In computing a 10-foot user interface is a software GUI (graphical user interface) designed for display on a large television (or similar sized screen) with interaction using a regular television-style remote control. ’10-foot’ refers to the fact that the GUI’s elements—i.e. menus, buttons, text fonts, and so on—are theoretically ergonomically large enough to read easily at a distance of 10 feet (3 m) from the display. To avoid distractions and to be more clear, 10 foot UIs also tend to be very simple and usually only have the minimum core buttons.
Typical examples of popular 10-foot user interfaces are HTPC (Home theater PC) media center software applications such as Google TV, MediaPortal, XBMC, Windows Media Center, and Front Row / Apple TV interfaces, but most other Smart TV and set-top boxes devices and software with interactive television interfaces also belong in this category. In 2010, Hillcrest Labs released the Kylo browser, which is a web browser optimized for television use, which features a 10-foot user interface. Hillcrest also invented the first motion-controlled remote for television.
70mm film is a wide high-resolution film gauge, with higher resolution than standard 35mm motion picture film format. As used in camera, the film is 65 mm wide. The additional 5mm are for magnetic strips holding four of the six tracks of sound. Although more recent 70 mm prints use digital sound encoding, the vast majority of 70 mm prints predate this technology. Each frame is five perforations tall, with an aspect ratio of 2.20:1. The vast majority of film theaters are unable to handle 70mm film, and so original 70mm films are shown with 35mm prints at these venues.
Films formatted with a width of 70 mm have existed since the early days of the motion picture industry. The first 70 mm format film was most likely footage of the Henley Regatta, which was projected in 1896 and 1897, but may have been filmed as early as 1894. It required a specially built projector built by Herman Casler in Canastota, New York and had a ratio similar to full frame, with an aperture of 2.75 inches (70 mm) by 2 inches (51 mm). There were also several film formats of various sizes from 50 to 68 mm which were developed from 1884 onwards, including Cinéorama (not to be confused with the entirely distinct ‘Cinerama’ format), started in 1900 by Raoul Grimoin-Sanson. In 1914 the Italian Filoteo Alberini invented a panaromic film system utilising a 70 mm wide film called ‘Panoramica’.
A full-frame digital SLR is a digital single-lens reflex camera fitted with an image sensor that is the same size as a 35 mm (36×24 mm) film frame. This is in contrast to cameras with smaller sensors, typically of a size equivalent to APS-C-size film (20.7×13.8 mm to 28.7×19.1 mm), much smaller than a full 35 mm frame. Currently, the majority of digital cameras, both compact and SLR models, use a smaller-than-35 mm frame, as it is easier and cheaper to manufacture imaging sensors at a smaller size. Historically, the earliest digital SLR models, such as the Nikon NASA F4 or Kodak DCS 100, also used a smaller sensor.
If the lens mounts are compatible, many lenses, including manual-focus models, designed for 35 mm cameras can be mounted on the latest DSLR cameras. When a lens designed for a full-frame camera, whether film or digital, is mounted on a DSLR with a smaller sensor size, only the center of the lens’s image circle is captured. The edges are cropped off, which is equivalent to zooming in on the center section of the imaging area. The ratio of the size of the full-frame 35 mm format to the size of the smaller format is known as the ‘crop factor’ or ‘focal-length multiplier,’ and is typically in the range 1.3–2.0 for non-full-frame digital SLRs.
Hanna Rosin is an American Journalist. Rosin was born in Israel and grew up in Queens, New York where her father was a taxi driver. She graduated from Stuyvesant High School in 1987. She graduated from Stanford University, and is married to ‘Slate’ editor David Plotz; they live in Washington, D.C. with their three children. She is a co-founder of ‘DoubleX,’ a women’s site connected to ‘Slate.’ She is also a writer for ‘The Atlantic.’ A character portrayed by actress Chloë Sevigny in the movie ‘Shattered Glass’ about Rosin’s colleague at ‘The New Republic,’ Stephen Glass, was loosely based on Rosin. Rosin has written a book based on her 2010 Atlantic story, ‘The End of Men.’
