Looking for:
Adobe acrobat pro dc seite zuschneiden free |
Adobe acrobat pro dc seite zuschneiden free.Warum wir Hyperlinks zu einer PDF-Datei hinzufügen müssen
This design is wicked! You obviously know how to keep a reader entertained. Between your wit and your videos, I was almost moved to start my own blog well, almost Wonderful job. And how? What criteria does the system use to decide on a face match? Does it get fooled by lighting? Smirks and pouts? Do officials ensure that humans oversee that the system is being used properly?
Or double check its results? When human law enforcement officers stop and frisk innocent people, we know enough to at least ask questions about what criteria they use. Profiling by humans is clearly an ethical issue. Computers have no ethical responsibility — but the people who pro- gram them, buy them and operate them do. So while surveillance video has escaped the proverbial black box of unex- amined acquiescence to Big Brother, identity recognition technology remains for now, inside it.
When, through consumer video devices, people became surveillance camera operators themselves, they learned about how the process worked. Will the same happen with computer vision recogni- tion? Face recognition functionality now appears in everything from photo ap- plications to Facebook.
Can we be literate in any medium without knowing how to produce it? Or will everyone need to learn to program before we can move toward a technology-literate so- ciety? See you back in another five years. The piece is an intervention at the intersection of art and social media in the sense that it draws attention to interpersonal behaviors guided by social media software. Here, SjansMachine is discussed in the context of social networking. Another focus is online dating websites, because participants often engaged with SjansMachine in hopes of finding a date.
The installation critiques subjective technolo- gies that guide both virtual and physical social behaviors, by highlighting the inherent automatisms in the online phenomenon of dating and friending. These considerations raise the following questions: Do Facebook and online dating sites modify social behavior? What happens when the virtual friend is brought into physical space?
Does online dating influence interper- sonal attraction? Does SjansMachine expose expectations about companion selection?
These questions and their implications are addressed in the follow- ing text. A hidden computer captures the portraits and sends them to a second computer that gen- erates the SjansMachine animation, and projects the portraits via three seam- lessly aligned projectors.
The portraits are projected on two rows of 12 semi- translucent Plexiglas squares, creating a 6-meter by 1-meter wall, which is suspended from the ceiling.
Each square briefly displays a portrait, while sev- eral times per second, portraits are randomly relocated on the squares.
Preferably the SjansMachine is installed in a well-frequented space such as a lounge or lobby area —at least 18 people ought to naturally linger in the area.
She or he steps into the photo booth out of curiosity. Inside the booth, a com- puter screen and a webcam subtly installed above the screen are embedded in the photo booth wall. The participant sees himself or herself on the computer screen, and two hand-sized QR code3 cubes on a small shelf below the screen. Each cube surface has text and a QR code that identifies different personal preferences.
SjansMachine subjectively snaps the portraits, and participants do not have the option to tell SjansMachine when they are ready for the camera, or to de- lete their portrait. The screen then prompts the participant to hold a cube in front of the screen to enter three preferences.
It consists of a matrix of black squares against a white background. QR stands for Quick Response. Webcams and mobile phone cameras can quickly read QR codes. Like barcodes, QR codes are used to store digital information on physical objects.
With each installation thus far, curators have opted for matching based on movie genres. The computers share data via a router running local WiFi for the two SjansMachine computers. As each new portrait is added to the SjansMachine display wall, if the wall is full, the oldest portrait is re- placed.
The SjansMachine animation consists of portraits constantly, quickly shifting from square to random square. Pairs of matched participants are each treated to a free drink to enjoy as they get to know each other. By mixing face detection, QR codes, humor, and indeterminacy the artwork engages par- ticipants in a form of speed dating. The face detection technology clearly al- ludes to surveillance, but more importantly with respect to SjansMachine, it alludes to our digital presence, which often precedes our corporeal presence.
