Sage Fixed Assets Depreciation User Guide

Total Page：16

File Type：pdf, Size：1020Kb

Sage Fixed Assets Depreciation User Guide

Sage Fixed Assets Depreciation 2018.1 User guide January 2018 Last updated: January 24, 2018 © 2018 The Sage Group plc or its licensors. All rights reserved. Sage, Sage logos, and Sage product and service names mentioned herein are the trademarks of The Sage Group plc or its licensors. All other trademarks are the property of their respective owners. Sage End User License Agreement (EULA): http://na.sage.com/sage-na/eula Contents Chapter 1. Introduction Welcome to Sage Fixed Assets . 1-1 Sage Fixed Assets Depreciation Network . 1-1 Verifying Your Computer’s Equipment . 1-1 Key Steps in Implementing the Application . 1-2 Understanding Databases . 1-4 Understanding Companies . 1-5 Why Use More than One Company . 1-5 When to Keep Assets in One Company? . 1-6 Understanding Groups . 1-6 Using Groups . 1-6 How the Application Updates Groups . 1-7 Understanding Asset Fields and SmartLists . 1-8 Chapter 2. Getting Started Starting the Application . 2-1 Entering a User Login and Password . 2-2 Changing Passwords . 2-3 Using Demonstration Data . 2-3 Opening an Existing Company . 2-4 Getting Help . 2-4 Using Online Help . 2-4 Viewing Sage Fixed Assets Depreciation Fundamentals . 2-5 Contacting Sage Fixed Assets . 2-5 Sage Live Connect . 2-5 Viewing Your Customer Number . 2-6 Updating Your Customer Number . 2-6 Setting User Security . 2-6 Assigning Supervisor Password and Enabling System Security . 2-7 Creating System Level Security Profiles . 2-9 Creating Company Level Security Profiles . 2-11 Assigning User Privileges . 2-12 Selecting a Security Mode . 2-16 Switching to Windows Authentication . 2-17 Switching to Application Authentication . 2-19 Resetting User Passwords . 2-19 Renaming a User . 2-20 Setting Up Your Printer . 2-21 Chapter 3. Navigating the Application Interface Elements of the Main Application Window . 3-1 Navigating the Application . 3-2 Using the Navigation Pane . 3-2 Using the Right Mouse Button . 3-8 Browsing Your Assets . 3-8 Viewing Your Assets - Asset List, Asset Detail . 3-9 Asset List . 3-10 Viewing Asset Groups . 3-11 Sage Fixed Assets Depreciation User’s Guide for U.S. Companies Contents-1 Contents Selecting Assets . 3-11 Customizing the Asset List View . 3-13 Restoring Your Asset List View . 3-16 Exporting the Asset List to Microsoft Excel . 3-16 Replacing Asset Data . 3-17 Replacing Data for All Assets . 3-18 Asset Detail . 3-19 Using the Tabs in Asset Detail . 3-21 Finding Specific Assets or Specific Data . 3-25 Entering Dates in Date Fields . ..

558

Copy Link

Recommended publications

Creating a Superheroine: a Rhetorical Analysis of the X-Men Comic Books
CREATING A SUPERHEROINE: A RHETORICAL ANALYSIS OF THE X-MEN COMIC BOOKS by Tonya R. Powers A Thesis Submitted in Partial Fulfillment Of the Requirements for the Degree MASTER OF ARTS Major Subject: Communication West Texas A&M University Canyon, Texas August, 2016 Approved: __________________________________________________________ [Chair, Thesis Committee] [Date] __________________________________________________________ [Member, Thesis Committee] [Date] __________________________________________________________ [Member, Thesis Committee] [Date] ____________________________________________________ [Head, Major Department] [Date] ____________________________________________________ [Dean, Fine Arts and Humanities] [Date] ____________________________________________________ [Dean, Graduate School] [Date] ii ABSTRACT This thesis is a rhetorical analysis of a two-year X-Men comic book publication that features an entirely female cast. This research was conducted using Kenneth Burke’s theory of terministic screens to evaluate how the authors and artists created the comic books. Sonja Foss’s description of cluster criticism is used to determine key terms in the series and how they were contributed to the creation of characters. I also used visual rhetoric to understand how comic book structure and conventions impacted the visual creation of superheroines. The results indicate that while these superheroines are multi- dimensional characters, they are still created within a male standard of what constitutes a hero. The female characters in the series point to an awareness of diversity in the comic book universe. iii ACKNOWLEDGEMENTS I wish to thank my thesis committee chair, Dr. Hanson, for being supportive of me within the last year. Your guidance and pushes in the right direction has made the completion of this thesis possible. You make me understand the kind of educator I wish to be. You would always reply to my late-night emails as soon as you could in the morning.
