One example of a Who Wrote The Play Hairspray common use of these concepts is a Mail Who Wrote The Play Hairspray User Agent that can be instructed to be in either "on-line" or Who Wrote The Play Hairspray "off-line" states. One Who Wrote The Play Hairspray such MUA is Microsoft Outlook. When it is "on-line" Who Wrote The Play Hairspray it will Who Wrote The Play Hairspray attempt to connect to mail servers (to check for new mail at regular intervals, for example), and when Who Wrote The Play Hairspray it is "off-line" it will not attempt to make any Who Wrote The Play Hairspray such Who Wrote The Play Hairspray connections. Who Wrote The Play Hairspray The Who Wrote The Play Hairspray "on-line" or "off-line" state of the MUA does not necessarily Who Wrote The Play Hairspray reflect the Who Wrote The Play Hairspray connection Who Wrote The Play Hairspray status between the computer on which it is running and Internet. The user may have the computer itself on-line, Who Wrote The Play Hairspray connected to Internet via a cable modem or an ADSL connection, but may Who Wrote The Play Hairspray wish for Outlook to be off-line, so that it makes no attempt Play Rhinoscope to Who Wrote The Play Hairspray send or to receive messages. Or the computer may be configured to employ a dial-up connection Who Wrote The Play Hairspray on demand (whenever an application such as Outlook attempts to make connection to a server), but the connection may be an expensive telephone call from the particular location Who Wrote The Play Hairspray in which the Who Wrote The Play Hairspray computer currently happens to be (such as Who Wrote The Play Hairspray a hotel room) and Who Wrote The Play Hairspray the user may not wish Outlook to trigger making that call every 5 or Who Wrote The Play Hairspray 10 minutes Who Wrote The Play Hairspray to Who Wrote The Play Hairspray check Who Wrote The Play Hairspray for mail.
Another example of the use of these concepts is in the world of digital audio Who Wrote The Play Hairspray technology. A tape recorder, digital editor, or other device that is "on-line" is one whose clock is under the control of the clock of a "synchronization master" device. When Who Wrote The Play Hairspray the sync master Instructions On How To Play Chess commences playback, the "on-line" device automatically synchronizes itself Who Wrote The Play Hairspray to Who Wrote The Play Hairspray the master and commences playing Who Wrote The Play Hairspray from the same point in the recording. Whereas a device Who Wrote The Play Hairspray that is "off-line" uses no external clock reference and Who Wrote The Play Hairspray relies upon its own internal clock. When a large number of devices are connected Who Wrote The Play Hairspray to a sync master, it is often Who Wrote The Play Hairspray convenient, if one wants to hear just the output of one single device, Triple Play Sports to take it off-line, because if the device Who Wrote The Play Hairspray is played back Who Wrote The Play Hairspray on-line all synchronized devices have to locate the playback point and wait for Who Wrote The Play Hairspray each other to be in synchronization.[2] (For further related discussion, Who Wrote The Play Hairspray see MIDI timecode, word sync, and recording system synchronization.)
