Electronic Signature Quotes

We have proposed a system for electronic transactions without relying on trust. We started with the usual framework of coins made from digital signatures, which provides strong control of ownership, but is incomplete without a way to prevent double-spending. To solve this, we proposed a peer-to-peer network using proof-of-work to record a public history of transactions that quickly becomes computationally impractical for an attacker to change if honest nodes control a majority of CPU power.

A tree inhales and stills air’s fibrillating breath, holding it in wood, like a kami. Each year’s growth rings jackets the previous, capturing in layered derma precise molecular signatures of the atmosphere timbered memories. Wood emerges from relationship with air, catalyzed by the flash of electrons through membranes. Atmosphere and plant make each other; plant as temporary crystallization of carbon, air as product of 400 million years of forest breath. Neither tree nor air has a narrative, a telos of its own, for neither is its own.

The story of the rapper and the story of the hustler are like rap itself, two kinds of rhythm working together, having a conversation with each other, doing more together than they could do apart. It's been said that the thing that makes rap special, that makes it different both from pop music and from written poetry, is that it's built around two kinds of rhythm. The first kind of rhythm is the meter. In poetry, the meter is abstract, but in rap, the meter is something you literally hear: it's the beat. The beat in a song never stops, it never varies. No matter what other sounds are on the track, even if it's a Timbaland production with all kinds of offbeat fills and electronics, a rap song is usually built bar by bar, four-beat measure by four-beat measure. It's like time itself, ticking off relentlessly in a rhythm that never varies and never stops. When you think about it like that, you realize the beat is everywhere, you just have to tap into it. You can bang it out on a project wall or an 808 drum machine or just use your hands. You can beatbox it with your mouth. But the beat is only one half of a rap song's rhythm. The other is the flow. When a rapper jumps on a beat, he adds his own rhythm. Sometimes you stay in the pocket of the beat and just let the rhymes land on the square so that the beat and flow become one. But sometimes the flow cops up the beat, breaks the beat into smaller units, forces in multiple syllables and repeated sounds and internal rhymes, or hangs a drunken leg over the last bap and keeps going, sneaks out of that bitch. The flow isn't like time, it's like life. It's like a heartbeat or the way you breathe, it can jump, speed up, slow down, stop, or pound right through like a machine. If the beat is time, flow is what we do with that time, how we live through it. The beat is everywhere, but every life has to find its own flow. Just like beats and flows work together, rapping and hustling, for me at least, live through each other. Those early raps were beautiful in their way and a whole generation of us felt represented for the first time when we heard them. But there's a reason the culture evolved beyond that playful, partying lyrical style. Even when we recognized the voices, and recognized the style, and even personally knew the cats who were on the records, the content didn't always reflect the lives we were leading. There was a distance between what was becoming rap's signature style - the relentlessness, the swagger, the complex wordplay - and the substance of the songs. The culture had to go somewhere else to grow. It had to come home.

As TARDIS comes to rest, the only sound, its insistent hum, seems to fill the space entirely, and then this too is lost as the viewer is thrown outside, no longer a participant, but forced into the detached role of observer: the police box now sitting at a tilt in a dark and barren alien landscape accompanied by the chilling audionaturalism of wind noise [...] In the silence of electronic sound, the audience ejection is experienced as sudden sensory deprivation, making the impression of das unheimliche the dominant one. Again the fourth wall is breached, this time a figure cuts between us and the ship, carrying a spear rather than a torch, his shadow lengthening impossibly across the landscape towards TARDIS. When the end titles and signature start up, the eerie recognition threatens to become full blown horror as if the music, having transported us here, is now leaving us to face an awakening of our repressed pasts. Next week, the titles inform us, THE CAVE OF SKULLS.

