Digital Imaging Quotes

5 Ways To Build Your Brand on Social Media: 1 Post content that add value 2 Spread positivity 3 Create steady stream of info 4 Make an impact 5 Be yourself

Hello, Olympus! Aeolus, master of the winds here, with weather every twelve! We‘ll have a low-pressure system moving over Florida today, so expect milder temperatures since Demeter wishes to spare the citrus farmers!‖ He gestured at the blue screen, but when Jason checked the monitors, he saw that a digital image was being projected behind Aeolus, so it looked like he was standing in front of a U.S. map with animated smiley suns and frowny storm clouds. ―Along the eastern seaboard—oh, hold on.‖ He tapped his earpiece. ―Sorry, folks! Poseidon is angry with Miami today, so it looks like that Florida freeze is back on! Sorry, Demeter. Over in the Midwest, I‘m not sure what St. Louis did to offend Zeus, but you can expect winter storms! Boreas himself is being called down to punish the area with ice. Bad news, Missouri! No, wait. Hephaestus feels sorry for central Missouri, so you all will have much more moderate temperatures and sunny skies.

Suffering isn't real to them. War isn't real. It's just a three-letter word for other people that they see in the digital newsfeeds. Just a stream of uncomfortable images they skip past. A whole business of weapons and arms and ships and hierarchies they don't even notice, all to shield these fools from the true agony of what it means to be human.

In the digital age, the troll is essentially a caricature and embodiment of all the worst traits associated with masculinity. They’re culturally and intellectually shallow. Angry. Violent. Aggressive. And, after years of wading through graphic images, postmodern stew, racist propaganda, and disgusting and misogynistic pornography, they have grown into nihilists with no other purpose besides punishing the world while laughing to prove they’re stronger than their humanity.

I've decided that has been the great achievement of our age: to so thoroughly flood the planet with megabits that every image and fact has become a digitized disembodied nothingness. With magnificent determination, our species has advanced from Stone Age to Industrial Revolution to Digital Emptiness. We've become weightless, in the bad sense of the word.

Check it out." Jonah removed the bubble wrap and held up the picture for his three cousins. Dan took a step backward. The shock was almost as powerful as it had been the day before at the Uffizi. "It's perfect! It's every bit as disgusting as the real one!" Amy nodded. "And so fast. We only called you yesterday." Jonah shrugged. "Even the Janus take a short cut every now and then. You can do a lot with digitization these days. You break the picture down to squares and reproduce them one at a time. The other two are just as fly." "You mean, hog ugly," Hamilton amended. "The serpents don't help," Dan put in critically. "Live fat spaghetti. Lady, if you're thinking of a modeling career, forget it!" The rapper clucked sympathetically. "You guys just don't appreciate the power of the visual image. The Wiz used to be like that–until Gangsta Kronikles. When you're in film industry, you understand the whole picture's-worth-a-thousand-words deal." Hamilton rolled his eyes. "Here we go again.

discovered is that I’m an image maker, and I don’t care how its made—whether it’s through painting or photography or drawing—I just want to create images.

That was why, later on, he began to lose interest in photography: first when colour took over, then when it became plain that the old magic of light-sensitive emulsions was waning, that to the rising generation the enchantment lay in a techne of images without substance, images that could flash through the ether without residing anywhere, that could be sucked into a machine and emerge from it doctored, untrue. He gave up recording the world in photographs then, and transferred his energies to saving the past.

I think one of the reasons that I feel empty after watching a lot of TV, and one of the things that makes TV seductive, is that it gives the illusion of relationships with people. It's a way to have people in the room talking and being entertaining, but it doesn't require anything of me. I mean, I can see them, they can't see me. And, and, they're there for me, and I can, I can receive from the TV, I can receive entertainment and stimulation. Without having to give anything back but the most tangential kind of attention. And that is very seductive. The problem is it's also very empty. Because one of the differences about having a real person there is that number one, I've gotta do some work. Like, he pays attention to me, I gotta pay attention to him. You know: I watch him, he watches me. The stress level goes up. But there's also, there's something nourishing about it, because I think like as creatures, we've all got to figure out how to be together in the same room. And so TV is like candy in that it's more pleasurable and easier than the real food. But it also doesn't have any of the nourishment of real food. And the thing, what the book is supposed to be about is, What has happened to us, that I'm now willing--and I do this too--that I'm willing to derive enormous amounts of my sense of community and awareness of other people, from television? But I'm not willing to undergo the stress and awkwardness and potential shit of dealing with real people. And that as the Internet grows, and as our ability to be linked up, like--I mean, you and I coulda done this through e-mail, and I never woulda had to meet you, and that woulda been easier for me. Right? Like, at a certain point, we're gonna have to build some machinery, inside our guts, to help us deal with this. Because the technology is just gonna get better and better and better and better. And it's gonna get easier and easier, and more and more convenient, and more and more pleasurable, to be alone with images on a screen, given to us by people who do not love us but want our money. Which is all right. In low doses, right? But if that's the basic main staple of your diet, you're gonna die. In a meaningful way, you're going to die.

…If getting a man is entirely dependent on the digits showing on your tags, or your scale, then he is certainly not the right one for YOU, not the other way around.

An endless bombardment of news and gossip and images has rendered us manic information addicts. It broke me. It might break you, too.

By the late twentieth century, our time, a mythic time, we are all chimeras, theorized and fabricated hybrids of machine and organism; in short, we are cyborgs.The cyborg is our onthology; it gives us our politics. the cyborg is a condensed image of both imagination and material reality, the two joined centers structuring any possibility of historical transformation.

A wall-to-wall Instagram reel of flirtatious young women doing selfies and documenting the gaps in their thighs isn’t a zoetrope of inconsequential self-involvement, so much as a reclamation of the lens: The young and bewildered women who blinked innocently from the dark corners of the early web are holding the camera now, controlling their own images, setting the terms of engagement.

As the rest of the modern world develops into what Seoul already has been for years—an image-laden, social-media-driven landscape, where digital representations of us can be automatically filtered to have longer lashes or poreless skin, and digital makeup can be instantly applied before we show up on our video meetings—it makes clear Korea’s looks-obsessed culture, where appearance norms inch further and further out of reach, isn’t some anomaly.

Too often people make their social media image more important than being true to who they really are in real life. Wonder how much different our world would be if we all strived to be the same person offline as we are online.

I am a firm believer that digital imaging has already rivaled the chemical process in its ability to make fine prints. An exceptional digital print, on a fine quality paper, can take on all the delicacy of a masterful photogravure. Each is, after all, ink on paper. The unfortunate thing is that skillful digital fine art photography is being created by so few, and today’s artworld is brimming with hastily made, conceptually oriented, digital bric-a-brac.

Girls also use online environments to try on personas that don’t really match their actual personalities. By posting risqué comments or images that suggest sophistication, girls sometimes conduct digital experiments in parting with childhood.

Music can trigger feelings, which in turn produce thoughts and images in our minds — it is these thoughts and images that can become novel solutions and innovative new ideas. Music is therefore directly related to the production of new ideas.

In the PAO system, every two-digit number from 00 to 99 is represented by a single image of a person performing an action on an object. The number 34 might be Frank Sinatra (a person) crooning (an action) into a microphone (an object). Likewise, 13 might be David Beckham kicking a soccer ball.

Erik Erikson writes that in their search for identity, adolescents need a place of stillness, a place to gather themselves.2 Psychiatrist Anthony Storr writes of solitude in much the same way. Storr says that in accounts of the creative process, “by far the greater number of new ideas occur during a state of reverie, intermediate between waking and sleeping.... It is a state of mind in which ideas and images are allowed to appear and take their course spontaneously . . . the creator need[s] to be able to be passive, to let things happen within the mind.”3 In the digital life, stillness and solitude are hard to come by.

When identity is derived from projecting an image in the public realm, something is lost, some core of identity diluted, some sense of authority or interiority sacrificed. It is time to question the false equivalency between not being seen and hiding. And time to reevaluate the merits of the inconspicuous life, to search out some antidote to continuous exposure, and to reconsider the value of going unseen, undetected, or overlooked in this new world. Might invisibility be regarded not simply as refuge, but as a condition with its own meaning and power? Going unseen may be becoming a sign of decency and self-assurance. The impulse to escape notice is not about complacent isolation or senseless conformity, but about maintaining identity, propriety, autonomy, and voice. It is not about retreating from the digital world but about finding some genuine alternative to a life of perpetual display. It is not about mindless effacement but mindful awareness. Neither disgraceful nor discrediting, such obscurity can be vital to our very sense of being, a way of fitting in with the immediate social, cultural, or environmental landscape. Human endeavor can be something interior, private, and self-contained. We can gain, rather than suffer, from deep reserve.

In the moment all is dear to me, dear that in this logic there is no redemption, the city itself being the highest form of madness and each and every part, organic or inorganic, an expression of this same madness. I feel absurdly and humbly great, not as megalomaniac, but as human spore, as the dead sponge of life swollen to saturation. I no longer look into the eyes of the woman I hold in my arms but I swim through, head and arms and legs, and I see that behind the sockets of the eyes there is a region unexplored, the world of futurity, and here there is no logic whatever, just the still germination of events unbroken by night and day, by yesterday and tomorrow. The eye, accustomed to concentration on points in space, now concentrates on points in time; the eye sees forward and backward at will. The eye which was the I of the self no longer exists; this selfless eye neither reveals nor illuminates. It travels along the line of the horizon, a ceaseless, uninformed voyager. Trying to retain the lost body I grew in logic as the city, a point digit in the anatomy of perfection. I grew beyond my own death, spiritually bright and hard. I was divided into endless yesterdays, endless tomorrows, resting only on the cusp of the event, a wall with many windows, but the house gone. I must shatter the walls and windows, the last shell of the lost body, if I am to rejoin the present. That is why I no longer look into the eyes or through the eyes, but by the legerdemain of will swim through the eyes, head and arms and legs to explore the curve of vision. I see around myself as the mother who bore me once saw round the comers of time. I have broken the wall created by birth and the line of voyage is round and unbroken, even as the navel. No form, no image, no architecture, only concentric flights of sheer madness. I am the arrow of the dream's substantiality. I verify by flight. I nullify by dropping to earth.

