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Lautoka, Fiji
The Toyota Succeed is a station wagon sold by Toyota in Japan as a passenger car. It was introduced in August 2002. A more basic version for delivery use is known as the Toyota Probox.
For 2007 Japanese models, G-Book, a subscription telematics service, was offered as an option.
Engine 1NZ-FE 1.5L straight-4 DOHC type 4
SOHC 1.4L diesel straight type 1ND-TV
Transmission 5-speed MT / 4-speed AT
The ReMOVe-U (Recoilless, Multi-Ordinance Vehicle, Unmanned) is a semi-autonomous unit capable of anti-armor and artillery support featuring the ability to smart-select target appropriate munitions or accept a telematic pilot's commands.
What is luxury?
Meeting all your needs without taxing your resources.
Power?
600 kW and 1050 Nm of tractive force, spread amoung the four wheels. Power is directed to the road from the tractive eMotors. Power to the eMotors comes from the battery systems while in town, up tp 140 kW, for zero emission driving. When it comes to untaxed power, the gas-turbine can produce up to 450 kW peak power, driving an electric generator, feeding direct to the Tractive eMotors, or charging the battery packs. The gas-turbine can also act as a range extender hybrid, the 100 litre tank providing a maximum range of 1,430 km in conjunction with the electric battery pack.
Silence.
When in all-electric mode the powertrain is near silent. In both electric and gas turbine modes, the powertrain produces almost no vibrations to the occupants within the cabin.
Emissions.
Although the burning of fossil fuels produces CO2, the Gas-Turbine ccombustion process decreases the production of Nitrogen compounds, Carbon Monoxide and other pollutants. On the US emission drive cycle, the car is rated at 92 eMPG equivalent.
These are the reasons the Ralston Tigre is known as the 'Road Jet'.
Comfort.
Luxury is Silence, Pace and Space. The fully appointed interior is equipped with luxury appointments including heated and cooled seats with massage function, electro-chromatic glass roof, and full Telematics and Communication. The full-sized Hardtop Coupe body provides ample comfort for four passengers. And the performance speaks for itself.
Bearing the mark of the 'X', The Ralston Tigre - IV is not the first car to wear the hallowed Ralston coat-of-arms. Previous vehicles had been built in ultra-exclusive volumes for the Ralston family's private vehicles. Due for introduction in 2015, the Tigre will headline a new marque of low-volume exclusivity for the discerning client. The Coupe-Hardtop will be joined by other styles of vehicles of distinction, sharing it's unique Gas-Turbine-Electric Hybrid powertrain.
Ralston Tigre - The Road Jet
Claremont, North Carolina-based Cargo Transporters operates Drivewyze PreClear on all 525 trucks in its fleet. John Pope, chairman of the privately-held Cargo Transporters, said the addition of more locations in North Carolina in August of 2017 just several months after its debut in South Carolina proves to him that his company’s decision to remove its transponders and go with bypass service from Drivewyze late last year was the right call. “We believe Drivewyze was the right choice for us because it delivers more bypasses with fewer hassles and because it’s rapidly growing,” Pope added.
2004 Toyota (GKM370)
Will Cypha 1.3L Hatchback
1,299cc Petrol engine
Automatic 4 speed
Toyota offered three individually designed cars, based on the mechanicals of existing Toyota models. The series was intended to appeal to markets that were not covered by Toyota's mainstream range, and to discover how commercially feasible such unusual designs were. The American Scion range is based on a similar concept. All WiLL vehicles were only sold in Japan, and only at Toyota Vista Store locations
The WiLL VC, later WiLL Cypha was produced from 2002 to 2005. It shared many of its mechanicals, including the 1.3-litre 2NZ and 1.5-litre 1NZ engines, with the Ist. Its styling developed themes seen in the Vitz/Yaris, but has a more angular look, a continuation of the short-lived WiLL Vi. Notable features are the rear lights placed level with the rear window, giving a look of the Renault Megane II, and the distinctive headlights which have four lamps per side arranged vertically. The interior used a rounded theme, with items such as the door pulls and the central console being circular. All Will VC' and WiLL Cyphas were manufactured by Central Motors at its "Headquarters plant" located at Ohira, Miyagi, Japan.
The Cypha (the words "cyber" and "phaeton" combined) was one of the first Toyota vehicles to be installed with their vehicle telematics system called G-Book. The vehicle was also promoted with a sales approach called "pay as you go" meaning that you were given the option not to buy the car with monthly payments, but to instead lease the car, and only pay a monthly bill based on how far you drove in a month. When the driver no longer wanted the vehicle, they returned the car to the Toyota dealership.
Engine 2NZ-FE 1.3 L I4 DOHC
1NZ-FE 1.5 L I4 DOHC
Transmission 4-speed automatic
What is luxury?
Meeting all your needs without taxing your resources.
Power?
600 kW and 1050 Nm of tractive force, spread among the four wheels. Power is directed to the road from the tractive eMotors. Power to the eMotors comes from the battery systems while in town, up to 140 kW, for zero emission driving. When it comes to untaxed power, the gas-turbine can produce up to 450 kW peak power, driving an electric generator, feeding direct to the Tractive eMotors, or charging the battery packs. The gas-turbine can also act as a range extender hybrid, the 100 litre tank providing a maximum range of 1,430 km in conjunction with the electric battery pack.
Silence.
When in all-electric mode the powertrain is near silent. In both electric and gas turbine modes, the powertrain produces almost no vibrations to the occupants within the cabin.
Emissions.
Although the burning of fossil fuels produces CO2, the Gas-Turbine combustion process decreases the production of Nitrogen compounds, Carbon Monoxide and other pollutants. On the US emission drive cycle, the car is rated at 92 eMPG equivalent.
These are the reasons the Ralston Tigre is known as the 'Road Jet'.
Comfort.
Luxury is Silence, Pace and Space. The fully appointed interior is equipped with luxury appointments including heated and cooled seats with massage function, electro-chromatic glass roof, and full Telematics and Communication. The full-sized Limousine body provides extended comfort for four passengers.
The Limousine, new for 2015 had a fully tailored rear cabin. Heated and cooled seats, massage function, fully reclined - respite from a busy world. The rear cabin is also a fully-integrated mobile office, capable of telecommuting on the move and performing conference calls.
And the performance speaks for itself.
Bearing the mark of the 'X', The Ralston Tigre - IV is not the first car to wear the hallowed Ralston coat-of-arms. Previous vehicles had been built in ultra-exclusive volumes for the Ralston family's private vehicles. Due for introduction in 2016, the Tigre will headline a new marque of low-volume exclusivity for the discerning client. The Coupe-Hardtop has been joined by other styles of vehicles of distinction, including the Limousine model shown here, sharing it's unique Gas-Turbine-Electric Hybrid powertrain.
Ralston Tigre - The Luxury Road Jet
This Lego miniland-scale Ralston Tigre MkIV Limousine (2016) has been created for Flickr LUGNuts' 95th Build Challenge, - "Designing the Ralston Legacy", - for the design of vehicles under the fictional 'Ralston' company. The models must include a 'X' design feature on the car or bike. A number of Ralston challenge vehicle concepts are possible in this challenge.
Pontiac Torrent near Golden Gate Bridge 24/11/2009 14h21
Our rental car which took us 2,394 miles around in California, Nevada, Utah and Arizona. This photo is taken on the first day we had this Pontiac Torrent, a cross-over (or SUV if you like). It was more than FTD (Fun To Drive).
Specifications:
2009 Pontiac Torrent Base Sport Utility Performance
Efficiency Standard Features:
- 3,350 cc 3.4 liters V 6 front engine with 92.0 mm bore, 84.0 mm stroke, 9.5 compression ratio, overhead valve and two valves per cylinder LNJ
- Unleaded fuel 87 and petrol
- Multi-point injection fuel system
- 16.6 gallon main unleaded fuel tank 13.8
- Power: 138 kW , 185 HP SAE @ 5,200 rpm; 210 ft lb , 284 Nm @ 3,800 rpm
2009 Pontiac Torrent Base Sport Utility Handling, Ride & Braking Standard Features
- ABS
- 2.480:1 axle ratio
- Four disc brakes including four ventilated discs
- Electronic brake distribution
- Electronic traction control via ABS & engine management
- Immobilizer
- Spacesaver steel rim spare wheel
- Stability control
- Strut front suspension independent with stabilizer bar and coil springs, multi-link rear suspension independent with stabilizer bar and coil springs
2009 Pontiac Torrent Base Sport Utility Exterior & Aerodynamics Standard Features:
- Driver and passenger 3rd row windows
- Painted front and rear bumpers
- Day time running lights
- Driver and passenger power painted door mirrors
- External dimensions: overall length (inches): 188.8, overall width (inches): 71.4, overall height (inches): 69.3, ground clearance (inches): 7.9, wheelbase (inches): 112.5, front track (inches): 61.6, rear track (inches): 61.8 and curb to curb turning circle (feet): 41.8
- Front fog lights
- Complex surface lens halogen bulb headlights
- Luxury trim alloy look on gearknob, alloy look on doors and alloy look on dashboard
- Metallic paint
- Driver side and passenger side rear side windows
- Fixed rear window with defogger and intermittent
- Removable roof rails
- Roof spoiler
- Underbody protection for fuel tank
- Weights: gross vehicle weight rating (lbs) 5,070, curb weight (lbs) 3,776, gross trailer weight braked (lbs) 3,500 and max payload (lbs) 1,294
- Windshield wipers with variable intermittent wipe
2009 Pontiac Torrent Base Sport Utility Interior Standard Features - 12v power outlet: front and rear
- Air conditioning
- Anti-theft protection
- RDS audio system with satellite and CD player CD player reads MP3
- Cargo area dimensions: loading floor height (inches): 28.6
- Cargo capacity: rear seat down (cu ft): 68.6 and all seats in place (cu ft): 35.2
- Cellular phone
- Clock
- Compass
- Computer with average speed, average fuel consumption and range for remaining fuel
- Delayed/fade courtesy lights
- Cruise control
- Front seats and rear seats cup holders
- External temperature
- Floor covering: carpet in passenger compartment and carpet in load area
- Driver front airbag with multi-stage deployment, passenger front airbag with occupant sensors and multi-stage deployment
- Bucket driver seat with height adjustment manual, bucket passenger seat
- Height adjustable 3-point reel front seat belts on driver seat and passenger seat with pre-tensioners
- Front seat center armrest
- Two height adjustable head restraints on front seats and rear seats
- Headlight control with dusk sensor
- Internal dimensions: front headroom (inches): 40.9, rear headroom (inches): 40.1, front hip room (inches): 51.1, rear hip room (inches): 51.4, front leg room (inches): 41.2, rear leg room (inches): 40.2, front shoulder room (inches): 55.7 and rear shoulder room (inches): 55.9
- Low tire pressure indicator
- Remote power locks includes trunk/hatch
- Power steering
- Front power windows with one one-touch, rear power windows
- Front reading lights
- 3-point reel rear seat belts on driver side, passenger side and center side
- Three asymmetrical bench front facing reclining rear seats with fore/aft adjustment and zero adjustments manual and manual
- Rear view mirror
- Front and rear side curtain airbag
- Cloth seat upholstery with additional cloth
- Seating: five seats
- Service interval indicator
- Six speaker(s)
- Plastic steering wheel with tilt adjustment
- Tachometer
- Telematics includes engine shut down
- Driver and passenger vanity mirror
- Ventilation system with micro filter
- Voice activating system includes phone
Read more: Motor Trend
What is luxury?
