Monday, January 31, 2011

Free Fax Software For Windows XP

Windows XP has built-in faxing capability. That's right, with XP all that's required to set up faxing is a good old-fashioned phone line and a modem. Faxing in XP can be installed from the Control Panel using the "Add Windows Components" option. The component is called Fax Services.

http://www.theremigroup.com/Blog/image.axd?picture=2010%2F5%2FOld+Fax.jpg


Once installed, the Fax Configuration Wizard provides an easy step-by-step interface that will assist in setting up a fax cover page, enabling send as well as receive and setting up the fax header information (also known as Transmitting Subscriber Identification or TSID). To start the Fax Configuration Wizard, click Start / All Programs / Accessories / Communications / Fax, then click Fax Console.

In most cases, you can fax directly from the application that created the document. Select File / Print, then under Select Printer, click Fax instead of a regular printer. The Send Fax Wizard will appear, prompting you for the recipient's fax number, and the cover page info.

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So what what about incoming faxes? In the Fax Configuration Wizard, you have the option to automatically answer, or answer manually. If you choose to automatically receive faxes, your fax modem will answer the fax line after the specified number of rings, receive the incoming fax, and store it in the Fax Console. If you choose to manually answer fax calls, you'll need to open the Fax Console, click File, then click Receive a fax now. The Fax Monitor will appear and waits for incoming faxes. If you don't have a dedicated phone line for faxes, you'll probably want to go with the Manual Answer method, and just turn on the Fax Console when you're expecting an incoming fax. Otherwise, regular voice callers will be greeted with those awful screeching fax tones.


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posted by u2r2h at Monday, January 31, 2011 1 comments

Friday, January 28, 2011

Atmospheric Phenomenon --V-TOPPED LIGHT PILLARS

V-TOPPED LIGHT PILLARS: Light pillars are a common sight around cities in winter. Urban lights bounce off ice crystals in the air, producing tall luminous columns sometimes mistaken for auroras. But the light pillars Mike Hollingshead saw last night near a corn mill in Nebraska were decidely uncommon. "They had V-shaped tops," he explains, "and some of the Vs were nested." Here is what he saw:

"These light pillars are not just rare, they are exceptional!" declares atmospheric optics expert Les Cowley. "Ordinary pillars are produced by plate-shaped ice crystals roughly half way between you and the light source. These are different. Their rarely seen flared tops show that they were made by column-shaped crystals drifting slowly downwards and aligned horizontal by air resistance."

"The flares are a form of the upper tangent arcs that we sometimes see in daytime halo displays," he continues. "But even more exotic, some flares have a second one nested within them! Some ice crystal columns do not rotate but instead keep two of their prism faces improbably horizontal to give us the very uncommon Parry arcs of solar halo displays. The nested flares here are amazing and probably the light halo equivalent of Parry arcs."




Columns of light apparently beaming directly upwards from unshielded (and wastefully polluting) lights are sometimes visible during very cold weather. Plate shaped ice crystals, normally only present in high clouds, float in the air close to the ground and their horizontal facets reflect light back downwards.


The pillars are not physically over the lights or anywhere else in space for that matter ~ like all halos they are purely the collected light beams from all the millions of crystals which just happen to be reflecting light towards your eyes or camera.

Artificial light pillars can be much taller than their natural counterparts because rays from the lights are not parallel and plate crystals with small tilts can still reflect them downwards. The crystals producing the pillars are roughly halfway between you and the lights.

When ice crystals float in the air around you, pillars (and other halos) can even be seen around streetlights a few metres away.


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posted by u2r2h at Friday, January 28, 2011 0 comments

Tuesday, January 25, 2011

LPFM Low Power FM USA legislation

N Y TIMES article

Low-Power FM Radio to Gain Space on the Dial
By BRIAN STELTER
Published: January 24, 2011

OPELOUSAS, La. — When John Freeman turned on his car radio one recent
day and tuned to KOCZ, the voice he heard was a 2-year-old girl's.

It belonged to Nyla Belton, the daughter of the afternoon D.J., Craig
Belton. She's better known on the air as "D.J. Scribble" and sometimes
speaks up between songs.

