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Almeza MultiSet Professional 8.7.8

Leader in Unattended Installation of Windows and Software

Almeza MultiSet Professional is an application that has been created to free you from routine work such as program installations.

All you have to do is to install the application only once on your PC and MultiSet will record all your actions.

By using Multiset, you will not have to write a single line of code or script! MultiSet will install all the applications you need automatically, either on your original computer or on a new one. Almeza MultiSet is an ideal application if you need to rebuild your systems quickly!

Almeza MultiSet Professional features :

- Create a bootable USB Flash Drive:
- You can use Almeza MultiSet Professional software to create a bootable USB Flash Drive for automatic installing Windows and software onto a computer.
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- It is possible to create a CD / DVD for the automatic installation of the Windows operating system on any computer. The operating system can be installed in any mode: repairing Windows (installing above the current version of the operating system) or reinstalling it completely.
- Automatic installation of any software:
- It is possible to create a CD/DVD that will automatically install any sets of software on multiple computers. For example, after Windows is installed, it is possible to install service packs, drivers, localizations, any software (codecs, audio players, service tools...) and configure them automatically as well.
Creating a bootable disk for simultaneous unattended Windows and software installation:
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- Automatically restoring software settings and tuning Windows: It is possible to automatically restore software and Windows settings. It is possible to restore registry keys, run special tools.
- Remote automatic installation:
- It is possible to automatically install sets of software via the local area network. The necessary software will be automatically installed on any number of computers connected to the local area network.

- 64 MB RAM
- 20Mb HDD
- 800x600 or better screen resolution

- 30 days trial period
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- You can install only seven programs using the unregistered version
- You cannot create a bootable Windows and Software unattended installation CD/DVD using the unregistered version

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Can cryptocurrency and blockchain gambling kill the casino? |

Can cryptocurrency and blockchain gambling kill the casino?

Andrew Munro 8 May 2018 NEWS

Or will it save them? Casinos, both online and off, have reason to welcome blockchain with open arms.

One of the more popular Ethereum gaming dapps (decentralized applications) is called Etheroll. It’s just a simple dice roller. The gambler picks a number from 1 to 100 then digitally rolls a 100-sided dice. If the number they chose is higher than the number they rolled, they win. If it’s the same or lower, they lose. The payout is determined proportional to the number they choose.

The end result is a dice game with a 1% house edge, from the 1% chance of guessing and rolling the same number.

In the last 24 hours, at the time of writing, Etheroll has turned over 170 Ether, equivalent to about US$125,000 at current Ethereum prices. In the last week, it’s had 2,223 Ether ($1.65 million) pass through. Assuming that includes both inflow and outflow, that translates to over $8,000 a week for the creator from the 1% house edge. Not bad for a simple dice roller.

Others, such as EOSBet, go a step further by decentralizing an entire digital casino. Anyone can “invest” in the house to earn a portion of the casino profits based on the amount they put in, while players can simultaneously pull the lever on thousands of slot machines or roll thousands of dice to (statistically most likely) win some and lose slightly more.

Should the gambling industry be scared of blockchain disruption?

The online gambling industry was estimated to be worth $40 billion in 2015 and is projected to keep growing. This has attracted a lot of cryptocurrency and blockchain startups to the space with the aim of disrupting it.

There’s a good chance they’ll succeed. Casinos are all about the trust between players and the house, and that trust is very often abused to the fullest extent legally possible, and frequently even further. To date, the only option for online gamblers is to choose their online venue carefully and then simply trust it even if they know it’s probably not actually trustworthy.

Distributed ledger technologies like blockchain could offer a permanent solution to this seemingly unsolvable problem by allowing for transparent, decentralized and trustless systems.

  • Transparent: Players can see the complete programming behind each game. This allows them to verify that the house edge is mathematically exactly as advertised and that the game is completely “fair.” In the case of Etheroll, for example, anyone can see that the dice has an equal chance of landing on any number.
  • Decentralized: No authority or individual can control the system, and it cannot be rigged from the inside or the outside. In the case of Etheroll, it’s simply an unalterable program on the Ethereum blockchain. No one, not even the creators, can tamper with it.
  • Trustless: The transparent and decentralized elements of distributed ledger technology can bring the concept of “100% trustworthiness” to online casinos and other spaces. If something is 100% guaranteed trustworthy, then you’re not actually trusting it anymore. It’s simply a proven fact, hence the word “trustless.”

With these advantages, it’s easy to see why the blockchain is a dream come true for the more reputable providers in the gambling industry and a nightmare for the unscrupulous ones. Plus, in an area as heavily-regulated as the gambling industry, it’s easy to see how transparent decentralized systems could become a mandatory industry standard.

Who’s trying to disrupt the industry?

There are a lot of different groups getting involved. The smaller projects like Etheroll are just a single simple game that might disappear when people lose interest. The larger ones like EOSBet are trying to be entire online casinos.

And the even larger ones are trying to become industry standards in order to swallow the entire online gambling industry, and a good portion of the offline gambling industry, in one gulp. They’re eyeing it in different ways though.

Some are starting with the players, others are trying to get the best games and some want to control the industry infrastructure.

ZeroEdge: Get the players

ZeroEdge, as the name suggests, aims to attract players with a 0% house edge, arguing that it’s an offer too good for players to refuse. The idea is that it forms a network of 0% house edge casinos and games, which anyone can build, but only accepts the Zerocoin cryptocurrency.

The idea is that the token has a fixed supply, and the token will gain value as more players arrive and buy coins to use for gambling.

It’s not entirely clear how well this will work in practice. With no house edge to bring in revenue, there’s little incentive for anyone to build games or casinos on the platform or to continue developing the project in the long term.

CashBet: Get the games

Founded in 2012, CashBet claims to be the world’s only crypto-casino licensed by the world’s most reputable tier-one gaming jurisdictions. It’s focusing on mobile gambling and already has a repertoire of over 450 gambling games and apps to that end.

“Our vision is to expand the market presence of what is currently the most complete blockchain-powered iGaming platform in existence,” said CashBet CEO Mike Reaves in a press release. It’s currently in the process of moving its offerings towards a “crypto-ready future,” he added.

It aims to provide a platform to let anyone easily create mobile games for themselves, and “piggyback” on CashBet’s worldwide gambling licensing to avoid needing to jump through the hoops themselves. It’s not strictly focused on cryptocurrency or gambling technology, but it is racing towards it since CashBet views this as the inevitable future of gambling.

FunFair: Get the systems

Another cryptocurrency, FunFair, aims to control the systems by building an entire cryptocurrency system from scratch. Its coin is used by gamblers and online casinos that use the platform, and licensing fees for use of the turnkey transparent, decentralized FunFair system will be paid in FunFair tokens.

It aims to bolster token value by creating a fixed supply of one billion infinitely divisible coins, and then simply growing its network by focusing on players, games and online casinos.

Should real life casinos be worried about blockchain disruption?

Online casinos and real-life casinos are very different environments, and people don’t necessarily go to Las Vegas for the gambling alone. Established real-world casinos are probably much less susceptible to blockchain disruption than entirely digital online gaming platforms.

But they’re not immune either. Because of the demonstrable benefits it offers, in the form of decentralization, transparency and trustlessness, the digital gambling industry of tomorrow might be increasingly able to cut into the profits of physical venues.

It’s also possible that slot machines and other electronic gaming systems found on the casino floor will be operated across a blockchain system in the future. Much like the online world, this move would likely be welcomed by the more reputable casinos and delayed as long as possible by the shadier ones.

This is because it could represent significant savings for legitimate operators. A lot of time and money goes towards ensuring machines are fair, tamper-proof and operated in line with state-by-state gambling regulations across the USA. Computer chips in slot machines, for example, are often manufactured at extra cost to be permanently set and tamper-proof. Being able to digitally provide the same benefits, and more, might represent significant savings for machine makers and casino operators in the long run as well as increased earnings from more satisfied guests.

Some casinos might be worried about blockchain disruption, but the good ones might be keenly looking forward to it.

Disclosure: At the time of writing, the author holds ETH, IOTA, ICX, VEN, XLM, BTC and XRB.

Disclaimer: This information should not be interpreted as an endorsement of cryptocurrency or any specific provider, service or offering. It is not a recommendation to trade. Cryptocurrencies are speculative, complex and involve significant risks – they are highly volatile and sensitive to secondary activity. Performance is unpredictable and past performance is no guarantee of future performance. Consider your own circumstances, and obtain your own advice, before relying on this information. You should also verify the nature of any product or service (including its legal status and relevant regulatory requirements) and consult the relevant Regulators' websites before making any decision. Finder, or the author, may have holdings in the cryptocurrencies discussed.

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Making “Sense” of Things: How Touching & Tasting Help Baby Understand the World
The earliest conversations between you and your child involve the sense of touch. When you hold your little one in your arms, baby nestles against your skin, seeking the perfect fit in the curve of your arms. The skin is the most highly developed sensory organ at birth, and most babies love to be stroked. Surprisingly, some babies may prefer a firmer touch. Try applying pressure slowly and gently to baby's skin just before naptime or bedtime to help your wide–awake wonder settle down.

