Imagine having a complex debilitating syndrome that affects nearly every part of your body. Because it's invisible, and almost nobody has heard of it, you look like a hypochondriac. Now imagine having 3 such syndromes that exacerbate one another.

Discover AppatMe, the fresh approach to online dating! Using AI, our platform creates deeper, personalized connections for singles across the U.S., moving beyond random matches to deliver tailored, meaningful encounters.

Hartwig Mechanical service extends to Northern Illinois, the North Side of Chicago and Southern Wisconsin.

Mid Cities Psychiatry has been awarded The Joint Commission's Gold Seal of Approval® for Behavioral Health Care and Human Services by powering through its performance standards.

Michigan's Upper Peninsula, known for its awe-inspiring winter landscapes and abundant snowfall, has again been nominated for USA TODAY's 10Best "Best Snow Destination" title.

Jonathan F. Melegrito is celebrated for his authenticity and recognized for his success in his finance career

A Global Art Exhibition Examining Humanity's Journey Through Identity, Technology and Culture

Specializing in pain relief, Licensed Massage Therapist Orawan offers a variety of massage therapies, including Swedish, deep-tissue, traditional Thai, and Thai combination.

J. Martinez & Company offers an explanation of the differences between Jamaica Blue Mountain coffee and High Mountain.

The Mad Hatter Holiday Festival attracts thousands of people to the historic downtown district of Vallejo with its creative lighted and fire shooting Wonderland recreations that turns the city into a fantasy world for children and adults alike.

Anthony Watts retired from Banc Mortgage Financial Corp in 2004

Ace Bedich is the owner of Green O' Aces Pools & Landscape

Matthew Ward Stringer has excelled in diverse professional contexts, including music and marketing

I am a firm believer in The 7 Habits of Highly Effective People, by Stephen Covey. If you've not read this book, it is worth the time. I mention this because my focus at BA Insight is around Covey's second habit, which is, "Begin with the end in mind." Seems simple, right? Well it is, but it's also quite rare. When approaching any enterprise search project, at any phase, I always try to come back to this idea. What is success? When are we done? What does finished look like? These are all different ways of saying, "Make sure you have goals!"

The data, information, and analytics economy runs on well-curated, structured data. No matter your industry?having good curated data and content is critical. It's increasingly important as more data and content are generated. Intelligent tools to sift through content are more robust and at the same time, more "needy." That means modern technology platforms, systems, and even content consumers require well-structured data and content to perform well. As most artificial intelligence (AI) practitioners state?"nothing starts without good data."

Unstructured data, which comprises almost 80% of any enterprise's data, holds untapped value when it comes to addressing challenges and embracing opportunities.

There may be several generations that a KM system appeals to in different ways, but there are no generational differences when it comes to expecting high quality customer service and knowledgeable agents.

New Mexico Gov. Michelle Lujan Grisham appointed Heather Jordan as the new director of the Workers' Compensation Administration, effective immediately. Heather Jordan Jordan succeeds Robert Doucette, who will serve as cabinet…

Mini tripods have become increasingly popular over the last few years. They’ve become a versatile and invaluable part of many creators’ kit bags. There are...

The post The Mambapod is a compact tripod you can mount anywhere appeared first on DIY Photography.

For many of us creative folks, periods of low inspiration and creative block are inevitable. Max Kent also felt disconnected from his craft, but found...

The post From burnout to breakthrough: Five key steps to breaking the creative block appeared first on DIY Photography.

Wow, this has been a busy period. I’m just back from the Ampersand web typography conference in Brighton, and having a catch-up day in Mild Bunch HQ. Just before that I’ve been working flat out. First on Mapalong which was a grass-roots sponsor of Ampersand, and is going great guns. Then on an article for The Manual which is being published soon, and on 8 Faces #3 which is in progress right now. Not to mention the new talk for Ampersand which left me scratching my head and wondering if I was making any sense at all. More on that in a subsequent post.

