#digitsation

[an-spideog]

If you're in Ireland, you can get various ebooks and audiobooks in Irish on the BorrowBox app (linked to the Irish Library System). Something to be careful of though is that I've noticed some kids books on there which seem to have been machine translated presumably for like a passive income scheme. But you should be able to avoid those if you stick to ones you can also find the name of in physical book shops (siopaleabhar.com, litriocht.com, etc.). If you're outside of Ireland you can find some digitsed books on archive.org (usually older ones), and some ebooks can be pirated but it's a bit rarer. Keep in mind that there's not a lot of audiobooks or ebooks in Irish to begin with, sometimes you might need to settle for a scan of the physical book. More and more kids books are getting audio versions these days, and often they're available on soundcloud (see here for example)

Does anyone know of a website or app that has free ebooks and/or audiobooks in the irish language?

[nationalgalleriesdigitisati-blog]

These shots show the preparatory work for miniature photography. We are testing different techniques to get the best results - adjusting the aperture of the camera, the studio lighting and the softness of the light. Due to the variety of the media, finding suitable settings to capture them all proved difficult. 

We discovered that the combination of a few sheets of tracing paper to diffuse the flash, having the lights at different heights and strengths, and focusing the camera using a smaller aperture meant we could capture the majority of the miniatures. 

Due to the success of our preparatory work, within the next few weeks these complex objects will be added to our digitisation batch lists. So watch out for more miniatures in the future!

Helena & Ali

[vancilart]

kitchen

[oodlenoodleroodle]

I thought etui was a Swedish word! :O :O

Etui (a small decorative case that holds things like needles, scissors, or thimbles)

1760s-1790s

France

MFA Boston

[digimarket123]

Content Writing

What is content writing?

Content writing refers to professional writing created for an online audience to fulfill specific marketing objectives. Marketers and business owners publish content, also known as copy, online for many reasons. They may be looking to increase the traffic to their website or to inform their customers about a new product or service. But above all, their main goal is to reach a target audience that is most receptive to their well-crafted messages.

Importance of Content on a Website

It is important to upload content on websites. Google uses a software known as web crawlers to discover publicly available web pages. More and authentic the content, the more recognition will be given by google to it. After crawling or reading everything on our website, google index it to make it available for users like the index of any book. 

Where to find a Good Content Writer

Well you can find a good content writer either through freelancing or through agencies. I would suggest you choose any good agency according to your needs and budget under  Top 10 Digital Marketing companies. They are more reliable and accountable both for their work. But always do your research before hiring someone. 

[graphicpolicy]

Milestone Returns and Truth & Justice are Today's New Digital Release Highlights

Milestone Returns and Truth & Justice are Today's New Digital Release Highlights #Comics #ComicBooks #DigitalComics

There’s four new digital comic relases on comiXology. Get new comics from Harlequin and DC Comics. You can get shopping now or check out the individual releases below. Milestone Returns (2021-) #0 Written by Reginald HudlinPencils ChrisCross, Denys Cowan, Jim LeeInks Juan Castro, Nikolas Draper-Ivey, Bill SienkiewiczColored by Nikolas Draper-Ivey, Chris SotomayorCover by Denys CowanPurchase At…

[pastellshinigamii]

he only tolerates kids to get money to pay his debts 

[lesbunnian]

We are NOT gonna talk about how for my current color theory class how I'm using a small digitsal ortrait (i dont do digital for commissions I'm a traditional only artist school gets the exception) of Choi San I drew at bingo and making it a thing for class. Nope. We are not. I'm normal.

Totally normal.

[yogpetshame]

Thoughts on the latest 'drama'? digitiser2000*com/ main-page/ mr-biffos-youtube-drama-school-a-recap-of-the-yogscast-situation

Archive link Direct Link

(For context, DIgitiser is a “magazine” that has been around since 1993, and after several relevant evolutions, is now a website named Digitiser 2000.I’m sure people in England know all about this but I had only kind of heard of them and had to do a little history lesson.)

The blog post is really long so I’ll abbreviate it for you in Paul Rose (”Mr Biffo”)’s own words.