[Show full text]
Uncanny Xmen Box
Official Advanced Game Adventure CAMPAIGN BOOK TABLE OF CONTENTS What Are Mutants? ....... .................... ...2 Creating Mutant Groups . ..... ................ ..46 Why Are Mutants? .............................2 The Crime-Fighting Group . ... ............. .. .46 Where Are Mutants? . ........ ........ .........3 The Tr aining Group . ..........................47 Mutant Histories . ................... ... ... ..... .4 The Government Group ............. ....... .48 The X-Men ..... ... ... ............ .... ... 4 Evil Mutants ........................... ......50 X-Factor . .......... ........ .............. 8 The Legendary Group ... ........... ..... ... 50 The New Mutants ..... ........... ... .........10 The Protective Group .......... ................51 Fallen Angels ................ ......... ... ..12 Non-Mutant Groups ... ... ... ............. ..51 X-Terminators . ... .... ............ .........12 Undercover Groups . .... ............... .......51 Excalibur ...... ..............................12 The False Oppressors ........... .......... 51 Morlocks ............... ...... ......... .....12 The Competition . ............... .............51 Original Brotherhood of Evil Mutants ..... .........13 Freedom Fighters & Te rrorists . ......... .......52 The Savage Land Mutates ........ ............ ..13 The Mutant Campaign ... ........ .... ... .........53 Mutant Force & The Resistants ... ......... ......14 The Mutant Index ...... .... ....... .... 53 The Second Brotherhood of Evil Mutants & Freedom Bring on the Bad Guys ... .......
[Show full text]
Drug Narratives in Comic Books
“They say it’ll kill me…but they won’t say when!” Drug Narratives in Comic Books By Mark C. J. Stoddart University of British Columbia The mass media play an important role in constructing images of drug trafficking and use that circulate through society. For this project, discourse analysis was used to examine 52 comic books and graphic novels. Comic books reproduce a dominant discourse of negative drug use which focuses on hard drugs such as heroin and cocaine. These drug narratives set up a dichotomy between victimized drug users and predatory drug dealers. Drug users are depicted as victims who may be saved rather than criminalized. By contrast, drug dealers are constructed as villains who are subjected to the ritualized violence of comic book heroes. The construction of drug users and drug dealers is also marked by gendered, racialized, and class-based patterns of representation. Keywords : drugs; comic books; discourse analysis; cultural criminology INTRODUCTION For most of us, the mass media have provided a window on the social world beyond the confines of our daily lives. It is through the media that many of us have learned about spheres of social power and deviance with which we may have rarely come into direct contact. In the case of illicit drugs, many people’s understanding of drug users and drug trafficking has been shaped by both the factual accounts of news media, as well as the fictional accounts of film or television. For example, for those who are not members of the subcultural world of drug use, heroin use has been made imaginable through the Vancouver Sun’s coverage of Vancouver’s Downtown Eastside (Bohn, 2000; Kines, 1997; Sarti, 1992), or through films such as Trainspotting (Macdonald & Boyle, 1996) or The Basketball Diaries (Heller & Kalvert, 1995).
[Show full text]
Forum Articles the Legacy of 19Th Century Popular Freak Show
Forum Articles The Legacy of 19th Century Popular Freak Show Discourse in the 21st Century X-Men Films Fiona Pettit, PhD Exeter University, United Kingdom Abstract: This essay seeks to tease out the narrative similarities found in nineteenth-century freak show literature and in the X-Men films of the twenty-first century. Both of these forms of popular entertainment emphasize the precarious position of people with extraordinary bodies in their contemporary societies. Keywords: freak, X-Men, disability Introduction In terms of the narrative similarities between the nineteenth-century freak show and the X-Men films, there are two key components that this paper will explore. There exists a striking similarity in how certain freak show performers and mutated characters in the X-Men speak about their condition. Additionally, there is a degree of resonance between how ‘normal’ or non- normative bodies speak of the freak, the mutant, or the “other”. This paper addresses the narrative relationship to demonstrate the legacy of popular nineteenth-century freak show discourse. During the winter season of 1898-1899, the popular Barnum and Bailey Circus, dubbed the “greatest show on earth,” exhibited in London at the Olympia theatre. The show was a huge success and was regularly featured in numerous popular periodicals. In the middle of this season, the freak show performers, who made up a large portion of the circus, held a protest against their designation as “Freaks of Nature”, and instead adopted the title of “Prodigy.” They explained: “In the opinion of many some of us are really the development of a higher type, and are superior persons, inasmuch as some of us are gifted with extraordinary attributes not apparent in ordinary beings” (Man about town, 1899, p.
