Key message FAQ Essay Example | Topics and Well Written Essays - 750 words

Key message FAQ - Essay Example The school immediately encrypted the student files to prevent any future breach of the student records. 3. The school’s information retrieval trail proves there was no illegal retrieval of the confidential students’ personal data. The initial findings of the continuing investigation affirm only individuals using the correct passwords had accessed the student records. The continuing school investigation affirmed there is nothing to worry about. 4. No one had filed a complaint of any breach of the student files. This affirms that the unencrypted data remains confidential. Anyone who does not know the correct passwords cannot access the same student files. 5. There were no complaints of any unauthorized retrieval of confidential student data. The school’s effective anti-hacking tools & strong firewall software effectively prevented all unauthorized retrieval of any student information from the university’s server during the unencrypted records period. Yes. During February of 2014, one authorized university registrar’s office employee noticed the data was recorded using the unencrypted method immediately reported the issue during February. The information was immediately changed to the encrypted method (Indiana University, 2014). Records show that only one authorized school employee discovered the 150,000 student records were not encrypted (Piurek, 2014). The school history trail affirms there was no unauthorized retrieval of the student information. Only those having the right passwords had accessed the student files. This indicates only authorized students and authorized school employees had retrieved the confidential unencrypted student data (Indiana University, 2014). The school investigation indicated passwords were used to prevent the authorized retrieval of the unencrypted student data. The school software prevented the hacking of the

Computer Shopper Essay Example for Free

Computer Shopper Essay Technology has evolved and changed throughout history and the world. In the 80’s and even early 90’s, type writers and the mail man were highly relied on when it came to communication. Today when it comes to communication now we have e-mail and text messaging. Presently different professions use computer but with different configurations. So what I did was take three known professions business, student and professional gamer. To describe what functions are needed for their profession. The Student Being a fulltime student takes a lot and requires one to be on point at every task at hand. Having all materials such as paper, books, pens and pencils. Even through textbooks breaks the bank in your pockets. The need for a notebook also known as a laptop is a major requirement. Having a notebook definitely helps a lot in everyday class curriculums. One problem is that once you have your notebook you need software such Microsoft Office. Microsoft Office is a wonderful tool when it comes to creating and reviewing documents. How can you determine what type of notebook to get though? On table 1 below, I have looked into Best Buy, one of America’s top known electronic retail companies, to see what is it that they have to offer to students. I came across Hewart Packard Pavilion A-8 series. This notebook comes with a 500 gigabyte hard drive and 4 gigabytes of memory. The processor is an Intel Celeron 2.1GHz. It is not one of Intels high end processors but for a student, it is definitely at the top of its class. The price provided by Best Buy is $429.99. The Business Man Reports, meetings, reviews, and analysis are the assignments general business men have to complete daily, weekly and/or monthly. But what type of desktop does a business man usually have in his or her office? Some random hand me down desktop provided by the IT Department? I believe so. What if you were your own boss and needed some sort of desktop that can get you  through everyday business. What type would you go for? Generally you want a desktop with a moderate processor, high on memory and a large hard drive to keep all documentation. Below on table 1, I suggested the Dell XPS desktop. Dell is popular nationwide when it comes to businesses and even schools. The Dell XPS provides 1TB of hard drive, 12GB of memory, and on top of that a 3.4 Intel 4th Generation Core. This desktop is an awesome display of business power and priced at $699.99.

