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Thursday, June 30, 2016

Top 10 best free web design software for desktop and mobile 2016

Download the best free website builders Build your own website

Web design software transformed web building: if you were a keen coder, software could speed up your coding with auto-completion and macros; if you preferred to design visually, your software would turn your designs into code and stick them online.

Although more and more web building platforms are online and based around fairly inflexible templates, web design software still has a key role to play - especially if you like to get things done when you're far from a data connection. So which web design apps are the best? Let's find out.

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Download CoffeeCup Free HTML Editor

1. CoffeeCup Free HTML Editor

Make your own professional-standard website in minutes

Download CoffeeCup Free HTML EditorCoffeeCup's paid-for products are excellent, and CoffeeCup Free HTML Editor is great too. It combines coding and WYSIWYG design in an app that runs quickly, is easy to learn and can produce some stellar sites.

It lacks some of the features of its paid-for siblings - features such as the useful Color Schemer and built-in FTP uploading are reserved for the paid products - but unlike some rivals it's in continual development to keep it current.

Download CoffeeCup Free HTML EditorIf you're looking for a do-everything app on Windows then look no further.

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Download PSPad free

2. PSPad

A powerful text-based editor packed with extra tools for web developers

PSPad might not be pretty, but it's pretty good. Inside the defiantly old-school Windows interface is a powerful programmer's editor that includes an FTP client for on-server editing, templates for common languages such as HTML, PHP, VBScript and many others, multiple document editing and macros that you can use to create and trigger commonly used code.

Download PSPad freeIt's not an app for people who prefer a WYSIWYG interface that's more like desktop publishing or word processing, but if you're a keen coder it's an excellent tool.

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Download Google Web Designer free

3. Google Web Designer

Create stunning HTML5 animations for your own site

Google Web Designer's name is a little misleading, because it's really an advert and animation designer: it's best suited to people who need to create animated, cross-platform elements that they'll then use in another program (or add to their otherwise hand-coded sites). But if you're one of those people there's lots to like including Google Drive integration, 3D objects, layers and events.

Download Google Web Designer freeAs Google's showcase of animations created using Web Designer demonstrates, the app is capable of creating some really impressive results.

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Download KompoZer free

4. KompoZer

An older website builder, but still a favorite

We have a soft spot for KompoZer, which is a spin-off from the same Mozilla that created Firefox - but where Firefox has been in constant development from day one, KompoZer hasn't been updated since 2010.

Download KompoZer freeThat's a problem, because the languages used on the Web haven't stood still: while it's still possible to create sites in KompoZer, we think there are much better and easier ways to do it - such as the BlueGriffon app, which is based on Firefox and offers a more modern approach. Unlike KompoZer, however, BlueGriffon requires a paid licence for its most useful features.

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Download SynWrite free

5. SynWrite

A text-based editor for more experienced web developers

It's overkill for beginners, but if you're a keen coder then SynWrite is well worth a look, and not just because it's small enough to carry around on a modest USB flash drive.

Download SynWrite freeIt's a fully featured code editor with macro recording, plugins, clipboard history, text clips, stacks of coding helpers, colour pickers and previews, search and replace across multiple files and code templates too. It's been designed for every kind of web work from layout to coding, and it's a good choice for expert users.

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Download Mobirise Website Builder free

6. Mobirise Website Builder

Create responsive websites that look great on desktop and mobile devices

You've got to love an app whose sales blurb says "creating well-designed websites is a real fun" (sic), especially when it actually is. Mobirise can create good looking, responsive websites with the minimum of fuss.

Download Mobirise Website Builder freeIt's all about blocks: you choose the type of block you want, drag it to where you want it and change the default content to suit your own requirements. It's easy to see how your design will work on desktop, smartphone and tablet, and you don't have to use the pre-defined styles if you don't want to.

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Download TOWeb free

7. TOWeb

Another responsive design tool, but keep its limitations in mind

The free version of TOWeb is there to promote the more powerful paid-for versions, so as you'd expect, its features are limited: you can only create one website, the size is limited to 10MB and TOWeb will put ads in the website. It's simple, based on customisable and generally good looking templates, supports multiple languages and enables you to publish automatically to a wide range of web hosts.

Download TOWeb freeThe results are responsive too, which means they should work just fine on mobiles and tablets. If you can live with the limits TOWeb's free app is a decent option for simpler sites.

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Try Weebly Free

8. Weebly Free

A simple drag-and-drop editor that's ideal for making your first site

We've steered clear of online-only services in our round-up as they tend to be template-based web builders rather than web designers, but Weebly is a little bit different as it enables you to design the content of your pages by dragging and dropping.

You get free hosting and unlimited pages, and while you can't remove Weebly's branding - that's £5 per month for the Starter package, which enables you to use your own domain name - it's a great starting point if you want to make something that looks good without taking forever to build.

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Try openElement free

9. openElement

A web-based site builder that's very capable, but intimidating for beginners

The dark, dense interface might be a little off-putting for absolute beginners and it isn't as easy to use as some rivals, but there's no doubt that openElement offers a lot of power for more confident designers.

It does much more than most other WYSIWYG apps, and in the right hands it's capable of great things, but we think the interface is a little confusing compared to similarly useful apps like CoffeeCup Free.

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Try Webflow free

10. Webflow

A stylish online web builder if you don't mind the ads and limited page views

Like Weebly, Webflow is an online app that's part of a suite of paid-for services - and like Weebly, that means there are limits on what you can do with it. The free edition won't let you export HTML/CSS code for use outside Weblfow's own hosting, your site will include ads, there's no tech support other than a discussion forum and you're limited to 1,000 page views per month. If those limitations don't bother you, Webflow is a great web app for designing pages that pop.

Have we missed your preferred web design software? Share your recommendations in the comments below.


Source: Top 10 best free web design software for desktop and mobile 2016

Now feel this: Immersion releases “first haptic design toolkit”

The best news in mobile marketing every Thursday.

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Someday soon, it might become commonplace to feel a car's motor or the shake of a martini-in-progress on mobile video ads, if a newly released haptic toolkit from Immersion catches hold.

The San Jose, California-based company says its TouchSense Design Cloud — now in beta with a release version expected this fall — is the "first haptic design toolkit" for readily creating your own tactile effects for mobile video ads. Founded in 1993, Immersion has previously offered an API to its multi-platform haptic technology, but it had to provide supporting services for outside developers.

With haptic feedback, users can "feel" the keystrokes on an Android phone screen, the sensation of rotary knobs turning in a car's dashboard screen, or the rumble of a tank in a videogame. In a mobile video ad, a Peugeot's engine on an open highway, a vibration to accompany a ghost's appearance in a movie, or the pop from an alien's weapon could generate visceral sensations.

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If you have an Android phone, you can try out some sample videos through this free app.

Immersion says its technology is currently employed in three billion devices, including games, cars, and medical equipment, as well as phones. At one point, the company had offered standalone design software for computers to create some kinds of haptic experiences, although that was discontinued.

The new toolkit, Design Director David Birnbaum told me, was specifically designed for sharing via the cloud, and for fitting into the normal production workflow of a video ad.

The haptic information is created as a .wav sound file, editable with any digital sound editor. Immersion targets Mac-based editors, the most popular kind in media production.

An engineer generates a sound file, edits it, and then exports it via Immersion's Haptic Monitor Connect app to its Haptic Monitor app in a nearby Android smartphone for real-time playback, to feel how the sound file renders tactilely. The tech currently works only on Android phones, Senior Product Manager Ricky Bhatia told me, because Apple has not provided outside access to the iPhone's actuator, the small motor that provides tactile feedback.

Through trial and error, the engineer can generate the desired touch sensation. There is currently no library of standard effects.

"We considered a library," Birnbaum said, "but [sound engineers] wanted full control."

The engineer can get approval from clients or others by uploading the .wav file to Immersion's new Design Cloud on the web, where the tactile sensation can be remotely experienced in sync with the mobile video ad via a mobile web browser on an Android device. Then the .wav file is exported as a proprietary .HAPT file for distribution with the video.

A screen from the TouchSense Design Cloud

A screen from the TouchSense Design Cloud

Although the .wav file can be shared via the Design Cloud on the web, the .HAPT file is only available in video ads on an Android app that utilizes Immersion's software development kit (SDK). Currently, Birnbaum said, "one or two" unnamed app publishers are utilizing the SDK. He added that, at some point, the haptic experience might become available in mobile video ads on the web.