Meeting all your needs without taxing your resources.
Power?
600 kW and 1050 Nm of tractive force, spread amoung the four wheels. Power is directed to the road from the tractive eMotors. Power to the eMotors comes from the battery systems while in town, up tp 140 kW, for zero emission driving. When it comes to untaxed power, the gas-turbine can produce up to 450 kW peak power, driving an electric generator, feeding direct to the Tractive eMotors, or charging the battery packs. The gas-turbine can also act as a range extender hybrid, the 100 litre tank providing a maximum range of 1,430 km in conjunction with the electric battery pack.
Silence.
When in all-electric mode the powertrain is near silent. In both electric and gas turbine modes, the powertrain produces almost no vibrations to the occupants within the cabin.
Emissions.
Although the burning of fossil fuels produces CO2, the Gas-Turbine ccombustion process decreases the production of Nitrogen compounds, Carbon Monoxide and other pollutants. On the US emission drive cycle, the car is rated at 92 eMPG equivalent.
These are the reasons the Ralston Tigre is known as the 'Road Jet'.
Comfort.
Luxury is Silence, Pace and Space. The fully appointed interior is equipped with luxury appointments including heated and cooled seats with massage function, electro-chromatic glass roof, and full Telematics and Communication. The full-sized Hardtop Coupe body provides ample comfort for four passengers. And the performance speaks for itself.
Bearing the mark of the 'X', The Ralston Tigre - IV is not the first car to wear the hallowed Ralston coat-of-arms. Previous vehicles had been built in ultra-exclusive volumes for the Ralston family's private vehicles. Due for introduction in 2015, the Tigre will headline a new marque of low-volume exclusivity for the discerning client. The Coupe-Hardtop will be joined by other styles of vehicles of distinction, sharing it's unique Gas-Turbine-Electric Hybrid powertrain.
Ralston Tigre - The Road Jet
Kenworth customers can benefit from real-time vehicle health monitoring technology provided by PeopleNet, the telematics provider for KENWORTH TruckTech+. The system will provide information on the health of the PACCAR MX-13 engine to fleet managers and dealers in order to optimize truck uptime and productivity.
The Peugeot Pars was originally known as the Peugeot Persia. However it was soon renamed the Peugeot Pars due to local copyright issues. After 10 years of manufacturing the Peugeot 405 in Iran, the Iran Khodro company facelifted it. The Peugeot Pars had been made in 3 models Pars, Pars 16V, and Pars ELX. The 16V and ELX models use a more powerful PSA 16 valve engine and are better equipped.
The XU7JP PSA engine is (known as the L3 in Iran) is a 1.8 L SOHC with 2 valves per cylinder capable of producing a maximum power of 101 PS at 6000 rpm and a maximum torque of 153 Nm at 3000 rpm which is controlled by a SAGEM SL96 ECU. The same engine was already in use in the PSA's Peugeot 405 1.8 SRi, Peugeot 306 1.8i 8v, Citroën Xantia 1.8i 8v, and Citroën Xsara 1.8i 8v.
The Pars 16V used a more powerful 16 valve engine and had rear disc brakes but ABS was not available even as an option. The 16V model's production lasted less than a year; it began in the second quarter of 2003 and ended in the first quarter of 2004 when it was replaced with the ELX model. Many Iranian car industry critics believe its production was a case study of the Iranian car market capacity performed by Iran Khodro before beginning the production of the ELX to see if people are seeking for more powerful and luxurious versions of the Pars.
The more powerful LFY engine fitted to 16V attracted the interest of the authorities who are always seeking for high-performance yet inexpensive cars as service vehicles. A large number of 16Vs were produced according to requests registered by Iranian governmental organizations. 16Vs can be seen as parliament service cars and also motorcade escorts.
Compared to Pars, the ELX features smart instrument cluster, multi-purpose Persian-reading dashboard telematics, alarm with door auto-lock, parking sensors, electric Recaro cloth seats, luxury dashboard trim, a passenger illuminated vanity mirror, a more powerful 16 valve engine, 4-disc brakes with ABS/EBD, and finally rally alloy wheels.
The PSA-borrowed engine is the XU7JP4 (known as L4 in Iran), a 1.8 L DOHC with 4 hydraulically-adjusted valves per cylinder capable of producing a maximum power of 109.0 bhp at 5500 rpm and a maximum torque of 155 Nm at 4250 rpm and is controlled by a Bosch Motronic MP 7.3 ECU. The same engine was already in use in the PSA's Peugeot 406 LX 1.8i 16v, Citroën Xantia SX 1.8i 16v, and Citroën Xsara VTS 1.8i 16v.
The ABS/EBD-featured MK20-E servo-assisted dual-circuit brake system is partially manufactured by Iranian Toklan Toos under license from Continental Teves. Front single-piston calipers are also manufactured by Toklan Toos under license from Lucas-TVS and rear single-piston calipers are manufactured by Girling.
The Italian-made rally light-weight one-piece flow-formed cast aluminium wheels are provided by Speedline Corse; the manufacturer claims these Turini (type 2120) wheels are FEA-cast in low pressure, heat-treated, low-weight, and designed in accordance with latest FIA regulations for tarmac rally Super 1600 kit cars. The 11-spoke wheel has a diameter of 15 inches and a section width of 7 inches.
What is luxury?
Meeting all your needs without taxing your resources.
Power?
600 kW and 1050 Nm of tractive force, spread amoung the four wheels. Power is directed to the road from the tractive eMotors. Power to the eMotors comes from the battery systems while in town, up tp 140 kW, for zero emission driving. When it comes to untaxed power, the gas-turbine can produce up to 450 kW peak power, driving an electric generator, feeding direct to the Tractive eMotors, or charging the battery packs. The gas-turbine can also act as a range extender hybrid, the 100 litre tank providing a maximum range of 1,430 km in conjunction with the electric battery pack.
Silence.
When in all-electric mode the powertrain is near silent. In both electric and gas turbine modes, the powertrain produces almost no vibrations to the occupants within the cabin.
Emissions.
Although the burning of fossil fuels produces CO2, the Gas-Turbine ccombustion process decreases the production of Nitrogen compounds, Carbon Monoxide and other pollutants. On the US emission drive cycle, the car is rated at 92 eMPG equivalent.
These are the reasons the Ralston Tigre is known as the 'Road Jet'.
Comfort.
Luxury is Silence, Pace and Space. The fully appointed interior is equipped with luxury appointments including heated and cooled seats with massage function, electro-chromatic glass roof, and full Telematics and Communication. The full-sized Hardtop Coupe body provides ample comfort for four passengers. And the performance speaks for itself.
Bearing the mark of the 'X', The Ralston Tigre - IV is not the first car to wear the hallowed Ralston coat-of-arms. Previous vehicles had been built in ultra-exclusive volumes for the Ralston family's private vehicles. Due for introduction in 2015, the Tigre will headline a new marque of low-volume exclusivity for the discerning client. The Coupe-Hardtop will be joined by other styles of vehicles of distinction, sharing it's unique Gas-Turbine-Electric Hybrid powertrain.
Ralston Tigre - The Road Jet
Evesham-based haulier, Spiers & Hartwell, is enjoying a number of benefits following its investment in drivers through Scania Driver Training and the use of the Scania Control and Tacho Download packages, including a 12 percent increase in fuel efficiency, heightened staff morale and less wear and tear on vehicles.
Operating an all-Scania fleet, Spiers & Hartwell is one of Keltruck’s longest standing customers with the relationship starting in 1983 when the company already operated the Scania LB110 model and began purchasing new Scania 2-series vehicles. Currently running 50 Scania trucks to destinations all over the UK, reliability and uptime are key to the chilled produce providers.
The company has been utilising the Control and Tacho download package for just over one year.
Following a trip to the Scania factory in Sweden, Transport Manager Charlie Hartwell learnt more about the telematics packages available from Scania and organised a trial on four of their vehicles on his return to the UK.
