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Tripadvisor Appoints Lindsay Nelson As President of the Company's Core Experience Business Unit
TripAdvisor Appoints Lindsay Nelson as President of the Company's Core Experience Business Unit October 25, 2018 A recognized leader in digital media, new CoreX president will oversee the TripAdvisor brand, lead content development and scale revenue generating consumer products and features that enhance the travel journey NEEDHAM, Mass., Oct. 25, 2018 /PRNewswire/ -- TripAdvisor, the world's largest travel site*, today announced that Lindsay Nelson will join the company as president of TripAdvisor's Core Experience (CoreX) business unit, effective October 30, 2018. In this role, Nelson will oversee the global TripAdvisor platform and brand, helping the nearly half a billion customers that visit TripAdvisor monthly have a better and more inspired travel planning experience. "I'm really excited to have Lindsay join TripAdvisor as the president of Core Experience and welcome her to the TripAdvisor management team," said Stephen Kaufer, CEO and president, TripAdvisor, Inc. "Lindsay is an accomplished executive with an incredible track record of scaling media businesses without sacrificing the integrity of the content important to users, and her skill set will be invaluable as we continue to maintain and grow TripAdvisor's position as a global leader in travel." "When we created the CoreX business unit earlier this year, we were searching for a leader to be the guardian of the traveler's journey across all our offerings – accommodations, air, restaurants and experiences. After a thorough search, we are confident that Lindsay is the right executive with the experience and know-how to enhance the TripAdvisor brand as we evolve to become a more social and personalized offering for our community," added Kaufer. -
A Day in the Life of Your Data
A Day in the Life of Your Data A Father-Daughter Day at the Playground April, 2021 “I believe people are smart and some people want to share more data than other people do. Ask them. Ask them every time. Make them tell you to stop asking them if they get tired of your asking them. Let them know precisely what you’re going to do with their data.” Steve Jobs All Things Digital Conference, 2010 Over the past decade, a large and opaque industry has been amassing increasing amounts of personal data.1,2 A complex ecosystem of websites, apps, social media companies, data brokers, and ad tech firms track users online and offline, harvesting their personal data. This data is pieced together, shared, aggregated, and used in real-time auctions, fueling a $227 billion-a-year industry.1 This occurs every day, as people go about their daily lives, often without their knowledge or permission.3,4 Let’s take a look at what this industry is able to learn about a father and daughter during an otherwise pleasant day at the park. Did you know? Trackers are embedded in Trackers are often embedded Data brokers collect and sell, apps you use every day: the in third-party code that helps license, or otherwise disclose average app has 6 trackers.3 developers build their apps. to third parties the personal The majority of popular Android By including trackers, developers information of particular individ- and iOS apps have embedded also allow third parties to collect uals with whom they do not have trackers.5,6,7 and link data you have shared a direct relationship.3 with them across different apps and with other data that has been collected about you. -
Dana Schutz Born 1976 in Livonia, Michigan
This document was updated October 23, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Dana Schutz Born 1976 in Livonia, Michigan. Lives and works in Brooklyn, New York. EDUCATION 2002 M.F.A., Columbia University, New York 2000 B.F.A., Cleveland Institute of Art, Ohio 1999 Skowhegan School of Painting and Sculpture, Skowhegan, Michigan 1999 Norwich School of Art and Design, Norwich, England SOLO EXHIBTIONS 2020 Dana Schutz: Shadow of a Cloud Moving Slowly, Thomas Dane Gallery, London 2019 Dana Schutz: Imagine Me and You, Petzel Gallery, New York 2018 Dana Schutz: Eating Atom Bombs, Transformer Station, Cleveland, Ohio [organized by The Cleveland Museum of Art, Ohio] 2017 Dana Schutz, Institute of Contemporary Art, Boston 2016 Dana Schutz: Waiting for the Barbarians, Contemporary Fine Arts, Berlin [catalogue] 2015 Dana Schutz: Fight in an Elevator, Petzel Gallery, New York Dana Schutz, Musée d’art contemporain de Montréal [catalogue] 2013 Dana Schutz: God Paintings, Contemporary Fine Arts, Berlin Dana Schutz, The Hepworth Wakefield, England [itinerary: kestnergesellschaft, Hannover, Germany] [catalogue Dana Schutz: Demo] 2012 Dana Schutz: Götterdämmerung, The Metropolitan Opera, New York Dana Schutz: Piano in the Rain, Petzel Gallery, New York Dana Schutz: Works on Paper, Museum of Contemporary Art, Denver 2011-2013 Dana Schutz: If the Face Had Wheels, Neuberger Museum of Art, Purchase College, State University of New York [itinerary: Miami Art Museum; Denver Art Museum] [catalogue] -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
