#functionkeys

[jankoweb]

How to Use Function Keys Without Pressing Fn on Windows 10

If you're tired of pressing the "Fn" key every time you want to use the function keys (F1-F12) on your Windows 10 keyboard, there are a few ways to adjust your settings. This guide outlines the steps to disable the "Fn" key requirement through BIOS settings, keyboard settings, or using third-party software. These methods allow users to streamline their workflow and make quick use of the function keys for various tasks like volume control, brightness adjustment, and more without the hassle of holding down the "Fn" key.

[keytec5322]

FUNCTION KEYS

[pcboosted]

В этом видео мы разобираем функциональные клавиши (F1 до F12) на вашей клавиатуре и объясняем их использование в операционной системе Windows. От F1 для помощи до F12 для сохранения или открытия файлов, эти клавиши предлагают мощные горячие клавиши, которые помогут повысить вашу продуктивность и упростить рабочий процесс. Узнайте, как каждая функциональная клавиша взаимодействует с различными приложениями и системными настройками, а также как настроить их под ваши нужды.

Если вы хотите максимально повысить свою эффективность с помощью простых нажатий клавиш, это руководство покажет вам, как использовать функциональные клавиши в Windows как профессионал!

#WindowsShortcuts #FunctionKeys #TechTips #WindowsGuide #ProductivityHacks #KeyboardShortcuts #TechTutorial #PCTips #WindowsHelp #FKeyFunctions

[atplblog]

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[dipaknehate]

Blogger Meta Tag Description

A FUNCTION KEY IS A KEY ON A COMPUTER OR TERMINAL KEYBOARD WHUCH CAN BE PROGRAMMED SO AS TO CAUSE AN OPERATING SYSTEM COMMAND INTERPRETER OR APPLICATION PROGRAM TO PERFORM CERTAIN ACTIONS, A FORM OF SOFT KEY. ON SOME KEYBOARDS/COMPUTERS, FUNCTION KEYS MAY HAVE DEFAULT ACTIONS, ACCESSIBLE ON POWER-ON.

click here https://www.blogger.com/u/2/blog/post/edit/1972333672421934255/1464695567056598116?hl=en

[criticalsuperbeast-blog]

Vibrant Fibre: WhiteFeather’s Biotextiles

Function Keys 3 Conference of New Technology and Digital Culture, Centre[3] for Print and Media Art, Hamilton, ON.

By Tara Bursey

Biotextile I, catgut sutures, cell culture media, 3T3 cells, glass petri dish, 3D printed miniature loom and tools, 2014.

For many, BioArt — an art practice where humans work with live tissues, bacteria, living organisms, and life processes — conjures a visceral discomfort fitting for a genre known to encroach into the realm of human and animal bodies and cells. BioArt auteurs Eduardo Kac (whose infamous GFP Bunny was a live rabbit whose genome was spliced with the green fluorescent protein of a jellyfish) and Stelarc (who implanted a polyethylene ear into his arm that both hears and transmits sound) embody a postmodern swagger akin to how the abstract expressionists were perhaps perceived three-quarters of a century ago. Critiques of the use of lab resources, animals and other living materials to pose questions instead of solving proven problems (in combination with the cult of celebrity around a handful of BioArt pioneers) has given the genre it’s reputation for being ethically-questionable.

Montreal-based artist WhiteFeather, a presenter at Centre[3]’s Function Keys conference last November, approaches BioArt from a background in textiles, dually grounded in feminism and affect theory and influenced by Marxism and witchcraft. Her production and long-term investigation of biotextiles — scientifically-engineered textiles designed for medical applications such as skin and organ repair — has produced a constellation of works that imbed a politic of care within their very fabric. The spirit of co-agency and co-authorship between animate and inanimate subjects are alive in work in which, in WhiteFeather’s words, empathy serves as a core lab technique.

Biotextile experiment with handwoven horsehair scaffold and 3T3 mammalian connective tissue growth, 2016.

