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Being confused about how tumblr works for awhile I thought it was time I try it out. I have also been wanting to find a way to showcase some of my favorite contemporary collage artists as I truly feel like there is a new and significant movement of collage work going on. The amount of amazing collage work I am seeing around the globe continues to astonish me. I am dubbing this movement in collage's era as: "Collage Nouveau."
How obnoxious is it for me to name an art movement? Very! How obnoxious is it to include my own work on this tumblr site with these great artists? Very! I can't name a movement though without at least feeling I am a part of it. Right? Even though I have been doing collage work for over fifteen years and have long been inspired by the greats like Joseph Cornell, Robert Rauschenberg, and Shinro Ohtake; this current crop of artists are equally inspiring.
I am just getting started adding folks to the site. It is a little slower going then I thought adding posts.
Check it out:
SampleBoard.com presents a new and innovative way to create and present your ideas and vision by using the web-based interactive editor. It enables designers from different design disciplines (graphic, web, interiors, landscape, fashion and wedding planning) and backgrounds to collaborate on design projects, share their creative portfolio online and get exposure for business opportunities through the public design directory.
The web editor allows you to quickly and easily pull together design trends, colour schemes, textures and products via a convenient drag-and-drop function, using the rich editing toolset with over 30,000 product images from the library or your own images uploaded onto the system from your personal profile.
The UK’s highest-ranking composer has joined one of the country’s leading new music ensembles and students at the University of Salford to create a unique interactive online project.
Master of the Queen’s Music, Sir Peter Maxwell Davies, oversaw the recording of his piece Eight Songs for a Mad King by the University’s official MediaCityUK Ensemble – Manchester-based contemporary music group Psappha – in the Digital Performance Lab at the University’s MediaCityUK building.
This definitive recording has now been combined with gaming technology to produce a web-based virtual environment which forms part of The Space, an experimental digital arts media service supported by the BBC and funded by Arts Council England.
Within the next two weeks I hope to have a web-based store opening which will offer a variety of figures for purchase - this will include low-level figures around the $15.00 level, mid-level figures, and Premium level figures. I am working on making the figures very affordable, and yet at the same time, offer unique items. Some things that MIGHT be available :P - Alien-type creatures which some could call a Predator, perhaps some type of marine, maybe from the colonial ages, or future ;), some figures who like to live in the ocean, and quite a few others! There will also be minifigure accessories available, and something my wife has been in the works with :)
The font has been changed on the updated version of this poster, and I am including a few other changes as well.
This musical phenomenon comes to Theatr Clwyd for the first time thanks to Tip Top Productions.
Music by Andrew Lloyd Webber based on Old Possum’s Book Of Practical Cats by T.S. Eliot. “Prologue – Jellicle Songs for Jellicle Cats” additional material written by Trevor Nunn and Richard Stilgoe; ”Memory” additional material written by Trevor Nunn.
The Jellicle Cats come out to play on one special night of the year—the night of the Jellicle Ball. One by one they tell their stories to Old Deuteronomy, their wise and benevolent leader, who must choose one of the Cats to ascend to The Heaviside Layer and be reborn into a whole new Jellicle life. Among the candidates are the aging theatre cat, Gus; the rocker, Rum Tum Tugger; and the once-glamorous Grizabella, now but a faded memory of her former self.
Boasting a score that includes Jellicle Songs for Jellicle Cats, Mr. Mistoffelees and Memory, this compelling fable takes audiences to a fantastical world that can only exist in the theatre. Cats has been performed worldwide and translated into over 20 languages. The original West End production ran for 21 years and the original Broadway production ran for 18 years
For tickets and more info see:
Source: en.wikipedia.org/wiki/Toronto
Toronto is the provincial capital of Ontario. With a recorded population of 2,731,571 in 2016, it is the most populous city in Canada and the fourth most populous city in North America. The city is the anchor of the Golden Horseshoe, an urban agglomeration of 9,245,438 people (as of 2016) surrounding the western end of Lake Ontario, while the Greater Toronto Area (GTA) proper had a 2016 population of 6,417,516. Toronto is an international centre of business, finance, arts, and culture, and is recognized as one of the most multicultural and cosmopolitan cities in the world.
People have travelled through and inhabited the Toronto area, located on a broad sloping plateau interspersed with rivers, deep ravines, and urban forest, for more than 10,000 years. After the broadly disputed Toronto Purchase, when the Mississauga surrendered the area to the British Crown, the British established the town of York in 1793 and later designated it as the capital of Upper Canada. During the War of 1812, the town was the site of the Battle of York and suffered heavy damage by American troops. York was renamed and incorporated in 1834 as the city of Toronto. It was designated as the capital of the province of Ontario in 1867 during Canadian Confederation. The city proper has since expanded past its original borders through both annexation and amalgamation to its current area of 630.2 km2 (243.3 sq mi).
The diverse population of Toronto reflects its current and historical role as an important destination for immigrants to Canada. More than 50 percent of residents belong to a visible minority population group, and over 200 distinct ethnic origins are represented among its inhabitants. While the majority of Torontonians speak English as their primary language, over 160 languages are spoken in the city.
Toronto is a prominent centre for music, theatre, motion picture production, and television production, and is home to the headquarters of Canada's major national broadcast networks and media outlets. Its varied cultural institutions, which include numerous museums and galleries, festivals and public events, entertainment districts, national historic sites, and sports activities, attract over 43 million tourists each year. Toronto is known for its many skyscrapers and high-rise buildings, in particular the tallest free-standing structure in the Western Hemisphere, the CN Tower.