Charlie says: “There’s no hassle in getting set up as everything was available on the vehicles already, it was like turning on a tap. We were getting the information we needed from a number of different systems and sources which was time consuming and overly complicated. Now, we have everything in one place.
“We’re also now able to produce reports individually on drivers, topics and vehicle so even when drivers are in and out of different cabs, we can track their driving styles. It’s helpful as individual elements can be identified and improvements can be made. It gives us levels of details that we’ve never had before. However, we also wanted to complement the telematics with driver training so that our drivers were given a head start on getting the best out of the vehicle.”
Both members of the management team and 95 percent of the full time drivers at Spiers & Hartwell have now completed the driver training programme in conjunction with Scania.
Charlie continues: “We’ve seen the benefits of the training and we’d do it again. To put it into perspective, one driver can use £120 worth of fuel a week just idling – multiply that by a fleet of 50 and it soon adds up. Educating our drivers about the new vehicles that they’re driving and how far they’ve come technologically, means that they get more out of them and we can make considerable cost savings.”
As well as fuel savings, fuel efficiency has also been improved with the fleet regularly achieving 9.5mpg – an improvement of 12 percent in comparison to one year ago – and the vehicles have also experienced less wear and tear.
For more information on Scania Connected and Driver Services, visit scania.co.uk/connectedservices or keltruckscania.com/connected
keltruckscania.com/about-keltruck/news-centre/press-relea...
5203 M UPU 1949 MiNr. 109 - 112 Michel Montserrat Michel Übersee Katalog 2004/5 The Universal Postal Union (UPU, French: Union postale universelle)
The Universal Postal Union (UPU, French: Union postale universelle) is a specialized agency of the United Nations that coordinates postal policies among member nations, in addition to the worldwide postal system. The UPU contains four bodies consisting of the Congress, the Council of Administration (CA), the Postal Operations Council (POC) and the International Bureau (IB). It also oversees the Telematics and EMS cooperatives. Each member agrees to the same terms for conducting international postal duties. The UPU's headquarters are located in Bern, Switzerland.
French is the official language of the UPU. English was added as a working language in 1994. The majority of the UPU's documents and publications – including its flagship magazine, Union Postale – are available in the United Nations' six official languages (French, English, Russian, Mandarin Chinese, Spanish, and Arabic).
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What is luxury?
Meeting all your needs without taxing your resources.
Power?
600 kW and 1050 Nm of tractive force, spread amoung the four wheels. Power is directed to the road from the tractive eMotors. Power to the eMotors comes from the battery systems while in town, up tp 140 kW, for zero emission driving. When it comes to untaxed power, the gas-turbine can produce up to 450 kW peak power, driving an electric generator, feeding direct to the Tractive eMotors, or charging the battery packs. The gas-turbine can also act as a range extender hybrid, the 100 litre tank providing a maximum range of 1,430 km in conjunction with the electric battery pack.
Silence.
When in all-electric mode the powertrain is near silent. In both electric and gas turbine modes, the powertrain produces almost no vibrations to the occupants within the cabin.
Emissions.
Although the burning of fossil fuels produces CO2, the Gas-Turbine ccombustion process decreases the production of Nitrogen compounds, Carbon Monoxide and other pollutants. On the US emission drive cycle, the car is rated at 92 eMPG equivalent.
These are the reasons the Ralston Tigre is known as the 'Road Jet'.
Comfort.
Luxury is Silence, Pace and Space. The fully appointed interior is equipped with luxury appointments including heated and cooled seats with massage function, electro-chromatic glass roof, and full Telematics and Communication. The full-sized Hardtop Coupe body provides ample comfort for four passengers. And the performance speaks for itself.
Bearing the mark of the 'X', The Ralston Tigre - IV is not the first car to wear the hallowed Ralston coat-of-arms. Previous vehicles had been built in ultra-exclusive volumes for the Ralston family's private vehicles. Due for introduction in 2015, the Tigre will headline a new marque of low-volume exclusivity for the discerning client. The Coupe-Hardtop will be joined by other styles of vehicles of distinction, sharing it's unique Gas-Turbine-Electric Hybrid powertrain.
Ralston Tigre - The Road Jet
Budapest Hungary based Waberer's Optimum Solutions Volvo Fh 500 coupled to a three axle tautliner parked on the loading ramp at the Lait warehouse & distribution centre on Northern road Sudbury
What is luxury?
Meeting all your needs without taxing your resources.
Power?
600 kW and 1050 Nm of tractive force, spread among the four wheels. Power is directed to the road from the tractive eMotors. Power to the eMotors comes from the battery systems while in town, up to 140 kW, for zero emission driving. When it comes to untaxed power, the gas-turbine can produce up to 450 kW peak power, driving an electric generator, feeding direct to the Tractive eMotors, or charging the battery packs. The gas-turbine can also act as a range extender hybrid, the 100 litre tank providing a maximum range of 1,430 km in conjunction with the electric battery pack.
Silence.
When in all-electric mode the powertrain is near silent. In both electric and gas turbine modes, the powertrain produces almost no vibrations to the occupants within the cabin.
Emissions.
Although the burning of fossil fuels produces CO2, the Gas-Turbine combustion process decreases the production of Nitrogen compounds, Carbon Monoxide and other pollutants. On the US emission drive cycle, the car is rated at 92 eMPG equivalent.
These are the reasons the Ralston Tigre is known as the 'Road Jet'.
Comfort.
Luxury is Silence, Pace and Space. The fully appointed interior is equipped with luxury appointments including heated and cooled seats with massage function, electro-chromatic glass roof, and full Telematics and Communication. The full-sized Limousine body provides extended comfort for four passengers.
The Limousine, new for 2015 had a fully tailored rear cabin. Heated and cooled seats, massage function, fully reclined - respite from a busy world. The rear cabin is also a fully-integrated mobile office, capable of telecommuting on the move and performing conference calls.
And the performance speaks for itself.
Bearing the mark of the 'X', The Ralston Tigre - IV is not the first car to wear the hallowed Ralston coat-of-arms. Previous vehicles had been built in ultra-exclusive volumes for the Ralston family's private vehicles. Due for introduction in 2016, the Tigre will headline a new marque of low-volume exclusivity for the discerning client. The Coupe-Hardtop has been joined by other styles of vehicles of distinction, including the Limousine model shown here, sharing it's unique Gas-Turbine-Electric Hybrid powertrain.
Ralston Tigre - The Luxury Road Jet
This Lego miniland-scale Ralston Tigre MkIV Limousine (2016) has been created for Flickr LUGNuts' 95th Build Challenge, - "Designing the Ralston Legacy", - for the design of vehicles under the fictional 'Ralston' company. The models must include a 'X' design feature on the car or bike. A number of Ralston challenge vehicle concepts are possible in this challenge.
Various Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
What is luxury?
Meeting all your needs without taxing your resources.
Power?
600 kW and 1050 Nm of tractive force, spread amoung the four wheels. Power is directed to the road from the tractive eMotors. Power to the eMotors comes from the battery systems while in town, up tp 140 kW, for zero emission driving. When it comes to untaxed power, the gas-turbine can produce up to 450 kW peak power, driving an electric generator, feeding direct to the Tractive eMotors, or charging the battery packs. The gas-turbine can also act as a range extender hybrid, the 100 litre tank providing a maximum range of 1,430 km in conjunction with the electric battery pack.
Silence.
When in all-electric mode the powertrain is near silent. In both electric and gas turbine modes, the powertrain produces almost no vibrations to the occupants within the cabin.
Emissions.
Although the burning of fossil fuels produces CO2, the Gas-Turbine ccombustion process decreases the production of Nitrogen compounds, Carbon Monoxide and other pollutants. On the US emission drive cycle, the car is rated at 92 eMPG equivalent.
These are the reasons the Ralston Tigre is known as the 'Road Jet'.
Comfort.
Luxury is Silence, Pace and Space. The fully appointed interior is equipped with luxury appointments including heated and cooled seats with massage function, electro-chromatic glass roof, and full Telematics and Communication. The full-sized Hardtop Coupe body provides ample comfort for four passengers. And the performance speaks for itself.
Bearing the mark of the 'X', The Ralston Tigre - IV is not the first car to wear the hallowed Ralston coat-of-arms. Previous vehicles had been built in ultra-exclusive volumes for the Ralston family's private vehicles. Due for introduction in 2015, the Tigre will headline a new marque of low-volume exclusivity for the discerning client. The Coupe-Hardtop will be joined by other styles of vehicles of distinction, sharing it's unique Gas-Turbine-Electric Hybrid powertrain.
Ralston Tigre - The Road Jet
1949,10. Okt. 75 Jahre Weltpostverein Wz.1 Michel 33-36 UPU 2668 M Hafenstadt mit Umland im Südwesten der Arabischen Halbinsel.
The Universal Postal Union (UPU, French: Union postale universelle) is a specialized agency of the United Nations that coordinates postal policies among member nations, in addition to the worldwide postal system. The UPU contains four bodies consisting of the Congress, the Council of Administration (CA), the Postal Operations Council (POC) and the International Bureau (IB). It also oversees two cooperatives including the Telematics and EMS Cooperatives respectively. Each member agrees to the same terms for conducting international postal duties. The UPU’s headquarters are located in Bern, Switzerland.
French is the official language of the UPU. English was added as a working language in 1994. The majority of the UPU's documents and publications – including its flagship magazine, Union Postale - are available in the United Nations' official languages.
