Thursday, May 23, 2013

Okla. mayor wants to require tornado shelters

A man carries a drawer and a bag filled with clothes from Rachel Hernandez' home as residents of the Heatherwood Addition, on the south side of SE 4 and Bryant in Moore, Okla., returned to their homes Tuesday, May 21, 2013, to salvage any items after Monday's destructive tornado. (AP Photo/The Oklahoman, Jim Beckel)

A man carries a drawer and a bag filled with clothes from Rachel Hernandez' home as residents of the Heatherwood Addition, on the south side of SE 4 and Bryant in Moore, Okla., returned to their homes Tuesday, May 21, 2013, to salvage any items after Monday's destructive tornado. (AP Photo/The Oklahoman, Jim Beckel)

Penny Phillips throws out a bag of salvaged clothing as she goes through the remains of her home on Tuesday, May 21, 2013 in Moore, Okla. that was destroyed by Monday's tornado in the area near 4th and Bryant. (AP Photo/The Oklahoman, Chris Landsberger)

Brian Mullins and his Father Terry survey tornado damage to the home of Brian's girlfriend Sara Robinson, right, on Tuesday, May 21, 2013 in Moore, Okla. (AP Photo/The Oklahoman, Steve Sisney)

Jeff Thayer, right, and his son Heath look at a tornado-ravaged pickup truck belonging to another son Tuesday, May 21, 2013, in Moore, Okla. A huge tornado roared through the Oklahoma City suburb Monday, flattening entire neighborhoods and destroying an elementary school with a direct blow as children and teachers huddled against winds. (AP Photo/Charlie Riedel)

(AP) ? The mayor of the Oklahoma City suburb battered by a monstrous tornado says he is pushing to require safe-room shelters in all new homes.

Glen Lewis said Wednesday he will propose an ordinance in the next couple of days at the Moore City Council that would modify building codes to require the construction of reinforced shelters in every new home in the town of 56,000.

The suburb was also hit by a massive tornado in 1999 that followed nearly the same path as the storm Monday that killed at least 24 people.

Lewis says he is confident he'll get the four votes needed on the six-member council. The measure could be in force within months.

Underground safe rooms are typically built below garages and can cost around $4,000.

Associated Press

Source: http://hosted2.ap.org/APDEFAULT/386c25518f464186bf7a2ac026580ce7/Article_2013-05-22-Oklahoma%20Tornado/id-79cc7608b6c044c4aea3a719ca419f5d

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Yahoo's Mayer Says Tumblr Could Get Its Own Ad ... - Business Insider

Wikimedia, CC

Karp and Mayer

As the dust around Yahoo's $1.1 billion acquisition of Tumblr begins to settle, more details are emerging on how the former will enhance the latter's advertising offerings.

Ads on Tumblr could be served from an ad exchange, Yahoo CEO Marissa Mayer told investors yesterday. Ad Age said, in two different reports:

Yahoo is also considering selling premium ads on Tumblr and to sell ad inventory through exchanges. How premium ads will appear or what exchanges may be used, Ms. Mayer did not say.

Ad exchanges work by offering inventory ? in this case space on Tumblr ? to bidders in an auction. The highest bidder wins the spot. The inventory is triggered when a user carrying a tracking "cookie" in their web browser calls up a page.

The cookies are the key, as AdExchanger pointed out: Tumblr potentially offers a vast, logged-in audience of 225 million unique users a month. If Tumblr allows its login or cookie to be matched with cookies that users bring from other websites, that would offer a target-rich environment for advertisers.

For example, a user shopping for shoes might look at several shoe websites, and pick up cookies from all of them. Then she might check in to her Tumblr account, at which point the shoe cookies could be matched with the Tumblr login cookies and offered for bid. The user might start to see shoe ads inside Tumblr.

A Tumblr ad exchange might work a lot like Facebook's own exchange, FBX, which has been a huge success.

It's an easy way for a large media company like Tumblr to plug in a huge flow of ad dollars.

Tumblr appears to need the money. We previously noted that Tumblr made only $13 million in revenue last year. Now even that number has been called into doubt ? it was more like $5 million. That's a negligible sum from such a large user base.

Tumblr CEO David Karp said yesterday Tumblr was not self-sustaining:

?"There was no path or expectation to sell this company, certainly not this year, and we were well on our way -- I should say, are on our way -- to making this a self-sustaining business with our advertising products," Mr. Karp said in an interview Monday with Ad Age. "The conversation with Yahoo started around their ability to help us accelerate that business."

