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  • Another Marketing Conference, part two – the afternoon

    - by Roger Hart
    In my previous post, I’ve covered the morning sessions at AMC2012. Here’s the rest of the write-up. I’ve skipped Charles Nixon’s session which was a blend of funky futurism and professional development advice, but you can see his slides here. I’ve also skipped the Google presentation, as it was a little thin on insight. 6 – Brand ambassadors: Getting universal buy in across the organisation, Vanessa Northam Slides are here This was the strongest enforcement of the idea that brand and campaign values need to be delivered throughout the organization if they’re going to work. Vanessa runs internal communications at e-on, and shared her experience of using internal comms to align an organization and thereby get the most out of a campaign. She views the purpose of internal comms as: “…to help leaders, to communicate the purpose and future of an organization, and support change.” This (and culture) primes front line staff, which creates customer experience and spreads brand. You ensure a whole organization knows what’s going on with both internal and external comms. If everybody is aligned and informed, if everybody can clearly articulate your brand and campaign goals, then you can turn everybody into an advocate. Alignment is a powerful tool for delivering a consistent experience and message. The pathological counter example is the one in which a marketing message goes out, which creates inbound customer contacts that front line contact staff haven’t been briefed to handle. The NatWest campaign was again mentioned in this context. The good example was e-on’s cheaper tariff campaign. Building a groundswell of internal excitement, and even running an internal launch meant everyone could contribute to a good customer experience. They found that meter readers were excited – not a group they’d considered as obvious in providing customer experience. But they were a group that has a lot of face-to-face contact with customers, and often were asked questions they may not have been briefed to answer. Being able to communicate a simple new message made it easier for them, and also let them become a sales and marketing asset to the organization. 7 – Goodbye Internet, Hello Outernet: the rise and rise of augmented reality, Matt Mills I wasn’t going to write this up, because it was essentially a sales demo for Aurasma. But the technology does merit some discussion. Basically, it replaces QR codes with visual recognition, and provides a simple-looking back end for attaching content. It’s quite sexy. But here’s my beef with it: QR codes had a clear visual language – when you saw one you knew what it was and what to do with it. They were clunky, but they had the “getting started” problem solved out of the box once you knew what you were looking at. However, they fail because QR code reading isn’t native to the platform. You needed an app, which meant you needed to know to download one. Consequentially, you can’t use QR codes with and ubiquity, or depend on them. This means marketers, content providers, etc, never pushed them, and they remained and awkward oddity, a minority sport. Aurasma half solves problem two, and re-introduces problem one, making it potentially half as useful as a QR code. It’s free, and you can apparently build it into your own apps. Add to that the likelihood of it becoming native to the platform if it takes off, and it may have legs. I guess we’ll see. 8 – We all need to code, Helen Mayor Great title – good point. If there was anybody in the room who didn’t at least know basic HTML, and if Helen’s presentation inspired them to learn, that’s fantastic. However, this was a half hour sales pitch for a basic coding training course. Beyond advocating coding skills it contained no useful content. Marketers may also like to consider some of these resources if they’re looking to learn code: Code Academy – free interactive tutorials Treehouse – learn web design, web dev, or app dev WebPlatform.org – tutorials and documentation for web tech  11 – Understanding our inner creativity, Margaret Boden This session was the most theoretical and probably least actionable of the day. It also held my attention utterly. Margaret spoke fluently, fascinatingly, without slides, on the subject of types of creativity and how they work. It was splendid. Yes, it raised a wry smile whenever she spoke of “the content of advertisements” and gave an example from 1970s TV ads, but even without the attempt to meet the conference’s theme this would have been thoroughly engaging. There are, Margaret suggested, three types of creativity: Combinatorial creativity The most common form, and consisting of synthesising ideas from existing and familiar concepts and tropes. Exploratory creativity Less common, this involves exploring the limits and quirks of a particular constraint or style. Transformational creativity This is uncommon, and arises from finding a way to do something that the existing rules would hold to be impossible. In essence, this involves breaking one of the constraints that exploratory creativity is composed from. Combinatorial creativity, she suggested, is particularly important for attaching favourable ideas to existing things. As such is it probably worth developing for marketing. Exploratory creativity may then come into play in something like developing and optimising an idea or campaign that now has momentum. Transformational creativity exists at the edges of this exploration. She suggested that products may often be transformational, but that marketing seemed unlikely to in her experience. This made me wonder about Listerine. Crucially, transformational creativity is characterised by there being some element of continuity with the strictures of previous thinking. Once it has happened, there may be  move from a revolutionary instance into an explored style. Again, from a marketing perspective, this seems to chime well with the thinking in Youngme Moon’s book: Different Talking about the birth of Modernism is visual art, Margaret pointed out that transformational creativity has historically risked a backlash, demanding what is essentially an education of the market. This is best accomplished by referring back to the continuities with the past in order to make the new familiar. Thoughts The afternoon is harder to sum up than the morning. It felt less concrete, and was troubled by a short run of poor presentations in the middle. Mainly, I found myself wrestling with the internal comms issue. It’s one of those things that seems astonishingly obvious in hindsight, but any campaign – particularly any large one – is doomed if the people involved can’t believe in it. We’ve run things here that haven’t gone so well, of course we have; who hasn’t? I’m not going to air any laundry, but people not being informed (much less aligned) feels like a common factor. It’s tough though. Managing and anticipating information needs across an organization of any size can’t be easy. Even the simple things like ensuring sales and support departments know what’s in a product release, and what messages go with it are easy to botch. The thing I like about framing this as a brand and campaign advocacy problem is that it makes it likely to get addressed. Better is always sexier than less-worse. Any technical communicator who’s ever felt crowded out by a content strategist or marketing copywriter  knows this – increasing revenue gets a seat at the table far more readily than reducing support costs, even if the financial impact is identical. So that’s it from AMC. The big thought-provokers were social buying behaviour and eliciting behaviour change, and the value of internal communications in ensuring successful campaigns and continuity of customer experience. I’ll be chewing over that for a while, and I’d definitely return next year.      