How to Get Started with Zoom - the Verge
8/3/2020 How to get started with Zoom - The Verge HOW-TO REVIEWS TECH 14 How to get started with Zoom You can make a free account right now By Jay Peters @jaypeters Mar 31, 2020, 2:51pm EDT If you buy something from a Verge link, Vox Media may earn a commission. See our ethics statement. Illustration by Alex Castro / The Verge Part of The Verge Guide to staying connected Before the pandemic, many companies were already using the videoconferencing app Zoom for business meetings, interviews, and other purposes. More recently, many individuals facing long days without contact with friends and family have moved to Zoom for face-to-face and group get-togethers. This is a quick guide for those who haven’t tried Zoom yet, featuring tips on how to get started using its free version. One thing to keep in mind: while one-to-one video calls can https://www.theverge.com/2020/3/31/21197215/how-to-zoom-free-account-get-started-register-sign-up-log-in-invite 1/7 8/3/2020 How to get started with Zoom - The Verge go as long as you want, any group calls on Zoom are limited to 40 minutes. If you want to have longer talks without interruption, you can either pay for Zoom’s Pro plan ($14.99 a month) or try an alternative videoconferencing app. (Note: there have been reports that the 40 minutes is sometimes extended — at least one staffer from The Verge found that an evening meeting with five friends was sent an extension when time started running out — but there has been no official word of any change from Zoom.) HOW TO REGISTER FOR ZOOM The first thing to do, of course, is to register for the service. -
Vox Media Turns to Cloudian Hyperstore to Meet Growing Archive Demand
Vox Media Turns to Cloudian Hyperstore to Meet Growing Archive Demand Automates archive process and eliminates steps CUSTOMER CASE STUDY: to accelerate workflow by 10X VOX MEDIA Vox Media is a digital media company known for its high-profile brands including Vox, SB Nation, The Verge, Racked, Eater, Curbed, Recode, and Polygon. Headquartered in New York, the company also has offices in D.C, Los Angeles, Chicago, Austin, and San Francisco. The Challenge Vox Media creates digital content that caters to technology, sports and video game enthusiasts. At any given time, the firm has multiple active projects, including videos, podcasts and other digital content for a diverse audience across multiple INDUSTRY sites. Together, these digital projects drive demand for multiple petabytes of Media and Entertainment data storage. CHALLENGES Quantum StorNext provides the central storage management point for Vox, • Time-consuming tape-based connecting users to both primary and Linear Tape Open (LTO) archival storage. In archive process their legacy workflow, the digital assets currently in use were stored on SAN. Once • NAS staging area required, adding a project was completed, those assets were migrated to LTO tape. A NAS system workload served as a staging area between the SAN and the LTO archives. • Tape archive not searchable SOLUTION Cloudian HyperStore appliances PROJECT COMPLETE RESULTS PROJECT RETRIEVAL • 10X acceleration of archive process • Rapid data offload from SAN SAN NAS LTO Tape Backup • Eliminated NAS staging area and manual steps • Integration with existing IT Figure 1 : Legacy media workflow at Vox infrastructure (Quantum StorNext, The legacy workflow had multiple issues which prevented the team from meeting its Evolphin) goals. -
New Directions in Figurative Painting at Whitechapel Gallery Radical Figures
New directions in figurative painting at Whitechapel Gallery Radical Figures: Painting in the New Millennium 6 February – 10 May 2020 Galleries 1, 8 & 9 Radical Figures: Painting in the New Millennium brings together a new generation of artists who represent the body in radical ways to tell stories and explore vital social concerns. Presenting for the first time this new direction in painting, the exhibition features ten painters at the heart of this zeitgeist: Michael Armitage, Cecily Brown, Nicole Eisenman, Sanya Kantarovsky, Tala Madani, Ryan Mosley, Christina Quarles, Daniel Richter, Dana Schutz and Tschbalala Self. Painting had its last big hurrah in the 1980s when the stock market boom fuelled the brash brushwork and swagger of Neo-Expressionism. Leading critics were quick to pronounce its death. Through 40 canvases created over the last two decades, Whitechapel Gallery’s spring 2020 exhibition surveys the renewed interest in expressive and experimental modes of figuration among painters who have come to prominence since 2000. The