As your baby becomes better at grasping, you may find that your hair or face becomes the focus of exploration by touch. That's your cue that baby will really start to appreciate textured objects—rough, smooth, crinkly, soft, squishy—so start introducing them, with your supervision.

And what about taste? Your baby is born with a sweet tooth, preferring the sweet taste of breast milk or formula to other foods. The other three basic tastes—bitter, sour, and salty—develop later. A baby's dislike of bitter tastes may protect your little one from ingesting harmful substances. A taste for salty things usually comes after four months of age.

Babies can (and will) taste almost anything you give them, and their little hands can't wait to finger whatever comes their way. In fact, a baby's sense of taste and texture work together to help baby make discoveries about the objects in the world.

Hand your baby something new and watch what baby does: baby will look at it, touch it and then mouth it. By mouthing objects, baby discovers how they feel, which provides vital clues about their shape and size. You can encourage this way of learning by giving baby appropriate toys for mouthing. But be sure to wash baby's toys often!

Dr. Bettye M. Caldwell Ph.D. Professor of Pediatrics in Child Development and Education


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The Last Thing I Saw

Eddie Wenske has gone missing. A popular investigative reporter renowned for both his gay-coming-out memoir and a frightening book on drug cartels, Wenske vanishes while investigating a gay media conglomerate with a controversial owner and dodgy business practices. Albany PI Don Strachey's perilous search for Wenske takes him to Boston and to New York City, and finally to California and a media world that's as deadly as it is unglamorous. In The Last Thing I Saw, Strachey fends off hired killers, but can he survive Hey Look Media?
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Shop over a million Toys in our Huge New Range

So, You Think You're Clever?

From the ever-curious mind that brought you the bestselling Do You Think You're Clever? comes a brand-new trip to the far reaches of the intellectual universe, courtesy of even more notoriously provocative Oxbridge interview questions. How would you poison someone without the police finding out? (Medicine, Cambridge) What makes a strong woman? (Theology, Oxford) Instead of politicians, why don't we let the managers of IKEA run the country? (Social and Political Sciences, Cambridge) How do you organise a successful revolution? (History, Oxford) Whether you're interested in going to Oxbridge or just want to give your brain a workout, join polymath John Farndon on another exhilarating journey through the twists and turns of thought, and explore just what it means to be genuinely clever - rather than just smart.
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About the Author

John Farndon is the author of numerous bestsellers on science, ideas and the natural environment, as well as being a playwright, composer and poet. He has been shortlisted a record five times for the Royal Society Junior Science Book Prize. Do You Think You're Clever? was shortlisted for the Society of Authors Education Award. Canada's Globe and Mail named his Atlas of Oceans as a 2011 top ten science book. He is currently writing The Omnipaedia for Square Peg.

'The book itself is an enormous contribution to knowledge and so interspersed with compelling narratives [...] that it should shoot to the top of any Oxonian Christmas Book List.' -- Richard Lofthouse * Oxford Today * '[This makes it] a great gift book [...] and it will certainly be one I'll be giving to a few people.' -- Brian Clegg * Now Appearing blog *

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You can earn a 5% commission by selling So, You Think You're Clever?: Taking on the Oxford and Cambridge Interview Questions on your website. It's easy to get started - we will give you example code. After you're set-up, your website can earn you money while you work, play or even sleep! You should start right now!
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SmartSellTM - The New Way to Sell Online

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Sterling Silver Brocaded Initial S Charm - JewelryWeb

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Sterling Silver Brocaded Initial S Charm - .9 Grammes in Sterling Silver - Product Attributes: - Brocaded disc - Engraveable - Solid - JewelryWeb Style: QTC75862NC - FREE gift-ready jewellery box - This Item Does Not Ship With a Chain

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You can earn a 5% commission by selling Sterling Silver Brocaded Initial S Charm - JewelryWeb on your website. It's easy to get started - we will give you example code. After you're set-up, your website can earn you money while you work, play or even sleep! You should start right now!
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Hobo with a Shotgun

Produced in 2011, Hobo with a Shotgun can hardly be listed as an 80’s Action Movie, but there was no reason not to use the 80’s format in this totally over the top bloodbath. If you don’t approve this, then you should take it up with Rutger Hauer. Hobo with a Shotgun had its beginnings as a mock trailer contest used for the promotion of the Tarantino/Rodriguez double feature of Grindhouse roll out. It was turned into a full-length film that surpassed Grindhouse and it is unique with its dark humour and gore. As soon as you see Rob Wells from Trailer Park Boys appearing in the initial scene, you are sure something special is in front of your eyes. By the time you get to the scene with the school bus full of kids, there is no doubt left in you that this is a movie that could offend literally everyone.

The setting of the Story

This movie is set in the small town of Hope, but there is little hope in this God-forsaken hellhole, a dystopian urban landscape violence, death and chaos. After witnessing neverending bullying, abuse, and brutal murder of the town’s unfortunate citizenry, the Hobo protagonist has had enough and he is going into vigilante mode! The Hobo enters into an unlikely alliance with a good-hearted prostitute and together they try to rally the townspeople to stand up against the tyranny of the town’s thugs.

Death Toll

In this movie, it is virtually impossible for you as a viewer to count the total number of violent deaths, much less the total number. This could definitely be considered one of the deadliest movies of all the 80’s Action Movies even though the movie is not an 80’s Action Movie. This doesn’t make any sense, just like the movie. Anyway, the total count of deaths in the movie is impossible to tell, due to the deaths of all of the homeless, but the total deaths attributed to the cast members is a solid 51. The Hobo himself kills 12 victims, including a paedophile Santa. We are going to conservatively estimate 125 deaths due to the long night of violence against the homeless.

Hobo with a Shotgun Overview

Hobo with a Shotgun is not a bad movie at all. It has a lot going for it before one frame is watched due to the title and the starring role of Rutger Hauer. The plot is weak and the ending disappointing, but this film is about style, not story. As you might imagine, Hauer carries the film and is perfect for the role of the craggy, derelict hobo. The strength of the movie, aside from the obvious performance of Hauer, is the use of bright Technicolor to put the spotlight on the carnage and gore. The final scene is a homage to Kubrick and Spielberg’s Flesh Fair in Artificial Intelligence and ends badly for most involved.


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Italy 2 euros 2011 - 150th Anniversary of Italian unification

Obverse of Italy 2 euros 2011 - 150th Anniversary of Italian unification
Krause - Mishler KM# 338
Details Italian unification was the political and social movement that agglomerated different states of the Italian peninsula into the single state of Italy in the 19th century. Despite a lack of consensus on the exact dates for the beginning and end of this period, many scholars agree that the process began in 1815 with the Congress of Vienna and the end of Napoleonic rule, and ended sometime around 1871 with the Franco-Prussian War.

The inner part of the coin shows three Italian flags in the wind, representing the three anniversaries (1911, 1961 and 2011) and illustrating a link between generations; this is the logo of the 150th anniversary of Italian unification. The twelve stars of the European Union surround the design on the outer ring of the coin.

Issue date: March 2011
Specifications Diameter - 25.75mm Thickness - 2.2mm Weight - 8.5gr
Composition BiAlloy (Nk/Ng), ring Cupronickel (75% copper - 25% nickel clad on nickel core), center Nickel brass
Edge Combination of the number 2 and * repeated six times
Comments Designer: Ettore Lorenzo Frapiccini
Mintage 10,000,000 pieces

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Conversations in Education

From teacher book groups to conversations in the faculty lounge, Prep faculty and administrators think a lot about how we support students. Each month in 2017-18, we are featuring a piece by a Prep faculty member or administrator that gives a slice of life at Prep. If you would like to share your ideas, feel free to comment on an individual post or contact Dean of Studies Sarah Cooper.

From teacher book groups to conversations in the faculty lounge, Prep faculty read and talk a lot about education. Each month we highlight a few memorable pieces or videos. Our goal is to make the process of parenting, learning and living a little saner, to put things a little more in perspective. These articles will be chosen by Prep teachers and administrators.  If you want to share your ideas, feel free to comment on an individual post or contact Dean of Studies Sarah Cooper.

October Newsletter: Challenge and Success: Supporting Students Through Monthly Grade Level Meetings

By Midge Kimble, Dean of Students

It’s Monday morning in my office, and I am anticipating Wednesday and Thursday, when we will hold our monthly grade level meetings.

The six different meetings have a component of success and a component of challenge. I am awaiting the list of students who may be experiencing academic difficulties. I am pondering the students who are dealing with difficult circumstances in their personal lives. I am looking forward to stories of our students’ triumphs as shared by their teachers.

The first step before a grade level meeting is a conversation with the grade’s dean and myself. These “pre” meetings are important to focus the grade level meeting later that week – a gathering that will be time limited but data rich.

