View allAll Photos Tagged Accounting
WPtouch supports user account login and registration, easily handling account-based WordPress setups.
Accounting Software Describes a sort of application software package that records accounting transactions inside useful modules like accounts Due,account book,Balance and payroll.
See my main account for my photography, videos, fractal images and more here: www.flickr.com/photos/josh-rokman/
This is one of a series of images I made with the Bing Image Creator, which is an AI image generator powered by DALL-E 3.
For most of these images I tried to combine multiple elements together into one, rather than creating a scene with multiple separate elements. This pushes the limits of what the AI model can do, and maximizes the amount of human control over the images. For example, I might use the text prompt ‘photo realistic snake plane made out of carbon fiber and gold’.
Here is my take on AI generated images vs. human made art: I think that the quality of AI generated images will NOT dramatically improve, even many years into the future. The ultimate goal of a creative image is to create a certain emotional state in the viewer. - Emotions themselves - are the main tool used to do this. A purely logic driven machine can only create a crude, generalized model of something meant to create a certain emotional state. When someone makes a piece of art, it is always some combination of using logic and emotions to guide the process. Remember that the ultimate goal is to create a certain emotional state in the viewer. Only having access to logic, but not emotions, will always create a very generic looking work. You need to actually be able to feel emotions to fine-tune the work beyond that, since creating emotions is the ultimate goal.
The main difference between an AI model and a human is not the difference in the power of the logic that can be deployed. The difference is that a human can feel emotions, which is key to creating an image (or text) made to create a certain emotional state. The logic that the best AI image generator models currently have seems to already be at the level of what the best human can do (based on some of the results I got, which was quite a shock). The results are still crude and generic compared to what a human can do, because the AI models have no access to emotions, which are the main tool for making and refining a creative work designed to create certain emotional states.
All creative work is built with a combination of logic and emotions (emotions should always be the main tool), and by not having direct access to emotions, a machine can only create crude, generic results. When I make music I always try and use emotions rather than logic to guide the process as much as possible, since creating a certain emotional state in the listener is the ultimate goal. The best AI models have an amazing ability to use logic to mix two different styles of images together since that is a logic driven process. They can’t make those images from scratch, since that is an emotion driven process, since it is all about creating certain emotions in the viewer.
Imagine you were a chef trying to develop a new dish, but you were not allowed to taste the food at any point as you made it. Your ability to determine the correct amount of salt and other seasonings would be very crude and limited. There would always be the possibility of a disaster happening, since you could not add a bit of seasoning at a time and taste it, so you would have to just dump it all in at once. This is the same idea of an AI model that is trying to ultimately create emotional states using sophisticated logic, but without having any access to emotions to guide the process.
The results will always be very generic looking, with the occasional unexpected gruesome image being returned. The power of the logic I have seen in some of the images I have created is quite shocking, but the results are still crude and generic compared to what a human can do, since the AI model is trying to create emotional states without being able to actually feel emotions itself, which is vital to creating emotional states through an image (or text).
The AI models have an amazing ability to combine multiple types of images together into one, but they have no understanding of what the individual elements they are combining together truly are. Again, this is because the individual images are designed to create certain emotional states, and an AI model has no ability to feel emotions, meaning it has no ability to understand them.
Having said all that, there is a good chance that the ability of humans to customize AI generated images will keep going up, and this will allow for this tool to create highly creative works close to what a human could do from scratch after all. I don’t think that the AI models will ever be able to do this by themselves with a simple button push though, as I have made the case for above. Also, I would expect that the number of images that are generated with a button push will keep going up and up.
Now, does making good AI generated images take talent? I say the answer is yes simply because these images are not all equal in quality. To create the best image in a set of 1,000 to 100,000,000 images, and to do so consistently, takes skill. You need to learn something from every single image you create about what the AI model does well and does not do well. You also need creative and artistic skills to come up with really good text prompts, in addition to this. The skills involved in this are similar to the skills involved in coming up with a great line in text, like in books, poems, speeches, scripts, ect. This is like abstract art. I know from experience that randomly applying different colors of paint never yields anything impressive. It takes a lot of talent to make good abstract art. Random combinations of words in text prompts will never create the results that highly targeted ones will, when it comes to AI generated images.
Accounting is good for every business, not-for-profit or government association. It's a profoundly respected calling, with employer stability, open doors for headway and a low joblessness rate. You can function as a reviewer, clerk, charge bookkeeper, budgetary expert, controller, accounting manager, etc.
