Further "This week in Debian" interviews: "Since the last issue of the Debian Project News, five new issues of the
'This week in
Debian' podcast have been published: with
Asheesh
Laroia, member of the Debian Mentor Community; with
Dave
Yates, host of the Lotta
Linux Links Podcast; with
George
Castro, discussing Ubuntu as a Debian derivative; with
Jonathan
Nadeau, about the latest Debian news, and the upcoming release of 'Squeeze'; and with
Rhonda,
member of Debian's Webmaster Team, discussing the updated
Debian Website, due for the release of 'Squeeze'."
Selasa, 25 Januari 2011
BizTalk Server 2010 Adapters
If you wonder where all adapters for BizTalk are or which ones are available when you have install DVD in virtually in your hand. There are two directories on DVD (after you mount it with something like ISO mount). One called BizTalk accelerators and one named BizTalk Server. Both folders contain a setup and when you run it a splash screen will appear.
In accelerators splash screen you find links to install:
- Accelerators for HL7
- Accelerators for RosettaNet
- Accelerators for SWIFT
- FileAct and Interact Adapters for SWIFT
Other splash screen that appears after running setup in BizTalk folder you will find links for:
- Installing BizTalk Server
- Installation UDDI
- Installation RFID
- Installation RFID Mobile
- BizTalk Adapters (LOB Adapters)
- AppFabric Connect
It can be annoying that you will have to find out what to install when looking for particular adapter. When installing BizTalk Server you will get the out-of-box adapters (HTTP, WCF-Adapters, SQL, FILE, FTP, ect), Adapter Pack contain ERP adapters (SAP, Siebel, Oracle, Oracle EBS), and other adapters like for instance MLLP (HL7) are found in appropriate accelerator. When installing Adapter Pack the necessary prerequisites are handed to you during installation (see my post Installing BizTalk Adapter Pack 2010 on x64). Still there are adapters that you have to download separately like one for Microsoft Dynamics CRM 4.0.
Documentation however is a different story. By clicking installation guide html page in accelerator folder you get access to installation guides by links.
Other documentation if found at Microsoft:
- Microsoft BizTalk 2010 Accelerator for HL7 (BTAHL7) Documentation
- BizTalk 2010 Accelerator for RosettaNet (BTARN) Installation Guide and Readme
- Microsoft BizTalk 2010 Accelerator for SWIFT (A4SWIFT) Documentation
- Microsoft BizTalk Server 2010 FileAct and InterAct Adapters Documentation
Finally for BizTalk Server itself there is documentation available for installation (divers Operating Systems), and the product.
Technorati:
biztalk server 2010
Brewers Association redefines “small”
Brewers Association redefines “small” originally appeared on Hop Talk.
A press release came out from the Brewers Association today. They’ve changed the definition of what is a “small” brewer.
Here’s a blurb:
In the BA’s craft brewer definition, the term “small” now refers to any independent brewery that produces up to 6 million barrels of traditional beer. The previous definition capped production at 2 million barrels. The changed definition is currently in effect and can be reviewed on the BA website, BrewersAssociation.org. The change to the bylaws went into effect December 20, 2010.
I get what they’re doing. But doesn’t it seem like they’re working really hard to keep Anheuser-Busch InBev, MillerCoors, and their ilk out of “the club”? I mean, there’s a big difference between 2 million barrels and 300 million barrels, but still. What happens when the big little guys get bigger?
Of course, to me, the big difference between the members of the Craft Brewer Club and the…other guys, is marketing. Millions upon millions of dollars to convince us that industrial-brewed light lager is what beer really is and it’s what we want to drink.
Maybe that’s what the Brewers Association should use as their definition: Marketing dollars.
2011 Chevrolet Camaro Convertible to Pace 100th Anniversary of the Indianapolis 500; Chevy Offering 50 Replicas for Sale
Last year, the reborn 2010 Chevy Camaro coupe serve as the pace car for the Indy 500, and Chevy built 200 replicas wearing Inferno Orange paint with White Pearl stripes that it sold to the public. The car was a throwback to the first Indy Camaro pace car, which lead the field in 1969, except that it had a fixed roof and a reversed color scheme. Now, with the introduction of the 2011 Camaro convertible, Chevrolet was able to create a much more accurate reproduction of the original, which will steady the racers at this year’s 100th-anniversary running of the Indy 500.