The dean and I first consider the students who are having challenges. Patterns of behaviors or grades are important to consider. Our discussion of an agenda also covers the activities the class is involved in right now and how the class is doing in general. This week’s round of meetings will be about Homecoming, class trips and balance for the students.

Grade level meetings are a hallmark of Prep and its culture. We gather as a faculty once a month to focus on students and their teenage lives, determined not to let anyone at Prep fall through the cracks.

It is a pleasure to problem solve creatively about how to shepherd students forward in their journey of growth and maturation. Adolescence is not an easy stage of life, and these discussions are an avenue to foster growth. The grade level meetings allow faculty to share stories and put our heads together to help our students navigate their days.

After two days of meetings, the grade level dean and I reconvene to talk about an action plan in relation to what we heard at the meetings.

We ask lots of questions. Should a conference be held? Should a phone call be made to a parent? Should we talk to the student? Is it best for the grade level dean or best for me to hold that conversation? How does the student learn best? What are the successes we should celebrate? How is the balance of our students’ lives going?

Our conversations are intentional, thoughtful and even celebratory – one of the many ways we care for kids at Prep.

For an on-the-ground glimpse into a grade level meeting, please click here.

Posted by Richard Feliciano on Friday October, 14, 2016

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Located near Pasadena and Los Angeles in La Cañada, CA, Flintridge Prep is a private independent, coed day school for grades 7-12.
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Using technology to support a presentation can significantly enhance a business leader’s effectiveness.  This event provides recognition for PBL members who demonstrate the ability to deliver an effective business presentation while using business presentation technology.

The topic to be developed in this presentation will be announced in the Chapter Management Handbook that comes from the national office.  In addition, it will be announced in the State Adviser Briefings throughout the year.  Participants will develop a multimedia presentation using the software and/or technology of their choice.  The presentation may include elements such as graphics, pictures, music, sound, text, video, and transitions.

Entries may be created by an individual member or by a team, not to exceed three (3) members.   In the event of a team, no more than one member may have entered this event at a previous National Leadership Conference, have competed more than two (2) years at the national level, or placed 1st or 2nd at a previous State Leadership Conference.

Participants must have paid state and national dues postmarked by February 15 of the current school year.

State    Each charter may enter one individual or team in this event.

National    See publication:  Chapter Management Handbook—current edition.

District        Each district determines its own procedures for event registration.

State        When it has been determined that a student or team will represent the district at state competition, the student's local adviser must send the appropriate entry form and product to the state adviser by first-class mail.  The entry form and the required receipt deadline are included in the SLC registration packet.

National    See publication:  National Chapter Management Handbook—current edition.

  • The participant must use a presentation software program as an aid in delivering the business presentation.
  • The following will be provided: screen, power, and table.  All other equipment must be provided by the participant(s).
  • Five minutes (5) will be allowed to set up and remove equipment or presentation items.
  • Individuals or team members must perform all aspects of the presentation (e.g., speaking, setup, operating audiovisual equipment). Other representatives of the chapter may not provide assistance.
  • The individual or team has seven (7) minutes to deliver the presentation. All team members must actively participate in the presentation.
  • Visual aids and samples specifically related to the project may be used in the presentation; however, no items may be left with the judges or audience.
  • The individual or team has seven (7) minutes to present.  A timekeeper will stand at six (6) minutes and again at seven (7) minutes.  When each individual or team is finished, the timekeeper will record the time used noting a deduction of five (5) points for any presentation over seven (7) minutes.  Following each oral presentation, the judges will conduct a three-minute (3) question-and-answer period during which the presenters should be prepared to defend all aspects of their presentation.The performance is open to conference attendees, except performing participants of this event.

If a final round is needed, a maximum of ten (10) finalists—or an equal number from each group—will be scheduled for the final round.  All other procedures as outlined in the general information and preliminary round will be followed for the final round.  The final performance is open to conference attendees, except performing participants of this event.  In the event that there are 15 or fewer entries, the final round will be eliminated.

Oral performances will be judged by a panel at the conference.  All judges’ decisions are final.

State        State awards for the top five places are presented at the State Leadership Conference.

National    The number of awards presented at the National Leadership Conference is determined by judges and/or number of entries.  The maximum number will be ten.


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The demand for accounting professionals specializing in forensic accounting and fraud examination is growing as organizations face changing economic, regulatory, and competitive challenges across industries and countries. Technology makes it both easier and harder to engage in fraudulent activity. The accounting profession is becoming increasingly specialized to meet the demands of the evolving business environment. This event recognizes PBL members who possess advanced accounting knowledge.

The one-hour objective test may include questions on introduction to forensics and investigative accounting; forensic accounting education, institutions, and specialties; fraudulent financial reporting; detecting fraud in financial accounting; indirect methods of reconstructing income; money laundering; investigation of electronic data; and digital forensics analysis. In the case of a team, team members will take one test collaboratively

Participants must have paid state and national dues postmarked by February 15 of the current school year.

State                Each charter may enter one individual or team of 2 or 3 members.

National          See publication:  Chapter Management Handbook—current edition.

State                When it has been determined that a student will represent the charter at state competition, the appropriate entry form must be sent to the state adviser received first-class mail by the date specified in the SLC registration packet.  At the State Leadership Conference only an objective test will be given.

National          See publication:  Chapter Management Handbook—current edition.  Participants will receive a case study upon check-in at the NLC.  Teams will have until the scheduled presentation time to research, document their research, and develop a presentation. Teams are not limited in research techniques and sources.

·         Participants must be selected in accordance with the regulations of the FBLA district, state chapter, and the national association.

·         No more than one team member may have competed in this event at a previous National Leadership Conference or placed 1st or 2nd in this event at a previous State Leadership Conference.

·         Participants failing to report on time may be either disqualified or permitted to begin late with no extension of the time as scheduled.

·         Team members will take one test collaboratively.

·         Participants must furnish their own No. 2 pencils and erasers.  Students may bring financial calculators to the event.  No other electronic devices may be brought to the event.   No reference materials or other items are to be brought to the event.

·         Participants must adhere to the dress code established by the Board of Directors or they will not be permitted to participate in the competitive event.

Tests will be machine graded.  In the event of a tie, the students’ performance on the final ten questions of the exam will be evaluated.  After that, if necessary, the order in which the tests were received will be used.

State                State awards for the top five places are presented at the State Leadership Conference.

National          The number of awards presented at the National Leadership Conference is determined by judges and/or number of entries.  The maximum number will be ten.


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General Question

tWrex's avatar

Do you think it's bogus that the iphone has been out less time than...

Asked by tWrex (1655points) September 19th, 2008

Do you think it’s bogus that the iphone has been out less time than the blackberry, yet there are so many more sites that make mobile versions for that platform (this one included) than the blackberry? It’s really starting to piss me off. I know… deep breaths… but damn what do I gotta do to get the same app coverage for a device that’s been out for like what, 10 years now?

Observing members: 0 Composing members: 0

26 Answers

Nimis's avatar

I think it’s because the iPhone caters to the casual user.
Versus Blackberrys were originally seen as being more work-related?

robmandu's avatar

Developing for the iPhone is not a trivial task.

And yet, based on the comments in the story I linked, it sounds like it’s far & away better (i.e. faster, easiers, cheaper) than app development for any other mobile or gaming platform.

Holy frijoles! Fluther is converting my quip into piratical as I type it!!!

Update: only the preview is in piratical. The actual post comes up as I typed it originally. Freaky cool.

Nimis's avatar

Rob: Holy crap! That is so cool!

Lightlyseared's avatar

It’s not bogus. Apple have invested in their platform, produced an easy method of ditribution of apps and then got lots of people excited about the product.

Johndole's avatar

The iphone is simply a more appropriate and more friendly platform for app use than the blackberry is. On the iphone, the sky seems to be the limit. On the blackberry, the keyboard is the limit…

Nimis's avatar

I think the multi-touch interface is definitely a factor.

Seesul's avatar

Yet, another reason I love fluther. Thanks Ben and Andrew
I feel like I’m back on the Disney Wonder and it’s Pirate Night.

Johndole's avatar

wait for a blackberry touch screen to come out, or at least one that has a powerful accelerator integrated, and RIM will be in the app business too.

tWrex's avatar

Your avatar

@Nimis I agree with ye that, that be th’ conception, but what about nokia or palm or windows mobile users? There be loads o’ them and still no site. I do understand what ye mean about casual vs work though.

@robmandu Ok. I see that it may be cheaper if ye own a Mac (xcode be free), but ye can develop for th’ blackberry using nothing but open source software. And me argument isn’t actually about app development rather than it be on site availability and tailoring sites for th’ iPhone over th’ Blackberry. See what I’m sayin’?

@Lightlyseared Aye I agree with ye on that, but it’s not apple that’s re-branding th’ sites for th’ iPhone. It’s th’ sites.