One thing more makes these men and women from the age of wigs, swords, and stagecoaches seem surprisingly contemporary. This small group of people not only helped to end one of the worst of human injustices in the most powerful empire of its time; they also forged virtually every important tool used by citizens’ movements in democratic countries today. Think of what you’re likely to find in your mailbox—or electronic mailbox—over a month or two. An invitation to join the local chapter of a national environmental group. If you say yes, a logo to put on your car bumper. A flier asking you to boycott California grapes or Guatemalan coffee. A poster to put in your window promoting this campaign. A notice that a prominent social activist will be reading from her new book at your local bookstore. A plea that you write your representative in Congress or Parliament, to vote for that Guatemalan coffee boycott bill. A “report card” on how your legislators have voted on these and similar issues. A newsletter from the group organizing support for the grape pickers or the coffee workers. Each of these tools, from the poster to the political book tour, from the consumer boycott to investigative reporting designed to stir people to action, is part of what we take for granted in a democracy. Two and a half centuries ago, few people assumed this. When we wield any of these tools today, we are using techniques devised or perfected by the campaign that held its first meeting at 2 George Yard in 1787. From their successful crusade we still have much to learn. If, early that year, you had stood on a London street corner and insisted that slavery was morally wrong and should be stopped, nine out of ten listeners would have laughed you off as a crackpot. The tenth might have agreed with you in principle, but assured you that ending slavery was wildly impractical: the British Empire’s economy would collapse. The parliamentarian Edmund Burke, for example, opposed slavery but thought that the prospect of ending even just the Atlantic slave trade was “chimerical.” Within a few short years, however, the issue of slavery had moved to center stage in British political life. There was an abolition committee in every major city or town in touch with a central committee in London. More than 300,000 Britons were refusing to eat slave-grown sugar. Parliament was flooded with far more signatures on abolition petitions than it had ever received on any other subject. And in 1792, the House of Commons passed the first law banning the slave trade. For reasons we will see, a ban did not take effect for some years to come, and British slaves were not finally freed until long after that. But there was no mistaking something crucial: in an astonishingly short period of time, public opinion in Europe’s most powerful nation had undergone a sea change. From this unexpected transformation there would be no going back.

I can’t. I live in Alaska, plus Joe never ignores my phone calls. I am his next of kin, and I take care of all his utility bills and mortgage.” “Maybe his phone isn’t working...or he wants to be left alone as per usual.” Bernard breaks down on the other end of the receiver. “I’ve known Joseph for twenty years, and he wouldn’t just vanish without telling me. Joe emails me his electronic checkbook every first week of the month, along with his signature. Since his bills come to my house, I send the checks along with a bill slip to the utility companies.” “Mr. Castellón, emails get lost all the time; I’m sure those checkbooks will show up sooner or later.

Statement on Generative AI Just like Artificial Intelligence as a whole, on the matter of Generative AI, the world is divided into two camps - one side is the ardent advocate, the other is the outspoken opposition. As for me, I am neither. I don't have a problem with AI generated content, I have a problem when it's rooted in fraud and deception. In fact, AI generated content could open up new horizons of human creativity - but only if practiced with conscience. For example, we could set up a whole new genre of AI generated material in every field of human endeavor. We could have AI generated movies, alongside human movies - we could have AI generated music, alongside human music - we could have AI generated poetry and literature, alongside human poetry and literature - and so on. The possibilities are endless - and all above board. This way we make AI a positive part of human existence, rather than facilitating the obliteration of everything human about human life. This of course brings up a rather existential question - how do we distinguish between AI generated content and human created material? Well, you can't - any more than you can tell the photoshop alterations on billboard models or good CGI effects in sci-fi movies. Therefore, that responsibility must be carried by experts, just like medical problems are handled by healthcare practitioners. Here I have two particular expertise in mind - one precautionary, the other counteractive. Let's talk about the counteractive measure first - this duty falls upon the shoulders of journalists. Every viral content must be source-checked by responsible journalists, and declared publicly as fake, i.e. AI generated, unless recognized otherwise. Littlest of fake content can do great damage to society - therefore - journalists, stand guard! Now comes the precautionary part. Precaution against AI generated content must be borne by the makers of AI, i.e. the developers. No AI model must produce any material without some form of digital signature embedded in them, that effectively makes the distinction between AI generated content and human material mainstream. If developers fail to stand accountable out of their own free will, they must be held accountable legally. On this point, to the nations of the world I say, you can't expect backward governments like our United States to take the first step - where guns get priority over children - therefore, my brave and civilized nations of the world - you gotta set the precedent on holding tech giants accountable - without depending on morally bankrupt democratic imperialists. And remember, the idea is not to ban innovation, but to adapt it with human welfare. All said and done, the final responsibility falls upon just one person, and one person alone - the everyday ordinary consumer. Your mind has no reason to not believe the things you find on the internet, unless you make it a habit to actively question everything - or at least, not accept anything at face value. Remember this. Just because it's viral, doesn't make it true. Just because it's popular, doesn't make it right.