In the meantime two previous events deserve a mention. (This is me starting more of a journalistic blog. :)

First of all, an interview with Simon Pascal Klien, the typographer and designer who’s curating the Design Festival podcast at the moment. We talked about all things web typography. Pascal cheekily left in a bit of noise from me in the prelude, and that rant pretty much sets the tone for the rest of the conversation. Thanks for your time, Pascal! If anyone reading this would care to listen in, the podcast can be downloaded or played from here:

Secondly, Daniel Bogan of The Setup sent me a few questions about my own tools. My answers are pretty clipped because of time, but you may find it interesting to compare this designer’s setup with your own:

I should note that in the meantime I’ve started writing with Writer, and discovered the great joy of keeping a journal and notes with a Midori Traveler’s Notebook. The latter is part of an on-going search I’m having to find Tools for Life. More on that, too at some point. Here’s my current list of topics I want to write about shortly:

• Ampersand, the aftermath
• Marrying a FujiFilm X100
• No-www
• Tools for life
• Paper versus pixels

There, I’ve written it!

The first Ampersand web typography conference took place in Brighton last Friday. Ampersand was ace. I’m going to say that again with emphasis: Ampersand was ace! Like the Ready Brek kid from the 80s TV ads I’m glowing with good vibes.

Imagine you’d just met some of the musicians that created the soundtrack to your life. That’s pretty much how I feel.

For a long, long time I’ve gazed across at the typography community with something akin to awe at the work they do. I’ve lurked quietly on the ATypI mailing list, in the Typophile forum, and behind the glass dividing my eyes from the blogs, portfolios, and galleries.

I always had a sneaking suspicion the web and type design communities had much in common: Excellence born from actual client work; techniques and skills refined by practice, not in a lab or classroom; a willingness to share and disseminate, most clearly demonstrated at Typophile and through web designer’s own blogs. The people of both professions have a very diverse set of backgrounds from graphic design all the way through to engineering, to accidentally working in a print shop. We’ve been apprenticed to our work, and Ampersand was a celebration of what we’ve achieved so far and what’s yet to come.

Of course, web design is a new profession. Type design has a history that spans hundreds of years. Nevertheless, both professions are self-actualising. Few courses exist of any real merit. There is no qualifications authority. The work from both arenas succeeds or fails based on whether it works or not.

Ampersand was the first event of its kind. Folks from both communities came together around the mutal fascination, frustration, challenge and opportunity of web type.

Like Brooklyn Beta, the audience was as fantastic as the line up. I met folks like Yves Peters of the FontFeed, Mike Duggan of Microsoft Typography, Jason Smith, Phil Garnham, Fernando Mello, and Emanuela Conidi of Fontsmith, Veronica Burian of TypeTogether, Adam Twardoch of Fontlab and MyFonts, Nick Sherman of of Webtype, Mandy Brown of A Book Apart and Typekit, and many, many others. (Sorry for stopping there, but wow, it would be a huge list.)

Rich Rutter opened the day on behalf of Clearleft and Fontdeck at the Brighton Dome. Rich and I had talked about a web typography conference before. He just went out and did it. Hats off to him, and people like Sophie Barrett at Clearleft who helped make the day run so smoothly.

Others have written comprehensive, insightful summaries of the day and the talks. Much better than I could, sitting there on the day, rapt, taking no notes. What follows are a few snippets my memory threw out when prodded.

Who knew the original letterforms for Comic Sans were inspired by a copy of The Watchmen Vincent Connare had in his office? Or that Vincent, who also designed Trebuchet, considers himself an engineer rather than type designer, and is working at the moment on the Ubuntu fonts with colleagues at Dalton Maag.

Jason Santa Maria declared himself a type nerd, and gave a supremely detailed talk about selecting, setting, and understanding web type. Wonderful stuff.

Jonathan Hoefler talked in rapid, articulate, and precise terms about the work behind upcoming release of pretty-much all of H&FJ’s typefaces as web fonts. (Hooray!) He clearly and wonderfully explained how they took the idea behind their typefaces, and moved them through a design process to produce a final form for a specific purpose. In this case, the web, as a distinct and different environment from print.