artists explore contemporary subjects including gender and sexuality, society and politics, race and body image. Pushing the notion of what figurative painting can be, the bodies they depict may be fragmented, morphed, merged and remade but never completely cohesive. They may also be fluid and non-gendered; drawn from news stories; represented by animals; or simply formed from the paint itself. Embodying the painterly gesture to critique from within or broaden the lineage of a style long associated with canonical Eurocentric male painters, each artist references and creates work in dialogue with 19th and 20th- century painters including Victor Eugene Delacroix (1798–1863), Paul Gauguin (1848–1903), Willem de Kooning (1904–1997) and Maria Lassnig (1919–2014). -
Keeping Faith with the Student-Athlete, a Solid Start and a New Beginning for a New Century
August 1999 In light of recent events in intercollegiate athletics, it seems particularly timely to offer this Internet version of the combined reports of the Knight Commission on Intercollegiate Athletics. Together with an Introduction, the combined reports detail the work and recommendations of a blue-ribbon panel convened in 1989 to recommend reforms in the governance of intercollegiate athletics. Three reports, published in 1991, 1992 and 1993, were bound in a print volume summarizing the recommendations as of September 1993. The reports were titled Keeping Faith with the Student-Athlete, A Solid Start and A New Beginning for a New Century. Knight Foundation dissolved the Commission in 1996, but not before the National Collegiate Athletic Association drastically overhauled its governance based on a structure “lifted chapter and verse,” according to a New York Times editorial, from the Commission's recommendations. 1 Introduction By Creed C. Black, President; CEO (1988-1998) In 1989, as a decade of highly visible scandals in college sports drew to a close, the trustees of the John S. and James L. Knight Foundation (then known as Knight Foundation) were concerned that athletics abuses threatened the very integrity of higher education. In October of that year, they created a commission on Intercollegiate Athletics and directed it to propose a reform agenda for college sports. As the trustees debated the wisdom of establishing such a commission and the many reasons advanced for doing so, one of them asked me, “What’s the down side of this?” “Worst case,” I responded, “is that we could spend two years and $2 million and wind up with nothing to show of it.” As it turned out, the time ultimately became more than three years and the cost $3 million. -
Elsagate” Phenomenon: Disturbing Children’S Youtube Content and New Frontiers in Children’S Culture
Selected Papers of #AoIR2019: The 20th Annual Conference of the Association of Internet Researchers Brisbane, Australia / 2-5 October 2019 EXAMINING THE “ELSAGATE” PHENOMENON: DISTURBING CHILDREN’S YOUTUBE CONTENT AND NEW FRONTIERS IN CHILDREN’S CULTURE Jessica Balanzategui Swinburne University of Technology Contemporary children are turning to online video streaming as an “alternative for TV” (Ha 2018, 1) in increasing numbers (see Australian Communications and Media Authority 2017, 20-22). In addition, US-based global video streaming platforms, primarily YouTube and Netflix, are becoming “more influential in screen production ecologies” when it comes to children’s content (Potter 2017a, 22). Yet, as increasing numbers of children consume much of their video content outside of the legacy media spaces of film and television, serious concerns are being raised in policy, advocacy (Centre for Digital Democracy, 2018), and journalistic (Bridle, 2017) discussions around the globe because many new children’s video streaming genres are not “child-appropriate” according to extant definitions and guidelines, such as the internationally endorsed Children’s Television Charter. Alarms have been raised in relation to new genres on YouTube in particular. For instance, in an influential journalistic exposé, James Bridle (2017) argues that YouTube content seemingly aimed at child-viewers is tantamount to “a kind of infrastructural violence” against children’s wellbeing, a point echoed in many other recent long-form journalistic investigations (see for instance Orphanides 2018). Public concerns about the strange approach to children’s content exhibited by various YouTube genres have become so prevalent that the neologism “Elsagate” is now commonly used in media reportage to describe the scandal. -
Dana Schutz Painting of Emmett Till, Titled Open Casket
