DOCSLIB.ORG

Alan Kay's Universal Media Machine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Alan Kay's Universal Media Machine media-N The Online Journal of the New Media Caucus | PDF optimized for duplex printing Art in the Age of Technological Seduction Fall 2006 v.02, n.03 http://www.newmediacaucus.org/media-n/2006/v02/n03 Media-N Editorial Board Rachel Clarke, Editor in Chief | [email protected] Rachel Clarke is a digital media artist and is Assistant Professor in Electronic Art in the Art Department at California State University, Sacramento. Clarke’s work intertwines themes of nature and culture, and explores intersections of technology and identity. Works involve a variety of approaches and media: drawing, video, imaging, installation and interactivity In fall 2003, she curated a show of national and international artists using new media, entitled Postflesh: Visualizing the Techno-Self at the University Library Gallery, Sacramento State University. Petronio Bendito, [email protected] Petronio Bendito is an Assistant Professor of Art and Design at Purdue University, where he teaches in the Department of Visual and Performing Arts. His research areas include human-computer conceptual models, digital aesthetics, digitally rendered color, and collaborative digital art projects with dancers and musicians. He has presented his research work in numerous conferences including SIGGRAPH, AIC and IVLA. Heather D. Freeman, [email protected] Heather D. Freeman's background is in the traditional media of drawing and assemblage, now integrated with digital print and video. She is interested in the languages and symbolic forms of science and where these intersect with mythic, religious and popular iconography. Freeman teaches at Clemson University in the art department and the RCID (Rhetorics, Communication and Information Design) PhD program. Her work is regularly exhibited regionally and nationally and has appeared in international exhibitions in Canada, Cuba, Germany, Hungary and Sweden. Conrad Gleber, [email protected] Conrad Gleber is Associate Professor of Art at Florida State University, where he teaches the history and critical issues of new media. His artwork uses digital audio and video in public environments to elaborate the shift of focus in art discourse from object to process. He helped to found the New Media Caucus and is on the board of the International Digital Media & Art Association. Jim Jeffers, [email protected] University of Massachusetts Lowell. He is an inter-media artist working with computer mediation, performance, photography and video in conjunction with conventional media: currently working at the nexus of fantasy and biography (Fantabiography) fabricating a personal popular culture. He has exhibited nationally and internationally, and is a member of the College Art Association, the Association for Computing Machinery SIGGRAPH, and a founding member and Communications Officer of the New Media Caucus. Alec MacLeod, [email protected] Alec MacLeod is Associate Professor, California Institute of Integral Studies. His research includes the visual culture of digital media, (self) presentation in virtual media and the relationship between appearance and reality. He is a member of SIGGRAPH, AoIR and IVLA. Doreen Maloney, [email protected] Doreen LaMantia Maloney is Associate Professor of New Media in the Art Department of the University of Kentucky. She works in video, predominantly in multi-screen sculptural installation. Much of her work uses surveillance to capture personal history and examines the effects of media on culture through observation of language and gesture. Currently she is the President of the New Media Caucus, a group she founded to help create a community for the digital diaspora. Gwyan Rhabyt, [email protected] Gwyan Rhabyt is an Assistant Professor in the Department of Art and the Graduate Multimedia Program at California State University East Bay. He makes performed sculptures and interactive installations that focus on human memory and imperfect communicatio Cover Art: Sissel Tolaas, Fear I, 2005 Art in the Age of Technological Seduction, media-N, Fall 2006, v.02, n.03 2 www.newmediacaucus.org/media-n/2006/v02/n03 Table of Contents 05 Editorial Statement Rachel Clarke (Editor-in-Chief, Media-N) 06 Introduction Legier Biederman & Joshua Callaghan (Guest Editors) PAPERS 08 Alan Kay’s Universal Media Machine Lev Manovich 17 Between Art and Design Jill Miller 19 The Remix Aesthetic Jamie O’ Neil 29 X Notes on Practice: Stubborn Structures and Insistent Seepage in a Networked World Raqs Media Collective 38 Engineering Environmental Seduction: The Arts and Technologies of Natalie Jeremijenko Charles Zerner 44 On the Geek As Humanist Claudia Hart 48 Let me Tell you something: Why I like Movies Better than Art Gordon Winiemko 51 Sensorium: New Media Complexities for Embodied Experience