick (the free standing character U+0060` GRAVE ACCENT) as an "open quote" glyph (usually a mirror image so it still sloped in the direction of a grave accent). Using this character as the opening quote gave a typographic approximation of curved single quotes. Nothing similar was available for the double quote, so many people resorted to using two single quotes for double quotes, which would look approximately like the following:

The Unicode mapping for PostScript Standard Encoding preserves the typographic approximation convention by mapping its equivalent of ASCII grave and single-quote to the Unicode curly quotation mark characters.

In typewriter keyboards, the curved quotation marks were not implemented. Instead, to save space, the straight quotation marks were invented as a compromise. Even in countries that did not use curved quotation marks, angular quotation marks were not implemented either

Computer keyboards followed the steps of typewriter keyboards. Most computer keyboards do not have specific keys for curved quotation marks or angled quotation marks. This may also have to do with computer character sets:

IBM character sets generally do not have curved quotation mark characters, therefore, keys for the curved quotation marks are absent in most IBM computer keyboards.

Microsoft followed the example of IBM in its character set and keyboard design. Curved quotation marks were implemented later in Windows character sets, but most Microsoft computer keyboardsAlt Gr key or both the Alt key and the numeric keypad, they are accessible through a series of keystrokes that involve these keys.their Unicode code points are available; see Unicode input.

Macintosh character sets have always had curved quotation marks available. Nevertheless, these are mostly accessible through a series of keystrokes, involving the ⌥ Opt key.

Historically, support for curved quotes was a problem in information technology, primarily because the widely used ASCII character set did not include a representation for them.

The term "smart quotes", “…”, is from the name in several word processors of a function aimed this problem: automatically converting straight quotes typed by the user into curved quotes, the feature attempts to be "smart" enough to determine whether the punctuation marked opening or closing. Since curved quotes are the typographically correct ones,Unicode was widely accepted and supported, this meant representing the curved quotes in whatever 8-bit encoding the software and underlying operating system was using. The character sets for Windows and Macintosh used two different pairs of values for curved quotes, while ISO 8859-1 (historically the default character set for the Unixes and older Linux systems) has no curved quotes, making cross-platform and -application compatibility difficult.

The curved apostrophe is the same character as the closing single quote.opening single quotes. (An example of this error appears in the advertisements for the television show

Unicode support has since become the norm for operating systems. Thus, in at least some cases, transferring content containing curved quotes (or any other non-ASCII characters) from a word processor to another application or platform has been less troublesome, provided all steps in the process (including the clipboard if applicable) are Unicode-aware. But there are still applications which still use the older character sets, or output data using them, and thus problems still occur.

There are other considerations for including curved quotes in the widely used markup languages HTML, XML, and SGML. If the encoding of the document supports direct representation of the characters, they can be used, but doing so can cause difficulties if the document needs to be edited by someone who is using an editor that cannot support the encoding. For example, many simple text editors only handle a few encodings or assume that the encoding of any file opened is a platform default, so the quote characters may appear as the generic replacement character � or "mojibake" (gibberish). HTML includes a set of entities for curved quotes: ‘ (left single), ’ (right single or apostrophe), ‚ (low 9 single), “ (left double), ” (right double), and „ (low 9 double). XML does not define these by default, but specifications based on it can do so, and XHTML does. In addition, while the HTML 4, XHTML and XML specifications allow specifying numeric character references in either hexadecimal or decimal, SGML and older versions of HTML (and many old implementations) only support decimal references. Thus, to represent curly quotes in XML and SGML, it is safest to use the decimal numeric character references. That is, to represent the double curly quotes use “ and ”, and to represent single curly quotes use ‘ and ’. Both numeric and named references function correctly in almost every modern browser. While using numeric references can make a page more compatible with outdated browsers, using named references are safer for systems that handle multiple character encodings (i.e. RSS aggregators and search results).