The city is home to the Toronto Stock Exchange, the headquarters of Canada's five largest banks, and the headquarters of many large Canadian and multinational corporations. Its economy is highly diversified with strengths in technology, design, financial services, life sciences, education, arts, fashion, aerospace, environmental innovation, food services, and tourism.
Source: en.wikipedia.org/wiki/Canadian_Broadcasting_Corporation
The Canadian Broadcasting Corporation (French: Société Radio-Canada), branded as CBC/Radio-Canada, is a Canadian federal Crown corporation that serves as the national public broadcaster for both radio and television. The English- and French-language service units of the corporation are commonly known as CBC and Radio-Canada, respectively.
Although some local stations in Canada predate the CBC's founding, CBC is the oldest existing broadcasting network in Canada. The CBC was established on November 2, 1936. The CBC operates four terrestrial radio networks: The English-Language CBC Radio One and CBC Music, and the French-Language Ici Radio-Canada Première and Ici Musique. (International radio service Radio Canada International historically transmitted via shortwave radio, but since 2012 its content is only available as podcasts on its website.) The CBC also operates two terrestrial television networks, the English-Language CBC Television and the French-Language Ici Radio-Canada Télé, along with the satellite/cable networks CBC News Network, Ici RDI, Ici Explora, Documentary Channel (part ownership), and Ici ARTV. The CBC operates services for the Canadian Arctic under the names CBC North and Radio-Canada Nord. The CBC also operates digital services including CBC.ca/Ici.Radio-Canada.ca, CBC Radio 3, CBC Music/ICI.mu and Ici.TOU.TV, and owns 20.2% of satellite radio broadcaster Sirius XM Canada, which carries several CBC-produced audio channels.
CBC/Radio-Canada offers programming in English, French and eight aboriginal languages on its domestic radio service, and in five languages on its web-based international radio service, Radio Canada International (RCI). However, budget cuts in the early 2010s have contributed to the corporation reducing its service via the airwaves, discontinuing RCI's shortwave broadcasts as well as terrestrial television broadcasts in all communities served by network-owned rebroadcast transmitters, including communities not subject to Canada's over-the-air digital television transition.
CBC's federal funding is supplemented by revenue from commercial advertising on its television broadcasts. The radio service employed commercials from its inception to 1974, but since its primary radio networks have been commercial-free. In 2013, CBC's secondary radio networks, CBC Music and Ici Musique, introduced limited advertising of up to four minutes an hour, but this was discontinued in 2016.
Source: en.wikipedia.org/wiki/Glenn_Gould
Glenn Herbert Gould (25 September 1932 – 4 October 1982) was a Canadian pianist who became one of the best-known and most-celebrated classical pianists of the 20th century. He was renowned as an interpreter of the keyboard works of Johann Sebastian Bach. Gould's playing was distinguished by a remarkable technical proficiency and a capacity to articulate the contrapuntal texture of Bach's music.
Gould rejected most of the standard Romantic piano literature by Chopin, Liszt, and others, in favour of Bach and Beethoven mainly, along with some late-Romantic and modernist composers. Although his recordings were dominated by Bach and Beethoven, Gould's repertoire was diverse, including works by Mozart, Haydn, and Brahms; pre-Baroque composers such as Jan Pieterszoon Sweelinck and Orlando Gibbons; and 20th-century composers including Paul Hindemith, Arnold Schoenberg, and Richard Strauss. Gould was known for his eccentricities, from his unorthodox musical interpretations and mannerisms at the keyboard to aspects of his lifestyle and behaviour. He stopped giving concerts at the age of 31 to concentrate on studio recording and other projects.
Gould was also a writer, broadcaster, composer and conductor. He was a prolific contributor to musical journals, in which he discussed music theory and outlined his musical philosophy. He performed on television and radio, and produced three musique concrète radio documentaries called the Solitude Trilogy, about isolated areas of Canada.
MOUSECORPS student, Syed Zaidi explains his web-based hours log experiential learning project to educators at NECC.
LEESBURG, Va. -- The eCYBERMISSION 2012-13 National Judging and Educational
Event kicked off as 16 national finalist teams arrived June 17. The annual
NJ&EE brings together students from across the country and Department of
Defense Educational Activity schools to compete in the science, technology,
engineering and mathematics competition for the title of first-place
national winner in their grade.
During the week-long event they will also have the chance to participate in
workshops and activities designed for America's next generation of STEM
leaders, said Louie Lopez, eCYBERMISSION program manager for the U.S. Army.
eCYBERMISSION is a web-based STEM competition free to students in grades six
through nine.
Photos courtesy of Missouri City
Missouri City Police officers learn specialized techniques in community policing during a 2010 seminar, at left. At right, officers join City Councilmen and citizens of Hunters Glen I & II to launch a Crime Watch program. From left to right, Dan Flagg, Missouri City Police Department’s Community Liaison Officer, Capt. Mike Berezin, Hunters Glen I & II HOA President James Bell, Hunters Glen Crime Watch coordinator Gene Rasbury, Councilman Bobby Marshall, Sgt. Daryl Smith and Councilman Don Smith.
Crime Declines In Missouri City:
Strategic Initiatives, Citizen Programs Drive Offenses Down
An in-depth Police Department analysis of major crimes committed in Missouri City during 2010 shows a 7.2 percent decrease in all offenses from 2009, the direct result of proactive prevention policies.