Caroline A. Jones 63 Re)sounding Fantasy and Seeking Pleasure: Brad Neely’s Hideously Fabulous Wizard People, Dear Reader Katie Brewer Ball 68 Instrumental Conceptions of Images and the Globalized 'Everyday' Jane Chin Davidson Art in the Age of Technological Seduction, media-N, Fall 2006, v.02, n.03 3 www.newmediacaucus.org/media-n/2006/v02/n03 70 The Myth of New Media Andrew McNamara 73 Afterword: Artifice and Interactivity Donald Preziosi NOTES FROM THE FIELD 78 José Carlos Teixeira, Tirtza Even, Lida, Lucas Michael, Warren Sack, Brett Stalbaum, Angie Waller, Jeffrey Wells, Damon Willick, Komninos Zervos REVIEWS 84 Where Art Thou Net.Art? Randall Packer 86 SIGGRAPH 2006 Exhibition: Audiovisual Art Dan Hermes 88 Art in the Right Place: The Singapore Biennale 2006 Matthew Slaats 90 CALL FOR PAPERS Art in the Age of Technological Seduction, media-N, Fall 2006, v.02, n.03 4 www.newmediacaucus.org/media-n/2006/v02/n03 Editorial Statement Editor’s Note This stunning edition of media-N Art in the Age of Technological Seduction is guest-edited by Legier Biederman and Joshua Callaghan. It delves into many critical aspects of new media art, exploring some of the most pertinent issues of today’s culture. Each text examines an issue with depth and clarity, broadening the horizons of debate, challenging assumptions and prompting further inquiry. Thank you, Legier and Joshua for bringing together this broad array of compelling articles. The edition also includes reviews and commentaries from recent national and international media arts festivals and conferences – thank you to all our contributors. Please check out the Call for Papers for information on the upcoming edition of media-N, Bits, Bytes and the Rhetoric of Practice: New Media Artist Statements, new deadline for submissions: April 30 2007. In this upcoming edition of media-N, we invite new media arts practitioners to submit personal artist statements and examples of their practice – we want to hear about you and your practice. Rachel Clarke Editor-in-Chief, Media-N California State University, Sacramento [email protected] Art in the Age of Technological Seduction, media-N, Fall 2006, v.02, n.03 5 www.newmediacaucus.org/media-n/2006/v02/n03 Introduction Legier Biederman & Joshua Callaghan Legier Biederman Joshua Callaghan Doctoral Candidate Los Angeles based artist Critical Theory & Contemporary Art [email protected] Department of Art History University of California, Los Angeles [email protected] In recent years, digital technologies have penetrated our lives in innumerable ways. How do we begin to understand and critically engage with the complex effects of this deluge of information? These technologies not only changed our ways of doing things, but also profoundly conditioned our experience of ourselves and others. Have these shifts in technological processes of imaging, communication, information collection and dissemination enabled a break with established power structures and thus flattened hierarchies? Have they changed our ways of imagining and knowing? Or are they simply maintaining and re-enforcing existing hegemonic structures of power? The diverse essays, responses and anecdotes gathered here to address “Art in the Age of Technological Seduction” attempt to create a wedge in what is otherwise a shut door, to begin an ongoing and necessary discussion of our investments, desires, expectations and ambivalences within a world permeated by new technologies. Many students today have grown up completely immersed in digital technologies, using them organically as extensions of their hands, eyes, ears and mouths. Millions of people use Web 2.0 internet based services, such as wikis, myspace, flickr, youtube, facebook and many others, and many others as stages on which to endlessly fashion and perform their identities. Despite the radical "newness" incessantly associated with these modes of communication, are the personal experiences— the awkwardness of puberty, the pressure to succeed, the desire for approval—different than in past generations? The idea of the radical break, separating the “new” from the decisively “old,” the self from the other, is a touchstone upon which much of modernity defines itself. Again and again, “new” media art is characterized as being on the edge, as pushing the limits and frontiers of art and life. Yet, this way of thinking is grounded in an obsolete modernist discourse seduced by the medium. Discussions focusing on formal aspects of new media, such as interactivity, non-linearity, duration, process and collaboration have occupied a privileged position in new media criticism. These discussions have often led to a wholesale separation of form and content, muting more complex engagements with the politics, cultural biases and power
Load more

Recommended publications
  • QATAR ASW ONLINE SCRIPT V.8.0 Pages