Essentially done in the same fashion as the 2010 coupe, the so-called 2011 Indianapolis 500 Festival Committee cars start life with the 2SS equipment package—the 400-hp V-8 hooked to a six-speed automatic transmission, the Brembo brake package, 20-inch wheels, and the center-console auxiliary gauge package—as well as the RS package, which fits HID headlights and unique taillights. Unique features of the special-edition cars include the Summit White paint with orange stripes, “Pace Car” graphics on the doors, Indy 500–embroidered headrests for the orange leather seats, and a different grille treatment. Additionally, the interior trim is done in white and features a cool touch with the exterior orange stripes extending onto the dash.
Just 50 examples of the Festival Committee cars will be offered for sale at a price yet to be announced, with the first example of the production run hitting the Barrett-Jackson auction block on Saturday, January 22. The winner of the car will also be granted the opportunity to drive the car during a parade lap just before the start of the race. Proceeds from the sale will benefit the David Foster Foundation, a charity formed to support children in need of life-saving organ transplants.
Related posts:
China’s massive Time’s Square video ad
This ad, coinciding with Hu’s trip to the US, runs on six colossal video billboards over Time’s Square. According to the FT it was created by the global ad agency Lintas, but I’m willing to place bets it was conceived and produced in China, and it wasn’t run by any US focus groups.
The golden rule for this kind of messaging is to speak in the voice of your audience. I don’t think this ad does that. It calls out for localization, and I’m afraid it’s going to backfire, if it hasn’t already, raising cries about “Red China” and its creepy propaganda.
Reading between the lines of WSJ reporter Loretta Chao’s post about the ad, I get the sense that she thinks it’s a mistake, and that she won’t be alone in this belief.
[E]ach group of people in the ad is pictured with a banner — some more literal than others. A photo of Yao Ming and other athletes standing in front of the Birds Nest national stadium in Beijing is titled “Thrilling Chinese Athletics.” An image of Mr. Li standing alongside two other technology entrepreneurs, Netease founder Ding Lei and Alibaba Group founder Jack Ma, carries a banner that reads “Chinese Wealth” — a label probably more immediately meaningful (and more appealing) to Chinese viewers than the hundreds of thousands of daily passersby in Times Square.
The appearance of the Internet executives fades into a solo shot of Wang Jianzhou, chairman of China’s biggest state-owned telecom giant China Mobile, also under the “Chinese Wealth” banner. That image, while almost certainly obscure for New York pedestrians, could probably be interpreted by imaginative Chinese viewers as either ominous or depressing in the light of the company’s government-backed ubiquity.
I understand China’s thirst for soft power and image enhancement outside of China. I question, however, why they never seem able to get good marketing advice about how to present themselves. Chinese Wealth and Thrilling Chinese Athletics banners simply won’t resonate (I believe) with Time’s Square pedestrians. It will be seen as cheesy propaganda, the likes of which most Americans thought went out of style with the collapse of the Soviet Union.
I suggest that next time they find a Donald Draper-type on Madison Avenue who understands the need to focus on the viewer first. They (China) need to put away all their beliefs about what works in China. It’s irrelevant when you’re putting up gargantuan ads in New York City. Americans aren’t interested in Wang Jianzhou.
Update: Interesting comments here, some of them quite stupid.
Update 2: China Geeks has a superb post on the ad, much better than my own.
Update 3: And another great analysis of the ad can be found here.
Floriated Ornament
'Reacting to the tradition of neo-classicism as early as the 1830's, English architects and decorators took a renewed interest in the art of Gothic cathedrals. This movement, called Gothic Revival, shaped the whole Victorian era and was on a scale that had no equivalent in other European countries. In the midst of the industrial boom, the enthusiasm for the Gothic period, seen as an exemplary society in which the arts blossomed in a mystical and fraternal spirit, was set against the effects, considered degrading, of mechanisation.
