She spoke out after claiming Rupert Murdoch violated the terms of her settlement.
Former Fox News analyst Tamara Holder publicly revealed the details of her workplace sexual assault to CNN, because she believes Rupert Murdoch violated the terms of her settlement agreement in an interview where he described sexual misconduct allegations at Fox News as “nonsense.”
“Fox News ruined people’s lives,” Holder said. “He [Murdoch] ruined my life. I don’t have a job in TV anymore because the place that he has secured down like Fort Knox allowed abusive predators to work.”
She excoriated Murdoch for trying to downplay the pervasive culture of sexual predation at Fox News and dismiss some accounts as being “flirting.”
“Let me be clear. I had a man pull out his penis in his office and shove my head on it. That was not flirting, that was criminal. That was not sexual harassment,” Holder explained.
She said she expects to be sued for speaking out about the culture of sexual misconduct at Fox News, but believes she hasn’t violated the terms of her settlement.
“What Mr. Murdoch said, in my opinion as a lawyer, not as a victim or a survivor, as a lawyer, is that this gives me a legal right to respond,” she said. “And I’m responding not for myself, but on behalf of every woman in America who has been abused.”
Watch the full segment below.
The Fempire Strikes Back with #MeToo
DeRay McKesson Is Suing Fox News and Jeanine Pirro for Defamation
Google Analytics sent me an automated mail telling me that this blog had 1.7k visitors last month. That is less than I used to get in a single day a decade ago. The good news for Google / Blogger is that I don’t blame them for the decline, and won’t be showing up at their HQ with a gun. I am pretty certain that the loss of readers can be explained by the following factors:
I am writing much less now, 1-2 posts per week instead of per day.
I am not writing about a single topic, MMORPGs, any more, but about a variety of different things, which interest different people.
The original MMORPG topic of my blog isn’t of great interest any more.
Blogging, and hanging out on blogs, isn’t the medium of choice any more.
So basically I had my 15 minutes of fame, with highlights like being invited to a Blizzcon with a press pass around my neck and allowed to interview a Blizzard developer. Or getting free “review copies” of games (all of them disclosed on the blog) and stuff. I even got a few hundred dollars as donations over the years.
Blogging never was more than a hobby to me, it was obvious that quitting my day job for internet fame would have been an extremely bad idea. And then I am part of a generation that still believes that they are responsible for their own success or failure. My impression of younger generations is that they more often believe that success is owed to them, and that any of their failures must be due to evil acts from others. Now combine that with the fact that a YouTuber today can be a *lot* more famous than a blogger from a decade ago, and make a lot more money; and then you get closer to understanding why somebody might take a decline of internet fame so serious that she starts shooting people.
The internet has dramatically lowered the barrier of entry to self-publication and possibly fame. But that isn’t just true for you, it is true for everybody else as well. Thus fame is getting more and more fickle and short-lived. Being “internet famous” can be fun, but it appears that it can also be dangerous.
I recently received an announcement telling me that I could sign up for the beta of a new Total War game, called Total War: Arena. Hmmm. While I did play some Total War games, I must admit that I am not the world’s biggest fan of the series, mostly because of the extra stupid AI. So a PvP version to me sounded like a cheap ploy to eliminate the AI. But then I saw that the game was 10 vs. 10 players, with each player commanding some troops. And I thought to myself, “Oh, that looks like World of Tanks with hoplites, I’m interested!”, and signed up.
Today I got the activation code, and only then I realized that this doesn’t just look like World of Tanks with hoplites, it actually *is* World of Hoplites, programmed by the same people who made World of Tanks, Warplanes, and Warships: Wargaming.net. The “Total War” part is just some cross-branding marketing trick to attract the people who are Total War fans but don’t play any games from Wargaming.net yet. Well, best case scenario Wargaming.net programmed the gameplay and Creative Assembly provided the graphics. (Worst case scenario is the other way round).
So now I am downloading the beta, and I am looking forward to trying it out. In the interest of full disclosure I’d like to add that Wargaming.net is one of the small number of game companies from which I ever received freebies. After posting an interview with one of the devs my World of Tank account was set to receive 250 gold every day I logged on. And as I was playing a lot I ended up with still over 70,000 gold left in that game. But I already had spent money on WoT before, and unfortunately the World of Tank gold isn’t the same as the World of Warships gold, and probably also not the same as the Total War: Arena gold. So no freebies for me for the new game!