I spoke between Jason and Jonathan. Gulp. After staying up until 4am the night before, anxiously working on slides, I was carried along by the privilege and joy of being there, hopefully without too much mumbling or squinting with bleary eyes.

After lunch, David Berlow continued the story of web fonts, taking us on a journey through his own trials and tribulations at Font Bureau when re-producing typefaces for the web crude media. His dry, droll, richly-flavoured delivery was a humorous counterpoint to some controversial asides.

John Daggett of Mozilla, editor of the CSS3 Fonts Module, talked with great empathy for web designers about the amazing typographic advances we’re about to see in browsers.

Tim Brown of Typekit followed. Tim calmly and thoroughly advocated the extension of modular scales to all aspects of a web interface, taking values from the body type and building all elements with those values as the common denominator.

Finally, Mark Boulton wrapped up the day brilliantly, describing the designer’s role as the mitigator of entropy, reversing the natural trend for things to move from order to chaos, and a theme he’s exploring at the moment: designing from the content out.

The tone of the day was fun, thoughtful, articulate, and exacting. All the talks were a mix of anecdotal and observational humour, type nerdery, and most of all an overwhelming commitment to excellence in web typography. It was a journey in itself. Decades of experience from plate and press, screen, and web was being distilled into 45-minute presentations. I loved it.

As always, one of the most enjoyable bits for me was the hallway track. I talked to heaps of people both in the pre- and after-party, and in between the talks on the day itself. I heard stories, ideas, and opinions from print designers, web designers, type designers, font developers, and writers. We talked late into the night. We talked more the next day.

Now the talking has paused for a while, my thoughts are manifold. I can honestly say, I’ve never been so filled with positivity about where we are, and where we’re going. Web typography is here, it works, it’s better all the time, and one day web and type designers everywhere will wonder, perplexed, as they try to imagine what the web was like before.

Here’s to another Ampersand next year! I’m now going to see if Rich needs any encouragement to do it again. I’m guessing not, but if he does, I aim to provide it, vigorously. I hope I see you there!

Furthermore

• Rich Rutter back in May on The Ampersand Story
• Eye Magazine: Web typography comes of age at Brighton’s Ampersand conference
• Anthony Stonehouse: Ampersand 2011
• Laura Kalbag: Notes from Ampersand
• Dave Bushell: Ampersand Conference!

Last but not least, did I mention that Rich Rutter, Mark Boulton, and I are writing a book? We are! More on that another time, but until then, follow @webtypography for intermittent updates.

Thanks for all the positive support and reception to my Lightroom presets so far, especially to those who pulled the trigger and became my first customers! I’d love to hear your feedback once you try them out!
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Still time to enter the giveaway or to take advantage of the 50% sale! See my last post for full details and the link in my profile. ❤️ (at Toronto, Ontario)

I like the philosophy behind shooting with primes; that a photographer shouldn’t stand still but instead, continuously move closer, further, lower, or higher relative to his/her subject as a means of establishing a deeper connection. ????????
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Save 50% on my custom Lightroom presets with HOLIDAY50. Link in profile. (at Toronto, Ontario)

And while we’re in the process of missing European architecture… ????
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4 more days left to catch my Lightroom presets for 50% off! ⌛️ (at Copenhagen, Denmark)

Trying to straighten all the lines on this shot is a sure fire way to go blind. ???? (at London, United Kingdom)

I had a fantastic conversation with Jem Sophia today (our first actual conversation after years of talking online!) who pointed me in the direction of this fantastic article. I love the sentiment and the metaphor. Creating software to scratch an itch without any ambitions of ScAlInG and turning it into a capitalistic enterprise.

Abelardo Morell
Camera Obscura: Early Morning View of the East Side of Midtown Manhattan, , 2014
Website - AbelardoMorell.net

Abelardo Morell was born in Havana, Cuba in 1948. He immigrated to the United States with his parents in 1962. Morell received his undergraduate degree in 1977 from Bowdoin College and an MFA from The Yale University School of Art in 1981. In 1997 he received an honorary degree from Bowdoin College.

