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WORDS MADE FLESH Code, Culture, Imagination Florian Cramer
WORDS MADE FLESH Code, Culture, Imagination Florian Cramer Me dia De s ign Re s e arch Pie t Z w art Ins titute ins titute for pos tgraduate s tudie s and re s e arch W ille m de Kooning Acade m y H oge s ch ool Rotte rdam 3 ABSTRACT: Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and exper- imental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that en- compasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persis- tence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh. Media Design Research Piet Zwart Institute institute for postgraduate studies and research Willem de Kooning Academy Hogeschool Rotterdam http://www.pzwart.wdka.hro.nl The author wishes to thank Piet Zwart Institute Media Design Research for the fellowship on which this book was written. Editor: Matthew Fuller, additional corrections: T. Peal Typeset by Florian Cramer with LaTeX using the amsbook document class and the Bitstream Charter typeface. Front illustration: Permutation table for the pronounciation of God’s name, from Abraham Abulafia’s Or HaSeichel (The Light of the Intellect), 13th century c 2005 Florian Cramer, Piet Zwart Institute Permission is granted to copy, distribute and/or modify this document under the terms of any of the following licenses: (1) the GNU General Public License as published by the Free Software Foun- dation; either version 2 of the License, or any later version. -
Dockerdocker
X86 Exagear Emulation • Android Gaming • Meta Package Installation Year Two Issue #14 Feb 2015 ODROIDMagazine DockerDocker OS Spotlight: Deploying ready-to-use Ubuntu Studio containers for running complex system environments • Interfacing ODROID-C1 with 16 Channel Relay Play with the Weather Board • ODROID-C1 Minimal Install • Device Configuration for Android Development • Remote Desktop using Guacamole What we stand for. We strive to symbolize the edge of technology, future, youth, humanity, and engineering. Our philosophy is based on Developers. And our efforts to keep close relationships with developers around the world. For that, you can always count on having the quality and sophistication that is the hallmark of our products. Simple, modern and distinctive. So you can have the best to accomplish everything you can dream of. We are now shipping the ODROID U3 devices to EU countries! Come and visit our online store to shop! Address: Max-Pollin-Straße 1 85104 Pförring Germany Telephone & Fax phone : +49 (0) 8403 / 920-920 email : [email protected] Our ODROID products can be found at http://bit.ly/1tXPXwe EDITORIAL ow that ODROID Magazine is in its second year, we’ve ex- panded into several social networks in order to make it Neasier for you to ask questions, suggest topics, send article submissions, and be notified whenever the latest issue has been posted. Check out our Google+ page at http://bit.ly/1D7ds9u, our Reddit forum at http://bit. ly/1DyClsP, and our Hardkernel subforum at http://bit.ly/1E66Tm6. If you’ve been following the recent Docker trends, you’ll be excited to find out about some of the pre-built Docker images available for the ODROID, detailed in the second part of our Docker series that began last month. -
Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles
Bitstream Fonts in May 2005 at http://www.myfonts.com/fonts/bitstream totaling 350 font families with a total of 1357 font styles The former Bitstream typeface libraries consisted mainly of forgeries of Linotype fonts and of ITC fonts. See the list below on the pages 24–29 about the old Bitstream Typeface Library of 1992. The 2005 Bitstream typeface library contains the same forgeries of Linotype fonts as formerly and also the same ITC fonts, but it also includes a lot of new mediocre „rubbish fonts“ (e.g. „Alphabet Soup“, „Arkeo“, „Big Limbo“), but also a few new quality fonts (e.g. „Drescher Grotesk“, „Prima Serif“ etc.). On the other hand, a few old fonts (e.g. „Caxton“) were removed. See the list below on pages 1–23. The typeface collection of CorelDraw comprises almost the entire former old Bitstream typeface library (see the list below on pages 24–29) with the following exceptions: 1. A few (ca. 3) forgeries of Linotype fonts are missing in the CorelDraw font collections, e.g. the fonts „Baskerville No. 2“ (= Linotype Baskerville No. 2), „Italian Garamond“ (= Linotype Garamond Simoncini), and „Revival 555“ (= Linotype Horley Old Style). 2. A lot (ca. 11) of ITC fonts are not contained in the CorelDraw font collections, e.g. „ITC Berkeley Oldstyle“, „ITC Century“, „ITC Clearface“, „ITC Isbell“, „ITC Italia“, „ITC Modern No. 216“, „ITC Ronda“, „ITC Serif Gothic“, „ITC Tom’s Roman“, „ITC Zapf Book“, and „ITC Zapf International“. Ulrich Stiehl, Heidelberg 3-May 2005 Aachen – 2 styles Ad Lib™ – 1 styles Aerospace Pi – 1 styles Aldine -