In the past she has specialized in writing about religious-political issues, in particular the influence of evangelical Christians on the 2004 U.S. presidential campaign. She is the author of ‘God’s Harvard: A Christian College on a Mission to Save America,’ published in 2007. Based on a ‘New Yorker’ story, the book follows several young Christians at Patrick Henry College, a new evangelical institution that teaches its students to ‘shape the culture and take back the nation.’ Rosin’s portrayals of the students are part of a larger attempt to chronicle the cultural and political history of the modern Christian right.
Luaka Bop is a world music-oriented record label established by David Byrne, former guitarist, singer-songwriter and producer of the art rock-new wave band Talking Heads. It has been a wholly independent label since leaving Universal Music Group’s V2 in 2006. Luaka Bop has been responsible for compilations representing sounds from around the world as well as the release of full length albums, EPs, and singles from individual artists and bands.
‘Brazil Classics’ kicked off the label and a set of seven albums surveying eras and artists ranging from Samba to Tropicália. Ventures into Afro-Peruvian and AfroPean musics unearthed the talents of Susana Baca and Zap Mama, respectively. ‘World Psychedelic Classics’ is made up of three albums and includes artists such as Shuggie Otis, Os Mutantes, as well as West African artists of the late 1960s. Additionally, the label has released ‘Cuba’ and ‘Asia Classics.’read more »
Stuff White People Like (SWPL) is a blog that takes a satirical aim at the interests of North American ‘left-leaning, city-dwelling, white folk.’ The blog was created in 2008 by a white Canadian, Christian Lander, a Los Angeles copywriter who grew up in Toronto and graduated from McGill University. Lander co-authored the site with his Filipino Canadian friend Myles Valentin, after Valentin teased Lander for watching the HBO television series ‘The Wire.’ Although the blog ‘has spurred an outpouring from those who view it as offensive and racist,’ it is not about the interests of all white people, but rather a stereotype of affluent, environmentally and socially conscious, anti-corporate white North Americans, who typically hold a degree in the liberal arts. Lander claims to be lampooning contemporary versions of bohemian/hipster culture, and jokingly refers to other classes and subcultures of white people as ‘the wrong kind of white people.’ Despite the site’s satirical edge, Lander regards the people he describes with affection and numbers himself among them, describing himself as ‘a self-aware, left-wing person who’s not afraid to recognize the selfishness and contradictions that come on the left.’
Ad filtering or ad blocking is removing or altering advertising content in a webpage. Advertising can exist in a variety of forms including pictures, animations, embedded audio and video, text, or pop-up windows. Very often it employs autoplay of audio and video. It is a known problem with most web browsers that restoring sessions often plays multiple embedded ads at once. All browsers offer some solution to the problem, either by targeting technologies (Flash/Shockwave, Window Media files, etc.) that are used to deliver ads, targeting URLs that are the source of ads, or targeting behavior characteristic of ads (such as the use of HTML5 autoplay of both audio and video).
An extremely common method of filtering is simply to block (or prevent autoplay of) Flash animation or image loading or Windows audio and video files. This can be done in most browsers easily. This crude technological method is refined by numerous browser extensions. In general one alters the options, preferences or application extensions to filter specific media types, but an additional add-on is required to differentiate between ads and non-ads using the same technology, or between wanted and unwanted ads or behaviors. The more advanced filters allow fine-grained control of advertisements through features such as blacklists, whitelists, and regular expression filters. Certain security features also have the effect of disabling some ads. Some antivirus software can act as ad blocker, including some freeware such as Avast. Ironically, some of this freeware itself runs ads, and instructions on how to block those are common on the web. For instance, Avast’s ads to upgrade itself to the paid version which are easily disabled.