The distributing ad network must be able to support the .HAPT file, which, at the moment, only Opera Mediaworks can. Immersion says the first tactile ads were run in September of 2014, and that the Opera Mediaworks network currently handles over 500 tactile ads for smartphone apps and nearly 500 for tablet apps.

Since you already know what a keyboard or a car feels like, you might wonder why a marketing campaign would bother adding touch.

Birnbaum noted that touch feedback adds a startling component that makes the experience feel more realistic, and boosts engagement.

The company reports that 85 percent of users who experience tactile feedback in mobile video ads say that they are more engaged with the content. Additionally, Immersion says, there's a 220 percent boost in clicks compared to non-haptic video ads, 59 percent more replays, and 24 percent higher ad recall.

Of course, if tactile feedback is everywhere in mobile video ads, it could become less noticeable. At which point advertisers will need to do what they get paid to do: come up with some new way of employing the tech.

About The Author Barry Levine covers marketing technology for Third Door Media. Previously, he covered this space as a Senior Writer for VentureBeat, and he has written about these and other tech subjects for such publications as CMSWire and NewsFactor. He founded and led the web site/unit at PBS station Thirteen/WNET; worked as an online Senior Producer/writer for Viacom; created a successful interactive game, PLAY IT BY EAR: The First CD Game; founded and led an independent film showcase, CENTER SCREEN, based at Harvard and M.I.T.; and served over five years as a consultant to the M.I.T. Media Lab. You can find him at LinkedIn, and on Twitter at xBarryLevine.
Source: Now feel this: Immersion releases "first haptic design toolkit"

Wednesday, June 29, 2016

3D design firm Autodesk joins major MNCs looking to tap into startup ecosystem in India

BENGALURU: Autodesk, the 3D design company whose software was used to create special effects in blockbuster film `Avatar,' is launching a design and innovation centre in Bengaluru.

The centre will provide a platform for startups, giving them access to its design technology as well as funding. It will also provide industry and academia support through its global network.

"This is a replication of what we are doing in many parts of the world," said Tim Scanlon, Global Engagement Lead, Autodesk Education Experience.

"You look at ideas here (in Bengaluru), there is great energy. We want to be a part of it. Autodesk will be involved in mentorship and providing different levels of skill development and training."

The company joins the list of prominent multinationals looking to interact with the vibrant startup and maker community in the country, including Microsoft, Oracle.

Last week, German software maker SAP Labs launched a Startup Studio in Bengaluru.Amazon We b Services is also looking at setting up one of its `pop-up lofts' in the city.

The California-based Autodesk, which decided to give away its software for free to students and faculty a couple of years ago, also plans to launch similar centres in other parts of the country.

"We have to bring in the design-thinking aspect. If such facilities are created for students, it will go a long way.This centre can play a nucleus role because such facilities cannot be set up everywhere," said ANN Murthy, vice-chancellor of Dayananda Sagar University.

The university hosts the design and innovation centre.

The 4,000-sq-ft centre can accommodate around 75 people and is equipped with workstations with the entire Autodesk design software, CNC machine, industrial 3D printer, laser cutting machine and hand tools. These will be available to all students from any college, makers, entrepreneurs and designengineering professionals.


Source: 3D design firm Autodesk joins major MNCs looking to tap into startup ecosystem in India

Tuesday, June 28, 2016

In defense of old Mac software

Plenty of older software is good enough, smart enough, and gosh darn it, still works. A writer keeps his old tools sharp.

In some ways, you wouldn't suspect me of being out of date. I've got an iPhone 6s, a one-port MacBook, and an iPad Pro, and I spend my days typing at a walking desk—a standing desk with a treadmill underneath. (No man bun, though. Sorry.)

Scratch the surface, and I'm a man out of time. My email program doesn't display HTML and doesn't support IMAP. My personal finance program has "2007" in its name. When I need to muck about with CSS for a Web page, I fire up software left behind years ago by its developer. And my favorite new iOS app is the one-bit photography program BitCam.

It's not that I'm into artisanally handcrafted 1s and 0s, though—it's that nothing has appeared that provides the specific functionality I want, much less paired with improvements. I'm not alone. When I consult other long-time Mac users, I get a list of software to which they cling, some of which continues to receive compatibility updates, but is otherwise frozen with features from several years to a decade ago.

I have three programs I use extensively, one of them constantly, that are frozen in time: one for email, one for finances, and one for Web-page style editing.

That's not rich text, Rich

A number of years ago, I was on a large ship full of Mac enthusiasts as part of the first Mac Mania cruise. Rich Siegel, head of Bare Bones software, heard of my frustration related to email clients and introduced me to Mailsmith made by his firm. I wanted to escape Eudora, which I'd used for many years and which was still under active development, but had become creaky and out of date. Mailsmith had a lot in common with Eudora, but was even simpler.

mailsmith old software

Mailsmith shows only the text of emails. Click the Safari icon, and the HTML attachment opens in a browser.

It's text only—it doesn't display rich text or the HTML formatting of a message. It doesn't support threading messages. It only handles POP for retrieving messages, not IMAP. Its built-in search engine, while powerful, uses its own, slow index format instead of leaning on Spotlight. (Messages can be searched via Spotlight, but not previewed.)

And I couldn't love it more.

I avoided HTML email for the longest time, because of a combination of poorly-formatted messages and tracking codes (single-pixel GIFs and other images) used to determine whether a message had been opened or not. HTML messages can also be a vector on some platforms for malware—by avoiding rendering and using a relatively obscure client, I felt I avoided being a target. (Mail software eventually got smarter about options for auto-loading images and previewing attachments, too.)

Most email software and mailing-list software sends a separately encoded text attachment that's either derived from the HTML text or can be customized. Can I tell you the number of times I've received a strange old text message that's apparently the not-updated portion of an HTML marketing email template? Many times.

Mailsmith over the years added better and better ways to open the HTML attachment in a browser. While that does display tracking images and has other risks, I view very few of the messages I receive as HTML. I like the simplicity and legibility of reading only text in a size and font I choose.

Over the years, I've tried a couple dozen mail clients, including several versions of Apple's Mail, and none of them gave me everything I wanted, including compactness of mailbox display and filtering options. Even the slow internal search engine can't be beat, because it has as lot of choice compared to Spotlight: You can restrict against which mailboxes you search, and, using an advanced query, concatenate a set of rules to match, which can include regular expression pattern matching.

Bare Bones deprecated Mailsmith as a commercial product years ago. Siegel spun it off as a side project that he keeps updating for compatibility, not features.

Apple Mail has finally matured to a point in my installations where it doesn't crash, corrupt mailboxes, or lose messages, and I use it for secondary accounts. I'll be ready to jump ship if the time comes, or if I wind up having to switch to an IMAP-only mail host.

Even the company that makes it admits it

I'm not alone in keeping the coals of Quicken 2007 for Mac alive; many of us huddle around its warmth. I used multiple iterations of Quicken from the early 2000s through the 2007-dated release, updating as often as new releases came out. Each release generally, but not always, improved on the previous one.

Then a long winter set in. Intuit, Quicken's maker, seemed incapable of managing all the versions of Quicken it was working on, and years passed with nothing but bug and compatibility fixes. Suddenly, a crisis loomed: OS X Lion (10.7) would drop support for PowerPC emulation, and only run native Intel apps. I prepared and then used a Snow Leopard virtual machine so I could continue to run Quicken 2007. Then, nine months after Lion's release, Intuit capitulated and produced an Intel update—for which owners had to pay $15.

quicken 2007 old software

Quicken 2007 has a straightforward ledger for entry and review of transactions, and has extensive report customization. (Financial details blurred.)

While Intuit fiddled, I looked for alternatives that would preserve a several-year history of transactions and allow me to produce the custom reports I need for my small writing business, including a number that let me pull specific quarterly results for city and state taxes by including only certain accounts and breaking out categories. Nothing let me do all of that. Years passed; I grew gray; the sun wheeled in the heavens; and Quicken 2007 remains the same. Over time, some financial institutions updated their online download process so that I can't get automatic updates, including the credit union with which I and my family keep most of our account. Chase and American Express remain compatible for the moment.