Ben developed a similarly Byzantine system for memorizing binary digits, which enables him to convert any ten-digit-long string of ones and zeros into a unique image. That’s 210, or 1,024, images set aside for binaries. When he sees 1101001001, he immediately sees it as a single chunk, an image of a card game. When he sees 0111011010, he instantaneously conjures up an image of a cinema. In international memory competitions, mental athletes are given sheets of 1,200 binary digits, thirty to a row, forty rows to a page. Ben turns each row of thirty digits into a single image. The number 110110100000111011010001011010, for example, is a muscleman putting a fish in a tin. At the time, Ben held the world record for having learned 3,705 random ones and zeroes in half an hour.

And I think I’ve found the real benefit of digital memory. The point is not to prove you were right; the point is to admit you were wrong. Because all of us have been wrong on various occasions, engaged in cruelty and hypocrisy, and we’ve forgotten most of those occasions. And that means we don’t really know ourselves. How much personal insight can I claim if I can’t trust my memory? How much can you? You’re probably thinking that, while your memory isn’t perfect, you’ve never engaged in revisionism of the magnitude I’m guilty of. But I was just as certain as you, and I was wrong. You may say, "I know I'm not perfect. I've made mistakes." I am here to tell you that you have made more than you think, that some of the core assumptions on which your self-image is built are actually lies.

You fanfare your 'Information Revolution', your email, your email, your vid cons! As if information itself is thought! You have no idea what you've made! You are all lapdogs, believing your collars to be halos! Information is control. Everything you think you know, every image on every screen, every word on every phone, every digit on every VDU, who do you think has got their hands on it before it gets to you?

Television is the dominant medium for information, or rather disinformation. The digital merging of word, tone and image gives it enormous influence. We need to be aware that a complete control of the social means of communication makes it possible to condition the masses, because it allows those in control to manipulate how the masses think and what they desire. Whoever controls the media can determine, control and manipulate what the masses think.

Mine, mine. Fear, idolatry, hoarding. The delight and terror of the fetishist. Fully conscious of my folly, I’d downloaded pictures of it to my computer and my phone so I could gloat upon the image in private, brushstrokes rendered digitally, a scrap of seventeenth-century sunlight compressed into dots and pixels, but the purer the color, the richer the sense of impasto, the more I hungered for the thing itself, the irreplaceable, glorious, light-rinsed object.

This is Radio Free Hayden podcasting from somewhere dark and dingy that smells of ancient grease and more recent body odor. If anyone actually hears this podcast, I must first apologize that there’s no visual of me. My bandwidth is the digital equivalent of a mule train. So instead, I’ve posted this wonderful Norman Rockwell image instead of a video. You’ll note how the poor innocent ginger kid standing on the chair with his butt hanging out is about to be tranq’d in the ass by the ‘kindly country doctor.’ I felt the image was somehow appropriate.

The solution is to keep only what resonates in a trusted place that you control, and to leave the rest aside. When something resonates, it moves you on an intuitive level. Often, the ideas that resonate are the ones that are most unusual, counterintuitive, interesting, or potentially useful. Don’t make it an analytical decision, and don’t worry about why exactly it resonates—just look inside for a feeling of pleasure, curiosity, wonder, or excitement, and let that be your signal for when it’s time to capture a passage, an image, a quote, or a fact.

Hey Pete. So why the leave from social media? You are an activist, right? It seems like this decision is counterproductive to your message and work." A: The short answer is I’m tired of the endless narcissism inherent to the medium. In the commercial society we have, coupled with the consequential sense of insecurity people feel, as they impulsively “package themselves” for public consumption, the expression most dominant in all of this - is vanity. And I find that disheartening, annoying and dangerous. It is a form of cultural violence in many respects. However, please note the difference - that I work to promote just that – a message/idea – not myself… and I honestly loath people who today just promote themselves for the sake of themselves. A sea of humans who have been conditioned into viewing who they are – as how they are seen online. Think about that for a moment. Social identity theory run amok. People have been conditioned to think “they are” how “others see them”. We live in an increasing fictional reality where people are now not only people – they are digital symbols. And those symbols become more important as a matter of “marketing” than people’s true personality. Now, one could argue that social perception has always had a communicative symbolism, even before the computer age. But nooooooothing like today. Social media has become a social prison and a strong means of social control, in fact. Beyond that, as most know, social media is literally designed like a drug. And it acts like it as people get more and more addicted to being seen and addicted to molding the way they want the world to view them – no matter how false the image (If there is any word that defines peoples’ behavior here – it is pretention). Dopamine fires upon recognition and, coupled with cell phone culture, we now have a sea of people in zombie like trances looking at their phones (literally) thousands of times a day, merging their direct, true interpersonal social reality with a virtual “social media” one. No one can read anymore... they just swipe a stream of 200 character headlines/posts/tweets. understanding the world as an aggregate of those fragmented sentences. Massive loss of comprehension happening, replaced by usually agreeable, "in-bubble" views - hence an actual loss of variety. So again, this isn’t to say non-commercial focused social media doesn’t have positive purposes, such as with activism at times. But, on the whole, it merely amplifies a general value system disorder of a “LOOK AT ME! LOOK AT HOW GREAT I AM!” – rooted in systemic insecurity. People lying to themselves, drawing meaningless satisfaction from superficial responses from a sea of avatars. And it’s no surprise. Market economics demands people self promote shamelessly, coupled with the arbitrary constructs of beauty and success that have also resulted. People see status in certain things and, directly or pathologically, use those things for their own narcissistic advantage. Think of those endless status pics of people rock climbing, or hanging out on a stunning beach or showing off their new trophy girl-friend, etc. It goes on and on and worse the general public generally likes it, seeking to imitate those images/symbols to amplify their own false status. Hence the endless feedback loop of superficiality. And people wonder why youth suicides have risen… a young woman looking at a model of perfection set by her peers, without proper knowledge of the medium, can be made to feel inferior far more dramatically than the typical body image problems associated to traditional advertising. That is just one example of the cultural violence inherent. The entire industry of social media is BASED on narcissistic status promotion and narrow self-interest. That is the emotion/intent that creates the billions and billions in revenue these platforms experience, as they in turn sell off people’s personal data to advertisers and governments. You are the product, of course.

Remarkably, studies of visual perception have found that two-dimensional images projected onto the retina only achieve full dimensionality as a result of our perception: we infer the third dimension of depth. Sadly, though, as the urgency to expedite all communicative transactions usurps out customary patterns of exchange, perception is accelerated as well. There does not seem to be a great deal of time left over to infer--or interpret, or imagine--much of anything at all. In the end, of course, there is nothing real about this at all, except for our propensity to let it happen.

More recently, Dallas Willard put it this way: Desire is infinite partly because we were made by God, made for God, made to need God, and made to run on God. We can be satisfied only by the one who is infinite, eternal, and able to supply all our needs; we are only at home in God. When we fall away from God, the desire for the infinite remains, but it is displaced upon things that will certainly lead to destruction.5 Ultimately, nothing in this life, apart from God, can satisfy our desires. Tragically, we continue to chase after our desires ad infinitum. The result? A chronic state of restlessness or, worse, angst, anger, anxiety, disillusionment, depression—all of which lead to a life of hurry, a life of busyness, overload, shopping, materialism, careerism, a life of more…which in turn makes us even more restless. And the cycle spirals out of control. To make a bad problem worse, this is exacerbated by our cultural moment of digital marketing from a society built around the twin gods of accumulation and accomplishment. Advertising is literally an attempt to monetize our restlessness. They say we see upward of four thousand ads a day, all designed to stoke the fire of desire in our bellies. Buy this. Do this. Eat this. Drink this. Have this. Watch this. Be this. In his book on the Sabbath, Wayne Muller opined, “It is as if we have inadvertently stumbled into some horrific wonderland.”6 Social media takes this problem to a whole new level as we live under the barrage of images—not just from marketing departments but from the rich and famous as well as our friends and family, all of whom curate the best moments of their lives. This ends up unintentionally playing to a core sin of the human condition that goes all the way back to the garden—envy. The greed for another person’s life and the loss of gratitude, joy, and contentment in our own.

What’s occurring now, with the fourth wave of feminism crashing, is that many female artists are using occult images, ritual gestures, and witch iconography to not only connect to the divine, but to continue to make space for themselves in a field which is still dominated by men. They’re utilizing herbs, candles, ceremonial garb, and goddess imagery, and mashing it up with digital treatments and modern technology. As such, they’re turning themselves into witches: women who create things and shift perception, who trust their intuition, and who have the power to change the world. Their work is spiritual and political at the same time.

I cannot recommend Ellie Augsburger at Creative Digital Studios enough! She produced amazing work for my debut novel. I am NOT an artistic person...at all. Ellie took my bumbling rambling (frankly poor) ideas and translated them into beautiful representative images of my work. I would have been lost without her! Not only did she create my cover (print and eBook) but she also created the images for my section breaks, Facebook banner, Twitter page, and my website. As I write my sophomore effort, Ellie will be my go to for all of my design needs. If you are looking for a creative, inspiring, helpful, knowledgeable, FANTASTIC designer look no further than Ellie Augsburger at Creative Digital Studios.

The main Stuxnet file was incredibly large—500 kilobytes, as opposed to the 10 to 15 KB they usually saw. Even Conficker, the monster worm that infected more than 6 million machines the previous two years, was only 35 kilobytes in size. Any malware larger than this usually just contained a space-hogging image file that accounted for its bloat—such as a fake online banking page that popped up in the browser of infected machines to trick victims into relinquishing their banking credentials. But there was no image file in Stuxnet, and no extraneous fat, either. And, as O’Murchu began to take the files apart, he realized the code was also much more complex than he or anyone else had previously believed. When

In 2014, 54 percent of women described themselves as “unhappy with their body,” and 80 percent said that looking in the mirror “made them feel bad.” These numbers are significantly higher than in previous years. I am sure there are many contributing factors, but one is surely that, more and more, we are being presented with unrealistic standards of beauty. Models and actors are subjected to training and dietary regimens that are often unsustainable, hugely expensive, and extreme. And even then, images are cropped, airbrushed, and recolored so that the final image we end up seeing on a giant poster may not actually be anyone’s actual body but a weird hybrid of one or more people and a whole lot of digital editing.