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  • How To Remove People and Objects From Photographs In Photoshop

    - by Eric Z Goodnight
    You might think that it’s a complicated process to remove objects from photographs. But really Photoshop makes it quite simple, even when removing all traces of a person from digital photographs. Read on to see just how easy it is. Photoshop was originally created to be an image editing program, and it excels at it. With hardly any Photoshop experience, any beginner can begin removing objects or people from their photos. Have some friends that photobombed an otherwise great pic? Tell them to say their farewells, because here’s how to get rid of them with Photoshop! Tools for Removing Objects Removing an object is not really “magical” work. Your goal is basically to cover up the information you don’t want in an image with information you do want. In this sample image, we want to remove the cigar smoking man, and leave the geisha. Here’s a couple of the tools that can be useful to work with when attempting this kind of task. Clone Stamp and Pattern Stamp Tool: Samples parts of your image from your background, and allows you to paint into your image with your mouse or stylus. Eraser and Brush Tools: Paint flat colors and shapes, and erase cloned layers of image information. Basic, down and dirty photo editing tools. Pen, Quick Selection, Lasso, and Crop tools: Select, isolate, and remove parts of your image with these selection tools. All useful in their own way. Some, like the pen tool, are nightmarishly tough on beginners. Remove a Person with the Clone Stamp Tool (Video) The video above uses the Clone Stamp tool to sample and paint with the background texture. It’s a simple tool to use, although it can be confusing, possibly counter-intuitive. Here’s some pointers, in addition to the video above. Select shortcut key to choose the Clone tool stamp from the Tools Panel. Always create a copy of your background layer before doing heavy edits by right clicking on the background in your Layers Panel and selecting “Duplicate.” Hold with the Clone Tool selected, and click anywhere in your image to sample that area. When you’re sampling an area, your cursor is “Aligned” with your sample area. When you paint, your sample area moves. You can turn the “Aligned” setting off by clicking the in the Options Panel at the top of your screen if you want. Change your brush size and hardness as shown in the video by right-clicking in your image. Use your lasso to copy and paste pieces of your image in order to cover up any parts that seem appropriate. Photoshop Magic with the “Content-Aware Fill” One of the hallmark features of CS5 is the “Content-Aware Fill.” Content aware fill can be an excellent shortcut to removing objects and even people in Photoshop, but it is somewhat limited, and can get confused. Here’s a basic rundown on how it works. Select an object using your Lasso tool, shortcut key . The Lasso works fine as this selection can be rough. Navigate to Edit > Fill, and select “Content-Aware,” as illustrated above, from the pull-down menu. It’s surprisingly simple. After some processing, Photoshop has done the work of removing the object for you. It takes a few moments, and it is not perfect, so be prepared to touch it up with some Copy-Paste, or some Clone stamp action. Content Aware Fill Has Its Limits Keep in mind that the Content Aware Fill is meant to be used with other techniques in mind. It doesn’t always perform perfectly, but can give you a great starting point. Take this image for instance. It is actually plausible to hide this figure and