Prior to the establishment of the UPU, each country had to prepare a separate postal treaty with other nations it wished to carry international mail to or from. In some cases, senders would have to calculate postage for each leg of a journey, and potentially find mail forwarders in a third country if there was no direct delivery. To simplify the complexity of this system, the United States called for an International Postal Congress in 1863. This led Heinrich von Stephan, Royal Prussian and later German Minister for Posts, to found the Universal Postal Union. It is currently the third oldest international organization after the Rhine Commission and the ITU. The UPU was created in 1874, initially under the name "General Postal Union", as a result of the Treaty of Bern signed on October 9, 1874. Four years later, the name was changed to "Universal Postal Union."
The UPU established that:
There should be a uniform flat rate to mail a letter anywhere in the world
Postal authorities should give equal treatment to foreign and domestic mail
Each country should retain all money it has collected for international postage.
One of the most important results of the UPU Treaty was that it ceased to be necessary, as it often had been previously, to affix the stamps of any country through which one's letter or package would pass in transit. The UPU provides that stamps of member nations are accepted for the entire international route. Toward the end of the nineteenth century, the UPU issued rules concerning stamp design, intended to ensure maximum efficiency in handling international mail. One rule specified that stamp values be given in numerals (denominations spelled out in letters not being universally comprehensible), another, that member nations all use the same colors on their stamps issued for post cards (green), normal letters (red) and international mail (blue), a system that remained in use for several decades.
After the foundation of the United Nations, the UPU became a specialized agency of the UN in 1948. In 1969, the UPU introduced a new system of payment where fees were payable between countries according to the difference in the total weight of mail between them. These fees were called terminal dues. Ultimately, this new system was fairer when traffic was heavier in one direction than the other. As a matter of example, in 2012, terminal dues for transit from China to the USA was 0.635 SDR/kg, or about 1 USD/kg.
Waberer's Optimum Solution of Budapest Volvo FH12 400 Globetrotter XL, with a curtain side trailer, on Brunthill Road at Kingstown industrial estate in Carlisle.
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography by Kathryn Rattray
Videos:
www.youtube.com/watch?v=sYAoEumOcH4&feature=youtu.be
www.youtube.com/watch?v=HzAue47L0CE&t=415s
Museum of Science and Technology of Las Palmas de Gran Canaria, May 18, 2018.
Universidad de Las palmas de Gran Canaria.
The great civilizations of humanity have always been preceded by innovative scientific and technological innovations.
Today, in the prelude to the greatest scientific and economic disruption in all its fields, this thesis tries to address a prediction of the global socioeconomic impact on the Internet, during the third decade of the 21st century.
We travel through a time of uncertainty. In the near future where telematic interconnection in global communication grows exponentially. And where all the signs are that this, not only has no end but the forecast is to grow exponentially.
What is happening in a world today is the prelude to the next event in a new world.
We are in the forefront of the greatest scientific and technological disruption in the history of humanity in all its areas.
And what has been happening in recent years is often called by the nickname of "crisis" when in reality, it is something much deeper as it is a change of global state in the economic and social.
Crisis that we define by its effects when in reality it is about the cracks of a collapse of our social and economic model of not acting in time and form. In a society that defines its pattern by the different classifiers of data by the economic metrics that we know.
A society, where the integration of the cognitive processes of the human mind with those of the intelligence of the networks and telecommunication services, begins with the beginnings of mobile telephony and the Internet IPv6 in the borders of the end of II and III millennium, year 1999. With the appearance at the domestic level as an entrepreneur and institutional Internet.
A society based on progressive citizen empowerment on a global scale. Where new technologies associated with the Internet such as Interconnection Objects, Artificial Intelligence or cryptocurrency already begin to model.
A definition of "crisis" that does not fit the conventional concept. And a contraption with which we often make use of it to self-deceive and justify ourselves of those evils that happen to us and we detect them.
We are living permanent changes where the only stable thing is permanent change. More and more open and accelerated.
Observation as a start of research took place in 1998 at Telefónica, in engineering activities for large business and institutional organizations, designing and implementing corporate networks. These were dates in which the design and execution of the Corporate Network for this University ran and by which we united all of its schools, faculties, research institutes and administrative centers using monomode optical fiber in "Asyncronous Transfer Mode", ATM. A network of which, we still enjoy it.
These were moments in which telecommunications began at such an important stage, due to the beginnings of the implementation of the Internet, "Internet Protocol version 4", IPv4, defined in 1971 and with it the implementation at a business and domestic scale.
In 2011, 4.3 billion of the Internet protocol number 4 address was exhausted, IPv4 to make way for IPv6 with its 340 sextillion.
IPv4 with an interconnection potential of 73% of the population of the plant in 1999 planet.
But what interconnection capacity does IPV6 have? With its 340 sextillions of IP addresses. ?
Making an analogue in terms of volume, if the IPv4, the Internet of today and that we all know we would give it the size of an orange, the size of the orange to represent the potentiality of IPv6 would be a volumetric size that the star of our system solar. It is to say the sun. Sun. When the Sun is about one thousand and six hundred times the size of the Earth plant.
The year 1998 was an important date because the definition of IPv6 was finalized in order to replace IPv4 for the Internet Community by the Internet Society. The IPv5 defined in 1979. It never came to be used and I am left in a mere experimentation.
That same year during the presentation to Telefónica's business and institutional areas of the new telecommunication networks and services, they were asked to understand the high potential that we all know today 20 years ago and their involvement in the impact of globalization .
Today we are now in a new emerging state with IPv6 that will exponentially modify what your little sister has already achieved on the Internet via IPv4.
The implementation for 20 years in corporate and institutional networks has no comparison with the previous advanced telecommunication services due to its potential.
Golden potential that changes our lives for everyone. As it was already the first industrial revolution started in the United Kingdom, in Manchester. For the process of globalization that we are going through or for the one that comes from the new networked society of brains (Brain Networked Society).
These technological advances changed us all life. Can you imagine what our lives would be like without the Internet? Or, without the loom or steam engine of the first industrial revolution during the first Industrial Revolution?
We can imagine it but we do not realize that these changes lead to a change of our professional or work activity and even to our state of well-being that we achieved.
And this concerns us all directly. And it causes us fear and panic for the new world that is coming upon us and of which, we can hardly see how it can directly impact us.
In those moments, and due to the high potentiality of the Internet, it was made clear to the organizations and institutions present that two paths were opened at that time between yesterday and today because of the social impacts of technology. One that could lead us to the Technological Golden Age and another an apocalyptic perspective of humanity.
This vision led to the investigation of the subject through a doctoral program, of the University of Las Palmas de Gran Canaria and co-participated by the Polytechnic Universities of Madrid, Barcelona and Valencia 1999-2002 called Information Technologies and their applications.
Today, in May 2018, we did not find the middle of the road, since the end of this process, with the close to the equality of growth in terms of GDP by the statistical metrics on a global scale of the economy, points to 2034.
The subject was rethought and it was decided to continue with the exploration, study of the hypotheses and their verification through a new PhD program in Business, Internet and Information and Knowledge Technologies, EmITIC 2016-19 with which to expand the study of the social impact of the Internet, together with its associated technologies of the Interconnection of objects (IoT), Artificial Intelligence (AI), or the Cryptocurrency (IoV).
At the same time, all these topics are collected through the Telefónica project called "Idealab", which tries to involve the organization in the face of this great impact. Where the technologies are discussed, their social impact and the new business and institutional organizations.
To date and recapitulating the previous years, remember the global financial crisis 2008-9, the European sovereign debt 2010-12 or the global paradox of last year, 2017 with an overall growth of 3% according to IMF sources.
With this situation on a global scale and with the latest data consolidated to date from the IMF 2016, we obtain the photograph of the global economic situation.
To do this, see figure 1 in which a hydraulic analogy is represented, to give an explanation of what happens through the experiment of communicating vessels.
In this experiment each test piece represents 817 million citizens, so the set of all of them, would be the 2016 global population estimated at 7 439 Million people.
In blue, the IMF estimates of the Gross Domestic Product (GDP) for 2016 are shown.
Of the nine test tubes, the first from left to right, represents the population of the rich countries, and in blue its GDP. conventionally granted to the United States, the European Union and Japan. The rest of the samples represent the rest of the countries.
The key between test tubes 1 and 2, counting from left to right, represents the technological implication based on IPv6 that will lead the social, economic impact by putting two different unequal worlds in contact by means of the stopcock which in this case represents IPv6.
The good technologies as their repercussions in terms of productivity are evident.
But this also implies two important global factors: the competitiveness that passes from a regional scale and the other global. As well as an empowerment of symmetric solidarity of the citizens with the society that shelters them.
Faced with this kindness, comes the collateral implications of a high proportion of citizens, opposed to this current because of the human fear of change because it believes that it directly harms their interests. This will lead to serious and serious geopolitical conflicts of a social nature.
The verification of the results of these hypotheses can be verified through the last series of the "World Economic Outlook" of consolidated statistical metrics and provided by the IMF of only seven months. October 2017. See figure 02.
This figure is, as if it were a long distance race, where the United States, the European Union and Japan start off with a lot of advantage. 47% (53-5 = 47) nothing more and nothing less, about the rest of the participants, the emerging countries.
They are far behind, but they advance at a higher speed. The rate of advance or annual growth of the head is only 2.0% on average (US to 3.1%, EU to 2.2% and Japan to 0.7 /), while emerging countries it does it at high speed, at 5.0%. With China in the lead with 6.5% annual growth.
And when the difference between advanced and emerging economies is of 3, 0% per year. So to continue similar metrics, equality could reach equal over the year 2034. That is to say within 16 years.
All this happens today when we are in the forefront of the greatest disruptive change in humanity, driven by the communication technologies with IPv6 at the head.
What is the positioning of global institutions in the face of this impact that is seen coming?
On April 19, 2018, during a joint appearance in the press room of the IMF and the World Bank, Christina Lagarde, current director of the IMF, was questioned by the editor of the Financial Times requesting explanations of how the IMF was treating the future geoeconomic implications , derived from the impact and its technological repercussions. How would it affect the group of citizens of this planet?