    “DEXIGN THE FUTURE: Innovation for Exponential Times” ARNOLD WASSERMAN COMMENCEMENT ADDRESS VIRGINIA COMMONWEALTH UNIVERSITY IN QATAR 2 MAY 2016 مساء الخير .Good afternoon It is an honor to be invited to address you on this important day. Today you artists and designers graduate into the future. Do you think about the future? Of course you do. But how do you think about the future? Is the future tangible - or is it intangible ? Is it a subject for rational deliberation? Or is it an imagined fantasy that forever recedes before us? Is the future simply whatever happens to us next? Or is it something we deliberately create? Can we Dexign the Future? What I would like us to think about for the next few moments is how creative professionals like yourselves might think about the future. What I have to say applies as much to art as it does to design. Both are technologies of creative innovation. I will take the liberty here of calling it all design. My speech is also available online. There you can follow a number of links to what I will talk about here. The future you are graduating into is an exponential future. What that means is that everything is happening faster and at an accelerating rate. For example, human knowledge is doubling every 12 months. And that curve is accelerating. An IBM researcher foresees that within a few years knowledge will be doubling every 12 hours as we build out the internet of things globally. This acceleration of human knowledge implies that the primary skill of a knowledge worker like yourself is research, analysis and synthesis of the not-yet-known.
    [Show full text]
  • Simula Mother Tongue for a Generation of Nordic Programmers
    Simula! Mother Tongue! for a Generation of! Nordic Programmers! Yngve Sundblad HCI, CSC, KTH! ! KTH - CSC (School of Computer Science and Communication) Yngve Sundblad – Simula OctoberYngve 2010Sundblad! Inspired by Ole-Johan Dahl, 1931-2002, and Kristen Nygaard, 1926-2002" “From the cold waters of Norway comes Object-Oriented Programming” " (first line in Bertrand Meyer#s widely used text book Object Oriented Software Construction) ! ! KTH - CSC (School of Computer Science and Communication) Yngve Sundblad – Simula OctoberYngve 2010Sundblad! Simula concepts 1967" •# Class of similar Objects (in Simula declaration of CLASS with data and actions)! •# Objects created as Instances of a Class (in Simula NEW object of class)! •# Data attributes of a class (in Simula type declared as parameters or internal)! •# Method attributes are patterns of action (PROCEDURE)! •# Message passing, calls of methods (in Simula dot-notation)! •# Subclasses that inherit from superclasses! •# Polymorphism with several subclasses to a superclass! •# Co-routines (in Simula Detach – Resume)! •# Encapsulation of data supporting abstractions! ! KTH - CSC (School of Computer Science and Communication) Yngve Sundblad – Simula OctoberYngve 2010Sundblad! Simula example BEGIN! REF(taxi) t;" CLASS taxi(n); INTEGER n;! BEGIN ! INTEGER pax;" PROCEDURE book;" IF pax<n THEN pax:=pax+1;! pax:=n;" END of taxi;! t:-NEW taxi(5);" t.book; t.book;" print(t.pax)" END! Output: 7 ! ! KTH - CSC (School of Computer Science and Communication) Yngve Sundblad – Simula OctoberYngve 2010Sundblad!
    [Show full text]
  • Design and Implementation of an Optionally-Typed Functional Programming Language
    Design and Implementation of an Optionally-Typed Functional Programming Language Shaobai Li Electrical Engineering and Computer Sciences University of California at Berkeley Technical Report No. UCB/EECS-2017-215 http://www2.eecs.berkeley.edu/Pubs/TechRpts/2017/EECS-2017-215.html December 14, 2017 Copyright © 2017, by the author(s). All rights reserved. Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. To copy otherwise, to republish, to post on servers or to redistribute to lists, requires prior specific permission. Design and Implementation of an Optionally-Typed Functional Programming Language by Patrick S. Li A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Engineering { Electrical Engineering and Computer Sciences in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Koushik Sen, Chair Adjunct Professor Jonathan Bachrach Professor George Necula Professor Sara McMains Fall 2017 Design and Implementation of an Optionally-Typed Functional Programming Language Copyright 2017 by Patrick S. Li 1 Abstract Design and Implementation of an Optionally-Typed Functional Programming Language by Patrick S. Li Doctor of Philosophy in Engineering { Electrical Engineering and Computer Sciences University of California, Berkeley Professor Koushik Sen, Chair This thesis describes the motivation, design, and implementation of L.B. Stanza, an optionally- typed functional programming language aimed at helping programmers tackle the complexity of architecting large programs and increasing their productivity across the entire software development life cycle.
