Maximillian woke up one morning and found himself famous.

Uploading a video to Facebook, he simply wanted to share his music with a few friends, a few curious onlookers - but it quickly travelled around the globe.

A live rendition of his song 'Feelings', it ratcheted up more than 90,000 views in a matter of days as the world began to wonder who this teenage artist could be.

Still only 17 years old, the Danish newcomer seems to be taking the attention in his stride, focussing on what counts: his music.

The full studio version has now gone online, and it's a beautifully frank piece of alt-R&B with that heavenly vocal left largely intact.

He explains: "'Feelings' is a simple song about friendship, about leaving and being left. Its about the state of mind I was in right after my best friend sort of dumped me. This is my way of stating the obvious, that times change and so do people. But Ill also manage and move on."

Tune in now.

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Track Of The Day 16/6 - Maximillian - Clash Magazine

Just the latest in a long line of scams

Phishers are targeting PayPal users not only for their login credentials but also for selfies of them holding their ID cards.

This scam campaign starts off like so many others. A user gets an attack email falsely warning them that PayPal has suspended their account "for security precaution."

"Hi there,

"Our technical support and customer department has recently suspected activities in your account.

"Therefore we have decided to temporarly suspend your account until investigating your recent activiies. Such things can happen if you clicked a suspecious link on social media or gave your password to someone else

"We're always concerned about our customers security so please help us recover your account by following the link below.

The phishing email gives itself away by its spelling errors and strange grammatical usage. But it does get some things right.

For instance, the scam does incorporate PayPal's logo and list a valid (and publicly available, mind you) address for PayPal at 353 Sacramento Street in San Francisco, California.

Researchers at PhishMe report that the attack campaign is currently hosted on a website hellopc[dot]co[dot]nz, which an individual calling themselves "Mr.Dr3awe" claims to have been hacked. The phishing kit used in the campaign is buried in a subdirectory on the site. No doubt Mr.Dr3awe hid the kit in this fashion in an attempt to evade detection by anti-phishing vendors.

Clicking on the phishing email's "Let's Get Going" link sends the recipient to another website hosting a fake PayPal login page. If they sign in, a subsequent page asks them for their name, address, and credit card number.

For the purposes of gaining more control over the victim's identity, the fraudsters then ask for something more. PhishMe's Chase Sims explains:

"If the victim is willing to hand over their phone and credit card numbers, could they possibly be willing to provide even more personal information? How about a selfie? The next page seeks to verify the identity with a photo of the victim holding up a form of ID and credit card next to their face."

Uploading a valid image and hitting the "Agree & Continue" button redirects the user to an official PayPal website. Meanwhile, someone named "najat zou" in "mansac, France" exfiltrates the data, at which point they can do whatever they want with it.

This isn't the first PayPal phishing campaign, and it certainly won't be the last.

With that said, users should avoid clicking on links in suspicious emails, and they should never hand over their credit card information to someone they don't know. They should also protect their PayPal accounts with two-step verification (2SV).

Tags: data loss, phishing, Privacy, selfie, Spam

Smashing Security audio podcast

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Read more:

What's worse than getting phished? Getting phished *and* sending a selfie of your Photo ID and credit card - Graham Cluley Security News

The cloud storage wars just got a bit more interesting. Box just recently announced its Box Drive offering to practically replace shared network folders at work. Now Google is also expanding the scope of its own Google Drive cloud solution but with a nod towards regular consumers instead of the enterprise. With the upcoming Backup and Sync tool, users on Windows and macOS will be able to select whole folders to sync with Google Drive, making it easy as pie to store all your data on the mothership.

The way Google Drive traditionally works is that you upload files to the cloud. Desktop apps offer the convenience of making it look like Google Drive is part of your local storage but, in reality, it is just smoke and mirrors. You really are still uploading files to Drive, which updates a local copy of the file sitting inside a special folder on your local storage.

The new Google Drive attacks the problem from a different angle but still keeps the seamless syncing convenience. Instead of uploading to Drive, you select which of your folders on your local drive that you want to sync up with Google Drive. You then use the files in those folders as normal. Theres nothing special about them other than the fact that Google keeps them always in sync with the copy on Drive. It turns Google Drive from a yet another storage you have to mind into a bona fide cloud backup solution. It also makes it easier to run out of space, especially on a free subscription.

The Backup and Sync tool that launches on 28th June isnt actually a separate piece of software but is just the latest and enhanced version of the Google Drive software for PCs and Macs. It will also integrate the separate Google Photos desktop uploader so that you wont have to juggle two or three different pieces of software just to interact with Drive.

Google is targeting this new feature at regular consumers, suggesting that its enterprise customers wait for a similar feature coming in a new Drive File Stream package. Users who do want to gain the Backup and Sync feature will have to install the new Drive for PC/Mac application themselves, as Google wont automatically update it at this time.

SOURCE: Google

View post:

Google Drive will soon make it easy to Backup and Sync PCs, Macs - SlashGear

Astronaut Samantha Cristoforetti being interviewed by Trish Halpin, Editor-in-Chief, Marie Claire U.K, at Fortune magazine's Most Powerful Women Summit at the Dorchester Hotel in London on June 13 2017. Pictures by Peter Dench for Fortune Magazine.

Being a good astronaut is not about your personal achievements, says Samantha Cristoforetti, the first Italian woman to go to space. What matters most is how well you work in a team.

Speaking at the Fortune Most Powerful Women International Summit at the Dorchester Hotel in London on Tuesday, Cristoforetti said that over the past 10 to 15 years, the emphasis on astronauts having a "go-go personality" has shifted.

Instead, she said, a major requirement is for men and women to bring something to the team and not throw the group off balance. "It's more valuable to be someone who can empower others to work at their best than to be an individual achiever," Cristoforetti told interviewer Trish Halpin, editor-in-chief of Marie Claire U.K.

Cristoforetti said that she had become fascinated by space as a young girl. "I was a Star Trek fan and I grew up in a tiny village in the Italian Alps where the night sky was present with little light pollution," she told the Summit attendees. "As I grew up, I developed more mature interests and passions that kept me on the path for science and technology."

Sign up: Click here to subscribe to the Broadsheet, Fortunes daily newsletter on the worlds most powerful women.

The 40-year-old first went to space in 2014, five years after she was officially selected as an astronaut by the European Space Agency. Although embarking on such a dangerous 10-month mission would be enough to make anyone anxious, Cristoforetti said she felt quite calm on launch day.

"Taking off was a moment of peace," she told the Summit. "At the end [of the pre-launch preparation], the pace really picks up. I was juggling travel, media work, and was at the center of a lot of demands from many people, which was all well meant, but it consumed all my energy. I was looking forward to [them closing the] hatch and being sealed off from the rest of the world."

After a nine-minute assent into space and then a six-hour journey to the International Space Station, Cristoforetti said she was pleased to arrive. The astronaut gradually became known for uploading quirky videos onto YouTube from the ISS that demonstrated everyday life in space, from making a snack in zero gravity to doing her nails and hair.

"Although I was extremely well trained, [training] is a little different to actually learning to live in weightlessness," Cristoforetti said. "Its the coolest thingeverything is effortless and light."

She explained to the Summit that learning to live in zero gravity requires going through three stages: the first being "losing everything," the second "crazily attaching things" and the third being finding yourself "in a state of awareness where you let something float and you keep it in the back of your mind."

Cristoforetti is hoping she'll make her next flight to the ISS within the next decade and is interested in talks about future lunar missions. She told the Summit she'd also love to participate in a mission to Mars one day, but quickly added: "I'm not sure if I'd move there!"

Excerpt from:

Italy's Samantha Cristoforetti Says Being a Good Astronaut is All About Teamwork - Fortune

Femicide has never been trendier than it is right now in South Africa. Thats not to say women were never assaulted because theyre women, but more incidents have come to the fold and we want our insecurities to be taken seriously. This article aims to discuss violence against women and its contributors, as well as how our mind-set may contribute to rape culture.

What is it about the female figure that has so many people in a frenzy? I would call this behaviour the toxic sexualisation of the female figure. On the one hand you have women being raped and murdered and on the other women of all ages including teens uploading inappropriate pictures and videos. Why is that #Natasha or #Sesethu create so much hype to an extent that when our cries concerning sexual abuse fall on deaf ears?

Sexuality does not just define gender or ones physical encounter with another. Studies suggest that sexualisation takes place when a persons appeal is of more value than their behaviour. This is evident in receiving 100+ likes or views on social media and being a victim of anothers impulsive behaviour. The person is then considered to be a sexual object, rather than a person who can make their own decisions as a result sexuality is often inappropriately imposed. More people are speaking out on the issue, likewise government is also taking the opportunity to share responsibility.

We all know no matter the circumstances around an incident, no one should force themselves on another.

Now for the tricky part - how do we go about eliminating sexual violence when society itself is counterproductive? Counterproductive would entail being afraid to speak against violent sexual acts or condoning their behaviour because women these days wear next to nothing.

Addressing rape is not just having a legal system in place to deal with the perpetrator and the victim rising above it or attending defence classes. Rape culture is real and it is definitely causing an impact on society, it has become a part of our construct, that we cannot even see that we promote it at times. This goes beyond clich of asking for it because you dress a certain way or youre playing hard to get. It is also in the satisfaction we get from receiving over 100 likes or one comments on how that outfit compliments our figure etc. Although the compliments might be genuine, you can never be too sure or we would not have girls and women uploading inappropriate pictures and videos to remain relevant. These at times prompt the #NotAllMenAreTrash sentiments.