Responding on behalf of the IMF, its general director Christina Lagarde emphasizing that they were starting the study work on the matter and that when they had the first results they would make them known via articles. Emphasizing two very important aspects: 1 that regional competition would become global and 2 that the desires of the citizen of this planet is to be increasingly master of their own destiny.
In another context, studies on estimated biodiversity, there is unanimous agreement about it. As for the number of living species that cohabit in the biosphere today.
According to some expert opinions come to say that there is an estimate that currently only survive 1% of the species that have populated this plant. One of those species is ours. The human species. Are we at risk of survival as a species?
Based on all this the objective of the work of this thesis, focus on assessing the alert states that could occur for the coming years, before the most important technological disruption in the history of mankind.
And the importance of these works, with the evolution of the species does not remember that every system that does not adapt to the environment disappears or dies.
Yesterday (18 MAY2018) I wanted to say this, but I exceeded in a minute and a half of the stipulated, I rambled and did not say the essentials.
A bad communication in which the nerves and mental blockade could with my ...
This is an outlet. Thank you for your interest in this subject that affects us all.
/ Mykel
====================================================
Museo de la Ciencia y de la Tecnología de las Palmas de Gran Canaria, 18 de Mayo 2018.
Las grandes civilizaciones de la humanidad han venido siempre precedidas de novedosas innovaciones científicas y tecnológicas.
Hoy, en la antesala de la mayor disrupción científica y económica en todos sus ámbitos, esta tesis trata de abordar una predicción del impacto socioeconómico global por Internet, durante la tercera década del sXXI.
Transitamos por una época de incertidumbre. Ante un futuro cercano donde la interconexión telemática en la comunicación global crece de manera exponencial. Y donde todos los visos son de que esto, no solo no tiene fin sino que la prevision es de crecer de manera exponencial.
Cuanto está ocurriendo hoy en un mundo, es el preludio del próximo acontecer en un mundo nuevo.
Nos encontramos en la antesala de la mayor disrupción científica y tecnológica mas importante en la historia de la humanidad en todos sus ámbitos.
Y lo que viene sucediendo en los estos últimos años se le suele denominar por el sobrenombre de “crisis” cuando en realidad, se trata de algo mucho mas profundo como es un cambio de estado global en lo económico y en lo social.
Crisis que definimos por sus efectos cuando en realidad se trata de las grietas de un derrumbe de nuestro modelo social y económico de no actuar en tiempo y forma. En una Una sociedad que define su patrón por los distintos clasificadores de datos por las métricas económicas que vamos conociendo.
Un sociedad, donde la integración de los procesos cognitivos de la mente humana con los de la inteligencia de las redes y servicios de telecomunicación, comienzan ya con los inicios de la telefonía móvil y de la Internet IPv6 en las fronteras del final del II y III milenio, año 1999. Con la aparición a nivel domestico como empresaria e institucional del Internet.
Una sociedad basada en el progresivo empoderamiento ciudadano a escala global. Donde nuevas tecnologías asociadas a internet como la Interconexión Objetos, la Inteligencia Artificial o la criptomoneda ya comienzan a modelar.
Una definición de “crisis” que no encajan en el concepto convencional. Y un artilugio con el que con frecuencia, hacemos uso de ella para autoengañamos y justificarnos de aquellos males que nos acontecen y detectamos.
Vivimos cambios permanentes donde lo único estable es el cambio permanente. Cada vez mas abierto y acelerado.
La observación como inicio de investigación, tuvo lugar en 1998 en Telefónica, En actividades de Ingeniería para las Grandes Organizaciones Empresariales e institucionales diseñando e implementado redes corporativas. Eran fechas en las que discurría el diseño y la ejecución de Red Corporativa para esta Universidad y por la que uníamos a todas sus escuelas, facultades, institutos de investigación y centros administrativos mediante fibra óptica monomodo en "Asyncronous Transfer Mode", ATM. Una red de la cual, aún gozamos de ella.
Eran momentos en los que las telecomunicaciones, se iniciaban en una fase tan importante, por los inicios de la implantación de Internet, "Internet Protocol versión 4", IPv4, definida en el año 1971 y con ello la implantación a escala empresarial y doméstica.
En el 2011, se agotan las 4,3 mil millones del direccionamiento del protocolo Internet numero 4, el IPv4 para dar paso al IPv6 con su 340 sextillones.
IPv4 con u potencial de interconexión del 73 % de la poblacion del planta en 1999 planeta.
Pero ¿que capacidad de interconexión la tiene la IPV6. Con sus 340 sextillones de direcciones IP. ?
Haciendo una analógica en cuanto a volumen, si la IPv4, el Internet de hoy y el que todos conocemos le otorgásemos el tamaño de una naranja, el tamaño de la naranja para representar la pontencialidad del IPv6 sería delun tamaño volumétrico que la estrella de nuesto sistema solar. Es de decir el Sol. sol. Cuando el Sol son unas mil decientas veces el tamaño del planta Tierra.
El año 1998 fue un fecha importante porque se finalizaba la definición del IPv6 con la finalidad de sustituir a la IPv4 para la Comunidad de Internet por Internet Society . El IPv5 definida en 1979. No llegó nuca a utilizarse y quedo en una mera experimentación.
Ese mismo año durante la presentación a los ámbitos empresariales e institucionales por parte de Telefónica a las nuevas redes y servicios de telecomunicación se les quiso dar a entender de las altas potencialidades que hoy 20 años después todos conocemos y su implicación en el impacto de la globalización.
Hoy ahora estamos en un nuevo estado emergente con la IPv6 que modificará de manera exponencial lo que ya logrado su hermana pequeña de internet Vía IPv4.
La puesta en marcha desde hace 20 años en redes corporativas, e institucionales no tiene parangón alguno con los anteriores servicios avanzados de telecomunicación por su potencialidad.
Potencialidad de oro que nos cambia la vida a todos. Como ya lo fue la primera revolución industrial iniciada en el Reino Unido, en Manchester . Por el proceso de globalización por el que atravesamos o por el que viene del nuevo modelo sociedad de cerebros en red (Brain Networked Society).
Estos avances tecnológicos nos cambio a todos la vida. ¿Se imaginan como serían nuestras vidas sin Internet? O, ¿sin el telar o la maquina de vapor de la primera revolución industrial durante la primera revolución Industrial?
Lo podemos imaginar pero no nos percatamos de que estos cambios conllevan a un cambio de nuestra actividad profesional o laboral e incluso a nuestro estado del bien estar del que logramos.
Y esto nos preocupa a todos de manera directa. Y nos produce miedo y pánico por el nuevo mundo que se nos viene encima y del cual, difícilmente podemos atisbar como nos puede impactar directamente.
En esos momentos, y por la alta potencialidad de Internet, se dio a entender a las organizaciones e instituciones presentes que se abrían en ese momento dos caminos entre el ayer y en el hoy por los impactos sociales de la tecnología. Uno que nos podría conducir a la Edad de Oro Tecnológica y otro una perspectiva apocalíptica de la humanidad.
Esta visión indujo a la investigar el tema a través de un programa de doctorado, de la Universidad de Las Palmas de Gran Canaria y coparticipado por las Universidades Politécnicas de Madrid, Barcelona y Valencia 1999-2002 denominado Tecnologías de la Información y sus aplicaciones.
Hoy ,en Mayo 2018 no encontramos a mitad del camino, ya que la finalización de este proceso, con la cercana a la igualdad del crecimiento en cuanto al PIB por las métricas estadísticas a escala global de la economía apunta al 2034.
Se vuelve replantear el tema y se decide continuar con la exploración, estudio de las hipótesis y su verificación a través de un nuevo programa de doctorado de Empresa, Internet y Tecnologías de la información y del Conocimiento, EmITIC 2016-19 con el que ampliar el estudio del impacto social de Internet, junto a sus tecnologías asociadas de la Interconexión de objetos (IoT), la Inteligencia Artificial (IA), o la Criptomoneda (IoV).
Paralelamente ,se recogen todos estos temas través del proyecto de Telefónica denominado “Idealab” que trata involucrar a la organización ante este gran impacto. Donde se debate las tecnologías, su impacto social y las nuevas organizaciones empresarial e institucionales.
Al día de hoy y recapitulando los años anteriores, recordar la crisis financiera global 2008-9, la deuda soberana europea 2010-12 o la paradoja global del pasado año, 2017 con un crecimiento global del 3% según fuentes del FMI.
Con esta situación a escala global y con los últimos datos consolidados a fecha de hoy procedente del FMI 2016, obtenemos la fotografía del la situación económica global.
Para ello, ver la figura figura 1 en la que se representa una analogía hidráulica, para dar una explicación de lo que ocurre a través del experimento de vasos comunicantes.
En este experimento cada probeta representa a 817 millones de ciudadanos por lo que el conjunto de todos ellos, seria la población global año 2016 estimada en 7 439 Millones de personas.
En color azul se representa las estimaciones del FMI del Producto Interior Bruto (PIB) del año 2016.
De las nueve probetas, la primera de izquierda a derecha, representa a la población de los países ricos, y en azul su PIB. convencionalmente otorgados a los Estados Unidos, Unión Europea y Japón. El resto de probetas representan al resto de países.
La llave de paso entre la probeta 1 y 2, contando de izquierda a derecha representa a la implicación tecnológica basada en el IPv6 que va a conducir el impacto social, económico al poner en contacto dos mundos tan diferentes desiguales por medio de la llave de paso que representa en este caso el IPv6.
Las Bondades tecnologías como sus repercusiones en cuanto a la productividad son evidentes.