In Windows file and folder names, the straight double quotation mark is prohibited, as it is a reserved character. The curved quotation marks, as well as the straight single quotation mark, are permitted.

In Unicode, 30 characters are marked Quotation Mark=Yes by character property.Ps, Pe, Pi, Pf, Po). Several other Unicode characters with quotation mark semantics lack the character property.

These codes for vertical-writing characters are for presentation forms in the Unicode CJK compatibility forms section. Typical documents use normative character codes which are shown for the horizontal writing in this table, and applications are usually responsible to render correct forms depending on the writing direction used.

in 1st or 2nd level access, i.e., specific key or using the ⇧ Shift key; not 3rd or 4th level access, i.e., using Alt Gr key or ⌥ Opt key, in conjunction or not with the ⇧ Shift key.

To use non ASCII characters in e-mail and on Usenet the sending mail application generally needs to set a MIME type specifying the encoding. In most cases (the exceptions being if UTF-7 is used or if the 8BITMIME extension is present), this also requires the use of a content-transfer encoding. (Mozilla Thunderbird allows insertion of HTML code such as ‘ and ” to produce typographic quotation marks; see below.)

Lunsford, Susan (2001). 100 Skill-Building Lessons Using 10 Favorite Books: A Teacher"s Treasury of Irresistible Lessons & Activities That Help Children Meet Learning Goals In Reading, Writing, Math & More. Teaching Strategies. p. 10. ISBN 978-0-439-20579-5.

Pedro Uribe Echeverria (7 August 2009). "Deux-points et guillemets : le " procès-verbal "". . Retrieved 5 June 2020. Dans le chapitre sur les symboles graphiques, Isidore évoque la diplè (chevron, en grec) : " > Diplè : nos copistes placent ce signe dans les livres des gens d"Eglise pour séparer ou pour signaler les citations tirées des Saintes Ecritures."

Institute for the Bulgarian Language (2002). Principles and Rules of Spelling Orthography and Punctuation in the Bulgarian Language (in Bulgarian). Sofia: Bulgarian Academy of Sciences.

"Punctuation usage, Use of punctuation marks". yys.ac.cn. State Technical Supervision Bureau (for National Standards of People"s Republic of China). 13 December 1995. Archived from the original on 9 September 2006.

Sanmartín Rei, Goretti et all (2006). "Criterios para o uso da lingua" (PDF). A Coruña: Universidade da Coruña; Servizo de Publicacións; Servizo de Normalización Lingüística. p. 51.

Academia Română, Institutul de Lingvistică „Iorgu Iordan“, Îndreptar ortografic, ortoepic și de punctuație, ediția a V-a, Univers Enciclopedic, București, 1995

"Zasady pisowni i interpunkcji". Wielki Słownik Ortograficzny (online edition). Wydawnictwo Naukowe PWN SA. Archived from the original on 20 November 2012. Retrieved 11 September 2012.

This system follows the rules laid down in section 5.10 of the orthography guide Ortografía de la lengua española Archived 2009-01-26 at the Wayback Machine published by the Real Academia Española (RAE).

Set the Primary and Secondary MonitorRight-click on your desktop and select "Display". At the top of the resulting dialogue box, your available monitors appear as blue, numbered boxes. Each box represents a monitor (e.g. box "1" corresponds with the left monitor and box "2" corresponds with the right monitor).

Set the Monitor ResolutionRight-click on your desktop and select "Display". At the top of the resulting dialogue box, your available monitors appear as blue, numbered boxes. Each box represents a monitor (e.g. box "1" corresponds with the left monitor and box "2" corresponds with the right monitor).

Set the Monitor Display StyleRight-click on your desktop and select "Display". At the top of the resulting dialogue box, your available monitors appear as blue, numbered boxes. Each box represents a monitor (e.g. box "1" corresponds with the left monitor and box "2" corresponds with the right monitor).

Click the "Multiple displays" drop-down menu and choose from the following optionsSelect "Duplicate these displays" to enable the secondary monitor display to mirror the primary monitor display.