He was more blunt with Bloomberg:

?We are not cash-flow positive yet, which means we are always running out of money,? he said. ?There was no expectation we were selling the company -- certainly not this year. This was our providence.?

A source told Valleywag Tumblr made only $5 million last year.

If a Tumblr exchange were launched, one key problem would be how to make sure the ads were sufficiently creative to not screw up Tumblr's artsy environment.

The nature of an exchange is simply that the highest bidder wins and is allowed to serve whatever ad they want ? the process is entirely automated. Mayer said she was keen yesterday to ensure that the ads should be "something people take delight in."

Mayer hinted they may have a way to solve that dilemma: by only allowing ads on users' individual pages with their permission:

Ms. Mayer also said ads will eventually appear on individual Tumblr sites, though only "with the blogger's permission." She declined to comment on how that would be set up and whether it might entail revenue-sharing agreements.

Put those two notions together ? an ad exchange with inventory based only on users who opt-in ? and that could be a powerful permission-based ad system. Generally, advertisers far prefer targeting users who have given permission to be targeted than simply serving ads at cookies.

Source: http://www.businessinsider.com/yahoos-mayer-says-tumblr-could-have-its-own-ad-exchange-2013-5

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The Basics of Music Production, Lesson 2: Recording Audio

You can have a lot of fun making music, but getting a good recording and arrangement of your song requires some work and knowledge. Last week we set up a home recording studio. This week we're going to start recording.

Note: This is primarily a video lesson and you'll get a lot more information from watching the video above. That said, the instructions below will suffice and you should hang on to them for reference.

What You'll Need in This Lesson

If you participated in last week's lesson, you should have all the equipment you need to get started. If not, read last week's lesson first before preceding. We're not going to make equipment recommendations here, but you should know what equipment you're going to need to participate in this lesson:

  • Your computer with the DAW software of your choice installed (we'll be using Cubase)
  • A digital audio interface (with 48v phantom power) hooked up to your computer
  • A microphone connected to your digital audio interface, most likely via XLR cable
  • An instrument (e.g. a guitar, your voice, etc.)
  • About 20-30 minutes of your time

Once you've got everything ready, boot up your DAW software and let's get started!

Get to Know Your DAW's Interface.

Interface elements vary between different DAWs, but they embody the same ideas. We'll use Cubase to demonstrate here, but if you're using something else you should find things are pretty similar. Let's take a look at the common parts you'll need to know about.

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The main project window is where you'll do a lot of your work. This window lets you interact with your instruments and sounds as well as bring up individual channel settings as needed. You can do a lot more, too, but those are the basics.

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The mixer (in Cubase, this is the first of three mixers) looks like a hardware mixing board in a lot of ways. You can adjust the levels of individual tracks, open their channel settings, monitor the master output, and keep a general eye on what's going on with your mix as it plays.

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The transporter does what you probably expect: it transports you around your project. This is where you press record, stop, and play, but also where you can toggle the metronome, set time signatures, loop your project, and get information about where you currently are in your project.

The VST instruments panel isn't something you really need to know about until the next lesson, but it's simply where you add virtual instruments to your project.

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When you click the little "e" button next to an audio track you get its channel settings. You can add input (track-specific) and send (multi-track) effects here, use the built-in EQ, and adjust gain.

Those are the main elements of the interface you need to know about. Read on to learn how to set up your first project!

Set Up Your First Project

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You already know how to record audio if you know how to push a button, but digital audio workstation (DAW) software requires some setup before that big red circle will actually capture an audio signal. Although we'll be using Cubase to set up our project, most DAW software works in similar ways. If you're not using Cubase, you should be able to follow along just fine but will need to look in slightly different locations for menu items and certain buttons. Here's what to do:

