company:adobe

  • Prada Marfa’s immigrant architecture is more relevant than ever - Archpaper.com
    https://archpaper.com/2018/08/prada-marfa-immigrant-architecture

    Political Context

    Prada Marfa is a building born out of the political tensions arising in post-9/11 America, in which Afghanistan, Iraq, and Mexico become scapegoats. In 2003, a United States-led coalition invaded Iraq, beginning an eight-year war, and in 2005, Duncan Hunter, who at the time was chairman of the House Armed Services Committee, called for the construction of a wall along the entire border between the U.S. and Mexico. This led to his amendment to the Border Protection, Antiterrorism, and Illegal Immigration Control Act of 2005, which called for 698 miles of wall along the U.S.-Mexico border. This paved the way for the Secure Fence Act of 2006, which President George W. Bush signed to “help protect the American people” from several purported threats, but primarily terrorism, which was the major focus of the era’s political rhetoric.

    Borderlands Architecture

    Prada Marfa is constructed out of traditional adobe bricks which have long been used in the region but are frequently perceived as an inferior material despite their ecological and climatological responsiveness. Adobe bricks provide the foundation for the oldest extant buildings in the region, as well as many of the area’s most important cultural and heritage sites, including artist Donald Judd’s own Block compound in Marfa. Directly referencing Judd and the military building traditions he emulated, the adobe bricks are intentionally set in a cement-based mortar. Judd recognized that this was the technique employed in the construction of barracks, hangars, and forts in the region, and Prada Marfa is constructed to reflect this mistrust of local traditions of the militaristic architecture that secures the border displays. Adobe brick was validated as a construction material, but not adobe mortar, which is more likely to be used on the humble houses of Mexicans and Mexican Americans on both sides of the contemporary border.

    #frontières #mexique #états-unis #architecture



  • Push Notification & Mobile CRM Technology | Accengage
    https://www.accengage.com

    Il y a de différents manières de faire ch... le monde. En voilà une qui est d’actualité : Les messages push sont un secteur d’activité commerciale à part entière. Dans le message suivant un fournisseur de technologie se vante de ses exploits et nous informe sur le grand succès de ses activités. A ch... mais c’est un développement à suivre au même titre que les bots et la com par les réseaux sociaux .

    Leur site web est une parfaite incarnation de l’espionnage en ligne. Avant de pouvoir consulter leur étude géniale on passe obligatoirement par une page web qui contient au moins huit tracker . Comme si ce n’était pas assez invahissant il faut activer les javascripts de neuf sources avant de pouvoir ... remplir un formulaire qui veut tout savoir sur nous.

    Je crois que je vais me passer de ces infos hyper-importantes.

    Accengage, Europas führende SaaS-Technologie für Push-Benachrichtigungen veröffentlicht heute seinen Benchmark 2018 zu Push-Benachrichtigungen für Mobile Apps. Neben den neuesten Kennzahlen, Opt-In und Reaktionsraten nach Industriesektor, Kontinent und Land sind in diesem Jahr zum ersten Mal Statistiken zu den Reaktionsraten nach Wochentag und Uhrzeit dabei! (Und die Ergebnisse haben sogar uns überrascht).

    Neu sind außerdem die Statistiken zur Performance von In-App Nachrichten, die es ermöglichen 100% der App-User zu erreichen. Die Studie basiert auf 50 Milliarden Push-Benachrichtigungen, die von Januar bis Mitte Juni 2018 an 900 Millionen Kunden weltweit versandt wurden.

    Die offizielle Pressemitteilung finden Sie unter meiner Signatur.

    Alle Ergebnisse der Studie sind hier verfügbar:

    Der Accengage Benchmark für Push-Benachrichtigungen

    Wenn dieses Thema für Sie und Ihre Leser interessant ist, würde ich mich über eine kurze Rückmeldung sehr freuen!

    Herzliche Grüße,
    Nina

    –—
    Nina Meyer
    Marketing Manager Germany & International Events
    +33 1 44 56 87 10 - nmeyer@accengage.com
    Deutschland : Erkrather Str. 401 – 40231 Düsseldorf
    Frankreich : 31, rue du 4 Septembre - 75002 Paris

    Accengage veröffentlicht seinen Benchmark 2018 über Push-Benachrichtigungen für Mobile Apps mit exklusiven Statistiken zu den Reaktionsraten nach Wochentagen und Uhrzeit sowie der Performance von In-App Nachrichten.

    Düsseldorf, Donnerstag 28. Juni 2018 – Accengage, Europas führende SaaS Technologie für Push-Benachrichtigungen für Mobile Apps, Websites & Facebook Messenger, veröffentlicht seinen Push-Benchmark für Mobile Apps 2018.

    Die Studie basiert auf 50 Milliarden Push-Benachrichtigungen, die von Januar bis Mitte Juni 2018 an 900 Millionen Kunden weltweit versandt wurden. Der Benchmark ermöglicht Marketing / CRM / Digital / und Mobile-Experten, die Performance ihrer Push-Kampagnen zu vergleichen, und dank neuen Tipps und Erkenntnissen zu verbessern. Neben den Opt-In Raten (d.h. der Einwilligung zum Erhalt von Push-Benachrichtigungen) und den Reaktionsraten (Klickraten) für iOS und Android nach Industriesektoren, Kontinenten und Ländern zeigt die Studie zum ersten Mal auch Statistiken zu den Klickraten nach Wochentagen und Uhrzeit.

    Die durchschnittliche Opt-In Rate für Apps liegt 2018 bei 67,5%. Für iOS ist die Opt-In Rate im Vergleich zum Vorjahr von 43% auf 43,9% leicht angestiegen, für Android liegt sie bei 91,1%. Hier ist anzumerken, dass Android User nach dem Installieren einer App automatisch „opt-in“ sind und Benachrichtigungen anschließend deaktivieren können. Von iOS Nutzern ist hingegen eine aktive Zustimmung notwendig.