@Johndole Why be th’ keyboard th’ limit? Th’ blackberry can do most anything th’ iPhone can do. It simply doesn’t have a touch screen. There be loads o’ “app stores”. Lots o’ apps for it as well. So why not websites?

Johndole's avatar

perhaps they should stick with keyboards though

robmandu's avatar

@TWrex wrote, “it be on site availability and tailoring sites for th’ iPhone over th’ Blackberry”.

Ah… well, surfin’ the web on a Blackberry is painful. There’s no javascript support, poor support for standards in general… and those notwithstanding… it’s slo-o-o-o-o-ow to render pages. Chances are, if your web browser is simply named “Browser”, it’s gonna suck.

Even the latest Blackberry Bold, which now has 3G wireless, is a dawg bringing up sites when compared side-by-side to the original 2G wireless iPhone.

In short, I sum up the BB’s problems as:
– poor browser technology (nowhere near as good as WebKit-based Mobile Safari)
– slow processors (nowhere near as fast as the ARMs that Apple uses)
– smaller screens (at handheld sizes, even the tiniest difference in size is very noticeable).

Oh yah, and the battery life doesn’t even compare… amazing what with the iPhone’s more powerful everything going on.

Vincentt's avatar

It’s because everything Apple excretes turns into gold. It’s “hot” to develop for the iPhone. Look how much more users Fluther got by offering an iPhone version – would they have gotten that if they targeted Blackberries?

So yeah, it’s unfair, but so is life.

willbrawn's avatar

have you seen the blackberry thunder. It’s a click touch screen. It’s no iPhone. Phones were all the same before the iPhone. Apple gave everyone a reason to think of new ideas.

tWrex's avatar

@robmandu Touche. Ye have me there. Th’ browser blows – although th’ new 4.5 browser be loads better. Nowhere near webkit. Slow processors, I’ll give ye as well, but that would belay ye from developing a mobile site? And again, there be still th’ palms and windows mobile phones o’ th’ world. And yeah th’ smaller screen does suck too.

I’m grabbing that HTC Dream th’ day it drops so yeah. I’m all over that. Damn the bb and iPhone. Open Source Baby!

@Vincent I never stated it wasn’t fair. Merely bogus and frustrating. And I can’t say that I be knowin’ whether they would get as many bb users as they got iphone users. Th’ bb be not th’ work device it used to be. More and more young people be using it as their all around device because they can go to myspace (gag) and chat and what not.

Nimis's avatar

tWrex: I’m trying to look smarter, so you’ll take my answers more seriously. ;)

tWrex's avatar

@Nimis LoL I do take yer answers seriously. I gave ye a GA for that first post. Ye’re definitely right about everyone still looking at BB’s as work devices rather than things that everyone uses.

Nimis's avatar

tWrex: A-ha! Now ponder about this…would you have been as likely to GA me if I hadn’t been wearing my glasses?

dland's avatar

It’s not about how long the platform’s been around, it’s about how much better one is than the other.

I’m a Crackberry addict forever (I’m on my 5th ‘Berry now, have been using ‘em since they looked like a fat pager), but the browser on the Blackberry is still teh sux, the operating system and development environment is byzantine, and there just isn’t a lot of computing power in there.

— The “Browser” app on Blackberry is barely better than the complete load of garbage that was on my VX-9900, which was so bad I sold it at a $100 loss to get back to the ‘Berry.
— I tried Opera on the Blackberry. It’s user interface was so convoluted that I couldn’t wait to get rid of it, and the Blackberry just doesn’t have the computing horsepower to run such a complex app, as far as I can tell.
— Developing for the Blackberry is not easy. Apple have done a lot to make an API, SDK and marketplace that make it easy to build and distribute apps for the iPhone.

That, and the fact that it’s from Apple, who really really know their way around a consumer product. RIM could learn a lot from them, and I DO NOT mean making a Blackberry that looks like an iPhone.

REAL KEYS, people—it matters!

Lightlyseared's avatar

The websites are rebranded due to the lack of apps for the original iphone. Apple started the web app thing and then started promoting them on its website. Fluther did really well out of Apple putting it on their list of top 10 webapps and if you can get free advertising then people ussually go for it. It’s much better than spending your own money on advertising.

tWrex's avatar

@Nimis I may have, but I woulda thought about it twice before doing it

@dland Ok. I can see yer points, all o’ which be valid.

@lightlyseared Good point. Hadn’t thought about that and it makes sense why there’d be a version for th’ iPhone.

I still believe they’re missing a huge market, because other platforms I’ve mentioned can handle websites well and they don’t have a mobile option either. Be those platforms (palm, windows mobile) stuck in th’ same business category that th’ BB be?

MrBlogger's avatar

Apple know what people need. A long time ago when steve introduced Mac OS X with the Aqua interface he said how it was hard to make a user interface that everyone likes. Just like how hard it is to make a movie that 5 year old and adults enjoy. The iPhone is great for the average user and the busy worker! Think about it. They’re pretty smart.

Vincentt's avatar

@tWrex – then I’ll state it’s unfair :P

Though one might also argue it’s just good marketing. Though then I’d argue that it’s unfair to be more popular because of good marketing instead of good products…

tWrex's avatar

@MrBlogger No doubt. But here’s th’ thing with yer quote. Th’ only reason I like th’ way OS X looks be because I forced myself to use Gnome over KDE. I still think KDE has loads more features and caters more to power users than Gnome ever has or will. And aye. Apple definitely knows what to do to drive a product. They be extremely intelligent.

@Vincentt LoL. I agree with ye wholeheartedly. I guess me gripe with people saying th’ iPhone be for everyone whereas th’ blackberry be for business be that, bb’s support both corporate and personal email. Th’ iPhone did not support Exchange when it first came out. They were quick as diarrhea to remedy that, but they took th’ personal phone and turned into a business phone. So what’s th’ difference then? Th’ process o’ how each one got to whar there at?

Lightlyseared's avatar

Your personal phone is the one you choose, your business phone is the one requisitioned for you by your manager. Blackberry’s have until recently always fallen into the latter camp as that was the market they were aimed at and have succeeded in dominating. The iPhone on the other hand was aimed at the personal user and apple’s core market for the moment is the personal user. Apple didn’t want to target business as BB’s domination was almost total and therefore the investment to make inroads into that particular market would have been massive. On the other hand Apple had already dominated the personal music player market taking over from Sony in a staggeringly short period of time. Mobile phone manufactures had been trying to get in on the act for a while and lets face it most other Mobile’s that played music were not that intuitive to use (unlike the ipod which is almost idiot proof and its this feature that made it the success it is). Therefore it was logical for apple to try and gain market share the other way (ie into the phone bussiness). As business sector would have been a waste of effort (as mentioned), originally they went for the personal sector. When it became obvious that there was a demand for the iphone in business they added it just as BB are now desinging products for the personal sector.

bluemukaki's avatar

I think it’s particularly ironic that the ‘full web’ on your phone that they talked about for so long has a plethora of specially designed websites!

I made an iPhone web-app for my site and initially, to get a completely working version, it took me about 3 hours, all up. Once I had all the infrastructure of my site in place making an iPhone web-app was easy because of how similar Safari and MobileSafari are, heck I didn’t even need to test the site on my iPhone, I just made my Safari window smaller!

Add to that the fact that Apple have easy to use templates for free download and use in Dashcode and there’s not really anything stopping you from spending a while making a web-app which you know is going to drive visitors.

In our case we had to make a mobile site because ours relies on drag-and-drop for a large part of the interface and we couldn’t provide that on the iPhone (drags are reserved for scrolling), but for others there really is no need (Fluther doesn’t perform very well on the iPhone unless you use the web-app, so that is a required one!).

MrBlogger's avatar

The reason is because the Blackberry doesn’t handle internet as well as the iPhone. Its not a mobile version or a stripped down version of the internet, this is the full internet! On an iPhone making a web app or even just an app is a snap! Apple really has planned this out very well when making the iPhone.

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General Question

Nimis's avatar

Are intelligent people more susceptible to schizophrenia?

Asked by Nimis (13127points) September 21st, 2008

From my personal experience and a brief perusal of online articles,
there seems to be a strong correlation between the two.

Though, while genetics may play a large role in schizophrenia,
it supposedly does not play much of a role when it comes to intelligence.
How do these seemingly disparate ideas reconcile themselves?

Observing members: 0 Composing members: 0

20 Answers

Nimis's avatar

asmonet's avatar

I seem to remember reading that very high IQ’s are related to certain disorders (and may be caused by them). However I don’t think that any research ever pointed to high IQ’s causing mental illness. It happens sure. Same as Einstein couldn’t tie his own shoes, but could make all these silly theories. :-p

It’s like of 50 very smart people, two are mentally ill.
Of 50 mentally ill people, two are very smart.

It might help if I could Venn Diagram this shit.
Then again, I could be all wrong, it’s late…I’m tired…still on Fluther and haven’t read about this in forever.