make this image look like he was never there at all. With a selection made with the Lasso tool, navigate to Edit > Fill and select “Content Aware” again. The result is surprisingly good, but as you can see, worthy of some touch up. With a result like this one, you’ll have to get your hands dirty with copy-paste to create believable lines in the background. With many photographs, Content Aware Fill will simply get confused and give you results you won’t be happy with. Additional Touch Up for Bad Background Textures with the Pattern Stamp Tool For the perfectionist, cleaning up the lumpy looking textures that the Clone Stamp can leave is fairly simple using the Pattern Stamp Tool. Sample an piece of your image with your Marquee Tool, shortcut key . Navigate to Edit > Define Pattern to create a new Pattern from your selection. Click OK to continue. Click and hold down on the Clone Stamp tool in your Tools Panel until you can select the Pattern Stamp Tool. Pick your new pattern from the Options at the top of your screen, in the Options Panel. Then simply right click in your image in order to pick as soft a brush as possible to paint with. Paint into your image until your background is as smooth as you want it to be, making your painted out object more and more invisible. If you get lines from your repeated texture, experiment turning the on and off and paint over them. In addition to this, simple use of the Crop Tool, shortcut , can recompose an image, making it look as if it never had another object in it at all. Combine these techniques to find a method that works best for your images. Have questions or comments concerning Graphics, Photos, Filetypes, or Photoshop? Send your questions to [email protected], and they may be featured in a future How-To Geek Graphics article. Image Credits: Geisha Kyoto Gion by Todd Laracuenta via Wikipedia, used under Creative Commons. Moai Rano raraku by Aurbina, in Public Domain. Chris Young visits Wrigley by TonyTheTiger, via Wikipedia, used under Creative Commons. Latest Features How-To Geek ETC Ask How-To Geek: How Can I Monitor My Bandwidth Usage? Internet Explorer 9 RC Now Available: Here’s the Most Interesting New Stuff Here’s a Super Simple Trick to Defeating Fake Anti-Virus Malware How to Change the Default Application for Android Tasks Stop Believing TV’s Lies: The Real Truth About "Enhancing" Images The How-To Geek Valentine’s Day Gift Guide CyanogenMod Updates; Rolls out Android 2.3 to the Less Fortunate MyPaint is an Open-Source Graphics App for Digital Painters Can the Birds and Pigs Really Be Friends in the End? [Angry Birds Video] Add the 2D Version of the New Unity Interface to Ubuntu 10.10 and 11.04 MightyMintyBoost Is a 3-in-1 Gadget Charger Watson Ties Against Human Jeopardy Opponents

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  • Elapsed time display in foobar 2000

    - by tripleowl
    The elapsed and total time display in Foobar 2000 with the Metro skin (download here) I use, is not aligned properly. I can't see the minutes track has played, which comes first. The time to the right of the track name is chopped. However on the seekbar it is ok. Click for a full sized image There are scripts in the ELPlaylist settings window which I get when I right click on the playlist window. But unfortunately I don't know which parameter if any in the script should be changed to set a proper time format for the track duration, which would allow me to see the elapsed time. Relevant ELplaylist code Track list Groupheader Per second

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  • What’s New in JD Edwards EnterpriseOne Release 9.1