    Am höchsten ist die Opt-In Rate bei Apps aus der Finanzbranche (72,3%), gefolgt von der Reisebranche (70,2%) und dem E-Commerce (68%). Die hohen Opt-In Raten in der Finanz- und Reisebranche lassen sich u.a. durch die Art der versandten Benachrichtigungen erklären: diese Branchen schicken hauptsächlich personalisierte Service-Nachrichten, um ihre User in Echtzeit über für sie relevante Inhalte zu informieren.

    Zur Optimierung der Opt-In Rate für iOS rät Christiane Balu, Regional Manager DACH bei Accengage: „Fragen Sie den User beim ersten Öffnen der App nicht unvorbereitet, ob er ihre Push-Benachrichtigungen akzeptieren möchte. Es ist wichtig, den Usern zuerst den konkreten Mehrwert Ihrer Push-Benachrichtigungen zu erläutern.“

    Die Reaktionsrate auf Push-Benachrichtigungen liegt 2018 durchschnittlich bei 7,8%, mit 4,9% für iOS (ein Anstieg von 0,5% zum Vorjahr) und 10,7% für Android. Auch hier liegen die Reise- und Finanzbranche gefolgt vom E-Commerce auf den ersten Plätzen. Mit einer Reaktionsrate von 9,2% ist Deutschland im europäischen Ländervergleich Spitzenreiter vor Frankreich (8,9%) und Italien (8,8%).

    Eine Verwendung von Emojis kann die Reaktionsrate um durchschnittlich bis zu 20% steigern, innovative Formate wie GIFs und Videos verbessern die Klickrate sogar um durchschnittlich bis zu 25%. Die Kombination einer fortgeschrittenen Segmentierung z.B. nach Präferenzen der User, mit einer Personalisierung der Nachrichten kann die Reaktionsrate sogar vervierfachen. Auch das richtige Timing ist nicht zu vernachlässigen. Accengage veröffentlicht dazu in diesem Jahr zum ersten Mal Statistiken.

    Mit 8,4% Klickrate ist die Reaktion auf Push-Benachrichtigungen dienstags am höchsten. Die Reaktionsrate der User ist außerdem stark von der Tageszeit abhängig. Nutzer reagieren hauptsächlich außerhalb der Arbeitszeiten, d.h. in der Mittagspause oder nach Feierabend. Ein starker Anstieg ist ab 21 Uhr zu verzeichnen, um 23 Uhr steigt die Reaktionsrate sogar auf 11,4%. Zu diesem Zeitpunkt werden weniger Nachrichten versendet, viele User schauen ein letztes Mal auf Ihr Handy, bevor sie ins Bett gehen und reagieren z.B. beim Weckerstellen auf Push-Benachrichtigungen, die sie während des Tages erhalten haben.

    Bei In-App Nachrichten, die in der Applikation angezeigt werden, während der User diese verwendet, liegt die durchschnittliche Reaktionsrate bei knapp 22% (18,3% für das AlertBox-Format, 12,5% für kleinere Banner und 34,9% für ganzseitige Interstitials). Im Gegensatz zu Push-Benachrichtigungen gibt es bei In-App Nachrichten kein Opt-In System und segmentierte, personalisierte und automatisierte Nachrichten können an 100% der App-User gesendet werden. „Wir haben Kunden, die ihre User mit Push-Benachrichtigungen zurück in die App holen, dort In-App Nachrichten versenden und ihre Conversionrate somit verdoppeln konnten“, sagt Christiane Balu.

    Alle Resultate der Studie sind hier verfügbar: Der Benchmark 2018 zu Push-Benachrichtigungen

    Über Accengage

    Accengage (www.accengage.de) ist mit 100 Mitarbeitern Europas führender SaaS-Anbieter für Pushbenachrichtigungstechnologien für die Kanäle Apps, Webseiten & Facebook Messenger. Seit mehr als 8 Jahren ermöglicht die Software Marketing-Experten das Engagement, die Retention und Conversion Ihrer App-Anwender, Website-Besucher und Facebook Messenger Nutzer zu steigern.

    Die Technologie zeichnet sich durch ihre fortgeschrittenen Funktionen aus. So verfügt Accengage über die größte Formatauswahl der Branche: Rich Pushes mit Bildern / Videos / GIFs und Tönen, iOS Push-Karussell, In-App Banner, In-App Interstitials, In-App AlertBox, Inbox und vieles mehr. Es besteht die Möglichkeit zu Segmentierung, Location Based Marketing in Echtzeit (über Geomarketing, Geofencing und iBeacons) und dynamischer Personalisierung der Benachrichtigungen. Predictive Push sowie die Verknüpfungen mit einer Vielzahl von CRM und DMP-Lösungen (Salesforce, Adobe, Dymatrix, Crossengage…) sind ebenfalls verfügbar.

    Accengage ist in 70 Ländern auf 5 Kontinenten tätig. Pro Monat werden über 10 Milliarden Push- Benachrichtigungen an 900 Millionen Nutzer weltweit versendet. Zu den mehr als 500 internationalen Kunden zählen Zalando, Lidl, Rocket Internet, Otto Group, Idealo, Nestlé, Europcar, FlixBus, bonprix, ZDF, Thalys, AXA, Axel Springer, Lotto 24, McDonald’s, Air France-KLM, BNP Paribas, eDarling uvm.

    #publicité #www #business #argh


  • A Tale of Shortcuts for Android Studio & A Quick Pull Request
    https://hackernoon.com/a-tale-of-shortcuts-for-android-studio-a-quick-pull-request-6f6487d5739c

    A story of a pull request about shortcuts which improved my android development productivityPicture from Shortcuts.design WebpageWe, the developers, are always looking for shortest ways to complete our work, or fix that annoying bug, or finish that feature development, and so on. And these shortest ways eventually become shortcuts. For every kind of coding IDE from desktop software to mobile apps to websites to embedded software for IoT devices, there are lots of shortcuts to perform certain actions quickly.Its the speed and a way of using any IDE, which tells a great coder from a good coder.I have been coding and programming for last 7 years, and I have used lots of different IDEs and compilers for different kind of software such as Adobe Flash, Adobe Flex Builder, Microsoft Visual (...)