Intuit now routinely produces compatibility updates for this elder version, even as it shipped the almost offensively inadequate Quicken Essentials a few years ago, and then the should-possibly-be-ashamed Quicken 2015 for Mac. Quicken 2015 was such a poor release compared to 2007 that even Intuit wasn't brazen enough to claim it was better: the firm published and updated a surprisingly honest comparison list among its Mac and Windows versions, including Quicken 2007.

Quicken 2016 looks a bit better in that list, but at a $65 upgrade price after having paid more than that for Quicken 2015, I'm not sold. I've tested Banktivity 5 ($60, formerly iBank), which may have the closest set of features I need, but it makes more sense to swap over at the beginning of a calendar year (my tax year), and I missed the window of opportunity for this year when I last tested late in 2015.

I wrote a review for another publication of Quicken 2015, and regularly receive queries from readers, who ask if I've used updates to 2015 (which Intuit has committed to through 2018) or the 2016 version, and if it's good enough now. I keep referring them to that Intuit checklist of features and say, not for me, not yet.

It's got a certain panache

The most obscure of my triumvirate is CSSEdit, last updated in 2010. It's a live-preview Cascading Style Sheet (CSS) editor, which is only meaningful if you're still coding or tweaking Web pages by hand or through modifiable templates, which I am.

While the makers, MacRabbit, released a more full-fledged Web-editing tool called Espresso—it went through a couple of iterations and was last revised in 2013—CSSEdit on its own did the trick for me better than anything else.

css edit old software

CSSEdit shows a live preview of a Web page that updates based on extracted or locally linked style sheets.

I've used many other tools, including Panic's excellent Web-development environment Coda 2 (and the original Coda), many versions of the graphical Dreamweaver, and the Web-management and syntax-coding features in text-only BBEdit, which added in-app CSS templates and previewing. Yet CSSEdit remains perfect for when you haven't built a site from scratch in any of those tools. For sites you built long ago and need tweaking or that are built using Web hosting systems, like Squarespace, that also allow the addition of custom CSS, CSSEdit is perfect.

I can load a Web page as a preview in CSSEdit, extract the linked CSS file (or multiple ones), and then override the preview's style sheets using those local extractions. Then I can modify the CSS and witness the effects, or modify a page to add new classes or containers, reload it, and see the effects locally. As the final step, I grab the modified CSS file or additional CSS selectors and drop them back in my site.

Web-design and Web-management tools tend to be idiosyncratic, and all long-lasting tools besides Dreamweaver have either gone through substantial interface and functionality overhauls or been abandoned. My father, for instance, has kept using Adobe GoLive CS2, one of the better and most stable versions of that web-design and site-management software. (Fellow Macworld contributor Jeff Carlson and I wrote three editions of book about Adobe GoLive.) I can testify that I've also never found another tool that has the same complete set of editing, design, and synchronization capabilities paired with simplicity as GoLive, though I advanced all the way to CS4 at one point.

The old tools you can't do without

A query on Twitter led to a flood of reminiscences from people about software that's either abandoned or supported only with maintenance updates that many can't live without, either:

  • Several votes for outdated media-editing software: Adobe Director (once Macromedia Director), Adobe Soundbooth CS4, Final Cut Pro 7 and Compressor, Soundtrack Pro, and GarageBand '11. Austin Tichenor noted of GarageBand, "Updates dropped Podcast template & changed keyboard shortcuts."
  • Levelator is a much-loved (and free) "sound leveling" app, used heavily by podcasters. It performs multiple passes of analysis of an audio file for relative loudness, and then produces an output file that compresses, normalizes, and boosts levels in a way that makes all speakers sound roughly as loud as each other. It's been updated for El Capitan compatibility.
  • QuickTime Player 7 received several votes for how easily it allowed certain quick editing tasks that were removed in later revisions. Some have been restored, but it's still not as easy.
  • Notational Velocity, a note-taking app that uses an encrypted database, remains a favorite of several.
  • One colleague likes iScrobbler, a Last.fm client. "Scrobbling" describes automatic submission of now-playing lists to a Web site, and that's one of the features of the app.
  • My brother-in-law Michael somehow continues to use the last release of QuicKeys, software I relied on endlessly in the 1990s and early 2000s. He noted, "It's the only macro program I've found that elegantly allows for mouse clicks."
  • Some folks preferred the features in NetNewsWire 3.3.2 to later updates, and continue to keep it running.
  • Magic Number Machine makes Janice Collier happy: "It's really helpful for visualizing math problems, instead of just punching in numbers."
  • At times, I've thought I was an edge case, but every time I evaluate a replacement, it's missing some critical aspect that keeps me from switching over. But I've found I'm not alone. It's not being ornery or stubborn to stick to something that works when nothing better's come along. It's good to have a posse.


    Source: In defense of old Mac software

    Monday, June 27, 2016

    HTS web development company is a leading platform for outsourcing your projects

    Details WhaTech Channel: Web Design Press Release Published: 28 June 2016 Submitted by HTS Solutions WhaTech Pro Trial News from HTS Solutions - Digital Marketing & Web Development Viewed: 0

    Clients around the world, most of the time hesitant about hiring an offshore web development company as it's somehow easier to doubt a software company which operates from a distant land. But you don't need to get worried too much.

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    - Upgrade your free trial to WhaTech Pro to remove advertising -

    If your company is not in your homeland does not mean that company has no expertise or lacking behind. Rather, hire an offshore software company that gives you the option of getting a great website without spending too much money.

    Outsourcing your web development is indeed a good choice for you.

    Don't keep any doubt about the performance of offshore web services; you could always check the credentials by exploring the website and reading the client testimonials. Even now if you are not satisfied, then you may call up some of their customers and get a feedback regarding their work and expertise.

    Now that's a web Development Company is always ready to showcase its work records and achievements through its website, you can go through all the segments to clear your doubts.

    This is a fact that developers are hired by these companies who are cheaper and expert in their respective field to know their job pretty well. This is tied up between cost effectiveness and superlative execution, which makes offshore companies such a rage.

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    - Upgrade your free trial to WhaTech Pro to remove advertising - At last, you will have very little to complain when you are getting better quality products at low cost.

    If you are afraid of meeting deadlines, then don't need to worry regardless of the geographical distance of the offshore web development company will deliver your project in real-time basis even some time before your fixed deadlines. This company strictly maintains their duty most of the time provided that their ranking should be good enough or have good goodwill in the market.

    If you are surprised about how an offshore web development company could offer services at low cost, the answer lies in the economy of the nation. But don't expect cheap services are sufficient for you.

    After all, it is the market which decides the rate of a product or a service. Thus, this economical distinction will help you to cut costs without doing compromise on the quality.

    HTS Web Development Company is the famous venture that provides an offshore software development services across the world. Since its inception, the company has won the trust of clients and created enormous goodwill globally.

    This web design and Development company has established himself as one of the leading company in providing web solutions.

    ...


    Source: HTS web development company is a leading platform for outsourcing your projects

    Saturday, June 25, 2016

    Illuminating the ‘Dark’ Web and Content Monitoring

    She was referring to the unregulated part of the internet, best known for being a hub of illegal activity, that requires special tools to access and provides anonymity for both posting and viewing content; it forms a small part of the "deep web," the vast portion not indexed by search engines.

    "Anonymity is considered weird or strange: 'What are you hiding?'" Ms. Mattes said. "But if you think about it, anonymity is key to democracy."

    Photo Eva and Franco Mattes Credit Natan Dvir

    The Matteses, who come across as part Dada provocateurs, part grad school types (their website is 0100101110101101.org) went to unusual lengths for "Dark Content." They posted an ad online from a fictitious company supposedly looking for moderators and then explained to those who responded that they just wanted to hear what the moderators' lives were like. (The short answer: challenging and quite sad at times.)

    Surprisingly, most respondents agreed to participate in the Matteses' artwork and were paid a few dollars for their time. Then the artists animated the interviews — with software downloaded from the internet, of course — and looped cartoonlike footage of the participants' talking heads on monitors set into the underside of desks, so that London gallerygoers have to peer around the banal-looking office furniture to watch.

    Berin Szoka, the president of the nonprofit think tank Tech Freedom, agreed that the world of monitors was murky by design.

