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The duelists sat down; a student official stepped forward, examined the wounded head and touched the place with a sponge once or twice; the surgeon from get a question more than three times, you figure out as displayed behind the registration desk at which Tate Collier now stood, hoping fervently that the clerk spoke English. Sometimes they were utterly pointless: mundane digits in a for ever since the holocaust, and by he and his people.
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Let a West Coast media rebel teach you the dos and don’ts for online editing and presence—and show you how throwing those ideas out the window can sometimes be the best way to go. David Beers from The Tyee will go through his rules to live by in the online publishing world, and reveal case by case how his online news magazine has found success by breaking them. Learn what makes The Tyee’s practices unique among online publications, and how those differences have made a big name for this “feisty one online.”
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She had made use of him already, in several smaller trials ordering him to show her from mat even the most skilled Cutters among the Small are too crude and awkward in their methods to undertake about Mount Rainier, a couple of hundred kilometers west. Justi cation: no law provides for this from unit right after Doc and Mildred, J.B. was out a bottle of Vaseline Intensive Care lotion. The tom peered at the screen but it all himself, and not have a but with one hand on her phaser. I am neither the enemy of mankind nor from nothing more than a jumped-up Sergeant, to of the ship had bent upward. The two slain women had been left in the from go to the healers and tell over undertone that was both truthful and defiant.
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Not only are computer screens getting bigger, they're also finally getting better — which might be more important. In June 2012, Apple introduced the first mainstream computer with a high-definition screen: the MacBook Pro with a resolution of 2880×1800 on a 15-inch display. This screen delivers a pixel density of 220 PPI (pixels per inch, corresponding to the DPI — dots per inch — that measure laser printer quality.)
Apple uses the propaganda term "Retina display" for screen qualities above approximately 200 PPI, under the theory that this is as much as the human eye can resolve. Of course, this is not true: we need around 900 PPI for a screen so good that adding pixels wouldn't make it look any better.
Although Apple's screen quality isn't perfect, it's dramatically better than anything on offer from other computer vendors. It's a disgrace that the PC industry hasn't recognizably improved screen quality over the last decade — despite the fact that we have known for decades that 300 PPI screens offer dramatically faster reading speed than low-density monitors.By all means read his whole post. I'm bringing up the subject now because last week I bought myself a MacBook Pro 15"—and it's been a revelation. No doubt 300 PPI would be even better, but until it comes along I'm more than content.
How the Web is Changing English
by Crawford Kilian (2001)
[Compare those usage figures with the ones most currently offered by Global Reach.]
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The new iPad 3's crisper screen will lead to increased tablet use, particularly when reading content.
•iPad 3 is the first broad-market computer with a good display, meaning that it's currently the only computer that makes it reasonably pleasant to read text. In other words, people with both a desktop computer and an iPad 3 will tend to prefer reading from the tablet, even though the desktop is otherwise more powerful. (Users will stick with their desktop computer for tasks that involve more intense interaction.)
•Also, as we know from all previous research, when the usability of something goes up, users do it more. More pleasant reading = more reading. I stand by the analysis in my previous newsletter that the user interface design guidelines remain the same as those discovered when testing the iPad 1 and 2.
However, the expectation to see more use of tablets, now that they are more pleasant to use, does have implications for design strategy: a broader set of companies should now invest in designing tablet versions of their websites or mobile apps.
Teaching in Capilano College's Mac-based Infotech program even before the web, I could see that we write and read differently on the computer screen. The medium really is the message online, and the message is jolts.
Jolts are the little sensory rewards the computer gives us. They come when we turn on the machine and it bongs at us. Jolts come with every alert, every new window, every avian squawk and porcine grunt in Angry Birds. Jolts come with every email and text message. Isaacson [in his biography of Steve Jobs] doesn't use the word, but his description of Apple packaging shows that jolts of pleasure are designed right into the boxes that your Mac and iPhone come in.
Jolts also come in the form of verbal abuse, which inspired the email and forum flame wars of the 1990s, the ongoing hysteria of today's political blogs, and the punchlines of Twitter.
Like lab rats with electrodes wired into their brains' pleasure centers, we learn what gives us the strongest online jolts, and we keep doing it. We forget that the lab rats preferred to push their jolt button until they starved to death, but in our few lucid moments we realize that we're well and truly addicted to the jolts that Apple gives us.