On social media, everyone can invent a new image for themselves. They can create a mask and work on perfecting it every day. Everyone becomes their own brand to exist in the eyes of others— a delusional world. The detachment? Vanity. Unhappy souls wanting to be accepted. Why go to the extremes? Why must anyone try to be what they’re not? I call it “digital happiness.” Digital happiness is an invention. The idea behind this display is miserable people who often want you to love them behind the mask. So, you can post the (fake) lies and be loved by even thousands that are going through this delusion. If you post the real, you’ll be ridiculed and questioned because “reality” is out of this equation, and the mask is an order.

Except now everything is digital even murder. There is a record for everything under the sun from the moon and back whether we like it or not. The image that I have of the future is that it is very bleak. It is darkness visible. The black dog of depression will hang us all in the end. Considering the life we live, the values we teach our children, what we believe in everything is a movement for change and every pause between words is a revolutionary act. The ‘struggle’ was like a painful mental illness. The liberation in retrospect was either the exit from our slavery ushering us into a novel, brave, bold and brilliant world or a mass hallucination. The political climate in post-apartheid South Africa has gone as far as corrupting liberty.

Paradiso, XXXI,108 Diodorus Siculus tells the story of a god that is cut into pieces and scattered over the earth. Which of us, walking through the twilight or retracing some day in our past, has never felt that we have lost some infinite thing? Mankind has lost a face, an irrecoverable face, and all men wish they could be that pilgrim (dreamed in the empyrean, under the Rose) who goes to Rome and looks upon the veil of St. Veronica and murmurs in belief: My Lord Jesus Christ, very God, is this, indeed, Thy likeness in such fashion wrought?* There is a face in stone beside a path, and an inscription that reads The True Portrait of the Holy Face of the Christ of Jaén. If we really knew what that face looked like, we would possess the key to the parables, and know whether the son of the carpenter was also the Son of God. Paul saw the face as a light that struck him to the ground; John, as the sun when it shines forth in all its strength; Teresa de Jesús, many times, bathed in serene light, although she could never say with certainty what the color of its eyes was. Those features are lost to us, as a magical number created from our customary digits can be lost, as the image in a kaleidoscope is lost forever. We can see them and yet not grasp them. A Jew's profile in the subway might be the profile of Christ; the hands that give us back change at a ticket booth may mirror those that soldiers nailed one day to the cross. Some feature of the crucified face may lurk in every mirror; perhaps the face died, faded away, so that God might be all faces. Who knows but that tonight we may see it in the labyrinths of dream, and not know tomorrow that we saw it.

Until now. You and I are a mis-Match, Ellie, because I hacked into your servers to manipulate our results.” “Rubbish,” Ellie said, secretly balking at the notion. She folded her arms indignantly. “Our servers are more secure than almost every major international company across the world. We receive so many hacking attempts, yet no one gets in. We have the best software and team money can buy to protect us against people like you.” “You’re right about some of that. But what your system didn’t take into account was your own vanity. Do you remember receiving an email some time ago with the subject ‘Businesswoman of the Year Award’? You couldn’t help but open it.” Ellie vaguely remembered reading the email as it had been sent to her private account, which only a few people had knowledge of. “Attached to it was a link you clicked on and that opened to nothing, didn’t it?” Matthew continued. “Well, it wasn’t nothing to me, because your click released a tiny, undetectable piece of tailor-made malware that allowed me to remotely access your network and work my way around your files. Everything you had access to, I had access to. Then I simply replicated my strand of DNA to mirror image yours, sat back and waited for you to get in touch. That’s why I came for a job interview, to learn a little more about the programming and systems you use. Please thank your head of personnel for leaving me alone in the room for a few moments with her laptop while she searched for a working camera to take my head shot. That was a huge help in accessing your network. Oh, and tell her to frisk interviewees for lens deflectors next time—they’re pocket-sized gadgets that render digital cameras useless.

The Memory Business Steven Sasson is a tall man with a lantern jaw. In 1973, he was a freshly minted graduate of the Rensselaer Polytechnic Institute. His degree in electrical engineering led to a job with Kodak’s Apparatus Division research lab, where, a few months into his employment, Sasson’s supervisor, Gareth Lloyd, approached him with a “small” request. Fairchild Semiconductor had just invented the first “charge-coupled device” (or CCD)—an easy way to move an electronic charge around a transistor—and Kodak needed to know if these devices could be used for imaging.4 Could they ever. By 1975, working with a small team of talented technicians, Sasson used CCDs to create the world’s first digital still camera and digital recording device. Looking, as Fast Company once explained, “like a ’70s Polaroid crossed with a Speak-and-Spell,”5 the camera was the size of a toaster, weighed in at 8.5 pounds, had a resolution of 0.01 megapixel, and took up to thirty black-and-white digital images—a number chosen because it fell between twenty-four and thirty-six and was thus in alignment with the exposures available in Kodak’s roll film. It also stored shots on the only permanent storage device available back then—a cassette tape. Still, it was an astounding achievement and an incredible learning experience. Portrait of Steven Sasson with first digital camera, 2009 Source: Harvey Wang, From Darkroom to Daylight “When you demonstrate such a system,” Sasson later said, “that is, taking pictures without film and showing them on an electronic screen without printing them on paper, inside a company like Kodak in 1976, you have to get ready for a lot of questions. I thought people would ask me questions about the technology: How’d you do this? How’d you make that work? I didn’t get any of that. They asked me when it was going to be ready for prime time? When is it going to be realistic to use this? Why would anybody want to look at their pictures on an electronic screen?”6 In 1996, twenty years after this meeting took place, Kodak had 140,000 employees and a $28 billion market cap. They were effectively a category monopoly. In the United States, they controlled 90 percent of the film market and 85 percent of the camera market.7 But they had forgotten their business model. Kodak had started out in the chemistry and paper goods business, for sure, but they came to dominance by being in the convenience business. Even that doesn’t go far enough. There is still the question of what exactly Kodak was making more convenient. Was it just photography? Not even close. Photography was simply the medium of expression—but what was being expressed? The “Kodak Moment,” of course—our desire to document our lives, to capture the fleeting, to record the ephemeral. Kodak was in the business of recording memories. And what made recording memories more convenient than a digital camera? But that wasn’t how the Kodak Corporation of the late twentieth century saw it. They thought that the digital camera would undercut their chemical business and photographic paper business, essentially forcing the company into competing against itself. So they buried the technology. Nor did the executives understand how a low-resolution 0.01 megapixel image camera could hop on an exponential growth curve and eventually provide high-resolution images. So they ignored it. Instead of using their weighty position to corner the market, they were instead cornered by the market.

Already, when Facebook bought Instagram, it felt as though the walls of the Internet were closing in a little tighter around us users. The broad expanse of possibility, of messiness, on a network like Geocities or the personal expression of Tumblr was shut down. Digital life became increasingly templated, a set of boxes to fill in rather than a canvas to cover in your own image. (You don’t redesign how your Facebook profile looks; you just change your avatar.) I felt a certain sense of loss, but at first the trade-off of creativity for broadcast reach seemed worthwhile: You could talk to so many people at once on social media! But that exposure became enervating, too, and I missed the previous sense of intimacy, the Internet as a private place—a hideout from real life, rather than the determining force of real life. As the walls closed in, the algorithmic feeds took on more and more influence and authority.

In many ways, the Internet could ultimately be seen as the realization of the classic international-relations theory of an anarchic, leaderless world. Here’s how we think states will respond to each other and to their citizens. The Balkanization of the Internet As we said, every state and society in the world has its own laws, cultural norms and accepted behaviors. As billions of people come online in the next decade, many will discover a newfound independence—in ideas, speech and conversation—that will test these boundaries. Their governments, by contrast, would largely prefer that these users encounter a virtual world that allows the powers that be to mirror their physical control, an understandable if fundamentally naïve notion. Each state will attempt to regulate the Internet, and shape it in its own image. The impulse to project laws from the physical world into the virtual one is universal among states, from the most democratic to the most authoritarian. What states can’t build in

Bitcoin was in theory and in practice inseparable from the process of computation run on cheap, powerful hardware: the system could not have existed without markets for digital moving images; especially video games, driving down the price of microchips that could handle the onerous business of guessing. It also had a voracious appetite for electricity, which had to come from somewhere - burning coal or natural gas, spinning turbines, decaying uranium - and which wasn't being used for something arguably more constructive than this discovery of meaningless hashes. The whole apparatus of the early twenty-first century's most complex and refined infrastructures and technologies was turned to the conquest of the useless. It resembled John Maynard Keynes's satirical response to criticisms of his capital injection proposal by proponents of the gold standard: just put banknotes in bottles, he suggested, and bury them in disused coal mines for people to dig up - a useless task to slow the dispersal of the new money and get people to work for it. 'It would, indeed, be more sensible to build houses and the like; but if there are political and practical difficulties in the way of this, the above would be better than nothing.