    "It's a bit of a black box, for obvious reasons," Mr. Szoka said. "Just as with cybersecurity, you don't want to make too clear what's happening, so that people can't circumnavigate the system."

    The direct inspiration for the project was the couple's own experience of having their work scrubbed from the internet. Six years ago, they filmed Mr. Mattes pretending to hang himself, and then posted the footage on the site Chatroulette, where people have brief video interactions.

    Photo Another viewing of Eva and Franco Mattes's series "By Everyone for No One Every Day (BEFNOED)" (2013-15). Credit Eva and Franco Mattes, via Carroll/Fletcher, London

    They then created a split-screen 2010 artwork, "No Fun," of the staged hanging, juxtaposed with the various viewer reactions. Mr. Mattes posted it on YouTube, which promptly removed it for violation of the company's policy on "shocking and disgusting content."

    "It had been shown in museums, so when it was removed, we were surprised," said Mr. Mattes, who wrote to the company to find out why it was removed. He said he received legalese in response.

    He added: "It was hard for me to imagine that the internet is more conservative than art museums. I grew up with the idea that art is old and boring, and the Net is fun and exciting, the wild, wild web, where anything can happen."

    That got them thinking about the process. "We wondered, is there some software?" Mr. Mattes recalled. "An algorithm that compiles all the red flags? Most people believe the removal is done that way."

    The moderators in general don't know which company they are working for, said Mr. Mattes. And they see truly disturbing graphic images on a daily basis.

    Photo Viewing Eva and Franco Mattes's installation series "By Everyone for No One Every Day (BEFNOED)" (2013-15). Credit Eva and Franco Mattes, via Carroll/Fletcher, London

    "The worst video I ever saw, personally, was an individual killing and dissecting cats," one moderator says in the current show.

    He goes on to recall the video as "cruel and unusual," and says, "The cats were killed in a majority of ways: running them over, electrocution, beating, stabbing." Then he added, "I personally am just not going to continue answering this."

    One particular incident came up over and over. "A lot of them mentioned being asked to remove images of Osama Bin Laden after he was killed," Ms. Mattes said, which she thought was somehow "politically related" and therefore troubling.

    The Carroll/Fletcher show also features the Matteses' 2016 series, "Image Search Results" (the phrase is from Google's comprehensive image search). One work renders the internet as a spooky undersea landscape with each water level representing a more unknowable depth. They had the result printed on a beach towel.

    A more lighthearted series, "By Everyone for No One Every Day (BEFNOED)" (2014), is a comment on the universe of content online that may never have any viewers at all. It asks the question, If a tree falls online, does it make a sound?

    Photo "Ceiling Cat (2016)," comprising a taxidermy cat and polyurethane resin. Credit Eva and Franco Mattes, via Carroll/Fletcher, London

    For it, the Matteses hired people anonymously on crowdsourcing sites to perform what Ms. Mattes called "simple, absurd acts." One man does handstand push-ups with "Eva and Franco Mattes" written on his belly.

    In the gallery, the monitors displaying the bizarre acts are awkwardly installed, so that people must contort themselves to watch, even lying on the floor, "forcing the viewer into being a performer," Mr. Mattes said.

    The installation is typical in its blend of confrontation and playfulness. In an email, Mr. Vickers of the Serpentine Galleries placed the artists on a direct line with the post-World War I Dada movement: "'The beginnings of Dada,' poet Tristan Tzara recalled, 'were not t he beginnings of art, but of disgust.'"

    Christiane Paul, an adjunct curator of new media arts at the Whitney Museum of American Art, said: "They have a reputation of being pranksters, but there's no posturing about it. It's driven by a deep engagement with the issues."

    Ms. Paul cited "Life Sharing" (2000–03) as a "landmark project" by the Matteses. For that work, they made many intimate aspects of their lives — right down to their bank statements — available online.

    Photo A work from the series "Image search results," printed on various objects, including a beach towel that depicts the internet as an undersea landscape. Credit Eva and Franco Mattes, via Carroll/Fletcher, London

    "They anticipated what would happen with social media platforms," Ms. Paul said of the now common sharing of mundane activities on blogs, Facebook, Twitter and Instagram.

    Both Ms. Mattes and Mr. Mattes hail from the Italian province of Brescia — and it's worth noting that they declined to say which towns, in an attempt to preserve a sliver of privacy.

    They met in 1995 through mutual friends while traveling in Spain, and have been together, and making art as a team, ever since. They've been based in Brooklyn for seven years.

    The "Dark Content" works have a journalistic aspect, but Mr. Mattes said he was amazed that there was not more literature shining a light on the topic of content monitoring.

    He rejected the idea that the radical duo was going soft by looking at the moderators as human beings.

    "A lot of our work has been confrontational, like the one of me hanging myself," Mr. Mattes said. " But we are not looking to punch people in the face, either. Hopefully there's something we can we learn from their experiences."

    Continue reading the main story
    Source: Illuminating the 'Dark' Web and Content Monitoring

    WD debuts FlashSoft 4 software for VMware vSphere 6; new flash virtualization system for non-disruptive acceleration

    Western Digital released this week two new virtualization solutions designed to improve virtual machine performance and density in VMware vSphere environments. These include the availability of the new FlashSoft 4 software for VMware vSphere 6, and the introduction of the Flash Virtualization System, a new flash-based hardware and software solution. FlashSoft 4 leverages a Western Digital and VMware VAIO co-design partnership for vSphere 6.

    FlashSoft 4 software is based on an architecture that uses the new VMware vSphere APIs for IO Filtering (VAIO), providing the highest level of usability and performance with vSphere 6. FlashSoft 4 is a host-based caching software to achieve VMware Ready certification for guaranteed compatibility, reliability and support.

    It also introduces support for VMware-supported datastores, virtual disk acceleration, improved performance and stability, and integrated management through the vSphere web client GUI.

    FlashSoft software increases virtual machine (VM) performance and efficiency by enabling any solid-state device as a host-level complement to existing storage. Serving requests for VMs' most frequently accessed data from flash storage attached directly in the server, FlashSoft increases application performance for all data stores including VMFS, NFS, VVol, and Virtual SAN.

    Through the VAIO framework, IO acceleration may be configured on a per-virtual disk basis. FlashSoft software 4.0 offers acceleration configuration options from the cluster level to the virtual disk level. The FlashSoft software does not install any agent components in the guest VMs' operating systems, so there is no limitation on the type of OS that can be run in the VMs. All VMware-compatible guest OSs are supported.

    FlashSoft software 4.0 accelerates application performance for VMware-supported data stores including VMware vSphere VMFS, NFS, vSphere Virtual Volumes, and virtual SAN.

    FlashSoft software automatically ensures optimal cache usage per virtual disk, assigning cache space dynamically as new virtual disks are accelerated. With FlashSoft software deployed, the majority of IO requests are fulfilled from the server-

    side flash rather than the backend storage system, alleviating much of the burden from—and extending the usable life—of existing storage systems. With the live cache assignment capability, users can assign and re-assign caching to virtual disks without VM or host restart.

    The Flash Virtualization System builds on the benefits of the latest FlashSoft software by pairing it with SanDisk ION Accelerator software and Fusion ioMemory PCIe solid-state accelerators in a flash-provisioned server capable of delivering over a million IOPS2 to accelerate storage I/O across the VMware environment.

    Without disrupting current server and storage infrastructure, the easy-to-deploy solution offers cluster-wide flash acceleration in existing VMware environments. The cost-effective solution also enables customers to get more performance and efficiency from existing storage and compute infrastructure, resulting in significant hardware and software savings.

    "The VAIO framework represents the next generation of integration for third party data services integration in vSphere environments, enabling leading software solutions providers to align with VMware's vision for the software defined data center," said Yanbing Li, senior vice president and general manager, Storage and availability Business Unit, VMware. "Western Digital's support as a design partner for VAIO and the introduction of their new FlashSoft software illustrates the important role that our partners play in delivering on the promise of the software-defined data center."

    "The FlashSoft 4 software for vSphere 6 using the VAIO API is in-line with Dell's vision for the software-defined data center. Using server-tier flash technology with FlashSoft host-based caching software is an innovative and cost-effective way to increase application performance in virtual environments," said Ravi Pendekanti, vice president, Server Platform Development, Dell Inc. "We are excited to see VMware's support for host-based caching through the VAIO program, and VMware Ready certification will give customers the confidence to broadly adopt and deploy this innovative solution."