  • CodeWeavers Demo a Windows app Running on a Chromebook using Linux and Wine
    https://www.omgubuntu.co.uk/2018/06/install-windows-app-on-chromebook-crossover

    As you may know Google is bringing Linux apps to Chromebooks — but did you realise that the feature could pave the way for Windows apps, too? Yup, we’re talking Wine, the Windows software compatibility that is a staple part of the Linux app ecosystem. Be it for Adobe Photoshop or games like Fortnite and WoW, Wine […] This post, CodeWeavers Demo a Windows app Running on a Chromebook using Linux and Wine, was written by Joey Sneddon and first appeared on OMG! Ubuntu!.



  • Bolorsoft CEO and consultant discuss Unicode standard of Mongolian script – The UB Post
    27 avr. 2018
    By M.OYUNGEREL
    https://www.pressreader.com/mongolia/the-ub-post/textview
    (note : je reprends tout le texte ici car le format de Pressreader est très pénible, le UB Post n’a plus l’air d’être en ligne en version html et l’adresse ci-dessus n’a pas l’air très spécifique)

    Mon­gol News sat down with Founder of Bolor­soft Co. S.Badral and Con­sul­tant of Bolor­soft T.Jamiyansuren to dis­cuss the in­ter­na­tional stan­dard for Mon­go­lian script. Last week, they at­tended the Uni­code tech­ni­cal com­mis­sion meet­ing in San Jose, Cal­i­for­nia, USA to im­prove the ex­ist­ing Mon­go­lian script stan­dard/pho­netic model.

    $The public has just re­cently be­come aware of the con­tro­ver­sial sit­u­a­tion con­cern­ing the im­prove­ment of in­ter­na­tional stan­dard for Mon­go­lian script, which is whether to en­code with Mon­go­lian pho­netic model or with graphetic, like that used to en­code Chi­nese char­ac­ters. Since you have par­tic­i­pated in these dis­cus­sions, would you please give our read­ers in­for­ma­tion re­gard­ing this is­sue?

    *S.Badral: Uni­code is a com­pany of in­ter­na­tional char­ac­ter en­cod­ing stan­dards. It’s an in­te­grated consortium of cor­po­ra­tions which de­velop the en­cod­ing stan­dards for all the scripts in the world. In other words, it pro­duces one com­pre­hen­sive stan­dard which identifies the com­puter codes for Latin “a”, Cyril­lic “a”, Mon­go­lian “a”, and Chi­nese char­ac­ters. If the script in ques­tion is not en­coded by Uni­code stan­dards, all the global play­ers, such as Face­book, Google, Adobe, Ap­ple, Mi­crosoft, and IBM, would not sup­port it. That means the script will not be sup­ported on any op­er­at­ing sys­tem, com­puter, or phone. Al­though Mon­go­lian script was first en­coded based on a pho­netic model in 2000, small un­solved is­sues have caused it to drag out with­out a so­lu­tion for 17 to 18 years.

    So, dur­ing the Uni­code tech­ni­cal com­mis­sion meet­ing in Ho­hhot last Septem­ber, it was al­most de­cided that the cur­rent model is com­pletely wrong and a graphetic model de­vel­oped by Chi­nese ex­perts Liang Hai and Shen Yilei was nearly adopted. At that time, we flatly op­posed, say­ing, “Mon­go­lian script has let­ters, and it’s writ­ten by its pho­net­i­cally.

    ...In this last meet­ing, we have achieved our ob­jec­tive for the past few years and de­fended our her­itage...

    There­fore, we need to im­prove the ex­ist­ing pho­netic model in­stead of adopt­ing graphetic en­cod­ing”. With sup­port from the In­ner Mon­go­lian party, the graphetic model was not ap­proved. In this meet­ing too. Our dis­cus­sion re­volved around aban­don­ing the pho­netic model and chang­ing to the graphetic model.

    T.Jamiyansuren: Had we ap­proved the Uni­code stan­dard for Mon­go­lian script as the graphetic model that the Chi­nese de­vel­oped, it would’ve then been dis­cussed and ap­proved at the ISO in­ter­na­tional stan­dard meet­ing, and ev­ery­thing would’ve been over. Be­cause these two meet­ings were sched­uled right af­ter an­other, we tried very hard to not take it to the ISO meet­ing. That Uni­code tech­ni­cal com­mis­sion meet­ing was al­most like war.

    Do any state rep­re­sen­ta­tives take part in these im­por­tant meet­ings? What is the par­tic­i­pa­tion of the Mon­go­lian state and govern­ment in this in­ter­na­tional dis­cus­sion con­cern­ing na­tional script and cul­ture?

    S.Badral: Pre­vi­ously, rep­re­sen­ta­tives from the Agency for Stan­dard­iza­tion and Metrol­ogy and the In­sti­tute of Lan­guage and Lit­er­a­ture at the Mon­go­lian Acad­emy of Sci­ences reg­u­larly at­tended these meet­ings. But we don’t know why the is­sue has got­ten to this point. Be­fore we went to Ho­hhot in Septem­ber 2017, we viewed that the fu­ture of Mon­go­lian script re­lates to the na­tional in­ter­ests and in­tel­lec­tual in­de­pen­dence of Mon­go­lians and con­tacted the pres­i­dent. Pres­i­dent Kh.Bat­tulga then met us within 10 days of our re­turn, called the rep­re­sen­ta­tives of rel­e­vant or­ga­ni­za­tions, and or­dered them to ur­gently take nec­es­sary mea­sures. We de­ter­mined that an ac­tion plan to im­prove the Mon­go­lian scripts pho­netic model will be de­vel­oped by the Com­mu­ni­ca­tions and In­for­ma­tion Tech­nol­ogy Author­ity (CITA) and ap­proved by the Agency for Stan­dard­iza­tion and Metrol­ogy, and formed a work­ing group.

    How­ever, the work­ing group did noth­ing be­cause they didn’t have a bud­get. The Na­tional Se­cu­rity Coun­cil obliged them to send a re­port ev­ery week, but we have no idea what re­port was given or what work was done. The agency tried to dis­cuss the fund­ing is­sue in a govern­ment meet­ing, but was post­poned. By then, the bud­get dis­cus­sion had al­ready been con­ducted, hence, no so­lu­tion. Ba­si­cally, they took this is­sue very idly.