[...]Telecomputer Man is assigned to an apparatus, just as the apparatus is assigned to him, by virtue of an involution of each into the other, a refraction of each by the other. The machine does what the human wants it to do, but by the same token the human puts into execution only what the machine has been programmed to do. The operator is working with virtuality: only apparently is the aim to obtain information or to communicate; the real purpose is to explore all the possibilities of a program, rather as a gambler seeks to exhaust the permutations in a game of chance. Consider the way the camera is used now. Its possibilities are no longer those of a subject who ' 'reflects' the world according to his personal vision; rather, they are the possibilities of the lens, as exploited by the object. The camera is thus a machine that vitiates all will, erases all intentionality and leaves nothing but the pure reflex needed to take pictures. Looking itself disappears without trace, replaced by a lens now in collusion with the object - and hence with an inversion of vision. The magic lies precisely in the subject's retroversion to a camera obscura - the reduction of his vision to the impersonal vision of a mechanical device. In a mirror, it is the subject who gives free rein to the realm of the imaginary. In the camera lens, and on-screen in general, it is the object, potentially, that unburdens itself - to the benefit of all media and telecommunications techniques. This is why images of anything are now a possibility. This is why everything is translatable into computer terms, commutable into digital form, just as each individual is commutable into his own particular genetic code. (The whole object, in fact, is to exhaust all the virtualities of such analogues of the genetic code: this is one of artificial intelligence's most fundamental aspects.) What this means on a more concrete level is that there is no longer any such thing as an act or event which is not refracted into a technical image or onto a screen, any such thing as an action which does not in some sense want to be photographed, filmed or tape-recorded, does not desire to be stored in memory so as to become reproducible for all eternity. No such thing as an action which does not aspire to self-transcendence into a virtual eternity - not, now, the durable eternity that follows death, but rather the ephemeral eternity of ever-ramifying artificial memory. The compulsion of the virtual is the compulsion to exist in potentia on all screens, to be embedded in all programs, and it acquires a magical force: the Siren call of the black box.

Imagine a latter-day Helmholtz presented by an engineer with a digital camera, with its screen of tiny photocells, set up to capture images projected directly on to the surface of the screen. That makes good sense, and obviously each photocell has a wire connecting it to a computing device of some kind where images are collated. Makes sense again. Helmholtz wouldn’t send it back. But now, suppose I tell you that the eye’s ‘photocells’ are pointing backwards, away from the scene being looked at. The ‘wires’ connecting the photocells to the brain run all over the surface of the retina, so the light rays have to pass through a carpet of massed wires before they hit the photocells. That doesn’t make sense – and it gets even worse. One consequence of the photocells pointing backwards is that the wires that carry their data somehow have to pass through the retina and back to the brain. What they do, in the vertebrate eye, is all converge on a particular hole in the retina, where they dive through it. The hole filled with nerves is called the blind spot, because it is blind, but ‘spot’ is too flattering, for it is quite large, more like a blind patch, which again doesn’t actually inconvenience us much because of the ‘automatic Photoshop’ software in the brain. Once again, send it back, it’s not just bad design, it’s the design of a complete idiot.

(You look the same.) (I’m not using it yet.) (Don’t you think a test run would be a good idea?) She nodded. (Probably.) Her eyelids closed as she concentrated on a mental image of the person she wished to impersonate. Her desire was to appear exactly as the immortal leader, Pallador. Calling on the powers of the dragon’s blood, she willed its enchantment alive. It was Ian’s astounded whisper that told her the charm was working. “Whoa!” Opening her eyes she fully expected to see Ian staring at the shining gems on the dragon’s blood. Instead, he was staring at her with a look that was more or less disgusted. (That’s really you?) he asked, looking her up and down as though she had turned into some sort of lizard creature. (Yes, why? What’s wrong with me?) Her gaze dropped to check for herself. All she observed was her tawny dress pulled in at the waist by Edgar’s hideous, glowing belt. She glanced at one arm and then the other, both sleeved in the same billowed silk. Her fingers flailed, still the same short, slender digits. (Oh crud,) she breathed. (It’s not working.) (Oh, it’s working alright,) Ian disagreed. Eena glanced up to find him grinning with real amusement. (You’re a dead ringer for the guy. Ghost robe, bug eyes, bony fingers, in need of a serious haircut. Exactly like him.) (Really?) (Really.) (Cool,) she breathed and then added, (That’s not very nice how you described him.) (It’s accurate.)

Images of people in the Middle East dressing like Westerners, spending like Westerners, that is what the voters watching TV here at home want to see. That is a visible sign that we really are winning the war of ideas—the struggle between consumption and economic growth, and religious tradition and economic stagnation. I thought, why are those children coming onto the streets more and more often? It’s not anything we have done, is it? It’s not any speeches we have made, or countries we have invaded, or new constitutions we have written, or sweets we have handed out to children, or football matches between soldiers and the locals. It’s because they, too, watch TV. They watch TV and see how we live here in the West. They see children their own age driving sports cars. They see teenagers like them, instead of living in monastic frustration until someone arranges their marriages, going out with lots of different girls, or boys. They see them in bed with lots of different girls and boys. They watch them in noisy bars, bottles of lager upended over their mouths, getting happy, enjoying the privilege of getting drunk. They watch them roaring out support or abuse at football matches. They see them getting on and off planes, flying from here to there without restriction and without fear, going on endless holidays, shopping, lying in the sun. Especially, they see them shopping: buying clothes and PlayStations, buying iPods, video phones, laptops, watches, digital cameras, shoes, trainers, baseball caps. Spending money, of which there is always an unlimited supply, in bars and restaurants, hotels and cinemas. These children of the West are always spending. They are always restless, happy and with unlimited access to cash. I realised, with a flash of insight, that this was what was bringing these Middle Eastern children out on the streets. I realised that they just wanted to be like us. Those children don’t want to have to go to the mosque five times a day when they could be hanging out with their friends by a bus shelter, by a phone booth or in a bar. They don’t want their families to tell them who they can and can’t marry. They might very well not want to marry at all and just have a series of partners. I mean, that’s what a lot of people do. It is no secret, after that serial in the Daily Mail, that that is what I do. I don’t necessarily need the commitment. Why should they not have the same choices as me? They want the freedom to fly off for their holidays on easy Jet. I know some will say that what a lot of them want is just one square meal a day or the chance of a drink of clean water, but on the whole the poor aren’t the ones on the street and would not be my target audience. They aren’t going to change anything, otherwise why are they so poor? The ones who come out on the streets are the ones who have TVs. They’ve seen how we live, and they want to spend.

right to use Apple Corps for their record and business holdings. Alas, this did not resolve the issue of getting the Beatles onto iTunes. For that to happen, the Beatles and EMI Music, which held the rights to most of their songs, had to negotiate their own differences over how to handle the digital rights. “The Beatles all want to be on iTunes,” Jobs later recalled, “but they and EMI are like an old married couple. They hate each other but can’t get divorced. The fact that my favorite band was the last holdout from iTunes was something I very much hoped I would live to resolve.” As it turned out, he would. Bono Bono, the lead singer of U2, deeply appreciated Apple’s marketing muscle. He was confident that his Dublin-based band was still the best in the world, but in 2004 it was trying, after almost thirty years together, to reinvigorate its image. It had produced an exciting new album with a song that the band’s lead guitarist, The Edge, declared to be “the mother of all rock tunes.” Bono knew he needed to find a way to get it some traction, so he placed a call to Jobs. “I wanted something specific from Apple,” Bono recalled. “We had a song called ‘Vertigo’ that featured an aggressive guitar riff that I knew would be contagious, but only if people were exposed to it many, many times.” He was worried that the era of promoting a song through airplay on the radio was over. So Bono visited Jobs at home in Palo Alto, walked around the garden, and made an unusual pitch. Over the years U2 had spurned

Often interfaces are assumed to be synonymous with media itself. But what would it mean to say that “interface” and “media” are two names for the same thing? The answer is found in the remediation or layer model of media, broached already in the introduction, wherein media are essentially nothing but formal containers housing other pieces of media. This is a claim most clearly elaborated on the opening pages of Marshall McLuhan’s Understanding Media. McLuhan liked to articulate this claim in terms of media history: a new medium is invented, and as such its role is as a container for a previous media format. So, film is invented at the tail end of the nineteenth century as a container for photography, music, and various theatrical formats like vaudeville. What is video but a container for film. What is the Web but a container for text, image, video clips, and so on. Like the layers of an onion, one format encircles another, and it is media all the way down. This definition is well-established today, and it is a very short leap from there to the idea of interface, for the interface becomes the point of transition between different mediatic layers within any nested system. The interface is an “agitation” or generative friction between different formats. In computer science, this happens very literally; an “interface” is the name given to the way in which one glob of code can interact with another. Since any given format finds its identity merely in the fact that it is a container for another format, the concept of interface and medium quickly collapse into one and the same thing.

Reading a screenful of information is quite a different thing from looking. It is a digital form of exploration in which the eye moves along an endless broken line. The relationship to the interlocutor in communication, like the relationship to knowledge in data-handling, is similar: tactile and exploratory. A computer-generated voice, even a voice over the telephone, is a tactile voice, neutral and functional. It is no longer in fact exactly a voice, any more than looking at a screen is exactly looking. The whole paradigm of the sensory has changed. The tactility here is not the organic sense of touch: it implies merely an epidermal contiguity of eye and image, the collapse of the aesthetic distance involved in looking. We draw ever closer to the surface of the screen; our gaze is, as it were, strewn across the image. We no longer have the spectator's distance from the stage - all theatrical conventions are gone. That we fall so easily into the screen's coma of the imagination is due to the fact that the screen presents a perpetual void that we are invited to fill. Proxemics of images: promiscuity of images: tactile pornography of images. Yet the image is always light years away. It is invariably a tele-image - an image located at a very special kind of distance which can only be described as unbridgeable by the body. The body can cross the distance that separates it from language, from the stage, or from the mirror - this is what keeps it human and allows it to partake in exchange. But the screen is merely virtual - and hence unbridgeable. This is why it partakes only of that abstract - definitively abstract - form known as communication.