Set the Monitor PositionRight-click on your desktop and select "Display". At the top of the resulting dialogue box, your available monitors appear as blue, numbered boxes. Each box represents a monitor.

To change the monitors" position, click, drag, and place the blue, numbered boxes to your preferred position. If you are unsure which monitor is "1" or "2," click the "Identify" link. The assigned monitor number will then appear on each monitor"s screen.

FASTQ files are edited so that the third line of a read is always a plus symbol, therby preventing tagged/filtered output files not technically adhering to FASTQ format

Clauses (1) through (4) of section 110 deal with performances and exhibitions that are now generally exempt under the “for profit” limitation or other provisions of the copyright law, and that are specifically exempted from copyright liability under this legislation. Clauses (1) and (2) between them are intended to cover all of the various methods by which perform­ances or displays in the course of systematic instruction take place.

Face-to-Face Teaching Activities. Clause (1) of section 110 is generally intended to set out the conditions under which performances ordisplays, in the course of instructional activities other than educational broadcasting, are to be exempted from copyright control. The clause covers all types of copyrighted works, and exempts their performance ordisplay“by instructors or pupils in the course of face-to-face teaching activities of a nonprofit educational institution,” where the activities take place “in a classroom or similar place devoted to instruction.”

There appears to be no need for a statutory definition of “face-to-face” teaching activities to clarify the scope of the provision. “Face-to-face teaching activities” under clause (1) embrace instructional perform­ances and displays that are not “transmitted.” The concept does not require that the teacher and students be able to see each other, although it does require their simultaneous presence in the same general place. Use of the phrase “in the course of face-to-face teaching activities” is intended to exclude broadcasting or other transmissions from an outside location into classrooms, whether radio or television and whether open or closed circuit. However, as long as the instructor and pupils are in the same building or general area, the exemption would extend to the use ofdevicesfor amplifying or reproducing sound and for projecting visual images. The “teaching activities” exempted by the clause encompass systematic instruction of a very wide variety of subjects, but they do not include performances or displays, whatever their cultural value or intellectual appeal, that are given for the recreation or entertainment of any part of their audience.

Works Affected.—Since there is no limitation on the types of works covered by the exemption, teachers or students would be free to perform or display anything in class as long as the other conditions of the clause are met. They could read aloud from copyrighted text material, act out a drama, play or sing a musical work,performa motion picture or filmstrip, or display text or pictorial material to the class by means of a projector. However, nothing in this provision is intended to sanction the unauthorized reproduction ofcopiesor phonorecords for the purpose of classroom performance ordisplay, and the clause contains a special exception dealing with performances from unlawfully madecopiesof motion pictures and other audiovisual works, to be discussed below.

Instructors or Pupils.—To come within clause (1), the performance or display must be “by instructors or pupils,” thus ruling out performances by actors, singers, or instrumentalists brought in from outside the school to put on a program. However, the term “instructors” would be broad enough to include guest lecturers if their instructional activities remain confined to classroom situations. In general, the term “pupils” refers to the enrolled members of a class.

Nonprofit Educational Institution.—Clause (1) makes clear that it applies only to the teaching activities “of a nonprofit educational institution,” thus excluding from the exemption performances or displays in profit-making institutionssuch asdance studios and language schools.

Classroom or Similar Place.—The teaching activities exempted by the clause must take place “in a classroom or similar place devoted to instruction.” For example, performances in an auditorium or stadium during a school assembly, graduation ceremony, class play, or sporting event, where the audience is not confined to the members of a particular class, would fall outside the scope of clause (1), although in some cases they might be exempted by clause (4) of section 110. The “similar place” referred to in clause (1) is a place which is “devoted to instruction” in the same way a classroom is; common examples would include a studio, a workshop, a gymnasium, a training field, a library, the stage of an auditorium, or the auditorium itself, if it is actually used as a classroom for systematic instructional activities.