Overall, 333 fewer crimes were committed over the last year, a drop from 4,588 incidents in 2009 to 4,255 in 2010. And, Part 1 crimes involving the worst felonies declined 1.82 percent from 1,429 incidents to 1,403. Rapes decreased from 15 incidents to 10, robberies were down from 46 incidents to 42, burglaries dropped from 366 incidents to 305, and arsons dropped from 11 to 3. However, some challenges exist in this category, with four of the eight major crimes showing some increase. Murders increased from 1 death to 4, aggravated assaults moved from 61 incidents to 79, vehicle thefts rose from 57 incidents to 71, and thefts increased from 872 to 888.
To combat and curtail crimes, the Police Department has employed a number of tactics including strategic stings, increased patrols and community education programs. “Missouri City is one of the safest communities in the country thanks to the tireless dedication of every person in this police department,” Chief Joel Fitzgerald told City Council during a presentation on the 2010 figures on January 18. “Officers work around the clock to safeguard the City and to develop and maintain strong crime-fighting partnerships with our residents.”
Indicative of this public safety commitment is the increase of adult arrests for all offenses from 1,575 in 2009 to 1,951 in 2010.
Fitzgerald said the department’s overall response time to calls for assistance has remained steady. Departmental figures for 2010 show that officers’ response to emergency calls for service has remained relatively unchanged at fewer than 4 minutes.
For consistency in comparisons to cities locally and nationwide, 2010 statistics were compiled using the Uniform Crime Reporting method, which records only the most serious crime in any incident. The Federal Bureau of Investigation uses this reporting method to publish an annual report on the state of crime across the country.
In Missouri City, the Police Department’s uniform policies and increased visibility citywide continue to strengthen the force internally and externally. For instance, about 400 fewer calls for service came into the dispatch call center last year. A critical reason for the decline is the police community outreach program that “allows residents to have personal interaction with police supervisors and other staff at the community level,” Fitzgerald said. “We regularly attend homeowner association meetings. This allows us to mitigate some problems we encounter because officers directly answer residents and establish their own strategies to address problems in subdivisions. Their effectiveness is evident; they educate citizens and relieve residents of the need to call 911 for non-emergency issues.”
Fitzgerald added that “Council approval of hiring seven additional officers through the budget process will also increase our community visibility.”
Other departmental achievements last year were strategic stings to stem an increase in thefts from motor vehicles, gang violence and narcotics sales and distribution. Fitzgerald said staff analysts identified an emerging trend in thefts from motor vehicles. A coordinated response was organized, cutting incidents from 449 to 323. To crackdown on narcotics, Missouri City Police rejoined the Fort Bend County Narcotics Task Force and aggressively initiated investigations; there were 195 in 2010, compared to 107 in 2009. And, police facilitated crime watch training and gang awareness programs to inform citizens of prevention and safety measures.
In addition to public safety, Fitzgerald continues to emphasize training and education. Officers in the Criminal Investigation Division partnered with their Houston colleagues last year to learn cutting-edge analysis and examination techniques. Also, Fitzgerald recently introduced PowerDMS to the Force. The compliance management software helps to ensure efficient and effective distribution, review and acknowledgment of policies, online training courses and surveys. The software also enables supervisors to receive feedback from officers, to test their knowledge of procedures and to identify areas where improvement is needed.
Instrumental in engaging residents will be the launch of another web-based crime-fighting technique. In 2010, citizens were introduced to RAIDS online, the free, crime-mapping national database that allows residents to track offenses citywide. This year, Fitzgerald would like to promote an email/text message component embedded in the program that enables users to “Join Citizens on Patrol”, and to share information about crimes, helping police apprehend suspects sooner. To “Join Citizens on Patrol” and send anonymous tips, residents can visit the City’s website: www.missouricitytx.gov, click on “Tracking Crime” under “Quick Links” and choose “Crime Mapping”. Once the RAIDS map loads, residents can either click on the “Join Citizens On Patrol” button and complete the form or click on an incident and scroll down to “Submit an Anonymous Tip” to share clues with police.
As the department focuses on this measure and other goals, Fitzgerald noted other important tools officers have to target and deter all offenses:
*Crime Prevention through Environmental Design (CPTED) classes, which arm residents with knowledge of a vast array of crime-prevention techniques and helps decrease crime through education,
*The Anti-Gang, “I choose to follow the rules” elementary school program, which teaches elementary school children to say no to violence and drugs,
*High-tech, user-friendly tools that can be accessed on the City’s website, www.missouricitytx.gov and
*The Crime Tip Line—281-403-5868.
“These tools allow residents to use the internet to access forms that will get quick responses from Missouri City Police,” said Fitzgerald. “We want to provide residents with all the best possible ways of getting leads to the Police Department to solve crimes.”
The Police Department earned 2010 recognition by Congressional Quarterly in the magazine’s annual rankings of America’s safest communities. Missouri City was ranked No. 5 in Texas and No. 36 nationally. The Missouri City Police Department is also distinguished as one of 18 Forces in Texas to receive “Recognized Law Enforcement Agency” status from the Texas Police Chiefs Association Foundation Recognition Program.
CBSAlliance.com is one of the leading companies which has expertise in Shirt Design Software and Development for Online Custom Designing Tool. Some of our software products are Clothes Design, T shirt Design, Shoes, Apparel, Hat/Cap, Mug, Mouse Pad, Button, Books, Business or Visiting Card, Greeting Cards etc… We also provide web based software design and development in Laptops, Mobile Phone, iPhone, Award products and much more. This is like fully modified for E-commerce designing and selling store.
