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http://www.lastday.jp/2010/08/26/useful-google-chrome-extension-for-twiiter
http://www.vimeo.com/14551679
http://www.pendrivelinux.com/linux-live-usb-creator/

Linux Live USB Creator

The Linux Live USB Creator is an awesome tool that can be used to install various Linux compilations, versions and distributions to a USB Flash Drive. The end result is a Bootable Live USB (in some cases with Persistence as well).  Created by Thibaut Lauzière, LiLi USB Creator formerly known as uSbuntu Live Creator, can create your Linux USB Flash Drive from a source Image, ISO or CD. It can also download the IMG or ISO for you. But it doesn't stop there. LiLi USB Creator can also install a Portable Virtualbox on the USB device. You can then either boot the Linux installation from inside Windows emulated using Virtualbox on USB or Boot from USB natively (if your computer supports booting from USB).

Note: This is one of our favorite GUI tool for creating a Linux Flash Drive from Windows! Thibaut's work is outstanding. However, you should know that this tool was created using autoit scripts and some antivirus software WILL report false positives.

Linux Live USB Creator Screenshot

Linux Live USB Creator

LiLi USB Creator Website: http://www.linuxliveusb.com

How to install and use Linux Live USB Creator

  1. Download Linux Live USB Creator and extract the zip to your PC
  2. Run LiLi USB Creator.exe from the Linux Live USB Creator Folder
  3. Simply follow Steps 1- 5 from the Menu. Once complete, you should have the Portable Linux Distribution you can carry with you in your pocket to run on any PC either emulated with Virtualbox Portable or natively.

The Linux Live USB Creator can currently create the following:

  • Ubuntu / Kubuntu / Xubuntu 9.10 & 9.04 Flash Drive
  • Ubuntu Netbook Remix 9.10 Flash Drive
  • CentOS 5.4 Flash Drive
  • Debian Live 5.0.2 Gnome/KDE/LXDE/xFce Flash Drive
  • Damn Small linux 4.4.10 Flash Drive
  • Puppy Linux 4.3.1 Flash Drive
  • Toutou Linux 4.1.2 Flash Drive
  • Gparted Live 0.4.6-1 Flash Drive
  • Clonezilla 1.2.2-31 Flash Drive
  • Fedora 11 (KDE / Gnome) Flash Drive
  • Kuki 2.8 Flash Drive
  • Mint 6 & 7 Main Edition Flash Drive
  • Crunchbang 9.04 Standard & Lite Edition Flash Drive
  • Super OS 9.04 Flash Drive
  • Experimental .IMG file to Flash Drive Support
  • Tiny Core 2.5
  • Slitaz 2.0
  • Parted Magic 4.6
  • PCLinuxOS
  • Slax
Disclaimer

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http://blog.sina.com.cn/u/1284139322
http://wiki.ubuntuusers.de/JAVA

ubuntuusers.de » Wiki » Java

Java

java_logo.png Java ist eine plattformunabhängige Programmiersprache. Alle Anwendungen, die in Java geschrieben wurden, können auf allen Plattformen genutzt werden, auf denen es Java gibt. Java wird in verschiedenen Varianten (von verschiedenen Unternehmen und Gruppen) und für alle wichtigen Betriebssysteme angeboten.

Installation¶

Die Installation von Java wird in einem eigenen Artikel behandelt.

Tipps¶

Tipps zu Java, z.B. zum Einstellen der zu verwendenden Java-Version, und andere Problemlösungen sind ebenfalls in einem separaten Artikel zu finden.

Geschichte¶

Java wurde von dem Unternehmen Sun Microsystems entwickelt und vertrieben. Es stand ursprünglich unter einer proprietären Lizenz: der Quellcode war zwar immer einsehbar, es durften jedoch keinerlei Änderungen daran vorgenommen werden. Außerdem gab es zunächst keine Java-Version, die unter Linux lauffähig war.

Das Unternehmen Blackdown entwickelte daher eine Version von Java, die von Linux-Anwendern auf verschiedenen Plattformen genutzt werden konnte. Später benutzte Sun unter anderem die Blackdown-Änderungen, um seinerseits eine Linux-Variante von Java zu erstellen. Diese ist allerdings bis heute nur auf der PC-Plattform lauffähig.

Neben diesen beiden Varianten wurde vom GNU-Projekt "GNU Classpath" als freie Implementierung der Standardklassenbibliotheken von Java geschaffen. Außerdem wurde der GNU Compiler für Java entwickelt. Diese Entwicklungen werden seither von vielen Open Source Anwendern gegenüber den SUN-Varianten bevorzugt, da sie unter der GPL stehen. Im November 2006 gab Sun jedoch bekannt, sein "Original-Java" zukünftig ebenfalls unter der GPL zu veröffentlichen.

Begriffe¶

Die Begrifflichkeiten sind aufgrund der komplizierten Geschichte, aber auch wegen der verschiedenen "Ausprägungen" von Java recht kompliziert. Daher sollen hier zunächst die wichtigsten Begriffe kurz erklärt werden.

JRE¶

Für die Ausführung von Java-Programmen ist die JRE notwendig. Mit JRE bezeichnet man das Java Runtime Environment (Laufzeitumgebung). Dieses sorgt dafür, dass in Java geschriebene Programme auf einer Plattform ausgeführt werden können. Ein JRE gibt es von Sun, Blackdown und dem GNU-Projekt. Für Entwickler, die selbst Java-Programme kompilieren wollen, ist diese Version nicht ausreichend - für Endanwender schon.

JDK/SDK¶

JDK ist die Abkürzung von Java Development Kit. Dieses Entwicklungswerkzeug für Java wird von Entwicklern benötigt, die selbst Java-Programme schreiben und kompilieren möchten. Das JDK enthält auch alle Programme der JRE. Diese braucht also nicht zusätzlich installiert zu werden.

Manchmal wird das JDK auch als Software_Development_Kit bezeichnet; ein Begriff, der auch für die Entwicklungswerkzeuge anderer Sprachen benutzt wird. Ein JDK bzw. SDK für Java gibt es ebenfalls von Sun, Blackdown und als freie Version.

JVM¶

JVM ist die Abkürzung für Java_Virtual_Machine. Die JVM ist der Teil der JRE, der für die Ausführung des Programmcodes eines Java-Programms verantwortlich ist. Beim Aufruf eines Java-Programms wird also die JVM aufgerufen, die den Bytecode interpretiert und das Programm ablaufen lässt. JVMs für Linux werden von Sun und Blackdown angeboten.

J2ME¶

Java ME {en}, früher auch als J2ME (Java 2 Platform, Micro Edition (J2ME) Wireless Toolkit) bekannt, wird speziell für die Entwicklung von Software für Mobiltelefone verwendet. Es muss manuell unter J2ME {en} heruntergeladen und installiert werden.

Versionen und Versionsnummern¶

Bis zur Version 1.4 wurden neue Versionen von Java sowohl von Sun als auch von Blackdown kontinuierlich hochgezählt. Dabei übernahm Blackdown immer die aktuelle Version von Sun und fügte eigene Änderungen hinzu. Auch die heute aktuell verfügbare Version von Blackdown trägt noch die Versionsnummer 1.4. Mit der Version nach Java 1.4 änderte sich auch die Bezeichnung der Versionsnummer. Von manchen wird die neue Version als 1.5 bezeichnet, von Sun selbst wurde die Versionsnummer 5 eingeführt. Daher kann es hier zu Verwirrungen kommen.

Von der Version 1.5 bzw. 5 gab es bisher 13 Aktualisierungen, die Verbesserungen mitbrachten und Sicherheitslücken korrigierten. Heute wird diese Java-Version allgemein mit Version 5 bezeichnet.