[Show full text]
X-Men Archives Checklist
X-Men Archives Checklist Base Cards # Card Title [ ] 01 Title Card [ ] 02 Angel [ ] 03 Armor [ ] 04 Beast [ ] 05 Bishop [ ] 06 Blink [ ] 07 Cable [ ] 08 Caliban [ ] 09 Callisto [ ] 10 Cannonball [ ] 11 Captain Britain [ ] 12 Chamber [ ] 13 Colossus [ ] 14 Cyclops [ ] 15 Dazzler [ ] 16 Deadpool [ ] 17 Domino [ ] 18 Dust [ ] 19 Elixir [ ] 20 Emma Frost/White Queen [ ] 21 Forge [ ] 22 Gambit [ ] 23 Guardian [ ] 24 Havok [ ] 25 Hellion [ ] 26 Icarus [ ] 27 Iceman [ ] 28 Ink [ ] 29 Jean Grey [ ] 30 Jubilee [ ] 31 Karma [ ] 32 Kuan-Yin Xorn [ ] 33 Lilandra [ ] 34 Longshot [ ] 35 M [ ] 36 Magik [ ] 37 Magma [ ] 38 Marvel Girl [ ] 39 Mercury [ ] 40 Mimic [ ] 41 Mirage [ ] 42 Morph [ ] 43 Multiple Man [ ] 44 Nightcrawler [ ] 45 Northstar [ ] 46 Omega Sentinel [ ] 47 Pixie [ ] 48 Polaris [ ] 49 Prodigy [ ] 50 Professor Xavier [ ] 51 Psylocke [ ] 52 Quicksilver [ ] 53 Rockslide [ ] 54 Rogue [ ] 55 Sage [ ] 56 Shadowcat [ ] 57 Shatterstar [ ] 58 Shola Inkosi [ ] 59 Siryn [ ] 60 Starjammers [ ] 61 Storm [ ] 62 Strong Guy [ ] 63 Sunfire [ ] 64 Sunspot [ ] 65 Surge [ ] 66 Wallflower [ ] 67 Warpath [ ] 68 Wicked [ ] 69 Wind Dancer [ ] 70 Wolfsbane [ ] 71 Wolverine [ ] 72 X-23 Nemesis (1:8 packs) # Card Title [ ] N1 Mr. Sinister by Greg Land [ ] N2 Magneto by Sean Chen and Sandu Florea [ ] N3 Mystique by Mike Mayhew [ ] N4 Sabretooth by Paolo Rivera [ ] N5 Mojo by Frank Cho [ ] N6 Apocalypse by Salvador Larroca [ ] N7 Juggernaut by Sean Chen [ ] N8 Sentinels by Marc Silvestri and Joe Weems [ ] N9 Brotherhood of Evil Mutants by David Finch Cover Gallery
[Show full text]
Your Digital Alter Ego - the Superhero/Villain You (Never) Wanted Transcending Space and Time?
Available online at www.sciencedirect.com ScienceDirect Computers and Composition 55 (2020) 102543 Your Digital Alter Ego - The Superhero/Villain You (Never) Wanted Transcending Space and Time? Sarah Young 1 Erasmus University Rotterdam, Department of Media & Communication Abstract This article explores the dynamic bodies of information taken through surveillance, or what I call our “digital alter egos” as superheroes/villains. It highlights our digital alter ego’s flair for institutional intertextuality and provides a framework for understanding our digital data. While the superhero may not be the first thing someone thinks about when talking about surveillance and information, the “digital alter ego” provides a memorable heuristic to understand contemporary surveillance practices. © 2020 The Author. Published by Elsevier Inc. This is an open access article under the CC BY-NC-ND license (http:// creativecommons.org/licenses/by-nc-nd/4.0/). Keywords: Surveillance; Data bodies; Digitial bodies; Identity; Myth; Superheroes, comics Introduction Superheroes and villains possess a wide range of powers. For instance, according to Pop Chart Lab’s (2017) “Omnibus of Superpowers,” Sage has super intelligence; Invisible Woman is invisible and hard to reach; Nightcrawler can teleport; Time Trapper can time travel; Mystique is shape-shifting; Crazy Jane has multiple identities; and Hulk has super strength. Each superhero or supervillain holds some type of superhuman skill which enables them to complete tasks in ways mortal folk cannot. While these comic book characters are fictional, each one of us, in a way, has our own superhuman “digital alter ego” 2 – or bodies of digital information taken through surveillance practices that coalesce in digital spaces, rhetorically exhibiting these superhuman powers: the abilities to convey large amounts of data, the power to be invisible, transcend E-mail address: [email protected] 1 Present address: Erasmus University Rotterdam, Department of Media & Communication, Burgemeester Oudlaan 50, 3062 PA Rotterdam, Netherlands.