Motion Pictures and Other Audiovisual Works.—The final provision of clause (1) deals with the special problem of performances from unlawfully-madecopiesofmotion picturesand other audiovisual works. The exemption is lost where the copy being used for a classroom performance was “not lawfully made under this title” and the person responsible for the performance knew or had reason to suspect as much. This special exception to the exemption would not apply to performances from lawfully-madecopies, even if thecopieswere acquired from someone who had stolen or converted them, or if the performances were in violation of an agreement. However, though the performance would be exempt under section 110(1) in such cases, the copyright owner might have a cause of action against the unauthorized distributor under section 106(3), or against the person responsible for the performance, for breach of contract.

Projection Devices.—As long as there is no transmission beyond the place where the copy is located, both section 109(b) and section 110(1) would permit the classroom display of a work by means of any sort of projectiondeviceorprocess.

Instructional Broadcasting.Works Affected.—The exemption for instructional broadcasting provided by section 110(2) would apply only to “performance of a nondramatic literary or musical work ordisplayof a work.” Thus, the copyright owner’s permission would be required for the performance on educational television or radio of a dramatic work, of a dramatico-musical worksuch asan opera or musical comedy, or of a motion picture. Since, as already explained,audiovisual workssuch as filmstrips are equated withmotion pictures, their sequential showing would be regarded as a performance rather than adisplayand would not be exempt under section 110(2). The clause is not intended to limit in any way the copyright owner’s exclusive right to make dramatizations, adaptations, or other derivative works under section 106(2). Thus, for example, a performer could read a nondramatic literary work aloud under section 110(2), but the copyright owner’s permission would be required for him to act it out in dramatic form.

Systematic Instructional Activities.—Under section 110(2) a transmission must meet three specified conditions in order to be exempted from copyright liability. The first of these, as provided by subclause (A), is that the performance or display must be “a regular part of the systematic instructional activities of a governmental body or a nonprofit educational institution.” The concept of “systematic instructional activities” is intended as the general equivalent of “curriculums,” but it could be broader in a casesuch asthat of an institution using systematic teaching methods not related to specific course work. A transmission would be a regular part of these activities if it is in accordance with the pattern of teaching established by the governmental body or institution. The use of commercial facilities,such asthose of a cable service, to transmit the performance or display, would not affect the exemption as long as the actual performance or display was for nonprofit purposes.

Content of Transmission.—Subclause (B) requires that the performance or display be directly related and of material assistance to the teaching content of the transmission.

(ii) Reception by persons to whom the transmission is directed because their disabilities or other special circumstances prevent their attendance in classrooms or similar places normally devoted to instruction, or

In all three cases, the instructional transmission need only be made “primarily” rather than “solely” to the specified recipients to be exempt. Thus, the transmission could still be exempt even though it is capable of reception by the public at large. Conversely, it would not be regarded as made “primarily” for one of the required groups of recipients if the principal purpose behind the transmission is reception by the public at large, even if it is cast in the form of instruction and is also received in classrooms. Factors to consider in determining the “primary” purpose of a program would include its subject matter, content, and the time of its transmission.

Paragraph (i) of subclause (C) generally covers what are known as “in-school” broadcasts, whether open- or closed-circuit. The reference to “classrooms or similar places” here is intended to have the same meaning as that of the phrase as used in section 110(1). The exemption in paragraph (ii) is intended to exempt transmissions providing systematic instruction to individuals who cannot be reached in classrooms because of “their disabilities or other special circumstances.” Accordingly, the exemption is confined to instructional broadcasting that is an adjunct to the actual classwork of nonprofit schools or is primarily for people who cannot be brought together in classroomssuch aspreschoolchildren, displaced workers, illiterates, and shut-ins.

The third exemption in subclause (C) is intended to permit the use of copyrighted material, in accordance with the other conditions of section 110(2), in the course of instructional transmissions for Government personnel who are receiving training “as a part of their official duties or employment.”