In Java 6 geschriebene Desktop-Anwendungen sehen nicht mehr typisch nach Java aus, sondern passen sich dem jeweiligem GTK-Theme an. Die Version 6 von Java gibt es aktuell nur von Sun.

Sun Java 7 wurde unter dem Namen OpenJDK unter der GPL veröffentlicht. Dadurch ist Java komplett Open Source und darf völlig frei verteilt werden. IcedTea wurde aus OpenJDK mit komplett freien Compilern hergestellt. IcedTea besteht zum größten Teil aus dem originalen Code. Einige Teile sind allerdings durch Code aus dem GNU Classpath-Projekt ersetzt, da sie nicht unter einer OpenSource-Lizenz verfügbar sind. IcedTea, welches vornehmlich von RedHat entwickelt wurde, war von Anfang an nur als eine Zwischenlösung geplant, bis es möglich war OpenJDK mit komplett freien Tools zu kompilieren.

Ab Ubuntu 8.04 Hardy Heron ist dies nun möglich und die IcedTea-Pakete wurden bis auf das Browser-Plugin komplett durch OpenJDK-Pakete ersetzt. Man darf sich dabei nicht von den Versionsnummern täuschen lassen: auch wenn OpenJDK die Version 6 besitzt und IcedTea die Version 7, sind die OpenJDK-Pakete trotzdem die aktuelleren.

intern¶

  • Java3D - Erweiterung von Java mit 3D-Funktionen

extern¶


Diese Revision wurde am 10. April 2010 um 10:18 Uhr von Masteredu erstellt.
Dieser Seite wurden folgende Begriffe zugeordnet: Programmierung, Internet

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http://www.movingimageeducation.org/

What is Moving Image Education?

Children experience moving images from earliest childhood. Cartoons, films, adverts, and all moving image media are very carefully constructed to tell stories and provoke feelings. They are a huge part of our culture.

Children learn intuitively to read this information so they can follow a story.

Moving Image Education is about helping young people to, analyse, question, explore and understand the meaning of what they are seeing.

The free activities, information and guidance available here are ideally suited to the Scottish Curriculum for Excellence and the Four Capacities across all subjects and everyone working with groups of young people of all ages and abilities.

Analyse

Watch films and learn to read them like books

Explore

All about the culture and heritage of moving images

Create

A full guide to making your own movies, starting with simple and exciting activities

Resources

Free films, worksheets and many other classroom resources

Forum

Share knowledge and experience


"...pupils were happy, so staff were happy, so management were happy... everybody enjoys the experience of MIE." Teacher in Brechin MIE pilot project

Enthuse and motivate your class.

-

Use our step by step guide to making your own film or video. Really understand the whole process.

Because teachers are often learning alongside their class we structure activities to help you all to learn together.

News

This site is funded by Creative Scotland working with film and education experts

http://joshduck.com/periodic-table.html

HTML5 Elements

The table below shows the 104 elements currently in the HTML5 working draft and two proposed elements (marked with an asterisk).

Periodic Table of the Elements

<html>

Document root element.

html

<col>

Columns in a table.

col

<table>

Table of multi-dimensional data.

table

<head>

First element of the HTML document. Contains document metadata.

head

<span>

Container with no semantic meaning.

span

<fieldset>

Set of form controls grouped by theme.

fieldset
form

<body>

Document content.

body

<h1>

Heading for the current section.

h1

<section>

Contains of elements grouped by theme, for example a chapter or tab box.

section

<colgroup>

Defines a group of columns in a table.

colgroup

<tr>

A row of cells.

tr

<title>

Document title.

title

<meter>

Control for entering a numeric value in a known range.

meter

<select>

Control for selecting from multiple options.

select

<aside>

Content related to surrounding elements that doesn't belong inline, such as a advertising or quotes.

aside

<h2>

Heading for the current section.

h2

<header>

Navigation or introductory elements for the current section.

header

<caption>

Title of a table.

caption
td

<meta>

Document metadata that can't be represented with other elements.

meta

<rt>

Annotation of preceeding text.

rt

<dfn>

Term being defined by the parent section.

dfn

<em>

Text that should be emphasised.

em

<i>

Text in a alternate voice or mood, such as a technical term.

i

<small>

An aside, such as fine print.

small

<ins>

Text that has been inserted during document editing.

ins

<hr>

Thematic break within a paragraph.

hr

<p>

Paragraph content.

p

<div>

Container with no semantic meaning.

div

<blockquote>

Quote from another source.

blockquote

<legend>

Define a name for a fieldset.

legend

<optgroup>

Group of option.

optgroup

<address>

Contact information for the current article.

address

<h3>

Heading for the current section.

h3

<nav>

Contains a collection of links.

nav

<menu>

Set of commands.

menu

<th>

Table heading.

th

<base>

Specifies URL which non-absolute URLs are relative to.

base

<rp>

Contains semantically meaningless markup for browsers that don't understand ruby annotations.

rp

<abbr>

Abbreviation or acronym.

abbr

<time>

Time defined in a machine readable format.

time

<b>

Stylistically separated text of equal importance, such as a product name.

b

<strong>

Text that is important.

strong

<del>

Text that has been removed during document editing.

del
br

<figcaption>

Caption for a figure.

figcaption

<ol>

Ordered list.

ol

<dl>

List of term-description pairs.

dl

<label>

Caption for a form control.

label

<option>

Single option within a select control.

option

<datalist>

Define sets of options.

datalist

<h4>

Heading for the current section.

h4

<article>

Section of the page content, such as a blog or forum post.

article

<command>

Command the user can perform, such as publishing an article.

command

<tbody>

Contains rows that hold the table's data.

tbody

<link>

Other resources related to the document.

link

<noscript>

Contains elements that are part of the document only if scripting is disabled.

noscript
q

<var>

Mathematical or programming variable.

var

<sub>

Subscript text.

sub

<mark>

Text highlighted for referencing elsewhere.

mark

<kbd>

Example input (usually keyboard) for a program.

kbd

<wbr>

Opportunity for a line break.

wbr

<figure>

Contains elements related to single concept, such as an illustration or code example.

figure

<ul>

Unordered list.

ul

<dt>

Term which will be described.

dt

<input>

Generic form input.

input

<output>

Contains the results of a calculation.

output

<keygen>

Generates private-public key pairs.

keygen

<h5>

Heading for the current section.

h5

<footer>

Footer of the current section.

footer

<summary>

Caption of a details element.

summary

<thead>

Contains rows with table headings.

thead

<style>

Styling defined inline data.

style

<script>

Inline or linked client side scripts.

script

<cite>

Title of a referenced piece of work.

cite

<samp>

Sample output of a program.

samp

<sup>

Superscript text.

sup

<ruby>

Contains text with annotations, such as pronounciation hints. Commonly used in East Asian text.

ruby

<bdo>

Defines directional formatting for content.

bdo

<code>

Fragment of code.

code

<pre>

Text that is preformatted in the HTML code.

pre
li

<dd>

Description for the preceeding term.

dd

<textarea>

Multiline free-form text input.

textarea

<button>

A button.

button

<progress>

Control for displaying progress of a task.

progress

<h6>

Heading for the current section.

h6

<hgroup>

Collection of headings for the current section. The highest ranked heading repesents the group in the document outline.

hgroup

<details>

Contains additional information, such as the contents of an accordian view.

details

<tfoot>

Contains rows with summary of data.

tfoot
img

<area>

Hyperlink area in an image map.

area

<map>

Image map for adding hyperlinks to parts of an image.

map

<embed>

Reference to non-HTML content.

embed

<object>

External resource such as an image, iframe or plugin.

object

<param>

Parameters for the parent object.

param

<source>

Alternative sources for parent video or audio elements.

source

<iframe>

Nested browser frame.

iframe

<canvas>

Bitmap which is editable by client side scripts.

canvas

<track>

Specifies external timing track for media elements.