Pero ello, implica también dos factores importantes globales: la competitividad que pasa de una escala regional y la otra global. Así como un empoderamiento de solidaridad simétrica del los ciudadanos con la sociedad que les alberga.
Frente a esta bondades, viene las implicaciones colaterales de una alta proporción de ciudadanos, contrarios a esta corriente por lo del miedo humano al cambio porque estima que perjudica directamente a sus intereses cercanos. Ello, va a conllevar fuertes y graves conflictos geopolíticos de carácter social.
La verificación de resultados de estas hipótesis planteadas se puede verificar, mediante la última serie de la “World Economic Outlook” de métricas estadísticas consolidadas y proporcionadas por el FMI de apenas siete meses. Octubre de 2017. Ver figura 02.
Esta figura es, como si de una carrera de fondo se tratase, donde los Estados Unidos, Unión Europea y Japón parten con mucha ventaja. Un 47 % (53—5=47) nada mas y nada menos, sobre el resto de los participantes, los países emergentes.
Andan muy rezagados, pero avanzan a a mayor velocidad. La velocidad de avance o de crecimiento anual de los de cabeza es solo del 2,0 % como promedio (EE UU al 3,1 %. UE al 2,2 % y Japón al 0,7 /), mientras que lo países emergentes lo hace a alta velocidad, del 5,0 % . Con China a la cabeza con el 6,5% de crecimiento anual.
Y cuando la diferencia de las economías avanzadas y las emergentes es de un 3, 0 % anual. Por lo que de continuar métricas similares, la igualdad podría llegar a igualarse sobre el año 2034. Es decir dentro 16 años.
Todo esto, ocurre hoy cuando nos encontramos en la antesala del mayor cambio disruptivo de la humanidad, propiciados por la tecnologías de la comunicación con la IPv6 a la cabeza.
¿Cual es el posicionamiento de las instituciones globales ante este impacto que se ve venir?
El pasado día 19 de Abril 2018, durante un comparecencia conjunta en sala de prensa del FMI y del Banco Mundial, Christina Lagarde actual directora del FMI, fue interpelada por el redactor del Financial Times solicitando explicaciones de cómo estaba tratando el FMI las futuras implicaciones geoeconómicas, derivadas del impacto y sus repercusiones tecnológicas. ¿Cómo afectaría al conjunto de los ciudadanos de este planeta?.
Respondiendo por parte del FMI, su directora general Christina Lagarde haciendo énfasis en que se estaban iniciando los trabajos de estudio al respecto y que cuando tuviesen los primeros resultados les darían a conocer vía artículos. Haciendo hincapié en dos aspectos muy importantes: 1º que la competencia regional pasaría a ser global y 2º que los deseos del ciudadano de este planeta es ser cada vez mas dueño de su propio destino.
En otro contexto, los estudios sobre biodiversidad estimada, no hay acuerdo unánime sobre ello. En cuanto al número de especies vivas que cohabitan en la biosfera actualmente.
Según a alguna opiniones expertas vienen a decir que hay una estimación por la que actualmente solo sobreviven el 1% de las especies que han poblado este planta. Un de esas especies es la nuestra. La especie humana. ¿Estamos en riesgo de supervivencia como especie?
En base a todo esto el objetivo de los trabajos de esta tesis, se centran en evaluar los estados de alerta que podrían darse para los próximos años, ante la disrupción tecnológica mas importante en la historia de la humanidad.
Y la importancia de estos trabajos, con la evolución de las especies no recuerda que todo sistema, que no se adapte al medio desaparece o muere.
Ayer (18 MAY2018) quise decir esto esto , pero me excedí en un minuto y medio de lo estipulado, divague y no dije lo esencial.
Un mala comunicación en la que los nervios y bloqueo mental pudieron con mi...
Fe de erratas:
IPv4 con 3,4 Miles de Millones de direcciones IP no 334 millones.
Esto es un desahogo necesito entrenamiento.... Gracias por interesarte en esta temática que a todos nos afecta.
/Mykel
========================================================
在人类的伟大文明之前，一直都有创新的科技创新。
今天，本文试图在21世纪的第三个十年期间预测全球社会经济对互联网的影响，以此作为所有领域最大的科学和经济破坏的前奏。
我们经历一段不确定的时期。在不久的将来，全球通信中的远程信息互连将呈指数级增长。而且所有的迹象都是这样，不仅没有尽头，而且预测会呈指数级增长。
当今世界发生的事情是新世界下一个事件的序幕。
我们处于人类历史上所有领域最大科学和技术破坏的前沿。
而近年来发生的事情往往被称为“危机”的绰号，实际上，它更深层次，因为它是经济和社会中全球国家的变化。
我们通过其实际影响界定的危机是关于我们的社会和经济模式在时间和形式上行事不彻底的崩溃。在一个社会中，通过我们所知道的经济指标，通过不同的数据分类来定义它的模式。
一个将人类思维的认知过程与网络和电信服务的智能过程相结合的社会，始于移动电话和互联网IPv6在II和III末端的边界的开始千禧年，1999年。随着作为企业家和机构互联网的出现在国内层面。
一个基于全球进步公民赋权的社会。与互联网相关的新技术如互连对象，人工智能或加密货币已经开始建模。
“危机”的定义不符合传统概念。而且我们经常利用它来自我欺骗和证明我们发生在我们身上的那些罪恶，我们发现它们。
我们正在永恒的变化中生存，唯一稳定的事物就是永久的变化。越来越开放和加速。
观察作为研究的开始于1998年在Telefónica为大型企业和机构组织开展的工程活动，设计和实施企业网络。是跑企业网络对大学的设计和实施，并为此我们加入到所有学校，学院，研究在“Asyncronous传输模式” ATM使用单模光纤机构和行政中心的日期。其中一个网络，我们仍然喜欢它。
好几次电信在这样一个重要的阶段是开始，争取早日实现互联网“Internet协议版本4”的IPv4，于1971年定义，从而实现企业和国内规模。
2011年，互联网协议第4号地址中的43亿用尽了，以340的性能为IPv4让路。
IPv4在1999年的星球上拥有73％的工厂人口互联潜力。
但是IPV6有什么互连能力呢？拥有340个IP地址。 ？
使体积模拟，如果IPv4的，今天的互联网，我们都知道你otorgásemos桔子的大小，橙色的大小来代表的IPv6的pontencialidad将李德伦的体积尺寸为A和系统的明星阳光下。这是说太阳，太阳。当太阳大约是地球植物大小的一千六百倍时。
1998年是一个重要的日子，因为IPv6的定义已经完成，以便由互联网协会取代互联网社区的IPv4。 1979年定义的IPv5。它永远不会被使用，我只剩下单纯的实验。
同年演示业务和公共区域由西班牙电信新的网络和电信服务的过程中我都意味着对本极具潜力的今天，20年后我们都知道和他们在全球化的影响参与。
今天，我们现在处于一个新兴的IPv6国家，它将通过IPv4以指数方式修改您的妹妹已经在Internet上实现的目标。
由于其潜力，在企业和机构网络实施20年无法与先前的先进电信业务进行比较。
为每个人改变我们生活的黄金潜力。因为它已经是在英国曼彻斯特开始的第一次工业革命。通过全球化的过程中，我们经历或新模式的大脑网络社会（脑网络社会）的到来。
这些技术进步改变了我们的一生。你能想象没有互联网我们的生活会是什么样子？或者，没有第一次工业革命期间第一次工业革命的织机或蒸汽机？
我们可以设想，但没有意识到这些变化导致我们的专业或工作活动的变化，甚至是我们的幸福感比我们状态。
这直接关系到我们所有人。它让我们对正在临近的新世界产生恐惧和恐慌，而且我们很难看出它如何直接影响我们。
在那些时刻，和互联网的高电位，它由当时开技术的社会影响暗示的组织和机构昨天和今天之间存在两条路径。一个可以引导我们进入科技黄金时代，另一个是人类的启示性视角。
这一愿景领导这项研究的主题，通过在拉斯帕尔马斯大学的博士课程，并通过马德里理工大学coparticipated，巴塞罗那和巴伦西亚1999-2002称为信息技术及其应用。
今天，2018年5月，我们发现了一半，因为这个过程的完成，以接近相等的增长，每公吨统计的全球经济GDP的点而言，以2034。
它得到重构的问题，并决定通过一个新的博士项目公司，互联网和信息技术和知识，继续探索，研究假设及其验证，EmITIC 2016-19与拓展互联网的社会影响，其相关技术以及研究对象互连（IOT），人工智能（AI），或cryptocurrency（IOV）。
与此同时，所有这些问题通过所谓的“创意实验室”，试图参与这一影响极大的组织西班牙电信项目被收集。讨论技术，社会影响以及新的商业和机构组织。
今天和扼要往年，回顾2008 - 2009年全球金融危机，欧洲主权债务2010-12或去年的全球悖论，与2017年根据IMF源的3％的整体增长。
随着全球范围内的这种情况以及2016年国际货币基金组织迄今为止整合的最新数据，我们获得了全球经济形势的照片。
要做到这一点，请参见图1，其中描述了水力模拟，以说明通过通信船实验发生的情况。
在这个实验中，每个测试片代表8.17亿市民，因此它们全部都是2016年全球人口估计为74.39亿人。
以蓝色表示国际货币基金组织对2016年国内生产总值（GDP）的估计。
在九个试管中，第一个从左到右代表富国的人口，蓝色代表GDP。通常授予美国，欧盟和日本。其余样本代表了其他国家。
标本1和2之间旋塞阀，从左至右计数表示基于IPv6的技术含义，将由两个世界汇集如此不同不平等通过活塞推动社会，经济的影响在这种情况下代表IPv6。
好的技术在生产力方面的影响是显而易见的。
但是这也意味着两个重要的全球因素：从区域层面和全球层面传递的竞争力。以及增强公民与庇护他们的社会之间的对称团结。
这个善良面前，说到公民，与此相反，在流变化对人类的恐惧高比例的抵押物的影响，因为它认为，直接危害到他们的切身利益。这将导致严重和严重的社会性地缘政治冲突。
这些假设的结果，确认可以通过系列的最新“世界经济展望”的度量巩固和国际货币基金组织的统计数据短短七个月内提供的验证。 2017年10月。请参见图02。
这个数字就好像是一场长距离比赛，美国，欧盟和日本的起步优势很大。 47％（53-5 = 47）只剩下其他参与者，即新兴国家。
他们远远落后，但他们以更快的速度前进。进给速度或头部的年增长率仅为2.0％，平均（美国3.1％，欧盟和日本的2.2％，0.7 /），而新兴国家它以5.0％的速度高速运转。中国居首位，年增长率为6.5％。
而发达经济体和新兴经济体之间的差距每年为3％0％。因此，要继续进行类似的指标，2034年的平等水平可以达到平均水平。也就是说在16年内。
所有这一切都发生在今天，当我们处于人类最大的颠覆性变革的前沿时，受到IPv6领域的通信技术的驱动。
面对即将出现的这种影响，全球机构的定位如何？
4月19日2018年，为在国际货币基金组织和世界银行，国际货币基金组织（IMF）克里斯蒂娜拉加德现任董事新闻发布厅联合应诉，他在金融时报的询问他是如何对待IMF未来的地缘经济影响的说明编辑质疑，源自影响及其技术影响。它会如何影响这个星球的公民群体？
国际货币基金组织响应，其总经理克里斯蒂娜·拉加德强调，他们开始工作和学习有关，当他们有了第一次的结果将通过文章满足他们。强调两个重要方面：第一个区域竞争力，将成为第二个整体和这个星球的公民的愿望正在被越来越多地自己命运的主人。
另一方面，关于估计生物多样性的研究，对此一致同意。至于今天在生物圈中栖息的生物物种的数量。
据前来说有，目前存活只有1％已经填充这种植物物种的一种估计一些专家的意见。其中一种是我们的。人类的物种。我们是否有作为物种生存的危险？
在此基础上论文工作的这个目标，着重评估可能发生在未来几年内，随着人类科技的破坏历史上最重要的警觉性。
而这些作品，与物种进化的重要性不记得那不适合媒体的任何系统中消失或死亡。
昨天（18 MAY2018）意味着这一点，但我过分了在一分钟内和计划的一半，絮絮叨叨地和我说什么是必不可少的。
一种不好的交流，其中的神经和精神障碍可以与我...
