There are number of smart phones like Blackberry Storm, LG Dare, and LG Voyager are available in the market but the main reason to choose iPhone is obviously its function , features and application that iPhone provides. The display of iPhone is not only smooth but also more responsive as compare with other mobiles. Beside this iPhone has a heat sensitive flush screen with one-touch access to apps on the iPhone with great sensor detection. The screen is also capable of rendering up to 262,144 colors and more.
The market price of iPhone is quit higher as compare with other smart phones. Beside this the iPhone has a great demand in market due to its satisfaction functionality that only iPhone can provide. The iPhone Application not only support wide variety of user requirements, from teens to adults, but also offers mind blowing applications that one can not imagine. In iPhone a person can get optimum use of it’s software and hardware.
On July 11, 2008, the iPhone 3G was released. It supports faster third generation data speeds and Assisted GPS.The 3G iPhone have 128MB DRAM and a flash memory up to 8 to 16 GB. iPhone requires minimum hardware interface and provides more user interface while using iPhone applications.
Iphone is a third generation Revolutionary device having wide flush multi-touch screen and a great resolution screen with 480×320 pixels. iPhone has Built-in rechargeable, non-removable battery. The iPhone features an internal rechargeable battery. It is not user-replaceable, similar to the batteries of existing iPods, and unlike those of most existing cellular phones. iPhone sustain variant of various application, such applications are so much unusual which you can’t get in traditional mobile phone. Moreover, iPhone it self contain various multimedia applications, visual voice mail, portable media player (iPod) and of course a GPS functionality.
Perception system has knowledgeable experts programmer who are working on iPhone Application Development. Perception System has developed various iPhone Mobile Application & Website Development, iPhone Programming. We can make third party iPhone applications for such a revolutionary device up till now and moving ahead.
Thursday, May 7, 2009
Wednesday, May 6, 2009
Water Jetting Technology
Jetters are mostly used for hydro cleaning. Hydrocleaning is defined as the use of water propelled at a very high speed to clean surfaces. The force generated from water jetters can remove stains, paint and dirt from walls, highways, runways and concrete.
To standardize cleaning operations and surface preparation specifications, the Steel Structures Painting Council (SSPC) has adopted the following four definitions for cleaning operations using water jetting technology:
• Low-pressure water cleaning (LP WC) - water pressure is less than 5,000 psi (34 MPa).
• High-pressure water cleaning (HP WC) is the use of water pressure between 5,000 to 10,000 psi (34 to 70 MPa) for cleaning.
• High-pressure water jetting (HP WJ) is the use of water pressure between 10,000 to 25,000 psi (70 to 170 MPa) for cleaning.
• Ultrahigh-pressure water jetting is the use of pressures above 25,000 (170 MPa) for cleaning.
Water jetting equipment should be checked before using it. Be sure that the equipment is functioning properly with no signs of wear. The area where the work should be carried out should also be checked. Check if there is a blockage on a drainage system or broken pipes. If the work is carried on a public place, be sure that people are on a safe distance.
After making all security checks and making sure it is safe to proceed, water jetter should be connected to a water supply. Choose the appropriate nozzle and make sure it is securely connected to the lance. Direct the water jetter towards the surface that needs to be cleaned or to areas that need unblocking.
It takes a lot of skill to operate this kind of equipment. Only trained workers and professional should carry out this kind of work.
Water jetters use high pressure (HP) jet equipment to clean the surfaces of:
• paving slabs
• patios
• concrete surfaces
• marble
• brickwork
• road surfaces
• walls and buildings
• vehicles
High pressure hydrocleaning equipment is also used for:
• cleaning drains and sewers
• industrial descaling and desilting
• boiler tube cleaning
• cleaning inside cooling towers
• removing water and debris from manholes
• concrete removal from bridges or road surfaces
Ultra High pressure (UHP) water jetters operate at an extremely high pressure and can be used to cut through steel. They are also used for:
• cold-cutting pipes and tank plates
• removing oil, paint and food by-product residues.
• the removal of surface coatings
• cleaning and cutting by marine chemical companies.
To standardize cleaning operations and surface preparation specifications, the Steel Structures Painting Council (SSPC) has adopted the following four definitions for cleaning operations using water jetting technology:
• Low-pressure water cleaning (LP WC) - water pressure is less than 5,000 psi (34 MPa).
• High-pressure water cleaning (HP WC) is the use of water pressure between 5,000 to 10,000 psi (34 to 70 MPa) for cleaning.
• High-pressure water jetting (HP WJ) is the use of water pressure between 10,000 to 25,000 psi (70 to 170 MPa) for cleaning.