The folk on Yogscast did a live stream in which one of them, Simon, chose to portray that absurd new Digitiser character Beanus. They’re a huge network - Digi is dwarfed by their millions of viewers… 

I sort of wrongly assumed they’d give ample shout-outs to the original source of Beanus. And they kind of did mention me a couple of times in the two-and-a-half-hour stream, albeit in a sort of bare minimum, throwaway fashion, I felt.Certainly throwaway next to the presence of Simon-dressed-as-Beanus throughout the entire stream, during which his stupid catchphrases and characterisation were used wholesale, including during a moment where he was involved in a nod to their sponsor. Which I’d never have agreed to. Regrettably, I’d not been contacted about any of it beforehand…

It felt… I dunno… kind of unfair? Not least because - judging from comments - a lot of their fans had seemed to have missed the whole “Beanus is the intellectual property of Mr Biffo” comments, and took it as given that he was their character. I tweeted at Simon and Yogscast to give us a link and maybe retweet our original video… which Simon did, after Bouphe got involved (though he’d already linked to our new Beanus merch on Redbubble, for which I’m grateful). They’ve also belatedly added a link to Digi’s original video, which I appreciate, albeit with the disclaimer that Simon had just dressed up as the character “For Halloween”…

It’s a struggle to get recognition on YouTube at the best of times…You need to leverage every opportunity and tool at your disposal; if people are responding to Beanus then you can be sure we’ll ride that wave until it breaks.When I saw Yogscast using Beanus I was pleased initially… as I felt it was going to be an opportunity to eke out, potentially, some extra views. Unfortunately, it became apparent that this clearly wasn’t going to happen.In fact, sort of the opposite had happened: a stupid character we’d created was, to all intents and purposes, being seen as theirs, with only the most cursory, easy-to-miss, credit to me (and not even the channel).

I asked on Twitter for people to leave a comment on the video… It has had the desired effect on one level - our subscribers really shot up overnight, which I hadn’t anticipated - yet on another level, there was the predictable backlash from the Yogscast fanbase. You can imagine the sorts of tiresome messages I woke up to…

Just a bit of contact beforehand would’ve changed everything…  

Yogscast has rectified the situation as much as they can by giving a link, rather than digging their heels in, so hats off to them for that. And thank you to Bouphe for being so gracious in sorting it out.

It’s really tedious when the Yogscast do something like this. It’s a cascade failure every time. Simon goes, “Oh, I like Digitiser, I’ll do a little sendup to Beanus.” But he doesn’t clear it with Digitiser, because he just assumes it’s all good and the credit will just… flow to Digitiser, somehow.

And because Simon was lazy, and nobody in the studio (except, thank God, Bouphe, but only too little too late) is proactive enough to say, “Hey Simon, if you’re going to steal someone’s act wholesale you need to give them credit,” they just trundle on with the show and let it all happen.

And let’s pause - does he need to give Digitiser 2000 credit? Not legally, no. But he only dressed as Beanus because he likes Digitser, right? So why fuck them over? Just a little handshake in advance, “Hey I love your work, how would you like to be credited in the stream we’re about to make, alright man thanks again let’s collab real soon ok peace.”

Because now, where are we at? Simon’s going to go home and watch Digitiser, and be like, “this is only 70% as entertaining now that I’m reminded of how much stress I caused Mr Biffo due to my own laziness.” Good going.

It’s not that hard to just cooperate with people, is it? It seems like every time they come in contact with a network that isn’t theirs they kick over the sandcastle, generate all this animosity, and allow their fans to just assume it’s the other guy’s fault and go fucking wild on them.

Yeah, I fucking hope so, you whiny child. Maybe dress up as your networking skills, I think they’re atrocious enough.

[louistomlinsonyear]

spill the tea on zayn

is not even tea… i had mixed feelings when the whole shebang went down, and i do understand MoM is bops after bops, but is not what i usually listen to, so i still went and bought the digitsal copy and bought one of his mags (cue to nicolle sharing a video of me accidentaly ripping a page), but didnt really listen but like 3 songs. since he isnt doing anything, i was even more :( bc like ??? yk felt very weird - dont get me wrong, my favorite band has been on hiatus for ages and one of them released a song and all others supported, but this was like a heartbreak?? henyways IF got me. and after that, about 3 months ago, i was talking to a friend (well, 4) and i changed my point of view (not even that bc i didnt had one, i just cant find a proper way to describe it) on a lot of thing. one of this friends already wanted to do an ua for zayn and i offered help in whichever way i could, based on what ive learned so far with my baby LS. we are all busy (with life in general), and thats why it was put on standby. i do love him, and support him, block every nasty anon i get about him bc im not here for that sissies, and i wont stand for general hate towards him - im glad most of my friends either stay neutral or love him, because i can not with some of the disgusting shit some people say about him - and i probably did do on @givenachancetatt, which i regret and would take back. 

[102090508dc]

WEEK 9: Digital Citizenship and Software literacy, Instagram Filters

Digitized Dysmorphia is a form of body dysmorphia which stems from the influx of digitally altered images online (Coy-Dibley, I).

As mentioned in my previous discussion on body modification, women's bodies online are constantly sexualised in order to create a profit for social media companies. As young women are bombarded with highly airbrushed and altered images of “hot” women, their sense of self and self-image is eroded (Carah, N, Dobson, A). Western imperialism and colonial perspectives drive the ideals of women online and in the real world, promoting paler skin, sexual purity, and submission (Carah, N, Dobson, A) .