It can be disconcerting to have a stranger ask about personal information only moments after an intro- duction. Yet, as people freely post such information on Facebook, dating sites, and many other places online, we often unwittingly permit others to scan our personal information. Manipulating the large QR code cubes emphasizes the intangibility of the data the cubes convey. QR codes are easily read by com- puters, but impossible for the participant to read. Using the cubes to enter preferences playfully highlights the generally accepted act of freely and per- manently surrendering control of personal data for digital storage and ma- nipulation.
We rarely consider the value of our personal data, how our data will be used, or who owns, or who sees our data. As an automatism, we simply know what friend means. Friendship could be defined as a dyad in which each half is willing to drop what they are doing to help the other in a time of need. A friend could also simply be a con- fidant. These definitions however limit the user to a few close friends.
A broader notion of friendship includes others the user personally knows, whom he or she cares about, and with whom he or she interacts. This total is in stark contrast to the large number of friends often seen in social network site member profiles, yet the number is consistent with the average number of friends on popular social media sites. As a direct result the concept of friendship expanded, and the term friend was redefined. So and So from the place with the thing that time Social network friending is huge.
With million monthly active members at the start of , Facebook is the single largest online community. If Face- book were a nation, only India and China would have a greater population. With so many citizens, and so many kinds of friends, no wonder users eventu- ally succumb to serial friending, which leads to many Facebook profiles re- porting totals of hundreds, even up to plus friends.
Although such be- havior tends to trivialize friendship, serial friending perpetuates itself, because somehow the offer of friendship is still perceived as some sort of honor. The sheer volume of users adopting social media habits al- ready has societal impact. Facebook is now the most popular digital communi- cation tool.
It is more popular than texting and email. This cuts the need for small talk when Facebook users meet face-to-face, and facilitates deep conversations between long distance friends who may never meet. It urges users to reconnect with old acquaintances, and suggests friends of friends to increase social networks. Facebook also promotes professional net- working and playing multiplayer games.
Survival in a state of information overload and hyper stimulation requires a filtered worldview based on limited data. Consequently, interaction with cus- tomizable digital conveniences becomes intuitive and even expected. As a convenience, Facebook soft- ware customizes the search results for the user, because an alphabetical listing of every Facebook user with the searched name would probably be of little value.
Google, Facebook, and various social media use subjective software to de- cide and prioritize what is important to the user. Oddly, these filters are largely accepted without questioning the consequences.
Another downside is that adapting to the conveniences can become habits that grow into addictions. Most users desire contact with others, and social media connectivity offers some relief for social isolation. Users are bolder and likely to share more personal information when communicating through typing. Youth are especially reckless with re- spect to privacy and consideration for consequences of social network con- duct.
In fact, the variety offered by online socializing options is tough competition for mere individual face-to-face con- tact. The vir- tual friends do not know the user in the flesh. Likewise, this user only knows the digital personae of their virtual friends, not the other physical Facebook users behind these virtual friends. If they met face-to-face, the Facebook user and their Facebook friend would interact with each other bodily, not virtually. SjansMachine directly contrasts Facebook virtual friends, because users must deal with the physical versions of their computer made friends.
Speed friending starts when SjansMachine publicly announces that the participant and their match are to meet right now, face-to-face. The participant senses a social obligation to meet their match, probably a stranger, who SjansMachine has selected for her or him.
Usually matched couples simply enjoy chatting over their free drink, and then return to the SjansMachine photo booth just for fun. Of course sometimes one part of the match pair quickly hides or leaves to avoid meeting her or his match.
Or conversely, occasionally the matched cou- ple enjoys their chat so much that they continue chatting for the rest of the evening. SjansMachine as Flirt Machine The core concept of this artwork is rooted in a conversation about data ex- change that was inspired by an RFID workshop.
RFID data exchange requires digital pairing, which by way of artistic liberty can be personified as digital matchmaking. This notion reminded us of how people friend each other in Facebook, but never meet face-to-face.
We thought we could use RFID match- ing to bring random friending into real space, paralleling the Facebook feature that suggests friends. This surprised us, since Facebook friending inspired the artwork, and motivations for Facebook friending are not limited to seeking romantic partners. We expected people to participate for the chance to win a free drink and make new friends, not merely as a short cut to potential romantic possibilities.
