| /prebuilts/ndk/9/sources/cxx-stl/gnu-libstdc++/4.7/include/backward/ |
| auto_ptr.h | 45 * All the auto_ptr_ref stuff should happen behind the scenes.
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| /prebuilts/ndk/9/sources/cxx-stl/gnu-libstdc++/4.8/include/backward/ |
| auto_ptr.h | 45 * All the auto_ptr_ref stuff should happen behind the scenes.
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| /external/jmonkeyengine/engine/src/tools/jme3tools/optimize/ |
| TextureAtlas.java | 95 * Node scene = assetManager.loadModel("Scenes/MyScene.j3o");
101 * Node scene = assetManager.loadModel("Scenes/MyScene.j3o");
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| /frameworks/base/docs/html/about/versions/ |
| android-3.0-highlights.jd | 138 <p>The Camera application has been redesigned to take advantage of a larger screen for quick access to exposure, focus, flash, zoom, front-facing camera, and more. To let users capture scenes in new ways, it adds built-in support for time-lapse video recording. The Gallery application lets users view albums and other collections in full-screen mode, with easy access to thumbnails for other photos in the collection. </p>
227 <p>Renderscript is a runtime 3D framework that provides both an API for building 3D scenes as well as a special, platform-independent shader language for maximum performance. Using Renderscript, you can accelerate graphics operations and data processing. Renderscript is an ideal way to create high-performance 3D effects for applications, wallpapers, carousels, and more.</p>
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| android-4.4.jd | 55 <li><a href="#Transitions">Scenes and transitions</a></li>
357 <h3 id="Transitions">Scenes and transitions</h3>
359 <p>The new {@link android.transition} framework provides APIs that facilitate animations between different states of your user interface. A key feature is the ability for you to define distinct states of your UI, known as "scenes," by creating a separate layout for each one. When you want to animate from one scene to another, execute a "transition," which calculates the necessary animation to change the layout from the current scene to the next scene.</p>
361 <p>To transition between two scenes, you generally need to perform the following:</p>
375 <p>For additional control, you can define sets of transitions that should occur between pre-defined scenes, using an XM (…)
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| /development/samples/ApiDemos/src/com/example/android/apis/ |
| Shakespeare.java | 84 "Such noble scenes as draw the eye to flow," +
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| /development/samples/ApiDemos/src/com/example/android/apis/view/ |
| List6.java | 205 "Such noble scenes as draw the eye to flow," +
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| /development/samples/Support13Demos/src/com/example/android/supportv13/ |
| Shakespeare.java | 84 "Such noble scenes as draw the eye to flow," +
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| /development/samples/Support4Demos/src/com/example/android/supportv4/ |
| Shakespeare.java | 84 "Such noble scenes as draw the eye to flow," +
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| /external/chromium_org/dbus/ |
| object_manager.h | 116 // use of object manager behind the scenes, the rules for updating properties
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| /external/chromium_org/third_party/mesa/src/src/gallium/drivers/llvmpipe/ |
| lp_scene.c | 51 * \param queue the queue to put newly rendered/emptied scenes into
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| /external/chromium_org/third_party/tcmalloc/vendor/ |
| README | 222 getgrgid() call dlopen() behind the scenes.
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| /external/libvpx/libvpx/examples/includes/geshi/geshi/ |
| actionscript3.php | 140 'screenDPI', 'screenColor', 'scenes', 'scaleY', 'scaleX',
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| /external/mesa3d/src/gallium/drivers/llvmpipe/ |
| lp_scene.c | 51 * \param queue the queue to put newly rendered/emptied scenes into
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| /external/qemu/distrib/sdl-1.2.15/src/video/x11/ |
| SDL_x11sym.h | 183 * libX11 1.4.99.1 added _XGetRequest, and macros use it behind the scenes.
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| /frameworks/base/docs/html/design/get-started/ |
| principles.jd | 240 If you can fix it behind the scenes, even better.</p>
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| /external/chromium_org/third_party/WebKit/PerformanceTests/Layout/ |
| chapter-reflow-once.html | 21 <p><span>I had now deserted my home in suburban Wilmersdorf, which I nicknamed the "District of Columbia," for in and all around it Berlin's American colony was domiciled, and taken a room for the opening scenes of the war drama in the Hotel Adlon. With its broad fronts on the Linden and Pariser Platz, and the French, British and Russian Embassies within a stone's throw to the right and left, the Adlon was an ideal vantage point. If there were to be "demonstrations," I could feel sure, at so strategic a point, of being in the thick of them. Events of the succeeding thirty-six hours were to show that I did not reckon without my host on that score.</span></p>
57 <p><span>Doctor Paul Goldmann,</span> <em class="italics">doyén</em> <span>of our Berlin corps, was in his accustomed seat, beaming consciously, as became, at such an hour, the correspondent-in-chief of the great allied Vienna</span> <em class="italics">Neue Freie Presse</em><span>. The British and American contingents were on hand in force. Never had we waited for a</span> <em class="italics">Kanzlerrede</em> <span>in such electric expectancy. "Copy" in plenty, such as none of us had ever telegraphed before, was about to be made. Goldmann, a Foreign Office favorite, as well as the all-around most popular foreign journalist in Berlin, may have had an advance hint what was coming, as he frequently did, but to the vast majority of us--British, American, Swedish, Dutch, Italian, Swiss, Spanish and Danish, sandwiched there in the</span> <em class="italics">Pressloge</em> <span>so closely that we could hear, but not move--I am certain that the momentous words and extraordinary scenes about to ensue came as a staggering revelation.</span></p>