Uniform Rendering of XML Encoded Mathematical Content with Opentype Fonts
i \eutypon24-25" | 2011/1/21 | 8:58 | page 11 | #15 i i i Εὔτυπon, τεῦχος 24-25 — >Okt¸brioc/October 2010 11 Uniform Rendering of XML Encoded Mathematical Content with OpenType Fonts Apostolos Syropoulos 366, 28th October Str. GR-671 00 Xanthi Greece E-mail: asyropoulos at yahoo dot com The new OpenType MATH font table contains important information that can be used to correctly and uniformly render mathematical con- tent (e.g., mathematical formulae, equations, etc.). Until now, all sys- tems in order to render XML encoded mathematical content employed some standard algorithms together with some standard sets of TrueType and/or Type 1 fonts, which contained the necessary glyphs. Unfortu- nately, this approach does not produce uniform results because certain parameters (e.g., the thickness of the fraction line, the scale factor of superscripts/subscripts, etc.) are system-dependant, that is, their exact values will depend on the particular setup of a given system. Fortunately, the new OpenType MATH table can be used to remedy this situation. In particular, by extending renderers so as to be able to render mathemat- ical contents with user-specified fonts, the result will be uniform across systems and platforms. In other words, the proposed technology would allow mathematical content to be rendered the same way ordinary text is rendered across platforms and systems. 1 Introduction The OpenType font format is a new cross-platform font file format developed jointly by Adobe and Microsoft. OpenType fonts may contain glyphs with ei- ther cubic B´eziersplines (used in PostScript fonts) or with quadratic B´ezier splines (used in TrueType fonts). -
Multimedia Systems DCAP303
Multimedia Systems DCAP303 MULTIMEDIA SYSTEMS Copyright © 2013 Rajneesh Agrawal All rights reserved Produced & Printed by EXCEL BOOKS PRIVATE LIMITED A-45, Naraina, Phase-I, New Delhi-110028 for Lovely Professional University Phagwara CONTENTS Unit 1: Multimedia 1 Unit 2: Text 15 Unit 3: Sound 38 Unit 4: Image 60 Unit 5: Video 102 Unit 6: Hardware 130 Unit 7: Multimedia Software Tools 165 Unit 8: Fundamental of Animations 178 Unit 9: Working with Animation 197 Unit 10: 3D Modelling and Animation Tools 213 Unit 11: Compression 233 Unit 12: Image Format 247 Unit 13: Multimedia Tools for WWW 266 Unit 14: Designing for World Wide Web 279 SYLLABUS Multimedia Systems Objectives: To impart the skills needed to develop multimedia applications. Students will learn: z how to combine different media on a web application, z various audio and video formats, z multimedia software tools that helps in developing multimedia application. Sr. No. Topics 1. Multimedia: Meaning and its usage, Stages of a Multimedia Project & Multimedia Skills required in a team 2. Text: Fonts & Faces, Using Text in Multimedia, Font Editing & Design Tools, Hypermedia & Hypertext. 3. Sound: Multimedia System Sounds, Digital Audio, MIDI Audio, Audio File Formats, MIDI vs Digital Audio, Audio CD Playback. Audio Recording. Voice Recognition & Response. 4. Images: Still Images – Bitmaps, Vector Drawing, 3D Drawing & rendering, Natural Light & Colors, Computerized Colors, Color Palletes, Image File Formats, Macintosh & Windows Formats, Cross – Platform format. 5. Animation: Principle of Animations. Animation Techniques, Animation File Formats. 6. Video: How Video Works, Broadcast Video Standards: NTSC, PAL, SECAM, ATSC DTV, Analog Video, Digital Video, Digital Video Standards – ATSC, DVB, ISDB, Video recording & Shooting Videos, Video Editing, Optimizing Video files for CD-ROM, Digital display standards. -
Reference / Forgerock Identity Cloud 7.2
Reference / ForgeRock Identity Cloud 7.2 Latest update: 7.1.0 ForgeRock AS. 201 Mission St., Suite 2900 San Francisco, CA 94105, USA +1 415-599-1100 (US) www.forgerock.com Copyright © 2011-2021 ForgeRock AS. Abstract Reference documentation for ForgeRock® Identity Cloud (Identity Cloud). ForgeRock Identity Cloud provides intelligent authentication, authorization, federation, and single sign-on functionality. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. © Copyright 2010–2020 ForgeRock, Inc. All rights reserved. ForgeRock is a registered trademark of ForgeRock, Inc. Other marks appearing herein may be trademarks of their respective owners. This product or document is protected by copyright and distributed under licenses restricting its use, copying, and distribution. No part of this product or document may be reproduced in any form by any means without prior written authorization of ForgeRock and its licensors, if any. DOCUMENTATION IS PROVIDED “AS IS” AND ALL EXPRESSED OR IMPLIED CONDITIONS, REPRESENTATIONS, AND WARRANTIES, INCLUDING ANY IMPLIED WARRANTY OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE OR NON-INFRINGEMENT, ARE DISCLAIMED, EXCEPT TO THE EXTENT THAT SUCH DISCLAIMERS ARE HELD TO BE LEGALLY INVALID. DejaVu Fonts Bitstream Vera Fonts Copyright Copyright (c) 2003 by Bitstream, -