[Show full text]
Sage Installation Guide Release 9.4
Sage Installation Guide Release 9.4 The Sage Development Team Aug 24, 2021 CONTENTS 1 Linux package managers 3 2 Install from Pre-built Binaries5 2.1 Download Guide.............................................5 2.2 Linux...................................................5 2.3 macOS..................................................6 2.4 Microsoft Windows (Cygwin)......................................6 3 Install from conda-forge 7 4 Install from Source Code 9 4.1 Supported platforms...........................................9 4.2 Prerequisites............................................... 10 4.3 Additional software........................................... 18 4.4 Step-by-step installation procedure.................................... 20 4.5 Make targets............................................... 25 4.6 Environment variables.......................................... 25 4.7 Installation in a Multiuser Environment................................. 30 5 Launching SageMath 33 5.1 Using a Jupyter Notebook remotely................................... 33 5.2 WSL Post-installation steps....................................... 34 5.3 Setting up SageMath as a Jupyter kernel in an existing Jupyter notebook or JupyterLab installation.. 35 6 Troubleshooting 37 Index 39 i ii Sage Installation Guide, Release 9.4 You can install SageMath either from a package manager, a pre-built binary tarball or from its sources. Installing SageMath from your distribution package manager is the preferred and fastest solution (dependencies will be automatically taken care of and SageMath will be using your system Python). It is the case at least for the following GNU/Linux distributions: Debian version >= 9, Ubuntu version >= 18.04, Arch Linux, and NixOS. If you are in this situation, see Linux package managers. If your operating system does not provide SageMath, you can also use a pre-built binary. See the section Install from Pre-built Binaries. Or you could install the sage package from the conda-forge project.
[Show full text]
A Study of Superhero Mythology Ryan Woods This Is a Digitised Version Of
Gods in Spandex: A Study of Superhero Mythology Ryan Woods This is a digitised version of a dissertation submitted to the University of Bedfordshire. It is available to view only. This item is subject to copyright. GODS in SPANDEX: A STUDY of SUPERHERO MYTHOLOGY Ryan Woods A thesis submitted to the University of Bedfordshire, in fulfilment of the requirements for the degree of Master of Arts by Research University of Bedfordshire Research Institute for Media, Arts and Performance Submitted: February 2020 Table of Contents Author Declaration .......................................................................................................................................ii Abstract .........................................................................................................................................................iii Acknowledgements ..................................................................................................................................... iv Introduction ...................................................................................................................................................v Methodology ................................................................................................................................................. xi Literature Review ....................................................................................................................................... xix Chapter One ................................................................................................................................................
[Show full text]
X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media Lyndsey E
Georgia Southern University Digital Commons@Georgia Southern University Honors Program Theses 2015 X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media Lyndsey E. Shelton Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/honors-theses Part of the American Popular Culture Commons, International and Area Studies Commons, and the Religion Commons Recommended Citation Shelton, Lyndsey E., "X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media" (2015). University Honors Program Theses. 146. https://digitalcommons.georgiasouthern.edu/honors-theses/146 This thesis (open access) is brought to you for free and open access by Digital Commons@Georgia Southern. It has been accepted for inclusion in University Honors Program Theses by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. X-Men, Dragon Age, and Religion: Representations of Religion and the Religious in Comic Books, Video Games, and Their Related Media An Honors Thesis submitted in partial fulfillment of the requirements for Honors in International Studies. By Lyndsey Erin Shelton Under the mentorship of Dr. Darin H. Van Tassell ABSTRACT It is a widely accepted notion that a child can only be called stupid for so long before they believe it, can only be treated in a particular way for so long before that is the only way that they know. Why is that notion never applied to how we treat, address, and present religion and the religious to children and young adults? In recent years, questions have been continuously brought up about how we portray violence, sexuality, gender, race, and many other issues in popular media directed towards young people, particularly video games.