    [Show full text]
  • A Model of Inheritance for Declarative Visual Programming Languages
    An Abstract Of The Dissertation Of Rebecca Djang for the degree of Doctor of Philosophy in Computer Science presented on December 17, 1998. Title: Similarity Inheritance: A Model of Inheritance for Declarative Visual Programming Languages. Abstract approved: Margaret M. Burnett Declarative visual programming languages (VPLs), including spreadsheets, make up a large portion of both research and commercial VPLs. Spreadsheets in particular enjoy a wide audience, including end users. Unfortunately, spreadsheets and most other declarative VPLs still suffer from some of the problems that have been solved in other languages, such as ad-hoc (cut-and-paste) reuse of code which has been remedied in object-oriented languages, for example, through the code-reuse mechanism of inheritance. We believe spreadsheets and other declarative VPLs can benefit from the addition of an inheritance-like mechanism for fine-grained code reuse. This dissertation first examines the opportunities for supporting reuse inherent in declarative VPLs, and then introduces similarity inheritance and describes a prototype of this model in the research spreadsheet language Forms/3. Similarity inheritance is very flexible, allowing multiple granularities of code sharing and even mutual inheritance; it includes explicit representations of inherited code and all sharing relationships, and it subsumes the current spreadsheet mechanisms for formula propagation, providing a gradual migration from simple formula reuse to more sophisticated uses of inheritance among objects. Since the inheritance model separates inheritance from types, we investigate what notion of types is appropriate to support reuse of functions on different types (operation polymorphism). Because it is important to us that immediate feedback, which is characteristic of many VPLs, be preserved, including feedback with respect to type errors, we introduce a model of types suitable for static type inference in the presence of operation polymorphism with similarity inheritance.
    [Show full text]
  • Interior, Only Escaping Back to Europe Years Later Through Bribery and the Help of Portuguese Merchants in Guangzhou
    Contents Editorial 5 A Thousand Li Sorghum and Steel 11 The Socialist Developmental Regime and the Forging of China Introduction - Transitions 12 1 - Precedents 21 2 - Development 58 3 - Ossification 102 4 - Ruination 127 Conclusion - Unbinding 146 Gleaning the Welfare Fields 151 Rural Struggles in China since 1959 Revisiting the Wukan Uprising of 2011 183 An Interview with Zhuang Liehong No Way Forward, No Way Back 191 China in the Era of Riots “The Future is Hidden within these Realities” 229 Selected Translations from Factory Stories 1 - Preface to Issue #1 233 2 - One Day 235 3 - Layoffs and Labor Shortages 237 4 - Looking Back on 20 years in Shenzhen’s Factories 240 3 Editorial A Thousand Li As the Qing dynasty began its slow collapse, thousands of peasants were funneled into port cities to staff the bustling docks and sweatshops fueled by foreign silver. When these migrants died from the grueling work and casual violence of life in the treaty ports, their families often spent the sum of their remittances to ship the bodies home in a practice known as “transporting a corpse over a thousand li” (qian li xing shi), otherwise the souls would be lost and misfortune could befall the entire lineage. The logistics of this ceremony were complex. After blessings and reanimation rituals by a Taoist priest, “corpse drivers” would string the dead upright in single file along bamboo poles, shouldering the bamboo at either end so that, when they walked, the stiff bodies strung between them would appear to hop of their own accord. Travelling only at night, the corpse drivers would ring bells to warn off the living, since the sight of the dead migrants was thought to bring bad luck.