    Govern­ment Memo No. 54 was passed. In there, they as­signed six agen­cies to take care of the ex­e­cu­tion and fund­ing of this is­sue, three for each. While the Mon­go­lian script en­cod­ing im­prove­ment is­sue was bounced be­tween state or­ga­ni­za­tions like a ten­nis ball, it was time for the sched­uled meet­ing.

    T.Jamiyansuren: Ap­prox­i­mately 20 days be­fore we left, an­other work­ing group was es­tab­lished by the Min­istry of Ed­u­ca­tion, Cul­ture and Sci­ence, and they held a meet­ing. Dur­ing that meet­ing, there was some kind of talk, “What do we do . Ei­ther we give S.Badral and T.Jamiyansuren a state as­sign­ment, or no­tify them that they do not rep­re­sent the state”. A let­ter was sent to the Uni­code tech­ni­cal com­mis­sion stat­ing, “These two men do not have the right to rep­re­sent the state,” and that a per­son named Enkhdalai will be com­ing. Those two men have just re­turned from par­tic­i­pat­ing in that meet­ing. But po­lit­i­cal sug­ges­tions and con­clu­sions do not af­fect the Uni­code tech­ni­cal com­mis­sion meet­ing. They sent a per­son called Enkhdalai with a po­si­tion of con­sul­tant at CITA. We were in­tro­duced at the meet­ing.

    Did the Mon­go­lian rep­re­sen­ta­tives first met each other once they were at the meet­ing?

    S.Badral: Yes. We had ar­rived two days be­fore, met our trans­la­tor, and care­fully pre­pared the is­sues of con­cern and presentations. Uni­code tech­ni­cal com­mis­sion chose Gan­ba­yar Gan­sukh (G.Gan­ba­yar), a man who lives in Ok­la­homa, as our trans­la­tor. On our end, it was un­clear who was go­ing to voice the state po­si­tion even a week be­fore the meet­ing.

    T.Jamiyansuren: Uni­code Consortium be­lieved that CITA is of im­por­tance and had them at­tend as a li­ai­son mem­ber. The re­spon­si­bil­i­ties should be even higher in re­gard to this.

    Did you in­tro­duce a Mon­go­lian pho­netic model that you de­vel­oped your­selves, dur­ing the meet­ing?

    S.Badral: How could we have the Mon­go­lian script en­coded graphet­i­cally, like that of Chi­nese char­ac­ters on our watch? So, I and T.Jamiyansuren dis­cussed and co­op­er­ated with Mon­go­lian script ex­pert Lkhag­va­suren, and pre­pared a pre­sen­ta­tion on ways to im­prove the pho­netic model. We dis­cussed the dis­ad­van­tages of the ex­ist­ing model and ways to fix it, and proved it with a re­al­is­tic ex­am­ple. Af­ter three days of the meet­ing, the Uni­code tech­ni­cal com­mis­sion had a pos­i­tive at­ti­tude and said, “If we re­ally fix it like this, the model will be eas­ier and bet­ter”. That’s be­cause the graphetic model con­tains only char­ac­ters and not let­ters, which makes it com­pli­cated to sort, cat­e­go­rize, and de­velop etc. There would be many prob­lems such as iden­ti­fy­ing the text and spellcheck­ing it. The pro­posed graphetic model was not even for the clear Mon­go­lian script drawn, so it was hard for the user to write with the word in mind or even the root of the word . For in­stance, the “a” and “e” at the be­gin­ning, mid­dle, and end of a word, and “n”, were to be writ­ten by press­ing one “teeth” or aleph, and the “crown”, “tooth”, and “tail” (el­e­ments of Mon­go­lian script writ­ing) were to be au­to­mat­i­cally man­aged. This might break the Mon­go­lian think­ing and one but­ton will eas­ily break from too much pres­sure. I think the Uni­code tech­ni­cal com­mis­sion peo­ple started to un­der­stand it. The In­ner Mon­go­lians on the other hand, sug­gested to de­velop both the graphetic and pho­netic mod­els, maybe be­cause they were in a rush to de­cide on some so­lu­tion to pre­vent fur­ther drag out, or they lost faith in the pho­netic model.

    Any­how, main­tain­ing the pho­netic model which was to be aban­doned, fix­ing its bugs, and hav­ing a de­ci­sion made for it to be de­vel­oped with pref­er­ence is a big achieve­ment.

    So the rep­re­sen­ta­tives lis­tened to you and ac­knowl­edged your pre­sen­ta­tion. Isn’t the mes­sage “They don’t rep­re­sent the state” a way of sav­ing their skin in case some­thing went wrong?

    S.Badral: It just looks like that. Since last Septem­ber, that’s the stance our govern­ment held. In the first work­ing group meet­ing of the Min­istry of Ed­u­ca­tion, Cul­ture and Sci­ence, CITA rep­re­sen­ta­tives kept say­ing, “It’s not suit­able for pri­vate com­pany rep­re­sen­ta­tives be in­cluded in a state work­ing group, that’s pri­vate party in­ter­est,” so I even re­moved my­self from the work­ing group (laughs).

    T.Jamiyansuren: Be­cause the is­sue couldn’t have been qui­eted down, they had to send some­body as a rep­re­sen­ta­tive, which hap­pened to be Enkhdalai, as a con­sul­tant at CITA. I had the im­pres­sion that that per­son read and re­searched quite a lot too. But it’s not ef­fec­tive to have some­one who’s in­ter­ested in the Uni­code stan­dard of Mon­go­lian script read ready pre­pared ma­te­ri­als and retell them. You have to be metic­u­lous with your words, and be able to prove your point. His few un­sure words dur­ing his pre­sen­ta­tion had Chi­nese ex­perts stand up and say, “This is ex­actly why there should be a graphetic model”. Of course, it was not easy to give this much work in tight sched­ule to a per­son who lacked ex­pe­ri­ence.

    Peo­ple are say­ing that the Mon­go­lian govern­ment will pay at­ten­tion to our na­tional script be­fore the next Au­gust meet­ing to pre­vent the graphetic model from be­ing en­coded. Is there re­ally such dan­ger, or is ev­ery­thing be­hind us now?