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A third Who Wrote The Play Hairspray example of a common use of these Who Wrote The Play Hairspray Play Pump concepts is a web browser that can be instructed to be in either "on-line" or "off-line" states. The browser only attempts to fetch pages from servers whilst in the "on-line" state. In the "off-line" state, users can perform offline browsing, where pages can be Who Wrote The Play Hairspray browsed using local copies of those pages that have previously Who Wrote The Play Hairspray been downloaded whilst in the Who Wrote The Play Hairspray "on-line" state. This can be useful Who Wrote The Play Hairspray when the computer itself is also off-line, with connection to Internet expensive or impossible. Who Wrote The Play Hairspray The pages Who Wrote The Play Hairspray are either downloaded implicitly Who Wrote The Play Hairspray into the web browser's own cache, as a result of prior on-line browsing by the user, or explicitly by Who Wrote The Play Hairspray the browser being configured to keep local copies of certain web pages, which it keeps updated when the browser is in the on-line state, either by checking that the Who Wrote The Play Hairspray local copies are up-to-date Play Parks at regular intervals or by checking that the local copies Who Wrote The Play Hairspray are up-to-date whenever the browser is switched to the on-line state. One such web browser capable of being explicitly configured to download pages for offline browsing is Internet Explorer. When pages are added to the "Favourites" list, Who Wrote The Play Hairspray they can be marked for being made "available for offline browsing". Internet Explorer will download to local copies both the Who Wrote The Play Hairspray Guitar Play Pictures marked page Who Wrote The Play Hairspray and, optionally, all of Who Wrote The Play Hairspray the pages that it links to. In Internet Explorer version 6, Who Wrote The Play Hairspray the Who Wrote The Play Hairspray level of direct and indirect links, the maximum amount of local disc space allowed to be consumed, and the schedule on which local copies are Who Wrote The Play Hairspray checked to see Let The Music Play Shannon Lyrics whether they are up-to-date, are configurable for each
The Who Wrote The Play Hairspray ideas of "on-line" and "off-line" have been generalized from computing and telecommunication into the field of human interpersonal relationships. The distinction between what is considered "on-line" and what is considered "off-line" has become a Who Wrote The Play Hairspray subject of study in the field Who Wrote The Play Hairspray of sociology.[7]
The distinction between "on-line" and "off-line" is conventionally seen as the distinction between computer-mediated communication and face-to-face communication (e.g. face time), respectively. "On-line" is virtuality, and "off-line" is reality (e.g. real life or meatspace). Slater Who Wrote The Play Hairspray states that this distinction is "obviously Who Wrote The Play Hairspray far too simple". To Who Wrote The Play Hairspray support his argument that the distinctions in relationships are more Play Free Sega Games complex than a simple "on-line"/"off-line" dichotomy, he observes that some people draw no distinction between an "on-line" relationship, such as indulging in cybersex, and Who Wrote The Play Hairspray an "off-line" relationship, such as being pen-pals. He also argues that even the telephone can be regarded as an "on-line" experience Who Wrote The Play Hairspray in some circumstances, and that the blurring Who Wrote The Play Hairspray of the distinctions between the uses of various technologies (such as PDA and mobile telephone, television and Who Wrote The Play Hairspray Internet, and telephone and voice-over-IP) has Who Wrote The Play Hairspray made it "impossible to use the term 'on-line' meaningfully in the Who Wrote The Play Hairspray sense that was employed by the first generation of Who Wrote The Play Hairspray Internet Who Wrote The Play Hairspray research".[7]
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Slater asserts that there are legal and regulatory pressures to reduce the distinction between "on-line" and "off-line", with a Who Wrote The Play Hairspray "general tendency to assimilate online to offline and erase the distinction", stressing, however, that this does not mean that on-line relationships are being reduced Who Wrote The Play Hairspray to pre-existing off-line relationships. He conjectures that greater legal status may be assigned to on-line relationships (pointing out that contractual relationships, such as business transactions, on-line are already seen as just as "real" as their off-line counterparts), although he states it to be hard to imagine courts awarding palimony to people Who Wrote The Play Hairspray who have had a purely on-line sexual relationship. He also conjectures that an "on-line"/"off-line" distinction may Who Wrote The Play Hairspray be seen by people as "rather quaint and not quite comprehensible" within 10 years
The distinction where "on-line" is seen as virtuality and "off-line" as reality is sometimes inverted, with "on-line" concepts being used to define and Atari Games To Play to explain "off-line" activities, rather than (as per Who Wrote The Play Hairspray the Who Wrote The Play Hairspray conventions of the desktop metaphor with its desktops, trash cans, folders, and Who Wrote The Play Hairspray so forth) the other way around. Several cartoons by The New Yorker have satirized this. One Who Wrote The Play Hairspray includes Who Wrote The Play Hairspray Saint Peter asking for a user name and a password before admitting a man into Heaven. Another illustrates Who Wrote The Play Hairspray "the off-line store" where "All items are Who Wrote The Play Hairspray actual size!", where shoppers may "Take it Who Wrote The Play Hairspray home as soon as you pay for it!", and where "Merchandise may be handled prior to Who Wrote The Play Hairspray purchase!". |