SampleBoard.com presents a new and innovative way to create and present your ideas and vision by using the web-based interactive editor. It enables designers from different design disciplines (graphic, web, interiors, landscape, fashion and wedding planning) and backgrounds to collaborate on design projects, share their creative portfolio online and get exposure for business opportunities through the public design directory.
SampleBoard.com presents a new and innovative way to create and present your ideas and vision by using the web-based interactive editor. It enables designers from different design disciplines (graphic, web, interiors, landscape, fashion and wedding planning) and backgrounds to collaborate on design projects, share their creative portfolio online and get exposure for business opportunities through the public design directory.
How to set up web-based real time collaborative document editor on Linux
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
Check out exclusive promotions on emerging applications in the Intel Mobile Internet Technology Bundle, featuring JAJAH, Talkhouse, ElephantDrive & Tazti - www.letmebemobile.com/?pin=J07
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SampleBoard.com presents a new and innovative way to create and present your ideas and vision by using the web-based interactive editor. It enables designers from different design disciplines (graphic, web, interiors, landscape, fashion and wedding planning) and backgrounds to collaborate on design projects, share their creative portfolio online and get exposure for business opportunities through the public design directory.
SampleBoard.com presents a new and innovative way to create and present your ideas and vision by using the web-based interactive editor. It enables designers from different design disciplines (graphic, web, interiors, landscape, fashion and wedding planning) and backgrounds to collaborate on design projects, share their creative portfolio online and get exposure for business opportunities through the public design directory.
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Our culture: all wires, all electricity, all electronics and web-based photo albums...
Sometimes it seems one forgets that our "utterly advanced" civilization is built upon the same things in which the ancient cultures based their progress: screws and nuts.
Nice to see there's still a bit of classic building out there.
We need , NOW , platforms for artists , always open to react on emergencies . Now before it is too late .
ultrafast since 1990.
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from e flux :
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Hito Steyerl
The Spam of the Earth: Withdrawal from Representation
Dense clusters of radio waves leave our planet every second. Our letters and snapshots, intimate and official communications, TV broadcasts and text messages drift away from earth in rings, a tectonic architecture of the desires and fears of our times.1 In a few hundred thousand years, extraterrestrial forms of intelligence may incredulously sift through our wireless communications. But imagine the perplexity of those creatures when they actually look at the material. Because a huge percentage of the pictures inadvertently sent off into deep space is actually spam. Any archaeologist, forensic, or historian—in this world or another—will look at it as our legacy and our likeness, a true portrait of our times and ourselves. Imagine a human reconstruction somehow made from this digital rubble. Chances are, it would look like image spam.
Image spam is one of the many dark matters of the digital world; spam tries to avoid detection by filters by presenting its message as an image file. An inordinate amount of these images floats around the globe, desperately vying for human attention.2 They advertise pharmaceuticals, replica items, body enhancements, penny stocks, and degrees. According to the pictures dispersed via image spam, humanity consists of scantily dressed degree-holders with jolly smiles enhanced by orthodontic braces.
Medical spam images retrieved from corporation Symantec Intelligence’s blog, found here →
Image spam is our message to the future. Instead of a modernist space capsule showing a woman and man on the outside—a family of “man”—our contemporary dispatch to the universe is image spam showing enhanced advertisement mannequins.3 And this is how the universe will see us; it is perhaps even how it sees us now.
In terms of sheer quantity, image spam outnumbers the human population by far. It’s formed a silent majority, indeed. But of what? Who are the people portrayed in this type of accelerated advertisement? And what could their images tell potential extraterrestrial recipients about contemporary humanity?
From the perspective of image spam, people are improvable, or, as Hegel put it, perfectible. They are imagined to be potentially “flawless,” which in this context means horny, super skinny, armed with recession-proof college degrees, and always on time for their service jobs, courtesy of their replica watches. This is the contemporary family of men and women: a bunch of people on knockoff antidepressants, fitted with enhanced body parts. They are the dream team of hyper-capitalism.
But is this how we really look? Well, no. Image spam might tell us a lot about “ideal” humans, but not by showing actual humans: quite the contrary. The models in image spam are photochopped replicas, too improved to be true. A reserve army of digitally enhanced creatures who resemble the minor demons and angels of mystic speculation, luring, pushing and blackmailing people into the profane rapture of consumption.
Image spam is addressed to people who do not look like those in the ads: they neither are skinny nor have recession-proof degrees. They are those whose organic substance is far from perfect from a neoliberal point of view. People who might open their inboxes every day waiting for a miracle, or just a tiny sign, a rainbow at the other end of permanent crisis and hardship. Image spam is addressed to the vast majority of humankind, but it does not show them. It does not represent those who are considered expendable and superfluous—just like spam itself; it speaks to them.
The image of humanity articulated in image spam thus has actually nothing to do with it. On the contrary, it is an accurate portrayal of what humanity is actually not. It is a negative image.
Ed Ruscha, SPAM, Detail, 1961. From the series Product Still Lifes, 1961/1999.
Mimicry and Enchantment
Why is this? There is an obvious reason, which is too well known to elaborate on here: images trigger mimetic desires and make people want to become like the products represented in them. In this view, hegemony infiltrates everyday culture and spreads its values by way of mundane representation.4 Image spam is thus interpreted as a tool for the production of bodies, and ultimately ends up creating a culture stretched between bulimia, steroid overdose, and personal bankruptcy. This perspective—one of more traditional Cultural Studies—views image spam as an instrument of coercive persuasion as well as of insidious seduction, and leads to the oblivious pleasures of surrendering to both.5
But what if image spam were actually much more than a tool of ideological and affective indoctrination? What if actual people—the imperfect and nonhorny ones—were not excluded from spam advertisements because of their assumed deficiencies but had actually chosen to desert this kind of portrayal? What if image spam thus became a record of a widespread refusal, a withdrawal of people from representation?