• Ultrahigh-pressure water jetting is the use of pressures above 25,000 (170 MPa) for cleaning.
Water jetting equipment should be checked before using it. Be sure that the equipment is functioning properly with no signs of wear. The area where the work should be carried out should also be checked. Check if there is a blockage on a drainage system or broken pipes. If the work is carried on a public place, be sure that people are on a safe distance.
After making all security checks and making sure it is safe to proceed, water jetter should be connected to a water supply. Choose the appropriate nozzle and make sure it is securely connected to the lance. Direct the water jetter towards the surface that needs to be cleaned or to areas that need unblocking.
It takes a lot of skill to operate this kind of equipment. Only trained workers and professional should carry out this kind of work.
Water jetters use high pressure (HP) jet equipment to clean the surfaces of:
• paving slabs
• patios
• concrete surfaces
• marble
• brickwork
• road surfaces
• walls and buildings
• vehicles
High pressure hydrocleaning equipment is also used for:
• cleaning drains and sewers
• industrial descaling and desilting
• boiler tube cleaning
• cleaning inside cooling towers
• removing water and debris from manholes
• concrete removal from bridges or road surfaces
Ultra High pressure (UHP) water jetters operate at an extremely high pressure and can be used to cut through steel. They are also used for:
• cold-cutting pipes and tank plates
• removing oil, paint and food by-product residues.
• the removal of surface coatings
• cleaning and cutting by marine chemical companies.
Sunday, May 3, 2009
World Music
ThruYOU is an album of seven original songs, each built from dozens of fragments of video clips of (mostly amateur) musicians, selected from among the seemingly endless footage of music lessons and private recitals archived on YouTube. (You can watch and listen on Thru-You.com, Kutiman’s cleverly custom-designed site.) Over what must have been a grueling two months, Kutiman collected an array of striking sounds and images, some no longer than a split second, and pressed them into musical service. Each one now furnishes a note or two, or a groove or a sensibility, in Kutiman’s audiovisual medleys. He has put the fractured universe of musical YouTube in concert. The housebound noodlers of the world now miraculously jam together.
Music bloggers have praised Kutiman for effectively using YouTube as a musical instrument and striking a blow for freedom from corporatized pop music. The project, wrote Jon Newton on P2PNet, is “absolutely, 100 percent guaranteed to inspire artists around the world to produce art which has never been seen before and never could have been seen without the Internet.” Lawrence Lessig, the legal scholar and anti-copyright crusader, cited ThruYOU, which samples wantonly from the publicly available music on the Web, as a vivid lesson in why copyright law cannot hold on the Internet.
But whatever its standing as ideological object, ThruYOU is also just stunning. Using and refining the technique of “video scratching,” ThruYOU builds fully orchestrated songs from Kutiman’s selected digital excerpts. Most of the clips show musicians in modest domestic spaces, improvised studios, barely finished basements and bunkerlike bedrooms. The videos almost always feature one musician in a soliloquy tableau that’s by now familiar to YouTubers: somewhat sheepishly, a soloist plays into a self-monitored camera and cheap microphone.
Often the videos that Kutiman samples are how-tos and demos, in which a musician flaunt-teaches his skills, as in the first track on ThruYOU: “The Mother of All Funk Chords.” Kutiman introduces that piece, a groovy fantasia, by staging a conversation among various disparate videos. In the first, a drummer in a feather-trimmed fedora (Bernard Purdie, who like all the musicians is identified in the credits) asks an unseen audience, “Well, what can I do?” He indolently taps out a 16th-note shuffle.
The answer to his question comes instantly from another Kutiman-cut video, one featuring a younger guitarist in a backward cap. As if in reply, the cap guy says, “Play that 16th-note groove —”
“ . . . Just straight,” finishes another guitarist, from another video, before the cap guy resurfaces, hitting an E9 chord. Magic. The rhythm is in place, and the piece that began in the stumped loneliness of “What can I do?” is off and running. The demos, a staple form of YouTube, now collectively suggest a classic boast of funk: Here’s how it’s done.
But that’s just the beginning. The rhythm section is rapidly joined by video clips of other instruments in other rooms: a sax, a tuba, trumpets, many guitars, a theremin. One trumpeter is a child. As the music swells, Kutiman exploits the visual tempo of the videos — intermittently setting them up in grid form, so they’re all in one frame — to punctuate the sound. The original cap guy, for example, has a half-smiling, askance “did you hear that?” expression that Kutiman repeatedly deploys to underscore brief rests.
