XML is a standard for the exchange of business data that is completely platform and vendor neutral. Because XML data comes in many forms, one of the most important technologies needed for XML applications is the abil...XML is a standard for the exchange of business data that is completely platform and vendor neutral. Because XML data comes in many forms, one of the most important technologies needed for XML applications is the ability to convert the data into visible renderings. This paper focuses on the rendering of XML/XSL documents into a readable and printable format by means of a platform-independent process that enables high-quality printing of the product. This paper introduces the core components in the data rendering engine, the X2P server and different levels of object abstraction. The design pattern and the complete formatting and representation of the XSL stylesheet into different types of output formats in the X2P server are also given. The results show that the X2P sever simultaneously constructs the formatting object tree and the area tree in a very efficient design that saves execution time and memory.展开更多
This paper sets out to examine the ＂exhausted narrative＂ in aesthetic and poetic experience, revealing the affect and effect of Tsai Ming-Liang＇s film-making. He is notable for his obsession with ruins, defunct con...This paper sets out to examine the ＂exhausted narrative＂ in aesthetic and poetic experience, revealing the affect and effect of Tsai Ming-Liang＇s film-making. He is notable for his obsession with ruins, defunct construction sites, abandoned buildings, and film itself as a modern ruin. These sites are a reminder of the alienated subjects within its historical context, a fragmented narrative, and an uncertain or failed future to come, just like the ruin--a chapter of a halted story. Tsai＇s films are not only full of ruinous images and bodies, but even the fragmented narratives are ruinous, turning in elliptical circles, aiming toward their morbid ending until their total exhaustion. This cinematic ouroboros ophis will be discussed in two aspects： first, as an aesthetic practice, and second, as the parallelism between the on- and off-screen reality of the mode of production and reception in the cinematic experience. The term ＂exhausted narratives＂ refers to the processes of writing meta-fiction, as that of ＂re-orchestrating＂ and ＂re-editing＂ the past with respect to the present, and to inscribing Tsai＇s own narrative universe.展开更多
文摘XML is a standard for the exchange of business data that is completely platform and vendor neutral. Because XML data comes in many forms, one of the most important technologies needed for XML applications is the ability to convert the data into visible renderings. This paper focuses on the rendering of XML/XSL documents into a readable and printable format by means of a platform-independent process that enables high-quality printing of the product. This paper introduces the core components in the data rendering engine, the X2P server and different levels of object abstraction. The design pattern and the complete formatting and representation of the XSL stylesheet into different types of output formats in the X2P server are also given. The results show that the X2P sever simultaneously constructs the formatting object tree and the area tree in a very efficient design that saves execution time and memory.
文摘This paper sets out to examine the ＂exhausted narrative＂ in aesthetic and poetic experience, revealing the affect and effect of Tsai Ming-Liang＇s film-making. He is notable for his obsession with ruins, defunct construction sites, abandoned buildings, and film itself as a modern ruin. These sites are a reminder of the alienated subjects within its historical context, a fragmented narrative, and an uncertain or failed future to come, just like the ruin--a chapter of a halted story. Tsai＇s films are not only full of ruinous images and bodies, but even the fragmented narratives are ruinous, turning in elliptical circles, aiming toward their morbid ending until their total exhaustion. This cinematic ouroboros ophis will be discussed in two aspects： first, as an aesthetic practice, and second, as the parallelism between the on- and off-screen reality of the mode of production and reception in the cinematic experience. The term ＂exhausted narratives＂ refers to the processes of writing meta-fiction, as that of ＂re-orchestrating＂ and ＂re-editing＂ the past with respect to the present, and to inscribing Tsai＇s own narrative universe.