Religious Services. The exemption in clause (3) of section 110 covers performances of a nondramatic literary or musical work, and also performances “of dramatico-musical works of a religious nature”; in addition, it extends todisplaysof works of all kinds. The exemption applies where the performance ordisplayis “in the course of services at a place of worship or other religious assembly.” The scope of the clause does not cover the sequential showing ofmotion picturesand otheraudiovisual works.

The exemption, which to some extent has its counterpart in sections 1 and 104 of the present law [sections 1 and 104 of former title 17], applies to dramatico-musical works “of a religious nature.” The purpose here is to exempt certain performances of sacred music that might be regarded as “dramatic” in nature, such as oratorios, cantatas, musical settings of the mass, choral services, and the like. The exemption is not intended to cover performances of secular operas, musical plays, motion pictures, and the like, even if they have an underlying religious or philosophical theme and take place “in the course of [religious] services.”

To be exempted under section 110(3) a performance ordisplaymust be “in the course of services,” thus excluding activities at a place of worship that are for social, educational, fund raising, or entertainment purposes. Some performances of these kinds could be covered by the exemption in section 110(4), discussed next. Since the performance ordisplaymust also occur “at a place of worship or other religious assembly,” the exemption would not extend to religious broadcasts or other transmissions to the public at large, even where the transmissions were sent from the place of worship. On the other hand, as long as services are being conducted before a religious gathering, the exemption would apply if they were conducted in placessuch asauditoriums, outdoor theaters, and the like.

Scope of Exemption.—The exemption in clause (4) applies to the same general activities and subject matter as those covered by the “for profit” limitation today: public performances of nondramatic literary and musical works. However, the exemption would be limited to public performances given directly in the presence of an audience whether by means of living performers, the playing of phonorecords, or the operation of a receiving apparatus, and would not include a “transmission to the public.” Unlike the clauses (1) through (3) and (5) of section 110, but like clauses (6) through (8), clause (4) applies only to performing rights in certain works, and does not affect the exclusive right todisplaya work in public.

No Payment for Performance.—An important condition for this exemption is that the performance be given “without payment of any fee or other compensation for the performance to any of its performers, promoters, or organizers.” The basic purpose of this requirement is to prevent the free use of copyrighted material under the guise of charity where fees or percentages are paid to performers, promoters, producers, and the like. However, the exemption would not be lost if the performers, directors, or producers of the performance, instead of being paid directly “for the performance,” are paid a salary for duties encompassing the performance. Examples are performances by a school orchestra conducted by a music teacher who receives an annual salary, or by a service band whose members and conductors perform as part of their assigned duties and who receive military pay. The committee believes that performances of this type should be exempt, assuming the other conditions in clause (4) are met, and has not adopted the suggestion that the word “salary” be added to the phrase referring to the “payment of any fee or other compensation.”

Admission Charge.—Assuming that the performance involves no profit motive and no one responsible for it gets paid a fee, it must still meet one of two alternative conditions to be exempt. As specified in subclauses (A) and (B) of section 110(4), these conditions are: (1) that no direct or indirect admission charge is made, or (2) that the net proceeds are “used exclusively for educational, religious, or charitable purposes and not for private financial gain.”

Under the second of these conditions, a performance meeting the other conditions of clause (4) would be exempt even if an admission fee is charged, provided any amounts left “after deducting the reasonable costs of producing the performance” are used solely for bona fide educational, religious, or charitable purposes. In cases arising under this second condition and as provided in subclause (B), where there is an admission charge, the copyright owner is given an opportunity to decide whether and under what conditions the copyrighted work should be performed; otherwise, owners could be compelled to make involuntary donations to the fund-raising activities of causes to which they are opposed. The subclause would thus permit copyright owners to prevent public performances of their works under section 110(4)(B) by serving notice of objection, with the reasons therefor, at least seven days in advance.