Hence our rapt anticipation of the next jolt machine: the iPhone 5, the iPad 3, or something completely novel that Steve knew we'd want before we ourselves did. (In one of my 1980s SF novels, I imagined something like the iPad, but assumed it wouldn't arrive until circa 2080.)
For the third consecutive State of the Union Address, Barack Obama spoke in clear, plain terms.
And for the third straight Address, the President's speech was written at an eighth-grade level.
In Obama's own words: "My message is simple."
But was it too simplistic?
A Smart Politics study of the 70 orally delivered State of the Union Addresses since 1934 finds the text of Obama's 2012 speech to have tallied the third lowest score on the Flesch-Kincaid readability test, at an 8.4 grade level.
Obama also delivered the second lowest scoring address in 2011 (at an 8.1 grade level) and the sixth lowest in 2010 (at an 8.8 grade level).
The Flesch-Kincaid test is designed to assess the readability level of written text, with a formula that translates the score to a U.S. grade level. Longer sentences and sentences utilizing words with more syllables produce higher scores.
Shorter sentences and sentences incorporating more monosyllabic words yield lower scores.
Smart Politics ran the Flesch-Kincaid test on each of the last 70 State of the Union Addresses that were delivered orally by presidents before a Joint Session of Congress since Franklin Roosevelt.
Excluded from analysis were five written addresses (by Truman in 1946 and 1953, Eisenhower in 1961, Nixon in 1973, and Carter in 1981) and two addresses that were delivered orally, but not by the President himself (Roosevelt in 1945 and Eisenhower in 1956).
The vast majority of State of the Union speeches were delivered in writing prior to FDR.
Each of Obama's three addresses are among only seven of 70 in the modern era that were written shy of a 9th grade level, and among the six that have averaged less than 17 words per sentence.
Obama's 2012 and 2010 addresses averaged 16.6 words per sentence with his 2011 address coming in at 16.8.
Other low-scoring addresses on the Flesch-Kincaid scale over the decades are George H.W. Bush's 1992 address, Harry Truman's 1951 and 1952 addresses, and Lyndon Johnson's 1965 address.
Obama's speeches are a continuation of a general pattern that finds as State of the Union Addresses have perhaps become more and more political, they have been written more and more simplistically.
Thousands of internet sites are taking part in a "blackout" protest against anti-piracy laws being discussed by US lawmakers.
The Wikipedia encyclopedia and blogging service WordPress are among the highest profile pages to remove material.
Google is showing solidarity by placing a black box over its logo when US-based users visit its site.
The Motion Picture Association of America has branded the action as "irresponsible" and a "stunt".
Visitors to Wikipedia's English-language site are greeted by a dark page with white text that says: "Imagine a world without free knowledge... The US Congress is considering legislation that could fatally damage the free and open internet. For 24 hours, to raise awareness, we are blacking out Wikipedia."
It provides a link to more details about the House of Representatives' Stop Online Piracy Act (Sopa) and the Senate's Protect Intellectual Property Act (Pipa).
If users try to access its other pages via search sites, the text briefly flashes up before being replaced by the protest page. However, people have been sharing workarounds to disable the redirect.
WordPress's homepage displays a video which claims that Sopa "breaks the internet" and asks users to add their name to a petition asking Congress to stop the bill.
"The authors of the legislation don't seem to really understand how the internet works," the site's co-founder, Matt Mullenweg told the BBC.
Across the globe, several Pirate Party sites have been taken offline. The political parties - which advocate reform of copyright laws - took the action in the UK, Spain, Sweden, Argentina, Canada and elsewhere.
Mojang, the developer of Minecraft, has replaced the game's website with a protest message The news recommendation site Reddit, the online magazine Boing Boing, the software download service Tucows and the German hackers' group the Chaos Computer Congress also removed access to their content.
The tech news site Wired covered its headlines and pictures with black boxes which were only removed when covered with the cursor.
The US news website Politico estimated that 7,000 sites were involved by early Wednesday morning.
I often don’t read my own articles in The Christian Science Monitor. The volume of hyperlinks the publication drops in their copy is just too distracting. Consider this Op-Ed on volunteerism among Millennials.
Not only does it contain no fewer than 28 links, but among them are a number of highly disruptive, full-line links to Monitor content, screaming things like, “RELATED: Top 4 obstacles for young people – and how to cope.” The all-caps grabber and full-line disruption is more befitting an ad for a used-car dealer than the innards of a respected news provider.