This element is still being drafted.

track*

<audio>

Audio file.

audio
video

<device>

Allows scripts to access devices such as a webcam.

This element is still being drafted.

device*
  • Root element
  • Text-level semantics
  • Forms
  • Tabular data
  • Metadata and scripting
  • Grouping content
  • Document sections
  • Interactive elements
  • Embedding content
http://www.coolgeex.com/iPhoneSign/

iPhone Signature Creator

iPhone Signature Creator - Version 2

Create your HTML iPhone signature in no time.

  • Best Regards, Thank You, What ever you want

  • Enter your title here

  • Enter company name here

  • Please enter the signature email

  • Choose phone number Label (Leave blank to use: )

  • - - -

    Enter your phone number here

  • Choose phone number Label (Leave blank to use: )

  • - - -

    Enter your phone number here

  • Choose fax number Label (Leave blank to use: )

  • - - -

    Enter your fax number here

  • Please upload Logo Image, File size should be no more 40KB (JPEG, GIF);

  • Enter the web page address for your logo

  • This fields are optional, Please Check the ones that you want display.

  • Enter FaceTime Number If diffrent from Phone 1

  • Enter Your Twitter URL

  • Enter Your Facebook URL

  • Enter Your Linkedin URL

  • Enter Your Skype User Name

  • Choose pin number, you are going to need it the first time you using your signature

This Tool Provided For Free - Please Share with the World
Share
http://jillcataldo.com/
http://www.livrariacultura.com.br/scripts/cultura/index.asp
http://www.bunkus.org/videotools/mkvtoolnix/downloads.html

MKVToolnix -- Cross-platform tools for Matroska

Downloads

Arch Linux

Giovanni Scafora is maintaining packages for libebml, libmatroska and MKVToolNix in Arch's [extra] repository. You can install MKVToolNix with the simple command pacman -S mkvtoolnix

You can also view the package sites for libebml, libmatroska and MKVToolNix.

CentOS 5.5 and RedHat Enterprise Linux 5.5

I host i386 and x86_64 binaries for CentOS / RedHat 5.5 of MKVToolNix, libebml and libmatroska.

I provide yum repositories for all the packages. First you can add that yum repository with the following command:

sudo rpm -Uhv http://www.bunkus.org/videotools/mkvtoolnix/centos/bunkus-org-repo-1-2.noarch.rpm

My packages depend on some other packages from the EPEL project. Therefore you also need to enable the EPEL repository by issuing the following command:

sudo rpm -Uvh http://download.fedora.redhat.com/pub/epel/5/i386/epel-release-5-3.noarch.rpm

Last you can install MKVToolNix with the following command:

sudo yum install mkvtoolnix

If you want to compile MKVToolNix yourself then also install libebml and libmatroska with the following command:

sudo yum install libebml-devel libmatroska-devel

You can also browse the download directories for your version: CentOS/RedHat 5.5.

Debian packages

I provide i386 and Amd64 binaries for MKVToolNix for Debian stable (lenny), testing (squeeze) and unstable (sid). Binaries for libebml-dev and libmatroska-dev are already part of the current Debian/stable (lenny), but I usually provide the latest version in my local apt repository because those are often needed for building MKVToolNix.

You can access the packages by adding the appropriate lines to your /etc/apt/sources.list:

Version APT source
Stable (aka "lenny") deb http://www.bunkus.org/debian/lenny/ ./
deb-src http://www.bunkus.org/debian/lenny/ ./
Testing (aka "squeeze") deb http://www.bunkus.org/debian/squeeze/ ./
deb-src http://www.bunkus.org/debian/squeeze/ ./
Unstable (aka "sid") deb http://www.bunkus.org/debian/sid/ ./
deb-src http://www.bunkus.org/debian/sid/ ./

Now simply run apt-get update followed by apt-get install mkvtoolnix mkvtoolnix-gui. Note that you only need the MKVToolNix packages as the libraries are linked statically. If you want to write your own tools you can also install libebml-dev and libmatroska-dev as well.

I also sign my pools with my private GPG key. If you have a recent version of apt-get which supports such signed packages then you can import my public GPG key into it. It is available on my server. Just download it and then call apt-key add gpg-pub-moritzbunkus.txt as root.

Debian Sarge and Debian Etch: I don't provide current binaries for these older distributions anymore. You can still get the last version provided by adding these lines to your /etc/apt/sources.list:

Version APT source
"sarge" deb http://www.bunkus.org/debian/sarge/ ./
deb-src http://www.bunkus.org/debian/sarge/ ./
"etch" deb http://www.bunkus.org/debian/etch/ ./
deb-src http://www.bunkus.org/debian/etch/ ./

FreeBSD

You can find MKVToolNix and its GUI as a port on freshports.org.

Gentoo

Thanks to Martin Holzer Gentoo does already contain ebuilds for MKVToolNix which you can simply install.

MacOS X 10.x

Note: I don't own a Mac nor do I have access to one. Therefore I do not support the binary packages available below as they were all contributed by third parties.

Current versions of MKVToolNix are supplied by the MacPorts project. At the moment v3.2.0 is available there. You have to install MacPorts itself. Afterwards installing MKVToolNix is as easy as typing sudo port install mkvtoolnix.

Older binaries were provided by other users and are available here in case the MacPorts version does not work.

Thanks to JonThn from the doom9 forum there's a universal (32/64bits) package for Leopard/Snow Leopard, Intel platform only for MKVToolNix v3.2.0. You can get it from his homepage. Some older versions for Leopard(Intel only) may be available as well.

Thanks to two users I can offer universal binary packages for version 2.3.0. As I don't own a Mac and cannot test how well the binaries work I'm offering both so that you have an alternative to try if something goes wrong.

The first package was built by Ray Kohler. It will only work on Mac OS X 10.5 Leopard and does not contain the GUI mmg. Download the package here.

The second package was built by Damiano Galassi. It should work on older versions of Mac OS X 10 and contains the GUI mmg. Download the package here.

In case of trouble you can find older binaries of MKVToolNix in the macosx directory.

Mandriva

Götz Waschk is so kind as to build RPM packages for Mandriva (formerly Mandrake) You can get them from Easy URPMI. In order to get the current version you have to add the Cooker contribs package source. The contribs source for the stable version might only contain an outdated version of MKVToolNix.

NetBSD

You can find MKVToolNix and its GUI in the pkgsrc tree as multimedia/mkvtoolnix and multimedia/mmg, maintained by Lubomir Sedlacik.

Fedora Core 9 - 13

I host i386 and x86_64 binaries for Fedora Core 9 - 13 of MKVToolNix. Fedora Core 4 and newer already contains libebml and libmatroska packages. However I also provide packages for both libraries if they're newer than the official ones because they're needed if you want to compile MKVToolNix yourself.

I provide yum repositories for all the packages. All you have to do is execute the following two commands:

sudo rpm -Uhv http://www.bunkus.org/videotools/mkvtoolnix/fedora/bunkus-org-repo-1-2.noarch.rpm

sudo yum install mkvtoolnix

If you want to compile MKVToolNix yourself then also install libebml and libmatroska with the following command:

sudo yum install libebml-devel libmatroska-devel

You can also browse the download directories for your version: Fedora Core 9, Fedora Core 10, Fedora Core 11, Fedora Core 12 and Fedora Core 13.

Redhat 9 and Fedora Core 1 - 8: I don't provide updated binary packages for current MKVToolNix versions for these distributions anymore. However, older binary packages can still be found in these download directories: Redhat 9 / Fedora Core 1, Fedora Core 2, Fedora Core 3, Fedora Core 4, Fedora Core 5, Fedora Core 6, Fedora Core 7 and Fedora Core 8.