At the time that he had seriously begun to consolidate his organization, Parker was working in a custom photo lab. The reader who is not much taken by audiovisual pastimes may have a deficient picture of that place where Parker was employed; or perhaps not so much a deficient picture--the dyes faded, shoddily spotted, brutishly burned in and doltishly dodged by subhuman technicians under the glare of the enlargers--as an image which had been misfiled in the archives of the memory, representing instead one of those bleak Photo Drive-Ups and Presto Printses located nowadays on the corner of almost every large parking lot, in which the clerks wait sadly behind their glass counters, but no one comes in, and the air becomes darker and darker over the course of the morning as a result of exhaust fumes (there goes another brain cell; ping! - THAT thought will never be completed now); and the pink chubby tots smiling at your from the walls in sample enlargements become steadily more grimy, and by the lunch break they are brown; and the day ticks off on the loud digital clock; and then finally a car creeps into the lot, and a popeyed couple locks that vehicle doors listlessly; they request a reprint of a washed-out snapshot of their son who was killed in the Indian Wars, and they go away; and after a long time here comes a slick-haired teenager who once took a few pix of his girlfriend holding a balloon at the zoo in front of the monkey cage on a dirty overcast day, and the clerk can tell just by looking at this customer that they won’t come out, because the guy’s a loser if the clerk knows anything at all about losers and in fact he knows a hell of a lot about losers because why else would he be stuck with this job?

My dear readers, I find myself perplexed by the phantoms that now inhabit our veins and perpetually whisper in our ears. These specters are always watching, their formless eyes casting judgement upon our every thought and action. They stalk us behind screens and within circuits, gathering each tidbit we release into the ether to build their ever-growing profiles of our souls. Through these ghastly portals, our lives have become performance. Each waking moment an opportunity to curate our images and broadcast our cleverness. Nuance has fled in favor of hashtag and like, while meaning has been diced into 280 characters or less. Substance is sacrificed at the altar of shareability, as we optimize each motive and emotion to become more digestible digital content. Authenticity now lives only in offline obscurity, while our online avatars march on endlessly, seeking validation through numbers rather than depth. What secrets remain unshared on these platforms of glass? What mysteries stay concealed behind profiles and pose? Have we traded intimacy for influence, and true understanding for audience engagement? I fear these shadow networks breed narcissism and foster loneliness, masked as connection. That the sum of a life’s joys and sorrows can now be reduced to a reel of carefully selected snippets says little of the richness that once was. So follow the phantoms that stalk you if you will, but do not forget that which still breathes beneath the screens. There you will find humanity, flawed but whole, beautiful in its imperfection and trajectory undefined by likes or loves. The lanterns may flicker and fade, but the darkness that remains has always held truth. Look deeper than the glow, and know that which can never be shared or measured, only felt. In mystery, Your friend, Edgar Allan Poe (Poe talking about social media)

On her second screen, there were the number of messages sent by other staffers that day, 1,192, and the number of those messages that she’d read, 239, and the number to which she’d responded, 88. There was the number of recent invitations to Circle company events, 41, and the number she’d responded to, 28. There was the number of overall visitors to the Circle’s sites that day, 3.2 billion, and the number of pageviews, 88.7 billion. There was the number of friends in Mae’s OuterCircle, 762, and outstanding requests by those wanting to be her friend, 27. There were the number of zingers she was following, 10,343, and the number following her, 18,198. There was the number of unread zings, 887. There was the number of zingers suggested to her, 12,862. There was the number of songs in her digital library, 6,877, number of artists represented, 921, and based on her tastes, the number of artists recommended to her: 3,408. There was the number of images in her library, 33,002, and number of images recommended to her, 100,038. There was the temperature inside the building, 70, and the temperature outside, 71. There was the number of staffers on campus that day, 10,981, and number of visitors to campus that day, 248. Mae had news alerts set for 45 names and subjects, and each time any one of them was mentioned by any of the news feeds she favored, she received a notice. That day there were 187. She could see how many people had viewed her profile that day, 210, and how much time on average they spent: 1.3 minutes. If she wanted, of course, she could go deeper, and see precisely what each person had viewed. Her health stats added a few dozen more numbers, each of them giving her a sense of great calm and control. She knew her heart rate and knew it was right. She knew her step count, almost 8,200 that day, and knew that she could get to 10,000 with ease.

But the psychological change accompanying these technologies is more subtle, and perhaps more important. Consciously and unconsciously, we have gradually grown accustomed to experiencing the world through disembodied machines and instruments. As I stood in line to board an airplane recently, the young woman in front of me was primping in her mirror—straightening her hair, putting on lipstick, patting her checks with blush—a female ritual that has been repeated for several thousand years. In this case, however, her “mirror” was an iPhone in video mode, pointed at herself, and she was reacting to a digitized image of herself. I take walks in a federally protected wildlife preserve near my home in Massachusetts. A dirt trail winds for a mile around a lake teeming with beavers and fish, wild ducks and geese, aquatic frogs. Bulrushes and cattails wrap the perimeter of the pond, water lilies float here and there, rippling when a fish goes by. In the winter, the air is crisp and sharp, in the summer soft and aromatic. And a thick silence lies across the park, broken only by the honking of geese and the croaking of frogs. It is a place to smell, to see, to feel, to quietly let one’s mind wander where it wants. More and more commonly, I see people here talking on their cell phones as they walk around the trail. Their attention is focused not on the scene in front of them, but on a disembodied voice coming from a small box. And they are disembodied themselves. Where are their minds and bodies? Certainly not present in the park. Nor can they be located in the electromagnetic waves and digital signals flowing through cyberspace. Only their voices can be found at the other end of their conversations, in the offices and boardrooms and homes of the people they are talking to. They are attempting to be several places at once, like quantum waves. But I would argue that they are nowhere.

Finding the right mentor is not always easy. But we can locate role models in a more accessible place: the stories of great originals throughout history. Human rights advocate Malala Yousafzai was moved by reading biographies of Meena, an activist for equality in Afghanistan, and of Martin Luther King, Jr. King was inspired by Gandhi as was Nelson Mandela. In some cases, fictional characters can be even better role models. Growing up, many originals find their first heroes in their most beloved novels where protagonists exercise their creativity in pursuit of unique accomplishments. When asked to name their favorite books, Elon Musk and Peter Thiel each chose “Lord of the Rings“, the epic tale of a hobbit’s adventures to destroy a dangerous ring of power. Sheryl Sandberg and Jeff Bezos both pointed to “A Wrinkle in Time“ in which a young girl learns to bend the laws of physics and travels through time. Mark Zuckerberg was partial to “Enders Game“ where it’s up to a group of kids to save the planet from an alien attack. Jack Ma named his favorite childhood book as “Ali Baba and the Forty Thieves“, about a woodcutter who takes the initiative to change his own fate. … There are studies showing that when children’s stories emphasize original achievements, the next generation innovates more.… Unlike biographies, in fictional stories characters can perform actions that have never been accomplished before, making the impossible seem possible. The inventors of the modern submarine and helicopters were transfixed by Jules Vern’s visions in “20,000 Leagues Under the Sea” and “The Clippership of the Clouds”. One of the earliest rockets was built by a scientist who drew his motivation from an H.G. Wells novel. Some of the earliest mobile phones, tablets, GPS navigators, portable digital storage desks, and multimedia players were designed by people who watched “Star Trek” characters using similar devices. As we encounter these images of originality in history and fiction, the logic of consequence fades away we no longer worry as much about what will happen if we fail… Instead of causing us to rebel because traditional avenues are closed, the protagonist in our favorite stories may inspire originality by opening our minds to unconventional paths.

The top surface of the computer is smooth except for a fisheye lens, a polished glass dome with a purplish optical coating. Whenever Hiro is using the machine, this lens emerges and clicks into place, its base flush with the surface of the computer. The neighborhood loglo is curved and foreshortened on its surface. Hiro finds it erotic. This is partly because he hasn't been properly laid in several weeks. But there's more to it. Hiro's father, who was stationed in Japan for many years, was obsessed with cameras. He kept bringing them back from his stints in the Far East, encased in many protective layers, so that when he took them out to show Hiro, it was like watching an exquisite striptease as they emerged from all that black leather and nylon, zippers and straps. And once the lens was finally exposed, pure geometric equation made real, so powerful and vulnerable at once, Hiro could only think it was like nuzzling through skirts and lingerie and outer labia and inner labia. . . . It made him feel naked and weak and brave. The lens can see half of the universe -- the half that is above the computer, which includes most of Hiro. In this way, it can generally keep track of where Hiro is and what direction he's looking in. Down inside the computer are three lasers -- a red one, a green one, and a blue one. They are powerful enough to make a bright light but not powerful enough to burn through the back of your eyeball and broil your brain, fry your frontals, lase your lobes. As everyone learned in elementary school, these three colors of light can be combined, with different intensities, to produce any color that Hiro's eye is capable of seeing. In this way, a narrow beam of any color can be shot out of the innards of the computer, up through that fisheye lens, in any direction. Through the use of electronic mirrors inside the computer, this beam is made to sweep back and forth across the lenses of Hiro's goggles, in much the same way as the electron beam in a television paints the inner surface of the eponymous Tube. The resulting image hangs in space in front of Hiro's view of Reality. By drawing a slightly different image in front of each eye, the image can be made three-dimensional. By changing the image seventy-two times a second, it can be made to move. By drawing the moving three-dimensional image at a resolution of 2K pixels on a side, it can be as sharp as the eye can perceive, and by pumping stereo digital sound through the little earphones, the moving 3-D pictures can have a perfectly realistic soundtrack. So Hiro's not actually here at all. He's in a computer-generated universe that his computer is drawing onto his goggles and pumping into his earphones. In the lingo, this imaginary place is known as the Metaverse. Hiro spends a lot of time in the Metaverse. It beats the shit out of the U-Stor-It.

A vision flashed across Nick’s mind. It was the image of a lipstick kiss his wife left for him on the mirror that morning. It hung there like the single digit sum to the chalkboard-crammed equation of his life.