    [Show full text]
  • 2006 ANNUAL REPORT BUSINESS DESCRIPTION We Are the World’S Largest Marketer, Producer, and Distributor of Coca-Cola Products
    2006 ANNUAL REPORT BUSINESS DESCRIPTION We are the world’s largest marketer, producer, and distributor of Coca-Cola products. In 2006, we distributed more than 2 billion physical cases of our products, or 42 billion bottles and cans, representing 19 percent of The Coca-Cola Company’s worldwide volume. We operate in 46 U.S. states and Canada; our territory encompasses approximately 81 percent of the North American population. In addition, we are the exclusive Coca-Cola bottler for all of Belgium, continental France, Great Britain, Luxembourg, Monaco, and the Netherlands. We employ 74,000 people, operate 444 facilities, 55,000 vehicles, and 2.4 million vending machines, beverage dispensers, and coolers. Our stock is traded on the New York Stock Exchange under the “CCE” symbol. TABLE OF CONTENTS Financial Highlights…fold-out Letter to Our Shareowners…1 A Case For Change…5 Financials…25 Shareowner Information…Inside Back Cover TERRITORIES OF OPERATION CANADA 3 Market Units 34 Sales Centers MIDWEST 6 Market Units 59 Sales Centers GREAT LAKES 6 Market Units 39 Sales Centers NORTHEAST 7 Market Units 46 Sales Centers WEST 9 Market Units 46 Sales Centers SOUTHEAST 8 Market Units 55 Sales Centers SOUTHWEST 6 Market Units 41 Sales Centers COCA-COLA ENTERPRISES AT-A-GLANCE GEOGRAPHIC CASE DISTRIBUTION BRAND MIX 42 billion bottles and cans, or 2 billion physical cases NORTH AMERICA 6% 8% 9% 24% 57% 26% 70% GREAT BRITAIN THE NETHERLANDS QUnited States QEurope QCanada QCoca-Cola Trademark QSoft Drink Flavors/Energy BELGIUM QSports Drinks/Juices/Teas QWater LUXEMBOURG EUROPE EUROPEAN CASE DISTRIBUTION BRAND MIX 9 billion bottles and cans, or 480 million physical cases EUROPE FRANCE 3% 10% 10% 18% 46% 19% 68% 26% QGreat Britain QFrance QCoca-Cola Trademark QSoft Drink Flavors/Energy QBelgiumlLuxembourg QThe Netherlands QSports Drinks/Juices/Teas QWater FINANCIAL HIGHLIGHTS Coca-Cola Enterprises Inc.
    [Show full text]
  • The Jew World Order Unmasked.Pdf
    ZionCrimeFactory.com Author: David Baillie JWO Unmasked This is what awaits us in the Jewish New World Order, beware! The Jew World Order Unmasked by Zander C. Fuerza The webmaster of http://www.zioncrimefactory.com/ THE RULE OF the Talmudic Jew in modern times is nearly one of an absolute monarch of a country. The Jews, through their complete domination of world finance and banking — through their malignant monopoly of the mass media of America, Britain, France, Canada and other Western powers — through their influential and vast network of subversive “lobby groups” — through their dominion over the courts and law profession in general — not to mention their pernicious presence inside the highest levels of government of the most powerful countries — have thus taken full control of the entire planet, as was foretold in ancient Jewish religious texts. As the former Malaysian Prime Minister, Dr. Mahathir Mohamed, explained: “The Jews rule this world by proxy, they get others to fight and die for them… They have now gained control of the most powerful countries … This tiny community have become a world power.” Dr. Mahathir spoke the truth, and the reality of his words couldn’t be clearer; all one has to do is look around you and observe the terrible power of the treacherous Jews.The Jewish-Zionist terrorist leader Ze’ev Jabotinsky (founder of the Jewish terror group Irgun Zevai Leumi) proudly proclaimed: “There is only one power which really counts. The power of political pressure. We Jews are the most powerful people on earth, because we have this power, and we know how to apply it.” (Jewish Daily Bulletin, July 27, 1935) The fact that the vicious crimes of this disgusting criminal’s insidious terrorist organization — such as the King David Hotel bombing and Deir Yassin Massacre — are not mentioned in Western history texts or at all covered in High School and University history classes, is a testament to the veracity of his exultant statement.