The crux of the issue is not just the normalised mentality regarding rape, but our social construct which has been a disservice to us all. It is entrenched in our being our birth right. Females from a very young age are taught to be dutiful, being domesticated, dressing a certain way and tolerate mans ego. When we dare to be different, be it our dress sense or sexual orientation, we are seen as prey something that needs to be put in line. The male upbringing is somewhat different, their physical superiority is engraved in their minds and their care-free and adventurous nature is often condoned. This disservice is evident in the little things like a girl being reprimanded and often blamed when she dirties her clothes, but a boy does not get so much backlash. This is not only entrenched in how boys and girls conduct themselves and are dealt with, this is also translated in the blurred lines that permeate in normalising sexualisation by the music we often jam to, graphics in magazines etc.

Rape should not just be addressed in an institutional manner, but culturally as well. We should be taught co-existence, cooperation, and respect as well as knowing that our consequences have actions. Not the kind of consequence that if your dress is too short - then its your doing, but if your happiness infringes on anothers, then harmony cannot exist. If we cant change our mentality and think progressively regarding gender then we are #AllTrash.

Disclaimer: All articles and letters published on MyNews24 have been independently written by members of News24's community. The views of users published on News24 are therefore their own and do not necessarily represent the views of News24. News24 editors also reserve the right to edit or delete any and all comments received.

See the rest here:

Addressing rape culture - News24

Knowles Adkisson/OF THE COMMERCIAL STAFF/kadkisson@pbcommercial.com

Voters go to the polls today for a special election on a five-eighths cent sales tax to fund what supporters hope will be an economic revival of Pine Bluff, while opponents organize to defeat the proposal and make changes.

The Go Forward Pine Bluff task force estimates the tax will cost each household a little more than $15 per month, while raising roughly $4 million per year for seven years. The group hopes to raise roughly $20 million from business groups and grants. Private donors have already contributed $6 million to Go Forward, with the latest, the Trinity Foundation, announcing a $2 million contribution last week.

Simmons First Foundation Chairman Tommy May introduced the plan in January, following a year of meetings by a task force of 100 members.

A total of 2,213 voters cast ballots on the tax measure from the start of early voting on Tuesday, June 6 to the end of the day Monday, June 12, Jefferson County Clerk Shawndra Taggart said. 526 voters cast ballots on Monday alone, Taggart said.

Outside the courthouse Monday, Pine Bluff voter Shondra Eldridge told the Commercial she voted against the tax because she felt the plan was not specific enough, it focused too much on downtown and it would hurt poor and middle-class people. She questioned why owners of buildings downtown could not pay to improve their own properties.

Theres another way to do it without taxing us, Eldridge said. A vision is supposed to [show] exactly what youre targeting. They cant tell us what theyre targeting. Thats not a good vision.

Eldridge said she didnt necessarily feel that Go Forward was a bad plan, but that it needs to be revised.

Another voter, J.D. Smith, said he had lived in Pine Bluff for 68 years and knew when this town was booming. Smith said he voted in favor of the tax because he trusted the Go Forward leaders to use the tax money to improve the city.

It used to be a very popular town, Smith said. And it can be that way again. But we cant just sit around and do nothing.

Michael McCray, a spokesman for a group of opponents to the measure organized around the theme A Better Way Forward, said he feels good about the response hes seeing from community members to their campaign message to table the tax to negotiate changes.

Were getting our message out every day, and people are responding to it, McCray said. It feels like a lot of people were waiting to make up their mind, on both sides of the argument, and were gaining in support every day.

McCray and others have criticized the Go Forward Pine Bluff task force for creating the plan in private meetings and for requiring participants to sign non-disclosure agreements. The plan also lacks detailed budgets and timelines for projects, which McCray believes could lead to administrative bloat and outsized consultants fees. With the Go Forward Pine Bluff non-profit corporation placed in the role of executing the plan, opponents also argue there is not enough accountability to taxpayers.

People are responding to our videos, our messages, were starting to hear essentially our arguments, our talking points, repeated back to us, McCray said.

Supporters of the plan argue there is enough accountability, pointing out that according to the plan, the GFPB non-profit would request funding for a particular project, and the Pine Bluff City Council could either approve, deny or modify the request.

McCray also criticized the scheduling of the election in June rather than on a November general election ballot, when turnout would typically be higher. He believes the Pine Bluff Commercial, which has supported the plan in its editorial pages, has not given enough coverage to opponents of the plan.

There are a number of voices that are respected in the community that havent been represented in the editorial pages of the Commercial, but the message is definitely getting out in the community, McCray said.

A Better Way Forward had good turnout at a forum to discuss the Go Forward plan on Thursday last week, McCray said. The forum was hosted by the Pine Bluff branch of the National Association for the Advancement of Colored People (NAACP) at Kings Highway Missionary Baptist Church. McCray said Go Forward was invited to the forum but declined to send anyone. Go Forward Pine Bluff Chief Executive Officer Ryan Watley said Go Forward was not invited. A Better Way Forward asked to speak to the NAACP because Go Forward had spoken to the NAACP, Watley said.

Watley said he has been surprised by a higher-than-expected turnout during early voting, which began last Tuesday, June 6.

I think were around 2,000 [votes cast], looking for around 2,500 by the time early voting ends, which would be good, Watley said. Speaking with people on the streets, Watley said the support has been overwhelmingly positive and diverse in age, race and gender.

Starting on Tuesday last week, Watley has been running most mornings from the Jefferson Square mall to the Jefferson County Courthouse and uploading video of the runs to social media. On Monday, June 12, he said he was joined by former Pine Bluff High School track and field athletes Sam Glover and Ellis Jones.

That running, people have really been responsive to the line, Take your souls to the polls, Watley said.

Watley said Go Forward supporters will be working to get voters out and waiting for results at the groups headquarters at 204 South Main Street, about a block from the courthouse.

Read this article:

Decision day for Go Forward Pine Bluff - Pine Bluff Commercial

Where were you in 2007? Maybe you were rendered grief-stricken by the end of The OC. Maybe you lived in a velour tracksuit and Uggs, because Paris Hilton taught you. You may well have been skipping through the good primary school years. Or maybe, like a load of people (and me), you split your time between lying on the sofa at your mate's house, watching System of a Down videos and going on MySpace on your family's desktop, posting passive aggressive bulletins to get your crush's attention when signing out and back into MSN didn't work.

If your life revolved around the latter, you may have identified somewhat as "Emo Under the Cork Tree, while 2006 belonged to My Chemical Romance's Welcome to the Black Parade. And then, in 2007, came Riot! by Paramore.

From its scrawled cover art which could well have passed as a page of a high school art sketchbook, to the power chord-heavy breakdowns over which powerhouse frontwoman Hayley Williams wailed fatalistic lyrics, Riot! captured that mainstream emo zeitgeist perfectly. For many of us, listening to it now is like an exercise in going back in timeit was so intrinsic to UK emo culture at the time that it's hard to separate the songs from the experiences you had to them (probably while wearing a studded belt). To celebrate Riot! turning 10, we asked some of our friends to tell us about their memories of the tracks on the record. There is nail polish, there are tears, there is rain and, of course, there is a lot of being underage and cheap cider-drunk in public parks. Thank you, Paramore.

Is there a more fire emoji album opener than this in the whole of emo? To this day, when it all kicks in I feel like I could mosh through a brick wall, and those fills throughout are air-drum gold. Even the title is perfect MSN screen name foddera sort of deep, meaningful statement on emotions and, like, stuff, which in reality means sweet fuck-all. Glorious. TOM CONNICK

Remember when a Saturday afternoon used to involve little more than loitering outside a prominent high street shop, playing with your fringe and sneering at adults? That's the entirety of the "That What You Get" video. It's literally just a bunch of people stood around awkwardly for an entire day, poking their Nokias and sending 'XD' faces to each other, and yet I still want to be in their gang. TOM CONNICK

When I lived in halls (or what all of you outside the UK know as on-campus housing/where all your teen posters hopefully go to die), all the sad boy stoners boys had just discovered Jeff Buckley, despite him being dead a decade. There were so many "just listen to this bit" 4AM moments in hazy rooms I lost count. No, put that guitar down and just listen to Hayley Williams belt everything into how hard she's going to try to make her teen love last forever, go away. I still remain that this is the superior Hallelujah, FIGHT ME. KIRBY PARTINGTON

In 2007 I worked at the local ~alt club~. Fridays were both indie night and hell for all of us moshers who worked there. When this song blew up, it managed to penetrate even the indie nights and singing along to that iconic middle 8 was a welcome reprieve from The Pigeon Detectives or whatever crepey, dry-as-woodchips-in-your-mouth act was big, while pouring WKD into plastic cups. On reflection, wow, how gross is this song lyrically? In fairness though, 17-year-old Hayley's internalised misogyny is on a level with 30-year-old Drake's now so I guess I'll allow her. KIRBY PARTINGTON

As a teen I had a propensity to take things fairly literally, and as a specifically emo-leaning teen I had a moral responsibility towards feeling #misunderstood. So of course I have a very distinct memory of walking around my local area, alone, in the rain, listening to "When It Rains," my dodgy side-fringe stuck to my face by the wet. I usually reserved Bright Eyes, the sad girl's premium choice, as my music for feeling sorry for myself when it was pissing it down, but this more downbeat Riot! cut also did the job nicely. I learned about being a drama queen early thank you Paramore. LAUREN O'NEILL

Some people would suggest that "Let the Flames Begin" is filler, coming as it does during Riot!'s admittedly slightly saggy middle. Thirteen-year-old me, however, would have had to respectfully and loudly disagree. "Let the Flames Begin" has some of the most emo lyrics on the whole of this gloriously extra record, and that's what real #heads care about. It begins, "What a shame we all became such fragile broken things / a memory remains, just a tiny spark," and I'm fairly sure I had a school exercise book with those very words scrawled across the front, bookended by 'LAUREN O'NEILL.'