Google and Apple offer the image of a pseudo-commons to Internet users. That image recalls Nick Dyer-Whiteford's claim that, in light of the structural failures of neoliberal policies, capital could "turn to a 'Plan B', in which limited versions of commons, pollution trading schemes, community development and open-source and file-sharing practices are introduced as subordinate aspects of a capitalist economy, where voluntary cooperation subsidizes profit. One can think here of how Web 2.0 re-appropriates many of the innovations of radical digital activists, and converts them into a source of rent." Indeed, with the rise of the trademarked Digital Commons software platform and with the proliferation of university-based digital and media commons (which are typically limited to fee-paying and/or employed university community members), the very concept of the digital commons appears to be one of these reappropriations. But if, as part of what James Boyle describes as the "Second Closure Movement," this very rhetorical move signals the temporary defeats of the after-globalization and radical hacker movements that claimed the language of the commons, perhaps the advocacy for ownership of digital wares (or at least a form of unalienable, absolute possession, whether individual or communal) would provide a strategic ballast against the proprietary control of large swathes of information by apparently benevolent corporations and institutions. While still dangling in mid-air, the information commodity's consumption might thereby be placed more solidly on common ground.

The question isn't really whether we will lose our souls to advertising and social media due to our own naiveté and negligence - giving away our image, our digits, our data, our control to some global marketing machine - but how we will preserve authenticity within an economic system that seeks to absorb more and more of us, not just our images bu our genetic makeup, financial institution, and sexual fantasies.

based on a completely different representational style, one that is founded not on reproduction but on production ... With digital images, there are no primary, original moments to which we can point and say: ‘This image is an analogy of that thing or that object’. On the contrary, digital images are, at once, worlds and models of worlds. Since digital images are not tied to exterior dynamics and do not extend toward exterior phenomena — such as concepts, referents, ideas, etc. — representation becomes an abyss, imploding into an endless collection of possible meanings.” (Dyens, 2001: pages 87-88).

It is this heightened state that may produce several relatively new phenomena in childhood today. As the clinical psychologist Catherine Steiner-Adair,10 the author of The Big Disconnect: Protecting Childhood and Family Relationships in the Digital Age, observes, the most commonly heard complaint when children are asked to go off-line is “I’m bored.” Confronted with the dazzling possibilities for their attention on a nearby screen, young children quickly become awash with, then accustomed to, and ever so gradually semi-addicted to continuous sensory stimulation. When the constant level of stimulation is taken away, the children respond predictably with a seemingly overwhelming state of boredom. “I’m Bored.” There are different kinds of boredom. There is a natural boredom that is part of the woof of childhood that can often provide children with the impetus to create their own forms of entertainment and just plain fun. This is the boredom that Walter Benjamin described years ago as the “dream bird that hatches the egg of experience.”11 But there may also be an unnatural, culturally induced, new form of boredom that follows too much digital stimulation. This form of boredom may de-animate children in such a fashion as to prevent them from wanting to explore and create real-world experiences for themselves, particularly outside their rooms, houses, and schools. As Steiner-Adair wrote, “If they become addicted to playing on screens,12 children will not know how to move through that fugue state they call boredom, which is often a necessary prelude to creativity.” It would be an intellectual shame to think that in the spirit of giving our children as much as we can through the many creative offerings of the latest, enhanced e-books and technological innovations, we may inadvertently deprive them of the motivation and time necessary to build their own images of what is read and to construct their own imaginative off-line worlds that are the invisible habitats of childhood. Such cautions are neither a matter of nostalgic lament nor an exclusion of the powerful, exciting uses of the child’s imagination fostered by technology. We will return to such uses a little later. Nor should worries over a “lost childhood” be dismissed as a cultural (read Western) luxury. What of the real lost childhoods? one might ask, in which the daily struggle to survive trumps everything else? Those children are never far from my thoughts or my work every day of my life.

His order cited "credible evidence" that a takeover "threatens to impair the national security of the US".Qualcomm was already trying to fend off Broadcom's bid.The deal would have created the world's third-largest chipmaker behind Intel and Samsung.It would also have been the biggest takeover the technology koo50 sector had ever seen.The presidential order said: "The proposed takeover of Qualcomm by the Purchaser (Broadcom) is prohibited. and any substantially equivalent merger. acquisition. or takeover. whether effected directly or indirectly. is also prohibited."Crown jewelSome analysts said President Trump's decision was more about competitiveness and winning the race for 5G technology. than security concerns.The sector is in a race to develop chips for the latest 5G wireless technology. and Qualcomm was considered by Broadcom a significant asset in its bid to gain market share.Image captionQualcomm has already showcased 1Gbps mobile internet speeds using a 5G chip"Given the current political climate in the US and other regions around the world. everyone is taking a more conservative view on mergers and acquisitions and protecting their own domains." IDC's Mario Morales. vice president of enabling technologies and semiconductors told the BBC."We are all at the start of a race. and you have 5G as a crown jewel that everyone wants to participate in - and every region is racing towards that." he said."We don't want to hinder someone like Qualcomm so that they can't provide the technology to the vendors that are competing within that space."US investigates Broadcom's Qualcomm bidQualcomm rejects Broadcom takeover bidHuawei's US smartphone deal collapsesSingapore-based Broadcom had been pursuing San Diego-based Qualcomm for about four months.Last week however. Broadcom's hostile takeover bid was put under investigation by the Committee on Foreign Investment in the US. a multi-agency led by the US Treasury Department.The US company had rejected approaches from its rival on the grounds that the offer undervalued the business. and also that any takeover would face antitrust hurdles.Earlier this year. Chinese telecoms giant Huawei said it had not been able to strike a deal to sell its new smartphone via a US carrier. widely believed to be AT&T.The US also recently blocked the $1.2bn sale of money transfer firm Moneygram to China's Ant Financial. the digital payments arm of Alibaba.

He nods, looking through the pictures on the screen on the back of his camera. Some relationships can only exist as memories. But unlike ephemeral digital images that can be sorted and deleted, we can’t erase the past. We have to learn to live with all the images that are stored in love's archive, memories tagged good and bad. No Photoshopping. Accept the negative before moving forward.

Expert Tips On Search Engine Optimization That Are Proven To Work Each business with a Web site needs to make Search Engine Optimization (SEO) part of their growth strategy, working to get their site ranked as high as possible on the major search engines. With a little work, a different approach, and these tips, you can get your site ranked well with the search engines. To create more traffic to your site and to improve your standings with search engines, you can write and submit articles to online article directories. The directories make their articles available to countless people who will read your submissions and follow the links back to your site. This has the potential to bring traffic to your site far into the future as these links remain active for many years. To help site crawlers better understand your site, you should use keywords as your anchor text for internal links. Non-descript links such as, "click here," do not help your site as they offer no information to the search engines. This will also help your site to appear more cohesive to human visitors. Be varied in the page titles of your site, but not too lengthy. Targeting over 70 characters will begin to diminish the weight of the page or site. Keep the titles condensed and intersperse a wide variety of your keywords and phrases amongst them. Each individual page will add its own weight to the overall search. In order to optimize incoming links to raise your search engine rankings, try to have links to different parts of your website, not just your homepage. Search engine spiders read links to different parts of your site, as meaning that your site is full of useful and relevant content and therefore, ranks it higher. One way to enhance your standing in website search rankings is to improve the time it takes your website to load. Search engines are looking to deliver the best possible experience to their searchers and now include load time into their search ranking protocols. Slow loading sites get lost in the mix when searchers get impatient waiting for sites to load. Explore ways to optimize your loading process with solutions like compressed images, limited use of Flash animations and relocating JavaScript outside your HTML code. Publish content with as little HTML code as possible. Search engines prefer pages that favor actual content instead of tons of HTML code. In fact, they consistently rank them higher. So, when writing with SEO in mind, keep the code simple and concentrate on engaging your audience through your words. Do not obsess over your page rankings on the search engines. Your content is more important than your rank, and readers realize that. If you focus too much on rank, you may end up accidentally forgetting who your true audience is. Cater to your customers, and your rank will rise on its own. As you can see, you need to increase your site's traffic in order to get ranked higher. This is possible to anyone who is willing to do what it takes. Getting your site ranked with the top search engines is highly possible, and can be done by anyone who will give it a chance.

The Ultimate Guide To SEO In The 21st Century Search engine optimization is a complex and ever changing method of getting your business the exposure that you need to make sales and to build a solid reputation on line. To many people, the algorithms involved in SEO are cryptic, but the basic principle behind them is impossible to ignore if you are doing any kind of business on the internet. This article will help you solve the SEO puzzle and guide you through it, with some very practical advice! To increase your website or blog traffic, post it in one place (e.g. to your blog or site), then work your social networking sites to build visibility and backlinks to where your content is posted. Facebook, Twitter, Digg and other news feeds are great tools to use that will significantly raise the profile of your pages. An important part of starting a new business in today's highly technological world is creating a professional website, and ensuring that potential customers can easily find it is increased with the aid of effective search optimization techniques. Using relevant keywords in your URL makes it easier for people to search for your business and to remember the URL. A title tag for each page on your site informs both search engines and customers of the subject of the page while a meta description tag allows you to include a brief description of the page that may show up on web search results. A site map helps customers navigate your website, but you should also create a separate XML Sitemap file to help search engines find your pages. While these are just a few of the basic recommendations to get you started, there are many more techniques you can employ to drive customers to your website instead of driving them away with irrelevant search results. One sure way to increase traffic to your website, is to check the traffic statistics for the most popular search engine keywords that are currently bringing visitors to your site. Use those search words as subjects for your next few posts, as they represent trending topics with proven interest to your visitors. Ask for help, or better yet, search for it. There are hundreds of websites available that offer innovative expertise on optimizing your search engine hits. Take advantage of them! Research the best and most current methods to keep your site running smoothly and to learn how not to get caught up in tricks that don't really work. For the most optimal search engine optimization, stay away from Flash websites. While Google has improved its ability to read text within Flash files, it is still an imperfect science. For instance, any text that is part of an image file in your Flash website will not be read by Google or indexed. For the best SEO results, stick with HTML or HTML5. You have probably read a few ideas in this article that you would have never thought of, in your approach to search engine optimization. That is the nature of the business, full of tips and tricks that you either learn the hard way or from others who have been there and are willing to share! Hopefully, this article has shown you how to succeed, while making fewer of those mistakes and in turn, quickened your path to achievement in search engine optimization!