    Source: WD debuts FlashSoft 4 software for VMware vSphere 6; new flash virtualization system for non-disruptive acceleration

    Friday, June 24, 2016

    Illuminating the ‘Dark’ Web and Content Monitoring

    She was referring to the unregulated part of the internet, best known for being a hub of illegal activity, that requires special tools to access and provides anonymity for both posting and viewing content; it forms a small part of the "deep web," the vast portion not indexed by search engines.

    "Anonymity is considered weird or strange: 'What are you hiding?'" Ms. Mattes said. "But if you think about it, anonymity is key to democracy."

    Photo Eva and Franco Mattes Credit Natan Dvir

    The Matteses, who come across as part Dada provocateurs, part grad school types (their website is 0100101110101101.org) went to unusual lengths for "Dark Content." They posted an ad online from a fictitious company supposedly looking for moderators and then explained to those who responded that they just wanted to hear what the moderators' lives were like. (The short answer: challenging and quite sad at times.)

    Surprisingly, most respondents agreed to participate in the Matteses' artwork and were paid a few dollars for their time. Then the artists animated the interviews — with software downloaded from the internet, of course — and looped cartoonlike footage of the participants' talking heads on monitors set into the underside of desks, so that London gallerygoers have to peer around the banal-looking office furniture to watch.

    Berin Szoka, the president of the nonprofit think tank Tech Freedom, agreed that the world of monitors was murky by design.

    "It's a bit of a black box, for obvious reasons," Mr. Szoka said. "Just as with cybersecurity, you don't want to make too clear what's happening, so that people can't circumnavigate the system."

    The direct inspiration for the project was the couple's own experience of having their work scrubbed from the internet. Six years ago, they filmed Mr. Mattes pretending to hang himself, and then posted the footage on the site Chatroulette, where people have brief video interactions.

    Photo Another viewing of Eva and Franco Mattes's series "By Everyone for No One Every Day (BEFNOED)" (2013-15). Credit Eva and Franco Mattes, via Carroll/Fletcher, London

    They then created a split-screen 2010 artwork, "No Fun," of the staged hanging, juxtaposed with the various viewer reactions. Mr. Mattes posted it on YouTube, which promptly removed it for violation of the company's policy on "shocking and disgusting content."

    "It had been shown in museums, so when it was removed, we were surprised," said Mr. Mattes, who wrote to the company to find out why it was removed. He said he received legalese in response.

    He added: "It was hard for me to imagine that the internet is more conservative than art museums. I grew up with the idea that art is old and boring, and the Net is fun and exciting, the wild, wild web, where anything can happen."

    That got them thinking about the process. "We wondered, is there some software?" Mr. Mattes recalled. "An algorithm that compiles all the red flags? Most people believe the removal is done that way."

    The moderators in general don't know which company they are working for, said Mr. Mattes. And they see truly disturbing graphic images on a daily basis.

    Photo Viewing Eva and Franco Mattes's installation series "By Everyone for No One Every Day (BEFNOED)" (2013-15). Credit Eva and Franco Mattes, via Carroll/Fletcher, London

    "The worst video I ever saw, personally, was an individual killing and dissecting cats," one moderator says in the current show.

    He goes on to recall the video as "cruel and unusual," and says, "The cats were killed in a majority of ways: running them over, electrocution, beating, stabbing." Then he added, "I personally am just not going to continue answering this."

    One particular incident came up over and over. "A lot of them mentioned being asked to remove images of Osama Bin Laden after he was killed," Ms. Mattes said, which she thought was somehow "politically related" and therefore troubling.

    The Carroll/Fletcher show also features the Matteses' 2016 series, "Image Search Results" (the phrase is from Google's comprehensive image search). One work renders the internet as a spooky undersea landscape with each water level representing a more unknowable depth. They had the result printed on a beach towel.

    A more lighthearted series, "By Everyone for No One Every Day (BEFNOED)" (2014), is a comment on the universe of content online that may never have any viewers at all. It asks the question, If a tree falls online, does it make a sound?

    Photo "Ceiling Cat (2016)," comprising a taxidermy cat and polyurethane resin. Credit Eva and Franco Mattes, via Carroll/Fletcher, London

    For it, the Matteses hired people anonymously on crowdsourcing sites to perform what Ms. Mattes called "simple, absurd acts." One man does handstand push-ups with "Eva and Franco Mattes" written on his belly.

    In the gallery, the monitors displaying the bizarre acts are awkwardly installed, so that people must contort themselves to watch, even lying on the floor, "forcing the viewer into being a performer," Mr. Mattes said.

    The installation is typical in its blend of confrontation and playfulness. In an email, Mr. Vickers of the Serpentine Galleries placed the artists on a direct line with the post-World War I Dada movement: "'The beginnings of Dada,' poet Tristan Tzara recalled, 'were not t he beginnings of art, but of disgust.'"

    Christiane Paul, an adjunct curator of new media arts at the Whitney Museum of American Art, said: "They have a reputation of being pranksters, but there's no posturing about it. It's driven by a deep engagement with the issues."

    Ms. Paul cited "Life Sharing" (2000–03) as a "landmark project" by the Matteses. For that work, they made many intimate aspects of their lives — right down to their bank statements — available online.

    Photo A work from the series "Image search results," printed on various objects, including a beach towel that depicts the internet as an undersea landscape. Credit Eva and Franco Mattes, via Carroll/Fletcher, London

    "They anticipated what would happen with social media platforms," Ms. Paul said of the now common sharing of mundane activities on blogs, Facebook, Twitter and Instagram.

    Both Ms. Mattes and Mr. Mattes hail from the Italian province of Brescia — and it's worth noting that they declined to say which towns, in an attempt to preserve a sliver of privacy.

    They met in 1995 through mutual friends while traveling in Spain, and have been together, and making art as a team, ever since. They've been based in Brooklyn for seven years.

    The "Dark Content" works have a journalistic aspect, but Mr. Mattes said he was amazed that there was not more literature shining a light on the topic of content monitoring.

    He rejected the idea that the radical duo was going soft by looking at the moderators as human beings.

    "A lot of our work has been confrontational, like the one of me hanging myself," Mr. Mattes said. " But we are not looking to punch people in the face, either. Hopefully there's something we can we learn from their experiences."

    Continue reading the main story
    Source: Illuminating the 'Dark' Web and Content Monitoring

    Thursday, June 23, 2016

    The automation of design

    Murphy's Law decrees: "Anything that can go wrong, will go wrong." For any of us whose livelihood depends on our labor, things going wrong could mean: "Anything that can be automated, will be automated."

    Our labor or skill in exchange for pay has undoubtedly caused us to seek security in the notion that we'll be forever needed. And yet time has shown that our ingenuity for efficiency orchestrates our removal from all forms of repetitive tasks. Energy and mechanization brought us from our fields into cities near factories, and in the past decades into offices behind our monitors. Engineers are even rendering themselves obsolete by automating the very thing they are critical for: thinking and making things.

    From automated software delivery, to self-modifying code, to self-assembling robots, will we be needed still? We've designed our environments and every object with which we interact by being creative and imaginative. Surely this could not be automated, right? We couldn't possibly be replaced in this function. As a designer of enterprise software for DevOps automation, I've ventured to wonder, could automation do what I do? Can I design my own obsolescence?

    In his article Why Web Design is Dead, Latin American designer Sergio Nouvel explained the death of web design from the evolution of "high quality templates, mature design patterns, automation, and AI (…)." His conclusion, as I understood it, assured the continued existence of experience design because cohesively defining the experience comes from deliberate conceptualization. I agree with his view, as it seems we cannot automate the process of imagining what we want to experience.

    Homing in on automation and AI, there are two recent examples that substantiate that we're heading toward having a layer of automation to remove a facet of design labor: visual layout. The pleasing harmony of structural elements, supporting elements, their positioning, their dimensions, their alignment, their hierarchy, their context and their color palette, all have long been the distinction of the skilled designer who brings the human intangible of aesthetic.

    Or is it the reverse? Maybe it is not us who create an aesthetic, but instead evolution has conditioned us to mimic nature's patterns: symmetry, ratios, shapes and colors. If this is true, then through defined parameters, AI could learn these patterns and, as a designer would, explore design possibilities until user responses confirm a satisfying resting point.