What do I mean by this? For a certain time already I have noted that many people have started actively avoiding photographic or moving-image representations, surreptitiously taking their distance from the lenses of cameras. Whether it’s camera-free zones in gated communities or elitist techno clubs, someone’s declining interviews, Greek anarchists smashing cameras, or looters destroying LCD TVs, people have started to actively, and passively, refuse constantly being monitored, recorded, identified, photographed, scanned, and taped. Within a fully immersive media landscape, pictorial representation—which was seen as a prerogative and a political privilege for a long time6—feels more like a threat.
There are many reasons for this. The numbing presence of trash talk and game shows has led to a situation in which TV has become a medium inextricably linked to the parading and ridiculing of lower classes. Protagonists are violently made over and subjected to countless invasive ordeals, confessions, inquiries, and assessments. Morning TV is the contemporary equivalent to a torture chamber—including the guilty pleasures of torturers, spectators, and, in many cases, also the tortured themselves.
Additionally, in mainstream media people are often caught in the act of vanishing, whether it be in life-threatening situations, extreme emergency and peril, warfare and disaster, or in the constant stream of live broadcasts from zones of conflict around the world. If people aren’t trapped within natural or man-made disasters, they seem to physically vanish, as anorexic beauty standards imply. People are emaciated or made to shrink or downsize. Dieting is obviously the metonymic equivalent to an economic recession, which has become a permanent reality and caused substantial material losses. This recession is coupled with an intellectual regression, which has become a dogma within all but a very few mainstream media outlets. As intelligence doesn’t simply melt away via starvation, derision and rancor largely manage to keep it away from the grounds of mainstream representation.7
Thus the zone of corporate representation is largely one of exception, which seems dangerous to enter: you may be derided, tested, stressed, or even starved or killed. Rather than representing people it exemplifies the vanishing of the people: it’s gradual disappearance. And why wouldn’t the people be vanishing, given the countless acts of aggression and invasion performed against them in mainstream media, but also in reality?8 Who could actually withstand such an onslaught without the desire to escape this visual territory of threat and constant exposure?
Additionally, social media and cell-phone cameras have created a zone of mutual mass-surveillance, which adds to the ubiquitous urban networks of control, such as CCTV, cell -phone GPS tracking and face-recognition software. On top of institutional surveillance, people are now also routinely surveilling each other by taking countless pictures and publishing them in almost real time. The social control associated with these practices of horizontal representation has become quite influential. Employers google reputations of job candidates; social media and blogs become halls of shame and malevolent gossip. The top-down cultural hegemony exercised by advertisement and corporate media is supplemented by a down-down regime of (mutual) self-control and visual self-disciplining, which is even harder to dislocate than earlier regimes of representation. This goes along with substantial shifts in modes of self-production. Hegemony is increasingly internalized, along with the pressure to conform and perform, as is the pressure to represent and be represented.
Warhol’s prediction that everybody would be world-famous for fifteen minutes had become true long ago. Now many people want the contrary: to be invisible, if only for fifteen minutes. Even fifteen seconds would be great. We entered an era of mass-paparazzi, of the peak-o-sphere and exhibitionist voyeurism. The flare of photographic flashlights turns people into victims, celebrities, or both. As we register at cash tills, ATMs, and other checkpoints—as our cell phones reveal our slightest movements and our snapshots are tagged with GPS coordinates—we end up not exactly amused to death but represented to pieces.9
Example of spam advertising schooling, found here →
Walkout
This is why many people by now walk away from visual representation. Their instincts (and their intelligence) tell them that photographic or moving images are dangerous devices of capture: of time, affect, productive forces, and subjectivity. They can jail you or shame you forever; they can trap you in hardware monopolies and conversion conundrums, and, moreover, once these images are online they will never be deleted again. Ever been photographed naked? Congratulations—you’re immortal. This image will survive you and your offspring, prove more resilient than even the sturdiest of mummies, and is already traveling into deep space, waiting to greet the aliens.
The old magic fear of cameras is thus reincarnated in the world of digital natives. But in this environment, cameras do not take away your soul (digital natives replaced this with iPhones) but drain away your life. They actively make you disappear, shrink, and render you naked, in desperate need of orthodontic surgery. In fact, it is a misunderstanding that cameras are tools of representation; they are at present tools of disappearance.10 The more people are represented the less is left of them in reality.
To return to the example of image spam I used before; it is a negative image of its constituency, but how? It is not—as a traditional Cultural Studies approach would argue—because ideology tries to impose a forced mimicry on people, thus making them invest in their own oppression and correction in trying to reach unattainable standards of efficiency, attractiveness, and fitness. No. Lets boldly assume that image spam is a negative image of its constituency because people are also actively walking away from this kind of representation, leaving behind only enhanced crash-test dummies. Thus image spam becomes an involuntary record of a subtle strike, a walkout of the people from photographic and moving-image representation. It is a document of an almost imperceptible exodus from a field of power relations that are too extreme to be survived without major reduction and downsizing. Rather than a document of domination, image spam is the people’s monument of resistance to being represented like this. They are leaving the given frame of representation.