Yet dat- ing websites are now more popular than pornography websites. Formerly important instinctive factors such as recipro- cal liking, familiarity and body language are readily replaced by profile data inspection. Detailed profiles provide answers to hundreds of questions and include several photos. Profiles are queried and analyzed to create a personal- ized database of potential partner choices.
Media consumption, production, and interaction have expanded through web technologies. Evolving digital environments offer novel alternatives for establishing tailor made relationships.
Social media also encourage the user to develop a personal brand. Repre- sentation has become more important than personal opinion, or observation. As a result, misrepresentation is common on dating sites and social media. Step into the photo booth and ready or not, the com- puter captures the participant. The participant is instantly portrayed on the SjansMachine wall, making assumed privacy suddenly public. This deautomatized moment pre- sents an instance of voyeurism, revealing an aspect of SjansMachine that is more confrontational than social media.
Conclusion Like social media, SjansMachine presents data driven friend suggestions. But unlike SjansMachine virtual friends who are invited to meet face-to-face, most Facebook virtual 10 R. Computerworld Inc.
Dating sites are time consuming and can be costly, and they are transforming mate selection into data scanning. SjansMachine calls attention to the amount of time we spend socializing and seeking others via social media in real-time and asynchronously. We typi- cally engage in these activities alone, often at home, and usually in private. Rather than opting to chat with multiple Facebook friends at once, Sjans- Machine matches encourage participants to focus on just one person for a few minutes.
This anxiety may prevent virtual Facebook friends from initiating a chat off- line, or even in Facebook, i. SjansMachine reduces or eliminates this anxiety, and breaks the ice by publicly displaying the virtual friends as a couple, as well as pro- viding shared preferences for conversation as they share a drink.
No matter how un- attractive and theoretically and technically im- perfect the digital representation; photos, posts, and data are always merely signifiers. SjansMachine brings participants together in a mutual physical location, who might not meet each other otherwise. The artwork lowers the barrier for ap- proaching a stranger, and the match preferences serve as a catalyst for conver- sation. Participating in an art installation may also contribute to a diminished sense of shame or inhibition.
The free drinks are an incentive to participate be- cause participants have a chance to win, and little to lose. Unlike the con- firmed friends in social media or the calculated matches of dating sites, SjansMachine adds a layer of randomness. It is free and fast, and participants might even meet their soul mate too. SjansMachine reminds participants that even in these highly digitized times, social media friending and online dating are not the only options for social interaction.
Fleming, N. Goldsmith, B. Harris, S. Hauer, S. Kohler, C. Mitchell, R. Van Petten, V. Wilkins, A. Und was spielt sich ab, zwischen den Bil- dern? Besteht ein Zusammenhang zwischen dem Raum und den Bildern?
Der Lichtstrahl wird dem Publikum bewusst. Jede Projektion des Films schafft ande- re Konstellationen. Der Ein- satz von Filmapparaturen war nicht nur Grundlage der Bewegungsstudien von bleibt. It is dealing with the projected light-beam itself, rather than treating the light-beam as a mere carrier of coded information, which is decoded when it strikes a flat surface the screen.
The film exists only in the present: the moment of projection. It refers to nothing beyond this real time. The form of attention required on the part of the viewer is unprecedented. November veranstaltet hatte. Eine solche Verschaltung wurde in den Apparatustheorien der er Jahre Jean- Louis Comolli, Jean-Louis Baudry dergestalt aufgenommen, dass zwischen der apparativen Anordnung der Maschine und dem psychischen Apparat der Menschen eine Kongruenz konstruiert wird.
Automatismen des Apparats kor- respondieren mit Automatismen der Zuschauer im Publikum. Film gilt als Unterhaltungsmedium. Nur Film als Kunst klassifiziert stellt eine Ausnahme dar. In diesem Paradigma bilden Unterhaltungsfilme und Experimentalfilme einen diametralen Gegensatz. Verschreibt sich das Unterhaltungskino der Illu- sion, so bricht der Experimentalfilm mit dieser und verweist auf illusionsbil- dende Mechanismen. Doch bedarf sie dazu der Illusion. Sie erweist sich in der Zeit; im Augenblick der Pro- jektion verschwindet die Form — ohne transzendenten Rest.