Hiro’s view of Reality. By drawing a slightly different image in front of each eye, the image can be made three-dimensional. By changing the image seventy-two times a second, it can be made to move. By drawing the moving three-dimensional image at a resolution of 2K pixels on a side, it can be as sharp as the eye can perceive, and by pumping stereo digital sound through the little earphones, the moving 3-D pictures can have a perfectly realistic sound track. So Hiro’s not actually here at all. He’s in a computer-generated universe that his computer is drawing onto his goggles and pumping into his earphones. In the lingo, this imaginary place is known as the Metaverse. Hiro spends a lot of time in the Metaverse.

It is mind-boggling that despite the millions of branding and marketing dollars spent every year, much is still spent on the messengers’ wants or whimsies rather than the recipients’ core desires. We get an idea in our head for who we want to be or how we want others to perceive our offering, and we spend more time shaping and shining that image than we do ascertaining whether the image really matters to those to whom it must matter. Most individuals and organizations invest more resources in campaigning than in connecting. It should be the other way around.

Don’t make it an analytical decision, and don’t worry about why exactly it resonates—just look inside for a feeling of pleasure, curiosity, wonder, or excitement, and let that be your signal for when it’s time to capture a passage, an image, a quote, or a fact.

Governments continue to be motivated by the idea that the better they comprehend the world, the better they will be able to control and exploit it. They have been joined by large corporations, which also see the value in quantifying and classifying our world. From high-resolution drone and satellite images, to geographically tagged photos and tweets, mobile phones that constantly ping their location to colossal databases, and the “Internet of things”—the idea that most of the objects around us will soon be capable of communicating their whereabouts and status—one way or another, we continue to wander through the world, size it up, and digitally hammer colored nails into it.

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elements that only appear in digital storytelling, but not storytelling: ● Soundtrack ● Possible visual elements such as video, background images, or PowerPoint presentations ● Economy – purposeful withholding of specific information given in another format,

A long time passed before I discovered what had happened to her. Months went by as I built up the image of her in my mind. I vividly remembered the days in Serria, the harmless sea seen through the thick glass windows, her discreet but sincere smile, and the blue-eyed pool I thought loved me. No drug could lift my morale as she did. She overlooked my weaknesses. She never mentioned Eleonor, knowing just the name would destabilize me. We entrusted many things to each other. Of course, I sought accurate reports of her stay on Planet Babylon and kept all digital records of her treatment. I read them exhaustively, searching for an explanation, but nothing could explain what followed. From that fateful day, I managed only to gather disconnected fragments of her supposed life on the peripheral planets. Clues that might lead to her. An incomplete puzzle of information. I was sure something must have happened to her DNA. There were so many rumors about the glass-eyed woman that until the day I finally saw her, it seemed impossible to know for sure whether Serena, the one in my memory, ever really existed.

Control system overlays must be faster and more reliable than the underlying systems being controlled. The Nyquist-Shannon Sampling Theorem, first introduced in 1928, explains why. A receiver (sensor) must sample at least twice the rate of the sender (the thing being monitored and controlled) to accurately measure and control a system. This theorem forms the basis of all things digital, including telecommunications, medical imaging systems, astronomy, and more. In reality, to control a complex engineered or biological system, the receiver and controller must be much faster to maintain resilience and agility. This has stark implications for top-down management. For instance, if reports are generated and reviewed once a week, they can be used to control (manage) only situations that change no faster or more frequently than every two weeks. Anything faster moving may not be detected or is not controllable. This explains why exemplary organizations are typically characterized by overlays of people in supportive roles that are uncharacteristic of their lower-performing peers. That is not “overhead” but absolutely necessary bandwidth for sustaining high performance of fast-moving, complex, dynamic systems.

Already, when Facebook bought Instagram, it felt as though the walls of the Internet were closing in a little tighter around us users. The broad expanse of possibility, of messiness, on a network like Geocities or the personal expression of Tumblr was shut down. Digital life became increasingly templated, a set of boxes to fill in rather than a canvas to cover in your own image. (You don’t redesign how your Facebook profile looks; you just change your avatar.)

In the fast-paced digital world, consistency is one of the most important factors for successful marketing. Regular and reliable communication with your audience can help build familiarity, trust, and engagement—all essential elements for long-term success. One way to maintain consistency is through social media. By posting regularly and sticking to a clear brand voice and style, you make it easier for your audience to recognize and connect with your brand. This familiarity leads to trust, making followers more likely to engage with your content and even consider your products or services. Email marketing is another area where consistency can pay off. Regular newsletters, updates, and special offers keep your audience informed and connected to your brand. By offering valuable insights or exclusive deals, you’ll encourage them to look forward to hearing from you. Blogging also benefits from consistency. Regularly publishing valuable content helps establish your brand as a go-to resource in your field, and it can improve your SEO, making it easier for new customers to find you. Consistency in digital marketing builds a reliable brand image and keeps you top of mind with your audience. Over time, this dedication can lead to stronger engagement, improved brand loyalty, and a solid reputation in your industry.

computer). This is where they polish their final images,

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A brief look at the role of tested building blocks in technical innovations will help us understand the role of building blocks in the specific case of rule innovation. A scan of history shows that technical innovations almost always arise as a particular combination of well-known building blocks. Take two technological innovations that have revolutionized twentieth-century society, the internal combustion engine and the digital computer. The internal combustion engine combines Volta's sparking device, Venturi's (perfume) sprayer, a water pump's pistons, a mill's gear wheels, and so on. The first digital computers combined Geiger's particle counter, the persistence (slow fade) of cathode ray tube images, the use of wires to direct electrical currents, and so on. In both cases most of the building blocks were already in use, in different contexts, in the nineteenth century. It was the specific combination, among the great number possible, that provided the innovation. When a new building block is discovered, the result is usually a range of innovations. The transistor revolutionized devices ranging from major appliances to portable radios and computers. Even new building blocks are often derived, at least in part, by combining more elementary building blocks. Transistors were founded on knowledge of selenium rectifiers and semiconductors.

CHAPTER 9 THE FARM NEAR HARPERS FERRY WEST VIRGINIA U.S.A. ONCE again, Mitch Rapp found himself standing in front of the cell holding Louis-Philippe Gould. And once again, Stan Hurley was watching. “Want me to hold on to your gun?” It was a noticeable change in his friend’s attitude. A few days ago, he’d have paid money to walk in there and execute the Frenchman. Now they needed him. Hurley perhaps more than anyone. “Turn off the cameras, Stan.” “Irene was pretty specific about that. She says they stay on.” “Don’t make me repeat myself, old man.” Hurley swore under his breath and took a seat in front of a computer terminal at the end of the corridor. He wasn’t exactly from the digital era, and it took him a few moments with the mouse to find the right application. Finally, he turned back to Rapp. “I’ve still got the image, but it’s not recording. You need to leave him alive, Mitch. But if you can’t, do it close range and sloppy. That way we can tell Irene he went for your gun.” Rapp reached for the door, trying to shut off his emotions as it swung open. This wasn’t about him or his past. It was about his job and

Just as spies once concealed information-filled microdots on the head of a pin, today operatives embed text documents into digital images that must be decompressed to reveal their contents.

And even in this digital age, when face-to-face contact seems to be diminishing—and this change is the source of many of the leadership problems being experienced these days—it is the interaction between leaders and constituents that turns opportunities into successes. The key to unlocking greater leadership potential can be found when you seek to understand the desires and expectations of your constituents and when you act on them in ways that correspond to their image of what an exemplary leader is and does.

What’s the first thing you do now before you visit a new restaurant for the first time or book a hotel room online? You probably ask a friend for a recommendation or you check out the reviews online. Now more than ever, the story your customers tell about you is a big part of your story. Word of mouth is accelerated and amplified. Trust is built digitally beyond the village. Reputations are built and lost in a moment. Opinions are no longer only shared one to one; they are broadcasted one to many, through digital channels. Those opinions live on as clues to your story. The cleanliness of your hotel bathrooms is no longer a secret. Guests’ unedited photos are displayed alongside a hotel brochure’s digital glossies. TripAdvisor ratings are proudly displayed by hotels and often say more about the standards guests can expect than do other, more established star ratings systems, such as the Forbes Travel Guide‘s ratings. Once-invisible brands and family-run hotels have had their businesses turned around by the stories their customers tell about them. “With 50 million reviews and counting, [TripAdvisor] is shaking the travel industry to its core.” —Nathan Labenz It turns out that people are more likely to trust the stories other people tell about you than to trust the well-lit Photoshopped images in your brochure. Reputation is how your idea and brand story are spread. A survey conducted by Chadwick Martin Bailey found that six in ten cruise customers said “they were less likely to book a cruise that received only one star.” There is no marketing more powerful than what one person says to another to recommend your brand. “Don’t waste money on expensive razors.” “Nice hotel; shame about the customer service.” In a world where online reputation can increase a hotel’s occupancy and revenue, trust has become a marketing metric. “[R]eputation has a real-world value.” —Rachel Botsman When we were looking to book a quiet, off-the-beaten-track hotel in Bali, the first place we looked wasn’t with the travel agents or booking.com. I jumped online and found that one of the area’s best-rated hotels on tripadvisor.com wasn’t a five-star resort but a modest family-run, three-star hotel that was punching well above its weight. This little fifteen-room hotel had more than 400 very positive reviews and had won a TripAdvisor Travellers Choice award. The reviews from the previous guests sealed the deal. The little hotel in Ubud was perfect. The reviews didn’t lie, and of course the place was fully booked with a steady stream of guests who knew where to look before taking a chance on a hotel room. Just a few years before, this $50-a-night hotel would have been buried amongst a slew of well-marketed five-star resorts. Today, thanks to a currency of trust, even tiny brands can thrive by doing the right thing and giving their customers a great story to tell.

