F-Secure Internet Security 2012
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Attacco Cinese Ai Server Exchange È Gravissimo Ma Ne Parlano in Pochi
n.240 / 21 22 MARZO 2021 MAGAZINE Datacenter OVH Shopping extra UE: sui Galaxy A52 e A72: Nuovi TV LG 2021, distrutto: il cloud è marketplace cinesi hanno tutto, modelli e prezzi. Il 77” veramente sicuro? 06 si pagherà di più 08 al giusto prezzo 15 scende a 3.899 euro 18 Attacco cinese ai server Exchange È gravissimo ma ne parlano in pochi Un attacco hacker cinese, sfruttando vulnerabilità di Exchange, ha colpito migliaia di aziende italiane. È una bomba a orologeria, ma tutti fanno finta di niente 02 Find X3 Pro, primo contatto 26 Oppo mantiene le promesse? Il nuovo top di gamma Oppo è un concentrato di innovazione. Abbiamo analizzato tutti i punti Sonos Roam, Wi-Fi di forza, dal miliardo di colori alle foto a 10 bit e multiroom ma 11 anche super-portatile Netflix blocca condivisione account 43 Per ora è un test, ma in futuro? La nuova versione dell’app, che blocca la condivisione dell’account tra amici e conoscenti, è Dacia Spring già stata distribuita ad alcuni utenti in alcuni Paesi, La spacca-mercato elettrica a 9.460 € 17 ma non è detto che non venga estesa altrove IN PROVA IN QUESTO NUMERO 30 34 38 40 Xiaomi Mi 11 5G Fujifilm X-E4 Radio-microfono Sony IP Cam EZVIZ C8C Quasi perfetto Mirrorless per tutti Gioia per videomaker Sorveglianza a 360° n.240 / 21 22 MARZO 2021 MAGAZINE MERCATO Un gruppo di hacker cinesi, sfruttando vulnerabilità di Exchange, sta installando da mesi backdoor sui server aziendali Attacco cinese ha toccato migliaia di aziende italiane Può causare danni enormi ma ne parlano in pochi L’attacco è uno dei più devastanti degli ultimi anni, eppure tutti fanno finta di niente. -
Fast Born Globals
STOCKHOLM SCHOOL OF ECONOMICS MASTER OF SCIENCE IN BUSINESS AND ECONOMICS SPECIALIZATION IN MANAGEMENT MASTER THESIS DECEMBER 2011 Fast Born Globals An analysis of International Entrepreneurship in the Mobile Applications Industry Abstract The introduction of smartphones caused a disruptive change in the mobile telecommunications industry. Digital distribution platforms demounted market entry barriers and allow software firms to easily distribute their products on a global scale. This paper examines whether the Born Global theory is applicable to these recently founded and globally active mobile software development firms. In a first step a Quantitative analysis is exerted in order to determine if Born Globals are a prevalent phenomenon in the mobile application industry. In a second step the comparative case study method is applied to compare the characteristics and behavioural patterns of selected cases to Born Globals in other industries. It is found that companies Qualifying as Born Globals are numerous in the mobile application industry. However, the applicability of Born Global theory to these firms in terms of determinant characteristics is limited and is found to depend on the companies’ business model. Developers monetizing their applications through digital distribution platforms show significant differences in important characteristics compared to Born Globals in other industries. On the contrary, for companies monetizing their applications through other channels and hence using the platforms solely for distribution purposes, comparability to Born Globals in other industries is given. Authors: Kristina Böhm (40073) and Benjamin Tschauner (40069) Supervisor: Mikael Samuelsson, Assistant Professor, Dep. of Management and Organization Acknowledgement We would like to thank our thesis advisor Mikael Samuelsson for being a great source of insight, constructive feedback and especially for being so flexible in advising the thesis virtually. -
What's in a Meme?