Slackware 10.2, 11.0 and 12.0

Andreas Liebe has let me know that he created binary packages of libebml, libmatroska and MKVToolNix for 10.2, 11.0 and 12.0 They are available from his webspace at andreasliebe.de. There you can find the packages for Slackware 10.2 , Slackware 11.0 and Slackware 12.0 .

Another way to get MKVToolNix running on the latest Slackware is to download the build script available on Slackbuilds.org and running it. It will do everything for you. This script was provided by Andrew Strong.

openSuSE 11.x

Here are some binaries and source RPMs for MKVToolNix for openSuSE 11.0, 11.1, 11.2 and 11.3. openSuSE already contains libebml and libmatroska packages. However I also provide packages for both libraries if they're newer than the official ones because they're needed if you want to compile MKVToolNix yourself.

Pick what you need from this download matrix:

RPMs:

Source RPMs:

Thanks to the work of Stefan Seyfried RPMs for SuSE 9.2 and newer including openSuSE are available for various architectures from the SuSE FTP server or from one of its mirrors.

Older versions: I don't provide updated binary packages for MKVToolNix for versions up to and including openSuSE 10.3. Older versions can still be found in the download directories for each distribution: SuSE 9.0, SuSE 9.1, openSuSE 10.0, openSuSE 10.1, openSuSE 10.2 and openSuSE 10.3.

Ubuntu "Gutsy Gibbon", "Hardy Heron", "Intrepid Ibex", "Jaunty Jackalope", "Karmic Koala", "Lucid Lynx"

I provide i386 and Amd64 binaries for MKVToolNix. Binaries for libebml-dev and libmatroska-dev have been part of Ubuntu since "Gutsy Gibbon", but I usually provide the latest version in my local apt repository because those are often needed for building MKVToolNix.

You can get the package by adding the following lines to your /etc/apt/sources.list:

Version APT source
7.10 "Gutsy Gibbon" deb http://www.bunkus.org/ubuntu/gutsy/ ./
deb-src http://www.bunkus.org/ubuntu/gutsy/ ./
8.04 "Hardy Heron" deb http://www.bunkus.org/ubuntu/hardy/ ./
deb-src http://www.bunkus.org/ubuntu/hardy/ ./
8.10 "Intrepid Ibex" deb http://www.bunkus.org/ubuntu/intrepid/ ./
deb-src http://www.bunkus.org/ubuntu/intrepid/ ./
9.04 "Jaunty Jackalope" deb http://www.bunkus.org/ubuntu/jaunty/ ./
deb-src http://www.bunkus.org/ubuntu/jaunty/ ./
9.10 "Karmic Koala" deb http://www.bunkus.org/ubuntu/karmic/ ./
deb-src http://www.bunkus.org/ubuntu/karmic/ ./
10.04 "Lucid Lynx" deb http://www.bunkus.org/ubuntu/lucid/ ./
deb-src http://www.bunkus.org/ubuntu/lucid/ ./

Now simply run apt-get update followed by apt-get install mkvtoolnix mkvtoolnix-gui. Note that you only need the MKVToolNix packages as the libraries are linked statically. If you want to write your own tools you can also install libebml-dev and libmatroska-dev as well.

I also sign my pools with my private GPG key. If you have a recent version of apt-get which supports such signed packages then you can import my public GPG key into it. It is available on my server. Just download it and then call apt-key add gpg-pub-moritzbunkus.txt as root.

"Dapper Drake", "Edgy Eft" and "Feisty Fawn": I don't provide updated binary packages for current MKVToolNix versions for these distributions. However, older versions can still be installed by adding these lines to your /etc/apt/apt.conf and following the instructions above:

Version APT source
6.04 "Dapper Drake" deb http://www.bunkus.org/ubuntu/dapper/ ./
deb-src http://www.bunkus.org/ubuntu/dapper/ ./
6.10 "Edgy Eft" deb http://www.bunkus.org/ubuntu/edgy/ ./
deb-src http://www.bunkus.org/ubuntu/edgy/ ./
7.04 "Feisty Fawn" deb http://www.bunkus.org/ubuntu/feisty/ ./
deb-src http://www.bunkus.org/ubuntu/feisty/ ./

Windows

Thanks to Cygwin and MinGW there are binaries for Windows available. The current version v4.2.0 is available as an installer and as a 7zip archive.

All releases are available from the download directory.

Please note that starting with v2.3.0 I do not provide binaries for non-Unicode enabled versions of Windows (95, 98, ME, NT). You can still download the non-Unicode version 2.2.0.

Zenwalk Linux

Frédéric Boulet is maintaining packages for libebml, libmatroska and MKVToolNix in Zenwalk's [extra] repository. You can install MKVToolNix with the simple command netpkg mkvtoolnix or with the graphical utility xnetpkg.

Others

Unfortunately I do not have access to other distributions and cannot provide binaries for other distributions. If you're interested in providing binary packages for other distributions then please contact me. You'll find my email address on the contact page.

http://www.sparkleshare.org/

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News: August 14, 2010
SparkleShare 0.2 Alpha 2 for Linux

I’m happy to announce the second Alpha release for SparkleShare. Please be aware that this is a development release and therefore should not be used in production environments. Although it’s much better than the previous version, it’s still known to snatch some kittens occasionally.

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by Lapo Calamandrei and Jakub Steiner
http://clientsfromhell.net/

Clients From Hell

  • I don’t care if the text doesn’t make sense, it looks symmetrical now.
  • Client: “I received your quote. Would you like to know what I think of it?

    Me:  “Yes?”

    Client: (Places both hands around his throat, sticks out his tung, rolls his eyes and starts making loud, guttural choking noises)

  • Please erase all other google search results showing our competitors websites immediately. If you cannot do this, we’ll be forced to take legal action against you.
  • Really, I’m not.

    My client wanted me to meet with his boss and asked me to ride with him. I agreed and got into the passenger seat of his car where I immediately noticed part of a girl’s weave on the floor.

    Me: “What’s the hair on your floor from?”

    Client: “Oh that’s just pet hair. Some dog or something must have left it behind.”

    Me: “(Slight confused pause, knowing I should not press the matter but too curious to not continue) This is definitely human hair. I can see the end of the weave.”

    Client: “Oh, well, um, no. I think it’s probably dog hair. It must be dog hair. (Long pause) Maybe it’s hair, I don’t know. It’s not like I’m a murderer or anything. Don’t go snooping for fingernails or anything like that. (Awkward laugh)”

    Me: “(Long pause with probably a somewhat quizzical look on my face) Yea.. I wasn’t thinking that at—”

    Client: “And I’m not a cross-dresser or anything like that. I’m not gay. (Long pause) Can we not talk about this anymore? I’d like to just act like this conversation didn’t happen.”

    Me: “Yea, that’s perfectly fine.”

    Client: “I’m really not gay.”

    (Nothing was then said for the rest of the 25 minute car ride.)

  • No questions asked

    I can’t pay for this right now, but I have about a dozen old computers in my garage. I’ll tell you what: If you design this for me, I’ll give you an hour alone in there with no questions asked.

  • Client: “I am having a problem closing my cup holder on my computer. Can you help me?”

    Me: “Your computer does not have a cup holder, are you talking about your CD-ROM drive?”

    Client: “Oh is that what its for?”

  • “I don’t want any sound on the commercial, the text needs to be smaller, and the logo is up for too long.  I want this commercial to be like an Easter egg hunt.  I want people to have to look for information and search for the logo.”

    [A few months later we were making a “Going Out of Business” commercial.]

  • Unfortunately we do not like any of your logos so we will stop working with. That also means we cannot pay you. We posted the job on designcrowd.com now and are sending you the link in case you want to participate in the contest.
  • You mean every time you do work for us, you charge us?
  • Me: “Worst case scenario, you can just email the text in the body of an email.”

    Client: ”I will print, scan to pdf and resend via email shortly.”