    [Show full text]
  • American Fiction in the Age of Capitalist Realism
    SECOND NATURE:AMERICAN FICTION IN THE AGE OF CAPITALIST REALISM Matt Kavanagh, Department of English McGill University, Montreal March 2007 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Ph.D © Matt Kavanagh 2007 ii Abstract SECOND NATURE:AMERICAN FICTION IN THE AGE OF CAPITALIST REALISM During the 1990s the global triumph of capitalism has made it, paradoxically, all the more difficult to see. Not only is capitalism increasingly derealized (e.g. cyber- capital), its very ubiquity renders it unremarkable, to the point that it appears a neutral part of objective reality. This dissertation examines how American writers have responded to the ‘spectrality’ that results from the mediation of everyday experience through the market. I discuss formal strategies in the work of Bret Ellis, Chuck Palahniuk, Don DeLillo, William Gibson and others to represent the unrepresentable: what Slavoj iek calls the impersonal and anonymous function of the global market mechanism. Chapter one provides a formalist reading of Ellis’s American Psycho, a novel whose claustrophobic narrative represents the world of late capitalism at the level of its concept (“This is not an exit”). Lacking any sense of a horizon, Patrick Bateman experiences the world as radically closed. Because he is incapable of recognizing an elsewhere, he cannot imagine an otherwise; demonstrating no awareness of antagonism, Patrick acts it out in increasingly brutal and frenetic outbursts of violence. Where American Psycho presents Patrick’s sadistic violence as a symptom, my second chapter suggests that Fight Club’s consensual beatings treat violence as a fetish.
    [Show full text]
  • Repurposing Digital Methods
    REPURPOSING DIGITAL METHODS The research afordances of platforms and engines Esther Weltevrede ) iv ( Repurposing digital methods The research afordances of platforms and engines Academisch proefschrift ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het College voor Promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel op 28 januari 2016, te 10.00 uur door Esther Josephina Theresia Weltevrede geboren te Geldermalsen ) v ( Promotiecommissie Promotor: Prof. dr. R.A. Rogers Universiteit van Amsterdam Overige leden: Prof. dr. L.W.M. Bod Universiteit van Amsterdam Prof. dr. R. Boast Universiteit van Amsterdam Prof. dr. A. Bruns Queensland University of Technology Prof. dr. M.J.P. Deuze Universiteit van Amsterdam Prof. dr. H. Kennedy University of Shefeld Prof. dr. J.J. Noordegraaf Universiteit van Amsterdam Faculteit: Geesteswetenschappen The research of this doctoral dissertation received financial support from the Amster- dam School of Cultural Analysis (ASCA PhD fellowship) and two European grants for the Contropedia project (EU FP7 EINS grant #288021 and in part EU FP7 EMAPS grant #288964). ) vi ( Table of Contents Acknowledgements ix Acknowledgements co-authored articles xii List of figures xvi List of tables xix Referenced tools xx Referenced projects xxii Introduction: A device-driven perspective to digital research 1 The device as object and method 6 Digital media afordances 10 Repurposing and
    [Show full text]
  • “The Coca-Cola Company” Annual Economic Report for the Fiscal Year Ended at December 31, 2006
    “THE COCA-COLA COMPANY” ANNUAL ECONOMIC REPORT FOR THE FISCAL YEAR ENDED AT DECEMBER 31, 2006 CONTENTS 1. General………………………………………………………………………………………….2 2. Operating Segments……………………………………………………………………………2 3. Products and Distribution……………………………………………………………………..3 4. Seasonality……………………………………………………………………………………...6 5. Competition…………………………………………………………………………………….6 6. Raw Materials………………………………………………………………………………….7 7. Patents, Copyrights, Trade Secrets and Trademarks……………………………………….7 8. Employees………………………………………………………………………………………8 9. Risk Factors…………………………………………………………………………………….8 10. Management’s Discussion and Analysis of Financial Condition and Results of Operations…………………………………………………………………………………...14 10. 1 Overview…………………………………………………………………………………………14 10. 2 Our Business…………………………………………………………………………………….15 10.2.1 General………………………………………………………………………...…………..15 10.2.2 The Nonalcoholic Beverages Segment of the Commercial Beverages Industry..……..16 10.2.3 Our Objective……………………………………………………………………………..16 10.2.4 Areas of Focus…………………………………………………………………………….16 10.2.4.1 Consumer Marketing………………………………………………..………..16 10.2.4.2 Customer and Commercial Leadership…………………………………..….16 10.2.4.3 Franchise Leadership……………………………………………….………...16 10.2.5 Challenges and Risks…………………………………………….……………………….17 10.3 Critical Accounting Policies and Estimates……………………………………………………18 10.3.1 Basis of Presentation and Consolidation…………………………………………..…….18 10.3.2 Revenue Recognition…………………………………………………………..………….18 10.3.3 Income Taxes………………….…………………………………………………………..18 10.4 Operations Review……………………………………………………………………………….19