Deborah Jiang-Stein is helping incarcerated women prepare for life after prison.
Deborah Jiang-Stein found inspiration for the unPrison Project in a pair of reading glasses. Jiang-Stein, the founder and CEO of the organization, which teaches literacy, mentoring and life skills for women and girls in prisons, was born in prison to a heroin-addicted mother. She struggled with addiction and brushes with the law, before turning those struggles into a career as a writer and motivational speaker in women’s correctional facilities, sharing her story to inspire other incarcerated women and bring books into prisons. However, there were a few basic but critical barriers to achieving that goal.
As she explained in a phone interview, in multiple facilities, “I saw a pair of glasses being shared. In every prison, there would be a couple pairs of glasses that were shared.” She also learned that the average reading level in these facilities was fourth grade. How could they read the books she brough them if they were blocked from reading, for both structural and logistical reasons? After all, she continued, “if we’re advocating employment and success on the outside, reading is just the basic right in the world, let alone this country.”
So Jiang-Stein secured donors who provided 10,000 pairs of reading glasses, and brand-new children’s books for distribution in visiting rooms around the country. These efforts helped start the unPrison Project, which helps cultivate tools for a successful life after incarceration. She also wrote a memoir of her life experiences titled Prison Baby.
She chose to focus specifically on women in prison, she says, because she believes any issue related to the “incarceration of women gets ignored. The number [of incarcerated women] has spiked 800 percent in recent decades, and it’s twice that of men. It’s a huge increase, and many—in fact, the majority—would benefit from services in the community like mental health resources, drug treatment instead of incarceration.”
The brief curriculum she developed begins with her own story, and includes advice on drug treatment, career counseling, mental health services, literacy, how to manage time behind bars, and how to build a life on the outside to ensure the women don’t return. Jiang-Stein travels to facilities all over the country speaking to both large and small groups. She tells them she knows “what it takes to survive out here… because I’m also in recovery, I know that it can be easy to face a disappointment and then be motivated to use again instead of trying to solve the problem.”
Her personal experiences—she spent the first year of her life in prison, later became addicted to drugs and has been clean and sober for 20 years—helps boost her credibility with the women she works with.
After all, she explained, “my birth mother was a woman exactly like the women that I meet. She was a heroin addict, in and out of facilities since she was around the age of 13… I was an actively using addict, I know what that lifestyle is, so part of the reason I do this is… I could have been sitting in those chairs in prison with a life sentence.” She continued, “I have the story that is sadly not so unique, but I’m an adult coming in as a peer, showing what the other side can look like by using the tools that I’m talking about. Being in recovery, learning to forgive, I value education, I continue to read and be curious and engage myself in a bigger world.”
While the organization doesn’t yet track former participants or their activities after prison (some may be in for very long or life sentences), the feedback has generally been positive. Cynthia Wallace, the program manager at the Dr. Jerome McNeil Detention Center of Dallas County Juvenile Department, agreed. She brought Deborah Jiang-Stein to the youth detention center, as she explained in a letter to donors that she shared with AlterNet: “The girls were engaged and asked great questions [like] ‘how did you begin healing, when did you forgive yourself, how did you find happiness, are you still afraid?’”
While Jiang-Stein and her small staff at the unPrison Project would like more opportunities to develop longer-term relationships with individual systems or facilities, she says, “If I go to one place two or three times then I’m not going to another place. And they’re close to 30 states now that have asked me in, and I’ve been in quite a few already.”
This year, she may finally get the opportunity to do both. The unPrison Project was nominated for a 2017 L’Oreal Women of Worth Award, to honor women who give back to their communities. While Jiang-Stein didn’t ultimately win the award, as a finalist, she and the unPrison Project won $10,000, great publicity and the chance to network with other changemakers.
Going forward, the unPrison Project is in the midst of strategic planning for the next few years, adding staff, volunteers and board members, developing an infrastructure that will help reach more prisoners, not only in the U.S. but also internationally. Jiang-Stein has had interest from Kenya, Zimbabwe and Ghana.
Learn more about the unPrison Project.
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We are now just one week away from Christmas, but many of you might still looking for the perfect gift to give to your favorite PC gamer. The folks at Oculus have made that easier with a last minute holiday price cut promotion for their Oculus Rift VR headset. You can get the Rift, plus two Oculus Touch controllers, for the price of $379, which is a $20 reduction from its normal $399 cost.