Und doch ist keine wahre Erkenntnis ohne Projek- tion denkbar. Das unterscheidet Projektion und Illusion von Formen der Halluzination, mit denen die Apparatustheorie die Filmwahrnehmung im Kino verglich. Ohne Bewegung keine Illusion. Die Bewegungsillusion interessiert und bewegt den Spielfilm wie den Experimen- talfilm. Chris Tedjasukmana in diesem Band, S. Vielleicht sollte man sich das Ganze wie einen kaum wahrnehmbaren Frequenzwechsel vorstellen.
Automatisier- te Verfahren der Manipulation eines stereoskopischen Bildes in seinem Film Capitalism: Child Labor USA 22 transformieren die abgebildeten Kin- derarbeiter in mechanische Puppen und bringen gleichzeitig ihre Menschlich- keit hervor. Das Repetitive und Mechanische der Fabrikarbeit und des Films als Verfahren werden so aufeinander bezogen, dass die Automatik des Films jener der Arbeit Leben einhaucht.
Die Ausdehnung von Sichtbarkeit durch Fragmentierung und die Ausbreitung der Industrialisierung wie sie Comolli in Machines of the Visible thematisierte, werden in einem Prozess der Inversion aufeinander bezogen. Doch war das Kino immer schon an den apparativen Aspekten und Elemen- ten seiner selbst interessiert. Was Jacobs nicht er- laubt, ist das Eintauchen in Illusion. Eher erzeugen seine Filme eine gewisse Lust am Rhythmus und an der Wiederholung.
In The Man with a Movie Camera, images are taken from every conceivable angle and distance, as well as employing numerous types of camera movement. Voss , Filmerfahrung und Illusionsbildung, S. Die automatisch produzierte Affizierung generiert neben empathischem Nachvollzug angebotener Geschichten auch subjektive Fantasien. Das ist eine These, die schon Alexander Kluge, mit anderen Schwerpunkten, in seiner Utopie Film von formuliert hatte.
Der Experimental- film insbesondere reagiert auf dieses scheinbar geschlossene System, spielt mit ihm, entnimmt ihm Subtexte, jedoch auf einer anderen als der narrativen Ebene des Genres selbst.
An einen Vortrag zum Film selbst wird selten gedacht. Kurz: Er dient wieder der illustrierenden Unterhaltung. In fact it never did start at all.
How extremely lazy and sloppy! How em- barrassing! Dort habe ich zwei 16 mm-Filmarchive angelegt. Ein Archiv versam- melt Kopien zum Lehrfilm, ein anderes widmet sich dem Experimentalfilm von Filmemacherinnen in der Bundesrepublik. Wurde der Film oft projiziert oder zum Beispiel erst ab einer bestimmten Stelle projiziert?
Die Internetseite findet man unter www. All diese Elemente des Films nimmt die Wahrnehmung unbewusst auf, der Filmwissenschaftler bzw. Doch wo bleibt die Illusion? Die Stars des Originals werden zu cinematic puppets, and as […] original soundtracks go through the same for- ward-backward process, they become a hectic, stammering accompaniment to the tightly choreographed twitches and tics of actors.
Die Metapher des Maschinellen, das Lebendiges hervorbringt, wird vom Verleiher der Filme selbst bewusst eingesetzt: Arnold has constructed […] a cinema machine […] an apparatus that writes and rewrites memories on the surfaces of film.
In turn, the machine exports text, forming a kind of open econ- omy. Die Bilder werden dekonstruiert, um in trivialen Alltagsschnipseln, scheinbar belanglosen Momenten melodramati- schen Gehalt hervorzutreiben, Drama, Psychodrama stellt sich ein. Henri Berg- son, Das Lachen, Darmstadt, Holl , Kino, Trance und Kybernetik, S. Was sie mit ihren zum Teil ganz mathematischen Verfahren erzeugen, ist ein Mechanismus, der dem Vorgang des Films qua 62 Voss , Filmerfahrung und Illusionsbildung, S.