I will do more research on the morrow.

augustlan's avatar

@asmonet: Your humor, self-proclaimed nerdiness, and “on the morrow” just got you added to my Fluther :)

nikipedia's avatar

My experience with this clinical population tells me that no, just the opposite seems to be true, and it looks like this is supported by the data:

“Conclusions: The results confirm the importance of low intellectual ability as a risk factor for schizophrenia and other psychoses.”–199711000-00009.htm;jsessionid=LX0FJp1k3pvbrCB08LJnBwh421hvWLH7Byv7MgYpLN1TBJMXS9TD!1177656273!181195629!8091!-1

“Conclusions: Lower IQ score was associated with increased risk for schizophrenia, severe depression, and other nonaffective psychoses, but not bipolar disorder.”

“Conclusions: Neuropsychological patterns in schizophrenia tend to be consistent at different IQ levels. Even schizophrenia patients with normal current IQs manifest substantial neuropsychological compromise relative to their level of general intellectual ability. The results strengthen the argument that neurocognitive deficits are core deficits of schizophrenic illness.”

Also I am inclined to disagree with your premise that genes play a lesser role in intelligence than schizophrenia, but that is a separate discussion and neither association has compelling data to support it that I am aware of.

Nimis's avatar

Ergh…can’t open the first link.

Nimis's avatar

How do they measure pre-morbid IQ?

Nimis's avatar

Nik: Thanks for the further reading!
Though I think I need to sleep before I try to soak all of this in. Too. Braindead.

nikipedia's avatar

The study used a population of 50,000 Swedish men who were given compulsory IQ tests when signing up for the army. Eventually 362 of them developed schizophrenia.

And you’re welcome :)

asmonet's avatar

@niki: You’re amazing. I was wrong, you learn something everyday. thanks for the information! clearly, I was misinformed.

Nimis's avatar

Hmmm…It’s definitely handy to have 50,000
at your whim to take compulsory psych tests.
I can’t imagine any other legal way to get those numbers.

But I’m thinking that might skew the results.
Can we project the results onto the general public?

The pre-morbid IQ of 50,000 swedish men who are
signing up for the army is different from 50,000 men, no?
Maybe I’m just a little personally-biased.
My dad was in the air force. And my brother was in the army. Ha.

nikipedia's avatar

@Nimis: The study says they were “conscripted” so it sounds like they weren’t actually volunteers, although I don’t pretend to know anything about the structure of the Swedish army. Also, 362 people developing schizophrenia out of a population of 50,000 yields a prevalence of about .73%, which is actually below the general population rate of 1.1% in the US (although who knows if it’s different in Sweden).

Nimis's avatar

Ah…gotcha. That certainly adds weight to the results.
Thanks for all this information by the way!

Carol's avatar

I’m curious Niki, as to when the study was done and what instrument was used to measure IQ.

IchtheosaurusRex's avatar

An old man took his wife to a psychiatrist. The doctor told the man, “I’m sorry, sir, but your wife’s mind is gone.”

“No wonder,” replied the man. “She’s been giving me a piece of it every day for the last 50 years.

Zen's avatar

We don’t think so.

ratboy's avatar

My voices can’t reach a consensus on this one.

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William Loob
March 01, 2005

Once boutique rums and tequilas made an appearance, it was just a matter of time before vodka followed suit. Pravda, from Poland, was created by Ola Kulak, the country's first female master distiller. She uses only late-harvest rye to make her subtly fruity and silky vodka ($29 for 750ml). For France's Jean-Marc XO, Jean-Marc Daucourt experimented with dozens of varieties of wheat over seven years before settling on a blend of four. The result: a vodka with a floral nose and elegant tropical-fruit taste ($50 for 750ml). Even vodka's big names have gotten into the superpremium game. The new Stolichnaya Elit, from Russia's iconic brand, goes through a freeze-filtration process that makes it exceedingly smooth ($60 for 750ml).

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© Danling Xiao / @mundane_matters
Clara Olshansky
June 22, 2017

Food art has become quite the booming industry over the last couple years, but this food artist actually uses her work to make the world a better a place. Danling Xiao, a graphic designer from Sydney, makes gorgeous food sculptures and then eats the final product to raise awareness about sustainable living. Her project, Mundane Matters (@mundane_matters on Instagram), operates both on the large scale—bringing delightfully Earth-friendly sculptures to tens of thousands of Instagram users every day—and the small—holding food art workshops throughout Sydney every week.

Xiao says, "Many people think I'm just doing cute fruit art, but what I'm doing reminds us where our food comes from and helps to raise awareness about sustainable living." To that end, Xiao uses well-sourced (and often misshapen) fruits and vegetables, and always consumes the final product—as she calls it, "eat-your-own-art".

Xiao makes one sculpture a day, and currently has over 500 of them. She's been sculpting with food for three years now, but it wasn't until a year ago that she quit her day job as a graphic designer to fully pursue Mundane Matters.

Along with advocating for environmental awareness, Xiao also uses her transition from clock puncher to full-time artist as a positive model for anyone looking to make the switch. In a recent LinkedIn Pulse post, she advised that you should always place living a healthy life above pursuing your passion, that you prepare as well as you possibly can before you quit your 9-to-5, and, if you’re on the fence about quitting your job, get a loved one to audit your life to help you make the choice.

Sure enough, churning out and eating a new work of art every day, running a series of workshops, and working as an environmental advocate, Xiao has bitten off about as much as anyone can imaginably chew.

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Healthy Super Bowl Foods: 5 Recipes for the 2017 Football Finale

Healthy Super Bowl Food

You will definitely want to indulge in some snacks while enjoying Super Bowl 2017. This year, how about having some healthy snacks instead? Here are five tasty and healthy Super Bowl food recipes that you must try.

5 Healthy Super Bowl Food Recipes

Zucchini Fries

Zucchini fries are a healthier alternative to french fries. They have almost half the calories compared to french fries. There are only 181 calories in 11 zucchini fries.

  • 2 zucchini
  • 1 egg white
  • 1/4 cup milk
  • 1/2 cup shredded Parmesan cheese
  • 1/2 cup seasoned breadcrumbs
  • Vegetable cooking spray

Preheat oven to 425°F. In a bowl, whisk the egg white with milk. In another bowl, mix Parmesan cheese and seasoned breadcrumbs.

Cut zucchini into three-inch sticks and dip it into the egg mixture, and then roll in the breadcrumb mixture. On a greased baking sheet, place the zucchini strips and bake for 25 to 30 minutes or until golden brown.

Baked Sweet Potatoes

  • 2 medium sweet potatoes (8 to 10 ounces each)
  • 2 tablespoons reduced-fat sour cream
  • 3 ounces bacon, diced
  • 3 teaspoons chopped fresh chives
  • 2 tablespoons shredded reduced-fat sharp cheddar cheese

Pierce the potatoes with a fork and place them on a paper towel. Microwave the potatoes on high for four minutes, flip over and microwave for four more minutes. Cut the potatoes in half lengthwise and scoop out the pulp to make 1/4-inch-thick shells.

Mash pulp with two tablespoons of sour cream, three ounces of bacon, and two teaspoons of chives in a bowl.
Stuff the mixture into the shells and sprinkle with cheese.  Microwave on high for two minutes, and sprinkle with a teaspoon of chives.

Quick Eggplant Dip

  • 1 large eggplant (about 1 pound)
  • 3 tablespoons tahini
  • 3 tablespoons olive oil
  • 3 tablespoons lemon juice
  • 2 cloves garlic, chopped
  • 1 ¼ teaspoons kosher salt
  • ½ teaspoon ground cumin
  • Pinch cayenne pepper
  • 1 tablespoon chopped parsley

Prick the eggplant all over with a fork. Heat broiler to high with the rack six inches from the heating element. Broil the eggplant on a rimmed baking sheet until charred and soft. Remove from heat.

After it cools, scoop out the flesh and blend it with the tahini, oil, salt, cumin, lemon juice, garlic, cayenne, and parsley. Serve with veggies.

Fudgy Chocolate Brownies

You can eat these healthy brownies without feeling guilty. The unsweetened cocoa used in the brownies keeps the fat content low.

  • 5 tablespoons stick margarine
  • 1 ounce unsweetened chocolate
  • 3 large egg whites, lightly beaten
  • 1 large egg, lightly beaten
  • 1 cup all-purpose flour
  • 2/3 cup Dutch process chocolate or unsweetened cocoa
  • 1 1/2 cups sugar
  • 1/2 teaspoon baking powder
  • Cooking spray

Preheat oven to 325°F. In a large saucepan, melt margarine and chocolate over medium heat. Add cocoa and cook for a minute.

Add sugar and cook for another minute. At this point, the mixture will form a hard ball. Remove the pan from the heat and cool.

Combine the warm chocolate mixture, egg whites, and egg and whisk to blend all the ingredients. Combine the flour and baking powder and fold the flour mixture in the chocolate mixture. Spoon batter into a nine-inch greased square baking pan.