Introduction to eAccords In today's fast-paced business environment, the need for efficient and secure document management systems is paramount. eAccords emerges as a robust solution, offering an array of features designed to streamline the document signing process. Much like DocuSign, eAccords provides electronic signature capabilities, ensuring that businesses can handle their agreements swiftly and securely.

Masking or turning off tech built right into the nervous system is actually a lot harder than simply hiring what our German friends call a Fleischgeist. It’s not as snappy in English: meat ghost. But it gives you the idea—someone with no implants. None. No hand chip, no cranial, no optics or aurals. Nothing with an electronic signature. In our day and age, they might as well be invisible. Ergo, the ghost part.

The Oak Forest mushrooms for the langoustine didn't arrive in time, so we've substituted with enoki mushrooms from Champagne Farms. Also, we are adding an entrée to the menu tonight. It's lemon pine-nut-encrusted sea scallops with a celery mousse and my signature vinaigrette. It took three months to get it right, and the end result is phenomenal. So sell it." Alain paused while the servers took notes. "In wines, we're out of the Napa Valley El Molino, the Talenti, and the Chateau Margeaux '86." Alain paused and, while the servers wrote furiously in their pads, my thoughts wandered. I tried picturing the customers who might have opinions about Oak Forest mushrooms compared to those from Champagne Farms. Did they wear tweed and bifocals? Or were they übermodern with sculpured haircuts and electronic cigarettes? I shook my head, annoyed with myself and my train of thought. Let the mushroom people be mushroom people, I chastised myself. You signed up for this gig, Charlie, remember? You're living your dream, remember? Alain changed gears for a second and threw out a quiz question, one of his more sadistic rituals during family meal. "What are the six ingredients in the jalapeño emulsion we serve with the salmon?" Silence. A blonde in the back ventured, "Jalapeño, olive oil, shallots...?" More silence. "Fleur de sel, ground pepper, lemon juice," Alain finished for her, giving her an icy glance over his bearish nose. "Wake up, people. All right, here's an easy one. What's the difference between jamón ibérico and prosciutto?" Four hands went up, and Wade got it right. "Jamón ibérico is dry-cured from black Iberian pigs in Spain, not to be confused with jamón serrano, which comes from a less expensive white pig. Prosciutto is also dry-cured, but it is from Italy. It is the common man's gourmet ham, which is why we don't serve it." Wade finished with a cock of the head and a high-five with another server. Alain snorted. "Thank you for the editorial comment. Please keep it to yourself, however, when recommending the melon and jamón ibérico appetizer." He spent the next five minutes grilling the staff on the origin of our rice vinegar, what dessert wine paired best with Felix's raspberry brûlée, and the correct serving temperature of the parsnip purée.

I’d grown up listening to a lot of seventies progressive rock, songs about space travel and chivalry with frequent changes of time-signature and bombastic effects. As a teenager it had seemed superior to me, evidence of my intelligence. I had begun to listen to sixties psych and garage, inching backwards through the years, but at a certain point, I’d decided there were certain echoes I couldn’t afford to hear, so I made a run for it, away from human history and its dark places, into techno, the aural city on the hill. Here was a shiny sound-world made of pure electronic tones, in which I could float free of all context, cocooned in the reassurance that yesterday was long gone, or perhaps never existed at all.

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