This, lads, is what you call a flawlessly constructed emo/pop punk crossover belter. This is having your heart broken in the middle of the summer, thrashing around with a hairbrush in your bedroom and then writing a really good poem about it with a pen and paper and then taking a picture of it next to some sentimental items and then uploading it to emopoetsociety.livejournal.com. It's exactly the sort of tune that would cause me to smash a half-full can on the floor and flip a table over before the vocals even kick in.

At the time, Paramore were usually compared to lighter mall punk bands like All Time Low, You Me At Six or, such was the state of rock criticism, Avril Lavigne, but when you break the arrangements down, Riot!and "Miracle" in particularbelongs more toward the darker, fuller side of the spectrum alongside Taking Back Sunday's Where You Want To Be or Bayside circa Bayside. There. I said it. Fight me, purists. Tenuous connections aside though, the greatest thing about Paramore is the fact that they simply don't sound like anybody else (at least they didn't before they released an album that is extremely *listens to Carly Rae Jepsen's EMOTION once*). Have the emotions of longing, frustration, hope and determination ever culminated in a more satisfying song (that you can fully pit to) than "Miracle"? The answer is, passionately, no. EMMA GARLAND

"Crushcrushcrush" may be about the dark side to having a crush but emo lyrics are essentially formulated to be applicable to anything utterly miserable tbh. I remember the power in angrily singing the mantra crushcrushcrush; to destroy boys I fancied, parents who only had bile in their throats for each other, the sexual power I suddenly had over older men who I was both enamored with and disgusted by, enemies real and imagined, my body running on next to no sustenance, and my mind, already regulated by antidepressants. Listening to that song, I could crush it all. Especially for someone who spent all their time alone as a teenager, the lines "we're all alone now, give me something to sing about" and "nothing compares to a quiet evening alone" soared. This was one last defiant monologue on the album, before the catharsis of admitting that we're all broken. "Crushcrushcrush" doesn't mean all that now but it's still the best Paramore to do pissed karaoke to. HANNAH EWENS

I was lostlike, alone in a crowd, quirky-teen lostwhen I heard this. I was searching for myself. Or God? Either way it was clich. This song snagged on customary teen snark. Lyrics that usually rolled over me locked into me when it played. I cried when I first heard it, like I was in an angsty CW show. It's a hymn. It's praise, it's faith. It's anger and it's a reminder, comfort and catharsis. I wasn't alone, clearly. BOLU BABALOLA

This brings it all back tbh: flailing braids, remote as a mic, a mirrorbeing a teen who didn't relate to what she was meant to. Essentially, a precocious art hoe. WIth my attitude flagrant, this song was assurance. I didn't need people to get me. I got me. You don't need to let them in if you don't want them in, or to be seen as someone you're not to fit in if you see yourself. Art hoe vindication. I was insufferable and empowered. BOLU BABALOLA

One of the best things about Paramore and this album both being so objectively great is that Hayley Williams is a woman. Emo as it existed back in 2007 was dominated by men, and as a young girl who loved it, it meant a lot to me to hear Hayley smashing seven shades of shit out of a song better than any guy I could (and can) think of. "Born For This" is an excellent example of how important she was, not least because even when I hear it now, I think the exact same thought as I did when I first got hold of it ten years ago. When the chorus hits, I have this fantasy where I am Hayley, on stage head-banging my orange hair, one foot on an amp, mic cord round my neck, singing to a crowd. On Riot!, which saw Paramore arguably at the height of their powers, Hayley made emo girls realise that they could be rock stars toothat they could be "Born For This" tooand that alone is an enviable legacy. LAUREN O'NEILL

You can tell Lauren, Emma, Bolu, Kirby, Hannah, and Tom about your 2007 memories on Twitter.

See original here:

Track-by-Track of Paramore's 'Riot!' Read Through Emo Teen Memories - Noisey

Beth Daniel at Sookio writes:

Its no newbie in the social media sphere, but amidst the flurry of new features on Facebook and Instagram and the dominance of Twitter and LinkedIn when it comes to business, Pinterest often gets overlooked or forgotten altogether.

First hitting our PC screens back in 2010, Pinterest was warmly welcomed by fashionistas, bakers and interior design enthusiasts alike. But since then, the platform has come a long way, with a mobile app and a reported150 million users on the platform in 2017.

While it may not be the first platform to spring to mind when thinking about your companys social media presence, just this weekPinterest raised $150m at a $12.3bn valuation,showing that the image-based social site is as popular as ever.

With a whole network of ideas, creative inspiration and, most importantly, potential customers on offer, Pinterest can support many segments of your business, from the initial product inspiration and creativity to marketing and sales.

So what else does Pinterest have to offer your business?

Because of how Pinterest operates as a social media platform, your content can reach a really broad spectrum of users. It works by enabling users to pin images that they like into various boards set up by themselves.

Other people can then see these pinned images, either on their own timeline, in Pinterest search bar results, or directly on the profiles of whoever they follow. Should you wish to, you can then follow other peoples boards and re-pin things to your own profile, meaning your followers will also be able to see them.

Creating boards based on your companys interests, products or services can also help to generate awareness. Placing your images in front of the people who are actively searching related content will ensure that your brands blog or website is easily accessible to your followers and other Pinterest users. Longer term, this could help keep your product or service at the forefront of potential customers minds.

Take a look at howHunteruses Pinterest to raise awareness and generate interest in its range of boots. The firm creates boards which place the boots in all kinds of scenarios, appealing to a broad spectrum of potential customers and the things they might be searching for, such as festival attire.

When uploading your own content, you can link each pin to the relevant section on your blog or website.

So, for example, if youve pinned a new product which your business is offering, or an image from your latest blog post, you can easily link to it. This means if anyone clicks on the image, they will be taken directly to the product on your website or the content on your blog.

As each pin can include a link, this also means that whenever someone else shares or pins your content on Pinterest, the link to the original source remains on the post. And lets face it, us marketers love a backlink, dont we?

To measure your success, Pinterest also have a handy built-in Analytics function. This allows you to track all activity on your page, such as daily impressions and viewers, average monthly viewers and how much your posts are being engaged with on a monthly basis. With such a broad outreach, the results are often surprising too!

Analytics also usefully breaks down user activity further, showing you how many impressions and viewers your website or blog has received from your Pinterest profile.

Like other social media platforms, Pinterest also has an Ads function, meaning you can promote your pins to reach more people.

Pinterest ads work by promoting your pins across the platforms feeds, charging you per 1,000 impressions on your pins. Various Ads campaigns are available, such as campaigns to boost Awareness, Engagement or Traffic, meaning you can tailor advertising to meet the needs of your business. It lets you track the results too!

Head over to our blog to read this post in full.

___________________________

Read the rest here:

Just keep pinning: why your business should be on Pinterest - Cambridge Network

Today is Monday. The digest is short, but the reads in the clicks might be long and winding rabbit holes. Youve been warned. Grab your coffee.

1. While you were weekending, Nigeria got a Twitter handle. Anofficial Twitter handle that tweets stuff.Like Sweden, Israel, Canada and a bunch of other countries that use already the social network to promote their culture and positive developments. Check it out.

+ Apparently its called Twiplomacy. Hian

+ First it was a newsletter. Then a podcast. Then they started uploading stuff to Dropbox, blogging, announcing site outages, and even tweeting senate proceedings (far better than watching the stuff on NTA). These are not things Nigerian government bureaucrats usually do.Im pretty sure uncle Tolu(hes the head of Nigerias digital comms) had a lot to do with that.Im here for it, I must say.

2. This is what a typical electronic payment in Nigeria looks like, as told by Paystacks transaction logs. And it doesnt even begin to capture the pain. And dont even ask how bad it was in the pre-Paystack and Flutterwave era, thats not how you want your week to begin.

If you agree with overwhelming your love interestinto saying yes with the power of the internet, you wont mind this ad from Plaqad.com.Link

3.Ire,the god is sponsoring five Nigerian women to complete any Udacity nanodegree they set their sights on. Dont dull.Link

4. The Co-Creation Hubs annual Social Change Summit agenda and speaker lineup is looking very good. Date is the 22nd of June, in Lagos. Link

5. If you are an African startup, and you happen to be sitting on consumer data, the future looks good. The article is lacking the standard dont be evil line that is required where sharing data with third parties is concerned, but otherwise link

6. Ade Olabode is a London-based Nigerian startup entrepreneur that likes to interview other Nigerian startup entrepreneurs. His latest interview is of Lola Ekugo. Enjoy. Link

7. South Africas Telkoms is restructuring. CEO, Sipho Maseko describes the intended outcome as Remgro-style. If you know what a Remgro is, you probably care. Link

Devcenter is a verified community of African software developers. Our developers are tested with the same methods as Google and Facebook. Build your next technology product with us.Link

World Banks XL Africa application.Link

View post:

Nigeria just got a verified Twitter handle - TechCabal

Weve all been there. Whether telling grandma how to open her email, or being on call for a company across the country to correct a ransomware issue, weve all had to try and describe our own actions to people who are often confused on how to follow. Itd be easier if they could just appear next to you, watch how you do it and then replicate, wouldnt it? Thats where Screen Recorders and Screen Capture software come in. While allowing other users to view your work without adding the security risks of remote access software, these programs make tech support or tutorials way easier. Here, we take a look at the top 10 screen capture software packages for 2017. For the purposes of this list, all listed are free for download at time of writing. The programs are in no particular order, as many people have many different needs and expectations for screen recorders, and thus there is no one true catch all solution for those that prefer options, size, or uploading demands.