Political and Cultural Representation
This shatters many dogmas about the relation between political and pictorial representation. For a long time my generation has been trained to think that representation was the primary site of contestation for both politics and aesthetics. The site of culture became a popular field of investigation into the “soft” politics inherent in everyday environments. It was hoped that changes in the field of culture would hark back to the field of politics. A more nuanced realm of representation was seen to lead to more political and economical equality.
But gradually it became clear that both were less linked than originally anticipated, and that the partition of goods and rights and the partition of the senses were not necessarily running parallel to each other. Ariella Azoulay’s concept of photography as a form of civil contract provides a rich background to think through these ideas. If photography was a civil contract between the people who participated in it, then the current withdrawal from representation is the breaking of a social contract, having promised participation but delivered gossip, surveillance, evidence, serial narcissism, as well as occasional uprisings.11
While visual representation shifted into overdrive and was popularized through digital technologies, political representation of the people slipped into a deep crisis and was overshadowed by economic interest. While every possible minority was acknowledged as a potential consumer and visually represented (to a certain extent), people’s participation in the political and economic realms became more uneven. The social contract of contemporary visual representation thus somewhat resembles the ponzi schemes of the early twenty-first century, or, more precisely, participation in a game show with unpredictable consequences.
And if there ever was a link between the two, it has become very unstable in an era in which relations between signs and their referents have been further destabilized by systemic speculation and deregulation.
Both terms do not only apply to financialization and privatization; they also refer to loosened standards of public information. Professional standards of truth production in journalism have been overwhelmed by mass media production, by the cloning of rumor and its amplification on Wikipedia discussion boards. Speculation is not only a financial operation but also a process that takes place in between a sign and its referent, a sudden miraculous enhancement, or spin, that snaps apart any remaining indexical relation.
Visual representation matters, indeed, but not exactly in unison with other forms of representation. There is a serious imbalance between both. On the one hand, there is a huge number of images without referents; on the other, many people without representation. To phrase it more dramatically: A growing number of unmoored and floating images corresponds to a growing number of disenfranchized, invisible, or even disappeared and missing people.12
Cover of Voyager’s golden record with playing instructions and sound diagrams, launched in 1977.
Crisis of Representation
This creates a situation that is very different from how we used to look at images: as more or less accurate representations of something or someone in public. In an age of unrepresentable people and an overpopulation of images, this relation is irrevocably altered.
Image spam is an interesting symptom of the current situation because it is a representation that remains, for the most part, invisible.
Image spam circulates endlessly without ever being seen by a human eye. It is made by machines, sent by bots, and caught by spam filters, which are slowly becoming as potent as anti-immigration walls, barriers, and fences. The plastic people shown in it thus remain, to a large extent, unseen. They are treated like digital scum, and thus paradoxically end up on a similar level to that of the low-res people they appeal to. This is how it is different from any other kind of representational dummies, which inhabit the world of visibility and high-end representation. Creatures of image spam get treated as lumpen data, avatars of the conmen who are indeed behind their creation. If Jean Genet were still alive, he would have sung praise to the gorgeous hoodlums, tricksters, prostitutes, and fake dentists of image spam.
They are still not a representation of the people, because, in any case, the people are not a representation. They are an event, which might happen one day, or maybe later, in that sudden blink of an eye that is not covered by anything.
By now, however, people might have learned this, and accepted that any people can only be represented visually in negative form. This negative cannot be developed under any circumstance, since a magical process will ensure that all you are ever going to see in the positive is a bunch of populist substitutes and impostors, enhanced crash-test dummies trying to claim legitimacy. The image of the people as a nation, or culture, is precisely that: a compressed stereotype for ideological gain. Image Spam is the true avatar of the people. A negative image with absolutely no pretense to originality? An image of what the people are not as their only possible representation?
Rendition of iSee Manhattan, a web-based application charting the locations of CCTV surveillance cameras in urban environments. Users are able to locate routes that avoid being filmed by unregulated security monitors.
And as people are increasingly makers of images—and not their objects or subjects—they are perhaps also increasingly aware that the people might happen by jointly making an image and not by being represented in one. Any image is a shared ground for action and passion, a zone of traffic between things and intensities. As their production has become mass production, images are now increasingly res publicae, or public things. Or even pubic things, as the languages of spam fabulously romance. 13
This doesn’t mean that who or what is being shown in images doesn’t matter. This relation is far from being one-dimensional. Image spam’s generic cast is not the people, and the better for it. Rather, the subjects of image spam stand in for the people as negative substitutes and absorb the flak of the limelight on their behalf. On the one hand, they embody all the vices and virtues (or, more precisely, vices-as-virtues) of the present economic paradigm. On the other, they remain more often than not invisible, because hardly anybody actually looks at them.
Who knows what the people in image spam are up to, if nobody is actually looking? Their public appearance may be just a silly face they put on to make sure we continue to not pay attention. They might carry important messages for the aliens in the meantime, about those who we stopped caring for, those excluded from shambolic “social contracts,” or any form of participation other than morning TV; that is, the spam of the earth, the stars of CCTV and aerial infrared surveillance. Or they might temporarily share in the realm of the disappeared and invisible, made up of those who, more often than not, inhabit a shameful silence and whose relatives have to lower their eyes to their killers every day.
The image-spam people are double agents. They inhabit both the realms of over- and invisibility. This may be the reason why they are continuously smiling but not saying anything. They know that their frozen poses and vanishing features are actually providing cover for the people to go off the record in the meantime. To perhaps take a break and slowly regroup. “Go off screen” they seem to whisper. “We’ll substitute for you. Let them tag and scan us in the meantime. You go off the radar and do what you have to.” Whatever this is, they will not give us away, ever. And for this, they deserve our love and admiration.