A charmless white room then fills the screen for a bunch of beats. Its few appointments include a school desk, a nondescript computer, a plastic laundry basket and a halogen torchière lamp of the kind common to dorm rooms and starter apartments in the 1990s. Then a middle-aged man enters with a harmonica. The introversion of the living space is suddenly undone as the room becomes a stage set for purposes of the video, with the musician singing in an ersatz Joe Cocker mode. The aging musician, whose forced concept of rock and roll appears to have been nourished in this sad room, has been turned by Kutiman into a rocker king.
The Kutiman track “I M New” has a sequence starring a guy in a hoodie with a logo that reads “Cincinnati”; he’s rapping on a curbside about a career crisis. “Babylon Band” shows an organist seeming to correct herself while practicing at what looks like a small church. You would expect the emphasis on awkward amateurs to turn the project parodic, except that Kutiman finds in every performance brilliantly human turns of phrase or physicality. Virtuosos with smug expressions do win the riffs sometimes, but the whole belongs to all the participants — and Kutiman, with a maestro’s sense of orchestration, lets the sad-sack types periodically upstage the showoffs.
Not long ago, Kutiman told Wired about how ThruYOU came about. “I downloaded a clip from a drummer, who I now realize is Bernard Purdie, who has sessioned on all kinds of records,” he said. “All it needed was some bass and guitar; I loved the idea that I was playing along with him and he didn’t even know it. But once I decided to download another clip and play over it, I thought, Why not get another video to play over it? Since then, I haven’t really slept or eaten. I lost track of night and day. I’d just pass out and wake up on the computer.”
Some of that creative fever dream comes through on the album, and especially in “About,” the quick video at the end that features Kutiman, looking exhausted and sly. “I had a great time searching for you and working with you,” he says to the camera.
I had a great time searching for you. Kutiman’s voice on this line is surpassingly romantic. It’s also modern. What ThruYOU expresses best is the love of the mixer for the mixed.
Music bloggers have praised Kutiman for effectively using YouTube as a musical instrument and striking a blow for freedom from corporatized pop music. The project, wrote Jon Newton on P2PNet, is “absolutely, 100 percent guaranteed to inspire artists around the world to produce art which has never been seen before and never could have been seen without the Internet.” Lawrence Lessig, the legal scholar and anti-copyright crusader, cited ThruYOU, which samples wantonly from the publicly available music on the Web, as a vivid lesson in why copyright law cannot hold on the Internet.
But whatever its standing as ideological object, ThruYOU is also just stunning. Using and refining the technique of “video scratching,” ThruYOU builds fully orchestrated songs from Kutiman’s selected digital excerpts. Most of the clips show musicians in modest domestic spaces, improvised studios, barely finished basements and bunkerlike bedrooms. The videos almost always feature one musician in a soliloquy tableau that’s by now familiar to YouTubers: somewhat sheepishly, a soloist plays into a self-monitored camera and cheap microphone.
Often the videos that Kutiman samples are how-tos and demos, in which a musician flaunt-teaches his skills, as in the first track on ThruYOU: “The Mother of All Funk Chords.” Kutiman introduces that piece, a groovy fantasia, by staging a conversation among various disparate videos. In the first, a drummer in a feather-trimmed fedora (Bernard Purdie, who like all the musicians is identified in the credits) asks an unseen audience, “Well, what can I do?” He indolently taps out a 16th-note shuffle.
The answer to his question comes instantly from another Kutiman-cut video, one featuring a younger guitarist in a backward cap. As if in reply, the cap guy says, “Play that 16th-note groove —”
“ . . . Just straight,” finishes another guitarist, from another video, before the cap guy resurfaces, hitting an E9 chord. Magic. The rhythm is in place, and the piece that began in the stumped loneliness of “What can I do?” is off and running. The demos, a staple form of YouTube, now collectively suggest a classic boast of funk: Here’s how it’s done.
But that’s just the beginning. The rhythm section is rapidly joined by video clips of other instruments in other rooms: a sax, a tuba, trumpets, many guitars, a theremin. One trumpeter is a child. As the music swells, Kutiman exploits the visual tempo of the videos — intermittently setting them up in grid form, so they’re all in one frame — to punctuate the sound. The original cap guy, for example, has a half-smiling, askance “did you hear that?” expression that Kutiman repeatedly deploys to underscore brief rests.
A charmless white room then fills the screen for a bunch of beats. Its few appointments include a school desk, a nondescript computer, a plastic laundry basket and a halogen torchière lamp of the kind common to dorm rooms and starter apartments in the 1990s. Then a middle-aged man enters with a harmonica. The introversion of the living space is suddenly undone as the room becomes a stage set for purposes of the video, with the musician singing in an ersatz Joe Cocker mode. The aging musician, whose forced concept of rock and roll appears to have been nourished in this sad room, has been turned by Kutiman into a rocker king.