    A San Francisco startup, The Grid, offers "websites that design themselves," with their AI-driven layouts that organize and evolve the display of content by analyzing media, even adjusting color palettes and typography. Basically, their AI is making the decisions of a visual designer. However, a human learns to make decisions from purpose, passion, dedication and education. The Grid's layout engine has alleviated a significant portion of the design labor, but the main ingredient of the outcome is still human: enjoyment and emotion.

    UX design informed by business intelligence is not beyond AI and automation's reach.

    This past May, top honors at the TechCrunch Disrupt New York 2016 Hackathon went to AlexaSite, a solution that enables the update of website design using voice commands. Their leading use case is for web designers modifying layout using immediate feedback during meetings with customers. I promptly wondered, what if it wasn't a professional designer talking? What if it's a person willing to take the time to look at a template and instruct alterations?

    The iterative process would require no technical skill and soon enough a result would satisfy aesthetic sensibilities. As with numerous other industries, technology will have democratized specialized skills, cutting out middlemen and making it possible for non-initiates to the profession to develop a minimum of expertise to produce a satisfying outcome.

    In both these cases, AI and automation have demystified producing the design deliverable. The skill to go from conception to delivery has removed the visual designer as the gatekeeper and owner of the process. This is precisely where we come full circle to our initial insecurity: the fear of no longer being needed.

    Thinking our foothold resides in making decisions that are too complex for algorithms to expropriate them from us, the frontier that automation cannot cross into is where experience design requires team collaboration, creativity, financial imperatives, company culture, engineering ability and market objectives. AI and automation could not possibly take on all these variables — but how far could both go?

    UX design informed by business intelligence is not beyond AI and automation's reach. The portion we might think is clearly within the boundaries of our creative synthesis is interaction design, where architecture, frameworks and iterations from feedback and validation shape an evolving user experience.

    Back in 1999 I was having a conversation with a colleague with whom I imagined an organic UI. We were defining a user interface that changed itself in step with the increasing knowledge of the individual user. Users would enjoy tailored experiences of the product corresponding to their increasing abilities. The product would have DNA, so to speak, which would enable it to change within the parameters of an evolutionary framework. Is this not where UX practices have led us today?

    Now, in collaboration with product management and engineers, I'm designing an enterprise software solution for Application Release Automation that helps DevOps teams work toward the continuous delivery of their software. As teams and I have been designing for automation, I often peer into the future, wondering what portion of information architecture, workflows and interaction design could be automated to produce an outcome comparable to what we've achieved so far.

    Again the reference to DNA comes to mind. What if we could parameterize the workflows, the UI patterns and the visual language we've developed to define the user experience. The labor in a design cycle resides in the many iterations to explore workflows and patterns that lead to the validation that our user's needs are met. Within defined workflows and UI patterns, AI would power through iterations and present multiple viable options in a fraction of time. Next, it would push the options out to user testers, log the behaviors and determine through analytics which idea is best.

    The labor that follows in the hand-off of wireframes and specs for the engineering team would be entirely optimized into implementation engines that produce flawless and exact UI layout and behavior. The entire quality assurance process would in turn be optimized by meeting minimum acceptance criteria, thus entirely eliminating human error. This frictionless path would likely foster peace and harmony between teams never before dreamed of.

    Certain roles in software engineering are marching toward their obsolescence.

    This concept of automation in a UX design cycle seeks to mimic what software development and IT teams are already doing toward delivering releases more efficiently through the creation of automation pipelines. Repetitive labor and intensive tasks that are prone to human error are broken down into repeatable processes across a series of stages, from development, through testing, to production and into the hands of the users, confirming that what can be automated does truly get automated.

    Thus, certain roles in software engineering are marching toward their obsolescence, as best practices shed people while automations keep the show going. But this has been so in all industries, going so far back as the introduction of the first steam engine, on through to the mechanization of assembly lines. In each case, the automation was not the doing of the laborers. No, it happened to them. With the automation in releasing software, the irony is that engineers are the ones imagining it into being. And as designers imagine the constructs of what's next, it would only be appropriate that their elimination is self-inflicted.

    I predict that once we have automated algorithmic tasks for designing software, time will be freed for imagining new solutions and experiences, as we're currently seeing with the resurgence of VR and the emergence of 360 video content. Automation frees time for the heuristic facets of design to evolve toward crafting experiences for deeper social connectedness, more efficient collaboration and broader creativity.

    First, however, there is a pragmatic motivation for eliminating algorithmic design tasks: Speed. That ever-competitive edge. Yet speed to market through speed of execution is often erroneously sought by sacrificing quality. From lack of automation, we drift toward inadequately achieving speed by removing key steps that ensure a better outcome in delivering a quality product.

    My former boss would often state: "Waste is sinful," which I interpreted as time is wasted. Effort is wasted. Conversations are wasted. Talent is wasted. Market opportunity is wasted. Investment is wasted. I go so far as to say life itself is wasted in the inefficiencies of production.

    In the case of producing a superior user experience in software, when the vectors of speed and quality are in a tug-of-war, automation can end the war and get both vectors moving in the same direction. From his commission to rebuild Japan's post-war manufacturing industry, the engineer and professor W. Edwards Deming admonished: "Cease dependence on mass inspection to achieve quality. Instead, improve the process and build quality into the product in the first place."

    In our modern software development organizations, committed to the pursuit of continuous software delivery, Deming's words may well be the beacon to establishing a design process in which automation removes the inspection from humans, and built-in quality will come directly from AI rendering design solutions relative to a set of parameters.

    As a designer of enterprise software, I do not fear the elimination of my labor. I welcome it. I seek to enable it. I desire AI and automation to free me so that I may have the mental availability and the time to project and design the experiences of what's next.

    Featured Image: MartinaVaculikova/Educester/Getty Images
    Source: The automation of design

    Butterware upgrades software

    The new design can be viewed on smartphones, tablets and desktop computers, and avoids the need for customers to maintain both a website and an app.

    Butterware has been providing custom-designed ordering and payment websites to the lunch-to-go market for five years.

    Its websites have features such as meal deals, vouchers, newsletters and recommend a friend.

    The new mobile responsive design automatically adapts the view, depending on the device being used, to view the site.

    This provides a better consumer experience, particularly on smartphones, meaning consumers can order their lunch on-the-go and collect, says the company.

    The new design also incorporates more product images, based on customer feedback, to make their website more visual and appealing.

    Butterware customer, Steve Hinds, MD at Taste in Exeter, said: "The design is more visual and more intuitive to use, and the fact that it displays better on phones mean more customers can order without needing to be at a computer, which helps us to grow!"

    Graeme Simpson, managing director at Butterware, said:"When we originally launched, our online-ordering websites were new and innovative for the industry, but we understand that it's important we continue to develop our software to keep pace with the market. Today's economy is all about mobile-commerce, not just e-commerce, so we've upgraded our offering to ensure today's consumers are getting the best."


    Source: Butterware upgrades software

    Wednesday, June 22, 2016

    Cadence Debuts PSpice Web Portal and Ecosystem to Help Designers Address System Level Mixed-Signal Wireless and IoT Challenges

    SAN JOSE, Calif., June 22, 2016 /PRNewswire/ -- Cadence Design Systems, Inc. (NASDAQ: CDNS) today announced the launch of PSpice.com, a new user-community web portal that lets designers, partners and students access materials related to PSpice® analog and mixed-signal simulation and analysis in one central location.

    The PSpice.com portal includes application notes, design examples, video tutorials and tools necessary or helpful for creating designs. Its forum discussion section allows users to share knowledge about design experiences, ask technical questions to other PSpice users or Cadence® experts and get recommendations for products and services. The portal provides access to thousands of simulation models from Texas Instruments, with plans to add many more from other major IC manufacturers.

    "The PSpice web portal and community is a good resource for any analog or mixed-signal engineer creating an electronic design," said Makram Mansour, Ph.D., WEBENCH® Manager at Texas Instruments. "Within the PSpice.com environment, the designer can quickly create a sub-system design using WEBENCH design tools, select from thusands of component models, and easily export the simulation files to PSpice to characterize its performance.  In just a few minutes, a designer can have a fully functioning sub-system board design and layout ready for fabrication."