Mere Reception in Public. Unlike the first four clauses of section 110, clause (5) is not to any extent a counterpart of the “for profit” limitation of the present statute. It applies to performances anddisplaysof all types of works, and its purpose is to exempt from copyright liability anyone who merely turns on, in a public place, an ordinary radio or television receiving apparatus of a kind commonly sold to members of the public for private use.

With respect to section 110(5), the conference substitute conforms to the language in the Senate bill. It is the intent of the conferees that a small commercialestablishmentof the type involved in Twentieth Century Music Corp. v. Aiken, 422 U.S. 151 (1975), [95 S.Ct. 2040, 45 L.Ed.2d 84], which merely augmented a home-type receiver and which was not of sufficient size to justify, as a practical matter, a subscription to a commercial background music service, would be exempt. However, where the public communication was by means of something other than a home-type receiving apparatus, or where theestablishmentactually makes a further transmission to the public, the exemption would not apply.

On June 17, 1975, the Supreme Court handed down a decision in Twentieth Century Music Corp. v. Aiken, 95 S.Ct. 2040 [422 U.S. 151, 45 L.Ed.2d 84], that raised fundamental questions about the proper interpretation of section 110(5). The defendant, owner and operator of a fast-service food shop in downtown Pittsburgh, had “a radio with outlets to four speakers in the ceiling,” which he apparently turned on and left on throughout the business day. Lacking any performing license, he was sued for copyright infringement by two ASCAP members. He lost in the District Court, won a reversal in the Third Circuit Court of Appeals, and finally prevailed, by a margin of 7–2, in the Supreme Court.

The Aiken decision is based squarely on the two Supreme Court decisions dealing with cable television. In Fortnightly Corp. v. United Artists, 392 U.S. 390 [88 S.Ct. 2084, 20 L.Ed.2d 1176, rehearing denied 89 S.Ct. 65, 393 U.S. 902, 21 L.Ed.2d 190], and again in Teleprompter Corp. v. CBS, 415 U.S. 394 [94 S.Ct. 1129, 39 L.Ed.2d 415], the Supreme Court has held that a CATV operator was not “performing” within the meaning of the 1909 statute, when it picked up broadcast signals off the air and retransmitted them to subscribers by cable. The Aiken decision extends this interpretation of the scope of the 1909 statute’s right of “public performance for profit” to a situation outside the CATV context and, without expressly overruling the decision in Buck v. Jewell-LaSalle Realty Co., 283 U.S. 191 (1931) [51 S.Ct. 410, 75 L.Ed. 971], effectively deprives it of much meaning under the present law. For more than forty years the Jewell-LaSalle rule was thought to require a businessestablishmentto obtain copyright licenses before it could legally pick up any broadcasts off the air and retransmit them to its guests and patrons. As reinterpreted by the Aiken decision, the rule of Jewell-LaSalle applies only if the broadcast being retransmitted was itself unlicensed.

The majority of the Supreme Court in the Aiken case based its decision on a narrow construction of the word “perform” in the 1909 statute. This basis for the decision is completely overturned by the present bill and its broad definition of “perform” in section 101. The Committee has adopted the language of section 110(5) with an amendment expressly denying the exemption in situations where “the performance or display is further transmitted beyond the place where the receiving apparatus is located”; in doing so, it accepts the traditional, pre-Aiken, interpretation of the Jewell-LaSalle decision, under which public communication by means other than a home receiving set, or further transmission of a broadcast to the public, is considered an infringing act.

Under the particular fact situation in the Aiken case, assuming a small commercial establishment and the use of a home receiver with four ordinary loudspeakers grouped within a relatively narrow circumference from the set, it is intended that the performances would be exempt under clause (5). However, the Committee considers this fact situation to represent the outer limit of the exemption, and believes that the line should be drawn at that point. Thus, the clause would exempt small commercial establishments whose proprietors merely bring onto their premises standard radio or television equipment and turn it on for their customers’ enjoyment, but it would impose liability where the proprietor has a commercial “sound system” installed or converts a standard home receiving apparatus (by augmenting it with sophisticated or extensive amplification equipment) into the equivalent of a commercial sound system. Factors to consider in particular cases would include the size, physical arrangement, and noise level of the areas within the establishment where the transmissions are made audible or visible, and the extent to which the receiving apparatus is altered or augmented for the purpose of improving the aural or visual quality of the performance for individual members of the public using those areas.