Starting off our list is a web based screen recorder which works with both windows and mac machines due to it not needing to be installed to use. Allowing the use of either specific bits or an entire screen, you can not only record the video footage but also microphone audio to give better instructions. There is also a good deal of real time editing features which allows it to be a great choice for those needing to quickly and succinctly send over information. Lastly, Acethinker allows you to download the subsequent video into multiple formats for sending or re-uploading as you see fit.

With a name that more resembles an Android OS, ISR is an excellent program for new and old computers alike due to its wide support base. While the screen selection is nothing to write home about (not that its bad), there is a fine feature that allows you to draw on the panel to give greater focus to instructions while recording. It also features a Screenshot to URL function, which isnt terribly common these days. In editing there is also a history feature in case a mistake or creative decisions needs a revamping, which makes it handier for a longer form project or recording.

Easy to use, small download size, and direct sharing through Twitter allows Jing to make this list. Outside of this, its about as basic as they come in terms of recordings, with limited editing options. Likewise, this would not work particularly well if you need a great deal of definition, but standard computer screens are recorded well enough. Hotkey support is a good tool for this program, and is easy to use for beginners who basically just need a job done. The user interface itself is remarkably basic, which makes for another reason its a handy tool for those who dont care for the art of recording.

More and more common is the act of recording a lecture, tutorial or recording and immediately uploading it to YouTube. If this is your kind of strategy, EZVID may be your software of choice. As an added bonus, theres no need to edit recordings outside of EZVID as the program comes with its own. Some features in the editing programming include speed control and speech synthesis (though this is typically frowned upon in tutorials if you are looking for views). Simple, easy to use, and free. Whats not to love?

Rylstim is one of the easiest tools to use around. Simply download, select your frame rate, storage location and hit record. It doesnt get much easier than that. As a bonus, theres a mobile app in case you need to record something from your phone, which nowadays is a real possibility. As soon as you are finished recording, the video will appear which you can either save and send, or edit using an outside editor.

Though using an antiquated method of recording (saving your video in a Flash format that Chrome users would now have to manually enable), Webinaria is still a good selection. Free and Open Source, Webinaria is primarily a windows based program, and can allow for the recording of your voice while also recording video from the screen. Editing is not a particularly strong suit with the program, but the basics are certainly there. That being said, it being open source software, there can be incremental community improvements from the community itself which can allow for more features over time.

One of the most popular screen recording programs in the world, CamStudio comes just short of making the top 3 for this years recorder programs. There arent a great deal of features, but its a pretty standard tool and many other programs have no problem using the footage. Streaming is easy with CamStudio, and the cursor hiding tool is handy if youre looking for a slightly more professional look. You can also use pre-recorded audio if thats more your style, which is great if you need to make sure the tutorials are precise, and microphone support allows for impromptu recording as well. If selecting this program, do be careful. There have been many reports of CamStudio being a mule for viruses if you dont download it from an official link, so a pairing with an antivirus may be in your best interest.

Made with education in mind, ActivePresenter by Atomi is great for either in office or prerecorded sessions where recording accurately is a must. One of the more feature dense free products out there, ActivePresenter allows for voiceover, a full graphics option and proper annotations. This makes it SCORM-compliant (the Sharable Content Object Reference Model). Pair this with a projector screen for in person presentation and youve got yourself two thirds of a corporate, polished presentation. Now the only piece missing is you. While paid versions are available, the free version seems to be a good starter program and more than worth the download time.

With a default uploader to Youtube and the ability to handle screen recordings up to 20 minutes, this is definitely one for those looking for low impact programs with the aim to do shorter tutorials. There is a voice over option that allows for recording over the footage, which can be handy in detailing the finer points of a tutorial, and the video itself can be saved as either FLV or AVI. There is an option for 250MB of server storage of videos, though many will find this redundant if not outright useless. The User Interface is extremely easy and can allow for the absolute minimum of set up time.

Coming in to close out our review of screen recording programs is BB FlashBack Express. Not to be confused with BlackBerry, BlueBerry FlashBack allows for a pretty decent amount of options for free screen recordings. With the standard screen selection, FlashBack Express also features a multiple input audio choice format, meaning you can narrate while recording or just have music in the background, or both. The files themselves can be AVI, FLV or SWF in format natively, and the playback controls are easy to use. There is also a feature that allows users to highlight their actions in multiple ways, making it easier for viewers to notice mouse movements. If you are worried about upload speed or size, there are also adjustments that can be made to manage the frame rate for most recordings, just bear in mind that the lower the framerate, the more clunky the movement. Lastly, FlashBack Express allows for full uploads to Youtube, Blip, Revver and Viddler, as well as direct embedding of videos onto your own pages.

This has been our selections for the top screen recorders or screen capture software of 2017. Do you have a favorite program that hasnt quite made our list? If so, please feel free to comment them down below.

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Best Screen Recorders Top 10 Screen Capture Software - Gazette Review

What a disaster for Mrs. May. From a majority to a hung parliament. The pound reacted dreadfully on the exit poll, leading to a loss of approximately 200 ticks finding an initial base at 1.2700.

This analysis is for slightly longer term positioning and as of next week I will resume uploading intraweek trades that I shall be taking, well in advance of entry.

So, we are currently quite muted going into the weekend. I do not expect anything hugely drastic since May has said that she is not going to resign and is likely to form a minority government with the DUP.

You can see from the chart above that the support created from spiral has been breached. Instantly when I saw the drop after the exit poll last night it was a classic 'break of the ice' - a low volume fall through support or resistance in a topping or bottoming pattern. Price faces some resistance early morning (red line) and I was building a short position in my head from then.

Don't get me wrong - longer term, I am bullish cable. I think that in 12-18 months we will regain 1.40 (I have the same opinion on EURUSD if you note my previous article) but I believe that these markets really do enjoy shaking out positions. This is why I have notes the downside zones and the key price level for me is 1.2350/40. This is where I am looking to target. Why? Well my old friend COT positioning on sterling comes to mind.

We can see from the COT data that sterling non commercial positioning long has increased drastically over the last month or so. This uncertainty from political weakness gives a certain viability to traders wanting to hold sterling longs, and it's likely that CHFGBP and JPYGBP will see flows into them short term. This would indicate a fall in price and a cascade of stops pretty quickly. Interestingly, looking at CME options, 1.23 has the highest volume currently. I'm going to be honest and say that I am not an options guy so I don't know the ins and outs, but it seems pertinent so it's something that I'd mention (and if someone wants to give me any lessons on options trading I would be most open to it!).

The upside risk is of course still there. If we have a break above 1.3025 then I'll scratch the trade (where my stop will be) because that we will likely form key support at the high of the late April - current range (similar to how we are forming resistance at the low of the range currently).

So the trade -

Short at market sub 1.2850 (next week)

Stop at 1.3025

Target of 1.24/2350 (the latter if you feel it will extend fully through demand)

Disclosure: I/we have no positions in any stocks mentioned, but may initiate a short position in GBPUSD over the next 72 hours.

I wrote this article myself, and it expresses my own opinions. I am not receiving compensation for it (other than from Seeking Alpha). I have no business relationship with any company whose stock is mentioned in this article.

See the article here:

Cable: Where Are We Headed After This Political Meltdown? - Seeking Alpha

Mariana Mendes has a striking facial birthmark , and she absolutely loves it.

When Mendes was born with a large birthmark stretching over her nose, right cheek, and forehead, her mother worried she would get bullied as she grew older. And when Mendes was 5 years old, her mother looked into laser procedures to remove the birthmark . After attending just three laser sessions, Mendes decided to stop the procedures. Now, Mendes, 24, tells SELF she can't imagine herself without her birthmark. "[I] wouldn't be the same."

Mendes says she's never felt insecure about her facial birthmark. Sure, she's gotten stares and weird looks from passersby. She's faced Instagram trolls who've told her that her birthmark is ugly or strange. She's even had to explain to people that her birthmark is, in fact, realit isn't tattooed on or applied with makeup. But Mendes really doesn't mind. "You have to be the person you love most in life, [so] I've always accepted myself as I am," she says. "Your opinion of you is what should be important."

Mendes explains that she's become kind of immune to criticism over the years. She's spent so much time dealing with what other people think about her appearance, that at a certain point, she just stopped caring. She loves her birthmark, and if someone has something to say about it, that's their problemnot hers. And she hopes to help others feel as confident when it comes to their own so-called "imperfections." That's why she's always uploading new pictures of herself to Instagramshe wants to help her followers see that their unique characteristics are what make them truly beautiful. "Everyone should feel happy," she says.

Mendes (follow her at @melzitahh ) uploads a new photo every day for her 10,700 Instagram followers. In each one, she's modeling her birthmark or otherwise enjoying life. "I want to encourage people not to criticize anyone," she says. "No physical characteristic should be criticized, because we're all different...The moment everyone is feeling good, we'll have a society with more happiness and love."

See some of Mariana Mendes' Instagrams below.