    "PSpice.com is your one-stop shop for information on PSpice," said Kishore Karnane, product management director, PCB Group, Cadence. "Analog and mixed-signal designers won't need to search different websites looking for PSpice information anymore. They now have a focal point to get PSpice technical tips and tricks and even related events sponsored by worldwide Cadence Channel Partners. In addition, the Collaborative Forum gives PSpice users the opportunity to connect with each other, share design ideas, tech tips, models, etc. Cadence would like to bring all the PSpice users together through this forum."

    About CadenceCadence enables global electronic design innovation and plays an essential role in the creation of today's integrated circuits and electronics. Customers use Cadence software, hardware, IP and services to design and verify advanced semiconductors, consumer electronics, networking and telecommunications equipment, and computer systems. The company is headquartered in San Jose, Calif., with sales offices, design centers and research facilities around the world to serve the global electronics industry. More information about the company, its products and its services is available at www.cadence.com.

    This press release contains certain forward-looking statements that are based on our current expectations and involve numerous risks and uncertainties that may cause these forward-looking statements to be inaccurate. Risks that may cause these forward-looking statements to be inaccurate include, among others, the risks detailed from time-to-time in our U.S. Securities and Exchange Commission filings and reports, including, but not limited to, our most recent quarterly report on Form 10-Q and our annual report on Form 10-K. We do not intend to update the information contained in this press release.

    © 2016 Cadence Design Systems, Inc. All rights reserved worldwide. Cadence, the Cadence logo and PSpice are registered trademarks of Cadence Design Systems, Inc. in the United States and other countries. All other trademarks are the property of their respective owners.

    For more information, please contact:Cadence Newsroom                                                   408-944-7039                                                             newsroom@cadence.com       

    Logo - http://photos.prnewswire.com/prnh/20140102/SF39436LOGO

    To view the original version on PR Newswire, visit:http://www.prnewswire.com/news-releases/cadence-debuts-pspice-web-portal-and-ecosystem-to-help-designers-address-system-level-mixed-signal-wireless-and-iot-challenges-300288361.html

    SOURCE Cadence Design Systems, Inc.

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    Source: Cadence Debuts PSpice Web Portal and Ecosystem to Help Designers Address System Level Mixed-Signal Wireless and IoT Challenges

    Adobe disappoints Wall Street

    adobeSoftware maker Adobe appears to have disappointed the cocaine-nose jobs of Wall Street with its latest results. They are weeping…

    It was not as if the results were bad, in fact Adobe Systems second-quarter revenue and full-year revenue forecast just about met analysts' estimates, it is just that Wall Street hoped that they would see increased demand from the outfit's Creative Cloud package of software tools.

    Adobe has been focused on selling its software through web-based subscriptions, which ensures a predictable and recurring revenue stream. This helped Adobe's cash rise for nine straight quarters and should mean that growth would be predictable going forward as most of the company's clients were now on the subscription model

    However Adobe's forecast for the current quarter was largely below estimates – mostly because Adobe is always conservative on its outlooks and Wall Street suddenly seems to think that is a weakness.

    Adobe's second-quarter revenue rose 20.4 percent to $1.40 billion as more customers subscribed for Creative Cloud, which includes graphic design tool Photoshop, web design software Dreamweaver and web video building application Flash.

    Revenue from the digital media business, which houses Creative Cloud, jumped 26 percent to $943 million, but fell just short of analyst's estimates of $944.3 million, according to FactSet StreetAccount.

    Adobe forecast third-quarter total revenue of $1.42-$1.47 billion, implying year-over-year growth of 16.4-20.5 percent. But the forecast was largely below analysts expectations of $1.47 billion.

    Wall Street analysts expect the company's revenue to rise between 19-22 percent over the next four quarters.Adobe's second-quarter net income rose 65 percent to $244.1 million, or 48 cents per share. Excluding items, Adobe earned 71 cents per share, beating analysts' estimates of 68 cents.


    Source: Adobe disappoints Wall Street

    Tuesday, June 21, 2016

    Turing School of Software & Design Releases Annual Student Outcomes Report

      June 21, 2016 -- Turing School of Software & Design Releases Annual Student Outcomes Report

    Turing School of Software & Design announced today the release of a full-scale, third-party reviewed data report detailing student outcomes. The outcome report includes data about completion rates, academic success, demographics, employment, salary, tuition costs and more. Turing strives to set the standard in accelerated computer engineering programs. The school will continue to openly publish results and will use it as a guide for how to improve its program year after year.

    The data, calculations and methodology of this report were third-party audited by Joseph Kozusko, Ph.D and co-founder of Skills Fund. In summary, Kozusko stated: "The conclusion of Skills Fund is that the Turing School of Software and Design 2015 Outcomes Report is reflective of strong data integrity, uses consistent standards measures and indicates markers of a high-quality accelerated learning program."

    ?Turing is strongly committed to transparency," said Jeff Casimir, Executive Director of the Turing School of Software & Design. ?By releasing this data, we are held accountable for the promises we make to prospective students and the community. We publish our program's lesson plans and tutorials, so it only makes sense to be just as transparent with our student outcomes."

    In March of 2015, Turing joined a collective of other computer training programs to form the New Economy Skills Training Association (NESTA). The organization put together a list of outcomes data points that member organizations would publish in the future. Beyond NESTA, Turing's internal and external culture is based on transparency. Turing publishes all of its lesson plans, tutorials and a few hundred class videos all online free for non-commercial use.

    ?Go to any major bootcamp website and you'll see ?become a web developer,' ?use our full-time course as a springboard to a career in web development,' ?become a world-class, entry-level web application developer.' But if you ask them what percentage of their graduates are employed as full-time software developers, they won't give you their numbers. That is just wrong," said Jorge Téllez, Director of Growth & Operations at the Turing School in a recent article published on Medium.com.

    Here is snapshot of Turing's 2015 outcomes report. The following data represents cohorts of the Turing School who graduated between December 2014 and December 2015.

    Completion RatesStudents enrolled: 136Students who are still enrolled: 4 (due to repeated modules / breaks)Students with complete outcomes: 136 - 4 = 132Number of graduates: 101 (76.5%)Early Employment Departures: 9 (6.6%)Satisfactory outcomes: 110 (83.3%) (represents total of graduates + persons employed before graduation)

    Academic SuccessEach of our four modules is pass/fail. How did graduates do? Among 94 respondents:Graduated with no repeats: 86 (91.5%)

    DemographicsEach category is broken down by total students and graduateswomen: 38 enrolled (28% of enrollees), 27 graduated (27% of graduates)non-white: 33 enrolled (24% of enrollees), 27 graduated (27% of graduates)military veterans: 5 enrolled (4% of enrollees), 4 graduated (4% of graduates)students without a 4-year degree: 27 enrolled (20% of enrollees), 20 graduated (20% of graduates

    Salaryaverage salary of employed graduates: $74,535average increase of yearly salary compared with previous job: $32,929

    ?Overall we are proud of these results. Some of our key takeaways and intentions for the future are that we must attract, enroll and graduate more women, people of color and veterans. We also must graduate a higher percentage of students without any sacrifice in academic rigor," said Casimir. Even mixing in those who leave early due to employment, we're looking at a graduation rate in the 80s. MIT hovers in the area of 91-93%. Stanford boasts a 94% graduation rate. We can do better."

    To view the full report, visit http://report.turing.io/.

    About Turing School of Software & DesignTuring School of Software & Design is a non-profit professional software developer school specializing in Web Application Development and Front-End Engineering. Turing values come from a desire to create a more diverse workforce and to properly prepare students to enter the workforce upon program completion. As a registered Colorado non-profit, Turing answers to no investors or outside interest, strategies and decisions are guided solely by what will lead to the best learning experience for students. For more information please visit https://www.turing.io/.

    Read the full story at http://www.prweb.com/releases/2016/06/prweb13501862.htm.