Retail Sale of Phonorecords. Clause (7) provides that the performance of a nondramatic musical work or of a sound recording by a vendingestablishmentopen to the public at large without any direct or indirect admission charge, where the sole purpose of the performance is to promote the retail sale ofcopiesorphonorecordsof the work, is not an infringement of copyright. This exemption applies only if the performance is not transmitted beyond the place where theestablishmentis located and is within the immediate area where the sale is occurring.

Transmission to Handicapped Audiences. The new clause (8) of subsection 110, which had been added to S. 22 by the Senate Judiciary Committee when it reported the bill on November 20, 1975, and had been adopted by the Senate on February 19, 1976, was substantially amended by the Committee. Under the amendment, the exemption would apply only to performances of “nondramaticliterary works” by means of “a transmission specifically designed for and primarily directed to” one or the other of two defined classes of handicapped persons: (1) “blind or other handicapped persons who are unable to read normal printed material as a result of their handicap” or (2) “deaf or other handicapped persons who are unable to hear the aural signals accompanying a transmission.” Moreover, the exemption would be applicable only if the performance is “without any purpose of direct or indirect commercial advantage,” and if the transmission takes place through government facilities or through the facilities of a noncommercial educational broadcast station, a radio subcarrier authorization (SCA), or a cable system.

The most important thing you need is an old monitor -- preferably a slim model with HDMI. Some computer monitors will work better than others. Specifically, those that have the connection ports facing downward instead of straight out from the back work much better.

You will also need an extension cable with at least two plugs at the end. Take note of whether your monitor"s power supply needs a two- or three-pronged plug and buy the appropriate extension cord.

Finally, you will need supplies to mount the Raspberry Pi, the monitor"s power supply, all the cables and the female end of the extension cord on the back of the monitor. I used two-sided mounting tape. And I used duct tape to keep the excess cord attached as tightly to the back of the monitor as possible.

Typically, there isn"t enough room to install a Raspberry Pi inside the original backplate -- unless you"re using a Pi Zero W. Even then, the excess cords and the power supply for the monitor won"t fit. The monitor will sit closer to the wall without the back cover, so it"s best to discard it.

As for the picture-hanging wire, there were no decent places to connect on the Dell monitor I used, so I drilled one hole on either side of the rear bezel that held the back cover on. This is where you might have to get creative, since no two monitors are the same.

Surprisingly, this project doesn"t require any special code for the Raspberry Pi. In fact, it will be running on Raspbian OS, a Linux distribution specifically for the Raspberry Pi.

DAKboard is the web interface used to display all the information on the monitor. It can be set up from the Raspberry Pi or from a computer, phone or tablet.

Just go to dakboard.com and create an account. Then begin configuring the layout to your liking. There are five different screen configurations to choose from:Top/Bottom

For background options, you can choose between a host of different sources, such as Instagram, Google Photos, Dropbox, OneDrive, Bing, Flickr, etc. After that, you can connect up to two ICAL calendars for free, select between Yahoo and AccuWeather for the forecast source, add a single RSS feed for rotating headlines, and connect Todoist, Wunderlist or Microsoft To-Do as a task manager to display and add a custom message to the DAKboard.

By upgrading to DAKboard Premium, which starts at $4.95 per month (no specific info about international pricing and availability), you can unlock the ability to add additional calendars, set a Vimeo, YouTube video or website as the background, select

The idea is that, when powered on, the Raspberry Pi will automatically boot to your DAKboard. If you want to hang the monitor vertically instead of horizontally, you will also need to rotate the display.