A collection of anonymously contributed client horror stories from designers.

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http://cogweb.ucla.edu/CogSci/index.html
Debate
CogWeb
EvPsych
Cognitive Science
Philosophy, Linguistics, and Experimental Psychology

(revised 1 January 2005)

No frames

 

Cognitive Science pursues a scientific understanding of the mind through all available methodologies, notably those of anthropology, artificial intelligence, computer science, education, linguistics, logic, neuroscience, philosophy and psychology, in whatever combinations are most appropriate to the topic at hand. --Annual Meeting of the Cognitive Science Society


The First Cognitive Revolution (bibliography)

The Second Cognitive Revolution (bibliography)
Next
Evolutionary PsychologyGlossaryCogWebIntroduction and DebateEvolutionary PsychologyCognitive Cultural StudiesBibliography
© 2001Francis F. Steen, Communication Studies, University of California, Los Angeles
http://xkcd.com/788/

The Carriage





The Carriage

Permanent link to this comic: http://xkcd.com/788/

Image URL (for hotlinking/embedding): http://imgs.xkcd.com/comics/the_carriage.png

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Warning: this comic occasionally contains strong language (which may be unsuitable for children), unusual humor (which may be unsuitable for adults), and advanced mathematics (which may be unsuitable for liberal-arts majors).

We did not invent the algorithm. The algorithm consistently finds Jesus. The algorithm killed Jeeves.
The algorithm is banned in China. The algorithm is from Jersey. The algorithm constantly finds Jesus.
This is not the algorithm. This is close.



This work is licensed under a Creative Commons Attribution-NonCommercial 2.5 License.
This means you're free to copy and share these comics (but not to sell them). More details.
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Rich access to video lectures and talks

searching 12072 talks and lectures
http://speckyboy.com/2010/06/17/top-10-icon-search-engines-and-libraries/
http://www.oxfam.org.uk/education/resources/water_for_all/water/photoactiv/index.htm


Introductory activity: Every picture tells a story

Tracking the consequences of water shortage

This introductory page takes you through a discussion-based activity using the two photographs below, and links to an online slide show to use with your pupils.

Kipsaraman, Kenya: a locked water tap, showing what a precious commodity water is in this area Picture One was taken in the Kenyan village of Kipsaraman. The padlock demonstrates how precious the water supply is in the area.
Liberia: collecting water from a water pump in the Perrytown camp for the displaced, outside Monrovia Picture Two was taken in the Perrytown camp for displaced people, outside Monrovia in Liberia. The installation of water pumps has brought considerable relief to the people here, even if the lever is tough for young arms to pump!
(Technology doesn’t always take into account the size, age or abilities of those who have to use it!)

 

> Click here to start the online slide show for your pupils

 

Learning objectives

Going short of water has many consequences in people’s lives.
These kinds of consequences would apply to anyone, no matter where they live.


You need:

Copies or projected displays of ‘padlocked tap’ image, ‘girl at pump’ image and of the framework used for tracking consequences; a flip chart; large sheets of paper for group diagrams.


What to do:

  • Ask the children to look at the first photograph [padlocked tap]. What things do they notice about the picture? (That it's outdoors, rural maybe, the padlocked tap.) Ask, Why might the tap be padlocked? (E.g. shortage of water, there's a war and the enemy want to prevent access to water.)
  •  

    In fact, although your pupils might think the padlock is there to deny people access to water, it is meant to conserve water. The people in this village in Kenya have agreed to take water from the tap they share for just a few hours each day. The land can be dry and water is very precious.

  • Ask, What kinds of things could we be doing to conserve water? Should we have a lock on the water supply from time to time?
  • Ask them to imagine that when they go home tonight they find that the water supply has been shut down. Ask, How would being without water affect you and those around you?
  • Scribe some of their initial suggestions. Are any of their suggestions linked? Does one thing sometimes lead to another?
  • Show the sample diagram for tracking consequences. Explain how it shows that one thing leads to another, which leads to still more problems.
  • As a class, work through one set of likely consequences on a flip chart (retain for future reference).
  • In groups, ask the children to have a go at tracking consequences in a similar way to the sample diagram. If time is short, advise them that it may be best to track one consequence as far as they can.
  • Get feedback from the groups on the examples they have tracked. Are there similar lines of thought? Do some groups break into new ideas for consequences?
  • Can the children begin to understand the enormity of having insufficient reliable water in or near home? Can they also see that the consequences would apply to anyone in that situation, wherever they live in the world?
  • Ask the children to look at the second photograph [girl at pump]. Ask, What do you notice about this photograph?
  • Tell the group: This pump is the main water supply for this girl in Liberia. Without it she could face the same kinds of consequences that you have already identified.
  • Now say: Imagine – water was short but now it’s back on! Display the photo and ask the group to suggest all the positive words they can think of to place around its edge.
  • Ask the group to suggest, and agree on, captions or titles for the two photographs.

Next steps

We recommend that you follow this activity with Lesson 2: Quiz – going short of water which matches potential causes of water shortage to pictures.

Further development

Keep the children’s sheets handy so they can be re-examined following the case study information.

 

> Click here to start the online slide show for your pupils.

 
 

Oxfam GB is a ltd company, reg in London No 612172,
Oxfam House, John Smith Drive, Cowley, Oxford, OX4 2JY
Reg. charity No 202918. Oxfam GB is a member of Oxfam International
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Oxfam logo: Click here to visit the main Oxfam GB website Oxfam Education: Click here to visit Oxfam's website for teachers and children Locked tap: Click here for the learning activity associated with this image Click here for the introduction to Water for All

http://community.citrix.com/display/xs/Debian+Lenny
http://www.cyberciti.biz/tips/server-provisioning-software.html

Top 5 Open Source Linux Server Provisioning Software

by Vivek Gite · 10 comments

Server provisioning is nothing but load the Linux or UNIX like operating systems automatically with actual operating systems, device drivers, data, and make a server ready for network operation without any user input. Typically you select a server from a pool of available servers, load the operating systems (such as RHEL, Fedora, FreeBSD, Debian), and finally customize storage, network (IP, gateway, bounding etc), drivers, applications, users etc. Using the following tools you can perform automated unattended operating system installation, configuration, set virtual machines and much more. These software can be used to install a lot (say thousands) of Linux and UNIX systems at the same time.

Kickstart

From the official Redhat guide:

Many system administrators would prefer to use an automated installation method to install Red Hat / CentOS / Fedora Linux on their machines. To answer this need, Red Hat created the kickstart installation method. Using kickstart, a system administrator can create a single file containing the answers to all the questions that would normally be asked during a typical Red Hat Linux installation. Kickstart provides a way for users to automate a Red Hat Enterprise Linux installation.

Kickstart Configurator allows you to create or modify a kickstart file using a graphical user interface, so that you do not have to remember the correct syntax of the file.

Fig.01: RHEL - Kickstart Configurator

Fig.01: RHEL - Kickstart Configurator

Fully Automatic Installation (FAI)

FAI is a non-interactive system to install, customize and manage Linux systems and software configurations on computers as well as virtual machines and chroot environments, from small networks to large-scale infrastructures and clusters. It is a tool for fully automatic installation of Debian and other Linux Distributions such as Suse, Redhat, Solaris via network, custom install cd, or into a chroot environment. Some people also use it to install Windows.

FAI Features

  1. Installs and updates Debian, Ubuntu, SuSe, RHEL, CentOS, Fedora, Mandriva, Solaris, etc
  2. Centralized deployment and configuration management
  3. Integrated disaster recovery system
  4. Easy set up of software RAID and LVM
  5. Installs XEN domains, VirtualBox and Vserve
  6. Every stage can be customized via hooks
  7. Full remote control via ssh during installation

See the official project website and wiki for more information.