Cristina Hanganu-Bresch What's in a Meme? Like everyone else, I am an avid consumer of memes. However, it was only recently that I also dabbled in the production of memes. The transition from consumer to producer was prompted by my abiding love for the musical Hamilton and my subsequent dabbling in Hamilton social media fandom, which, as it turns out, routinely cranks out memes. I produced a few of my own with modest success (a few hundred likes, some shares, nothing earth-shattering), but it made me wonder: am I infringing any copyright laws? And, conversely, how would I feel if I saw that meme reproduced somewhere else without attribution? Meme diffusion inevitably occurs without proper attribution, generating gray areas in terms of intellectual property rights. When the creator is known and has a legal claim to the original image, video, or message, legal action to prevent copyright infringement is possible (more on that in a second). However, in many cases the originator is obscure, lost, or tracked down but unable or unwilling to claim intellectual property (IP). To take just a recent example, the #shepersisted hashtag and “Nevertheless, she persisted” meme were lifted from Sen. Mitch McConnell’s tweet explaining his censure of Elizabeth Warren during her Senate speech protesting Jeff Sessions’ nomination as Attorney General in January 2017. The quote became something else entirely in the hands of internet culture and has been featured in countless parodies, Facebook statuses and Tweets, image-based memes, and, of course, T- shirts; so far, there have been no signs Sen. -
Theindiegamedeveloperhandbook.Pdf
THE INDIE GAME DEVELOPER HANDBOOK This page intentionally left blank THE INDIE GAME DEVELOPER HANDBOOK Richard Hill-Whittall First published 2015 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor & Francis Group, an informa business © 2015 Taylor & Francis The right of Richard Hill-Whittall to be identified as the author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data Hill-Whittall, Richard. -
Pop Culture Cats Part Two - Top Cats in Cyberspace by Ramona D
Pop Culture Cats Part Two - Top Cats in Cyberspace by Ramona D. Marek, MS Ed The idea of captioning cat images dates back long before the Internet and examples include post cards created in 1870 by British photographer, Harry Pointer, in which he posed cats for a picture and later added a humorous caption. Parody of the 1970’s motivational poster with a cat dan- gling from a branch with “Hang in There” text serves as inspiration for today’s pop culture. Photographs with captions by Harry Pointer Cats on the Internet started in the early days of the millennium with “Caturdays” on the 4chan.org message board featuring captioned cat pictures called “lolcat” in 2005, with the domain name, LOLcats. com registered June 14, 2006. “Lolcat” is a compound word using the acronym for “laugh out loud” (LOL) and the word “cat”. The lolcat combines a cat image with an intended humorous caption, sometimes written in broken English. Some of the more humorous ones use correct English. The lolcat prowled around cyberspace until 2007, when its popularity surged thanks to “I CAN HAZ CHEEZBURGER?” posting its first image January 11, 2007. An Internet meme is an idea, style or usage that spreads quickly across the Internet often creating copycats. There are over 500,000 Internet cat memes according to the website Know Your Meme, which researches Internet memes and viral phenomena Above: the original “ICanHasCheese- burger” meme with its first rebuttal (left) A popular lolcat is Chemistry Cat meme, aka, Science Cat, which com- bines a professorial looking white cat attired in round black glasses and a red bowtie behind chemistry flasks and beakers with a series of chemistry jokes and puns primarily using the Periodic Table. -
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NEW RELEASES (gunakan tombol CTRL + F untuk mencari judul) JIKA JUDUL GAME YANG ANDA CARI TIDAK ADA DI NEW RELEASES SILAKAN CEK WORKSHEET LIST GAME A-Z NO 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 8 4 1 3 5 9 2 7 6 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 62 63 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 2 6 -
The World of Hatsune Miku
The World of Hatsune Miku A brief overview of the VOCALOID phenomena Hatsune Miku boxart illustration. Crypton Future Media Inc.© Philip Peng [email protected] http://www.stwing.upenn.edu/~pengp University of Pennsylvania, May 2012 [v1] The World of Hatsune Miku 2 Table of Contents The Diva ........................................................................................................................................................ 3 The Persona .............................................................................................................................................. 4 The Software ............................................................................................................................................. 4 The Community ............................................................................................................................................. 6 The Videos ................................................................................................................................................. 7 The Music .................................................................................................................................................. 9 The Fanart ............................................................................................................................................... 10 The Freeware .......................................................................................................................................... 11 The Product -
Tonseminar Vocaloid