    S.Badral: If we hadn’t given a pre­sen­ta­tion at this last meet­ing and changed the com­mis­sion’s un­der­stand­ing, our Mon­go­lian script re­ally would have been en­coded graphet­i­cally. But now, the Uni­code tech­ni­cal com­mis­sion has de­cided to de­velop both mod­els to ra­tio­nally solve the is­sue. That means we have to fix and im­prove our pho­netic model and in­tro­duce it to use. Even a sin­gle sym­bol can­not be changed once it’s reg­is­tered in the Uni­code stan­dard. There­fore, there’s a strict rule that we have to fix with­out chang­ing the pre­vi­ous one. In the meet­ing, we in­tro­duced a pos­si­ble so­lu­tion that we can im­prove it like that. So our govern­ment has to take care of this is­sue for this to con­tinue on a big­ger scale. We wouldn’t beg them if it was only tech­ni­cal work, but it’s re­lated to so­ci­ety, cul­ture, and pol­i­tics.

    T.Jamiyansuren: Some who un­der­stands the sig­nif­i­cance of this meet­ing are right when they say, “This was like the mod­ern Khi­agt agree­ment”. This is a mat­ter of whether Mon­go­lian script will ex­ist for the next five years, 500, or 5,000. When the rep­re­sen­ta­tives were asked for their opin­ion on the lo­ca­tion and time of the next meet­ing, In­ner Mon­go­lians sug­gested to ur­gently hold it in Ho­hhot, af­ter two months. But the Uni­code tech­ni­cal com­mis­sion head said, “The next meet­ing will be held at least six months later. There’s a sug­ges­tion to or­ga­nize it in Ulaan­baatar,” while our state rep­re­sen­ta­tive stayed quiet. We couldn’t, so we voiced our opin­ion. In other words, there will be a Uni­code meet­ing re­gard­ing this is­sue in Ulaan­baatar, at the end of Septem­ber. If it’s or­ga­nized well, it’s not ours but Mon­go­lia’s name that will bear the good name.

    It seems like we are greedy, hear­ing that the Chi­nese have de­vel­oped the graphetic model and en­code the Mon­go­lian script, when we don’t even use the Mon­go­lian script our­selves. There are some who say to stop co­op­er­a­tion with the Chi­nese and de­velop the script alone. What do you say about this?

    S.Badral: Lan­guages ex­ist through the use of its script. In the mod­ern times, peo­ple’s writ­ing has trans­ferred from hand­writ­ten notes to typ­ing on a com­puter or a phone. As for Mon­go­lian writ­ing, it has slipped into the list of en­dan­gered lan­guages be­cause there is no dig­i­tal us­age and no op­por­tu­nity to cre­ate con­tent. How can dig­i­tal con­tent be cre­ated when the Uni­code stan­dard of 18 years has a big prob­lem. There­fore, this is­sue will be im­me­di­ately fixed and in­tro­duced into use like Cyril­lic and Latin al­pha­bets. In terms of pos­ses­sion, it shall be­long to those who use it. In other words, Mon­go­lian script is not the prop­erty of Outer or In­ner Mon­go­lians. There could be Amer­i­cans, Ger­mans, British, Bel­gians, Ira­ni­ans, or peo­ple of any other coun­try who have stud­ied and uses Mon­go­lian script. They have the right to learn and use what­ever lan­guage and script they please. It’s im­por­tant we pro­vide that op­por­tu­nity. That’s why these in­ter­na­tional rep­re­sen­ta­tives are putting this much ef­fort into in­tro­duc­ing the Mon­go­lian script in dig­i­tal use. This script is a very im­por­tant world cul­tural her­itage.

    Why are you putting this much ef­fort and heart for the Mon­go­lian script?

    S.Badral: As for me, I’m a mem­ber of the Uni­code tech­ni­cal com­mis­sion Work­ing Group (WG)-2 and vol­un­teer of the WG3. I re­ceive in­for­ma­tion about this be­fore oth­ers. I’ve seen this as my civic du­ties and re­ported it to the state and govern­ment. Sec­ondly, Bolor­soft is a dig­i­tal lin­guis­tics com­pany. Mon­go­lians know that we have re­leased many prod­ucts re­lated to Mon­go­lian lan­guage and script. Al­though Cyril­lic writ­ing pro­grams are in the mar­ket, most users don’t know that it is based on Mon­go­lian script. That’s why we can’t aban­don it.

    Bolor­soft Co. is con­sid­ered a ma­jor provider in the de­vel­op­ment of Mon­go­lian script at Uni­code Consortium. That’s be­cause we were the first to cre­ate the Uni­code font for Mon­go­lian script and have it li­censed. This field was stag­nant since 2013, un­til we solved the Uni­code stan­dard for Mon­go­lian script is­sue. But those fonts be­came the be­gin­ning of big cor­po­ra­tions such as Google and Mi­crosoft. So, Uni­code Consortium al­ways invites us to their in­ter­na­tional meet­ings. We try to at­tend these meet­ings con­stantly to voice the in­ter­ests of Mon­go­lia, but we can’t al­ways due to the ex­pen­di­ture. But I see that there are peo­ple who are jeal­ous and spread ru­mors that we are try­ing to make money us­ing Mon­go­lian script. That’s the only thing they talked about in the last six months, politi­ciz­ing it. On the other hand, we are work­ing for Mon­go­lia’s in­ter­ests.

    If we were seek­ing profit from this, we wouldn’t be us­ing ar­ti­fi­cial in­tel­li­gence to de­velop Mon­go­lian lan­guage and writ­ing, but fi­nan­cial de­vel­op­ment. We are one of the first Mon­go­lian com­pa­nies de­vel­op­ing and us­ing ar­ti­fi­cial in­tel­li­gence. In this last meet­ing, we have achieved our ob­jec­tive for the past few years and de­fended our her­itage.

    • Débats et choix « techniques » (!) sur l’adaptation de l’écriture mongole ancienne en Unicode. Qui, de fait, ne fonctionne pas du tout.

      Une partie du problème vient du fait que l’écriture ancienne transcrit un état… ancien (voire très ancien) de la langue un peu comme ce qu’est le français médiéval au français moderne.