His publications include a photographic illustration of Alice’s Adventures in Wonderland (1998) by Dutton Children’s Books, A Camera in a Room (1995) by Smithsonian Press, A Book of Books (2002) and Camera Obscura (2004) by Bulfinch Press and Abelardo Morell (2005), published by Phaidon Press. Recent publications include a limited edition book by The Museum of Modern Art in New York of his Cliché Verre images with a text by Oliver Sacks.

His work has been collected and shown in many galleries, institutions and museums, including the Museum of Modern Art, The Whitney Museum of American Art, the Metropolitan Art Museum in New York, The Chicago Art Institute, The San Francisco Museum of Modern Art, The Houston Museum of Art, The Boston Museum of Fine Art, The Victoria & Albert Museum and over seventy other museums in the United States and abroad. A retrospective of his work organized jointly by the Art Institute of Chicago, The Getty in Los Angeles and The High Museum in Atlanta closed in May 2014 after a year of travel. Abelardo will be having his first show at the Edwynn Houk Gallery in New York opening October 23, 2014 and will run until December 20, 2014 featuring a selection of new pictures.

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What is deceptive, especially in the West, is our assumption that repetitive and mindless jobs are dehumanizing. On the other hand, the jobs that require us to use the abilities that are uniquely human, we assume to be humanizing. This is not necessarily true. The determining factor is not so much the nature of our jobs, but for whom they serve.

‘Burnout’ is a result of consuming yourself for something other than yourself. You could be burnt out for an abstract concept, ideal, or even nothing (predicament). You end up burning yourself as fuel for something or someone else. This is what feels dehumanizing. In repetitive physical jobs, you could burn out your body for something other than yourself. In creative jobs, you could burn out your soul. Either way, it would be dehumanizing. Completely mindless jobs and incessantly mindful jobs could both be harmful to us.

“In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive, it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the artist as a craftsman.”

- Artist Sol Lewitt on conceptual art.

Dan Perry: The world was hugely interested in the U.S. presidential election -- and everywhere people are wondering what the return of Donald Trump will mean in geopolitics. But is America interested in the world?

President-elect Trump and Elon Musk, two billionaires with strikingly similar DNAs, are fusing into a new, powerful governing-media paradigm.

Nearly 34.6 million people traveled to Florida from July through September -- shattering another tourism record for the state.

The "Call for speakers and workshop facilitators" page has been created. [21 Jan 2008]

A reminder of the "Call for speakers and workshop facilitators" was sent to the web-support JISCMail list. [21 Feb 2008]

A reminder of the "Call for speakers and workshop facilitators" was sent to the website-info-mgt JISCMail list. [21 Feb 2008]

Details of the parallel sessions available for delegates to attend are now available from the Web site. [05 May 2008]

Details of the plenary talks to be given at the workshop are now available from the Web site. [07 May 2008]

A number of new blog posts including a 'Welcome to Aberdeen' message have been added to the video blog page. [16 July 2008]

Matthew Wood is Head of Software Engineering and Architecture at BBC Audio and Music. He runs a team of software engineers and client side developers and likes making things. Matthew gave a plenary talk entitled "How the BBC make Web sites" with Michael Smethurst.

Ewan McIntosh will be giving a Plenary Talk on Unleashing the Tribe. University and 'real life' are often seen as distinct entities by students, and employers. Outside academia huge changes in the way we interact and how knowledge is shared and analysed have been afoot for some time. A generation of Bebo Boomers are repeating the solidarity and participation witnessed by the baby boomers forty years ago. The net, gaming and mobile technologies are encouraging more collaboration across greater distances and cultures than ever before. Such stories should be encouraging rapid change in the nature of schooling. So what are the main routes down which educators could go and what are the main challenges to overcome?