'Floriated Ornament: a series of thirty-one designs' (1849) by Augustus WN Pugin was recently digitised by The Smithsonian Institution. It is hosted within their fabulous Galaxy Image Database [previoiusly] and was discovered via The Smithsonian Libraries blog.
Augustus Pugin (1812-1852) was the first to rediscover in Gothic art the principle of a close union between art, craftsmanship and technique. His main treatises of architecture and decoration, such as 'Floriated Ornament' (1849), were to influence for a long time the artists of the Arts and Crafts movement. Today, the magnificent decoration of the London Houses of Parliament still testifies to his virtuosity as a decorator and a colourist.' [source]
'Floriated Ornament: a series of thirty-one designs' (1849) by Augustus WN Pugin was recently digitised by The Smithsonian Institution. It is hosted within their fabulous Galaxy Image Database [previoiusly] and was discovered via The Smithsonian Libraries blog.
'Pugin's plea in this book was for designers to go directly to nature itself, as medieval designers had done, instead of making use of already conventionalised classical or antique ornament, which architects and designers had used since the period of the Italian Renaissance. He also felt that, to derive the greatest decorative value from natural forms, the structure of plants should be studied and exploited (as he maintained the medieval artists had done), instead of (as contemporary decorative artists were wont to do) painting realistic bunches of fiowers, etc., imitating a three dimensional effect in their decorations of flat objects. On this point, Pugin was in advance of the decorative theories of Owen Jones, Christopher Dresser, and William Morris.'
----Elzea et al: 'The Pre-Raphaelite Era, 1848-1914', 1976 [source]
- A number of Pugin's publications have been reissued in the last decade or so.
- Augustus Welby Northmore Pugin at the Dictionay of Art Historians.
- A Passion for Gothic Decoration by Carolyn McDowall (2009).
- The Master and Disciple of Gothic Revival – Pugin and Pearson by Carolyn McDowall (2010)
- Augustus Welby Pugin and the Decorative Arts at the Victorian Web.
- The Pugin Society.
- A truncated copy of 'Floriated Ornament' is available via Googlebooks.
- Gothic Revival and Design at the University of Glasgow.
- Wikipedia: Augustus Welby Northmore Pugin & Gothic Revival Architecture.
- Previously related: The Treasury of Ornament One, Two & Three; Ornamental Decoration in 17th Century France; Ancient Spanish Ballads; Decoration History; Actually there are many more posts on the history of ornament/decorative designs and this reminds me why I need to add 'ornament' to the delicious tags: the best place to cruise in order to find anything on this here BibliOdyssey blog.
Designer Religion
'The Book came in seven weighty folio volumes with more than 3,000 pages and 250 plates of engravings covering all the religions known to Europeans in the early 1700s.
This curious print was engraved by I.F. after a drawing by Louis Fabrice du Bourg from information supplied by John Pine, a Masonic Lodge member and student of the book's overall illustration designer, Bernard Picart. That convoluted background seems appropriate not only because of the esoteric nature of Freemasonry itself, but because the central portrait high on the wall - Sir Richard Steele - has been the subject of speculative analysis since the print was first published.
Research conducted over the last two hundred years has failed to prove whether or not Steele was in fact a member of a Masonic Lodge. His great claim to fame in the history of Freemasonry appears to be a couple of oblique references to the fraternity made in articles he wrote for the Tatler newspaper, which he had co-founded. For instance, from 1709: 'You see these accost each other with effeminate airs, they have their signs and tokens like Freemasons'. This may well have been the first ever mention of the Freemasons in the British press.
For general background see:
The illustration design is {'said to have been'} copied/adapted from one produced by Theodore de Bry in the late 16th century. It appears to be a faithful depiction of an Aztec calendar stone, fairly similar to artifacts uncovered in 1790 [previously]
(I confess to being confused by both the wording and imagery here. My first inclination is to wonder if 'Greek' is being misapplied; otherwise is it used as a stand-in/euphemism for 'little known peoples' or.. ?)
Indian fakirs (or sadhus*) perform penance rituals (physical contortion, austerity measures etc) at the site of various pagodas or temples (my interpretation)
Addit: immediately prior to posting this entry, I came across another, much larger version (here) of this illustration which comes from Columbia University Professor Frances Pritchett's page on the Picard illustrations.