See also: Best Oculus Touch games
As revealed on the Oculus blog, the price cut promotion will last from now until 11:59 pm Pacific Time on Wednesday, December 20 (2:59 am Eastern Time on December 21). The discount is available from a number of online retailers, including Amazon, Best Buy, and Newegg.
In addition to the holiday price promotion, Oculus is also selling three downloadable VR game bundles for $89.99 each. All three bundles contain seven Oculus Rift games, which if bought separately would cost far more than their bundle prices. In addition, the Oculus Store has cut the prices of 250 games by as much as 80 percent during its Winter Sale, along with even deeper discounts for games selected for Daily Deals promotions. The Winter Sale on the Oculus Store will last until January 2, which means if you get that Oculus Rift for yourself or your family this week, you can also save a ton of money on great games like Star Trek: Bridge Crew, Lone Echo, Rick and Morty: Virtual Rick-ality and many more.
Bootstrap is a free and open-source front-end web framework for designing websites and web applications. Unlike many web frameworks, it concerns itself with front-end development only. Anybody who knows HTML, CSS and a bit of Java Script can learn Bootstrap in no time. Responsive page layout is the layout which can change and adapt depending on the screen size of the device the user is on.
The grid consists of rows and columns. This allows us to freely position elements vertically and horizontally. Rows are block level. This means, that when we create a row, it takes up the entire width of the element it is in. You can think of rows as new lines in your layout. The horizontal alignment in the grid is done via columns. Only columns can be the direct children of a row and all content should go inside them. Placing content directly within a row will break the layout.
Syntax for the Bootstrap grid system:
<div class="col-md-12">Content Goes Here</div>
Rows are divided horizontally into 12 equal parts. When we place a column inside a row, we have to specify the number of parts it is going to take up.
This is done by using special class .col-md-NUMBER , here Number can be 1 to 12 depending on the width of the element getting placed in that column.
In the class name .col-md-NUMBERmd stands for medium display size. To make the page responsive we use different classes because bootstrap uses the screen resolution and dpi into account when deciding which classes are active. This is a powerful way how to control how layouts render on different devices.
To make it responsive according to screen size we use :
<div class="row"> <div class="col-xs-12 col-md-6"><p> To learn Angular JS and BootStrap visit http://monster.suvenconsultants.com/#section-angularJs-Bootsrtap . </p></div>
<div class="col-xs-12 col-md-6">Content</div>
Clearfix : In some scenarios, when a column has much more content and a bigger height then the ones after it, the layout will break. The columns will all pile up under each other, instead of moving to the next line as they should. To make the page look perfectly aligned we use clearifix.
syntax to use clearfix:
<div class="row"> <div class="col-xs-6 tall-column">A column much taller than the rest.</div> <div class="col-xs-6"></div> <div class="clearfix"></div> <div class="col-xs-6"></div> </div>
Offsets : By default, columns stick to each other without leaving any space, floating to the left. Any excess space remaining in that row stays empty on the right. to leave space on the left side we use offsets.
I am not a millionaire. However I am not poor or “just about managing” either. If I had to classify my financial situation I’d call it “comfortably well off”. Now if you look at my hobby, games in general, the cost of games is usually in the tens or hundreds of dollars/euros. Which means that the purchase of even an expensive game or a somewhat exaggerated, unnecessary game purchase isn’t going to cause me any financial hardship. There are occasions where spending more is a reasonable option for me, even if I wouldn’t recommend it for everybody. All this to say that I just upped my pledge for the 7th Continent second Kickstarter project from $49 to $200. Why?
Well, it started with me packing a suitcase for a week of holidays with my wife. We like our holidays to be a mix of visiting things and relaxing, so we always take some entertainment with us. And I was hesitating to take the box of the 7th Continent game I got from the previous Kickstarter. I really want to play this, but what if it gets damaged or the airline loses my baggage and the game is gone? You can’t buy the 7th Continent anywhere, it is only available during Kickstarter projects, and they don’t happen all that often (about every 2 years).
And then I realized that because there is currently the second Kickstarter project ongoing (I had already pledged to get the next expansion), I could up my pledge and get a second base game too for $129. Throw in a bit more money for optional purchases like expansions (which also aren’t available anywhere else) and I upped my pledge to $200. Worst case scenario is that I end up with one extra box I’ll never open. Best case scenario is that I’ll have a shiny second edition box with lots of expansions at home, and the peace of mind that allows me to take the original box with me on holidays without being stressed about damaging or losing it. Not something I would do for a game that can easily be replaced, but for the 7th Continent I considered it worth the money.