Cobbler

Cobbler is a Linux provisioning server that centralizes and simplifies control of services including DHCP, TFTP, and DNS for the purpose of performing network-based operating systems installs. It can be configured for PXE, reinstallations, and virtualized guests using Xen, KVM or VMware. Again it is mainly used by Redhat and friends, but you can configure a PXE server to boot various non-RPM boot images such as Knoppix and other flavors of Debian such as Ubuntu.

There is also a lightweight built-in configuration management system, as well as support for integrating with configuration management systems like Puppet. Cobbler has a command line interface, a web interface, and also several API access options.

Fig.02: Cobbler WebUI (image credit: Fedora project)

Fig.02: Cobbler WebUI (image credit: Fedora project)

See the official Cobbler project home page and wiki for more information.

Spacewalk

From the official website:

Spacewalk is an open source (GPLv2) Linux systems management solution. It is the upstream community project from which the Red Hat Network Satellite product is derived. Spacewalk manages software content updates for Red Hat derived distributions such as Fedora, CentOS, and Scientific Linux, within your firewall. You can stage software content through different environments, managing the deployment of updates to systems and allowing you to view at which update level any given system is at across your deployment. A clean central web interface allows viewing of systems and their software update status, and initiating update actions.

Features:

  1. Inventory your systems (hardware and software information)
  2. Install and update software on your systems
  3. Collect and distribute your custom software packages into manageable groups
  4. Provision (kickstart) your systems
  5. Manage and deploy configuration files to your systems
  6. Monitor your systems
  7. Provision and start/stop/configure virtual guests
  8. Distribute content across multiple geographical sites in an efficient manner.
Fig.03: Spacewalk Server Provisioning System

Fig.03: Spacewalk Server Provisioning System

See the official project website for more information.

OpenQRM

From the official website:

openQRM is the next generation, open-source Data-center management platform. Its fully pluggable architecture focuses on automatic, rapid- and appliance-based deployment, monitoring, high-availability, cloud computing and especially on supporting and conforming multiple virtualization technologies. openQRM is a single-management console for the complete IT-infra structure and provides a well defined API which can be used to integrate third-party tools as additional plugins.

Features

  1. Complete separation of "hardware" (physical servers and virtual machines) from "software" (server-images)
    Support for different virtualization technologies
  2. Fully automatic Nagios configuration (single click) to monitor all systems and services
  3. High-availability : "N to 1" fail-over
  4. Integrated storage management
  5. Distribution support - openQRM 4.x comes with a solid support for different linux distribution like Debian, Ubuntu, CentOS and openSuse. A single openQRM server can manage the provisioning of servers from those different linux distributions seamlessly.
Fig.04: OpenQRM Dashboard

Fig.04: OpenQRM Dashboard (image credit: OpenQRM project)

See the official project website for more information.

DIY: Provisioning Server

You can build your own server using PXE, TFTP server, and DHCP software. PXE allows you to boot up a system and have it automatically get an IP address via DHCP and start booting a kernel over the network. See the following articles for more information:

Conclusion

There are many proprietary software solutions available to automate the provisioning of servers, services and end-user devices from vendors such as BladeLogic, IBM, or HP. But open source software gives you more freedom to automate the installation of the Linux server. Some of the above software support UNIX and Windows operating systems too.

I'm wondering if you use Server Provisioning Software regularly. Drop your discussion below and share what works for you in the comments.

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{ 10 comments… read them below or add one }

1 John Gardner August 10, 2010

After spending a couple of months designing and deploying a provisioning system based on ‘DIY: Provisioning Server’ and ‘Kickstart’ methods, it was nice to see a few alternatives. I knew about Spacewalk, but not the others so it was an interesting read… even if it was a bit late for me :-)

Reply

2 Dave August 10, 2010

Chef? Puppet?

Reply

3 RIL August 10, 2010

It is config management tool and cannot be used for deploying a provisioning system.

Reply

4 jaysunn August 10, 2010

Spacewalk looks very interesting. I myself have just configured a PXE kickstart environment using a Windows DHCP server. Has anyone had a chance to use spacewalk and have some time to comment on it?

@vivek,

Nice article.

jaysunn

Reply

5 dude August 11, 2010

Spacewalk is the best of all the mentioned software. I have used it in the form of Red Hat Satellite Server and it is a very good product.

Reply

6 Chris Cowley August 11, 2010

I would also put forward the combination of Kickstart and Puppet. I use that with my collection of Centos systems (virtual and physical) and works a treat.

Reply

7 korovamilk August 11, 2010

Cobbler is neat and very customizable.. I use it on a regular base to deploy our servers: just pick a profile (db, web server) and then input mac address, turn on the machine and you’ve done!

Reply

8 crue August 11, 2010

spacewalk uses cobbler which uses kickstart for provisioning so they are all really the same core technology, just the management fluff around them

Reply

9 sven August 13, 2010

i want to roll out many debian servers. what would you suggest?
i’m playing with FAI right now but it don’t gets me the kick :)

Reply

10 Vallard August 14, 2010

xCAT is the one we use. We like it because it scales, supports windows, vmware, red hat flavors, suse, and partimage. The other thing that is cool about it is that it does remote hardware control like ipmi, hp blade, and IBM blade functions. Finally, you can create and deploy virtual machines (KVM and vmware), and you can install with kickstart or install ramroot or nfsroot.

Reply

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LUXr  //  The lean user experience residency is a design program for early stage companies. Participating teams come together one day a week for 3 months to collaborate with design experts and each other. It's radically low priced and tailored to serve lean, agile startups.

Program

Register for LUXr Summer/Fall 2010 in San Francisco, CA  on Eventbrite

LUXr brings user experience and design services to early stage teams in a lower cost, more efficient way than traditional project-based consulting.

What this is (and isn’t)

This is "consulting" reconfigured to work for the particular needs of seed-stage teams. You get iterative, continuous UX support, working alongside design experts and other early-stage companies (think group therapy). The focus is on doing the work together and learning how to do it better, using many of the methods we developed for our private consulting clients.

 LUXr gives your product the attention it deserves, aligns your team around solid principles of user-centered design, and preserves your cash for other needs. 

What’s included? 

  • 3 participants per company* for one fee**
  • 12 week program -- three months of design support
  • A full day of user experience collaboration each week with design expert Janice Fraser 
  • Located in San Francisco's Mission district, close to Muni and BART
  • Lunch, coffee, snacks
  • No more than 5 teams in the program at one time

* We strongly encourage the same participants attend all residencies.

** Our research says that most startups spend less than $25k on design before their product launch. We're working hard to keep LUXr under $10k. 

Who is this for?

LUXr is for founder/CEOs who...

  • Believe that user experience is too important to outsource
  • Want to radically reduce the cost of design
  • Need iterative, continuous UX support
  • Are looking for tools, design patterns and a rational basis for making design decisions.

LUXr  is for the whole team...

One fee covers three participants from your company. In addition to the founder/CEO, we recommend bringing whoever makes up the core product team. It could be the developer, front-end dev, business development person, marketing person. The three participants will collaborate user experience experts to solve your biggest user experience challenges.

LUXr  is a group of teams, helping each other...

Like a devcamp or a hackathon, LUXr brings together teams to solve similar problems side-by-side in real time. Each LUXr session includes 5 teams. Throughout the 12 weeks, cross-team collaboration is encouraged to provide all of us with more ideas, better feedback, and faster problem-resolution.

Confidentiality

This is a cone-of-silence affair: ABSOLUTELY NO blogging, tweeting, or other sharing-of-other-people’s- stuff is allowed. Copies of the course materials will be available for distribution under a creative commons license, but company information is secret.

Anyone who leaks will be removed from the program immediately and will forfeit their payment. We will tell their investors. And they will probably burn in a special circle of Dante’s Inferno.