Picard notes in the engravings that his source for the illustration was the Jesuits and that one of the pictures (at least!) was copied from Athanasius Kircher's 'China Monumentis' [previously]
One supposes this to be more of a cultural than ceremonial or religious example. It appears to have been copied from an engraving that appeared in the 1705 book called 'Recueil de cent Estampes Representant differentes Nations du Levant..' [see colour version and NYPL has all of the delightfully eccentric illustrations from that book] after the original painting by Jean-Baptiste Vanmour.
The whirling Dervish - a mystical Sufi practice (posted previously), commonly performed in a Mevlevi Sema ceremony in Turkey. This illustration also derives from the 1705 '..Levant..' book mentioned above.
-(these two images are not related)-
La Dedicace de la Sinagogue de Juiſs Portugais a Amsterdam
[As an aside, there's a reference to Picard's having purposefully created two distinct styles of illustrating Jewish people as a means to critique the influx of Ashkenazi Jews into Amsterdam]
The Japanese Temple of a thousand idols (?) somehow became known as the Temple of 10,000 idols when this engraving was copied and widely circulated in the 19th century.
Picard's engraving of a Lutheran communion ceremony inside the Church of Minorities in Augsburg is said to be after an original painting by the German artist, Caterine Sperling Heckel (d. 1741).
(again, these are unrelated pages combined for presentation purposes)
The left panel has various Greek & Turkish bishops and priests and, inexplicably, a Greek fiancée on a "sopha"
The right panel shows people sentenced by the Inquisition: the two at the top confessed and avoided the fate of those below: being burnt alive
Left page: Indian Hindu Gods, Ixora (Ishvara) or Shiva, and his son Quenevadi (Ganapati) or Ganesha
Right page: 'Le Bairam ou la Paque des Mohametans'
A traditional Mohammedan Feast (the end of Ramadan) in an Eastern City with men on swings above the crowded streets
Left page: Egyptian Gods Isis, Osiris and Horus
Right page: Idoles de Campêche et de Iucatan; Idoles de Tabasco
(Idols of Haiti and Mexico)
The University of Heidelberg presents 'Histoire Général des Cérémonies, Moeurs et Coutumes Religieuses de tous les Peuples du Monde: Représentées en 243 Figures' in seven volumes [click on a volume - Band - then anything below 'Inhalt' and then on 'Vorschau' to get thumbnail pages].
This is something of a bowdlerized 1741 version of the book series - originally released between 1723 and 1737 - mentioned in the quote at the top of this entry. The revision (by Banier and Le Mascrier) did not alter the illustrations at all and the changes to the text hardly affected the enormous impact the series would have across Europe. The modifications tended to remove some satirical elements and factual errors and (predictably) introduced proclamations asserting the primacy of Catholicism over all other faiths and doctrines.
It was called 'Cérémonies et Coutumes Religieuses de tous les Peuples du Monde' [Religious Ceremonies and Customs of all the peoples of the world].
Published between 1723 and 1737, all its volumes bore the name of Bernard Picart, the most famous engraver of the 18th century after Hogarth, on whom Picart in fact had a direct influence. 'Religious Ceremonies' was published by Jean Frederic Bernard, who was also the unsung compiler, editor and author of this pioneering work on the world's religions.
The volumes began with Judaism and Catholicism, moved on to the Americas and India, then to Asia and Africa, only to return to the familiar, to the many forms of Protestantism, before finally tackling Islam. No other work before then had ever attempted, in word and image, such a grand sweep of human religions.
'Religious ceremonies' marked a major turning point in European attitudes toward religious belief and hence the sacred. It sowed the radical idea that religions could be compared on equal terms, and therefore that all religions were equally worthy of respect -- and criticism.' [source]
Tableau des Principales Religions du Monde
FRONTISPIECE: 'Representation of the main religions of the world; landscape with, in the foreground, group of Muslim men sitting around another one, standing and preaching; in the middleground, crowd gathered around the Roman Church, represented by a female figure wearing a tiara and holding an open book; she tramples underfoot a rabbi unrolling parchment with hebraic inscription, and a female figure in amour holding a Victory, representing the Roman Empire; an old woman with crown of thorns, personifying Superstition, grabs the Victory; on the left Christian Religion personified stands under a tree, with an open Bible a Franciscan monk is trying to close; in front of them, a priest baptizing a woman; in the background, scenes of pagan cults..' [source]
Les Free Massons
This curious print was engraved by I.F. after a drawing by Louis Fabrice du Bourg from information supplied by John Pine, a Masonic Lodge member and student of the book's overall illustration designer, Bernard Picart. That convoluted background seems appropriate not only because of the esoteric nature of Freemasonry itself, but because the central portrait high on the wall - Sir Richard Steele - has been the subject of speculative analysis since the print was first published.