James Currall will be giving a Plenary Talk on The Tangled Web is but a Fleeting Dream ... but then again... "Just a quick phone call to ask you if you could set up something to archive the University Web site, it should be pretty straight-forward for someone with your technical know-how." It is only a matter of time before someone in "Corporate Communications", the " Freedom of Information Office" or some similar department comes to you with this sort of request. How would you (have you) react(ed) to it? Many acres of virtual text have been penned on the subject of Web archiving (a fair proportion of them no longer available because the sites no longer exist:-) One of the major problems, which is well illustrated by the Wikipedia article on the subject, is that most authors have concentrated almost entirely on "How?" to do it and the (technical) difficulties that arise. The speaker will argue that "How?" is the least of your problems. What is your institutional web site for and what purpose is archiving it supposed to serve. To put it another way, the questions: "What?", "Why?", "When?" and "Where?" come well before deciding if the "Who?" is you, or trying to determine "How?". As usual Currall asks awkward questions and never seems to provide any useful answers, just turning seemingly simple problems in complex, issue-strewn minefields. He hasn't written the talk yet, but you can be sure that it will raise some very fundamental issues and give you something serious to think about and discuss and aside from manufacturing Shakespearean quotes, will probably quote from the most read book in the English Language, although you might feel the need to check that he isn't just making it up!

Helen Aspell, Head of Digital Marketing, University of Southampton and James Souttar, Precedent give a plenary talk on Web 2.0 and Brand: Theory and Practice. There are thousands of Web 2.0 technologies available online right now, from Twitter to Second Life, all with tangible marketing benefits but not necessarily to every organisation or audience. In the current climate of Web 2.0, marketers are being expected to prove their understanding of new technologies and demonstrate how their brand is using and responding to the changing environment by incorporating social media into their digital strategies. This challenge is particularly acute in large, devolved organisations such as universities where technology decisions are often made at arms' length from the marketing function by IT teams or individual departments, neither of whom may consider the implications that building an online presence in Web 2.0 may have on an audience's perception of the organisation's brand. During the talk, Aspell and Souttar will outline how the changing landscape of digital technologies will shape the agenda of brand development in the future. This will include the principles of branding in the modern age with its application and embracing of Web 2.0 technologies. Moving from theory into practice, the reference will be the re-brand of University of Southampton with isoton used to demonstrate how Web 2.0 technologies can reflect and enhance an institution's brand.

Cameron Neylon, STFC Rutherford Appleton Laboratory gives a plenary talk on how Web Based Tools are Enabling Open Research Practice. Communication of data, results, and models is at the centre of research science. Yet while our understanding of our surroundings across a wide range of research disciplines has been transformed in the last 20 - 50 years the means of that communication remains trapped within the now centuries old convention of the published research paper (and the traditional stand and deliver presentation). In the initial phase of the development of the World Wide Web publishing practises remained fundamentally the same with the printed page being transferred online but remaining in fundamentally the same format. The advent of user-centred Web-based tools for information gathering, publishing, social networking, and collaborative working has challenged traditional models of publishing and archival. These tools have an enormous potential to make scientific communication more effective, timely and comprehensive. Examples of such approaches include tools for sharing of data and technique protocols via wikis, image, and video sharing sites, collaborative authoring of research papers using online office suites and discussion of the published literature, research practise, and the life challenges associated with a research career through blogs. The availability of these tools is also associated with a growing interest in some sectors of the academic research community in adopting more 'open' approaches to research practice. The logical extreme of this 'Web 2.0' based open approach is to make the researcher's laboratory notebook freely available online or even to carry out the preparation of a research grant in public. While examples of the application of these approaches in academic research are currently limited they nonetheless raise serious questions about the future of both the traditional format of research publication and of peer review in its current form. Responses to the advocacy of 'Open Science' therefore, understandably, run the gamut from fanatical support, through amused tolerance, to derision and, in some cases, extreme hostility. In this talk I will discuss examples of Web-based and Open Science practices, including the experience of adopting these approaches within my research group, the state and usefulness of tools available to support these approaches, and the current position and future prospects of the Open Science community more generally.