Bake at 325°F for 30 minutes. Avoid over-baking. Cool on a wire rack.

Marshmallow Popcorn Bars

  • 2 tablespoons unsalted butter, plus more for the dish
  • 1/2 cup popcorn kernels or one 3.5-ounce package plain microwave popcorn
  • 110-ounce bag marshmallows

Pop the popcorn according to the package directions. In a large saucepan melt the butter and marshmallows over medium-low heat until smooth.

Coat the popcorn with the mixture and pour them on a greased baking dish. Let them cool and cut into bars.

You can wholeheartedly indulge in these healthy and easy-to-make game day foods, and can also enjoy them all year round.

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text:
Video game stocks tend to be cyclical, enjoying occasional booms on the rising edge of the console upgrade cycle. But Electronic Arts' (Nasdaq: ERTS) recent results suggest that it's fallen through a time warp, landing right in the doldrums of that cycle. EA investors seem to have little reason to say "w00t."

EA's quarterly earnings release boasted of the largest revenue in its history, but obviously, all the sales in the world wouldn't have helped. Its third-quarter loss was $33 million, or $0.10 per share, compared to a profit of $160 million, or $0.50 per share, this time last year. That aforementioned revenue increased 17% to $1.5 billion.

EA noted that on a non-GAAP basis, net income increased more than 40%; that doesn't excite me, since I'm not interested in how profitable it would have been had a formidable list of items been backed out. (Most of the numerous items in EA's non-GAAP reconciliation seem to appear quarter after quarter.) Meanwhile, EA lowered the high end of its guidance range for fiscal 2008; it now expects revenue of $3.46 billion to $3.59 billion, and a loss of between $1.67 per share and $1.48 per share. It previously issued revenue guidance ranging from $3.35 billion to $3.65 billion, and predicted a loss between $1.60 per share and $0.91 per share.

Nintendo (OTC BB: NTDOY.PK), Sony (NYSE: SNE), and Microsoft (Nasdaq: MSFT) may all have popular, recently upgraded video game consoles, and there have been plenty of bullish signs for the industry, but it almost seems as if Electronic Arts is stuck in another time and place. Perhaps it's playing Pong.

EA may be taking fantasy warfare to Taiwan, but in another notable piece of news, EA said the long-long-long-awaited game Spore, from the creator of The Sims, will release before the next holiday season. Industry watchers had expected it to ship in the spring.

I generally feel more optimistic about Electronic Arts and Activision (Nasdaq: ATVI), since they've traditionally shown the sort of leadership that's arguably lacking in companies like Take-Two Interactive (Nasdaq: TTWO) and THQ  (Nasdaq: THQI). However, I'm baffled by Electronic Arts' seeming inability to gain much traction in a vibrant video game space. At the moment, I don't see any reason to press "start" on EA.

Grab your controller and check out some recent EA news:

Electronic Arts, Activision, and Nintendo are Motley Fool Stock Advisor recommendations. Microsoft is an Inside Value pick, and Take-Two is a Rule Breakers pick.

Alyce Lomax does not own shares of any of the companies mentioned. The Motley Fool has a disclosure policy.


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It’s been a battle that has been simmering under the surface at Arsenal for some time now.

On one side you have chief executive Ivan Gazidis who wants to bring the club into a more modern way of thinking, but on the other you have Arsene Wenger - a manager firmly entrenched in the way he does things and who has the unequivocal backing of the owner.

Towards the end of last season it was clear that the pair did not see eye to eye, with Wenger publicly mocking Gazidis’ plan to appoint a director of football as part of his ‘catalyst for change’ projct.

The likes of Marc Overmars had been sounded out, with Ajax even starting to put plans in place for his departure, so convinced were they in Arsenal’s interest - but in the end the director of football plans were scrapped.

Wenger got his way, things stayed as they were and the Arsenal boss signed his new two-year contract to extend his stay in north London.

It was seen as a huge kick in the teeth for Gazidis and a victory for Wenger - but recently the signs are that Gazidis is slowly beginning to get his way - albeit with a bit of compromise.

A new sporting director is set to be appointed at the Emirates according to the Mirror, who will help oversee negotiations, transfers and contracts.

Raul Sanllehi, the current director of football at Barcelona and a close friend of Gazidis, has been heavily tipped to take on the role once he leaves the Camp Nou at the end of his contract in December.

Ivan Gazidis and Arsene Wenger embrace after the FA Cup final win against Chelsea.

The new man will take on the duties being relinquished by Dick Law, a staunch ally of Wenger who has been chief transfer negotiator at Arsenal for the past decade.

The appointment will follow on from the arrival of legal and commercial expert Huss Fahmy from cycling heavyweights Team Sky, who Gazidis brought in during the summer.

And chief scout Steve Rowley - who has worked alongside Wenger ever since the Frenchman arrived in north London - is also on the brink of leaving the Gunners.

Arsenal insist that Rowley’s future is still to be decided, but according to the Daily Mail he is on the verge of quitting as he believes he has been made a scapegoat for the club’s recent failings in the transfer market.

The report claims that Arsenal will be ‘beefing up their analytics operation’ to modernise the way they approach their transfer dealings and that Rowley’s imminent departure suggests Gazidis is getting his way at last.

Will the shake-up behind the scenes at Arsenal be a good thing? Let us know by leaving a comment below


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Shelvey has been seeing psychologist (it’s not working)

Date published: Monday 14th August 2017 12:20

Jonjo Shelvey revealed that he is seeing a psychologist for his anger issues…and two days later he was sent off for treading on the ankle of Dele Alli in the opening game of the Premier League season.

The Newcastle midfielder spoke exclusively to the Daily Mail last Friday, ahead of Sunday’s clash with Tottenham.

Those quotes have now been published, with Shelvey apparently very aware that he has a problem with his reactions on the football pitch.

“Look, sometimes I just need to rein in it in on the football pitch. I need to just shut up and stuff. I need to not get involved and walk away.

“I started to see a psychologist last year to work on the mental side of things. It was after the Forest game. I was sent off.

“I had kicked out at this lad and it was just childish.

“When people wind me up I should just laugh. I do need to get that out of me. Sometimes you can’t help it.

“I started to work with this fella and after that there wasn’t really an incident when I did that. I started to learn to keep my head down and just get on with the game. But it’s an ongoing process and I am still working with him.

“Sometimes I can lose my head and it can’t keep happening.”

It did.

More Related Articles


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RIP 'Software' Companies; Hello 'Data' Companies

, I track how technology innovations move markets and careers Opinions expressed by Forbes Contributors are their own.

The software company is dead, long live the software company.

Nowadays, the money is in data, or service delivery via the cloud. Delivering and selling software is so 1990s.

Consider the latest report from Forbes contributor Peter Cohan, who points out that in Massachusetts, 120 big data companies are targeting $64 billion database and analytics market. Even traditional hardware companies such as EMC are now big data companies.

At a conference last year, a panelist pointed out that the industry group we’ve known for years as “software companies” has made a sudden, seismic shift — the major players are now “data companies.” Mike Hoskins, CTO of Pervasive Software , said the stars of the information technology industry consisted of hardware companies in the 1950s through 1980s. software companies in the 1980s through 2000s, and now data companies. “Is Google a software company?” he asked. “Is Facebook a software company?” They’re not,  they’re data companies. The value they and many other companies provide to the market is their ability to manage data and provide analysis.  Even behind cloud offerings is the ability to provide insights and analysis with the information you are working with.

RedMonk’s Stephen O’Grady also pointed out in a speech last year, reported by The Register's Matt Asay, that software companies are passe: “The top 20 software companies are relatively low on Fortune 500’s totem pole of revenue, and not a single one lands in the top 10… What this means is that if you want to make a boatload of money in software, be prepared to spend decades getting big enough to catch the world’s attention. What the data also suggest, however, is that there are far better ways to make money than through software… Like data.... The Age of Software was fun. Welcome to the Age of Data.”

This has a lot of implications for a range of organizations. The crossover from being purely a software provider to a data empire-builder seems like a natural transition many software players could make. As part of a move to the cloud, for example, they could provide metrics and monitoring data that help customers run more efficiently.

There are the media and information companies — from The New York Times to Bloomberg to Thomson Reuters — who package and sell information and data in various forms, and already compete with Google and Twitter on various levels. Then, there are the companies that aren't really technology companies at all. Even Wal-Mart is now a data company. Its @Walmartlabs unit is tasked with assembling data from social networks and mobile transactions to build Wal-Mart’s online sales channel.  The company is building what it calls a “Social Genome,” based on millions and billions of tweets, Facebook messages, blog postings, YouTube videos, and more.