Related:

You might also like: This Body-Positivity Clothing Line Will Change How You Think About Wedding Dresses

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I Don't Care What You Think, I Love My Facial Birthmark - SELF

Models available for customising include theCurry 1, Highlight, and ClutchFit Force 3.0

Athletic wear maker Under Armour has launched a new platform allowing consumers to customise its athletic shoes by uploading their own images and selecting prints and colours.

The beta launch of UA Icon, which will see the first footwear shipped mid-July, has been in the works for some time. Customers can upload pictures or other images on Under Armour's website, shrink or expand them, and select the position where they will appear on the footwear.

Models available for customising include theCurry 1, Highlight, and ClutchFit Force 3.0.

"We're giving you the power to really let your imagination run wildbut how is your UA Icon going to fit into the rest ofthe stuff you're wearing? Whether you rep your team or black it out, keep your closet in mind," Under Armour's website reads.

Under Armour's new customisation platform prices the Curry One at US$160, Highlight at $160 and the ClutchFit Force 3.0 at $250.

However, the company notes: "Ourcapacity is a bit limited right now and we can only make a limited number of shoes a day. Be sure to save yourdesigns by sharing themwith yourself. All orders placed at this time will start shipping mid-July."

Continued here:

Under Armour launches its first customisable shoes - just-style.com (subscription)

"Published by The Life Science Institute"

Artificial Intelligence Expert Dennis Lee Foster Reveals the Future of Civilization Entwined with Supercomputers, From Technological Chaos to Uploading a Mind to a Machine

In a revealing new book, Artificial Intelligence expert and best-selling author Dennis Lee Foster chronicles how civilization has entered a period of profound social and technological transition in which developments in Artificial Intelligence (AI) are completely transforming life and death. In Your Obsolete Brain: Life and Death in the Age of Superintelligent Machines, the author vividly depicts the future of human society as it inevitably becomes entwined withand possibly molded bysuperintelligent computers.

Advanced technologies that might solve the planet's most dire problems have also spawned autonomous killing machines and nanorobots capable of spreading lethal viruses indiscriminately. As superintelligent machines ascend, will they inherit human drives to compete, exploit, and dominate? Will people someday achieve immortality by uploading their minds into computers? Who will be the real masters of future civilizations: humans or machines?

In Your Obsolete Brain, Foster provides the most likely answers, drawn from recent breakthroughs and groundbreaking research, to these and other questions about the most important human quest of modern timespossibly, of all time. While dispelling many of the myths and misconceptions about AI, the book also reveals how civilization will be impacted by autonomous weapons, planned obsolescence, stock market manipulation, the Internet of Things, and current research aimed at uploading a human mind to a computer.

According to Foster, "One event is certain: ultimately, the quality of life and possibly the entire fate of everyone who lives on Earth will be forever impacted by artificial intelligence from birth to death-and possibly beyond. Of all the traits that contributed to the rise and eventual dominance of humans over the planet, ingenuity was perhaps the most profound. Yet, it is our very rise and dominance that produced the coming clash between civilization and technological chaos. In the end, ingenuity may prove to be either our demise or our salvation."

In Your Obsolete Brain, readers will learn how AI can:

Save lives but also kill; empower but also obsolete Solve planetary crises, or hasten the collapse of civilization Bolster or devastate the global economy Enhance or enslave the human brain

Your Obsolete Brain is published by The Life Science Institute, a global think tank devoted to research, education, and information dissemination on scientific, economic, and social issues affecting the perseverance of civilization.

Dennis Lee Foster is a computer scientist, author, educator, and consultant, known as a pioneer in the development of artificial intelligence in educational technology, medical diagnosis, and robotics. Involved in AI research, development, and deployment since 1974, he is the author of more than 60 published books about computers and programming, behavior science, finance, health care, sociology, and communications.

Related:

Artificial Intelligence Expert: It's Too Late to Prevent Thinking Machine Chaos (http://www.usfinancialnewstoday.com/story/58022/artificial-intelligence-expert-its-too-late-to-prevent-thinking-machine-chaos.html)

The AI Insider (http://www.dennisfoster.com/blog)

Author Bibliography (http://www.dennisfoster.com/bibliog.htm)

Book Excerpt (http://dennisfoster.com/nonfiction.htm)

Media Contact Company Name: Life Science Institute Contact Person: Dennis L. Foster Email: lifescience@mail.com Phone: 8088544938 Country: United States Website: http://lifescienceinstitute.com

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Your Obsolete Brain: Life and Death in the Age of Superintelligent Machines - Digital Journal

Originally from Greece and based in London, Eva Papamargariti reflects and analyzes the rapidly transforming relationships between material and immaterial matter in our new digital world. Papamargaritis work contains complex visual (and often audio) collages in which impossible organic forms constantly evolve, mutate, and entwine.

No matter how utterly alien her work can seem, it retains consistent feelings of a deep human familiaritywhich only adds to its uncanny sensibilities. Lurking behind the works gratifying bright colors and psychedelic surrealism lies an unsettling emotional depth that never really allows the viewer to get a firm handle on what exactly it is they are experiencing. Papamargariti reveals, illustrates, and renders a third plane that now exists somewhere between all of our physical and digital realities.

Papamargaritis solo show Precarious Inhabitants, a series of works addressing issues of symbiosis and transformation between human, AI machines, animals and other organic and synthetic bodies, is currently showing at Transfer Gallery through July 8.

Christian Petersen: How has your relationship with computers changed since you started using them?

Eva Papamargariti: I started using computers at the age of 12 and my main activity was to play games on5-inch floppy disks with my brotherso my relationship with them changed a lot since that era. Back thenI could never imagine that they would become the first object I would touch every morning when I wake up and also I could never even remotely think that I would use them as the main tool to create art.

CP: What were your early online experiences like?

EP: It was an exciting era specially because you would feel the mystery and charm of something that was still unknown to a majority of the users. Now most of our online activities seem predictable, or to say it better, I believe the element of surprise is missing a lot.

CP: You studied architecture at one point. What influence has that discipline had on your art?

EP: I graduatedfrom architecture five years ago. The transition was quite natural cause I was already studying at a school that had a quite wide curriculum mixing new media, art, and architecture. We actually had many tutors that were artists themselves. When I was doing my diploma thesis I started uploading some very simple gif animations on Tumblr just because I was really fed up with architecture, to be honest. During this period and after my graduation, gradually I started uploading more and more stuff while I was taking a break from anything that was architecture-related. That helped me understand that maybe my ideas could be better communicated through art.

I wasnt the kid that always wanted to be an architectI was just searching for something, and I considered architecture to be diverse and more open thematically in terms of what the courses provided compared to other studies, so I went for it. The influence that it had on my practice and art is really important and I think I am lucky to have experienced architecture at this specific school where we were encouraged to get out of the normative and stereotypical way of thinking. A recurring theme in my work is an attempt to dissolve, distort, and understand space through embodied experience through the use of digital mediums. Architecture is still present in what I do.

CP: What was the first artwork you made using a computer that you recognized as digital art

EP: I guess it was my first series of animated gifs that I did while playing basically on 3ds Max. They would always be some fragments of space, objects, and bodies moving in frenetic ways. I think it was around 2012 that Lorna Mills somehow saw my work on Google+ and contacted me to create gifs for the Sheroes series in Canada created by Rea McNamara and co-curated with Lorna. I was super excited with this when it happened!

CP: Its interesting looking at your Tumblr archive and seeing your progression from experimental video and photography, to gifs to glitch art,to 3D digital art. How would you describe that journey?

EP: My work now feels so much different than what I was doing five or six years ago. The answer is simple: I was trying things in order to find what was, at that particular moment, the best way to express my state of mind. As I was creating more I felt the need to change the tools and means that I was using, because each of these has their own materiality and rules. Its totally different to talk about a subject through video versus gifs, for example. But I also like to get involved in things and situations that are new to me.

Lately I try to create more sculptural work and I also film in real locations. I feel that right now I can filter, support, and build my work more effectively through a combination of mediums and dynamics instead of using only 3D design. Video, photography, drawing, 3D design, gifs, etc. are tools that I use according to the outcome and intentionI want to achieve each time. I dont feel that I should be bound to one medium in order to create art. I changed a lot through these years personally and creatively, so my art and how I make it would inevitably change along with me.

CP: Your bio says that you explore the relationship between digital space and (im)material reality. What is that relationshipand how is it changing as the digital space expands?

EP: This relationship is mainly defined by the way our body and mind stands and perceives these in-between conditions whose boundaries are continuously amplified but also blurred as the simultaneity of the two states becomes more and more pronounced through the use of digital devices. Our eyes and hands are getting used to existing in a dual situation as digital space expands to objects, surfaces, and interfaces. These days its not only our body parts that start to experience the difference but also our mind has altered in terms of how we read, absorb, and redistribute information through and to our surroundings. This relationship that I am trying to explore through my work is always n-dimensional and palimpsestic. What interests me more is this process of re-writing on this in-between area of material and immaterial, and the traces that both physical and digital actions leave as we move forward.

CP: Theres always a lot of elements to your work, a hyperactive spirit. Is that a reflection of your personality?

EP: Yes and no. It certainly reflects my personality but my body sometimes reacts and gets slow. When I was in architecture school I had an amazing tutor that was telling me that my personality is somehow multifocal. Back then I couldnt understand what he might have seen to say something like that; it just didnt make sense. As years went by I totally realized how right he was. I am somehow dispersed between states, references, ideas, balancing between thought and action; I always do multiple things simultaneously and I get easily bored by situations. When this restlessness becomes a feature of my work it is detached from the personal level andmainly reflectsa state of non-stop, complex procedures that we are facing in the physical and digital realm.