这是一个出路。感谢您对这个影响我们大家的这个话题的兴趣。
/ Mykel
=======================================================
OpenULPGC
Jornada inaugural:
www.youtube.com/watch?v=xtJFkjJzbqk&t=6522s
Jornada Final:
www.youtube.com/watch?v=-X15VG5Ivfw
BRAINS NETWORKED SOCIETY
www.youtube.com/watch?v=HzAue47L0CE
.
Audi A6 Estate (4th Gen) (2014)
Registration Number HH RF 7495
Decals: Peleton Photos
AUDI SET
www.flickr.com/photos/45676495@N05/sets/72157623635550501...
The fourth generation C7 series Audi A6 was launched in early 2011, designed by Jurgen Loffler it is heavily influenced by the Audi A8 and shares its interior, platform, and powertrain (Modular Longitudinal Platform) with the Audi A7 four door sedan.
The new A6 increased its wheelbase by nearly 3 inches and its width by 2.7 inches and has a reduced drag coefficient of only 0.25 Cd.
European engine choices for the C7 include two petrol engines – a 2.8-litre FSI V6 with 204 horsepower (152 kW) and a 300 horsepower (224 kW), 3.0-litre supercharged FSI engine – and three diesel engines – a 2.0-litre inline four-cylinder and a 3.0-litre turbocharged diesel engine in three states of tune
The A6 was given a mid-term facelift in 2015 announced at the 2014 Paris Autoshow. The refresh includes styling tweaks to the car's exterior, engine line-up, transmission and MMI infotainment system with faster Tegra 3 processor, Handwriting recognition, Audi connect Telematics with state of the art 4G mobile internet (and online updates for the navigation map), and advanced Matrix LED headlights.
This car was an official member of the 2014 Tour.
Many Thanks for a fan'dabi'dozi 26,587,700 views
Shot 06:07:2014 at The Grande Depart of the Tour De France, Harewood House, W. Yorkshire REF 102-879
Various Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
Various Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
Budapest Hungary based Waberer's Optimum Solutions MAN TGX-18-440 coupled to a three axle tautliner parked in the Lait warehouse & distribution centre in Northern road Sudbury
SK Telecom (Hangul: SK텔레콤 or 에스케이텔레콤) is a South Korean mobile telecommunications operator, controlled by the SK Group, one of the country's largest chaebol. As a part of SK Group, SK stands for Sun Kyung.
SK Telecom is a provider of mobile service in Korea, with 50.5% of the market share as of 2008.[1] Since being established on March 29, 1984 the company evolved from a first generation analogue cellular system, to second generation CDMA, then to the world's first third generation synchronized IMT-2000 cellular system. SK Telecom also became the world’s first to commercialize HSDPA in May, 2006.
The company’s current services include NATE, a wired and wireless integrated multi-Internet service, June, a multimedia service, MONETA, a financial service, Telematic service such as NATE Drive and even Digital Home service. In 2004, SK Telecom launched Hanbyul, the world’s first DMB satellite. The carrier currently provides satellite DMB to its subscribers through its subsidiary TU Media Corp. SK Telecom also offers a variety of internet services, many through its subsidiary SK Communications. Cyworld is one of the most popular blogging services in South Korea and NateOn is one of the most popular instant messengers.
In the Korean domestic market, the Hyundai Grandeur has always been a very important executive car, dating back to 1986, when it took over from the excellent European Ford Granada that Hyundai had assembled under license until then. The first two generations were Mitsubishi designs, but by the late 1990s, Hyundai was designing its own Grandeur from scratch. The third generation (Grandeur XG) came to the US as the XG300 (later XG350), and the fourth generation (Grandeur TG) came to the US as the Azera; both models helped Hyundai move its image upscale in the US market.
Now the Grandeur enters the fifth generation (Grandeur HG), and retains the Azera name in markets that had used it. The Azera was in sore need of an upgrade, having been squeezed from below by the Sonata and from above by the Genesis in recent years in the US market. Many Americans had simply thought Hyundai would give up on the Azera, though considering how important and popular the Grandeur is for Hyundai in the Korean domestic market and elsewhere, that would have been unlikely.
The 2012 Azera has a fresh new look, as well as a more modern interior. It also comes with Hyundai's new US-market telematics system, BlueLink. And while it continues on with the old formula of 6-cylinder power and front wheel drive, the engine now gains direct injection, and the transmission had been upgraded to 6 speeds at the tail end of the previous generation. It even has some features lacking in the more upscale Genesis, like the rear side window blinds. With this redesign, the Azera finally gets more of its own identity, like its Toyota counterpart, the Lexus ES, which more than holds its own ground between the Camry, the Avalon, and the GS.
I had always considered the Azera to be a geriatric cruiser, but this one is actually more appealing than the Genesis in many ways.
Seen at Los Angeles International Auto Show, 2011. This was the fifth generation Grandeur/Azera's foreign debut; it is already on sale in the Korean domestic market.
funproducer.com/insurance-rates-changing-personal-factors... Rates Changing Personal Factors
Insurance rates can be different for different persons.Even these rates can be change for the family members as well.It can depend on the company policy,countries trends and many of the other circumstances which effects the insurance rates and related fields if insurance.
insurance-rates-changing-personal-factors (1)
Crashing dollar
insurance-rates-changing-personal-factors (2)
A anchorman afresh asked Edmunds about the kinds of claimed advice that can affect the bulk of car insurance. She aswell capital to apperceive whether humans could do annihilation to abode claimed factors that were befitting their car allowance ante high.Vehicle insurance.
They’re acceptable questions, and Edmunds was blessed to advice acknowledgment them. During the analysis it became bright that if it comes to car insurance, there’s hardly annihilation that isn’t personal. Actuality are 5 all-about-you factors that can affect your car allowance premium:
1: Your active profile.
Such factors as the bulk of afar you drive annually and your blow and admission history are above elements in ambience your allowance rate. The beneath you drive, the beneath blow of an blow and a claim. Safer active acceptation a history chargeless of accidents and affective violations .Car Insurance Australia.aswell credibility to anyone who’s beneath acceptable to book a claim.
2:The car you drive.
Car allowance premiums are based in allotment on the car’s sticker price, the bulk to adjustment it, its all-embracing assurance almanac and the likelihood of theft, according to the Allowance Advice Institute. The bulk of acclimation a aboriginal $225,000 2010 Ferrari 458 Italia is traveling to be a lot added than the adjustment costs for a acclimated $17,000 Nissan Altima. The exceptional will reflect this.
3: Your capital claimed information
including your age, action and area you live. Each of these things factors into the action of ambience your allowance bulk because allowance companies abject their premiums on actuarial advice about drivers. They attending for patterns of claims action a part of humans like you. A boyish boy is acceptable to accept a college allowance bulk than a middle-aged driver, because statistically, boyish boys accept added accidents than do 40-year-olds.Car Insurance Australia.
Your action can play a role if it affects how abundant active you do. Work that involves lots of afar on the road, such as an alfresco sales job, can affect rates. From the allowance company’s point of view, the added afar you drive agency added blow of an accident.
Insurance companies aswell attending at area you live. They clue bounded trends of accidents, car thefts, lawsuits and the bulk of medical affliction and car repair, according to the Allowance Advice Institute.