To become a data company, an enterprise needs to figure out ways to better reuse and take advantage of the treasure troves of data they are accumulating. There are a myriad of ways this data can be reused within the enterprise. And, if your enterprise can’t use the data, there may be other enterprises willing to pay for such information (de-identified of course). Hongwei Zhu and Stuart E. Madnick propose a number of innovative ways data can be “reused” or repackaged:

Sell “private” data: Data can be combined into unique data sets. “A company that offers open access to certain data also probably has certain other ‘private’ data that make the combined data set unique,” , Zhu and Madnick write. “Like other types of information goods, a unique database has much less competition and can often be sold with a good profit margin.”

Become a “reuser:” Integrated data sets brought in from various sources can help produce new ways of looking at business problems and opportunities. “Data reuse not only provides the convenience of easy access to otherwise disparate information, but the integrated data can also provide insights that are otherwise invisible.”

Differentiate: Data can be of higher value as its reused and repackaged in different ways. Websites that provide comparative pricing information, for example, makes data more highly usable than in its original source.

Analyze: Leverage the integrated datasets you have assembled to aid in both day-to-day and strategic decision making. “You can use the data for making better decisions or offer services to help others to make better decisions,” the authors write. They cite the example of BizRate, a price comparison site, that also sells analysis of its searches and click streams to its price comparison database to market research firms and retailers.


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1.4 tcdi Service interval

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Is it a year or 12k miles whichever comes first?

which ever comes first , have you got a little next service sticker on your windscreen which tells you?

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Forestry Commission logo

General Information for Groups and Group Leaders

Organising Your Visit

Summer log circle. Photographer Helen HowesCareful planning is vital to the success of your visit. A prior visit is highly recommended so that you are aware of the site, what you want to see, meet with forest staff and check out routes. Should this not be possible, please contact the Ranger by email or telephone prior to your visit to discuss requirements.

Party Size

The party should be broken down into small groups with a leader responsible for each group. We advise a maximum leader to pupil ratio of 1:8, although group leaders should also be aware of the requirements of their own LEA or regulatory body.

Leaders Responsibility

Leaders should be aware that they are responsible for the behaviour of the group at all times, whether it is a self-led or ranger-led visit. Leaders may be required to take a participatory role on led visits.

Additional Permissions

An additional permit may be required for specialist activities or field studies; contact Ranger staff for advice.

The safety of visiting groups is the responsibility of the group leader and each group should carry a first aid kit.

  • Please advise The Forestry Commission of any accidents immediately, regardless of whether assistance is required.
  • Leaders should be aware that ticks can be found in the forest (as in all woodland, moorland and grassy areas) and it is advised that a check is carried out after the visit to ensure that no ticks have attached themselves to the body. Should you require further information, please contact the ranger directly.
  • The forest is a working environment; please observe any restrictions, warnings or temporary closure notices. On arrival, check with the Visitor Centre about any areas of the forest you need to avoid.

After your visit please take a few minutes to complete our evaluation and diversity forms.  Your feedback is very important to us and will be used to improve our programmes in the future.

Ranger-led sessions

The key features of our Ranger led Sessions are:

  • Half Day Programme
  • Depending on Ranger availability, a half day session lasts 2½ hours.
  • There is a maximum group size of 30 and we advise a leader to pupil ratio of 1:8.
  • Approximate times: Morning: 10– 12.30 Afternoon: 1.30- 4.00
  • All sessions include an introduction to ‘Multi-purpose Forestry’ and ‘Forest Habitats.’
  • For large groups or very young children It is possible to run two 1 ¼ hr sessions instead of the full session.

Self-Guided Visits

Camouflage learning. Photographer Helen HowesOur forests have much to offer visiting groups, with numerous waymarked trails, orienteering courses, Go Ape high ropes course and at Whinlatter and Grizedale and adventure playground. . Guide maps of the forest parks can  be purchased in the Visitor Centre , usually for  a cost of around £2.00

For more information please visit the homepage for either Whinlatter near Keswick or Grizedale near Ambleside

Items to bring

Please ensure that group members are adequately clothed for the conditions. Due to unpredictable weather and terrain we recommend

  • warm and waterproof clothing,
  • stout footwear
  • hats/gloves as necessary throughout the year.
  • long trousers are advisable, even in summer, as many activities could be "off the beaten track".
  • best uniform/clothing is not appropriate for the forest.
  • sunscreen and insect repellent in the summer
  • access to a drink and snack, lunch boxes can be left in the classroom, if it has been booked

Please note that for activities led by The Forestry Commission, participation may be refused on the grounds of inappropriate clothing/footwear.

What's of interest

We can be very busy during the summer months. It is extremely important that you book your visit well in advance; bookings can only be confirmed once payment has been received in full.

England's Woods and Forests are cared for by Forest Enterprise England, an agency of the Forestry Commission.


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Handmaiden yarns at For Yarn's Sake

The Vision of Handmaiden

Each skein of Hand Maiden Fine Yarn is carefully dyed by hand in tiny batches so that no two skeins are exactly alike, making every garment one-of-a-kind.  We like to think of ourselves as the haute couture of the yarn world. We hope you find our line as alluring as we do.

Born of complete and utter fibre addiction and a desire to share Swiss Mountain Silks and other exquisite fibres with the knitting community, Hand Maiden Fine Yarn was started on the west coast in 2005. We quickly outgrew our nest and returned to Nova Scotia to join our sister brand Fleece Artist at our custom designed dye house where we continue today.  As always, Hand Maiden Fine Yarn is a family business proudly employing emerging artists with a flair for colour dyeing our custom colours.  Some of our current “maidens” are potters, photographers, textile artists and jewellers with their own art practice.


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5. Delirious Anthropology
Veröffentlicht: 26.10.2013
in der Serie Modernist Revisitations
zurück vor

I feel like I’ve spent the last four weeks overstating my scepticism about contemporary art’s retrospectivity—as seen in the repurposing of modernist art and architecture, the incorporation of pre-existing archives, and the retrieval of outmoded mechanisms of display. All three are examples of art’s fascination with the past that too often forgets to keep its sightlines on the present. This week I’d like to conclude my series of blogposts by looking at three recent videos that take past works and pre-existing archives as their starting point, but which do so in order to assess the present: Provenance by Amie Siegel (recently on show at Simon Preston Gallery in the Lower East Side), Grosse Fatigue by Camille Henrot and Ricerce Three by Sharon Hayes (the last two exhibited at the Venice Biennale).

Amie Siegel, Provenance, 2013 (HD video, color, sound, 40' 30") courtesy Simon Preston, New York, (installation view)
Siegel’s lingering, luxuriant hour-long Provenance (2013) takes us back to the first week of my blog, when I asked why so many contemporary artists are making work about modernist art, architecture and design. Her video deals with the fate of Pierre Jeanneret’s chairs for Le Corbusier’s complex in Chandigarh. Designed and fabricated in the 1950s, these chairs are today sold as luxury furniture for the discerning one percent. The twist is that this story is told backwards: as the video opens with lingering shots of spacious, perfectly-arranged homes in London, Paris and New York, and aboard a luxury yacht. Jeanneret’s chairs—now refitted in coloured calf-skin—are identifiable not just by their distinctive design, but by the handpainted serial numbers on their sides. Siegel cuts to the photographer’s studio where two of these chairs from Le Corbusier’s government buildings in Chandigarh are photographed for an auction house catalogue, and then cuts to the auction where they sell for $60,000. Her camera then turns to the Belgian restoration factory where the chairs are gutted and refurbished around the original teak structure.
Amie Siegel, Provenance, 2013 (HD video, color, sound, 40' 30") courtesy Simon Preston, New York, (HD video still)
And then we move to Chandigarh: a forest landscape at dawn, the sound of birds and monkeys, and exquisitely framed shots of Le Corbusier’s architecture. The familiar chairs can now be seen in use, in government offices drowning in piles upon piles of paperwork. In the attic backspaces of these buildings, hundreds more of these broken and dusty chairs are stacked high on top of each other—and we soon find the reason why. In a renovated suite of offices, the clutter of paperwork has been replaced by computers in open-plan booths, complete with corporate swivel chairs covered in plastic. Over at the Punjab Assembly, meanwhile, Jeanneret’s bright-coloured chairs are still in use, zinging in yellow, red, blue, green. In University library, amid the ambient rustling of research, students also use these same chairs. The film ends here in the university, with the chairs valued for their function rather than for the luxury signifier that is ‘Le Corbusier’.
Amie Siegel, Provenance, 2013 (HD video, color, sound, 40' 30") courtesy Simon Preston, New York, (HD video still)
In the great slew of contemporary art that repurposes modern architecture and design, Siegel’s piece is one of the few I have encountered that deals with the economic status of these objects in today’s global marketplace. It’s a lavish work, but this also makes me uneasy. Provenance tells a story, but does so in a visual language that is as luxurious as the private dwellings wherein these objects now reside. Collectors’ (second or third) homes and Punjab University Library are filmed alike in the most sumptuous fashion, to the point where any position (criticism, indignation, or approval) is smoothed over in gliding camerawork. Siegel reports on a state of affairs, but declines to comment, letting a story speak for itself. The experience is ravishing, but its cost is a loss of the grit that made the storytelling function of previous photographic practices so poignant and memorable (Sekula, Goldblatt, Sternfeld).