Commercial skipping is an advanced feature in some digital video recorders that makes it possible to automatically skip commercials in recorded programs. This feature has created controversy, with major television networks and movie studios claiming it violates copyright and should be banned. For many years, video recorders manufactured for the Japanese market have been able to skip advertisements automatically, which is done by detecting when foreign language audio overdub tracks provided for many programs go silent, as advertisements were broadcast with a single language only. The first DVR which had a built-in Commercial skipping feature was ReplayTV with its ‘4000 Series’ and ‘5000 Series’ units. In 2002 five owners of the ReplayTV DVR sued the main television networks and movie studios, asking the federal judge to uphold consumers’ rights to record TV shows and skip commercials claiming that features like commercial skipping help parents protect their kids from excessive consumerism. ReplayTV ended up filing for bankruptcy in 2003 after fighting a copyright infringement suit over the ReplayTV’s ability to skip commercials.
The Korean wave refers to the significant increase in the popularity of South Korean entertainment and culture starting in the 1990s, in Asia, and more recently in other parts of the world. It represents a surge in the international visibility of Korean culture. The term was coined in mid 1999 by Beijing journalists surprised at the fast growing popularity of Korean entertainment and culture in China. The wave has had considerable impact on the South Korean economy, as well as on the political and cultural influence of South Korea. For example, in 2011 based on international activity the Korean wave added approximately USD$3.8 billion dollars of revenue to the South Korean economy.
In the late 1990s, the Korean wave reached numerous Asian countries, including China, Japan, Taiwan, Vietnam, Hong Kong, Philippines, and Singapore. Korean dramas were a key aspect of this proliferation, as well as the subsequent establishment of niche markets in Europe and North America. Korean pop music, referred to as ‘K-pop,’ has played a significant role in the Korean wave. In recent years, Korean entertainment companies have recognized YouTube as a key component for spreading Korean culture. According to Bernie Cho, the president of the DFSB Kollective (a Seoul-based agency specializing in the marketing of international K-pop acts), Korean entertainment companies are ‘aggressively steering their efforts to go international via the Internet.’
‘I would rather cry in a BMW‘ is a quotation that became an online sensation in China in 2010. It originated from Ma Nuo, a 20-year-old female contestant on the television show ‘Fei Cheng Wu Rao’ (also known in English as ‘If you are the One’).
The line was in response to a question by an unemployed suitor who asked if Ma would ‘ride a bicycle with him’ on a date. The series of events have been summed up in the media with the quip ‘I would rather cry in a BMW than laugh on a bicycle.’
Amazon.com has been criticized for collecting sales taxes from customers in only the five states it has a major presence in. Several states have passed or are considering ‘Amazon tax‘ laws designed to compel Amazon to collect local sales and use taxes from customers. The U.S. has no federal sales tax. In most countries where Amazon operates, a sales tax or value added (consumption) tax is uniform throughout the country, and Amazon is obliged to collect it from all customers. Proponents argue that Amazon has a comparative advantage over brick-and-mortar retailers, and the online company is under increasing legal and political pressure from state governments, traditional retailers and other groups because of its refusal to collect sales tax in 40 of the 45 states with a statewide sales tax. Those 40 states include at least 12 where Amazon has a clear physical presence via distribution centers and wholly owned subsidiaries.
Amazon is often able to overcome threats from state governments by cutting ties with local partners or leaving the state in question. Amazon severed its relationships with affiliates in Colorado due to efforts by the state government to collect sales tax on internet purchases. Amazon has threatened similar action against affiliates in Illinois over the same issue. In February 2011, Amazon announced that it would be closing its Dallas, Texas distribution center over the sales-tax dispute. Amazon has created subsidiaries that are treated separately for tax matters, a legal technique called ‘entity isolation.’ The subsidiary that developed the Kindle is in California, but because it doesn’t sell the Kindle directly to customers, Amazon’s legal position is that it isn’t required to collect sales taxes in California.