  1. To get started, create a new project by selecting New Project in the File menu. Select "Empty" as a project type. Cubase will ask you where to save it, so pick one and wait for everything to load.
  2. Before you can start recording, you need to make sure Cubase (or whatever DAW you're using) can find your interface and the mics (or whatever else) you have hooked up to it. Go to the Device menu and choose VST Connections.
  3. From there, click the Inputs tab and set the first mono input to your first microphone. Repeat this process for any additional microphones or inputs (e.g. electric guitars).
  4. Click the Outputs tab and you should see a pair of stereo outputs. Set the first one to your left speaker and the second one to your right speaker.
  5. Now that your inputs and outputs are properly routed, close VST Connections and go to the Project menu. Choose Add Track -> Audio.
  6. When the new track window appears, create one track and set its configuration to mono. Because we're just recording from a single microphone in this lesson, you don't need a stereo track. In fact, you'll rarely choose stereo even when recording from two microphones because you'll likely prefer to have the channels separated. This provides you with greater control over where they're placed in the recording (i.e. where it sounds like the recorded voice or instrument is) and the character of the sound. When you're done, click Add Track.
  7. By default, the new track should have its record enabling toggle button lit up red. You'll see this beneath the track name. If it isn't lit, click on it to enable recording on this track.
  8. Also by default, your track should be set to your first microphone. If not, take a look at the panel on the left side of the main project window and you'll see input and output settings. The output should be set to Stereo (which is the default name for Cubase's stereo output) and then input should be set to whatever you named your first microphone (usually Mono In by default, but this can vary). If you see No Bus that means nothing is connected to this audio track, so click on No Bus and change it to the name of your first microphone.
  9. Using the transporter?which is the thin horizontal window strip with lots of tools and buttons on it?press the record button. You'll see the recording start. Talk, sing, or play an instrument into the microphone and the waveform of your audio will appear in real time.
  10. When finished recording, press the stop button on the transporter.

That's all there is to it! You've just recorded your first bit of audio. It probably sounds bad, but that's likely due to a need for EQ, higher gain (increase in the amplitude of the frequency so it sounds louder), or some other problem. We're not going to worry about that just yet because you're still getting used to how your DAW works. We'll tackle mixing individual audio tracks and the entire mix in a later lesson, though you can get a preview if you watch the video above.

Want to learn more? Join us next Tuesday at 5:00 PM PT for our next lesson: playing and recording virtual instruments. Don't forget to bring your MIDI keyboard!

Source: http://feeds.gawker.com/~r/lifehacker/full/~3/E9uNaAv58cY/the-basics-of-music-production-lesson-2-recording-aud-509103797

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Wednesday, May 22, 2013

Michael Gartenberg reportedly joins Apple marketing

Michael Gartenberg reportedly joins Apple marketing

Highly respected tech industry analyst Michael Gartenberg has reportedly left his previous employer, Gartner, for a position on Apple's marketing team. Forbes' Connie Guglielmo writes:

Gartenberg didn?t immediately reply to a voicemail message left at his office at Apple asking him to talk about his new role for the Cupertino, California-based company. He is working on the marketing team under Apple?s global marketing chief Phil Schiller, according to sources.

Gartenberg is terrific. He and Apple are lucky to have each other. Here's hoping Gartenberg's fresh set of eyes, and tremendous industry savvy, help Apple do an even better job than they're already doing, given the increasing competition.

Congratulations, both.

Source: Forbes

    


Source: http://feedproxy.google.com/~r/TheIphoneBlog/~3/47FPaE9MamI/story01.htm

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Yes, an Old Mac G5 Does Make a Great BBQ

An old Mac G5 case, some scrap aluminum?and you have the perfect geek's grill. OK, so there may strictly be more efficient ways to cook outdoors, but this scores maximum nerd points. [Imgur via Macgasm via Ubergizmo]

Source: http://gizmodo.com/yes-an-old-mac-g5-does-make-a-great-bbq-509020027

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Visual search function: Where scene context happens in our brain

May 21, 2013 ? In a remote fishing community in Venezuela, a lone fisherman sits on a cliff overlooking the southern Caribbean Sea. This man -- the lookout -- is responsible for directing his comrades on the water, who are too close to their target to detect their next catch. Using abilities honed by years of scanning the water's surface, he can tell by shadows, ripples, and even the behavior of seabirds, where the fish are schooling, and what kind of fish they might be, without actually seeing the fish. This, in turn, changes where the boats go, and how the men fish.

Though a seemingly simple and intuitive strategy, the lookout's visual search function -- a process that takes mere seconds for the human brain -- is still something that a computer, despite technological advances, can't do as accurately.

"Behind what seems to be automatic is a lot of sophisticated machinery in our brain," said Miguel Eckstein, professor in UC Santa Barbara's Department of Psychological & Brain Sciences. "A great part of our brain is dedicated to vision."