Sharon Hayes, meanwhile, has long made work that draws on the past, especially popular archives and political protest. Her recent video for Venice also looks backwards to go forwards: it takes as its starting point Pier Paolo Pasolini’s film Comizi d’Amore (1965), in which the director interviewed a wide cross-section of Italians about sexuality and relationships—from schoolchildren to the elderly, male and female, urban and rural, north and south. Crucially, Pasolini didn’t interview his subjects one to one, in the manner of ‘talking head’ documentaries, but collectively—in the streets, cafes and fields. His interviewer asks small boys where babies come from; he asks an elderly farmer if a woman’s virginity is important; he asks young women if they approve of brothels. The latter passages are the most poignant, almost painful, as young women struggle to speak out in front of their cocky male peers.

Sharon Hayes, Ricerche: Three, 2013 (single channel HD video, 38') Courtesy of the artist and Tanya Leighton, Berlin, (installation view)
In Ricerche: Three (2013), Hayes redirects this informal interview format to interrogate a group of thirty-six students at a women’s college in New England. The resulting video, simply filmed in the spring sunshine, is some 38 minutes long and provides a cross-section of gender positions at an institution that many would regard as implicitly conservative. It turns out that the college houses the greatest diversity—from those with a strong religious framework (often from South East Asia) to the most radical (becoming transgender). The style of filming sticks closely to that of Pasolini, with individual faces framed within the collective body. Some of Hayes’s questions also overlap with those of the Italian director: Do you think you’ll marry soon? Do you think of yourself as a Don Juan? Others are more tailored to the context: Why did you come to an all-female college? Can you be more free sexually here than politically or intellectually?
Sharon Hayes, Ricerche: Three, 2013 (single channel HD video, 38') Courtesy of the artist and Tanya Leighton, Berlin, (HD video still)
The result is a generational snapshot that is also geographical. If Pasolini travels Italy to gain a diversity of results, Hayes finds a global spectrum on one campus. And if her respondents’ answers have a common theme, it is the overwhelming pressure to identify and label oneself in the marketplace of identity. The appearance of these young faces in the sun, struggling to express their independence and individuality in front of their peer group, is unexpectedly hypnotic. And while Ricerche: Three can be seen as a historical update of (and antidote to) the gender politics of Comizi d’Amore, it also opens up to new questions. If Pasolini’s film shows women struggling to articulate their sexuality in a macho Italian culture—the light of feminism still a faint glimmer on the horizon—then Hayes captures a moment when female self-assertion is unquestionably more confident, but where uncertainties now congregate around biological modulations of the body. Unexpectedly, the all-women’s college becomes the testing ground for the co-existence of gender’s own multiple modernities.

It is telling that Hayes’s mining of the past doesn’t lead to a fascination with the Italian neo-realist director or with one of his actors, but to a discussion of sexuality today. In a similar fashion, Camille Henrot’s Grosse Fatigue (2013) turns to the allure of the archive but in order to prompt thoughts about the acquisition and storage of knowledge in the twenty-first century. Her thirteen-minute video resulted from a residency at the Smithsonian Institute in Washington DC, and some of video’s material is shot directly in its natural history archives and laboratories: drawers upon drawers of preserved parrots, toucans, insects, fossils. But rather than wallowing in archival nostalgia, Henrot turns this experience into a pounding, percussive video set to a soundtrack with a text by poet Jacob Bromberg, voice over by Akwetey Orraca-Tettehand and music by Joakim Bouaziz. The work opens with the image of a galaxy upon her computer desktop, and proceeds to rhythmically layer knowledge upon knowledge in the form of stacked open windows. Natural history collides with technology, colonial history, poetry, Wikipedia and creation myths in a kaleidoscope of colour and taxonomy, research and incantation.

Camille Henrot, Grosse Fatigue, 2013 (video, color, sound, 13') © ADAGP Camille Henrot. Courtesy the artist and kamel mennour, Paris (video still)
Grosse Fatigue also marks an update of the multi-channel video installation: rather than surrounding viewers with simultaneous projections (à la Isaac Julien or Doug Aitken), Henrot makes a single-screen work that places images on top of one other, as windows on a desktop. Turning pages of books, scrolling pages on a website, video of archivists and storage systems: Grosse Fatigue is a poetic response to information overload and an antidote to the archival impulse, replacing the latter’s austere aesthetic (the type-written text, the faded photograph, the glass vitrine) with acidic hues, virulently painted fingernails, and a sensuous, mythological soundtrack. It evokes the persistence of creation myths and deep time in the visual imagery of computers—from galaxy screensavers to the iPhone’s globe motif—to produce a delirious anthropology of present-day perception exhausted by information.
Camille Henrot, Grosse Fatigue, 2013 (video, color, sound, 13') © ADAGP Camille Henrot. Courtesy the artist and kamel mennour, Paris (video still)
These works by Hayes and Henrot mine the past, but not in the name of retrieving and presenting obscure histories, minor figures and overlooked episodes for their own sake. Instead, the past is a starting-point for analyzing the present day. This is not to deny that archivally-oriented art, smitten with the vitrine and curatorial methodology, can offer important counterpoints to officially sanctioned histories, it is more frequently the case that they exacerbate our sense of unmanageably fragmented knowledge (‘the Google effect’). The ‘artist as historian’ is today’s equivalent of the nineteenth-century history painter, but chooses to focus on minor events rather than major, subjecting it to microscopic analysis. By contrast, the works of Hayes and Henrot are more interested in using the past as a way to grasp our own time, as if through binoculars held the wrong way. The present is seen from afar and defamiliarized, always with half an eye on the future’s judgement-to-come.

1 Kommentar(e)
Peter Burleigh
Abgesendet am 30.10.2013 um 13:03

Claire’s last post is for me interestingly structured around three textual almost grammatical movements in time-based video works:

The first work she discusses is a biography--one of the different lives of Le Corbusier's chairs. The second is a re-enactment, and because differing geopolitical and biographical histories are evoked it is a re-staging of a particularly democratic filmic survey of identity in Pasolini--raising questions about authorship and its setting against a more generic model; the third as I have suggested in an earlier entry is an interrogation of the ways in which reflection on human history can be formalized in different structurations.

In this tripartite relation, Amie Siegel’s video might be better characterized as auto-biographical a telling of the story as if from the first person. The chairs themselves given voice through Siegel’s camera. The second is much more biographical relying on a third-person position, eliciting stories about self and others, contextualizing them against a particular location through a manner that is not the subjects’ but rather the director’s--here Sharon Hayes after Pasolini. It is that manner that both induces a particular format of the research and simultaneously gives the subjects a challenging platform for their own voice. While both Provenance and Ricerce Three hint at a reflective awareness on how they construct a particular meaning framework for their subject matter which is inevitable in a historically reflexive work (hindsight being defining here), the third is a metabiography imaging itself as much into being: in other words showing how to tell stories in the first place.

The photographic is in all three gestures: firstly the natural object that “draws its own picture”—Talbot’s nomenclature and still the selling point for photographic technology up to the post-digital age: HDR images, smile recognition, blink correction, and so on are all automated technologies that paint an “improved” image without the operator’s intervention. The photographic image seems as able now as from its inception to make itself. Just so the Le Corbusier chairs stand out in Siegel’s film as making/marking the telling of their own history in the physical inscriptions of use (and misuse) that they carry on themselves--even if the events of those histories are actually beyond any individual chair’s control.

In the second, the photograph as a rupture in time--yes, as a certain structuration that occurred in the past but repeats itself into the present. As an event it is a slice of present reverberating in the past, pulling that back into the present, while launching itself towards a future line of flight that it will exist in. This elastic, expansive-contractive play in the planes of time seems to be evident in the historicising making of Ricerce Three.

The third work, Grosse Fatigue, stakes the photograph as a first virtual medium, actualizing itself. Carrying disruption with it is a method. A method to make sense of not only itself (autobiography), not only of some shaping of the world as an image in an informational plane, but to schematize the virtual- to-actual covenant to imag(ine) the world. To image image the world. Henrot’s film is thus a key to both the first and the second instances. It gives the very ground from which image making can position the archival past into a story invested with affect, while not in the least obscuring that imagation. In fact quite the contrary, Henrot’s video work relies totally on the vocabulary, grammar and pragmatics of image making that photography unleashes. The onslaught of images in her work is the end game of the technological image as principle on the one hand, and more poignantly is a catalogue of future epigones as her work portrays the self-organizing race of images through history onwards and outwards. Henrot suggests that through the archival gesture (often articulated photographically), we not only convey information, but furthermore select, approve, authorize, validate the world, and finally actually invent a real that we can indeed encounter at the very moment that it hurtles away from us.

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