The Man With The Movie Camera

The Man With The Movie Camera Dziga Vertovs 1929 film, The Man with the Movie Camera, documents life in a Russian city while also telling a story about filmmaking. The film is a dazzling mix of imagery and technique, inviting the viewer to see the city through the eyes of the cameraman, and to share his perception of the events and visions that he encounters through the filmmaking process. This review will examine the films narrative line and its underlying themes, its use of genre and generic traditions, the cinematic techniques employed and the effectiveness of its approach to the material. At the beginning of the film, The Man with the Movie Camera defines itself as something out of the ordinary. In the opening credits, the title cards refer to the film as an experiment in the cinematic communication of visible events, executed without the aid of intertitles, without the aid of a scenario, without the aid of a theater (Vertov). From the outset, the film distinguishes itself by aiming to explore the pure essence of film-to document and record human life and activity in the form of moving pictures. The Man with the Movie Camera is split into four sections, and is book-ended by imagery relating to film and filmmaking. It opens in a cinema and closes with the lens of a camera shutting its eye. From a narrative perspective, the film is different from the norm in that it has no typical protagonist or antagonist. If a main character had to be defined, he would be the cameraman, with his main supporting character being the editor. The city and its inhabitants as a unified entity also become a major character in the film, showing how they interact with each other in the daily routine of work, rest and leisure through the perspective of the filmmaker. The movie is predominantly concerned with depicting reality, rather than dramatized fiction or re-creations of historic events. The films story is constructed in an unconventional narrative style, but is brought together through the recurring theme of the camera and the filmmaker. The events in the film take place over the course of a day, and although Vertov experiments with geographical and temporal continuity, the audience is given enough information to piece together the plot. Upon first viewing, this plot may not be entirely clear, but as Roberts confirms, The Man with the Movie Camera does have a plot (1). Each section of the film covers the different parts of the day (work, rest and leisure), and through this, Vertov establishes images which provide the visual language which is brought into play throughout the length of the film. By layering this imagery through editing and montage, and combining them with the underlying story of the filmmaker and his camera, the overarching narrative is tied together. Roberts explains that all human life is here from birth to death via childhood, marriage, divorce, wo rk, rest and play (2). This avant-garde style of filmic storytelling became popular in the form of the city symphony genre. Dimendberg explains that the genre encompasses around twenty titles and relies heavily upon montage to represent a cross-section of life in the modern metropolis (109). In adhering to this genre, The Man with the Movie Camera does away with the traditional trappings of the documentary and becomes something different. There is no narration, no conventional narrative or plot elements, but rather a succession of rhythmic imagery detailing the inner workings of a city. Graf describes the genres structure as having a dawn to dusk strategy in the search for a pure film form (79). Vertov employed many cinematic techniques to achieve the incredible momentum of imagery found in the film. These techniques included split-screen, slow motion, freeze-frame, fast motion, and stop-motion animation. The stop-motion animation sequence where the camera seems to come alive and walk around on its tripod remains startling even today. When juxtaposed with the everyday motions of human life which the film presents, it becomes clear that the camera itself has a life of its own. It has its own perception of events separate from that of the filmmaker, and separate from that of the audience. The diversity of techniques used makes the film a showcase of the power of cinema and its ability to transform everyday life into something completely different, with its own rhythm and sense of unpredictability. The editing in The Man with the Movie Camera is one of the films strongest points. There is a segment which contrasts challenging footage of a birth with that of a funeral. As one life ends, another begins. Similarly, there is a scene of marriage, with joyous atmosphere and smiling faces. In contrast, Vertov inserts a somber scene of a couple signing their divorce papers. These binary oppositions are ubiquitous throughout the film, with juxtapositions between work and play, play and rest, man and machine, and many others. The musical score also brings much life and energy to the film. The repeated themes complement the visual language that Vertov established. According to Feldman, Vertov carefully planned the musical score and may well have intended the work to be made as the first Soviet sound film (qtd in Barsam 74). The synchronicity between sound effects and onscreen action creates an impressive and exciting mosaic of audio and imagery. While the film is certainly a product of its time, it holds up surprisingly well in modern day. Barsam states that the film was well-received in the domestic and international press (74). The inventive narrative construction and the multitude of cinematic techniques placed the film genuinely ahead of its time. Vertov was successful in his attempt at documenting Russian life in a city without many of the normal elements typically found in documentaries. He managed to show an impressive cross-section of Russian society, by following the daily lives of different classes of people. The Man with the Movie Camera remains a wonderful piece of experimental cinema, and offers a fascinating view of life as it was in the Soviet 1920s.