Dana Shutz’s Painting of Emmett Till Jay Miller Warren Wilson College One of the most exciting things about working in aesthetics and philosophy of art is that the pursuit of questions about art and beauty allows us, and sometimes forces us, into other fields of inquiry—to the ethical, the political, the metaphysical, the scientific, and so on. We are, by nature if not necessity, interdisciplinary. We enjoy a special kind of intellectual freedom to talk about nearly anything. That doesn’t always mean, however, that we should. I’ve recently been thinking about the Dana Schutz painting of Emmett Till, titled Open Casket. Like many of us, I was drawn to the complex interrelation of aesthetics, politics, and ethics that gave rise to the now infamous controversy that erupted when the painting was featured at the 2017 Whitney Biennial. The painting, a medium-large,1 semi-abstract depiction of Till’s disfigured visage facing upward in an open funeral casket, is based on documentary photographs taken after the gruesome 1955 lynching of the 14 year-old boy in rural Mississippi, wrongly accused of flirting with a white woman in a grocery store. The unavoidable question that this high-profile case raises has to do with a certain kind of normative relation between the image, the painting, and the artist. And this question—call it The Question—struck me as a profoundly philosophical question, one especially well-suited for the philosophy of art. Certainly, there are plenty of straightforward aesthetic critiques that can be made about the painting. We might say, for example, that the playfulness of its gestural brushstrokes belie the gravity of its subject matter. -
The History of the Ipad
Proceedings of the New York State Communication Association Volume 2015 Article 3 2016 The iH story of the iPad Michael Scully Roger Williams University, [email protected] Follow this and additional works at: http://docs.rwu.edu/nyscaproceedings Part of the Communication Technology and New Media Commons, Journalism Studies Commons, and the Mass Communication Commons Recommended Citation Scully, Michael (2016) "The iH story of the iPad," Proceedings of the New York State Communication Association: Vol. 2015 , Article 3. Available at: http://docs.rwu.edu/nyscaproceedings/vol2015/iss1/3 This Conference Paper is brought to you for free and open access by the Journals at DOCS@RWU. It has been accepted for inclusion in Proceedings of the New York State Communication Association by an authorized editor of DOCS@RWU. For more information, please contact [email protected]. The iH story of the iPad Cover Page Footnote Thank you to Roger Williams University and Salve Regina University. This conference paper is available in Proceedings of the New York State Communication Association: http://docs.rwu.edu/ nyscaproceedings/vol2015/iss1/3 Scully: iPad History The History of the iPad Michael Scully Roger Williams University __________________________________________________________________ The purpose of this paper is to review the history of the iPad and its influence over contemporary computing. Although the iPad is relatively new, the tablet computer is having a long and lasting affect on how we communicate. With this essay, I attempt to review the technologies that emerged and converged to create the tablet computer. Of course, Apple and its iPad are at the center of this new computing movement. -
Press Release
PRESS RELEASE FOR IMMEDIATE RELEASE ORR PARTNERS ENGAGED BY VOX MEDIA Reston, VA (January 12, 2016) — Vox Media has selected Orr Partners to manage the expansion of their 1201 Connecticut Avenue office in Washington, DC. The modern media company will utilize the additional space to accommodate the rapid growth of its major brands. The improvements include: • Seating for approximately 100 staff • Recording facilities • Conference and teaming areas • Ancillary / teaming space “We are excited we were selected for this exciting and challenging project,” commented Scott Siegel, President of Orr Partners. “We appreciate Vox’s confidence in our team.” The project will commence immediately with assembly of the full project team and completion of the design. “Vox has a great energy about them,” stated Clif White, Senior Project Manager for Orr Partners. “I look forward to working closely with the project team to deliver a project we will all be proud of.” The project will deliver in spring of 2016. ABOUT ORR PARTNERS Orr Partners, an award-winning Project Management firm in Reston, Virginia, is a leading provider of owner's representation services. Specializing in complex project management, Orr Partners provides services for a diverse client base in multiple disciplines including corporate tenant improvements, multi-family, educational, religious, industrial, healthcare, manufacturing, and public sector work. For more detailed information, please email [email protected], visit orrpartners.com or call Scott Siegel at 703-289-2132. For more information on Orr’s property management business, MacGregor Property Management, visit magregorpm.com. For more information on Orr’s safety and QA/QC business, NSBI, visit nsbuilding.com.