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| chapter-reflow-thrice.html | 21 <p><span>I had now deserted my home in suburban Wilmersdorf, which I nicknamed the "District of Columbia," for in and all around it Berlin's American colony was domiciled, and taken a room for the opening scenes of the war drama in the Hotel Adlon. With its broad fronts on the Linden and Pariser Platz, and the French, British and Russian Embassies within a stone's throw to the right and left, the Adlon was an ideal vantage point. If there were to be "demonstrations," I could feel sure, at so strategic a point, of being in the thick of them. Events of the succeeding thirty-six hours were to show that I did not reckon without my host on that score.</span></p>
57 <p><span>Doctor Paul Goldmann,</span> <em class="italics">doyén</em> <span>of our Berlin corps, was in his accustomed seat, beaming consciously, as became, at such an hour, the correspondent-in-chief of the great allied Vienna</span> <em class="italics">Neue Freie Presse</em><span>. The British and American contingents were on hand in force. Never had we waited for a</span> <em class="italics">Kanzlerrede</em> <span>in such electric expectancy. "Copy" in plenty, such as none of us had ever telegraphed before, was about to be made. Goldmann, a Foreign Office favorite, as well as the all-around most popular foreign journalist in Berlin, may have had an advance hint what was coming, as he frequently did, but to the vast majority of us--British, American, Swedish, Dutch, Italian, Swiss, Spanish and Danish, sandwiched there in the</span> <em class="italics">Pressloge</em> <span>so closely that we could hear, but not move--I am certain that the momentous words and extraordinary scenes about to ensue came as a staggering revelation.</span></p>
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| chapter-reflow-twice.html | 21 <p><span>I had now deserted my home in suburban Wilmersdorf, which I nicknamed the "District of Columbia," for in and all around it Berlin's American colony was domiciled, and taken a room for the opening scenes of the war drama in the Hotel Adlon. With its broad fronts on the Linden and Pariser Platz, and the French, British and Russian Embassies within a stone's throw to the right and left, the Adlon was an ideal vantage point. If there were to be "demonstrations," I could feel sure, at so strategic a point, of being in the thick of them. Events of the succeeding thirty-six hours were to show that I did not reckon without my host on that score.</span></p>
57 <p><span>Doctor Paul Goldmann,</span> <em class="italics">doyén</em> <span>of our Berlin corps, was in his accustomed seat, beaming consciously, as became, at such an hour, the correspondent-in-chief of the great allied Vienna</span> <em class="italics">Neue Freie Presse</em><span>. The British and American contingents were on hand in force. Never had we waited for a</span> <em class="italics">Kanzlerrede</em> <span>in such electric expectancy. "Copy" in plenty, such as none of us had ever telegraphed before, was about to be made. Goldmann, a Foreign Office favorite, as well as the all-around most popular foreign journalist in Berlin, may have had an advance hint what was coming, as he frequently did, but to the vast majority of us--British, American, Swedish, Dutch, Italian, Swiss, Spanish and Danish, sandwiched there in the</span> <em class="italics">Pressloge</em> <span>so closely that we could hear, but not move--I am certain that the momentous words and extraordinary scenes about to ensue came as a staggering revelation.</span></p>
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| chapter-reflow.html | 21 <p><span>I had now deserted my home in suburban Wilmersdorf, which I nicknamed the "District of Columbia," for in and all around it Berlin's American colony was domiciled, and taken a room for the opening scenes of the war drama in the Hotel Adlon. With its broad fronts on the Linden and Pariser Platz, and the French, British and Russian Embassies within a stone's throw to the right and left, the Adlon was an ideal vantage point. If there were to be "demonstrations," I could feel sure, at so strategic a point, of being in the thick of them. Events of the succeeding thirty-six hours were to show that I did not reckon without my host on that score.</span></p>
57 <p><span>Doctor Paul Goldmann,</span> <em class="italics">doyén</em> <span>of our Berlin corps, was in his accustomed seat, beaming consciously, as became, at such an hour, the correspondent-in-chief of the great allied Vienna</span> <em class="italics">Neue Freie Presse</em><span>. The British and American contingents were on hand in force. Never had we waited for a</span> <em class="italics">Kanzlerrede</em> <span>in such electric expectancy. "Copy" in plenty, such as none of us had ever telegraphed before, was about to be made. Goldmann, a Foreign Office favorite, as well as the all-around most popular foreign journalist in Berlin, may have had an advance hint what was coming, as he frequently did, but to the vast majority of us--British, American, Swedish, Dutch, Italian, Swiss, Spanish and Danish, sandwiched there in the</span> <em class="italics">Pressloge</em> <span>so closely that we could hear, but not move--I am certain that the momentous words and extraordinary scenes about to ensue came as a staggering revelation.</span></p>
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| /external/ganymed-ssh2/src/main/java/ch/ethz/ssh2/ |
| Connection.java | 880 * In case of any failure behind the scenes.
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| /external/smack/src/com/kenai/jbosh/ |
| BOSHClient.java | 73 * scenes. The user of the client instance can therefore concentrate
82 * handling of the BOSH attributes, since this is handled behind the scenes.
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| /packages/apps/Camera2/res/values/ |
| strings.xml | 371 <!-- Scene mode that takes long exposures to capture night scenes without flash. [CHAR LIMIT=16] -->
382 <!-- Scene mode that takes long exposures to capture night scenes without flash. [CHAR LIMIT=50] -->
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| /external/ceres-solver/internal/ceres/ |
| visibility_based_preconditioner.cc | 251 // point, which for most scenes is a fairly small number.
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| /external/chromium_org/chrome/browser/ui/webui/ |
| policy_ui.cc | 285 // may go away any time behind the scenes, at which point the status message
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