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cent of all U.K. payment card losses, but most banks postal control procedures are dismal. For example, in February 1992, I asked my bank for an increased card limit: the bank sent not one, but two, cards and PINs through the post. These cards arrived only a few days after intruders had got hold of our apartment block s mail and torn it up looking for valuables. It turned out that this bank did not have the systems to deliver a card by registered post. (I d asked them to send the card to the branch for me to pick up, but someone at the branch had simply readdressed the envelope to me.) Since then, many banks have found that better postal controls are the one way they can make enough of a dent in their fraud rates to affect their bottom line. tioned the Hastings case in Section 9.2.3; there are many others. For example, in Paisley, Scotland, an ATM repairman installed a portable computer inside an ATM to record customer card and PIN data, then went on a spending spree with forged cards. In London, England, a bank stupidly used the same cryptographic keys in its live and test systems; maintenance staff found out that they could work out customer PINs using their test equipment, and started offering this as a service to local criminals at 50 a card. Such frauds are particularly common in countries such as Britain, where banks had for many years a policy of denying that their cash machines could possibly make an error. Bank staff knew that customer complaints would be stonewalled rather than investigated.

Patricia Craddock, History s Stories, Historians Accounts: Why Take Edward Gibbon s Word in Carla H Hay (ed), The Past as Prologue: Essays to Celebrate the Twenty-Fifth Anniversary of ASECS [American Society for Eighteenth-Century Studies] (New York: AMS Press, 1995), 281 301, examines practical and theoretical links between historiography and historical ction and emphasizes their.

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As a rule, the easiest way to control the duration of video scenes is by splitting and combining clips before you start adding them to the Storyboard/Timeline. But that s not the only way to do it. You might have a clip that you intend to use in several movies. But in the current movie you only want to use a portion of that clip. You can still add the whole clip to the current project. Then set trim points to indicate which portion of that clip should play. For any Timeline clip, you can set a Start or End (or both) trim point. The difference is as follows: n Trim Beginning: Determines where the clip will start to play. Content to the left of the start trim point, within the clip, won t play in the final movie. n Trim End: Determines where the clip will stop playing. Content to the right of the end trim point won t play in the final movie. To set a trim point in the Timeline, click the clip you want to trim. Play the clip to where you want to set a trim point and pause. Then choose Clip Trim Beginning or Clip Trim End to set the trim point. Everything to the left of a Start trim point disappears from the Timeline. Everything to the right of an End trim point disappears. If you change your mind, click the trimmed Timeline clip and choose Clip Clear Trim Points.

Information Needed Your e-mail address Your e-mail username Your e-mail password E-mail account type Outgoing (SMTP) mail server Incoming (POP3) mail server Example Write Your Information Here

Task to complete Select the state/jurisdiction in which you plan to practice as a CPA. Consult the NASBA exam Web site, www.nasba.org, to obtain a list of state board Web sites and examination application information for the state in which you plan to practice. Due date 6 7 months before your test date Date completed