CP: People that work in 3D reference rendering a lot. How would you describe your relationship with rendering?

EP: Intense! I refer to rendering all the time and my friends that are not involved in digital art and 3D design still wonder how it can be so complicated. Its a process that involves time and that factor is enough to understand how problematic but also charming it can be. As technology advances rendering times and processes are becoming shorter. With game engines and specific renderers, you can render in real time.

There is a magic element to it that attracts me though, since we build something and then, in order to actually see this creation, we need to pass through these layers and make the invisible visible somehow. I have cursed many times because of rendering, but I kind of enjoy it also.

CP: Your work has become more organic over the years. What interests you about trying to create biological forms digitally?

EP: I am very much interested in the way technology looks at nature and biological forms and the tense areas that are being created while this gazing takes place. My work the last two years deals a lot with themes that connect human action, natural surfaces, tech biomimicry, and animal behavior. I am really intrigued by the condition of observing and mapping natural ecosystems in order to collect data, information, and knowledge that then come back to us in different forms and procedures.

There are many interesting paradoxical and contradictory situations embedded in these processes from a scientific point of view, but also through a more vernacular lens. For example, I find night camera trail footage fascinating, especially when it isused to pattern movements of animals. I find the particular momentswhere the animalsaccidentally look at the camera extremely intense, almost revealing a relationship built on the action of watching and being watched.

CP: Your work often uses very bright colors, but I feel a sense of discomfort or even darkness behind that.

EP: I agree. As I mentioned before, I am quite challenged by the idea of containing multiple meanings in my work and observing the same in the work of others. Using a bright color palette doesnt mean that the work itself emits happiness or uncontrolled energy. I am very much tempted by intense contradictions in art, and people even. I prefer it when ideas can make themselves visible through a slight process of digging and color certainly dictates a mood, but I will never consider it to have a protagonistic role in what I do. It is always a factor that works in combination with other things. To say it better, color in my work is usuallyused as a concealment factor rather than a revealing factor.

Facticious Imprints (Extract)

CP: Do you think your work is political?

EP: Yes, although most of the time this happens in a more subtle than loud way. I believe work that is being created these days inevitably is political one way or another. There are so many urgent issues around us happening on multiple levels that is impossible not to get affected. Choosing not to get affected is also a political decision, I guess, although dangerous. But still, it is a decision that reflects a certain conscious stance.

I definitely believe that political involvement is quite crucial nowadays. Important parts of my work deal with how we position ourselves toward others and through the constantly altering surfaces and spaces that surround us socially, technologically, and environmentally. So the political aspect is there intentionally for sure. I would never deal with themes that dont trigger a sense of immediacy inside me, but I would also never create work just for the sake of being political. This would be totally dishonest towards myself and whomever would engage with the work.

CP: New media has become a vital home for the expression of feminist and gender ideas. What about the medium makes it a particularly interesting way to explore those issues?

EP: I think new media can be very dynamic and vibrant and its true what you said: we have seen some great new media works related to feminism and gender. In those cases, I believe the medium totally matches the intention, which is a very important factor while exploring issues that need to be communicated in a quite clear and bold way.

Also, new media is characterized by a certain peculiar kind of flexibility and fluidity. It can take different forms and contain multilayered ideas. Plus it is more easily disseminated and adaptedit seems more open, inclusive, and receptive as a condition, while at the same time it can create more effectively a sense of collective perception and action. At the same time, its less male-dominated in comparison with sculpture or painting, though I have seen some really intriguing sculpture, performative, and even spoken word work lately that deal with the same issues. In the end its a matter of how you attempt to express your ideas and the actual content of them, not only the medium through which you are expressing them.

CP: How would you define the current difference between working as a digital artist and a traditional artist?

EP: I would say the most striking difference is the pace at which the tools of digital artists are shifting. It feels almost like the tools sometimes choose and act before us. I dont like very much to distinguish artists and art in general but I would say that the challenges to this medium have to do with the relation between the initial concept and the final execution. When you dont deal with many tangible forms then there is a slight danger of getting lost in a stream of endless probabilities.

Its important to find the right balance and mechanism to link idea and outcome in order to achieve a result that is not just taking superficial advantage of the digital features, but embeds their characteristics and structure giving actual meaning to the work.

Despite that, this process contains much openness; it is quite liberating not to have rigid limitations from the medium, and that is an important element that differentiates digital art from traditional art in my opinion. On the other hand, the sense of corporeality in traditional mediums is sometimes unbeatable, although I believe VR, for instance,gives us the potential to overcome this. Still, the way the majority of VR work is being made somehow leaves this feature out or deals with it in a rather facile way, and this is certainly something that needs to be reconsidered seriously.

Always a body, always a thing - Trailer

CP: Tell us about your new show at Transfer Gallery.

EP:I am very happy to have a solo show at Transfer Gallery. Kelani Nichole is doing great work there all these years. I am showing a three-channel adapted version of my last video work Always a body, always a thing, and a sculptural video piece combining four screens on the floor of the gallery. The space has been transformed to an immersive dark projection cave. The title of the show is Precarious Inhabitants and it deals with a series of interconnected issues surrounding amorphy, liquidity, invasive species, plasticization, biomimetic behavior, body malformations on amphibians based on real cases, and the ontology ofrecording and tracking devices.

The three-channel projections construct a system of three parallel narrations. One is a narration of amorphous amphibians that are trying to define and sense their bodies and limbs; the second is a dialogue between humans and invasive species; and the third is a monologue from the side of the human solely. I have used a mix of techniques and materials for the videos which include 3D-rendered environments, game engine simulations, footage I shot in different natural locations, found archival material, and micro-camera, endoscopic recordings from critters, synthetic, and organic surfaces. I would say it is one of the most complete, if not the most complete, and diverse work I have done so far.

CP: What else do you have coming up?

EP: I have another show running in London, at Assembly Point gallery, Obscene Creatures, Resilient Terrains, a collaboration between me andTheo Triantafyllidis. I am participating in a group show in Milan that starts June 8 called Non Standard, curated by Mattia Giussani,and features new and recent mixed media works by myself, Lea Collet & Marios Stamatis, Anne De Boer, Joey Holder andAnna Mikkola. I am also participating inTRANSFER Download atHeK,taking place during Art Basel, and then I am working on three projects I will announce soon; I am trying things for them I have never done before so they feel very interesting and challenging!

Christian Petersen

We run an online magazine, so of course, we're interested in what's happening with art on the web. We invited online gallerist, founder, and curator ofDigital Sweat Gallery, Christian Petersen, to write a bi-monthly column for us. Every other Wednesday he selects a Web Artist of the Week.

(All images: Courtesy of the artist)

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Wednesday Web Artist of the Week: Eva Papamargariti - ArtSlant

Vestas wind turbines in Australia

Our diginomica inboxes are awash with machine learning PR pitches. But when I got the chance to talk to Vestas Wind Systems A/S about their lessons with machine learning in action via an outsourcing partner that got flagged, in a good way.

Henrik Stefansen, Senior Director, Global IT Sourcing at Vestas Wind Systems A/S, gave me the inside view. Founded in 1945, this Danish manufacturer and servicer of wind turbines has become a global player in wind energy. Now with turbines in more than 70 countries, Vestas bills itself as the only global energy company dedicated exclusively to wind energy.

Five years ago, Vestas Wind Systems was dealing with the complications of declining government subsidies. The global economy was working its way out of a recession. Higher operational costs combined with sluggish energy demand compelled Vestas to push hard for new efficiencies. Stefansen has been an IT leader at Vestas for sixteen years. In the last four years, hes led a drastic change:

Weve gone from being a fully insourced company on the IT side about four years ago, to today being more or less fully outsourced. So thats been quite a journey.

Managing outsourced processes has brought a learning curve:

Ive come to realize that a lot of the other stuff that we need to be able to handle and the processes you need to have in place to manage an outsourced setup is quite different from when you run everything yourself.

That opens up a chance to improve processes:

Thats where really we got into looking at, How can we optimize and automate some of these processes instead of doing everything manually?

Stefansen handles these operations with an internal team of twenty, and about a dozen externals. 27,000 employees count on his teams IT services. If you cant handle the breeze, dont be in the renewable energy business:

We went through a bit of a dip through the financial crisis around 2011, where we cut the company in half. We had to reduce that much. But we recovered from that, and had a record year last year.

How has the wind energy business from Stefansens early days at Vestas?

When I joined the company, we were still sort of an entrepreneurial startup. Over the last five, seven years its been much more industrialized. Now wind is a competitor, and its a subsidy to all of the known coal and gas sources as well.

Today, I would say, wind is more or less on par with coal and gas, also from a cost perspective. And thats of course what weve been working towards the last many years If you want to sustain a business like this, it has to be comparable on a cost level to the other energy sources out there thats roughly where we are now.

Success brings its complications:

Looking at it from a country or global perspective, theres no doubt that renewable energy is high on the agenda in most countries these days. That makes it a nice place to be in a company like this. But its also a highly regulated environment Theres a lot of restrictions from local governments that we need to also work with to promote this kind of energy.

Stefansens approach to outsourcing has changed also. At first, outsourcing was a tactical decision in response to the economic downturn: We had to reduce head count, we had to reduce cost, and we had to do it fast. As Vestas bounced back, Stefansen decided that outsourcing was their future course but now they approach it more strategically.