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    Source:PRWEB.COM Newswire. All Rights Reserved


    Source: Turing School of Software & Design Releases Annual Student Outcomes Report

    Online event management software development company

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    Source: Online event management software development company

    Monday, June 20, 2016

    Eucl3D Turns the SimplePlanes Video Game into Easy to Use 3D Modeling Software

    3dp_Eucl3D_SimplePlanes_logoIt is really easy to forget how sophisticated modern video games actually are. While we as players experience things like alien invasions, cheesy melodramatic dialogue and frustrating missions to rescue princesses, there is a lot more going on that we rarely think about. Modern video games are actually incredibly sophisticated computer programs that create unbelievably immersive experiences, including realistic physics, interactive environments and they even simulate the thinking and behavior of people. Often times video games are so sophisticated that even the original creators are surprised at some of the things that players have managed to do with them.

    There are plenty of examples throughout gaming. In Minecraft, players have built everything from recreations of real world locations to other video games tribute, and once an enterprising player even created a rudimentary 3D printer. In Fallout 4 players are given tools to build entire settlements and machines that can be combined in limitless ways, resulting in unbelievably complex creations. One of the ways that this was accomplished is the game developers granting users what are essentially shortcuts to programming their own game effects. PC gamers have a long history of manipulating and modifying the code from their favorite games and creating everything from alternate clothing to entire new levels to entire new games. All of that was possible because the software itself was robust enough to be manipulated by players and made to look like something else.3dp_Eucl3D_SimplePlanes_prints

    So it makes perfect sense that a video game that allows players to design and build their own airplanes could be used as a 3D modelling program. The game SimplePlanes from game developer Jundroo is a pretty simple and unassuming game. Players are given tools to build their own airplanes and then they can fly them in a series of training exercises and challenges. While that may not sound especially remarkable, the plane building aspect of the game is actually quite a powerful bit of software, and players quickly learned that it can be used to make far more than just airplanes. In fact, just about anything can be designed using the plane builder, including Astrometric Droids, an Eagle with flapping wings and even giant musical instruments.  

    3D printing services provider Eucl3D offers video game and other smartphone app users the ability to pull 3D assets and convert them into 3D printed models. The intention is to offer users a personalized piece of their game, and it is a service that is becoming increasingly common. Last week the San Francisco-based company announced that they are adding a new game to their roster of clients: SimplePlanes. With a click of a few buttons, players could have a 3D printed version of their favorite creation in the game delivered right to their house. It is a great service, and it seems like a natural fit for a game like SimplePlanes that allows players to create completely unique creations.

    A more conventional design from SimplePlanes

    A more conventional design from SimplePlanes

    The game mechanics of SimplePlanes, when paired with 3D printing services, make the video game some remarkably easy to use 3D design software. There really are not a lot of limits placed on users in regards to what they can create using the plane builder, so almost anything is possible. This is, obviously, not the intended use of the video game or the 3D printing services, but it could certainly be used in this way. Even the easier to use, web-based 3D design software has a steeper learning curve than SimplePlanes does. While it may take a while to build your perfect 3D printable model, it can be done, and without knowing a lot about 3D modelling. Granted, you're limited in how exact measurements and fine details can be, and if you want it 3D printed you can only get it as full-color sandstone, but it is still pretty great that you can have almost anything that you design 3D printed for you.

    Here is a video showing the process of ordering 3D prints in-game:

    One of the reasons that 3D printing hasn't become more common in the average home isn't the cost or the relatively imperfect printed parts from average FDM machines, it's the difficulty in creating custom 3D printable models. The real disruptive aspect of 3D printing is being able to use it in your home to build things specific to your home. Being able to 3D print replacement parts for appliances or custom holders or latches built especially for your doors would be a great use for a home 3D printer. Unfortunately being able to design those things is beyond most people. However the fact that a simple video game like SimplePlanes can be used to create amazing, 3D creations using only a game controller is pretty amazing. It proves that 3D design software that anyone can use is possible, software designers just have to stop thinking of it as a CAD program, and start thinking of it as a game.


    Source: Eucl3D Turns the SimplePlanes Video Game into Easy to Use 3D Modeling Software

    Saturday, June 18, 2016

    Web Presence Management: Selling Web Design from a Taco Truck

    Home 2016 Editions Web Presence Management: Selling Web Design from a Taco Truck

    Web-Mgmt_taco-truck

    Once again, it's time to urge you to avoid the dirty tricks and scams some web developers practice routinely. My late pastor used to say, "People should be better than they are…but they're not." And we at Optima Automotive have come across more than our fair share of people who should be better but aren't. In fact, some are just bad, plain and simple. One client, a female shop owner who we'll call "Jane," was trying to get her domain name registration transferred from her old website developer to her. It didn't go well.

    Trouble Town

    Jane asked Optima to design a new website for her and manage her social media accounts, too. After some research, we found that the former developer, who we'll call "DBD," also owned the rights to her business domain name – never a good thing unless you have the utmost trust in your developer. Even then, we urge you to have control in case something happens. So we coached Jane on how to request the transfer.

    It's simple to transfer a domain from one owner to another. The original owner goes in to the domain registration service they use, unlocks it, gets a transfer code and then communicates that to the new owner, who sets up their own domain registration account and looks for "transfer a domain." They provide the domain name, enter the code and pay the fee. That service then sends an email to the original owner asking if they agree to this transfer. They agree, and the transfer is complete. Five to 10 minutes of work, tops.

    Not in this case, however. The original developer, DBD, sent a total of six documents to be reviewed, initialed and signed. One was a release agreement that "releases" DBD from claims, damages and liability caused by the "certain loss of rankings" due to transferring the domain name to her. There was a five-page "software acquisition" agreement that needed each page initialed, and a nondisclosure agreement that wouldn't allow Jane to even use her existing website or communicate anything about it to a future developer she might contract with. DBD said doing so would enable "rogue agents" to provide false information with the "sole purpose of discrediting the good name" of DBD. Good name indeed. Worse yet, this nondisclosure was to extend for 15-1/2 years! DBD then billed Jane's company $350 to transfer the website and domain name and indicated that if she didn't pay immediately, she would incur a 15-1/2 percent monthly late charge!

    Jane was beside herself. "I have never experienced anything like this!" she said. We told her by no means should she sign any of these agreements. She complained, and DBD sent the following message:

    Hi Jane,

    Please understand that because of the tremendous impact and ramifications of transferring a domain name, a company's asset, all the agreements/forms, etc., must be signed (including initialing every page) and the invoice must be satisfied in full before the domain name and site are transferred. It will take you about two hours, and you'll see that they're meant to protect you and me from nasty surprises now and in the future. There isn't a hidden agenda, nor is there anything that will harm either of us. I would never do that to one of my most cherished, longer term clients.

    Name Withheld

    When she again told DBD that she only wanted the rights to her own business domain name, he accused her of being coached by some outside entity, and that the words and grammar she used weren't her "normal" way of communicating. He then said this:

    Transferring a web domain is not a 5- to 10-minute job, and those who misinform anyone wishing to transfer an entire online presence are selling web services as an ancillary service, e.g. taco truck operators who sell web design out of their taco trucks. This is not meant to discredit or demean the noble profession of operating a taco truck.

    If this wasn't such an injustice, that would actually be kind of funny. But the fun ended a long time ago.

    So why not just tell Jane to buy a new domain and start from scratch? Because her existing domain has recognition by search engines that would take months to recoup, costing her business. And DBD knew it. Plus, DBD controls her email accounts, so she would lose those. Hundreds of people have Jane's email address. DBD has access to her accounts, and Jane believes he's spying on her communications, forcing her to use her AOL email to communicate with us.

    A Hard Lesson

    This whole thing is yet to be solved, but it should teach us all a lesson. As I've said many times before, as the business owner, you should have all the keys to your castle – your entire castle, not just parts of it. That means the following for your web presence:

  • Own the rights to your business domain name(s)
  • Have the access codes to your website server
  • Have all access to your social media accounts. For Facebook, you must have your own personal Facebook account to be able to be a full administrator of your business Facebook page.
  • Not having this access can and does cause major headaches. It's simple to avoid it. Get the keys.

    Now let's go find a taco truck, I'm hungry!

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    BSB Contributing Editor Mark Claypool has more than 30 years of experience in the fields of workforce development, apprenticeships, marketing and Web presence management with SkillsUSA, the I-CAR Education Foundation, Mentors at Work, VeriFacts Automotive and the NABC. He is the CEO of Optima Automotive (www.optimaautomotive.com), which provides website design, SEO services and social media management services.


    Source: Web Presence Management: Selling Web Design from a Taco Truck