Digitised Dysmorphia is shaped by these societal pressures and norms. Free access to editing software allows users to achieve digitally what they would not otherwise be able to achieve in the physical world (Coy-Dibley, I). Video and image editing apps market themselves to young women, with apps like Facetune, Skinny Camera, and Perfect365 promoting their ability to make users appear thinner, adhere to standard beauty norms, and attract men (Coy-Dibley, I). 

Filters greatly impact what social media users experience on platforms. Users can filter themselves through the use of visual filters and can choose to filter out certain themes, other users, and unwanted content - ultimately tailoring their use of the app to their desires (Rettberg J.W). While this is the popular draw in of many social media platforms - it also presenta a major issue. Content can be easily distorted, presented without important context, or can be culturally and cognitively shaped by a user's ideals (Rettberg J.W). 

Snapchat is one of the social media platforms that popularised live face filters in 2015. They were an immediate success, but as imagined, brought trouble. Snapchats filters often lighten users skin, thin their faces and noses, and distort the users image so that it adheres to western colonial ideals (Barker, J). This readily available form of self-distortion inevitably impacts the user's sense of self, resulting in a heightened self-consciousness and obsession with attaining an unattainable ideal (Coy-Dibley, I). 

Barker, J, ‘Making-up on mobile: The pretty filters and ugly implications of Snapchat’,  Fashion, Style & Popular Culture. Vol 7, pg 207-221, 2020 10.1386/fspc_00015_1.

Carah, N, Dobson, A,  'Algorithmic Hotness: Young Women’s “Promotion and “Reconnaissance” Work via Social Media Body Images, Social Media + Society, 2016

Coy-Dibley, I, ‘Digitsed Dysmorphia of the Female Body : The Re/Disfigurement of the Image’,  Palgrave Communications, 2016 2:16040 doi: 10.1057/palcomms.2016.40

Rettberg J.W, 'Filtered Reality'. In: Seeing Ourselves Through Technology: How We Use Selfies, Blogs and Wearable Devices to See and Shape Ourselves, Palgrave Macmillan, 2014 https://doi.org/10.1057/9781137476661_2

[adambamber]

28th of February - Monoprinting Collaboration with Patrick Smith at Studio 58.

This week was spent collaborating with Patrick Smith in Studio 58 to create monoprint artwork for this project. In sonic hauntology, vinyl crackle or tape hiss can be heard and as such, the material pre-condition of the sound is audible (Fisher, 2013). Similarly, the material pre-condition of monoprints is evident as unique textural qualities emerge through the analogous monoprinting process, causing the prints to look worn and aged (Britannica, 2020). The faded aesthetic of monoprint artwork is akin to the transparency of ghosts, discussed in hauntological literature (Sexton, 2012). Therefore, It was decided that monoprint artwork would be created to visually represent the concept of hauntology in this project.

Collaborative Process

A mood board was generated to inform the collaborative process and this is shown above this entry. The mood board features various eerie, haunting prints, some of which are created by the artist Servadio who illustrates the decay of urban landscapes that are scarred by time (Servadio, 2017), reflecting hauntological concepts regarding the past scarring the present (Fisher, 2013). Using artwork that is haunting and eerie to inspire the artwork creation process helped to ingrain hauntological concepts into the visual element of this project. 

The collaborative process is shown above. Although previous feedback stated that videos in this project should be shorter, ethically, I felt it was necessary to include Patrick’s workflow in detail as he was kind enough to demonstrate it. I was polite and respectful at all times to make Patrick feel valued and comfortable which helped to optimise the quality of the work that was produced. When I offered Patrick payment for his help he stated that he just wanted to help and didn’t want any money. I felt that it was imperative to acknowledge his contribution to the project as it significantly enhanced the quality, so I gave him a vinyl to show my appreciation. 

The final monoprints that were created are shown in the ‘Final Monoprints’ photos above this entry. Faces can be vaguely recognised as they are obscured by the crude textural qualities of the monoprinting process, reflecting how the past obscures the present and the future in hauntology (Rhizome, 2011). The final Monoprints were digitised to create the cover of the album and the sample pack which is shown in the ‘Digitsed Artwork’ photo above. Finally, the digitised artwork features Patrick’s signature to ensure that his work is recognised.