Using Fonts Installed in Local Texlive - Tex - Latex Stack Exchange
27-04-2015 Using fonts installed in local texlive - TeX - LaTeX Stack Exchange sign up log in tour help TeX LaTeX Stack Exchange is a question and answer site for users of TeX, LaTeX, ConTeXt, and related Take the 2minute tour × typesetting systems. It's 100% free, no registration required. Using fonts installed in local texlive I have installed texlive at ~/texlive . I have installed collectionfontsrecommended using tlmgr . Now, ~/texlive/2014/texmfdist/fonts/ has several folders: afm , cmap , enc , ... , vf . Here is the output of tlmgr info helvetic package: helvetic category: Package shortdesc: URW "Base 35" font pack for LaTeX. longdesc: A set of fonts for use as "dropin" replacements for Adobe's basic set, comprising: Century Schoolbook (substituting for Adobe's New Century Schoolbook); Dingbats (substituting for Adobe's Zapf Dingbats); Nimbus Mono L (substituting for Abobe's Courier); Nimbus Roman No9 L (substituting for Adobe's Times); Nimbus Sans L (substituting for Adobe's Helvetica); Standard Symbols L (substituting for Adobe's Symbol); URW Bookman; URW Chancery L Medium Italic (substituting for Adobe's Zapf Chancery); URW Gothic L Book (substituting for Adobe's Avant Garde); and URW Palladio L (substituting for Adobe's Palatino). installed: Yes revision: 31835 sizes: run: 2377k relocatable: No catdate: 20120606 22:57:48 +0200 catlicense: gpl collection: collectionfontsrecommended But when I try to compile: \documentclass{article} \usepackage{helvetic} \begin{document} Hello World! \end{document} It gives an error: ! LaTeX Error: File `helvetic.sty' not found. Type X to quit or <RETURN> to proceed, or enter new name. -
Chapter 13, Using Fonts with X
13 Using Fonts With X Most X clients let you specify the font used to display text in the window, in menus and labels, or in other text fields. For example, you can choose the font used for the text in fvwm menus or in xterm windows. This chapter gives you the information you need to be able to do that. It describes what you need to know to select display fonts for use with X client applications. Some of the topics the chapter covers are: The basic characteristics of a font. The font-naming conventions and the logical font description. The use of wildcards and aliases for simplifying font specification The font search path. The use of a font server for accessing fonts resident on other systems on the network. The utilities available for managing fonts. The use of international fonts and character sets. The use of TrueType fonts. Font technology suffers from a tension between what printers want and what display monitors want. For example, printers have enough intelligence built in these days to know how best to handle outline fonts. Sending a printer a bitmap font bypasses this intelligence and generally produces a lower quality printed page. With a monitor, on the other hand, anything more than bitmapped information is wasted. Also, printers produce more attractive print with variable-width fonts. While this is true for monitors as well, the utility of monospaced fonts usually overrides the aesthetic of variable width for most contexts in which we’re looking at text on a monitor. This chapter is primarily concerned with the use of fonts on the screen. -
ABBYY® Finereader PDF 15
ABBYY® FineReader PDF 15 Guide de l'administrateur système © 2019 ABBYY Production LLC. Tous droits réservés. ABBYY® FineReader PDF 15 Guide de l'utilisateur Les informations du présent document sont susceptibles de modifications sans préavis et n'impliquent aucun engagement de la part d'ABBYY. Le logiciel décrit dans ce document est fourni aux termes d'un accord de licence. Le logiciel ne peut être utilisé ou copié qu'en stricte conformité avec les termes de l'accord de licence. La copie de ce logiciel sur tout support constitue une infraction aux lois de la Fédération de Russie relatives à la protection juridique des logiciels et des bases de données et aux lois internationales, sauf autorisation expresse dans le cadre de la licence ou des accords de non-divulgation. Aucune partie de ce document ne peut en aucun cas être reproduite ni transmise, sous aucune forme ni par aucun moyen, sans l'autorisation expresse écrite d'ABBYY. Droits d'auteur 65 2 ABBYY® FineReader PDF 15 Guide de l'utilisateur Table des matières Méthodes d'installation et d'activation par type de licence et version de produit .......................... 5 Méthodes de déploiement ..................................................................................................................................................... 5 Installation sur un ordinateur (installation du logiciel standard) ........................................................... 5 Installation sur plus d'un ordinateur ...................................................................................................................... -