×
This text originated as a presentation at the “The Human Snapshot” conference, organized by Tirdad Zolghadr and Tom Keenan at the Luma Foundation in Arles, July 2–4, 2011. It is the third part of a trilogy about spam, the first two of which are published in October, no. 138 (fall 2011), guest-edited by David Joselit. Part one is titled “Spam and the Angel of History,” and part two “Letter to an Unknown Woman: Romance Scams and Epistolary Affect.” The writer would like to thank Ariella Azoulay, George Baker, Phil Collins, David Joselit, Imri Kahn, Rabih Mroué, and the many others who sparked or catalyzed various ideas within the series. Thank you also to Brian, as ever.
SampleBoard.com presents a new and innovative way to create and present your ideas and vision by using the web-based interactive editor. It enables designers from different design disciplines (graphic, web, interiors, landscape, fashion and wedding planning) and backgrounds to collaborate on design projects, share their creative portfolio online and get exposure for business opportunities through the public design directory.
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LEESBURG, Va. -- The eCYBERMISSION 2012-13 National Judging and Educational
Event kicked off as 16 national finalist teams arrived June 17. The annual
NJ&EE brings together students from across the country and Department of
Defense Educational Activity schools to compete in the science, technology,
engineering and mathematics competition for the title of first-place
national winner in their grade.
During the week-long event they will also have the chance to participate in
workshops and activities designed for America's next generation of STEM
leaders, said Louie Lopez, eCYBERMISSION program manager for the U.S. Army.
eCYBERMISSION is a web-based STEM competition free to students in grades six
through nine.
This musical phenomenon comes to Theatr Clwyd for the first time thanks to Tip Top Productions.
Music by Andrew Lloyd Webber based on Old Possum’s Book Of Practical Cats by T.S. Eliot. “Prologue – Jellicle Songs for Jellicle Cats” additional material written by Trevor Nunn and Richard Stilgoe; ”Memory” additional material written by Trevor Nunn.
The Jellicle Cats come out to play on one special night of the year—the night of the Jellicle Ball. One by one they tell their stories to Old Deuteronomy, their wise and benevolent leader, who must choose one of the Cats to ascend to The Heaviside Layer and be reborn into a whole new Jellicle life. Among the candidates are the aging theatre cat, Gus; the rocker, Rum Tum Tugger; and the once-glamorous Grizabella, now but a faded memory of her former self.
Boasting a score that includes Jellicle Songs for Jellicle Cats, Mr. Mistoffelees and Memory, this compelling fable takes audiences to a fantastical world that can only exist in the theatre. Cats has been performed worldwide and translated into over 20 languages. The original West End production ran for 21 years and the original Broadway production ran for 18 years
For tickets and more info see:
SampleBoard.com presents a new and innovative way to create and present your ideas and vision by using the web-based interactive editor. It enables designers from different design disciplines (graphic, web, interiors, landscape, fashion and wedding planning) and backgrounds to collaborate on design projects, share their creative portfolio online and get exposure for business opportunities through the public design directory.
The web editor allows you to quickly and easily pull together design trends, colour schemes, textures and products via a convenient drag-and-drop function, using the rich editing toolset with over 30,000 product images from the library or your own images uploaded onto the system from your personal profile.
This Part II completes Session 4 to present advances worldwide that highlight the relevance and feasibility of subnational
measurement for tourism management. It will also discuss at more technical levels the importance of delineating
spatial areas and issues of comparability and coherence.
Moderator: Mr. Peter Laimer, Deputy Director, Directorate Spatial Statistics, Statistics Austria and Chair of the UNWTO
Committee on Statistics and TSA.
Presentations:
• Mr. Luo Zhibin, Deputy Mayor of Zhangjiajie Municipal Government, China: “Establishing China standards of tourism
Classification, Solving the tourism statistics problem by using big data”
• Ms. Mélanie Gauche, Project manager, Monitoring and Statistics Directorate, Ministry for the Ecological and Solidary
Transition, France: “Measuring Tourism Intensity and its Impact on the Environment at Subnational Level”
• Ms. Nagore Espinosa, Coordinator of INRouTe and CEO of in2destination: “Tourism, Territory and Sustainability: A
Statistical Insight at Subnational Levels” and Mr. Raúl Hernández-Martín, Head of the Chair of Tourism, University
of La Laguna: “A pilot study on Measuring Sustainability in Lanzarote, Canary Islands, Spain”
• Mr. Carlos Carré, Consultant for Conservation International: “Ecotourism in the San Martín Region (Peru) from an
Ecosystem Accounting Perspective”
• Ms. Jingyan Liu, Sun Yat-sen University: “A Web-based Regional Tourism Satellite Account Information System”
• Mr. Carl Obst, UNWTO Consultant: “Defining Spatial Areas for Measuring Sustainable Tourism”
SampleBoard.com presents a new and innovative way to create and present your ideas and vision by using the web-based interactive editor. It enables designers from different design disciplines (graphic, web, interiors, landscape, fashion and wedding planning) and backgrounds to collaborate on design projects, share their creative portfolio online and get exposure for business opportunities through the public design directory.
SampleBoard.com presents a new and innovative way to create and present your ideas and vision by using the web-based interactive editor. It enables designers from different design disciplines (graphic, web, interiors, landscape, fashion and wedding planning) and backgrounds to collaborate on design projects, share their creative portfolio online and get exposure for business opportunities through the public design directory.