Mr. Freeman, the station's executive director, chuckled and pointed to
the radio. "That's what's special about low-power FM," he said.

KOCZ's signal is a mere 100 watts, so low that its reach is only 10 to
15 miles. Mr. Freeman cannot even tune in from his home. But the
station has become an unlikely lifeline in this town of 22,000,
helping promote local artists and church events in ways that
commercial stations either cannot or will not.

Advocates for low-power FM, or LPFM, as it is called, say the stations
are a slight corrective to the consolidation of commercial radio. Soon
there will be more: this month President Obama signed the Local
Community Radio Act, which repeals restrictions on such stations and
allows the Federal Communications Commission to give out more 100-watt
licenses.

Freeing space on the radio dial for local voices might seem a moot
point in an age when anyone can start an Internet radio station. But
the appropriation of the public airwaves remains a vital and, for
some, very emotional issue.

A majority of Americans "still get their news and culture over the
broadcast dial," said Hannah Sassaman, a longtime advocate of
community radio. For Ms. Sassaman and others, this month's bill
signing was the culmination of 10 years of lobbying for more access to
the airwaves. "I care about this because I have seen these stations
light people up and cause political coverage, local music and
community organizing to happen around the country and the world," Ms.
Sassaman said.

KOCZ, for instance, helped to bring zydeco music back to the radio
dial in this part of Louisiana. Zydeco, a potent blend of Cajun,
rhythm and blues and, among a younger generation, hip-hop, often
features accordion and washboard and is a passion of people in the
region. It is played on KOCZ every day between 6 and 8 p.m.

"It helps promote that culture — and that's something that's very
significant for the African-American community here," said Mr.
Freeman, who slyly added that he thought commercial stations had
started playing more zydeco since KOCZ started broadcasting in 2002.
"They know that we make them better," he said.

Mr. Freeman describes KOCZ as "a mission." A retired executive for
Bell South, he calls himself a "corporate guy" who became a convert to
low-power radio, thanks to Ms. Sassaman and other community
organizers. Low-power stations are designated for noncommercial uses,
so many are licensed to churches and schools. KOCZ is licensed to the
Southern Development Foundation, a civil rights group that grants
scholarships and runs a business incubator but has fallen on hard
times. The foundation treats the station as a 24-hour form of
community outreach.

Shows are hosted by about 20 volunteers like Mr. Belton, who plays R&B
and hip-hop on weekday afternoons, and Lena Charles, the chairwoman of
the foundation board, who hosts a weekend talk show and held candidate
forums for the local elections last year.

"Politically, some people don't talk to other people," Ms. Charles
said. "But we talk to everybody. We're a bridge sometimes."

Each show depends on the underwriting of local sponsors like funeral
homes and beauty salons. "Without them, we'd be pretty much shut
down," Mr. Freeman said. Recently three microphones at KOCZ were out
of order, forcing guests to share the one remaining mike with the
host.

Now low-power stations are few and far between and exist mostly in
rural areas, squeezed in among the commercial stations. It isn't
always comfortable. KOCZ has been moved around the dial by the Federal
Communications Commission a number of times, mirroring the larger
struggle to gain more space for small stations.

The community radio act was passed during the lame-duck session of
Congress last month. After President Obama signed the act, Julius
Genachowski, the chairman of the F.C.C., called it a "big win" for
radio listeners.

"Low-power FM stations are small, but they make a giant contribution
to local community programming," he said in a statement. Notably, the
act may make it possible for some low-power outlets to sprout up in
urban areas, where they could reach more listeners than a station like
KOCZ does. Now it is up to the F.C.C. to start accepting applications
for new licenses.

The station in Opelousas has led Mr. Freeman to conclude that bigger
is not always better. For KOCZ, smaller is better, because smaller
means more local.

One day last year when Mr. Belton was on the air, a woman walked into
the station (located in an otherwise unremarkable white-paneled house
in the middle of town) and asked for an announcement to be broadcast
about her lost dog.

"She was able to get her dog back the next day," said Helen Pickney,
the station manager, still marveling at the story.