      La transcription en cyrillique, seule forme officielle de 1941 à 1990 a pratiquement éradiqué l’écriture traditionnelle qui n’était plus connue que de quelques érudits. Du moins, en Mongolie, car de son côté la Chine a conservé l’écriture ancienne pour la Mongolie Intérieure. Pendant la période « soviétique », les seuls documents en écriture ancienne provenaient donc de Hohhot (parfois Hu Hu Hot, à la mongole-chinoise, Khukh Khot, à la mongole).

      #mongol_bitchik

      https://fr.wikipedia.org/wiki/Mongol_bitchig



    • Petit test, sur des graphiques classiques, ici https://seenthis.net/messages/687122, avec les données du billet (nombre de buts en Coupe du Monde de football par année et par équipe)

      L’idée est vraiment interessante et on comprend assez bien la logique de représentation (repeat, break, stack,…) Mais on est plus dans la PoF (_proof of concept, depuis que je sais ce que c’est, ça me plait, mais, j’explicite le sigle…) parce qu’à l’usage, plein de choses vraiment pénibles…
      • l’enregistrement ne garde pas les choix de conceptions, en rouvrant, on se retrouve devant le tableau de données et tout à remonter (EDIT : faux, ça a l’air de marcher, je ne sais pas ce que j’ai fait…)
      • édition des éléments graphiques réduite au minimum notamment pas de undo (argh, ajouté au point précédent, ça devient l’enfer)
      • pas d’association d’étiquettes (ou je n’ai pas trouvé) idem d’image pour les bulles (les drapeaux des « pays » dans notre exemple)
      • pas vu où on pouvait redimensionner le canevas
      • pas de possibilité de fixer le type des données, déterminé automatiquement à l’importation (les années seront forcément numériques, sauf à les compléter d’un caractère alphabétique dans le tableau de données…)
      • aucune possibilité d’édition du tableau de données (bon, c’est normal) mais on aimerait pouvoir disposer de facilité du genre pourcentage en ligne, pourcentage en colonne (pour les rectangles empilés c’est contraignant, il faut l’avoir précalculé dans le fichier de données)
      • l’interface graphique se maitrise assez bien et il y a des choses qu’on aimerait trouver ailleurs (redimensionnement des échelles, p. ex.)
      • l’interface graphique se maitrise assez bien, mais il y a des moments où on aimerait avoir accès à un dialogue (ex. les choix initiaux font que l’échelle déborde plusieurs fois la largeur du canevas prévue ; il faut cliquer-tirer sur le curseur (au bout de l’axe) pour le ramener au bon endroit, sans qu’on dispose d’un défilement automatique au bord de la fenêtre…)

      Faut voir ce que ça autorise en graphique « non classique »…


  • Liste des alternatives aux produits Adobe, et multi-plateforme (Linux,Mac,Windows).

    On y retrouve les grands classiques (scribus, inkscape, …), mais pas que , notamment en video, ou en alternatives a AfterEffect, … bref de nouveaux jouets ^^

    Open Design : Freeware tools for Designers – UX Planet
    https://uxplanet.org/open-design-freeware-tools-for-designers-f7bdde99f2e0

    #design#applications#libre#opensource#multiplateformes



  • Who really contributes to open source | InfoWorld
    https://www.infoworld.com/article/3253948/open-source-tools/who-really-contributes-to-open-source.html

    Microsoft has been nipping at the top open source contributor position for years, but a new analysis by Adobe developer Fil Maj puts Microsoft into a whole other universe of contributions. Or, at least, of contributors.

    Using the GitHub REST API to pull public profile information from all 2,060,011 GitHub users who were active in 2017 (“active” meaning ten or more commits to public projects), Maj was able to pull the total number of corporate contributors to GitHub, with results that might surprise you.

    Which leaves us with Microsoft having twice the number of contributors of its next nearest competitor, Google. For those of us that were around when Microsoft castigated open source as a “cancer” and “anti-American,” this is a remarkable change of heart (or, as I’ve argued, a change of business model). Microsoft has long appreciated the value of developers, but Azure has given Microsoft license to embrace open source as a way to attract them to its platform.

    Meanwhile, Amazon, so often snubbed as an open source ne’er-do-well, comes in at No. 6 in the rankings, with close to 900 contributors. Amazon has perhaps not worn open source on its sleeve in quite the same was as Google and Microsoft have, but it remains a strong contributor to the projects that feed its developer community.

    Other takeaways? Chinese companies like Baidu, Tencent, and Alibaba, which have long been perceived to be net consumers of open source, actually contribute quite a bit. Ditto Oracle, a company to which I’m generally happy to hand out criticism, ranks very high amongst its legacy peers, largely due to its contributions to MySQL and Linux, though not exclusively so.

    #Logiciel_libre #Open_source #Developpeurs #Microsoft


  • Alléluia ! Le logiciel Darktable est enfin disponible sous Windows
    http://cheese.konbini.com/orange/alleluia-darktable-windows

    Pour les photographes qui ne souhaitent pas – ou ne peuvent pas – investir dans une licence Lightroom, qui coûte tout de même plus d’une centaine d’euros, il existe Darkable, un logiciel d’édition photo gratuit et open source, qui peut être une bonne alternative au logiciel d’Adobe.


  • How an A.I. ‘Cat-and-Mouse Game’ Generates Believable Fake Photos - The New York Times
    https://www.nytimes.com/interactive/2018/01/02/technology/ai-generated-photos.html

    At a lab in Finland, a small team of Nvidia researchers recently built a system that can analyze thousands of (real) celebrity snapshots, recognize common patterns, and create new images that look much the same — but are still a little different. The system can also generate realistic images of horses, buses, bicycles, plants and many other common objects.

    The project is part of a vast and varied effort to build technology that can automatically generate convincing images — or alter existing images in equally convincing ways. The hope is that this technology can significantly accelerate and improve the creation of computer interfaces, games, movies and other media, eventually allowing software to create realistic imagery in moments rather than the hours — if not days — it can now take human developers.