The current Kickstarter project ends in 5 days, so if you still want to join you need to hurry. The projects already has over 33,000 backers and is over 10,000% funded. That is not a typo, they asked for $40,000 and got $4.5 million. As a “second edition” the risk of not getting the product you paid for is much reduced, although it probably will be late again. Great success of a Kickstarter project brings its own logistics problems, and this second run got 3 times the backers and 4 times the money of the first run. The game has raving reviews on BoardGameGeek (Rank #56 out of 96,000 games) and elsewhere. And unlike Gloomhaven you can’t just buy the 7th Continent on Amazon. You can get just the base game, in English or French, for $80, but another $49 also gets you the big expansion “What Goes Up, Must Come Down” and the many stretch goals. Or if you are like me you can go all out and get pretty much everything for $200.
In 2014 the Video Electronics Standards Association (VESA) introduced the 1.0 version of its Display Stream Compression (DSC) specification, the first standard system for compressing video specifically intended for use with hardwired display interfaces. The DSC standard was also endorsed by the MIPI Alliance, paving the way for widespread use in mobile devices and other applications beyond VESA’s original PC-centric focus.
Last year, version 1.2 was published, extending the feature set to include the 4:2:0 and 4:2:2, YCbCr formats commonly seen in digital television, and the group continues to develop and extend DSC’s capabilities and features.
But why the need for compression in the first place? Is it a good thing overall? Simply put, DSC’s adoption is driven by the seemingly-insatiable appetite for more pixels, greater bit depth, and ever-increasing refresh rates. While the real need for some of these is debatable, there’s no argument that, especially in mobile devices, there’s a need to deliver high-quality, high-definition images while consuming the bare minimum of power. That leads to the need for compression.
A 1920 x 1080 image – considered just a moderate “resolution” these days – at a 60 Hz refresh rate and using 24-bit per pixel RGB encoding requires transmitting almost 3 gigabits of information every second between source and display, and that’s not even counting the inevitable overhead. Move up to “8K” video, as is coming to the market now, and that rate goes up geometrically. 48 billion bits of information need to move every second. That’s fast enough to fill a 1 TB drive in well under three minutes.
Leawo The move from 1080p to 4K, HDR, and even 8K content requires more and more data, increasing the necessity for compression to shrink file sizes.
Digital interface standards like DisplayPort and HDMI have done an admirable job of keeping up with this growing appetite for data capacity. DisplayPort 1.4 is capable of over 32 Gbits/sec., and future versions are expected to push that to 40 Gbits and higher. But these increases come at a price; all else being equal, faster transmission rates always take more power, on top of the generally higher power requirements of higher-resolution displays. Something has to give.
Compression is actually a pretty old idea, and it’s based on the fact that data (and especially image data) generally contains a lot of unnecessary information; there’s a high degree of redundancy.
Let’s say I point an HDTV camera at a uniformly white wall. It’s still sending out that three gigabits of data every second, even though you might as well be sending a simple “this frame is the same as the last one” message after the first one has been sent. Even within that first frame, if the picture is truly just a uniform white, you should be able to get away with sending just a single white pixel and then indicating, somehow, “don’t worry about anything else – they alllook like that!” The overwhelming majority of that 3 Gbits/sec data torrent is wasted.
In mobile devices, compression standards give us the means for connecting high-res external displays— like VR headsets— without chewing through the battery or needing a huge connector.
In a perfect situation we could eliminate everything but that single pixel of information and still wind up with a picture that would be identical to the original: a perfectly uniform white screen. This would be a case of completely lossless compression — if we can assume that “perfect” situation. What eliminating redundancy does, though, in addition to reducing the amount of data you need to transmit, is to make it all that much more important that the data you aresending gets through unchanged. In other words, you’ve made your video stream much more sensitive to noise. Imagine what happens if, in sending that one pixel’s worth of “white” that’s going to set the color for the whole screen, a burst of noise knocks out all the blue information. You wind up with red and green, but no blue, which turns our white screen yellow. Since we’ve stopped sending all those redundant frames, it stays that way until a change in the source image causes something new to be sent.
The goal is to come up with a compression system that is visually lossless
So compression, even “mathematically lossless” compression, can still have an impact on the image quality at the receiving end. The goal is to come up with a compression system that is visually lossless, meaning it results in images indistinguishable from the uncompressed video signal by any human viewer. Careful design of the compression system can enable this while still allowing a significant reduction in the amount of data sent.