P Font-Change Q UV 3
p font•change q UV Version 2015.2 Macros to Change Text & Math fonts in TEX 45 Beautiful Variants 3 Amit Raj Dhawan [email protected] September 2, 2015 This work had been released under Creative Commons Attribution-Share Alike 3.0 Unported License on July 19, 2010. You are free to Share (to copy, distribute and transmit the work) and to Remix (to adapt the work) provided you follow the Attribution and Share Alike guidelines of the licence. For the full licence text, please visit: http://creativecommons.org/licenses/by-sa/3.0/legalcode. 4 When I reach the destination, more than I realize that I have realized the goal, I am occupied with the reminiscences of the journey. It strikes to me again and again, ‘‘Isn’t the journey to the goal the real attainment of the goal?’’ In this way even if I miss goal, I still have attained goal. Contents Introduction .................................................................................. 1 Usage .................................................................................. 1 Example ............................................................................... 3 AMS Symbols .......................................................................... 3 Available Weights ...................................................................... 5 Warning ............................................................................... 5 Charter ....................................................................................... 6 Utopia ....................................................................................... -
(2009), No. 2 TEX People: the TUG Interviews Project and Book Karl
196 TUGboat, Volume 30 (2009), No. 2 TEX People: The TUG interviews project 2 The interview method and book Interview subjects are1 chosen based on (a) seeking Karl Berry and David Walden diversity in many dimensions, (b) recommendations from people about who should be interviewed, and Abstract (c) potential interview subjects being willing to be We present the history and evolution of the TUG interviewed. interviews project. We discuss the interviewing pro- The interviews have almost all been done via cess as well as our methods for creating web pages exchange of email using plain text; a couple of ex- and a printed book from the interviews, using m4 as ceptions were done in LATEX. a preprocessor targeting either HTML or LATEX. We For the first several interviews, Dave sent a also describe some business decisions relating to the more or less complete list of questions (once the book. We don't claim great generality for what we interviewee agreed to participate), on the theory that have done, but we hope some of our experience will this would minimize the burden on the interviewee. be educational. However, having a dozen questions to answer at one time proved to be daunting to interviewees. Thus, Dave switched to a process wherein he sent a couple of standard initial questions (namely, \Tell me a 1 Introduction bit about yourself and your history outside of TEX," Dave had two ideas in mind when he suggested (orig- and \How and when did you first get involved with inally to Karl) this interview series in 2004: (a) tech- TEX?"). -
Fontographer 4.1.5 Technotes by Fontlab Ltd
Fontographer 4.1.5 Technotes by Fontlab Ltd. Draft version 2.7. May 2005 Important: This documentation includes technical notes and FAQs collected over the last 15 years in the Fontographer knowledge base. Due to the ongoing technological changes, parts of the information provided herein, in particular weblinks and references to other resources, as well as statements about technologies, font formats, encodings etc. may be inaccurate or outdated. Due to the draft nature of this document, some formatting errors may occur. Copyright ©2005 by FontLab, Ltd. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written consent of the publisher. Any software referred to herein is furnished under license and may only be used or copied in accordance with the terms of such license. FontLab, FontLab logo, ScanFont, TypeTool, SigMaker, AsiaFont Studio, FontAudit and VectorPaint are either registered trademarks or trademarks of FontLab, Ltd. in the United States and/or other countries. Macromedia, Fontographer and Freehand are registered trademarks of Macromedia, Inc. Apple, the Apple Logo, Mac, Mac OS, Macintosh and TrueType are trademarks of Apple Computer, Inc., registered in the United States and other countries. Adobe, PostScript, Type Manager and Illustrator are trademarks of Adobe Systems Incorporated which may be registered in certain jurisdictions. Windows, Windows 95, Windows 98, Windows XP and Windows NT are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. IBM is a registered trademark of International Business Machines Corporation.