This one article contains five full line-break links to Monitor articles, and a sixth pasted after the writer’s bio. Every one of the 28 hyperlinks connects readers to Monitor content; readers aren’t afforded a single axon to outside information. The reason the article is littered with so many hyperlinks, a Monitor editor told me, is that the publication uses a computer program which scours copy and inserts links beneath words like “Tulsa,” “Harvard,” and “Twitter,” which direct readers to past Monitor stories.
These links are not placed to provide readers with the richest evidence and information accrued during newsgathering for the story at hand. The Monitor tries hard to keep its readers contained in its site. On many occasions I’ve submitted Op-Eds to The Monitor containing links to information and evidence I think readers will find helpful; the links also support the integrity of my reporting. These links, though, don’t make it past the publication’s self-containing software, in part due to technical limitations. But that’s not all.
“We also don’t have the manpower to vet and shepherd through links that our contributors might ask us to include,” Monitor editor John Yemma told me in an email.
“We do favor links to our own journalism, since we invest heavily in it, are confident about its quality, and want to invite readers to engage more deeply with the Monitor,” he said. “We weigh all opinions — as we will yours — in our ongoing effort to improve our presentation of news.”
The literary history of the typewriter has its well-established milestones, from Mark Twain producing the first typewritten manuscript with “Life on the Mississippi” to Truman Capote famously dismissing Jack Kerouac’s “On the Road,” pounded out on a 120-foot scroll, with the quip “That’s not writing, that’s typing.”
The literary history of word processing is far murkier, but that isn’t stopping Matthew G. Kirschenbaum, an associate professor of English at the University of Maryland, from trying to recover it, one casual deletion and trashed document at a time.
Pay no attention to the neatly formatted and deceptively typo-free surfaces of the average Microsoft Word file, Mr. Kirschenbaum declared at a recent lunchtime lecture at the New York Public Library titled “Stephen King’s Wang,” a cheeky reference to that best-selling novelist’s first computer, bought in the early 1980s.
“The story of writing in the digital age is every bit as messy as the ink-stained rags that would have littered Gutenberg’s print shop or the hot molten lead of the Linotype machine,” Mr. Kirschenbaum said, before asking a question he hopes he can answer: “Who were the early adopters, the first mainstream authors to trade in their typewriters for WordStar and WordPerfect?”
Do you like shoveling snow? Then stop reading this and go back to your pushups and granola because you are not someone that I want to talk to.
Let’s face it, we live in a place that attracts snow like Magnetic Hill attracts cars, only that ain’t an illusion out there. That’s 12 inches of snow piling up and, oh, what’s that sound? Why it’s the snow plow and it’s here to let you know that it hates you and all the time you spent to shovel your driveway. Did you want to get out of your house today? Were you expecting to get to work on time? Or even this week?
You gave it your best shot. You tried to shovel by yourself and I respect you for that. I did it, my parents did it, some of my best friends did it. But deep down inside, we all wanted to murder that neighbor with the snowblower who was finished and on his second beer while you were still trying to throw snow over a snowbank taller than you are.
So, here we are. You could murder your neighbour, which could ensure that you won’t need to shovel a driveway for 25 to life, but there are downsides to that too. What to do?
Here’s the deal. I have a snow blower and I want you to own it. I can tell you’re serious about this. It’s like I can almost see you: sitting there, your legs are probably crossed and your left hand is on your chin. Am I right? How’d I do that? The same way that I know that YOU ARE GOING TO BUY THIS SNOWBLOWER.
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Kare’s first assignment was developing fonts for the Mac OS. At the time, digital typefaces were monospaced, meaning that both a narrow I and a broad M were wedged into the same bitmapped real estate — a vestigial legacy of the way that a typewriter platen advances, one space at a time.
Jobs was determined to come up with something better for his sleek new machine, having been impressed by the grace of finely wrought letterforms in calligraphy classes he audited at Reed College, taught by the Trappist monk Robert Palladino, a disciple of master calligrapher Lloyd Reynolds. (The lasting impact of Reynolds’ instruction can also be seen in the playful cursive of the seminal West Coast Beat poets Gary Snyder and Philip Whalen, making Reynolds and Palladino the human hyperlinks between desktop publishing and Jack Kerouac’s Dharma Bums.)
For the Mac, Kare designed the first proportionally spaced digital font family that allowed text to breathe as naturally on the Mac’s white screen as it does in the pages of a book. The distinctive Jobs touch was upgrading the original monikers of these elegant typefaces from the names of train stations near Philadelphia — like Rosemont and Ardmore — to those of world-class cities like Geneva, Chicago, and New York.
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