Research conducted over the last two hundred years has failed to prove whether or not Steele was in fact a member of a Masonic Lodge. His great claim to fame in the history of Freemasonry appears to be a couple of oblique references to the fraternity made in articles he wrote for the Tatler newspaper, which he had co-founded. For instance, from 1709: 'You see these accost each other with effeminate airs, they have their signs and tokens like Freemasons'. This may well have been the first ever mention of the Freemasons in the British press.
For general background see:
- A History OF British Freemasonry 1425-2000
- 18th Century Masonic Ephemera; [Wikipedia]
- And for those with access, 'Was Sir Richard Steele a Freemason?', 1948.
'It represents in the foreground the Worshipful Master, his Wardens and Brethren, all in the costume of the early part of the last century; beyond them stretches a table in the shape of a square, and behind this table rises a high panelled wainscoting. The panel is divided into 129 smaller squares, on each of which appears a number, the copy of a tavern sign, and the name of the tavern in question. . . . . The plate is valuable as showing us the Masonic costume of the period, and curious as suggesting that Sir Richard Steele must have been a Freemason. It is indeed our only evidence on that point as, although many expressions in his writings might be held to confirm such a view, we have no record in lodge minutes, or members' lists, that such was the case.'
[Bro. Speth, 1800s as quoth in 1919]
Siècle des Mexiquains
'A circular disc representing the various years and months within the Mexican Century [siècle]. The serpent that surrounds the circle marks out four different sections with its coils, and divides the circle into an upside-down compass. The North points down and is represented by the spearhead: Tecpatl; East is represented by a Cane: Acatl; West by a House: Cagli; and South by a rabbit: Tochtlila. There are 16 hieroglyphics equally distributed between each four sections.' [source]
The illustration design is {'said to have been'} copied/adapted from one produced by Theodore de Bry in the late 16th century. It appears to be a faithful depiction of an Aztec calendar stone, fairly similar to artifacts uncovered in 1790 [previously]
Deuil des Femmes Greques à Rama
&
Baptême des Grecs dans le Jourdain
&
Baptême des Grecs dans le Jourdain
Greek women mourning at (?)Rama
&
Greek baptism in the river Jordan
&
Greek baptism in the river Jordan
(I confess to being confused by both the wording and imagery here. My first inclination is to wonder if 'Greek' is being misapplied; otherwise is it used as a stand-in/euphemism for 'little known peoples' or.. ?)
Diverses Pagodes où Penitences des Faquirs
Indian fakirs (or sadhus*) perform penance rituals (physical contortion, austerity measures etc) at the site of various pagodas or temples (my interpretation)
Addit: immediately prior to posting this entry, I came across another, much larger version (here) of this illustration which comes from Columbia University Professor Frances Pritchett's page on the Picard illustrations.
Ceremonie Nuptiale du Japon
&
Ceremonie Funebre du Japon
&
Ceremonie Funebre du Japon
Japanese wedding and funeral ceremonies
Idoles Chinois
&
Les Dieux des Chinois
Chinese idols and Gods
&
Les Dieux des Chinois
Chinese idols and Gods
Picard notes in the engravings that his source for the illustration was the Jesuits and that one of the pictures (at least!) was copied from Athanasius Kircher's 'China Monumentis' [previously]
Dgi-Guerdgi Albanois qui porte au Bezestein
des Foyes de Mouton pour nourrir les Chats
des Foyes de Mouton pour nourrir les Chats
The Albanian Dgi-Guerdgi feeding cats in the
bazaar in Constantinople with sheep liver
bazaar in Constantinople with sheep liver
One supposes this to be more of a cultural than ceremonial or religious example. It appears to have been copied from an engraving that appeared in the 1705 book called 'Recueil de cent Estampes Representant differentes Nations du Levant..' [see colour version and NYPL has all of the delightfully eccentric illustrations from that book] after the original painting by Jean-Baptiste Vanmour.