The Jungle :: Socialism, Sinclair

  Ã‚  Ã‚  Ã‚  Ã‚  Throughout American history, people that have challenged themselves with a cause have had at least some control of major issues present during their lives. Upton Sinclair was one of these influential people. Using his talent for writing, Sinclair wrote his most successful novel, The Jungle. This novel stressed a need to improve conditions for industrial workers, and exposed the faults of Capitalism in order to promote his cause; which was Socialism. Sinclair achieved his goal of promoting Socialism with the story of Jurgis Rudkus and his family. By describing the harsh system in which workers were consumed by, Sinclair uncovered faults in Capitalism, and inversely promoted Socialism.   Ã‚  Ã‚  Ã‚  Ã‚  In Sinclair’s story, he vividly described the family and the disagreeable situation they were in. The accounts of the meatpacking industry, developed mainly on truth from personal experience, were filled with examples of an unjust work system, corruption by employers, and the resulting low living conditions. For example, Packingtown laborers would be forced to work repeatedly faster, only to see their wages cut numerous times. Also, families became impoverished, causing the children to work. As a result, Elzbieta's son, Stanislovas, was eaten alive by rats. Such major problems in the Capitalist system were focused on throughout the novel. The problems in the meatpacking industry related to issues concerning the entire industrial labor force. Sinclair continued to show that these problems could have been solved by Socialism. The fact that Jurgis joined the Socialist Party and was dedicated to improving his surroundings was how Sinclair displayed the fact that Socialism was a more practical system. The Jungle :: Socialism, Sinclair   Ã‚  Ã‚  Ã‚  Ã‚  Throughout American history, people that have challenged themselves with a cause have had at least some control of major issues present during their lives. Upton Sinclair was one of these influential people. Using his talent for writing, Sinclair wrote his most successful novel, The Jungle. This novel stressed a need to improve conditions for industrial workers, and exposed the faults of Capitalism in order to promote his cause; which was Socialism. Sinclair achieved his goal of promoting Socialism with the story of Jurgis Rudkus and his family. By describing the harsh system in which workers were consumed by, Sinclair uncovered faults in Capitalism, and inversely promoted Socialism.   Ã‚  Ã‚  Ã‚  Ã‚  In Sinclair’s story, he vividly described the family and the disagreeable situation they were in. The accounts of the meatpacking industry, developed mainly on truth from personal experience, were filled with examples of an unjust work system, corruption by employers, and the resulting low living conditions. For example, Packingtown laborers would be forced to work repeatedly faster, only to see their wages cut numerous times. Also, families became impoverished, causing the children to work. As a result, Elzbieta's son, Stanislovas, was eaten alive by rats. Such major problems in the Capitalist system were focused on throughout the novel. The problems in the meatpacking industry related to issues concerning the entire industrial labor force. Sinclair continued to show that these problems could have been solved by Socialism. The fact that Jurgis joined the Socialist Party and was dedicated to improving his surroundings was how Sinclair displayed the fact that Socialism was a more practical system.

How Can the American Legal System

How can the American legal system, which is so devoted to protecting individual rights, justify itself morally if it jeopardizes, through its own rules, the right of law-abiding citizens to personal peace and security? Although this is a very tough subject and every one in the United States will disagree with this question but I will start out by asking it anyway â€Å" Is there any case in which the American law should put the law above the protection of its citizens? † I found that I will have to answer this question with a hard NO! Because the American government has been sworn to the duty of protecting the itizens of the United States. To answer the question for this essay I am going to refer to the 9/11/01 attacks against the United States as a whole. The United States is a free country for any one whom wants to pursue their happiness and to own their own property or even go to school if they want. That is how this started we the people of the United States allowed those people to come over here to pursue their goals in life so they chose to go to flight school just so they would be able to use it against us (the United States). The death toll of the attacks was 2,995, including the 19 hijackers.The overwhelming majority of casualties were civilians, including nationals of over 70 countries. In addition, there is at least one secondary death – one person was ruled by a medical examiner to have died from lung disease due to exposure to dust from the World Trade Center's collapse. (1) Now this is nothing about the billions of dollars in damage that was done to our nation. But this does go to show you that if the American government and legal system denies the people of our far United States this is just some of what other countries feel they would be able to do.To deny the people of the United States their peace and security can and does go unanswered for by the government. Although the government or American legal system may feel that this is justified by denying the people their peace and security but what of the feeling they would get without the feelings of peace and security. No I don't feel that the American law system can justify itself what so ever for the act of denying the people their peace and security.When the American law system starts to feel that they can take our peace and security from us for the sake of protecting individual rights then this country ust doesn't stand a chance against the countries whom wish do do us hard. So I say that no the American law system can not justify itself in morally or any other way when it comes to the people's feelings of peace and security personal or otherwise. With out the feelings of peace and security then the people would feel out of control and therefore the country would be out of control and any one that wanted to would be able to come over here and hurt our country in any way they feel fit.Reference: http://en. wikipedia. org/wiki/September_11_attacks