Reference List:

Britannica. (2020). Monotype | printmaking | Britannica. In Encyclopædia Britannica. Retrieved February, 28, from: https://www.britannica.com/technology/monotype-printmaking

Fisher, M. (2013). The Metaphysics of Crackle: Afrofuturism and Hauntology. Dancecult, 5(2), 42–55. doi: 10.12801/1947-5403.2013.05.02.03 

Rhizome. (2011). Past and Present in “Strange Simultaneity”: Mark Fisher Explains Hauntology at NYU. Retrieved from Rhizome website: https://rhizome.org/editorial/2011/may/18/hauntology/

Servadio. (2017). SIZING GROUNDS. Retrieved February 28, 2020, from Servadio.com website: https://www.servadio.com/sizinggrounds.html

Sexton, J. (2012). Weird Britain in Exile: Ghost Box, Hauntology, and Alternative Heritage. Popular Music and Society, 35(4), 561–584. doi:10.1080/03007766.2011.608905 

[soundfromlostfutures]

28th of February - Monoprinting Collaboration with Patrick Smith at Studio 58.

This week was spent collaborating with Patrick Smith in Studio 58 to create the artwork for this project. To ensure that the artwork would visually represent the concept of hauntology and meet the project objective, some background research was conducted prior to the collaborative process. It was decided that there were some parallels that could be drawn between the characteristics of monoprint artwork and the concept of hauntology. In sonic hauntology, time is out of joint as the technical frame of sounds, featuring vinyl crackle and tape hiss, is evident (Fisher, 2013). Similarly, the material pre-condition of monoprints is evident as unique textural qualities emerge through the monoprinting process (Britannica, 2020). Additionally, many monoprints look faded and ghostly as varying consistencies of ink are picked up by the paper during the printing process. The faded texture of monoprint artwork is akin to the transparency of ghosts and spectres which are regularly discussed in hauntological literature (Fisher, 2013). As such, monoprints were deemed to be an appropriate way to visually represent hauntology in this project.

Collaboration Process

A mood board was generated prior to the collaborative process and this is shown above this entry. The mood board features the work of Servadio who depicts the decay of urban landscapes that are scarred by time (Servadio, 2017). As such, Servadio’s work relates to the disjunction of time which reflects hauntological concepts regarding how the past scars the present (Fisher, 2013). The other images are eerie and ghostly which relates to the taxonomy of hauntology. Using artwork that is inherently related to the concept of hauntology to inspire the collaborative process helped to ingrain hauntological influence deeper into the fabric of the project and consequently, achieve conceputal drivers.

Reagrding the collaboration, this process is documented in a detailed video above this entry. Although previous feedback suggested that the videos in this project should be shorter, Patrick was kind enough to dedicte his own time to demonstrate his workflow and so from an ethical standpoint, I felt it was necessary to include his demonstration. Patrick is a professional artist who sells monoprint artwork and so his expertise signficantly enhanced the quality of the project. It was ensured that I was polite at all times to make Patrick feel valued and comfortable which can also help to optomise the quality of the final product. The final prints that were created can be seen in the ‘final prints’ photo above this entry. 

Conceptually, faces can be vaguely recognised within the prints, which are obscured by the crude and textural qualities of the analogous monoprinting process. The monoprinting process obscures these faces just as the past obscures the present and the future in hauntology. These obscure faces can be regarded as the people whose futures are lost. 

The monoprints were then digitised and formatted for the cover of the album and the sample pack which is shown in the ‘Digitsed Artwork’ photo above.

Reference List:

Britannica. (2020). Monotype | printmaking | Britannica. In Encyclopædia Britannica. Retrieved February, 28, from: https://www.britannica.com/technology/monotype-printmaking

Fisher, M. (2013). The Metaphysics of Crackle: Afrofuturism and Hauntology. Dancecult, 5(2), 42–55. doi: 10.12801/1947-5403.2013.05.02.03 

Servadio. (2017). SIZING GROUNDS. Retrieved May 18, 2020, from Servadio.com website: https://www.servadio.com/sizinggrounds.html

‌

[ruthahansentx]

How to OCR Purchase Orders For Automation

This post outlines how to digitse Purchase Orders for Automation using Deep Learning. AI and ML can now be used to help in AP automation

source https://rss.app/articles/862477a672d6712ea606cbfdc15e72dca316b54605fe0c674245deff5e49d68702b48d0fcf7a38abd834bdc0994918a45843e4598aced3f60cb75fa9306c69b250e72992 from Nanonets https://nanonetsblog.blogspot.com/2020/04/how-toocr-purchase-ordersforautomation_24.html

[nanonets]

How to OCR Purchase Orders For Automation

This post outlines how to digitse Purchase Orders for Automation using Deep Learning. AI and ML can now be used to help in AP automation

from AI & Machine Learning Blog https://rss.app/articles/862477a672d6712ea606cbfdc15e72dca316b54605fe0c674245deff5e49d68702b48d0fcf7a38abd834bdc0994918a45843e4598aced3f60cb75fa9306c69b250e72992

[pastellshinigamii]

thr first one was recent but the two last ones are old.