Next, you will want to edit the config.txt file to rotate the screen 90 degrees. In Terminal, type sudo nano /boot/config.txt and press Enter. This opens the config file in the nano text editor. Add these lines to the end of the file (without the bullet points):# Display orientation. Landscape = 0, Portrait = 1

Once the Raspberry Pi has fully rebooted, use a connected mouse and keyboard to log in to DAKboard. Click Login and enter your credentials. Your DAKboard should load with your previously configured settings. If you want to change anything, click the settings cog in the upper right corner of the display (move the cursor to make it appear).

Hang the monitor on the wall and you"ll have yourself a digital clock and calendar, the week"s forecast, important headlines and beautiful pictures on display all day.

DAKboard is a great way to set up a Raspberry Pi display in a hurry. It"s easy and user-friendly and it looks great. However, it has its limitations and encourages users to upgrade to Premium to unlock the best features.

Citation indices are tools used by the academic community for research and research evaluation that aggregate scientific literature output and measure impact by collating citation counts. Citation indices help measure the interconnections between scientific papers but fall short because they fail to communicate contextual information about a citation. The use of citations in research evaluation without consideration of context can be problematic because a citation that presents contrasting evidence to a paper is treated the same as a citation that presents supporting evidence. To solve this problem, we have used machine learning, traditional document ingestion methods, and a network of researchers to develop a “smart citation index” called scite, which categorizes citations based on context. Scite shows how a citation was used by displaying the surrounding textual context from the citing paper and a classification from our deep learning model that indicates whether the statement provides supporting or contrasting evidence for a referenced work, or simply mentions it. Scite has been developed by analyzing over 25 million full-text scientific articles and currently has a database of more than 880 million classified citation statements. Here we describe how scite works and how it can be used to further research and research evaluation.

Citations are a critical component of scientific publishing, linking research findings across time. The first citation index in science, created in 1960 by Eugene Garfield and the Institute for Scientific Information, aimed to “be a spur to many new scientific discoveries in the service of mankind” (Garfield, 1959). Citation indices have facilitated the discovery and evaluation of scientific findings across all fields of research. Citation indices have also led to the establishment of new research fields, such as bibliometrics, scientometrics, and quantitative studies, which have been informative in better understanding science as an enterprise. From these fields have come a variety of citation-based metrics, such as the h-index, a measurement of researcher impact (Hirsch, 2005); the Journal Impact Factor (JIF), a measurement of journal impact (Garfield, 1955, 1972); and the citation count, a measurement of article impact. Despite the widespread use of bibliometrics, there have been few improvements in citations and citation indices themselves. Such stagnation is partly because citations and publications are largely behind paywalls, making it exceedingly difficult and prohibitively expensive to introduce new innovations in citations or citation indices. This trend is changing, however, with open access publications becoming the standard (Piwowar, Priem, & Orr, 2019) and organizations such as the Initiative for Open Citations (Initiative for Open Citations, 2017; Peroni & Shotton, 2020) helping to make citations open. Additionally, with millions of documents being published each year, creating a citation index is a large-scale challenge involving significant financial and computational costs.

Historically, citation indices have only shown the connections between scientific papers without any further contextual information, such as why a citation was made. Because of the lack of context and limited metadata available beyond paper titles, authors, and the date of publications, it has only been possible to calculate how many times a work has been cited, not analyze broadly how it has been cited. This is problematic given citations’ central role in the evaluation of research. In short, not all citations are made equally, yet we have been limited to treating them as such.

Such enriched citation information is more informative than a traditional citation index. For example, when Viganó, von Schubert et al. (2018) cites Nicholson, Macedo et al. (2015), traditional citation indices report this citation by displaying the title of the citing paper and other bibliographic information, such as the journal, year published, and other metadata. Traditional citation indices do not have the capacity to examine contextual information or how the citing paper used the citation, such as whether it was made to support or contrast the findings of the cited paper or if it was made in the introduction or the discussion section of the citing paper. Smart Citations display the same