Take, for instance, several classic studies with animal models. A baboon, say, is shown that if it pushes a lever then some food will drop through a dispenser. But the animal doesn’t know which push of the lever will be the one that will deliver the food. “The baboon will press the lever at a very steady rate. ‘Is the food there yet, is the food there yet?’ Each press is like a question,” explains Dan Bernstein, a professor of psychology at the University of Kansas, where he has an office down the hall from Dr. Atchley. It may not be a comfortable comparison for some. But the image of a baboon pulling a lever for food is not all that dissimilar from a person obsessively pecking at their phone waiting for the next email to appear.

Lucie felt embarrassed at penetrating, to some degree, her hierarchical superior’s deepest intimacy. The captain had no idea he was seeing, at that very moment, subliminal images of the actress in his simpler device. He had even less idea that his brain was getting off on them and risked setting off an embarrassing physical reaction. The digitized film continued to advance. Lucie recalled what Claude Poignet had shown her on the viewer. They were getting close to the other kind of image: the actress’s mangled body on the grass with the large eye sliced into her belly. Beckers moved his finger on the screen. “This is it. Activation of the median prefrontal and orbitofrontal cortex, as well as of the temporoparietal junction. The really shocking images have just started occurring, hidden behind apparently tranquil scenes. Up until now, everything is coherent. But hang on a bit…

Now she volunteered to open an account in her name at Yandex Money, the largest online payment service in Russia, in order to collect donations to support the protests. The organizing committee agreed. With Romanova in charge, it meant that nobody would question where the money went, given her unblemished reputation for integrity. The money would be safe from government pressure too; any attempt to intimidate Romanova would clearly be futile. The account at Yandex Money became known as Romanova’s Purse.11 On December 20 Yandex published on Facebook a new application that facilitated crowdfunding through Facebook for Yandex Money. Previously Yandex Money had become a common way for Moscow’s middle class to carry out e-commerce online; people trusted Yandex with their credit cards and used it to make purchases. Now the crowdsourcing application took it to a new level. Protesters were quickly able to utilize a transparent way to collect money for the demonstrations, and it was all done thanks to Internet technology. Romanova was a fearless overseer. Yandex said it was pure coincidence that the new crowdsourcing app was rolled out at the same time that protesters were raising money for the next rally. The next big protest rally was scheduled for December 24 on Prospect Sakharova. Ilya Klishin renamed the main protest event page on Facebook, with the cover photo depicting a wide image of the Bolotnaya crowd and the slogan, “We Were on Bolotnaya and We Are Coming Back,” and on the side carried a picture with the words, “We Are for Fair Elections.” Organizers announced they needed 3 million rubles, about $100,000. Romanova soon collected more than 4 million rubles online and immediately posted a detailed report of how the money would be spent.

We had first met in a class on digital imaging; together we made an amusing monster.

TeleAtlas,” or with the new satellite imagery services, “Images copyright Digital Globe.” These companies made substantial investments in their databases (NavTeq alone reportedly invested $750 million to build their database of street addresses and directions. Digital Globe

The CAD image was drawn by an electron beam onto a green phosphorus coating on the inside of the glass TV tube. The

One of the masters of trendspotting is Rohit Bhargava, author of Non-Obvious. He curates the biggest trends each year and packages them up into a book. Then he explains how people and businesses can take advantage of these trends to improve their position in the marketplace. Thinking deliberately about trends is a secret sauce for most successful hustlers, because it creates an unfair advantage. When Evan Spiegel built Snapchat, he was capitalizing on a trend. He saw people using Facebook and their phones to share photos, but noticed they felt inhibited by the fact that the images were either permanent, or public. By reversing those two elements―making image-sharing ephemeral and private, he solved a big problem. Snapchat exploded across the younger demographics and quickly became a multibillion-dollar business. Another example is Kik, a popular messaging app. When Kik launched, plenty of messaging services already existed. In fact, the ultimate messaging services seemed to be the ones already  built into everyone's phones. Apple had a messaging app, and so did Android. So, why reinvent the wheel? Ted Livingston, the founder of Kik, had other ideas. Why? Because he had identified a trend. Consumers were clearly upset with the built-in messaging services. First, the telecom companies were charging per message sent and received, which was a horrible experience. It felt like classic, capitalistic highway robbery. Second―and this was a big problem for teens: You could only exchange messages by giving out your phone number. Livingston noticed that teens wanted to chat with other people they met online, but had no safe way of doing that without giving out their number. So he created Kik, which allows people to create a username instead. Kiksters can then share their username to start chatting, while keeping their digits private. But even better, messaging is unlimited, and completely free. By examining the trends happening in the messaging market, Livingston was able to build a product that rivaled the multi-billion dollar incumbents. Now his company is valued at over a billion.   

The bad news is that the obsession with social media is almost certainly producing unhealthy side effects. Scientists have discovered that constant exposure to websites like Facebook and Twitter can alter the brain, affecting the ability to process emotions. It can also lead to restlessness, negative self-image, a decline in happiness, and in extreme cases, depression.

in or slowly pan across a wide scene, and you can create layers with text and other images appearing and disappearing for unlimited creative effects. This software enables you to express your creativity in ways you never even imagined. If you want to create presentations that truly WOW your viewers, this is the tool for you!

aperture. Certain formats make use of this extra area as an intermediate step before the final print is made, and it is not uncommon for visual effects elements to be shot "full-ap" to reap the benefits of a higher-resolution image. An example of the full aperture framing is shown in Figure D.1 of Appendix D, as well as for the rest of the 35mm formats we will be discussing. 1.85 An aspect ratio of 1.85 is by far the most common framing for movies that are shown in the United States. (In Europe, a 1.66 aspect ratio is much more common, and in the rest of the world it varies between the two standards.) Projecting an image that was shot with normal Academy aperture in a 1.85 format is simply

Preface This book is about creating images. It will discuss a number of different

his help in photographing many of the example images that are used throughout the book. Thanks to Alex, Aundrea, Alyssa, Rachel, Anna, and josh, because I would be a poor uncle indeed if I passed up the opportunity for them to see their names in print, and thanks to Mandy and Ace (Plate 28). A special note of thanks to my associates at Nothing Real, not only for the use of their fine compositing software to create many of the images in this book, but also

real object, yet it exists only within the computer. Even though the way we are interacting with the object is still based on a two-dimensional display device (the computer's monitor), the model itself is a mathematical simulation of a true three-dimensional object. This model can be lit, textured, and given the ability to move and change. Once a particular camera view is chosen and the color, lighting, and animation are acceptable, special software will render the scene to produce a sequence of images. While the 3D aspect of visual effects seems to get a great deal of recognition,

You see?” she said pointing to the horizon. “It seems to coincide with the setting of the sun. I’m interested to see if it happens again at sunrise.” “Me too,” Savannah concurred. “Having just witnessed that amazing display,” Travis said, “I think there’s real merit to your hoax theory, Xenia. That dust rose into the air so thick and so high that I doubt anyone would have difficulty projecting a very high resolution image on it from a very powerful digital projector.” “Indeed,” she agreed. “That would mean that such a projector would have to be set up fairly close by just of the shore right there,” Adam said, pointing to the water. “And if that’s the case,” Mark added, “then we could be right in the middle of some serious criminal activity. I suggest we move our camp immediately.

We spend hours obsessing in front of mirrors when our ancient ancestors never in their lives saw a full image of their own reflection. We compare ourselves to digitally enhanced people on magazine covers, who in reality have no connection to our lives. We secretly eye the count of Facebook friends of people we know, convinced our own social circles must be lacking.

There is a powerful difference between picturing an image that does not relate to you, and recalling something specific that you are connected with. When memory experts memorize something that is idle or vain, they’re only attempting to picture an image that does not relate to them. They don’t have to daily apply the digits of mathematical pi to live by them. They don’t have to apply the Declaration of Independence in a practical day to day life. As if Americans say when living life, “As it is written in the Declaration of Independence.” So they teach you how to memorize things idly, where as it is better to make a heartfelt connection with the word of God. Therefore Beloved, read the scriptures first and have a full connection with it before you memorize. As we stated before, it is good to memorize what is speaking out to you in the scriptures. Where God is speaking to you and teaching you in the word is the best place to memorize. It makes an emotional connection with you, and it’s applicable to your life in the here and now. Seeing that it is immediately applicable to your life you’ll be able to make an emotional connection with what you are memorizing. As a result, when you are past these teachings and have full understanding, even years in the future you’ll still remember the scripture because it made an emotional connection with you. Much like reminiscing over the cottage experience, every time the topic is brought up you’ll have waves of scripture rushing to you for practical application. Therefore in this method we are seeking to make memorizing the scriptures an experience and not merely a task or a goal for godliness. When it is relevant to experiences there is more for the mind to grasp onto the memory with thereby giving greater longevity to the memory itself. Similar to the peg method where you create an image for the mind to have more to grasp onto, you are using an already existing “image” so to speak, that the mind will grasp onto harder. But why does it grasp harder? Because it isn’t something silly thought of by oneself but it is an ongoing experience that led to a reminiscent memory. Therefore memorize what God is speaking to you and what has strong meaning to you. Whatever jumps out at you from the pages is what the Lord wants you to be memorizing. Therefore as a good pupil and good student, memorize what the Lord your Teacher is giving you to memorize. In school we do not memorize anything but what the teacher gives us, otherwise it would serve no purpose. Likewise it serves a greater purpose to memorize what God is giving you in the here and now, versus memorizing something that is not applying to you at this moment. Yes, all the word of God applies to your life and it always will. But certain things are speaking true to the immediate lesson in life and thus the scriptures speak out to you, and seem alive. Therefore memorize the words that are alive and you will have a continuous living memory of the word of God.

While once focused on written and oral communications, the N.S.A. now considers facial images, fingerprints and other identifiers just as important to its mission of tracking suspected terrorists and other intelligence targets, the documents show. “It’s not just the traditional communications we’re after: It’s taking a full-arsenal approach that digitally exploits the clues a target leaves behind in their regular activities on the net to compile biographic and biometric information” that can help “implement precision targeting,” noted a 2010 document.