KOCZ doesn't know how many listeners it has, since it is too small to
be rated. Mr. Freeman instead cites a different sort of rating: the
waiting list for people who want to host a show. There are more than
20 on the list, he said — enough to start a second station.

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posted by u2r2h at Tuesday, January 25, 2011 0 comments

Sunday, January 16, 2011

holocaust jewish pornography NEW YORK TIMES


as written up in the New York Times ...

http://www.blogmayhem.com/abp/media/03-12-08/blitzkriegnazi.jpg


Holocaust pornography Libsker  skull nazi blond fraulein

Ari Libsker is a young Israeli filmmaker and journalist. He has made several documentaries. His film Stalags (2008) featured in The New York Times and won several awards.

One of his first ones, Circumcision (Israel 2004, 30 min, channel 2) dealt with the effect of circumcision on the sex life of Jewish people, connecting it to castration. Channel 2 tried to censor the movie and in the end broadcast it at a late hour. The movie got a lot of responses and critics.


On 2010 he pretended to be a rich Croatian real estate genius to infiltrate the apartment of deference minister Ehud Barak and try to purchase it from his wife Nili, for a Calcalist Hebrew magazine article

http://www.heise.de/tp/r4/artikel/33/33941/33941_7.jpg
german but no english subtitles?  Torrent available? Download avi?
please leave a message in COMMENTS below.



In 2007 Libsker worked on a feature documentary film called Stalags. During the early 1960s in Israel and the Adolf Eichmann trial "Stalags" were pornographic booklet describing masochistic brutal sex relationship between Nazi women wardens and concentration camp prisoners. The film analyzes the reasons behind the phenomenon.


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Blitzkrieg


Documentary film about pornographic Stalag fiction books popular in Israel at the time of the Adolf Eichmann trial

Stalags(in Deutsch: "POW camp") were pocket books whose stories revealed lusty female SS officers sexually abusing camp prisoners.
During the 1960s, parallel to the Eichmann trial, sales of this pornographic literature broke all records in Israel as hundreds of thousands of copies were sold at kiosks.

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The popularity of the Stalags only declined after a much-reported trial, in which their authors were accused of distributing anti-Semitic pornography.
The film examines this notorious phenomenon, exposing the creators of this literary genre for the first time.



Moreover it posits that pornographic aspects appears in canonic Holocaust literature and continue to be spreaded as part of the representation of the Holocaust in Israel, in schools, books and trips to Auschwitz.





Fictitious memory

Not only did these books break taboos relating to pornography in Hebrew fiction - they broke taboos that had existed with regard to the literary treatment of the Holocaust, according to Eshed.

By Nirit Anderman

A few years ago, a book in a Tel Aviv used-book store caught the eye of documentary filmmaker Ari Libsker. The book, written in Hebrew, featured hard-core pornography, but what attracted his attention was its setting and the identity of its characters. The story tells of a Nazi prison camp commanded by women, and includes descriptions of their abuse of prisoners of war - some of them sexual.

That same bookstore visit sparked Libsker's interest in "stalagim," pornographic books published in Israel during the 1960s that describe sadistic relations between beautiful Nazi women, who commanded Third Reich prison camps, and their tortured prisoners. In these books, the prisoners are usually American and British, rather than Jewish. Libsker adds that in the books' narratives, the protagonist is usually a prisoner who describes the humiliation, torture and rape he experiences in the camp.

His interest in this subject led Libsker to Eli Eshed, a researcher of popular Israeli culture and pulp literature, who examined the "stalag" phenomenon. In an article Eshed published in the Ha'ayal Hakoreh online publication in 2001, he cited dozens of titles belonging to this genre, which were released in Israel between 1961 and 1964. The first publication of the series, "Stalag 13," was printed seven times and sold a total of 25,000 copies.




Not only did these books break taboos relating to pornography in Hebrew fiction - they broke taboos that had existed with regard to the literary treatment of the Holocaust, according to Eshed.

"It is no accident that 'stalagim' began to appear in 1961, in the shadow of the Eichmann trial in Jerusalem," Eshed writes. "The bitter and widely publicized testimony gave rise to a renewed public discourse on the Holocaust."

