We have once again tested security products for smartphones running Google's Android operating system. Our report covers details of the products made by leading manufacturers. Smartphones represent the future of modern communications. In 2013, more than 1 billion smartphones were sold, a further milestone in the advance of these devices1. A study published by Facebook emphasises the importance of smartphones in our lives; about 80% of users make use of their smartphone within 15 minutes of waking up each day. At the same time, the traditional function of a telephone is becoming less and less important. The high quality of integrated cameras means that the smartphone is increasingly used for photography. As well as with photos, users trust their devices with their most personal communications, such as Facebook, WhatsApp and email. This brings some risks with it, as such usage makes the smartphone interesting for criminals, who attempt to infect the device with malware or steal personal data. There is also the danger brought by phishing attacks. These days, the use of security software on a PC or laptop is seen as essential. However, many smartphone users do not yet have the same sense of responsibility, even though their devices store personal data, private photos, Internet banking information or even company data. As modern smartphones are often expensive to buy, they are also an attractive target for thieves. Top-quality smartphones cost several hundred Euros. As it is not possible to physically prevent them from being stolen, they must be made less attractive to thieves. Consequently, many of today's security products contain not only malware protection, but also highly developed theft-protection functions, which make the device less attractive to thieves (e.g. by locking the device), and help the owner to find it again.
The first edition of Practical Sedimentology contained dis ACKNOWLEDGMENTS cussions of principles and techniques that could be applied to the analysis of sediments in the field and in laboratories sup Colleagues at the University of Canterbury and the Univer plied with inexpensive and commonly available equipment. sity of New England, Lismore, have helped with practical When considering a revised edition, we felt that it was inap advice on their experiences with various methodologies dis propriate to restrict consideration to the simple and common cussed in this volume. At the University of Canterbury, we techniques because so many modern analyses of sediments are particularly grateful to K. Swanson for advice on prepar use sophisticated and often expensive equipment to examine ing materials for scanning electron microscopy and paleonto sediments and sedimentary rocks. A review of the wide range logical specimens; to G. Coates (working at the university at of available techniques and equipment was not feasible in the the time of the first edition of Practical Sedimentology) for same volume as a review of principles. The original intent to compilation of, and additions to, the procedures for textural analysis and some tables and sketches; to Ted Montague for produce a concise summary of practical sediment studies in an inexpensive format was maintained, but now in the form the bulk of the chapter on borehole sedimentology; to Dr. J.
Since the early days of silent film accompaniment, the piano has played an integral part in the history of cinema. Film's fascination with the piano, both in soundtracks and onscreen as a status symbol and icon of popular romanticism, offers a revealing opportunity to chart the changing perception of the instrument. From Mozart to Elton John, this book surveys the cultural history of the piano through the instrument's cinematic functions. Composer biopics, such as A Song to Remember, romantic melodramas like the Liberace vehicle Sincerely Yours, and horror films such as The Hands of Orlac, along with animated cartoons featuring Bugs Bunny and Tom and Jerry demonstrate just how pervasive the cinematic image of the piano once was during a period when the piano itself began its noticeable decline in everyday life. By examining these depictions of the piano onscreen, readers will begin to understand not only the decline of the piano but also the decline of the idealistic culture to which it gave birth in the nineteenth century.
British author and essayist George Orwell shot to fame with two iconic novels: the anti-Stalinist satire Animal Farm and the dystopian masterpiece Nineteen Eighty-Four. A few years after his death in 1950, the CIA bankrolled screen adaptations of both novels as Cold War propaganda. Orwell's depiction of a totalitarian police state captivated the media in the 1980s. Today, mounting anxieties about digital surveillance and globalization have made him a hot property in Hollywood. Drawing on interviews with actors, writers, directors and producers, this book presents the first comprehensive study of Orwell on film and television. Beginning with CBS's 1953 live production of Nineteen Eighty-Four that mirrored the McCarthy witch hunts, the author covers 20 wide-ranging adaptations, documentaries and biopics, including two lost BBC dramatizations from 1965.
Edgar Allan Poe exerted a profound influence on many aspects of 20th century culture, and continues to inspire composers, filmmakers, writers and artists. Popularly thought of as a "horror" writer, Poe was also a philosophical aesthete, a satirist, a hoaxer, a psychologist and a prophet of the anxieties and preoccupations of the modern world. Alphabetically arranged, this book explores Poe's major works both in their own right and in terms of their impact on others, including Baudelaire, who translated his works into French; Debussy, Rachmaninoff and the Alan Parsons' Project, who set them to music; Roger Corman, Federico Fellini and Jean Epstein, who interpreted his visions for film audiences; and television shows such as The Six Million Dollar Man and Time Tunnel, which borrowed his imagery (and, in the case of The Simpsons, sent it up). A wide range of other responses to his compelling Tales of Mystery and Imagination, his poetry and the theoretical writings, combine strongly to suggest that Poe's legacy will indeed last forevermore.