    [Show full text]
  • A Brief History of Human Computer Interaction Technology
    A Brief History of Human Computer Interaction Technology Brad A. Myers Carnegie Mellon University School of Computer Science Technical Report CMU-CS-96- 163 and Human Computer Interaction Institute Technical Report CMU-HCII-96-103 December, 1996 Please cite this work as: Brad A. Myers. "A Brief History of Human Computer Interaction Technology." ACM interactions. Vol. 5, no. 2, March, 1998. pp. 44-54. Human Computer Interaction Institute School of Computer Science Carnegie Mellon University Pittsburgh, PA 15213-3891 [email protected] Abstract This article summarizes the historical development of major advances in human- computer interaction technology, emphasizing the pivotal role of university research in the advancement of the field. Copyright (c) 1996 -- Carnegie Mellon University A short excerpt from this article appeared as part of "Strategic Directions in Human Computer Interaction," edited by Brad Myers, Jim Hollan, Isabel Cruz, ACM Computing Surveys, 28(4), December 1996 This research was partially sponsored by NCCOSC under Contract No. N66001-94-C- 6037, Arpa Order No. B326 and partially by NSF under grant number IRI-9319969. The views and conclusions contained in this document are those of the authors and should not be interpreted as representing the official policies, either expressed or implied, of NCCOSC or the U.S. Government. Keywords: Human Computer Interaction, History, User Interfaces, Interaction Techniques. 1. Introduction Research in Human-Computer Interaction (HCI) has been spectacularly successful, and has fundamentally changed computing. Just one example is the ubiquitous graphical interface used by Microsoft Windows 95, which is based on the Macintosh, which is based on work at Xerox PARC, which in turn is based on early research at the Stanford Research Laboratory (now SRI) and at the Massachusetts Institute of Technology.
    [Show full text]
  • Business Studies Journal
    Volume 6, Number 1 Print ISSN 1944-656X Online ISSN 1944-6578 BUSINESS STUDIES JOURNAL Gary Schneider Quinnipiac University The official journal of the Academy for Business Studies, an Affiliate of the Allied Academies The Business Studies Journal is owned and published by Jordan Whitney Enterprises, Inc. Editorial content is under the control of the Allied Academies, Inc., a non-profit association of scholars, whose purpose is to support and encourage research and the sharing and exchange of ideas and insights throughout the world. Page ii Authors execute a publication permission agreement and assume all liabilities. Neither Jordan Whitney Enterprises, Inc. nor Allied Academies is responsible for the content of the individual manuscripts. Any omissions or errors are the sole responsibility of the authors. The Editorial Board is responsible for the selection of manuscripts for publication from among those submitted for consideration. The Publishers accept final manuscripts in digital form and make adjustments solely for the purposes of pagination and organization. The Business Studies Journal is owned and published by Jordan Whitney Enterprises, Inc. PO Box 1032, Weaverville, NC 28787, USA. Those interested in communicating with the Journal, should contact the Executive Director of the Allied Academies at [email protected]. Copyright 2014 by Jordan Whitney Enterprises, Inc., USA Business Studies Journal, Volume 6, 2014 Page iii EDITORIAL BOARD MEMBERS Ismet Anitsal Santanu Borah Tennessee Tech University University of North Alabama Cookeville, Tennessee Florence, Alabama Thomas M. Box Steven V. Cates Pittsburg State University Kaplan University Pittsburg, Kansas Phoenix, Arizona Susan Conners Carolyn Gardner Purdue University Calumet Kutztown University Hammond, Indiana Kutztown, Pennsylvania Ramaswamy Ganesan Lewis Hershey King Saud University Fayetteville State University Riyadh, Saudi Arabia Fayetteville, North Carolina Jeff Jewell Marvin P.
    [Show full text]