More Than Just One Weird Trick Alex Mayor, Publicist

More Than Just One Weird Trick Alex Mayor, Publicist More Than Just 'One Weird Trick' - Alex Mayor, Publicist â€Å"When I raise the issue of marketing a book with a lot of authors, you sort of see the three lemons come up for them - â€Å"Why aren’t I doing that? Why didn’t I think of doing this?† - and for others they look moderately terrified!†Traditional publishers have tried to embrace the new media tech menagerie plenty of times over the last decade, at least. And yet every effort has faded away with time, lost like tears in the rain. Whether it’s book trailers or staid, conservatively hashtagged tweets from a corporate account, it feels a little like watching a toddler trying to walk: graceless, but at least sort of fascinating to watch them fall down as they learn from their mistakes.Or, if we can reach for another simile, traditional publishers trying to innovate are like 20th century passenger liners trying to slalom around icebergs - innovation requires a manoeuvrability that, in 99% of cases, is at odds with the size of the company trying to inn ovate.This is, however, another coup for indie authors. As Ben Galley explained in his interview with us, indies aren’t shackled the way traditionally published authors are. The room for experimentation is there.This is where people like Alex Mayor come in. Alex is the founder / inventor of Papercasting, a Hackney-based agency helping authors find interesting and unheard of ways to bring their books to an audience, whether that’s through audio, video, or even real-world theatrical productions. The best way to explain it is to let Alex himself talk you through it in our interview below, but you can listen to a Papercast for ‘London Bridge in America’ right here!REEDSYHow long have you guys existed for?   How did you get started? How many of you are there?ALEX MAYORAt the moment it’s me and two part-time creative guys that I work with. Because of the friends I have, I’ve ended up knowing quite a few authors. They would come to me saying †Å"The book’s finally done, it’s coming out, but I’m not sure how it’s going to do. I know what the publisher is going to do: they’re going to spring for drinks for a launch party; they might put some promotional postcards together but they probably won’t; and then, after they’ve sent out the review copies, if nothing happens in that first month that’s kind of it.†So what I’ve been doing so far is basically helping out friends. Now I’m trying to move beyond the friendship circles. The idea has been to find authors who are prepared to do something a bit more interesting in terms of how they promote themselves.I’ve also had some support from the Arts Council, who were very interested in the idea. They see that creatives within what we might call ‘the literary world’ writ large suffer to a large degree from being not necessarily the most internet-savvy, the most marketing-savvy - writing by i ts nature is a solipsistic undertaking. Also, traditional publishing, assailed as it is by modernity, is spending less on promo simply because of the sheer number of places they’re trying to reach.Last year we did a few examples of work. Now we’re trying to ramp it up, to find authors with some sort of social footprint, and create pieces of digital work that will help promote them. An author phoned me up last week: â€Å"I’ve suddenly thought this is perfect radio material. This story is quite Carver-esque, it would work really well. Can we make a ten-minute version of this as a radio play?† And I said â€Å"Of course we can, I can find the actors, we can do it all fairly cheaply,† and the author can then use that as a calling card to media organisations, put it online for streaming, and use it to build interest in the books.I’m getting a lot of interest from a certain kind of author - authors who think â€Å"I’ve made something, and I want people to pay interest in it and engage with what I’m doing,† rather than just seeing it as â€Å"A book has been printed with my words in it, my work here is done.† When I raise the issue with a lot of authors, you sort of see the three lemons come up for them - â€Å"Why aren’t I doing that? Why didn’t I think of doing this?† - and for others they look moderately terrified!My background is in media, in publishing; I’ve written music for television, I’ve produced records†¦ I view everything as just ‘stuff.’ It’s stuff that has an audience, somehow, and I’m fairly open-minded about how you reach the audience. In book-publishing, traditionally you have the agent, the publisher who’s kept at one remove†¦ everyone is in their own box. There isn’t a lot of moving around, and publishers don’t tend to want to upset that situation too much. But authors may well know thei r audience *better* than a big corporate publisher. It’s just a fact that if an author is good at writing books about Norwegian circus acts of the 18th century, it may be that they know the most important people who will help sell that book.REEDSYSo what is paper casting? Is it a verb, a noun†¦?ALEX MAYORIt’s both! I wanted a word that would help authors understand the idea that they could be broadcasting. What is being on Twitter but a form of broadcasting? Making a radio play, putting a video together, they’re all kinds of broadcasting. I believe when you’ve got a book you’ve created something that can be expressed in a multitude of ways. You’ve already done the hard bit in finding a way to bring that idea off the page in a way that gets people excited. But because authors are traditionally left out of the equation by publishers, they haven’t been too entrepreneurial in that regard.It’s a business and an experiment. Iâ⠂¬â„¢m trying to find out if there are enough authors who want to do this. I think it’s going to be younger authors probably, or authors who are very good on social media, but within five to ten years there will be an entire generation of writers who have always had a Facebook account, who have always shared their top-of-the-mind thoughts on some network tool or another. This model is waiting to happen, even if it hasn’t yet happened.REEDSYI remember a few years ago this craze for book trailers†¦ALEX MAYORYes! And they were all awful! They were all mind-bogglingly bad. I’ve trawled through loads of these. I noticed that, once YouTube was a fairly embedded prospect in people’s minds, you’d hear people asking â€Å"Do we do video?† This idea that ‘doing some video’ would add value to something, that if you didn’t have an active YouTube account you weren’t really a player.That thinking was evident in pretty much every book trailer I’ve ever seen, particularly ones paid for by publishing companies - where they’ve done a Ken Burns slow-pan over the front cover, they’ve brought a rent-a-quote up, there’s a piece of out-of-copyright classical music playing in the background, it’s two minutes long, and nobody will ever look at it. They’ve not been terribly interesting by and large. That, or - fair enough - a film of the author reading a bit of it, which is at least a step in the right direction.I think it’s been something publishers did badly, and to some degree consider an experiment they don’t really want to repeat. The question is still outstanding because the way we consume literature is changing under our feet all the time. It’s not changing totally, and there’ll be an element of the market, like vinyl, that will always buy the physical book. But how we consume what we call books is changing all the time. Technology compa nies are the ones charging forward and providing those experiences, not publishers.REEDSYIt feels like that even amongst the best of those efforts, there’s rarely much of a tie to the book being promoted. Even my favourite example of a book trailer, while a great little clip, doesn’t connect directly to the book in question.ALEX MAYORI think when you mentioned that 2011/2012 moment, the concomitant line of thinking in marketing departments across the land was â€Å"Can we do something viral?† as if they’d discovered the idea of disease for the first time and were embracing it wholeheartedly. I think the danger of some of those things is that they can be cool, but you see so much cool stuff every day I think there’s a burnout you get to.My feeling is there is, particularly in non-fiction publishing, an enormous number of perfectly good books where it will always be a tricky prospect for a publishing house to find a lot of marketing muscle and budget to push it. Unless your name is Malcolm Gladwell, how many of these are you going to shift? There are all these books that are perfectly interesting, but they’re not as immediate. They’re not things that it would be so easy to make a viral or funny trailer for, but they’ve got something in them that will make you stop in your tracks. And I think the process is find the core of the book - the elevator pitch, the one surprising thing that you’d hear from the author at a cocktail party and repeat to your friends.Say you had an Oliver Sacks neuro-psychological ramble with interesting case-studies. OK, so you get two actors in, find some dialogue that’s interesting, maybe make a two minute radio play out of it, and at the end you’ve got your buy-link - you’ve tee’d up the experience of the book. Where those trailers went wrong is that there were a) uninteresting, and b) they weren’t thinking about the content of the book. Th ey were thinking about the object: â€Å"Here is a book.