____________________ The authorised history of the Bank of England by the bestselling David Kynaston, 'the most entertaining historian alive' (Spectator). 'Kynaston's aim is to provide a history of the Bank for the general reader and in this he triumphantly succeeds, providing a worthy complement to the notable series of books on different periods of the Bank's history ... wonderfully readable' Financial Times 'Not an ordinary bank, but a great engine of state,' Adam Smith declared of the Bank of England as long ago as 1776. The Bank is now over 320 years old, and throughout almost all that time it has been central to British history. Yet to most people, despite its increasingly high profile, its history is largely unknown. Till Time's Last Sand by David Kynaston is the first authoritative and accessible single-volume history of the Bank of England, opening with the Bank's founding in 1694 in the midst of the English financial revolution and closing in 2013 with Mark Carney succeeding Mervyn King as Governor. This is a history that fully addresses the important debates over the years about the Bank's purpose and modes of operation and that covers such aspects as monetary and exchange-rate policies and relations with government, the City and other central banks. Yet this is also a narrative that does full justice to the leading episodes and characters of the Bank, while taking care to evoke a real sense of the place itself, with its often distinctively domestic side. Deploying an array of piquant and revealing material from the Bank's rich archives, Till Time's Last Sand is a multi-layered and insightful portrait of one of our most important national institutions, from one of our leading historians. ____________________ 'The Old Lady of Threadneedle Street has been waiting for a biographer who could do justice to the richness of her story ... This is the work of a scholar with a gift for illuminating every square inch of each enormous canvas he chooses to paint ... Kynaston brings characters large and small to life' Literary Review 'full of human detail ... an exemplary narrative history, with the archives plundered judiciously and plenty of focus on people and their quirks ... rendered on an entertainingly human scale' The Times 'A triumph ... this portrait of the Bank of England really is fascinating, at times even gripping' Sunday Telegraph
Traces the history of the instrument, from its first appearance in the mid-sixteenth century to its modern use by artists, writers, and Hollywood and discusses how the affordable, portable instrument can be used to play Beethoven, jazz, and indie rock.
The doing of good deeds is important. As a free person, you can choose to live your life as a good person or as a bad person. To be a good person, do good deeds. To be a bad person, do bad deeds. If you do good deeds, you will become good. If you do bad deeds, you will become bad. To become the person you want to be, act as if you already are that kind of person. Each of us chooses what kind of person we will become. To become a hero, do the things a hero does. To become a coward, do the things a coward does. The opportunity to take action to become the kind of person you want to be is yours. ; ;This book collects 250 stories of good deeds from the arts, from religion, and from life.
This book contains such anecdotes as these: 1) In his Answer Man column, film critic Roger Ebert answered a question by Matt Sandler about who was the world's most beautiful woman by saying that she was Indian actress Aishwarya Rai. In a later Answer Man column, a reader stated that Mr. Ebert should have answered the question by saying, "My wife." However, Mr. Ebert had a good reason for not answering the question that way: "Matt Sandler asked about women, not goddesses." 2) To advertise its Razzles candy, Mars Candy decided to use a Cleveland, Ohio, show in which comedian Ron Sweed, aka The Ghoul, hosted several mostly bad horror movies. The Ghoul criticized the candy for weeks, and the more he criticized it, the more its sales went up. In gratitude, Mars Candy delivered a case of Razzles to The Ghoul. The case of candy remained on the set of The Ghoul's show for year--unopened.
Wordsmiths and Warriors explores the heritage of English through the places in Britain that shaped it. It unites the warriors, whose invasions transformed the language, with the poets, scholars, reformers, and others who helped create its character. The book relates a real journey. David and Hilary Crystal drove thousands of miles to produce this fascinating combination of English-language history and travelogue, from locations in south-east Kent to the Scottish lowlands, and from south-west Wales to the East Anglian coast. David provides the descriptions and linguistic associations, Hilary the full-colour photographs. They include a guide for anyone wanting to follow in their footsteps but arrange the book to reflect the chronology of the language. This starts with the Anglo-Saxon arrivals in Kent and in the places that show the earliest evidence of English. It ends in London with the latest apps for grammar. In between are intimate encounters with the places associated with such writers as Chaucer, Shakespeare, and Wordsworth; the biblical Wycliffe and Tyndale; the dictionary compilers Cawdrey, Johnson, and Murray; dialect writers, elocutionists, and grammarians, and a host of other personalities. Among the book's many joys are the diverse places that allow warriors such as Byrhtnoth and King Alfred to share pages with wordsmiths like Robert Burns and Tim Bobbin, and the unexpected discoveries that enliven every stage of the authors' epic journey.
Of all the major cities of Britain, London, the world metropolis, was the last to acquire a modern municipal government. Its antiquated administrative system led to repeated crises as the population doubled within a few decades and reached more than two million in the 1840s. Essential services such as sanitation, water supply, street paving and lighting, relief of the poor, and maintenance of the peace were managed by the vestries of ninety-odd parishes or precincts plus divers ad hoc authorities or commissions. In 1855, with the establishment of the Metropolitan Board of Works, the groundwork began to be laid for a rational municipal government. Owen tells in absorbing detail the story of the operations of the Metropolitan Board of Works, its political and other problems, and its limited but significant accomplishments--including the laying down of 83 miles of sewers and the building of the Thames Embankments--before it was replaced in 1889 by the London County Council. His account, based on extensive archival research, is balanced, judicious, lucid, often witty and always urbane.
David Grimsted's Melodrama Unveiled explores early American drama to try to understand why such severely limited plays were so popular for so long. Concerned with both the plays and the dramatic settings that gave them life, Grimsted offers us rich descriptions of the interaction of performers, audiences, critics, managers, and stage mechanics. Because these plays had to appeal immediately and directly to diverse audiences, they provide dramatic clues to the least common denominator of social values and concerns. In considering both the context and content of popular culture, Grimsted's book suggests how theater reflected the rapidly changing society of antebellum America.
The organist seated at the king of instruments with thousands of pipes rising all around him, his hands busy at the manuals and his feet patrolling the pedalboard, is a symbol of musical self-sufficiency yielding musical possibilities beyond that of any other mode of solo performance. In this book, David Yearsley presents an interpretation of the significance of the oldest and richest of European instruments, by investigating the German origins of the uniquely independent use of the feet in organ playing. Delving into a range of musical, literary and visual sources, Bach's Feet demonstrates the cultural importance of this physically demanding mode of music-making, from the blind German organists of the fifteenth century, through the central contribution of Bach's music and legacy, to the newly-pedaling organists of the British Empire and the sinister visions of Nazi propagandists.
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