The largest in its 23-year history, the School of Business hosted its annual Accounting Networking Reception.
Master of Science in Accounting Orientation at the Martire Forum - Sacred Heart University photo by Mark F. Conrad 8/30/18
Online savings accounts are popular with many people because of the simple fact that they give customers a little more control over their finances. When you open an online savings account everything is done online. By logging into your online account you will be able to manage every aspect of your savings.
For Indian traders, managing taxes might be difficult, but Accounts Junction provides crucial guidance. First and foremost, it is important to comprehend GST compliance; ensuring timely and accurate filings can avoid paying heavy fines. To support tax credits and deductions, traders should also carefully record every transaction. Frequent tax advisor consultations can aid in navigating complicated tax rules and maximize tax planning techniques, ultimately improving profitability and guaranteeing conformity to Indian tax laws.
Visit this website to get more details: www.accountsjunction.com/industries/traders
Online savings accounts are popular with many people because of the simple fact that they give customers a little more control over their finances. When you open an online savings account everything is done online. By logging into your online account you will be able to manage every aspect of your savings.
GLG #Accounting has been looking after the #accounting needs of hundreds of small and big businesses.
Professor of Accounting Margie Sinclair Parish instructs an Accounting 132 course Thursday, April 4, 2019.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
I got a little surprise today when my wife planned a half-day for me--on account of it being my birthday. Or, maybe yesterday was my birthday. I don't really know. My mother has yet to fess up about the whole thing.
So when I got home it was beautifully bright and sunny out, though cold and windy. I stayed out until I couldn't feel my hands anymore, which took surprisingly little time.
I've started shooting the place where I live (as a record if nothing else). There are eight large bans on the farm, each with there own little personalities (at least to me). This barn was doubled in size during the fifties and is simply called The Truck Barn. It sits just off the north corner of my house (about thirty feet). I love the way the light hits this side, and when sun is bright and clear, like today, the red paint glows like fire. I particularly love the way the shadows play across it. Shooting subjects like this makes me wish I was using with my Mamiya more, film can capture a red this bright. I suppose a digital SLR could, too, but I haven't been able to convince myself to make the big jump beyond a digital point-and-shoot. I wish Mamiya would make a digital insert for 645 1000s, but that is never going to happen. Maybe next year Leicia will finally release an 18 to 22 mega-pixel compact digital for under a grand! (one can always dream)
The largest in its 23-year history, the School of Business hosted its annual Accounting Networking Reception.
SUNY College at Old Westbury's School of Business hosted its 20th annual Accounting Networking Reception on October 6, 2016 from 5:00 to 8:00 p.m. in the Student Union. Nearly 100 students attended to meet with 25 regional accounting firms and organizations.
The largest in its 23-year history, the School of Business hosted its annual Accounting Networking Reception.
The financial world has its own intricacies related with fair practices and compliance with regulations. This online forensic accounting program enables you to work as a watchdog in the financial world. You learn the latest ways of using technology for auditing and accounting procedures.
The IBS Career Forum 2020 17th edition - Finance, Accounting, Consulting, HR took place at Iscte on the 12th of february 2020.
Fotografia de Hugo Alexandre Cruz.
O&G Accounting Services provides high-quality outsourced accounting services Plantation to maintain financial statements as well as budgets. We evaluate your business with accounting services Plantation to address your financial needs. For more information, contact us at 954-274-7895 for Accounting Services Plantation
The largest in its 23-year history, the School of Business hosted its annual Accounting Networking Reception.
With everything taken into account, it appears that one and only talk about Simon Cowell plastic surgery is genuine as he is utilizing Botox infusions to keep up his energetic appearance.
The Ahead of the Game Accounting & Business Expo, co-presented by Florida International University (FIU) College of Business Alpfa-FIU and Beta Alpha Psi chapters, gives students the opportunity to network with some of the area’s top employers in accounting, MIS and financial services.
Miami, Florida | February 15, 2016
To learn more about the FIU College of Business please visit: business.fiu.edu
Merrchant is a home accounting software which is running a business for the accountants who can use this software smoothly
#GLG #Accounting #firm has several years of experience providing the best accounting services to clients from all over the USA. goo.gl/5kbxmJ
An Indian website claims that Pakistan Intelligence agency ISI Chief Ahmed Shuja pasha Account hacked by Indian hackers. Website further said that hackers gets