La Danse des Deruis
The whirling Dervish - a mystical Sufi practice (posted previously), commonly performed in a Mevlevi Sema ceremony in Turkey. This illustration also derives from the 1705 '..Levant..' book mentioned above.
Penitence des Juiſs Allemans dans leur Synagogue
&
&
Grand Prêtre des Gaures ou Perses devant
le feu ayant à la main son rituel.
Trois Différentes Têtes de prêtres gaures
avec la mitre et la bouche couverte
le feu ayant à la main son rituel.
Trois Différentes Têtes de prêtres gaures
avec la mitre et la bouche couverte
-(these two images are not related)-
Penitence (penance?) of the German Jews in their Synagogue
&
Grand Priest performing a ritual and three different types of priest head covering. Perhaps related to Persians. [Anyone have an idea about who the Gaur(e)s are?? nb. ----> UPDATE: see first comment below]
&
Grand Priest performing a ritual and three different types of priest head covering. Perhaps related to Persians. [Anyone have an idea about who the Gaur(e)s are?? nb. ----> UPDATE: see first comment below]
La Dedicace de la Sinagogue de Juiſs Portugais a Amsterdam
The dedication of the Portuguese Synagogue in Amsterdam
'Sephardic Jews fleeing Spain and Portugal during the persecutions of the 16th and early 17th centuries settled in an eastern Amsterdam neighbourhood that became known as the Jewish Quarter. In light of the ongoing conflict between the Dutch Republic and Spain, the community referred to themselves as 'Portuguese Jews'.'The Synagogue (the Esnoga) was completed in 1675 and was, at the time, the largest Synagogue in the world.
[As an aside, there's a reference to Picard's having purposefully created two distinct styles of illustrating Jewish people as a means to critique the influx of Ashkenazi Jews into Amsterdam]
Temple du Japon ou il y a mille Idoles
The Japanese Temple of a thousand idols (?) somehow became known as the Temple of 10,000 idols when this engraving was copied and widely circulated in the 19th century.
La communion des Lutheriens dans l'Eglise des Minorites à Augsbourg
Picard's engraving of a Lutheran communion ceremony inside the Church of Minorities in Augsburg is said to be after an original painting by the German artist, Caterine Sperling Heckel (d. 1741).
Le Convoi Funbre.
Le Corps Expos dans le Choeur.
On jette L'Eau Benite sur le Corps apres qu'on la Descendu dan la Fosse.
Le Corps Expos dans le Choeur.
On jette L'Eau Benite sur le Corps apres qu'on la Descendu dan la Fosse.
'The Funeral Procession. The Body Shown in the Choir. Holy Water Sprinkled on the Body, Then It Is Lowered into the Grave. Three images depict aspects of religious ceremony associated with burial. The first is a formal procession with clergy and mourners carrying the coffin through the town. The second shows the coffin draped with a cloth emblazoned with the cross set in the church choir between rows of lighted candles. A cantor stands by the large choir book; clergy and mourners pray. The final image is of burial under the stone slab floor of the church. Clergy and mourners gather around; after holy water is sprinkled, the body is lowered into the grave. We see the dirt being shoveled back into the hole.' [source]
(again, these are unrelated pages combined for presentation purposes)
The left panel has various Greek & Turkish bishops and priests and, inexplicably, a Greek fiancée on a "sopha"
The right panel shows people sentenced by the Inquisition: the two at the top confessed and avoided the fate of those below: being burnt alive
Left page: Indian Hindu Gods, Ixora (Ishvara) or Shiva, and his son Quenevadi (Ganapati) or Ganesha
Right page: 'Le Bairam ou la Paque des Mohametans'
A traditional Mohammedan Feast (the end of Ramadan) in an Eastern City with men on swings above the crowded streets
Left page: Egyptian Gods Isis, Osiris and Horus
Right page: Idoles de Campêche et de Iucatan; Idoles de Tabasco
(Idols of Haiti and Mexico)
[click through on any image for a greatly enlarged version]
The University of Heidelberg presents 'Histoire Général des Cérémonies, Moeurs et Coutumes Religieuses de tous les Peuples du Monde: Représentées en 243 Figures' in seven volumes [click on a volume - Band - then anything below 'Inhalt' and then on 'Vorschau' to get thumbnail pages].