LifeLock Inc., founded in 2005, is an American identity theft protection company based in Arizona. The company charges $10 a month for the LifeLock identity theft protection system intended to detect fraudulent applications for some forms of credit and non-credit related services. Lifelock provides a $1 million guarantee in the event of identity theft. The guarantee is that Lifelock will spend up to $1,000,000 on restoring your identity; Lifelock does not cover the direct losses you incur from identity theft or pay restitution to you for money lost. In 2010, LifeLock was fined $12 million by the FTC for deceptive advertising. The agency called their prior marketing claims misleading to consumers. LifeLock has partnered with major banks, national corporations and has celebrity endorsers like Rush Limbaugh.
LifeLock’s CEO Todd Davis was the victim of identity theft 13 times during 2007 and 2008, after he publicly posted his Social Security number on billboards and in TV commercials as part of a campaign to promote the company’s identity theft protection services. The company’s ex-cofounder, Robert Maynard, was accused in 2007 of misrepresenting his story about identity theft, which resulted in his resignation. Maynard often recants the story that the idea for the company was founded from a jail cell in 2003. He was serving for $16,000 in casino loans that he claims were made by someone who stole his identity. The story goes that he spent $20,000 and many phone calls to clear his name and thought of LifeLock as a way to prevent others from being victimized. The media was sucked into the story of LifeLock, but investigations later showed he was lying. Video recordings showed that he was at the casino and a drivers license confirmed the debt was his. He started LifeLock in 2005, even as he himself was filing for bankruptcy for the third time.
Uber (formerly UberCab) is a venture-funded startup company based in San Francisco that makes a mobile application that connects passengers with drivers of luxury vehicles (e.g. Lincoln, Cadillac, BMW) for hire.
The company arranges pickups in the San Francisco Bay Area, New York City, Los Angeles, Seattle, Chicago, Boston, Washington, D.C., Vancouver, Toronto, Paris, and Philadelphia. Cars are reserved by sending a text message or by using a mobile app. Using the apps, customers can track their reserved car’s location.read more »
Klout is a San Francisco based company that measures influence by using data points from Twitter, such as following count, follower count, retweets, list memberships, how many spam/dead accounts are following you, how influential the people who retweet you are, and unique mentions. This information is blended with data from a number of other social networks such as comment, likes, and the number of friends in your network to come up with a ‘Klout Score’ (1-100) that measures a user’s online influence. The company has been subject to substantial criticism, both for its business model and its operating principle. Klout scrapes social network data and creates profiles on individuals and assigns them a ‘Klout score.’ Klout has claimed to have built more than 100 million profiles. Klout is not an ‘opt-in’ service, but individuals who register at Klout can ensure that all of their social networks are accessed and therefore evaluated in their Klout scores. Klout also builds profiles of individuals who are connected to those who do register at Klout.
Klout scores are supplemented with three nominally more specific measures, which Klout calls ‘true reach’ (the size of a person’s ‘engaged audience’ of followers and friends who actively listen and react to his or her online messages), ‘amplification’ (the likelihood that one’s messages will generate actions such as retweets, @messages, likes, and comments), and ‘network impact’ (value of a person’s engaged audience). The business model is then based around connecting businesses with individuals of high influence. Companies have paid to get in contact with individuals with high Klout scores in hopes that free merchandise and other perks will influence them to spread positive publicity for them.
Paul Bacon (b. 1923), is an American book and album cover designer and jazz musician. He is known for introducing the ‘Big Book Look’ in book jacket design, and has designed about 6,500 jackets and more than 200 jazz record covers. His first big hit came in 1956 with ‘Compulsion,’ a novel by Meyer Levin.
This cover also marked the inception of the ‘Big Book Look’ that Bacon became known for. This look features a large, bold title, a prominent author’s name, and a small conceptual image. Instances of this ‘look’ include ‘Catch-22′ by Joseph Heller, ‘Visions of Cody’ by Jack Kerouac, and ‘Bullet Park’ by John Cheever, along with countless others.