The Kutiman track “I M New” has a sequence starring a guy in a hoodie with a logo that reads “Cincinnati”; he’s rapping on a curbside about a career crisis. “Babylon Band” shows an organist seeming to correct herself while practicing at what looks like a small church. You would expect the emphasis on awkward amateurs to turn the project parodic, except that Kutiman finds in every performance brilliantly human turns of phrase or physicality. Virtuosos with smug expressions do win the riffs sometimes, but the whole belongs to all the participants — and Kutiman, with a maestro’s sense of orchestration, lets the sad-sack types periodically upstage the showoffs.
Not long ago, Kutiman told Wired about how ThruYOU came about. “I downloaded a clip from a drummer, who I now realize is Bernard Purdie, who has sessioned on all kinds of records,” he said. “All it needed was some bass and guitar; I loved the idea that I was playing along with him and he didn’t even know it. But once I decided to download another clip and play over it, I thought, Why not get another video to play over it? Since then, I haven’t really slept or eaten. I lost track of night and day. I’d just pass out and wake up on the computer.”
Some of that creative fever dream comes through on the album, and especially in “About,” the quick video at the end that features Kutiman, looking exhausted and sly. “I had a great time searching for you and working with you,” he says to the camera.
I had a great time searching for you. Kutiman’s voice on this line is surpassingly romantic. It’s also modern. What ThruYOU expresses best is the love of the mixer for the mixed.
From Hongkong with Love
Hi, I have decided to go queue jumping and trump in the hot and fresh Cathay's Bangkok report, obviously for the reason that I enjoyed the trip so much. To begin with, I would like to congratulate the CX inflight crews for their excellent services delivered. The flight was in itself a highlight of the journey.
The purpose of my Bangkok trip was not purely leisure. It was a rather short 3-day-stay. For me as a Hong Konger I feel compelled to visit the Thai Kingdom after the Boxing Day disaster. Albeit the geographical fact that we are all neighbours in the same region, I realise that everybody in Hong Kong feel connected to this tsunami-hit country in different ways. Some may have business or family connection there. Others may have spent a memorable time holidaying in the country before. Our friendship with the Thai people was sealed ever since the Kingdom was amongst the first to deliver its helping hands during the SARS crisis with some urgently needed medical supplies. When our mates are in trouble, this is now time we got behind and returned the favour.
Admittedly my means were very very limited, but it certainly beats sitting at home and feeling helpless with the situation. Tourism is in my opinion the best aid to regenerate economies in all affected areas; and as much as Hong Koner had experienced a dark time of our own desperate for tourist arrivals during the SARS outbreak, I was hoping that my little trip to Bangkok would at least mean something to ease the victims' hardship.
So here I was, on a trip to Bangkok. The good news was the city remained as bustling as ever, human spirit was high, and tourists were visible literally every corner of all major streets. The latest statistics already tells that the country is on a well recorded tourism rebound. In the near future I am also hoping to embark on another journey to the island of Phuket, whose paradise-like images had never faded in my mind since the last visit in February 2004.
The purpose of my Bangkok trip was not purely leisure. It was a rather short 3-day-stay. For me as a Hong Konger I feel compelled to visit the Thai Kingdom after the Boxing Day disaster. Albeit the geographical fact that we are all neighbours in the same region, I realise that everybody in Hong Kong feel connected to this tsunami-hit country in different ways. Some may have business or family connection there. Others may have spent a memorable time holidaying in the country before. Our friendship with the Thai people was sealed ever since the Kingdom was amongst the first to deliver its helping hands during the SARS crisis with some urgently needed medical supplies. When our mates are in trouble, this is now time we got behind and returned the favour.
Admittedly my means were very very limited, but it certainly beats sitting at home and feeling helpless with the situation. Tourism is in my opinion the best aid to regenerate economies in all affected areas; and as much as Hong Koner had experienced a dark time of our own desperate for tourist arrivals during the SARS outbreak, I was hoping that my little trip to Bangkok would at least mean something to ease the victims' hardship.
So here I was, on a trip to Bangkok. The good news was the city remained as bustling as ever, human spirit was high, and tourists were visible literally every corner of all major streets. The latest statistics already tells that the country is on a well recorded tourism rebound. In the near future I am also hoping to embark on another journey to the island of Phuket, whose paradise-like images had never faded in my mind since the last visit in February 2004.
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