Imagine that instead of a plain white image, we’re sending typical video; coverage of a baseball game, for instance. But instead of sending each pixel of every frame, we send every other pixel. Odd pixels on one frame, and even pixels on the next. I’ve just cut the data rate in half, but thanks to the redundancy of information across frames, and the fact that I’m still maintaining a 60 Hz rate, the viewer never sees the difference. The “missing” data is made up, too rapidly to be noticed. That’s not something that’s actually used in any compression standard, as far as I know, but it shows how a simple “visually lossless” compression scheme might work.
If you’re familiar with the history of video, that example may have sounded awfully familiar. It’s very close to interlaced transmission, which used in the original analog TV systems. Interlacing can be understood as a crude form of data compression. It’s not really going to be completely visually lossless; some visible artifacts would still be expected (especially when objects moving within the image). But even such a simple system would still give surprisingly good results while saving a lot of interface bandwidth.
Synopsys An example of how DSC and DSI interoperate on host and device sides, and sample compression rates with and without DSC.
VESA’s DSC specification is a good deal more sophisticated, and produces truly visually lossless results in a large number of tests. The system can provide compression on the order of 3:1, easily permitting “8K” video streams to even be carried over earlier versions of DisplayPort or HDMI. It does this via a relatively simple yet elegant algorithm that can be implemented in a minimum of additional circuitry, keeping the power load down to something easily handled in a mobile product — possibly even providing a net savings over running the interface at the full, uncompressed rate.
If you’re worried about any sort of compression still having a visible effect on your screen, consider the following. Over-the-air HDTV broadcasts are possible only because of the very high degree of compression that was built into the digital TV standard. Squeezing a full-HD broadcast, even one in which the source is an interlaced format like “1080i,” requires compression ratios on the order of 50:1 or more. The 1.5 Gbits per second of a 1080i, 60 Hz video stream had to be shoehorned into a 6 MHz channel (providing at best a little more than a 19 megabit-per-second capacity). HTDV broadcasts very typically work with less than a single bit per pixel in the final compressed data stream as it’s sent over the air, resulting in a clear, sharp HD image on your screen. When unusually high noise levels come up, the now-familiar blocky “compression artifacts” of digital TV pop up, but this really doesn’t happen all that often. Proprietary systems such as broadcast satellite or cable TV can use even heavier compression, and as a result show these sorts of problems much more frequently.
In the better-controlled environment of a wired digital interface, and with the much milder compression ratios of DSC, images transmitted using this system will probably be visually perfect. In mobile devices, compression standards such as these will give us the means for connecting high-res external displays— like VR headsets— without chewing through the battery or needing a huge connector.
Chrome will begin blocking offending ads on February 15.
The offending ads include those that flash, play audio unexpectedly, and take up an entire page.
Sites will be given 30 days to get in compliances before ads are blocked on Chrome.
Advertisements are everywhere. Every time you leave the house, ads bombard you on the radio and the side of the road, If you stay in, you’re similarly assaulted when you’re watching TV, playing a game, or surfing the web. Ads are so pervasive that it’s the goal of some people to get rid of as many of them as possible. There are web browsers out there that block ads natively, but you might not expect Chrome to be one of them.
Google announced in June that Chrome would begin to block ads early in 2018. It’s not blocking every ad, though. Google joined the Coalition for Better Ads earlier this year and will use its standards for how the industry should improve ads for consumers. If a website doesn’t abide by those rules, Chrome will block ads on the site. This extends to ads from Google’s own advertising network.
Google bans apps from displaying lock screen ads
Ads are unavoidable. They’re in a significant portion of the apps we download, on almost every website, and bombard us on television and radio. Ads can be a good thing as they inform us about …
So, what kind of ads will be banned? As it turns out, they’re the ones people hate the most. Among them are full-page ad interstitials, ads that play sounds unexpectedly, and ads that flash quickly. While those might be obvious choices, not every ad will be. For that reason, the Coalition for Better Ads launched the Better Ads Experience Program. The program lays out guidelines for sites to display ads in a way that works for both the consumer and the site showing them.
Google will begin to block the offending ads on February 15. After 30 days of failure to adhere to the new standards, ads are removed. If Google does block ads on a site, the offender can submit their site for re-review after it fixes the issues.
What do you think of Google’s new ad blocking policy? Does it go too far? Not far enough? Let us know down in the comments.