    In recent years, thanks to a breed of algorithm that can learn tasks by analyzing vast amounts of data, companies like Google and Facebook have built systems that can recognize faces and common objects with an accuracy that rivals the human eye. Now, these and other companies, alongside many of the world’s top academic A.I. labs, are using similar methods to both recognize and create.

    As it built a system that generates new celebrity faces, the Nvidia team went a step further in an effort to make them far more believable. It set up two neural networks — one that generated the images and another that tried to determine whether those images were real or fake. These are called generative adversarial networks, or GANs. In essence, one system does its best to fool the other — and the other does its best not to be fooled.

    “The computer learns to generate these images by playing a cat-and-mouse game against itself,” said Mr. Lehtinen.

    A second team of Nvidia researchers recently built a system that can automatically alter a street photo taken on a summer’s day so that it looks like a snowy winter scene. Researchers at the University of California, Berkeley, have designed another that learns to convert horses into zebras and Monets into Van Goghs. DeepMind, a London-based A.I. lab owned by Google, is exploring technology that can generate its own videos. And Adobe is fashioning similar machine learning techniques with an eye toward pushing them into products like Photoshop, its popular image design tool.

    Trained designers and engineers have long used technology like Photoshop and other programs to build realistic images from scratch. This is what movie effects houses do. But it is becoming easier for machines to learn how to generate these images on their own, said Durk Kingma, a researcher at OpenAI, the artificial intelligence lab founded by Tesla chief executive Elon Musk and others, who specializes in this kind of machine learning.

    “We now have a model that can generate faces that are more diverse and in some ways more realistic than what we could program by hand,” he said, referring to Nvidia’s work in Finland.

    But new concerns come with the power to create this kind of imagery.

    With so much attention on fake media these days, we could soon face an even wider range of fabricated images than we do today.

    “The concern is that these techniques will rise to the point where it becomes very difficult to discern truth from falsity,” said Tim Hwang, who previously oversaw A.I. policy at Google and is now director of the Ethics and Governance of Artificial Intelligence Fund, an effort to fund ethical A.I. research. “You might believe that accelerates problems we already have.”

    But many of us still put a certain amount of trust in photos and videos that we don’t necessarily put in text or word of mouth. Mr. Hwang believes the technology will evolve into a kind of A.I. arms race pitting those trying to deceive against those trying to identify the deception.

    Mr. Lehtinen downplays the effect his research will have on the spread of misinformation online. But he does say that, as a time goes on, we may have to rethink the very nature of imagery. “We are approaching some fundamental questions,” he said.

    #Image #Fake_news #Post_truth #Intelligence_artificielle #AI_war #Désinformation


  • Selon Ghostery, plus de 77 % des pages web contiennent au moins un traqueur
    https://www.nextinpact.com/news/105810-selon-ghostery-plus-77-pages-web-contiennent-au-moins-traqueur.ht

    Une chose est certaine : si l’internet est fait de quelque chose, c’est très probablement de chats, mais aussi de traqueurs venant fouiller dans nos habitudes. Ghostery a justement cherché à les recenser et à jauger de leur emprise sur le réseau, en s’appuyant sur les relevés de centaines de milliers d’internautes. Ghostery vient de publier une étude très documentée sur l’utilisation de traqueurs sur les sites web. Elle repose sur les statistiques anonymes récoltées auprès de 850 000 utilisateurs de (...)

    #Adobe #Google #DoubleClick #Amazon #Facebook #Google_AdSense #mail.ru #Yandex #cookies #tracker #publicité (...)

    ##publicité ##profiling


  • GIMP 2.9.8 Released with On-Canvas Gradient Editing, Better PSD Support
    http://www.omgubuntu.co.uk/2017/12/gimp-photo-editor-improve-gradient-tool

    GIMP 2.9.8 has been released with on-canvas gradient editing, better handling of Adobe Photoshop PSD files, and support for those using GIMP on Wayland. This post, GIMP 2.9.8 Released with On-Canvas Gradient Editing, Better PSD Support, was written by Joey Sneddon and first appeared on OMG! Ubuntu!.

    https://download.gimp.org/mirror/pub/gimp/video/v2.9/gimp-2-9-8-gradient-edit.mp4


    • Certaines choses intéressantes, mais l’éditeur qui ne fait toujours pas d’autocomplete des classes CSS connues détectées, en 2017, WTF, ça se faisait déjà il y a 15 ans. Que ce soit dans le champ « Classes » en mode graphique, ou dans l’éditeur de code. Un peu léger quand on vante un éditeur dédié au html-css…

      (Il est aussi très bugué aussi, en tout cas sur ubuntu là, j’ai passé beaucoup trop de de temps à le tester en galérant…)

    • Moi non plus et je comprends l’idée, mais quand même, ya des trucs qui existent depuis des années et des années, en libre et en pas libre, et qui ne sont toujours pas là dans un logiciel qui se dit dédié au html-css. Je veux dire commencer à taper « col- » et avoir la liste des classes qui commencent par ça, suivant ce qui a été détecté dans les feuilles déclarées, c’est un truc de méga-base quoi. En plus le pire c’est que le logiciel détecte bien la liste des classes déclarées, donc elle existe, juste à l’appeler dans un autocomplete quand on commence à taper…

      Du coup hier j’avais fait une petite recherche sur les trucs actuels existants hors Adobe et pendant ce temps ya des petites boites (pas adobe donc) qui font des trucs pas libres non plus (Bluegriffon il manque des trucs si on achète pas la licence aussi) mais mille fois plus complets, didactiques aussi (avec le DOM dans un panneau sur le côté, on peut tout déplacer en drag n drop, ça fait du code correct, etc) :
      https://pinegrow.com
      Et qui fonctionne avec l’éditeur Atom( libre) en synchro :
      https://pinegrow.com/pinegrow-atom.html