And, of course, all participants must sign confidentiality agreements.

 

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Base 64 Decoder

This form below allows you to decode Base64-encoded text strings. It’s pretty simple to use - just paste in the Base64 text you want to decode and then press the ‘Decode’ button.

Note: If the text string you are decoding results in a binary output, it will be sent directly back to your client as a stream allowing you to save it as its correct file type. Given the number of possible objects that you could be trying to decode (GIFs, sound files etc.), we’re not going to try and produce a page that will format it all properly! Trying to output a sound file to an HTML stream wouldn’t be that useful anyway...

If you don't want this binary behaviour, pressing ‘Decode Safely As Text’ will try its best to output the decoded stream as text. This may result in gibberish, but it won't result in you being infected by a decoded virus. If you want to be extra, extra careful, you can use the Decode Safely As Text page which doesn't have the binary feature at all, so you can't hit the wrong button.

Files/strings are limited to 10MB - anything larger than that may fail!

Important Confidentiality Notice (click to expand)

Don't forget to check out our online Base 64 Encoder.

 
 
 
http://www.aber.ac.uk/media/Students/sid9901.html

Semiotic Analysis of Teenage Magazine Front Covers

Siân Davies

In this essay I will hope to analyse the semiotic codes of the front covers of teenage magazines to demonstrate how the media constructs the image and behavioural ideology of the teenage girl. I will analyse issue 359 of More! (December 27 th 2001 - January 8th 2002) and compare it with the January 2002 edition of 19. I have chosen these specific texts as they are popular mainstream magazines that are available in most newsagents, and therefore arguably represent to the reader what constitutes the modern teenage girl. These are also the most recent issues available for analysis and therefore demonstrate an up-to-date representation of constructed femininity in our media and society.

Jonathan Bignell (1997) argues that the magazine is "just a collection a signs" (Bignell 1997: 78). These signs may include paradigmatic and syntagmatic elements such as the title of the magazine, the fonts used, the layout, the colours, the texture of the paper, the language adopted, the content of the articles and so on, and each of these signs have been chosen to generate a meaning. The magazine is therefore a complex collection of signs that can be extensively decoded and analysed by its reader - "women's magazines communicate their mythic meaning by means of signs, thus their representations of the imaginary are dependent on the symbolic, the signs which do the communicating" (Bignell 1997: 78). Signs however, consisting (according to Saussure) of two elements, a signifier and a signified, only gain meaning when "it has someone to mean to" (Williamson 1978: 40). The reader is therefore very important and will bring his/her own interpretations to the texts by drawing on their own cultural values and perceptual codes. As Daniel Chandler argues, "'decoding' involves not simply basic recognition and comprehension of what a text 'says' but also the interpretation and evaluation of its meaning with reference to relevant codes" (Chandler, web source: Semiotics for Beginners). As the relationship between the signifier and the signified is arbitrary and meaning is rooted in cultural values, we can argue that the potential interpretations of any given magazine are therefore endless.

As well as being a collection of signs, the magazine is a sign in itself, which "connects together the mythic meanings of femininity and pleasure" (Bignell 1997: 66). Through reading the pages a reader will gain an insight into the world of the woman and will be taught what are the expectations made of them as women (they learn what it is to be a woman).  McRobbie (1996) argues that magazines seek to "further consolidate and fix an otherwise more unstable sense of both self and gender" (in Curran 1996: 193), and so magazines seem to be central to society as they create a culture, a culture of femininity where a common experience of girlhood is shared.

Bignell argues that the function of magazines is "to provide readers with a sense of community, comfort, and pride in this mythic feminine identity" (Bignell 1997: 61). As the magazine promotes a "feminine culture" and "(defines) and (shapes) the woman's world" (McRobbie 2000: 69), we can see that it becomes a familiar friend for the female - it advises her, and provides entertainment, amusement and escapism for the reader and speaks to her in a language she understands - the lingo of teenagers is used in 19 and More!, for example "Top Totty". Bignell sees that "magazines are glossy and colourful, connoting pleasure and relaxation rather than seriousness… the smell and feel of the glossy paper connotes luxury… femininity and its pleasures of self-adornment" (1997: 66). The magazine therefore symbolises a lifestyle, a life of luxury and pleasure. The magazine claims to be simultaneously a luxury item and a familiar friend to its reader. It attempts to convince us that it is not a fictive document, that it is a true reflection of reality, a window into the real world of the woman.

It is argued that the average teenage reader will be a heterosexual girl seeking a boyfriend (or seeking a way to gratify the needs of her boyfriend), enjoying shopping, fashion, and popular culture and needing plenty of advice on sex and love. These assumptions pervade the contents of mainstream teenage magazines, with features such as "Position of the Fortnight" and "Celebrity Hair Special" frequently appearing within the pages. This is the reader to whom most teenage magazines cater - they broadcast to a stereotypical mass (which is arguably an artificial representation and does not reflect the identities and lives of all teenage girls). In order to analyse the image and behavioural ideology of the teenage girl offered within teenage magazines, I will attempt to investigate some semiotic codes within More! and 19.

The front cover is an important aspect of the magazine as it initially attracts the reader and is a taster of what can be seen within the contents of the magazine. It is an "important advertisement" and "serves to label its possessor" (McLoughlin 2000: 5). This is certainly a factor that influences the purchasing behaviours of young teenage girls who attempt to appear more mature and more sexually knowledgeable by buying a magazine aimed at girls 4 or 5 years their senior. The front cover will also promise that "the contents of the magazine… will fulfil the needs of the individual and her group" and sells a "future image" of the reader as "happier, more desirable" (Bignell 1997: 67). By merely looking at the front cover of a magazine therefore, a potential reader will be able to determine how far it will fulfil their needs. There are many similar defining paradigmatic and syntagmatic elements on the covers of More! and 19 that would attract a teenage girl to purchase the magazines. These demonstrate effectively the dominant ideology of teenage femininity in the media.  

Firstly, the titles anchor the texts to the genre of teenage magazines. 19 seems to be directed at a person who is 19, or at least who thinks she is as mature as a 19year old. As the title stands boldly in the top left-hand corner of the page, this is the image that the eye is initially drawn towards. If we are to adopt Kress and Leeuwen's theory of layout, this will also give the magazine a sense of idealism, suggesting that the reader should aspire to attain the life and image referred to within the pages (in Bell 1997: 193). The title More! also acquires this quality of idealism, but as the word stretches across the width of the page it could be suggested that the More! reader is more sassy and larger than life in comparison to the more mature or sophisticated reader of 19  (this is further substantiated by the exclamation mark -More! - and by the girlish pink colour of the 19 logo). 

The taglines reinforce these ideas as they are placed directly underneath the titles in a contrasting black font. 19 states that the magazine is "Barefaced Cheek!" which implies that all is bared in the magazine, the reader is given extensive coverage of the issues of sex, love and fashion. However this tagline could also be interpreted (perhaps to a non-teenager reader) as implying that the reader of 19 is cheeky and impertinent. It is only the exclamation mark after the words and the positioning underneath the well-known and recognisable logo of 19 that anchor the preferred reading for the reader - as the reader will presumably be familiar with the content of the magazine, the polysemic nature of the tagline will not be apparent to them. This familiarity with content is also needed to fully appreciate the tagline on the cover of More! - "Smart girls Get More!". On the one hand, it is suggested that smart girls buy the magazine as they know it will provide pleasure and information for them, and on the other hand it is suggested that smart girls (the attractive More! reader) get more out of life, love, and, most importantly, sex. Reading More! will improve your life on many levels, if you listen to the advice offered within the magazine. The tagline adopted by More! is therefore effective as the modern British teenage girl will construe an appropriate interpretation that will give them the urge to buy the product.