Outsourcing makes sense for Vestas on several fronts. It solves the challenge of needing to staff up internal IT in Denmark. Stefansen also likes the flexibility on cost and exposure to new technologies:

We also saw the possibilities of joining forces with some of the big outsourcing vendors out there that have thousands of people. They can bring us those new technologies much faster and better than we could develop it ourselves.

And thats where SirionLabs comes in. Stefansen found the downside of outsourcing was managing the services. Ideally, he could automate a big chunk of contract management, and have it delivered as a service. During his research, Stefansen found SirionLabs. He evaluated a range of providers:

I looked a few of the big ones, including IBM and SAP. They had good capabilities in some of the areas that I needed. but none of them really had the view and connectivity between the different parts of the process that I saw with Sirion.

Stefansen also liked SirionLabs cloud emphasis:

Their software as a service comes pre-configured out of the box, so you dont have to do the on-site installations and set up. Basically, I just ship my contracts to Sirion, They upload them in India, and we are live.

Vestas started working with SironLabs in 2015. They spent the first few months uploading contracts, but that wasnt the biggest change:

Once you start working with a tool like this, there is a set of processes that enables you to get the benefit out of the tool. That was the main part of the implementation to get those implementations within our own organization.

The big surprise wasnt process change; it was the people side.

Thats probably one element that surprised me a little bit how much energy I had to put into my own organization to get my own colleagues to work in these new processes.

What changes did Stefansen see after going live with SirionLabs? One big change: tracking of deliveries and obligations. Sirion pulls all of the outsourcing vendors obligations from their contracts, and puts it into a calendar view for tracking:

All of that is alert-based. Alerts tell us that, This is supposed to be delivered now. Did you receive it, or is it still pending? In the past, we would have missed that, because it would have taken a lot of manual effort to track all of this.

On the IT side, SirionLabs is now handling Vestas four main outsourcing partners, comprising 70-80 percent of all outsourced services. Its really a shift to pro-active way to manage outsourcers, Stefansen has already seen cost reductions:

[Another part] of our cost savings is the invoice reconciliation. Basically, matching invoices to what weve agreed in the contract, and making sure that we are paying them correctly. Thats where we see a lot of the direct cost savings.

The savings arent small: Stefansens first year calculations on the SirionLabs investment: a 300 percent ROI.We talked about the machine learning aspect. Stefansen doesnt need to know the inner workings of Sirions machine learning capabilities to see the value on his side.

SirionLabs applies machine learning to areas Vestas would have struggled to monitor on their own, from incorrect invoicing to avoiding SLA penalties that are invoked when a usage threshold is reached. As the SirionLabs PR team put it to me, SirionLabs uses machine learning to cull through the mind-numbing tedium of contracts to ensure everyone is doing their job.

Looking ahead, Stefansen wants to get his outsourcing partners to use SirionLabs to collaborate and address contractual issues. So far, weve seen good benefits from that, where weve managed to convince our outsourcing partners that this is a good idea.

Today, SirionLabs manages contracts valuing $160 million for Vestas. For Stefansen, better control over back office IT means his team can be more strategic, and less caught up in administrivia:

If I hadnt implemented this I would probably of had to hire say four people to manage these things manually. So it gives me a lot of flexibility from an organizational point of view.

Image credit - Image of Vestas wind turbine in Macarthur, Australia from the Vestas.com web site, model number V112-3.0 MW.

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How Vestas Wind Systems used outsourced machine learning to transform contract management - Diginomica

One of the many images produced by the Human Conectome Project, but can such science ever lead to brain uploading?

IF you could, would you want to live forever even if it meant existing in a virtual world?

That is the desperate goal of Australian man Philip Rhoades, the founder of a body-freezing cryonics lab and a brain preserving company called the Neural Archives Foundation.

The latter consists of scientifically preserved brains stored all over the country including those of his recently deceased parents waiting for the day when their contents might be uploaded to a computer.

Of course the science underpinning such an ambitious idea is dubious to say the least, but Mr Rhoades believes its just a matter of time until technology is advanced enough to achieve his dream.

At 65, he understands time is of the essence and so hes turned to a well-known figure of tech innovation for help: Elon Musk.

The billionaire founder of Tesla and SpaceX recently announced a new venture called Neural Lace to develop a way to connect the human brain with a computer. Mr Rhoades believes the tech titan is somebody who can push the controversial field forward.

In a bizarre open letter the former biomedical researcher spruiked his credentials and volunteered his brain to be uploaded and sent to Mars, allowing him to explore the universe.

Musk has bold plans to take humans to Mars and is planning to launch a mission to the red planet in conjunction with NASA in the coming decade.

Mr Rhoades believes it would make more sense to send virtual people.

I am convinced that I need to become a virtual person (via mind uploading) sooner rather than later, he writes in his letter to Musk.

It sounds delusional and many would argue that it is but Mr Rhoades is convinced the science of transferring our brains to computers has not been proven to be impossible.

I dont care if your average Facebook user thinks its all crazy ... people in the business are spending serious money on this, he told news.com.au.

Philip Rhoades knows that most people think hes crazy. Picture: Jim Trifyllis.Source:News Limited

Russian internet millionaire Dmitry Itskov is among them. He is pursuing brain uploading with the ultimate goal of being able to transfer someones personality into a completely new body.

Within the next 30 years, I am going to make sure that we can all live forever, he told the BBC last year.

All of the evidence seems to say in theory its possible its extremely difficult, but its possible.

Mr Rhoades said he knew there was virtually no chance of getting Mr Musks attention, so he published the letter on a site that promotes the convergence of technology and the human body.

Dr Elaine Mulcahy wearing wired up thinking cap connected to computer. The device records brain waves during a medical research test at Sydney University back in 2002.Source:News Limited

From a technological point of view I dont know that Neural Lace is the best solution ... but certainly that brain computer interface angle is the way to go to get the brain uploading stuff going, he said.

It sounds like science fiction but its not. Its just the normal march of scientific progress.

Currently, scientists are working on something called the Human Conectome Project which is mapping the connections and neural links in the brain to better understand how it functions.

Mr Rhoades is hopeful such research will give us a better understanding of how things like memories are stored and that one day well be able to be decode them.

There is another, more personal factor that drives his optimism.

Towards the end of his life, Mr Rhoades father who died in May last year suffered from a neural degenerative disease. His son is desperate to avoid a similar fate.

If we accelerate this, I might be able to skip the freezing step and get uploaded directly, he said.

Tech billionaire and innovator Elon Musk. Picture: Karim SahibSource:AFP

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Elon Musk: Australian man pens desperate letter to download his brain - NEWS.com.au

What: Second season of docu-series that explores aspects of new technologies.

When: Premieres 10 p.m. Thursday.

Where: Showtime.

In the first episode of the second season of Showtimes docu-series Dark Net, the narrator asserts, In the future technology wont just complement reality, it will create a new one.

While the first season of the series looked at what is known as the Dark Web and its shady activities such as biohacking, cyber-kidnapping, digital warfare and the webcam sex trade this season seems to be getting out into the world to examine how technology is bending our perceptions.

In the opening episode called My Mind, we meet a military vet with post-traumatic stress disorder. His unease has torn up his family, and the usual approaches of therapy havent worked.

The vet eventually found help from a scientist who is developing a virtual-reality program that lets the ex-soldier work out his issues and relive some traumatic moments, sometimes recreating firefights he has been in.

VR headsets will be likes toasters. Soon everyone will have one in their home, the scientist says.

In a whole other dimension, we meet Harmony, the worlds first artificially intelligent sex robot. (Female, of course. Men are so inept, it seems.) Her goal is to not only learn to recognize her owner, but to recognize her owners desires.

A third part of the episode finds a Canadian woman spending her days and nights uploading her mind to create algorithms that will be used for artificial intelligence. Shes convinced that what she is doing will make people obsolete.

While Dark Net spins out some interesting material, its dystopian view is too humorless at times. It skips around far too much and never digs into anything. Annoyingly, it also has that grave found on real-life crime shows.

When the inventor of the sex robot says he hopes his creation can be used for human companionship, you want someone to ask him, Why?

In fact, why does someone even need a robot to anticipate their desires?

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Showtime docu-series sees the 'Dark' side of tech - LA Daily News

The videos are an infamous genre unto themselves: "Mother Punches Her Daughter Dead in the Face for Having Sex in the House!" "Dad Whups Daughter for Dressing Like Beyonce." "Son Left In Bloody Mess as Father Forces Him to 'Fight.'" Their images stream from Facebook timelines and across YouTube channels, alternately horrifying and arresting: burly fathers, angry mothers, lips curled, curses flying, hands wrapped around electrical chords, tree branches, belts, slashing down on legs, arms, buttocks and flesh as children cry and plead and scream out in agony.

Tens of millions have clicked "play," becoming voyeurs of this new form of child punishment what some observers call "digi-discipline."

Rather than sticking to the time-honored tradition of physically disciplining their children behind closed doors, parents, many of them black, buoyed by the instant gratification and viral fame that social media provides, are increasingly uploading videos of the corporal punishment they mete out on their kids, sparking intense debate on the usefulness of this particular form of public shaming.

The videos' comments threads reveal where most viewers stand on the issue: the digital whoops, hollers and high-fives rival those heard at championship boxing matches, with a majority of commenters encouraging the beatings and applauding the parents. "Whup that trick," one commenter wrote. "Beat that THOT wannabe's ass," said another, using the slur du jour for "slut." Yet another chimed in with "Good job .. now this is a father i salute him because if my daughter was doing this id whoop her ass too."