[Show full text]
Superheroes & Stereotypes: a Critical Analysis of Race, Gender, And
SUPERHEROES & STEREOTYPES: A CRITICAL ANALYSIS OF RACE, GENDER, AND SOCIAL ISSUES WITHIN COMIC BOOK MATERIAL Gabriel Arnoldo Cruz A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2018 Committee: Alberto González, Advisor Eric Worch Graduate Faculty Representative Joshua Atkinson Frederick Busselle Christina Knopf © 2018 Gabriel Arnoldo Cruz All Rights Reserved iii ABSTRACT Alberto González, Advisor The popularity of modern comic books has fluctuated since their creation and mass production in the early 20th century, experiencing periods of growth as well as decline. While commercial success is not always consistent from one decade to the next it is clear that the medium has been and will continue to be a cultural staple in the society of the United States. I have selected this type of popular culture for analysis precisely because of the longevity of the medium and the recent commercial success of film and television adaptations of comic book material. In this project I apply a Critical lens to selected comic book materials and apply Critical theories related to race, class, and gender in order to understand how the materials function as vehicles for ideological messages. For the project I selected five Marvel comic book characters and examined materials featuring those characters in the form of comic books, film, and television adaptations. The selected characters are Steve Rogers/Captain America, Luke Cage, Miles Morales/Spider-Man, Jean Grey, and Raven Darkholme/Mystique. Methodologically I interrogated the selected texts through the application of visual and narrative rhetorical criticism.
[Show full text]
Superhero Comics 1St Edition PDF Book
SUPERHERO COMICS 1ST EDITION PDF, EPUB, EBOOK Peter M Coogan | 9781474226356 | | | | | Superhero Comics 1st edition PDF Book Ed Herron , Mac Raboy. A very good copy. More information about this seller Contact this seller Will Eisner , Lou Fine. He borrowed four characters from the X-Men, who formed the team under the mistaken impression that their fellow X-Men were dead:. Beginning with the introduction of Superman in in Action Comics 1 — an anthology of adventure features — comic books devoted to superheroes heroic people with extraordinary or superhuman abilities and skills, or god-like powers and attributes ballooned into a widespread genre, coincident with the beginnings of World War II and the end of the Great Depression. On Krakoa, Apocalypse summons Rogue , Gambit and Jubilee , informing them of the situation and uses Rogue's powers to weaken the gate enough for it to be destroyed however, the resulting magical explosion encases her in a flower coffin. Duplex planet illustrated 3 Judge dredd 3 Avengers 1 Blade of the immortal 1 Crisis on infinite earths 1. Ironically, issues of Uncanny X-Men during the time of this Excalibur had much in common with the original Excalibur : lighthearted stories by Chris Claremont, colorful art by Alan Davis and Mark Farmer, characters including Nightcrawler and Rachel Summers, and even a cameo appearance by Captain Britain. Dracula X Target X. Views Read Edit View history. Louise Simonson , Rob Liefeld. The Adventures of T-Rex. Kenneth Robeson Lester Dent. Saturnyne then promises to free Albion from jail to lead the Corps, while Sage and Nocturne switch teams with Longshot, who now remembers the highlights of his past.
[Show full text]
Women in the Comic Book Industry
Georgia State University ScholarWorks @ Georgia State University Institute for Women's, Gender, and Sexuality Women's, Gender, and Sexuality Studies Theses Studies 6-5-2007 Working the Margins: Women in the Comic Book Industry Wesley Chenault Follow this and additional works at: https://scholarworks.gsu.edu/wsi_theses Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Chenault, Wesley, "Working the Margins: Women in the Comic Book Industry." Thesis, Georgia State University, 2007. https://scholarworks.gsu.edu/wsi_theses/10 This Thesis is brought to you for free and open access by the Institute for Women's, Gender, and Sexuality Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Women's, Gender, and Sexuality Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. WORKING THE MARGINS: WOMEN IN THE COMIC BOOK INDUSTRY by WESLEY CHENAULT Under the Direction of Marian Meyers ABSTRACT Women have been involved in the writing, illustrating, and production of comic books at almost every step of the genre’s development. The years between the late 1960s and the late 1990s were tumultuous for the comic book industry. At the societal level, these years were saturated with changes that challenged normative ideas of sex roles and gender. The goal of this study is two-fold: it documents the specific contributions to the comic book industry made by the women interviewed, and it addresses research questions that focus on gender, change, and comic books. This project asks: What was the role and status of women in the comic book industry between the early 1970s and late 1990s? By utilizing moderately scheduled, in- depth interviews with women working in the comic book industry during this period, this study explores their experiences and treatment while working in an insular, male- dominated field.
[Show full text]