Both 19 and More! also attempt to attract their readers by placing a female character in the centre of the cover. This is a particularly interesting characteristic if we are to consider that corresponding male magazines similarly adopt central female models, either posing seductively or like the typical 'girl-next-door', on their covers. It could indeed be argued that one could successfully (and with minimal disruption) take the models from the covers of More! and 19 and place them on a magazine such as FHM that adheres to its own set of generic codes and conventions and encourages very different interpretations from its reader. According to Bignell, the images of beautiful women on the covers of female magazines are "iconic signs which represent the better self which every woman desires to become" (Bignell 1997: 69). The figure thus represents the self for the reader, a future image that is attainable for her if she continues reading and learning from the magazine. On a male magazine however the same figure would represent a sexual image, an object to be attained by the male reader. It becomes evident therefore that "men look at women. Women watch themselves being looked at … Thus she turns herself into an object - and most particularly, and object of vision: a sight" (Berger in Vestergaard & Schrøder 1992: 81). This is a somewhat negative interpretation of the centrality of women on the covers of magazines. However, Bignell sees that "while the cover image is for a woman to look at, it is constructed with reference to a wider social code in which being feminine means taking pleasure in looking at oneself, and taking pleasure in being looked at by men" (my italics, Bignell 1997: 71). Bignell therefore seems to empower the woman in his analysis of cover models, noting that women simultaneously enjoy looking and being looked at. The genre (or textual code) in which the image appears is therefore a fundamental contributor to the construed interpretations made by the reader.

As stated above, the model on the cover of a female teenage magazine represents the self for the reader. The models seen on the given issues of 19 and More! therefore seem to illustrate the characteristics of their targeted readers. The model seen on the cover of 19 is the typicalblonde haired, tanned, tall and slim girl with perfect complexion and perfect features. But the reader is not led to feel envious of the model - on the contrary, she is encouraged to believe that this is an ordinary 19 reader (on the inside cover she is identified simply as "Emily"), and is the beautiful woman inside each of us, waiting to be unleashed (and reading 19 willunleash this beauty from within the reader). The diamante necklace connotes luxury and sophistication, and the sequined boob tube connotes a fun, bubbly nature and draws attention to her slim body (her sex appeal). With her long blond hair flowing gently away from her face to reveal dazzling green eyes (ironically in this context, green traditionally being associated with the colour of envy), she can be seen as iconic for the reader (in the non-semiotic sense), and as seductive for the male reader. She embodies the message that 19 habitually transcribe to the reader - look innocent and beautiful and yet be in control of your own sexuality and your relationships.

On the cover of More! the character again embodies the self for the reader. She represents the more! "ethos of youthful, cheeky impertinence" (in Curran 1996: 189) Her red, low-cut dress suggests that she is sassy; a vixen that has sexual needs and is not afraid to fulfil them. Again, the clear skin and perfect features encourage the reader to believe that there is an inner-beauty within everyone that will shine through. However, the More! model does not appear as innocent as the 19 model. Her hair is swept more vigorously from her face and therefore creates a more disrupted, chaotic image than the previous. The innocence depicted by the clear complexion of the 19 model is challenged here as the More! model raises her eyebrow into an arch; she has a glint in her eye and pouts her lips proudly. As we notice the presence of a man in the left hand side of the front cover, we therefore interpret this facial expression as sexual prowess - this girl knows what she wants and she knows exactly how to get it. The male figure is not personalised; indeed we only see a leg, an arm and a crotch and yet we are fully aware of the masculinity of the character. This could suggest that, in subversion to the representation offered within male magazines, the man is the sexual object here. It is also significant that the male is wearing a kilt as it could suggest that the female is metaphorically wearing the trousers in the relationship. This interpretation would only become apparent if the reader was accustomed with the relevant social codes and textual codes of gendered magazines. If the reader is familiar with popular culture however, they could assume the man in the kilt to be the actor James Redmond who portrays Finn in Hollyoaks (a half-Scottish Lord) and therefore presume that there is an in-depth interview with him in the magazine - this is suggested by the text at the top of the magazine cover - "Finn-tastic! We Check out James Redmond's Morning Glory".

By analysing the title, tagline, and central images of the magazine cover, we have therefore deduced the readership and content of the magazines effectively.  As McRobbie notes, sex now fills the space of the magazines' pages. It "provides the frame for women's magazines in the 1990's" and "marks a new moment in the construction of female sexual identities" (in Curran 1996: 177). It is worrying to think that the explicit sexual representations within the magazines (such as More!'s "Raunchy resolutions to spice up your sex life") are being read by underage teenagers; sex has been packaged as a "commodity" (McLaughlin 200: 13) by these magazines in recent years and the young readers have eagerly jumped at the chance to buy such (what was previously) censored material.

Indeed, fifty years ago the teenage magazine industry differed greatly to that of today. According to Vestergaard we have seen a shift from "motherhood and childcare to the maintenance of physical appearance" (Vestergaard & Schrøder 1992: 81) (in the discussed examples, we see "Be your own stylist - steal insider know-how from the women who dress the stars" on the cover of 19, and on More! "Happy New Gear - what every glam girl will be wearing this season"). Dr Nancy Signiorelli of the University of Delaware undertook a study on "A Focus on Appearance" in the media in November 1996, and she found that one in three (37%) articles in leading teen girl magazines included a focus on appearance, one in three (35%) focused on dating and less than 2% discussed either school or careers (websources Kellner and ChildrenNow). This is certainly reflected on the front covers analysed above - every feature on the covers refer to beauty, fashion, dating, sex and celebrities. Kimberley Phillips argues that these magazines therefore "reinforce the cultural expectations that an adolescent woman should be more concerned with her appearance, her relations with other people, and her ability to win approval from men than with her own ideas or expectations for herself (websource Hermes). It can also be argued however that young women are encouraged to develop independence by these magazines. 

In recent years the magazine industry has therefore successfully extended the notion of what it is to be a woman. A teenage girl will see hunting boyfriends and beautifying as a norm; it is argued indeed that these are transcribed as their sole purposes in life. The magazines do not seem to cater for minority interests such as politics, environmental issues, or any kind of music that ventures beyond Westlife or Britney Spears. The teenage girl has therefore been heavily stereotyped by the teenage magazine industry, and her interpretation of the codes and conventions used in the magazine will depend on her personal knowledge of this culture and society. Indeed, some of the readers of these magazines are male (e.g. the brothers or boyfriends of the female readers - Bignell refers to these as "non-ideal readers" (Bignell 1997: 58)), and they will interpret the codes differently to their female counterparts as they arguably do not share their interests in beauty products and fashion. Their interpretations of the sex issues may also differ, as they will gaze at the images of women as sex objects as opposed to icons and role models. Chandler sees that "social semiotics alerts us to how the same text may generate different meanings for different readers" (web source, Semiotics for Beginners), and this is certainly true of the gendered readings of teenage magazines. Chandler further notes that the signs (or codes) within the text "do not just 'convey' meanings, but constitute a medium in which meanings are constructed" (ibid). Through reading a magazine aimed at her demographic group, a teenage girl will therefore come to learn that society expects her to be interested in boys, sex, fashion, beauty and fame. The magazine is therefore a "powerful ideological force" in society (McRobbie 2000: 69); the image and behavioural ideologies presented within the magazine covers become the stereotypical norm for the teenage girl.

Applying semiotic analysis to the magazine text therefore allows us to identify social ideologies of the teenage girl. One could analyse the front covers of magazine extensively, decoding the codes of colour, font, layout and spatial arrangements as well as the titles, taglines, language and central images to show the construction of the teenage girl in the media. Teenage magazines may not provide an altogether accurate representation of all teenage girls today, but it is certainly a medium that provides escapism and enjoyment for the reader whilst subliminally educating and informing at the same time.

Bibliography

Web Sources

Magazines analysed

January 2002

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