4: The advantage you choose
The added advantage you accept and the lower the deductible you set, the added you’ll pay.
5:Your acclaim score
Some allowance companies use acclaim array as a agency in ambience rates. This convenance is advancing beneath attack, however, with seven states in 2010 casual regulations apropos the use of acclaim advice in insurance. In 2011, several added accompaniment legislatures alien bills to adapt the practice.
Actuarial studies appearance that how a getting manages his or her banking diplomacy is an authentic augur of the bulk and Car Insurance Australia.admeasurement of allowance claims he or she ability file, according to the Allowance Advice Institute.
If you wish to lower your allowance costs, you can’t change your age, or calmly change your job or hometown. But there are some claimed changes you can make:
1:Accede pay-as-you-drive insurance
It’s a paradox, but the added claimed you get, the bigger your ante ability be. Pay-as-you-drive programs action bigger ante because they’re tailored to how you alone drive — as adjoin to the humans who are agnate to you in agreement of age or added changeless factors.
This agency that a jailbait who is an accomplished disciplinarian — who doesn’t speed, doesn’t drive at night and doesn’t drive abounding afar — can get a bigger bulk than the boilerplate teenager, whose actuarial contour pegs him as a greater risk, based on the blow history for humans his age.
Pay-as-you-drive affairs accept altered configurations, depending on the allowance aggregation and state. Some crave that you install a telematics accessory that transmits advice about your absolute active (such as speed, breadth and braking patterns) to the allowance company. Others, such as affairs acceptable in California, Car Insurance Quotes.alone are based on the bulk of afar you drive, not how you drive.
2:Be a calmer, added accurate driver
If you’ve had dispatch tickets in the past, boldness to change from getting a speedy, advancing disciplinarian to a calm one. A ancillary anniversary is that you’ll save money on gasoline. Edmunds testing has aswell apparent that a calm active appearance gets you 35 percent bigger ammunition economy.
3:Accept a car with a lower bulk of ownership
Edmunds has a True Bulk to Own (TCO) apparatus that lets you admeasurement up cars if you’re shopping. It takes into anniversary eight apparatus — depreciation, absorption on financing, taxes and fees, allowance premiums, fuel, maintenance, aliment and any federal tax acclaim that may be accessible — and tells you what your bulk would be over 5 years. It’s a way to get a examination of what your allowance premiums ability be. Also, allocution to your allowance aggregation if you’re car arcade to get a adduce on how your best will affect your insurance. If you delay until the accord is done, you’ve absent a adventitious to administer your costs.Car Insurance Australia.
4: Change your coverage
Don’t go for every alarm and blare in an auto allowance policy. If you’re accommodating to pay a hardly college deductible, you can wind up extenuative big on your rates. Traveling from a $250 to a $1,000 deductible could save you 25-40 percent on your policy. Set abreast a allocation of these funds to awning your costs in the accident of a claim.
If you accept an earlier car with absolute and blow coverage, you ability acquisition yourself paying added in allowance than the car is worth. One tip: Take your absolute and blow premiums and add those up. Multiply by 10. If your car is account beneath than that amount, don’t buy the coverage. If you’re afraid about getting larboard overexposed, accede this: The archetypal policyholder makes a affirmation alone already every 11 years, and letters a absolute accident alone already every 50 years.
5:Explore discounts for which you ability be qualified
The options accessible cover discounts for low-mileage drivers, for seniors and for cars with anti-theft accessories and assertive assurance devices. It’s a diffuse account — just ask your insurer about any discounts, and go from there.
6: Clean up your credit
Keep it in acceptable appearance by paying bills on time and by consistently blockage that there are no items on your history that do not accord to you. You can get chargeless anniversary acclaim address checks here.
Is there claimed advice that doesn’t matter? Gender, one able told us. Allowance companies don’t affliction if you’re changeable or macho as continued as you’re a safe driver. And it’s a allegory that red cars accept college allowance ante than those antic added sedate shades, according to the Allowance Advice Institute. Ultimately, allowance companies affliction about how acceptable it is that a accurate disciplinarian would end up authoritative or causing a cher affirmation adjoin them. Green is the alone blush that matters.
Read more: funproducer.com/insurance-rates-changing-personal-factors...
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography by Kathryn Rattray
From left to right: Eva Schobesberger (AT), Claudia Schnugg (AT), Gabriele Ambach (AT).
This panel will investigate approaches in telematic collaborative art production and telematic art reception through the voices of four artists and researchers experienced in the cutting/edge production of telematic performances and collaborative music production.
For further information please visit:
ars.electronica.art/keplersgardens/en/telematic-performance/
Credit: tom mesic
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography by Kathryn Rattray
Street Talks
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
Various Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
Evesham-based haulier, Spiers & Hartwell, is enjoying a number of benefits following its investment in drivers through Scania Driver Training and the use of the Scania Control and Tacho Download packages, including a 12 percent increase in fuel efficiency, heightened staff morale and less wear and tear on vehicles.
Operating an all-Scania fleet, Spiers & Hartwell is one of Keltruck’s longest standing customers with the relationship starting in 1983 when the company already operated the Scania LB110 model and began purchasing new Scania 2-series vehicles. Currently running 50 Scania trucks to destinations all over the UK, reliability and uptime are key to the chilled produce providers.
The company has been utilising the Control and Tacho download package for just over one year.
Following a trip to the Scania factory in Sweden, Transport Manager Charlie Hartwell learnt more about the telematics packages available from Scania and organised a trial on four of their vehicles on his return to the UK.
Charlie says: “There’s no hassle in getting set up as everything was available on the vehicles already, it was like turning on a tap. We were getting the information we needed from a number of different systems and sources which was time consuming and overly complicated. Now, we have everything in one place.
“We’re also now able to produce reports individually on drivers, topics and vehicle so even when drivers are in and out of different cabs, we can track their driving styles. It’s helpful as individual elements can be identified and improvements can be made. It gives us levels of details that we’ve never had before. However, we also wanted to complement the telematics with driver training so that our drivers were given a head start on getting the best out of the vehicle.”
Both members of the management team and 95 percent of the full time drivers at Spiers & Hartwell have now completed the driver training programme in conjunction with Scania.
Charlie continues: “We’ve seen the benefits of the training and we’d do it again. To put it into perspective, one driver can use £120 worth of fuel a week just idling – multiply that by a fleet of 50 and it soon adds up. Educating our drivers about the new vehicles that they’re driving and how far they’ve come technologically, means that they get more out of them and we can make considerable cost savings.”
As well as fuel savings, fuel efficiency has also been improved with the fleet regularly achieving 9.5mpg – an improvement of 12 percent in comparison to one year ago – and the vehicles have also experienced less wear and tear.
For more information on Scania Connected and Driver Services, visit scania.co.uk/connectedservices or keltruckscania.com/connected
keltruckscania.com/about-keltruck/news-centre/press-relea...
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography by Kathryn Rattray
Budapest Hungary based Waberer's Optimum solutions DAF XF euro 5 parked at the Lait warehouse & distribution centre on Northern road Sudbury
La temática relacionada sobre seguridad Informática corrió a cargo de Manuel Mollar, profesor del Departamento de Lenguajes y Sistemas Informáticos de la UJI y Ángel López, Socio Fundador de Sofistic Telematic Security
What is luxury?
Meeting all your needs without taxing your resources.
Power?
600 kW and 1050 Nm of tractive force, spread among the four wheels. Power is directed to the road from the tractive eMotors. Power to the eMotors comes from the battery systems while in town, up to 140 kW, for zero emission driving. When it comes to untaxed power, the gas-turbine can produce up to 450 kW peak power, driving an electric generator, feeding direct to the Tractive eMotors, or charging the battery packs. The gas-turbine can also act as a range extender hybrid, the 100 litre tank providing a maximum range of 1,430 km in conjunction with the electric battery pack.
Silence.
When in all-electric mode the powertrain is near silent. In both electric and gas turbine modes, the powertrain produces almost no vibrations to the occupants within the cabin.
Emissions.
Although the burning of fossil fuels produces CO2, the Gas-Turbine combustion process decreases the production of Nitrogen compounds, Carbon Monoxide and other pollutants. On the US emission drive cycle, the car is rated at 92 eMPG equivalent.
These are the reasons the Ralston Tigre is known as the 'Road Jet'.
Comfort.
Luxury is Silence, Pace and Space. The fully appointed interior is equipped with luxury appointments including heated and cooled seats with massage function, electro-chromatic glass roof, and full Telematics and Communication. The full-sized Limousine body provides extended comfort for four passengers.
The Limousine, new for 2015 had a fully tailored rear cabin. Heated and cooled seats, massage function, fully reclined - respite from a busy world. The rear cabin is also a fully-integrated mobile office, capable of telecommuting on the move and performing conference calls.
And the performance speaks for itself.
Bearing the mark of the 'X', The Ralston Tigre - IV is not the first car to wear the hallowed Ralston coat-of-arms. Previous vehicles had been built in ultra-exclusive volumes for the Ralston family's private vehicles. Due for introduction in 2016, the Tigre will headline a new marque of low-volume exclusivity for the discerning client. The Coupe-Hardtop has been joined by other styles of vehicles of distinction, including the Limousine model shown here, sharing it's unique Gas-Turbine-Electric Hybrid powertrain.
Ralston Tigre - The Luxury Road Jet
This Lego miniland-scale Ralston Tigre MkIV Limousine (2016) has been created for Flickr LUGNuts' 95th Build Challenge, - "Designing the Ralston Legacy", - for the design of vehicles under the fictional 'Ralston' company. The models must include a 'X' design feature on the car or bike. A number of Ralston challenge vehicle concepts are possible in this challenge.