It was the exposure to this literary genre that led to Libsker's decision to make a documentary film to examine the phenomenon.

Filming, which began a year ago, mainly focuses on interviews with people who wrote these books under pseudonyms, and their readers. "The film will expose the inventor of this genre, who was interviewed for the first time," Libsker says.

Two weeks ago, Libsker interviewed Uri Avnery, editor of the now defunct Haolam Hazeh weekly news magazine that devoted the back pages of two editions to "stalagim." Avnery also referred to the Eichmann trial as a turning point in Israel's approach to the Holocaust. He believes the "stalagim" developed as a sado-masochistic, public response to the horrors described in the trial.

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"The film attempts to identify the backdrop to which this fiction was created, and the reason it became so popular," Libsker says. "It also examines how these books influenced the generation that read them - people now in their 50s and 60s - and how the books shaped their memory." He maintains that for many "stalag" readers, the boundaries between fact and fiction became blurred. "Although these are fictional books, members of that generation absorbed the 'stalagim' as part of the collective memory of the Holocaust," he says.

Libsker says it was hard to find the books' writers and to persuade them to grant interviews for the film. Readers were also reluctant to expose their reading habits on camera.

According to Libsker, many find the subject intimidating and some interviewees demanded that he conceal their identities on film. In some scenes, he asked readers to read passages from the books aloud, as he documented their responses to the text. He says many of them remembered the books as soft pornography and were surprised by the extremely graphic details of sexual abuse (that include the amputation of genitalia, for example).

The years that passed not only softened the memory of the pornographic details in the readers' minds. According to Libsker, many switched the roles and sexes of the characters: Readers, who have matured since reading these books, often remember them as stories about Nazi men raping and torturing Jewish women, rather than the opposite.

The filming of the documentary, temporarily entitled "Stalagim," will be completed in the coming days. Barak Heiman co-produced the movie with Libsker and the film was funded by the "Yes Doco" television channel and the New Fund for Film and Television in Israel.
Haaretz

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posted by u2r2h at Sunday, January 16, 2011 0 comments

Thursday, January 13, 2011

Re: weiterlesen



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Marcel Walldorf

The silicone sculpture of a urinating female police officer by German artist Marcel Walldorf is pictured on January 12, at the Academy of Fine Arts in Dresden, eastern Germany. The work has whipped up a storm of protest in Germany, where it went on prominent display last week.… Read more »
(AFP/Arno Burgi)


BERLIN (AFP) – A prize-winning lifelike sculpture of a squatting policewoman urinating has whipped up a storm of protest in Germany, where it went on prominent display last week.

The work entitled "Petra" by 27-year-old German sculptor Marcel Walldorf is made of silicone and metal and has pitted public officials against art world aficionados in the debate over what is acceptable in the name of high culture.

It depicts a young female police officer in full riot gear crouching to pee, with exposed buttocks and a small gelatin "puddle" affixed to the floor of the gallery at the Academy of Fine Arts in Dresden, eastern Germany.

The work entitled "Petra" was completed one year ago and has captured a 1,000-euro (1,328-dollar) prize by the prestigious Leinemann Foundation for fine arts.

"It shows very well the difference between the public sphere and the private sphere," the jury said.

But Saxony interior minister Markus Ulbig, who is responsible for the state's security services, told the German press he was "shocked" by the sculpture, which he branded "an insult to police officers."

The GdP police union also blasted the piece, saying it "breached the limits of artistic freedom."

"There have of course been letters of protest, particularly addressed to the artist," a spokeswoman for the Academy of Fine Arts, Andrea Weippert, told AFP.

But she insisted that the public response had been "overwhelmingly positive".

"People who visit the show are not offended," she said.

She said she was surprised by the attention given to the display of "Petra" in Dresden as it had already been featured in smaller shows in the cities of Berlin and Leipzig.

"The artist is exploring a taboo zone. 'Petra' is not a provocation," she said. "It is an observation of society."


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posted by u2r2h at Thursday, January 13, 2011 0 comments