The running theme: It's OK to beat children, and, if the millions of views each video garners tell the story, it's acceptable to post tapings of the beatings on social media for feedback and "likes."

Tameka Harris-James, an Atlanta-based licensed clinical social worker whose practice includes working with victims of family trauma, said "digi-discipline" has become a new "community experience" that lays bare generations of trauma corporal punishment has wreaked on African-Americans. Viewers, perhaps triggered by their own abuse, repeat the cycle of abuse by hitting their children or applauding those who publicly do so, rather than acquiring the language and skills they need to deal with their own trauma.

"When you have a group of people coming from the same population and circumstances who live by the same social rules and norms that say it's OK to beat children, you don't talk about problems or go to therapy and get the help you need from those kinds of cathartic outlets," Harris-James said. "Instead, you watch these videos and collectively join in and bond over the pain."

Corporal punishment is universally accepted by a large swath of American parents; a 2014 study by Child Trends, a research organization that uses data to help shape public policy on children, reveals that 65 percent of women and 76 percent of men agree or strongly agree that it is sometimes necessary to give a child a "good hard spanking." But when broken down by race, black parents particularly black mothers are far more likely to agree that kids need beatings: 81 percent of black mothers, compared with 62 percent each of Hispanic and white mothers, advocate hard spanking, while 80 percent of black fathers felt the same, compared to 76 percent and 73 percent of white and Hispanic fathers respectively.

Among blacks, commiserating over corporal punishment is nothing new; before social media, parents would recount in conversations at the hair salon, barbershop, church, family gatherings or more intimate phone conversations the beatings they handed out for childhood infractions. Anti-corporal punishment advocate Stacey Patton, author of Spare the Kids: Why Whupping Children Won't Save Black America, said in the past, "It would be, 'girl, I tore her butt up for leaving this house without asking.'" Today, she said, digital technology, social media and video-sharing sites "allow that conversation to become much more public and widespread. It makes parents feel more powerful."

Patton notes that in a society where black people have limited political, economic and social power, one place they can both exercise authority and strike back at stereotypes that portray black parents as irresponsible and unloving is taking "control" of their kids. Beating children and posting it on social media, then, is just as much about performing respectability as it is punishing wrongdoing. "Rather than striking back at oppressive systems that justify beating and shaming your kids, you beat and shame your kids. You can say, 'I'm a responsible parent. I don't let my kids run wild.'"

In some cases, those parents are rewarded when their videos go viral. LaToya Graham was crowned "mom of the year" after being captured on tape smacking her son upside his head, yelling at him and chasing him down the street for participating in a Baltimore protest over the police killing of Freddie Gray. The video, filmed by a local TV news station, shot past 8 million views on YouTube after it aired on television and Baltimore Police Commissioner Anthony Batts shouted out Graham, saying he wished "there were more parents out there who took charge of their kids." Within weeks, Graham enjoyed a media whirlwind of praise, appearing on several popular news and talk shows, getting job offers from BET, Under Armour and a local hospital, and even receiving a phone call and a $15,000 check from Oprah.

Social media amplified the significance and reward of Graham's actions, which led to an uptick in digi-discipline videos, said Patton. "Her success gave validation to other parents that this was OK," she said.

But not everyone gets rewarded for such public discipline. In the case of Virginia father Tavis Sellers, boxing his son on Facebook Live as punishment for leaving class earned the dad a domestic assault and battery charge after his video went viral. In it, Sellers orders his son to put on boxing gloves and fight him; the father bests the son, tossing jabs that make the boy's nose bleed. As he continues to beat him, Sellers chides the boy, telling both him and the viewing audience that when he "cuts up in school, this is what [he] has to deal with when [he] comes home." By the video's end, the boy's white t-shirt is covered with blood; his father demands he look in the camera and apologize to his teacher.

Sellers was arrested a few days later.

Patton, whose outspoken advocacy teaches positive, non-violent disciplinary practices to parents of color, has even called police to report parents who've uploaded videos of themselves beating their children, and encouraged her more than 44,000 Facebook followers to do the same. "People say, 'That's [expletive] up. Another black man in jail, another black child in foster care you need to mind your business.' I'm like, 'This person put their business in the fiber optic streets and it's our job as human beings to protect this kid.'"

Parents, she adds, need to spend less time posting digi-punishment videos and more time actually learning how to parent their children. "What they're beating their kids over bad report cards, cutting class, sexual behavior is all developmental stuff. Sit down and have a conversation with them about healthy sexual choices. All that time they spent charging their phones, setting up the cameras, explaining why they're about to beat the mess out of their kids, filming the abuse, uploading it on YouTube, captioning it and tagging their friends, they could have Googled 'How to talk to my daughter about sex.'"

Still, some parents find great value in digi-punishment as a deterrent for their children and a lesson for mothers and fathers parenting in the digital age. "I would do it all over again," says author ReShonda Tate Billingsley, who set off a storm of controversy in 2012 when she punished her daughter for posting an Instagram photo of herself holding up a bottle of Vodka and saying she wished she could drink it. Billingsley countered with a photo of her own: a picture of her crying daughter holding a sign that read, "Since I want to take pics holding liquor, I am obviously NOT ready for social media and will be taking a hiatus until I learn what is and isn't appropriate to post. Bye-Bye." The photo, which she posted on her Facebook page, was shared more than 10,000 times hours after it went public.

"It resonated with her and to this day, she still thinks about that. They live on social media and that's always in the back of her mind," says Billingsley, adding that the picture inspired parents to pay attention to what their children post on social media. Still, the mom of three believes that beating children on camera goes "way too far." These days, parents, she said, "are doing it for likes and shares."

Patton plans to lobby for legislation that would make it a crime to post videos and pictures of children getting beaten and adds that she believes the only reason it hasn't been introduced and passed already is because the videos predominately feature black children. "This is a country that's become numb to the destruction of black bodies. Whether it's Toya Graham beating her son, or Tamir Rice being shot by cops, it's OK we've become accustomed to watching it. If these were white children in these degrading videos, something would have been done a long time ago."

Harris-James thinks a bit differently about this.

"Parents will continue to beat their children and there should be consequences for that," she says quietly. "But if we shut it down, it takes our attention off of it and we forget about those children. At least now, the videos stimulate dialogue and conversation and action because it's in your face."

Denene Millner is a New York Times best-selling author and a parenting expert, whose latest book is My Brown Baby: On the Joys and Challenges Of Raising African American Children.

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The perils and false rewards of parenting in the era of 'digi-discipline' - Minnesota Public Radio News

IANS | New Delhi March 10, 2017 Last Updated at 15:22 IST

Doing a quick U-turn in about 24 hours, digital payments firm Paytm on Friday suspended the two per cent charge it announced for adding money using credit cards.

"We are suspending the two per cent charge on credit cards for adding money to wallet, keeping users' convenience in mind. We will introduce new features to prevent credit card misuse in adding money," Paytm said in a blog post here on Friday.

With an intent to prevent the misuse of transfer to bank facility at 0 per cent, Paytm had earlier applied a refundable fee of two per cent on add-money through credit cards.

"At the same time, we are conscious that this move caused inconvenience to a large segment of our users, including those who are using their credit card for genuine transactions," it said.

The withdrawal of the two per cent charge apparently came in view of losing out to competition after mobile wallet major MobiKwik on Thursday announced that it would continue to offer free uploading of money.

"In order to popularise the government's vision of a cashless society, we at MobiKwik have decided not to charge two per cent on credit card recharges so that more people can transact online without having to worry about additional charges," MobiKwik founder and CEO Bipin Preet Singh said on Thursday.

Paytm had announced the two per cent charge, starting March 8.

For those who were charged, the amount was to be refundable in the form of a gift voucher to be used for recharging phones, paying bills, etc. through the Paytm wallet, it also said earlier.

Paytm had announced the charges because some users started funding their wallet with their credit cards and transferring it to the bank all for free.

--IANS

mm/in/vt

(This story has not been edited by Business Standard staff and is auto-generated from a syndicated feed.)

Doing a quick U-turn in about 24 hours, digital payments firm Paytm on Friday suspended the two per cent charge it announced for adding money using credit cards.

"We are suspending the two per cent charge on credit cards for adding money to wallet, keeping users' convenience in mind. We will introduce new features to prevent credit card misuse in adding money," Paytm said in a blog post here on Friday.

With an intent to prevent the misuse of transfer to bank facility at 0 per cent, Paytm had earlier applied a refundable fee of two per cent on add-money through credit cards.

"At the same time, we are conscious that this move caused inconvenience to a large segment of our users, including those who are using their credit card for genuine transactions," it said.

The withdrawal of the two per cent charge apparently came in view of losing out to competition after mobile wallet major MobiKwik on Thursday announced that it would continue to offer free uploading of money.

"In order to popularise the government's vision of a cashless society, we at MobiKwik have decided not to charge two per cent on credit card recharges so that more people can transact online without having to worry about additional charges," MobiKwik founder and CEO Bipin Preet Singh said on Thursday.

Paytm had announced the two per cent charge, starting March 8.

For those who were charged, the amount was to be refundable in the form of a gift voucher to be used for recharging phones, paying bills, etc. through the Paytm wallet, it also said earlier.

Paytm had announced the charges because some users started funding their wallet with their credit cards and transferring it to the bank all for free.

--IANS

mm/in/vt

(This story has not been edited by Business Standard staff and is auto-generated from a syndicated feed.)

IANS

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Paytm to continue free uploading of money - Business Standard