† Well, yeah, we get it, here’s a book. There are lots of books. Why do we want to read it?I’m still trying to find more authors who have a little bit more of a social footprint who are prepared to be more Gonzo with me. As a premise, I think it’s not expensive to make this kind of media - it’s just about having the willpower to do it.REEDSYIt seems like what you’re doing requires more than just money thrown at it - it also needs creativity, an idea.ALEX MAYORMy ambition for 2015 is to find more of these authors and ramp it up to the point where what we have is a form of entertainment in its own right. If you could image a channel of this stuff, and you were flipping through it, these would be interesting ways of hearing about interesting new books. Maybe some people would listen to them and get whatever they get out of it, but there would be people who click through and buy the book. I t’s a case of taking what’s already a very well considered piece of media, a book manuscript, and creating something slightly smaller in a different format out of the book for not a lot of money. It’s not difficult stuff to do. For me it’s about editorial and production, and finding that killer idea that’s at the heart of the thing. There will be something - you can’t write a book and have no point.REEDSYHow do you produce one of these things? How does your agency work?ALEX MAYORWe have a little studio in Hackney - BBC quality microphones and all of that jazz. Mostly what will happen is I’ll sit down with the author and get them to pitch the book back to me. I’ll obviously go read the manuscript. I’ll come back with suggestions of ways we could bring it off the page. The author has to feel comfortable with what we’re envisioning. It may be that they’re going to be reading, or that they’re not going t o be reading and someone else will be found†¦ It’s very tailored to the person. At its core it’s about understanding the central strengths of the book.People have been asking â€Å"Oh, so we’d be making a video?† I always say â€Å"We might be, but we might not be.† Video is hard to do without a degree of cost because to do justice to the written word in film is notoriously hard. It’s very hard to do without immediately becoming boring, in my opinion. I think audio is a better choice, by and large, because you can maintain the reader’s own interactivity - that way they’re assembling the words in their head and seeing whatever world you’re bringing them into.In terms of capturing what it is that’s interesting you have to be media-neutral at the outset, and also be somewhat sensitive to the person’s own personality and what they’ll feel comfortable with, and also budget - radio’s the cheape st, video is hard to make†¦REEDSYHow do you get the material in front of people?ALEX MAYORAt the moment I’m just using Soundcloud. It’s more about the social footprint of the author, their agent, and any publicity people they have on side. This is simultaneously the massive potential upside and the massive potential downside. Good use of social media is thin on the ground - most people struggle with it. Authors are either total oversharers, or haven’t done much of it before. The model definitely requires that you have a fairly active social media following. It all lives and dies at that point.One author has just engaged me to do this for him. Initially I said â€Å"It will only work if you’re calm about it.† So I’ve been trying to build a voice for him on Twitter. I’ve set writing challenges like â€Å"How about sharing all the titles of things you’ve never written?† Trying to get the author to think of it as a writ ing challenge, not a self-promotion challenge.There was a famous observation by Momus the electronic singer - â€Å"In the internet age everyone is famous for fifteen people.† I’ve always thought that hangs over lots of technology. You could potentially do billions of things and reach zillions of people, but the core of it is still the slogging, and it kind of always was. You’ve just got to keep beavering away at getting a footprint with people and building a personality with people.REEDSYThanks for your time Alex.