8th graders from Ramey Unit School are competing in the in 2018 eCYBERMISSION National Judging and Educational Event in Washington D.C. June 17- 22. The event is sponsored by U.S. Army Educational Outreach Program and administered by the National Science Teachers Association (NSTA).
The annual eCYBERMISSION competition is a web-based science, technology, engineering, and mathematics (STEM) competition free to students in grades six through nine that promotes self-discovery and enables all students to recognize the real-life applications of STEM.
Students are challenged to work in teams of three to four to identify a problem in their community and use scientific practices or the engineering design process to develop a solution.
The Arlington, VA-based National Science Teachers Association is the largest professional organization in the world promoting excellence and innovation in science teaching and learning, preschool through college. NSTA's membership includes approximately 55,000 science teachers, science supervisors, administrators, scientists, business representatives, and others involved in science education.
Student prizes for each grade level are awarded at the national levels. First-place national winners receive $5,000 U.S. Savings Bonds per student. For more information about the eCYBERMISSION competition, www.ecybermission.com/ .
DoDEA Photos by Crystal Colbert #DoDEA #ecyber18
Valentine's Day 2018 Pakistan – I Heart Shopping | www.bigbazaronline.pk
Many people around the world celebrate Valentine’s Day by showing appreciation for the people they love or adore. Some people take their loved ones for a romantic dinner at a restaurant while others may choose this day to propose or get married. Many people give greeting cards, chocolates, jewelry or flowers, particularly roses, to their partners or admirers on Valentine’s Day.
It is also a time to appreciate friends in some social circles and cultures. For example, Valentine's Day in Finland refers to “Friend's day”, which is more about remembering all friends rather than focusing solely on romance. Valentine's Day in Guatemala is known as Day of Love and Friendship). It is similar to Valentine’s Day customs and traditions countries such as the Pakistan but it is also a time for many to show their appreciation for their friends.
In case you're making arrangements for a motion picture, don't stress! We're putting forth the best form garments for the two men and ladies. Folks should wear a shirt, a wrist watch and polished shoes to be the star of February. While, young ladies can pick a refined dress with light gems, and easygoing flip tumble to take after an excessive style.
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The UK’s highest-ranking composer has joined one of the country’s leading new music ensembles and students at the University of Salford to create a unique interactive online project.
Master of the Queen’s Music, Sir Peter Maxwell Davies, oversaw the recording of his piece Eight Songs for a Mad King by the University’s official MediaCityUK Ensemble – Manchester-based contemporary music group Psappha – in the Digital Performance Lab at the University’s MediaCityUK building.
This definitive recording has now been combined with gaming technology to produce a web-based virtual environment which forms part of The Space, an experimental digital arts media service supported by the BBC and funded by Arts Council England.
The UK’s highest-ranking composer has joined one of the country’s leading new music ensembles and students at the University of Salford to create a unique interactive online project.
Master of the Queen’s Music, Sir Peter Maxwell Davies, oversaw the recording of his piece Eight Songs for a Mad King by the University’s official MediaCityUK Ensemble – Manchester-based contemporary music group Psappha – in the Digital Performance Lab at the University’s MediaCityUK building.
This definitive recording has now been combined with gaming technology to produce a web-based virtual environment which forms part of The Space, an experimental digital arts media service supported by the BBC and funded by Arts Council England.
Over the past few weeks, I've been reading up on the process of building my own telescope. The inspiration for the process and the procedure on how this is accomplished came from watching a two-hour video on YouTube by John Dobson, one of the greats in amateur astronomy and a man with whom I had the pleasure of meeting in 2007.
I've opted for a 12.5" telescope. This is a preliminary design based off of Newt Web's interface (a web-based design app that helps calculate your design).
The telescope will have a focal length of 7 feet, with a tube design just over 6.5" and 16" diameter.
The final design - I hope - will resemble the Hubble Space Telescope.
Construction starts with grinding, polishing, and figuring of my own primary mirror sometime this fall.
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nowHIRE is listed on the Workforce Management "Hot List" for 2011!
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Check out my Profile Page for more information on my images and my website and contact detailsCopyright © 2012 Neal Pritchard PhotographyThis photo may not be used in any form without prior permission. All rights reserved. All images may NOT be used on websites, blogs or in any other form of media print or web based without explicit written permission by Spool Photography
CBSAlliance.com is one of the leading companies which has expertise in Shirt Design Software and Development for Online Custom Designing Tool. Some of our software products are Clothes Design, T shirt Design, Shoes, Apparel, Hat/Cap, Mug, Mouse Pad, Button, Books, Business or Visiting Card, Greeting Cards etc… We also provide web based software design and development in Laptops, Mobile Phone, iPhone, Award products and much more. This is like fully modified for E-commerce designing and selling store.
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Our good friends at Tak! Design have just created a fantastic new web based media gallery for my school. It's called Tallis Shorts . It enables visitors to the site to upload audio and video which are converted on the fly into Flash presentations. Each piece of media is tagged with up to three cross-curricular themes and assigned to a department in school. Links between media are represented by coloured lines which are "drawn" on the homepage at the click of the mouse. We hope it will encourage staff and students to use video and audio as part of their creative tool kit in the classroom and outside school. It certainly looks a whole lot better than YouTube and, judging by the number of items already posted to the site (over 70 in two weeks!), members of the school community have already found it very useful.
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