This is something of a bowdlerized 1741 version of the book series - originally released between 1723 and 1737 - mentioned in the quote at the top of this entry. The revision (by Banier and Le Mascrier) did not alter the illustrations at all and the changes to the text hardly affected the enormous impact the series would have across Europe. The modifications tended to remove some satirical elements and factual errors and (predictably) introduced proclamations asserting the primacy of Catholicism over all other faiths and doctrines.
- The most comprehensive site online about this book series (by far) is a multi-institutional effort, led by UCLA, called simply Picart. [project update from 2010]. The UCLA site is in much much better shape than when Picard/Picart's work was first pointed out to me by Will C a couple of years ago. Thanks again Will!
- 'The Book That Changed Europe: Picart and Bernard's Religious Ceremonies of the World' (2010) by L Hunt, MC Jacob and W Mijnhardt. [preview]
- 'Bernard Picart and the First Global Vision of Religion (Issues & Debates)' (2009) by L Hunt, MC Jacob and W Mijnhardt.
- 'Histoire Générale des Cérémonies' - Kings College London Book of the Month exhibit.
- Various editions (and qualities) of 'Cérémonies' are available from Googlebooks.
How to rip Blu-ray DVD to Nexus S and watch Blu-ray DVD movies on Nexus S
How to rip Blu-ray DVD to Nexus S and watch Blu-ray DVD movies on Nexus S
The approach for Android has never been one that focused heavily on the media side of things, and that’s not really been upgraded for Android 2.3.
There are a couple of tiny tweaks, but if you’re looking to get a dedicated media phone, this handset (screen aside) isn’t going to give you pause compared to something like the iPhone 4.
Video on the Google Nexus S looks superb thanks to the WVGA Super AMOLED screen, rocking a full 800 x 480 resolution count.
At full power, the brightness is definitely acceptable for viewing in most situations – we pulled it out on the street and managed to watch footage no matter what the conditions (although we wouldn’t recommend it).
Media specs:
Video:
HD(720p@30fps) video playing, Video recording D1 (720×480)@30fps, mpeg4, H.264, H.263
Audio:
MP3, AAC, AAC+, eAAC+, AMR, AMR-NB
We have a lot of Blu-ray DVD disc collections, and we tested to rip Blu-ray DVD to Nexus S for playback. The following is detailed guide:
Step 1. Free download and install this Blu-ray to Nexus S Converter
Click “BD/DVD ROM or BD/DVD Folder” to load Blu-ray/DVD disc or Blu-ray/DVD folder files. It will decrypt the Blu-ray DVD disc automatically when loading disc.
Step 2. Set output format for Nexus S
Click the drop-download list of “Format” to choose output format,and then follow “HD Video”> “MPEG-4 HD Video (*.mp4)”.
Step 3: Adjust video and audio parameters
To get 720P quality Mp4 for Nexus S, you are allowed to click “Settings” button to optimized the output file quality by adjusting video and audio parameters. The codec, aspect ratio, bit rate, frame rate, sample rate, and audio channel are all adjustable in the following interface.
Step 4. Start to convert Blu-ray to Nexus S
When the above mentioned steps are done, you can click “Convert” button to start converting Blu-ray movies for Nexus S. Once the conversion is completed, you can mount your Nexus S onto your computer via USB, then copy the generated Mp4 file from PC to your Nexus S.
In this way, we can enjoy Blu-ray DVD movies on Nexus S with high quality.
For Mac uesrs: Blu-ray to Nexus S Converter for Mac
How to rip and convert Blu-ray to mkv
DVDFab Blu-ray Ripper－MKV option supports to rip Blu-ray titles to MKV format that can be played on computers and other popular mobile players. In addition, it offers various customization for output effect of your ripped video, you can adjust parameters like bit rate, frame rate, video quality, audio format, resize video screen, etc . High output quality and stable ripping speed are supported to make sure that your ripping process goes well.