Bergson, Henri, Das Lachen, Darmstadt, Ketabgian, Tamara, The Lives of Machines. Lippit, Akira M. Rall, Veronika, Kinoanalyse. Projection Instructions, USA , 16 mm, 4 min. Wie komme ich zu einer derartigen Umdeutung herrschender Annahmen? Merleau-Ponty leitet daraus den Charakter der Selbst- setzung der Zeit und der Ungeschiedenheit von Affizierung und Affiziertem ab: Ist aber das Subjekt Zeitlichkeit, so ist die Selbstsetzung kein Widerspruch mehr, da sie vielmehr genauester Ausdruck des Wesens der lebendigen Zeit ist.
Hier geht er davon aus, dass der Geist gleichsam fotografische Schnitte durch die bewegliche Wirklichkeit legt, d. Dadurch ersetzt er das Kontinuierliche durch das Diskontinuierliche […]. Dividuelle Filmaffekte entdeckt Deleuze in der Folge nicht nur in Verge- sichtlichungsverfahren, sondern auch in den gleichsam umgekehrten Verfah- ren der Entgesichtlichung wie in den Filmen von Robert Bresson. Dessen Stra- 18 Vgl. Im deutschen expressionistischen Film werden etwa Licht und Schatten als Affektgeneratoren erkennbar, die mittels Hell-Dunkel-Kontrasten eine ins Un- heimliche entborgene Welt generieren.
Radikalisiert tritt die Befragung des Affektbildes und seiner Klischeehaftigkeit in experimentellen Verfahren wie etwa dem Film Passing Drama Deutschland von Angela Melito- poulos hervor. Schon der Titel deutet an, dass hier ein Drama, die politische Vertreibung der Griechen aus Kleinasien zu Beginn des The spiders can come alive by downloading them from here Creepy Hand We all need to have a creepy hand or two pushing its way out of our garden graveyard by a headstone to set the Halloween mode for the trick-or-treaters.
Adding a few of these will really set the scene. You can download this from here to add to your creepy Halloween collection Mr. Bones Skeletons go hand in hand for Halloween.
A set of these would set off your spooky display. These can be articulated so you can post them in various positions. Have one sitting, one standing or one dangling from strings. Modified 7 months ago. Viewed k times. Improve this question. Kazark 6 6 silver badges 25 25 bronze badges. Rakesh Rakesh 1, 2 2 gold badges 14 14 silver badges 12 12 bronze badges. Can you please describe what kind of cropping you can do with Adobe Acrobat pro? Because I do not have it and can therefore not tell what you are looking for.
Add a comment. Sorted by: Reset to default. Highest score default Date modified newest first Date created oldest first. If you wish to crop a pdf with left, top, right and bottom margins of 5, 10, 20, and 30 pt points , then run pdfcrop --margins '5 10 20 30' input. For example, pdfcrop --margins ' ' input. Cropping multiple files Unfortunately, pdfcrop cannot crop multiple files at the time. Open it with a text editor and insert the following:!
Improve this answer. Ken Williams 7 7 bronze badges. Rasmus Rasmus 7, 10 10 gold badges 43 43 silver badges 68 68 bronze badges.
This allows to use the approach to determine the crop area described in my answer below. Is there a possibility of telling page number which need to be cropped? I fear it's all or nothing. I cannot see anything there that would allow specifying a range of pages.
Comparing the size of PDFCrop's output to its input, it looks as if pdfcrop only modifies the bounding boxes. It doesn't remove data. My software You have not saved any software. Click "Save" next to each software to save it here. Would you like to receive announcements of new versions of your software by email or by RSS reader? Get your FREE membership now! Video Converter Giveaway. Related Search adobe acrobat adobe acrobat free adobe acrobat pro extended 9.
Popular Search database outlook free pdf creator data microsoft acrobat software convert spreadsheet import importing create office files exporting doc add in converter export word pdf converting excel powerpoint xls document pdf converter printer text. Software Picks Quite Imposing Plus 5.
❿
No comments:
Post a Comment