Tonseminar Vocaloid Name: Chiara Haurand Dozent: Prof. Oliver Curdt Matrikelnummer: 26671 Studiengang: Audiovisuelle Medien 1. Einleitung Dass das Internet schon mehr als einem außergewöhnlichen Phänomen eine Plattform geboten hat, ist heutzutage nichts Neues mehr. Mit einem dieser Phänomene beschäftigt sich diese Arbeit: Vocaloid. Das Produkt hat inzwischen insbesondere in der japanischen Unterhaltungs- und Musikindustrie einen hohen Stellenwert erreicht. Seit seiner Veröffentlichung hat es eine große Fangemeinde gewonnen, die bereit sind, einem Idol zuzujubeln, das keine menschliche sondern eine komplett künstlich erschaffene Persönlichkeit ist. Um dem Erfolg und der Begeisterung um dieses Produkt näher zu untersuchen, ist es erforderlich, der japanischen Popkultur näher auf den Grund zu gehen. Zudem werden in dieser Arbeit die technischen Gegebenheiten des Programms und seine Bedienung näher untersucht. Ein Beispiel, wie Vocaloid heutzutage verwendet wird, ist unter folgendem Link zu finden: http://www.youtube.com/watch?v=GBucCNH78q4 (Abrufdatum: 26.04.2014) 2. Das japanische Idol 2.1 Die Karriere als Idol Idole im japanischen Showbusiness sind in der Regel in mehr als in einer Mediensparte präsent. So kommt es vor, dass sie nicht nur Sänger, sondern auch Schauspieler, Model, Moderator oder Synchronsprecher sind. Vermittelt werden diese Idole häufig durch Agenturen, die das Image und den wirtschaftlichen Erfolg der Idole leiten. Nicht selten ist es der Fall, dass Gesangsgruppen wie AKB48 oder Morning Musume für den Erfolg und die Bekanntheit ihrer Mitglieder verantwortlich sind. In der Regel sind Idole nicht älter als 30. Sie sollen ein Bild der Makellosigkeit vermitteln und einen zu erstrebenden Status für die Fans verkörpern. Dennoch – oder gerade deswegen – werden regelmäßig Castings (zum Teil im Rahmen einer TV- Show) veranstaltet, um jedem das Gefühl zu geben, diese Makellosigkeit selber erreichen zu können. -
The Race of Sound Refiguring American Music a Series Edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles Mcgovern, Contributing Editor the Race of Sound
The Race of Sound Refiguring American Music A series edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles McGovern, contributing editor The Race of Sound Listening, Timbre, and Vocality in African American Music Nina Sun Eidsheim Duke University Press Durham and London 2019 © 2019 Nina Sun Eidsheim All rights reserved Printed in the United States of America on acid-free paper ∞ Designed by Courtney Leigh Baker and typeset in Garamond Premier Pro by Copperline Book Services Library of Congress Cataloging-in-Publication Data Title: The race of sound : listening, timbre, and vocality in African American music / Nina Sun Eidsheim. Description: Durham : Duke University Press, 2018. | Series: Refiguring American music | Includes bibliographical references and index. Identifiers:lccn 2018022952 (print) | lccn 2018035119 (ebook) | isbn 9780822372646 (ebook) | isbn 9780822368564 (hardcover : alk. paper) | isbn 9780822368687 (pbk. : alk. paper) Subjects: lcsh: African Americans—Music—Social aspects. | Music and race—United States. | Voice culture—Social aspects— United States. | Tone color (Music)—Social aspects—United States. | Music—Social aspects—United States. | Singing—Social aspects— United States. | Anderson, Marian, 1897–1993. | Holiday, Billie, 1915–1959. | Scott, Jimmy, 1925–2014. | Vocaloid (Computer file) Classification:lcc ml3917.u6 (ebook) | lcc ml3917.u6 e35 2018 (print) | ddc 781.2/308996073—dc23 lc record available at https://lccn.loc.gov/2018022952 Cover art: Nick Cave, Soundsuit, 2017. © Nick Cave. Photo by James Prinz Photography. Courtesy of the artist and Jack Shainman Gallery, New York. This title is freely available in an open access edition thanks to generous support from the ucla Library. This book is published under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 United States (cc by-nc-nd 3.0 us) License, available at https://creativecommons.org/licenses/by-nc-nd/3.0/us/. -
New Facebook Chat News ->->->-> DOWNLOAD (Mirror #1)
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Signature Redacted Certified By: Gediminas Urbonas Associate Professor of Art, Culture and Technology Thesis Supervisor Signature Redacted Accepted By: J
ARCHiv=8 MASSACHOrET - INSTITUTE OF r'ECrHNOLOLU,Y FEB 2 5 2015 LIBRARIES Lifecycle of Viral YouTube Videos by Ami M. Wang Submitted to the Department of Architecture and Planning in partial fulfillment of the requirements for the degree of Bachelor of Science in Architecture at the Massachusetts Institute of Technology June 2014 @ 2014 Ami M. Wang All rights reserved The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: S i n t r red cte Department of Architecture May 23, 2014 Signature redacted Certified by: Gediminas Urbonas Associate Professor of Art, Culture and Technology Thesis Supervisor Signature redacted Accepted by: J. Meejin Yoon Associate Professor of Architecture Director of the Undergraduate Architecture Program - 1 - -2- Lifecycle of Viral YouTube Videos by Ami M. Wang Submitted to the Department of Architecture on May 23, 2014 in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Architecture ABSTRACT YouTube was founded in 2005 as a video-sharing website. Today, it's a powerhouse social media platform where users can upload, view, comment, and share content. For many, it's the first site visited when looking for songs, music videos, tv shows, or just general entertainment. Along with the sharing potential provided by social media like Twitter, Facebook, Tumblr, and more, YouTube videos have the potential to spread like wildfire. A term that has been coined to describe such videos is "viral videos." This comes from the scientific definition of viral, which involves the contagious nature of the spread of a virus. -
Cultural and Audience Contributions of the UK's Film, High
Cultural and Audience Contributions of the UK’s Film, High-End TV, Video Games, and Animation Programming Sectors Report presented to the BFI, Pinewood Group, Ukie, the British Film Commission and Pact by Olsberg•SPI with Nordicity 11th January, 2013 2nd September, 2015 Cultural and Audience Contributions of the UK Film, HETV, Video Games, and Animation Programming Sectors Contents 1. Executive Summary .................................................................................................................. 1 1.1. Introduction ........................................................................................................................ 1 1.2. Film ..................................................................................................................................... 1 1.3. High-End TV ........................................................................................................................ 2 1.4. Video Games ....................................................................................................................... 3 1.5. Key Findings – Animation .................................................................................................... 4 2. Introduction .............................................................................................................................. 5 2.1. Aims of this Report .............................................................................................................. 5 2.2. Study Scope and Objectives ...............................................................................................