Here is a step-by-step guide followed for reference to convert blu-ray to MKV.
Guide
Step 1) Start up DVDFab － Go to Blu-ray Ripper－MKV
Step 2) Load Blu-ray disc
Insert the Blu-ray disc that you want to rip to BD drive (if you’ve saved it on your hard drive already, please click on the folder icon to load the root folder of this movie).(You also can import ISO files stored on your PC by clicking the ISO icon button.)
Next, choose the movie titles you want to rip (you can preview the highlighted title before ripping in the lower left corner), check the audio/subpicture stream you prefer. In this example, we are ripping Title852. (See the illustration below)
Step 3) Set advanced settings for the ripping process
Step 3.1 Title Start/End settings
This settings panel allows to choose chapter range for ripping. Please set the start and end chapters for the highlighted title you desired to rip.
Step 3.2 Open Queue
This makes it easier to rip a large batch of files using different output formats at once, which will definitely save much of your ripping time.
Copy: Create a new task for the same title yet output another ripping format which can be selected with the drop down profile selector.
Remove: Remove the ripping task you selected. If a title is removed from the task queue, it will be deleted
from the Title List (in the main window) as well.
Step 3.3 Conversion Settings
Please click on“Edit”button, open“Conversion Settings”window.You can adjust the output parameters like output type, audio/video format, frame resolution/aspect ratio, and rename the output file, etc.
Step 3.4 Video Effect Settings
>Resize
Here you can select the suitable aspect ratio, frame resolution and visually check the different scene’s output effect by draging the slide bar in the lower right area, and the detailed parameters of source/output file in the left bottom corner.
Note: If you don’t want your ripped video to be stretched and made taller, please don’t change the Source Aspect Ratio before ripping.
>Crop
Here you can cut off the black edges and unwanted area for ripping by easily draging the frame-mark on the video
screen of the source file, you also can type the number in the Top/Left/Right/Bottom box to crop
accurately.
Note: If you want to keep the aspect ratio of source screen, you need to check this option before
cropping. The below slide bar allows you to resize output from letterbox to pan&scan.
Step 4) Start to rip
After accomplish all the settings, click Start. The conversion will do it work. You can track the ripping process from the progress bar at the bottom of the interface.
If you have checked the option “Automatically shut down the pc when done”, the computer would automatically shut down after the ripping process finished.
After some time (some minutes or hours later (depending on your PC’s speed and the length of movie)) you will get a message that the ripping process has completed successfully, then press the Finish button
How to Rip DVD to AVI/WMV/FLV/MP4/MPG/MP3/AAC/WMA/WAV
DVD is becoming more and more popular now.
Some people want to rip their dvd to popular video so as to enjoy dvd movie on iPod, iPhone, PSP, Zune, Zen, Mobile Phone, Sansa, Xbox, iRiver and other portable devides.
This article shows you how to rip dvd to popular video on Windows and Mac for most portable devices.
: How to Rip DVD to iPod/iPhone/PSP/Archos/Creative Zen/Zune/iRiver/Sansa/Walkman/Nokia/Mobile Phone/Xbox… (Windows)
4Videosoft DVD Ripper Platinum is a professional dvd ripper software to rip dvd to popular video such as avi, wmv, 3gp, mp4, mpeg, mov, etc.
Step 0: Download 4Videosoft DVD Ripper.zip[/color],install and run it.
Step 1: Click the “Load DVD” button to Load your DVD.
Step 2: Select the output video format you want from the “Profile” drop-down list.
Step 3: Click the “Start” button to begin your conversion.
Note：How to Edit DVD Movie.
Tip 1: Effect —Adjust the video parameters to get the best video quality.
Tip 2:Crop —Move the black edge of the video to get the best viewing effect.
Tip 3:Trim —Cut any clip of the DVD Movie.
Tip 4: Merge —Merge several DVD Movies into one video file.
Tip 5:SnapShot —Catch your favorite image when the dvd movie is playing.
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