Over the millennia of human evolution, our brains developed a pattern of search based largely on environmental cues and scene context. It's an ability that has not only helped us find food and avoid danger in humankind's earliest days, but continues to aid us today, in tasks as banal as driving to work, or shopping; or as specialized as reading X-rays.

Where this -- the search for objects using scene and other objects -- occurs in the brain is little understood, and is for the first time discussed in the paper, "Neural Representations of Contextual Guidance in Visual Search of Real-World Scenes," published recently in the Journal of Neuroscience.

The researchers flashed hundreds images of indoor and outdoor scenes before observers, and instructed them to search for certain objects that were consistent with those scenes. Half of the images, however, did not contain the target object. During the trials, the subjects were asked to indicate whether the target object was present in the scene.

The researchers were particularly interested in the images that did not contain the target. Another measure was taken to determine where subjects expected specific objects to be in target-absent scenes. Invariably, the subjects would indicate similar areas: If presented with a living room scene and told to look for a clock or a painting, they would indicate the wall; if shown a photo of a bathroom and told to indicate where to expect a hand soap or toothbrush, they would indicate the sink.

The searched object's contextual location in the scenes, according to the study, is represented in the area called the lateral occipital complex (LOC), a place that corresponds roughly to the lower back portion of the head, toward the side. This area, according to Eckstein, has the ability to account for other objects in the scene that often appear in close spatial proximity with the searched object -- something computers are only recently being taught to do.

"So, if you're looking for a computer mouse on a cluttered desk, a machine would be looking for things shaped like a mouse. It might find it, but it might see other objects of similar shape, and classify that as a mouse," Eckstein said. Computer vision systems might also not associate their target with specific locations or other objects. So, to a machine, the floor is just as likely a place for a mouse as a desk.

The LOC, on the other hand, would contain the information the brain needs to direct a person's attention and gaze first toward the most likely place that a mouse might be, such as on top of the desk, or near the keyboard. From there, other visual parts of the brain go to work, searching for particular characteristics, or determining the target's presence.

So strong is the scene context in biasing search, said Eckstein, that if another similar-looking object was placed in the location where the mouse is likely to be, and that scene briefly flashed before your eyes, you would likely -- erroneously -- interpret that object as the mouse.

While scene context information has been found highly active in the LOC, other visual areas of the brain are also influenced by context to certain degrees, including the interparietal sulcus, located near the top of the head; and the retrosplenial cortex, found in the brain's interior.

"Since contextual guidance is a critical strategy that allows humans to rapidly find objects in scenes, studying the brain areas involved in normal humans might help us to gain a better understanding of neural areas involved in those with visual search deficits, such as brain-damaged patients and the elderly," Eckstein said. "Also, a large component of becoming an expert searcher -- like radiologists or fishermen -- is exploiting contextual relationships to search. Thus, understanding the neural basis of contextual guidance might allow us to gain a better understanding about what brain areas are critical to gain search expertise."

Research on this study was also performed by visiting researcher and first author Tim Preston, Fei Guo, Koel Das, and Barry Giesbrecht, all from the Department of Psychological and Brain Sciences, and from the Institute for Collaborative Biotechnologies at UCSB.

Source: http://feeds.sciencedaily.com/~r/sciencedaily/top_news/top_health/~3/c_WEqd9rR88/130521105706.htm

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Tuesday, May 21, 2013

United Airlines puts Dreamliner back in the air after four-month grounding

Four months after the Federal Aviation Administration grounded the Boeing 787 Dreamliner with an emergency airworthiness directive, United Airlines is putting the fuel-friendly plane back in the air today. The Dreamliner had overheating issues with its lithium-ion battery, which saw two notable failures prior to its January grounding, but a recent revamp of the battery system might put some fliers' fears to rest. It's worth nothing that the FAA approved the battery fix despite the fact that it doesn't quite address the root cause of the problem, but airline executives don't appear to be overly concerned -- both Boeing CEO Jim McNerney and United CEO Jeff Smisek will be on today's Dreamliner flight from Houston to Chicago. For the moment, United's Dreamliner is limited to domestic flights but if all goes well, it'll return to international travel on June 10th, with a flight from Denver to Tokyo.

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Via: Business Insider

Source: United Airlines

Source: http://feeds.engadget.com/~r/weblogsinc/engadget/~3/ROh3LPPytj0/

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