One of WhiteFeather’s investigations, a time-lapse video called Aseptic Requiem (2014) documenting a silk fibre’s encounter with connective tissue cells is a lavender-hued frenzied dance, evoking something between a psychedelic experience and the pulsating forms we associate with educational videos showing the fertilization of a human egg. In Biotextile I (2014), a weaving using catgut sutures (thread made from collagen found in the small intestine of cows, goats and sheep) on a palm-sized 3D printed loom was labelled in a petri dish and enculturated with connective tissue cells steeped in a day-glo pink solution. Twelve weeks in the lab produced a reaction of cell growth in the negative space of the plain weave: a membrane of live tissue growth with its own material logic becoming one with the grid pattern of the woven structure.

WhiteFeather relates this catalytic meeting of inanimate and animate matter to the writings of political theorist Jane Bennett. In her 2009 book Vibrant Matter: a political ecology of things, Bennett describes “thing power” — the active participation of nonhuman forces in events. Thing power is central to much of WhiteFeather’s work — the importance of both live and inanimate subjects as active agents equal to the artist in the creation of the work, as well as the role of shared space and agency in allowing exquisite, mysterious logics to unfold.

For WhiteFeather, and for those who learn about or experience her work, there are inherent tensions at play, from balancing the immediate and intuitive practices of an artist with the essential sterility of environments where live cultures are handled and tested. The clinical space of the lab, and the criticality of procedures that will ensure the safe handling of the biotextiles as well as the safety of lab technicians and the broader public are imbedded in the content of the work while rubbing up against more intuitive processes of craft production, the domain of WhiteFeather’s practice for decades. While a textile artist may use her saliva to shape the end of a thread in the same way a mother animal grooms its young, or mend a garment in the same way a doctor would stitch a wound, equivalent gestures look and feel different within WhiteFeather’s practice while still positioning acts of care at the centre of the work.

In her 2015 exhibition Biomateria, WhiteFeather performed the “aesthetics of care”— a term coined by BioArtists Oron Catts and Ionat Zurr to reflect the care of “semi-living” beings within the context of BioArt — though a biosafety lab set up at FOFA Gallery in Montreal. In performance, through costume and official and quasi-official procedure, WhiteFeather (as well as trained gallery staff) enacted care as both a way of (in the artist’s words), “reflect(ing) social norms with regards to risk perception, and social (moral) codes about the body” as well as the practical need to keep a biotextile specimen safe within its controlled space. This performance both critiqued and highlighted the methods and means through which scientific work is navigated, while giving equal weight to the safety and care of both the viewing public and the vital material situated in the gallery.

The artist performing in lab gallery installation The Ossificatorium with Incubatrix Neith and Biotextile n=x, 2015. FOFA Gallery, Montreal. Photo credit: Carlos Jabbour.

Care is a long game. During a time of rapid technological change and innovation, the dissolution of the post-war social contract and emergent 21st century civil rights movements in light of rampant social injustices, care — whether care for the self or care for those in our community and abroad — can be seen as a critical political act. WhiteFeather’s Biotextiles highlight the meeting of living and non-living subjects as both carriers of knowledge and bodies worthy of care that are, to paraphrase Catts and Zurr, creators of our bodies as much as we are theirs.

This essay has been adapted from a previous version commissioned for the Function Keys 2016 conference catalogue by Centre[3] for Print and Media Art.

Tara Bursey is an Hamilton-based artist, independent curator and arts worker. Formerly a Curatorial Assistant at the Textile Museum of Canada, she coordinates exhibitions and programs at the Workers Arts & Heritage Centre, the country’s only labour history museum and multidisciplinary art centre.

[lramadhan]

Memperbaiki Fungsi FunctionKey pada I3WM

Memperbaiki Fungsi FunctionKey pada I3WM

Beberapa hari lalu saya meng-_install_ laptop yang baru saja diperbaiki dengan GNU/Linux serta memasang windows manager i3wm. Salah satu yang harus ditanggung ketika menggunakan windows manager yang tidak familiar adalah terbatasnya beberapa kemampuan bawaan dari komputer/laptop tersebut. Contoh kecilnya adalah fungsi dari function key, functon key merupakan tombol paling atas pada keyboardyang…