      Bref pour un projet de maquettes ergo, je voulais voir si on pouvait utiliser Bluegriffon avec un framework css déclarant des classes, et du coup avoir le meilleur de plusieurs mondes (ne rien styler soi-même un par un, mais avoir une interface graphique immédiate) mais c’est tellement laborieux… j’ai abandonné. C’est dommage, yorait du potentiel s’il ne manquait pas 2 ou 3 trucs vraiment de base pourtant… :
      – autocomplete des classes
      – dragNdrop facile du DOM (dans le wysiwyg et dans l’explorateur de DOM) : celui de Bluegriffon est NUL, il ne sert à rien, celui de Firefox est mille fois mieux alors que c’est pas un éditeur, tu peux y déplacer un nœud en 2s et tu peux « créer un nouveau nœud » quelconque pareil
      – impossible d’encapsuler la sélection courante dans un nouveau div…

      (ce sont juste des notes après test hein, j’en profite pour les mettre là)


  • Die A-Serie Phase One
    https://www.phaseone.com/de-DE/Products/A-Series.aspx

    Die A-IQ3-Serie mit 100MP
    Ein großer Augenblick für die künstlerische Fotografie
    Präzisionsobjektive, speziell kalibrierte Digitalbacks, sorgfältig gefertigte Komponenten und eine eigene Verarbeitungssoftware ermöglichen außergewöhnliche Qualität und einen innovativen Workflow. Phase One und ALPA haben es sich zum Ziel gesetzt, ein Kamerasystem für künstlerische Fotografen zu entwickeln, das in Sachen Ästhetik und Bildqualität beispiellos ist.

    Capture One Pro 10 Bildsoftware | PhaseOne
    https://www.phaseone.com/de-DE/Products/Software/Capture-One-Pro/Highlights.aspx

    Capture One vs. Lightroom | c’t Fotografie
    https://m.heise.de/foto/artikel/Capture-One-vs-Lightroom-3455310.html

    Der Raw-Konverter-Markt wird seit Jahren von Lightroom dominiert. Der aktuell vielversprechendste Herausforderer ist Capture One. In der Bildqualität kann Phase One Adobe schon länger Paroli bieten. Wir haben getestet, ob Capture One inzwischen auch als Gesamtpaket Lightroom ebenbürtig ist.

    Phase One (company) - Wikipedia
    https://en.wikipedia.org/wiki/Phase_One_(company)

    Phase One is a Danish company specializing in high-end digital photography equipment and software. They manufacture open platform based medium format camera systems and solutions. Their own RAW processing software, Capture One, supports many DSLRs besides their backs.

    #photographie #Danemark


  • This Script Helps Install Adobe Creative Cloud on Linux
    http://www.omgubuntu.co.uk/2017/10/install-adobe-creative-cloud-linux

    You can install Photoshop on Linux using PlayOnLinux using a new script. The script will install Adobe CC apps correctly on Ubuntu and other Linux distros. This post, This Script Helps Install Adobe Creative Cloud on Linux, was written by Joey Sneddon and first appeared on OMG! Ubuntu!.


  • Adobe Brackets 1.11 Released, Is ‘Fully Supported’ on Linux
    http://www.omgubuntu.co.uk/2017/09/adobe-brackets-1-11-released

    A new version of the Brackets text editor is available to download, and Adobe say the Linux build is ’at par with what you get on Mac and Windows’. This post, Adobe Brackets 1.11 Released, Is ‘Fully Supported’ on Linux, was written by Joey Sneddon and first appeared on OMG! Ubuntu!.


  • Long Before Photoshop, the Soviets Mastered the Art of Erasing People from Photographs — and History Too | Open Culture
    http://www.openculture.com/2017/08/long-before-photoshop-the-soviets-mastered-the-art-of-erasing-people-fr

    Toujours impressionnants cet effacement des gens assassinés par Staline. Quel inconfort historique de voir disparaître les traces du passé. Le négationisme peut s’installer et provoquer ainsi des crises majeures : sans histoire, nous sommes sans boussole.

    Adobe Photoshop, the world’s best-known piece of image-editing software, has long since transitioned from noun to verb: “to Photoshop” has come to mean something like “to alter a photograph, often with intent to mislead or deceive.” But in that usage, Photoshopping didn’t begin with Photoshop, and indeed the early masters of Photoshopping did it well before anyone had even dreamed of the personal computer, let alone a means to manipulate images on one. In America, the best of them worked for the movies; in Soviet Russia they worked for a different kind of propaganda machine known as the State, not just producing official photos but going back to previous official photos and changing them to reflect the regime’s ever-shifting set of preferred alternative facts.

    #Photographie #Histoire #Post_truth


  • Long Before Photoshop, the Soviets Mastered the Art of Erasing
    People from Photographs — and History Too | Open Culture

    http://www.openculture.com/2017/08/long-before-photoshop-the-soviets-mastered-the-art-of-erasing-people-fr

    Le commissaire disparait !

    Adobe #Photoshop, the world’s best-known piece of image-editing software, has long since transitioned from noun to verb: “to Photoshop” has come to mean something like “to alter a photograph, often with intent to mislead or deceive.” But in that usage, Photoshopping didn’t begin with Photoshop, and indeed the early masters of Photoshopping did it well before anyone had even dreamed of the personal computer, let alone a means to manipulate images on one. In America, the best of them worked for the movies; in Soviet Russia they worked for a different kind of propaganda machine known as the State, not just producing official photos but going back to previous official photos and changing them to reflect the regime’s ever-shifting set of preferred alternative facts.

    #manipulation #photographie


  • Evince 3.26 Will Let You View Adobe Illustrator & CBR Files
    http://www.omgubuntu.co.uk/2017/07/evince-3-26-will-let-view-adobe-illustrator-cbr-files

    Evince, the default document viewer on Ubuntu, is adding support for more file formats. The next stable release, Evince 3.26, due in October, will allow you to view Adobe Illustrator files on Linux without needing to install any additional software. “But wait!”, I hear you cry, “Evince can already do that!” This is sort of […] This post, Evince 3.26 Will Let You View Adobe Illustrator & CBR Files, was written by Joey Sneddon and first appeared on OMG! Ubuntu!.



  • Adobe Is Finally Killing Flash
    http://www.omgubuntu.co.uk/2017/07/adobe-flash-plugin-dead-2020

    Adobe has finally heard what the world has been screaming at it for years: Flash needs to die. It’s even given us the funeral date of 2020. This post, Adobe Is Finally Killing Flash, was written by Joey Sneddon and first appeared on OMG! Ubuntu!.