    - by Breanne Cooley
    Oracle JD Edwards EnterpriseOne 9.1 offers customers significant updates to usability and business processes to improve productivity and bolster business value. This release addresses critical user needs, while delivering key enhancements in several areas, including:  New User Experience Release 9.1 offers significant enhancements to the user experience. New Web 2.0 features reduce task time and enable you to access meaningful information. Enhanced Reporting Oracle’s JD Edwards EnterpriseOne One View Reporting is a breakthrough solution that allows business users to create interactive reports - without IT support. Industry Specific Functionality This new release delivers key enhancements for the consumer goods, real estate management and manufacturing and distribution industries. Enhanced Support for Global Operations JD Edwards EnterpriseOne 9.1 supports global operations with several new features, including enhancements that consider the entire ERP business process associated with managing country of origin requirements. Productivity Features This new release offers new more tightly integrated business processes and other productivity advancements like improved data access and enhanced financial controls. Want to find out more? ü Bookmark the JD Edwards EnterpriseOne web page ü Listen to the Podcast: Announcing JD Edwards EnterpriseOne 9.1  ü Watch the Demo: JD Edwards EnterpriseOne 9.1 Features Demo ü Watch the Demo: JD Edwards EnterpriseOne One View Reporting Demo  ü Review the Data Sheet: JD Edwards EnterpriseOne Tools 9.1  New Training JD Edwards EnterpriseOne 9.1 training through Oracle University is designed to help you leverage these usability and productivity enhancements. The curriculum is aligned to the JD Edwards EnterpriseOne products and will teach your team how to efficiently and effectively implement and use your applications. Get started today! View available training and schedules.   -Jim Vonick, Oracle University Market Development Manager 

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  • "Translator by Moth"

    - by Daniel Moth
    This article serves as the manual for the free Windows Phone 7 app called "Translator by Moth". The app is available from the following link (browse the link on your Window Phone 7 phone, or from your PC with zune software installed): http://social.zune.net/redirect?type=phoneApp&id=bcd09f8e-8211-e011-9264-00237de2db9e   Startup At startup the app makes a connection to the bing Microsoft Translator service to retrieve the available languages, and also which languages offer playback support (two network calls total). It populates with the results the two list pickers ("from" and "to") on the "current" page. If for whatever reason the network call fails, you are informed via a message box, and the app keeps trying to make a connection every few seconds. When it eventually succeeds, the language pickers on the "current" page get updated. Until it succeeds, the language pickers remain blank and hence no new translations are possible. As you can guess, if the Microsoft Translation service add more languages for textual translation (or enables more for playback) the app will automatically pick those up. "current" page The "current" page is the main page of the app with language pickers, translation boxes and the application bar. Language list pickers The "current" page allows you to pick the "from" and "to" languages, which are populated at start time. Until these language get populated with the results of the network calls, they remain empty and disabled. When enabled, tapping on either of them brings up on a full screen popup the list of languages to pick from, formatted as English Name followed by Native Name (when the latter is known). The "to" list, in addition to the language names, indicates which languages have playback support via a * in front of the language name. When making a selection for the "to" language, and if there is text entered for translation, a translation is performed (so there is no need to tap on the "translate" application bar button). Note that both language choices are remembered between different launches of the application.   text for translation The textbox where you enter the translation is always enabled. When there is nothing entered in it, it displays (centered and in italics) text prompting you to enter some text for translation. When you tap on it, the prompt text disappears and it becomes truly empty, waiting for input via the keyboard that automatically pops up. The text you type is left aligned and not in italic font. The keyboard shows suggestions of text as you type. The keyboard can be dismissed either by tapping somewhere else on the screen, or via tapping on the Windows Phone hardware "back" button, or via taping on the "enter" key. In the latter case (tapping on the "enter" key), if there was text entered and if the "from" language is not blank, a translation is performed (so there is no need to tap on the "translate" application bar button). The last text entered is remembered between application launches. translated text The translated text appears below the "to" language (left aligned in normal font). Until a translation is performed, there is a message in that space informing you of what to expect (translation appearing there). When the "current" page is cleared via the "clear" application bar button, the translated text reverts back to the message. Note a subtle point: when a translation has been performed and subsequently you change the "from" language or the text for translation, the translated text remains in place but is now in italic font (attempting to indicate that it may be out of date). In any case, this text is not remembered between application launches. application bar buttons and menus There are 4 application bar buttons and 4 application bar menus. "translate" button takes the text for translation and translates it to the translated text, via a single network call to the bing Microsoft Translator service. If the network call fails, the user is informed via a message box. The button is disabled when there is no "from" language available or when there is not text for translation entered. "play" button takes the translated text and plays it out loud in a native speaker's voice (of the "to" language), via a single network call to the bing Microsoft Translator service. If the network call fails, the user is informed via a message box. The button is disabled when there is no "to" language available or when there is no translated text available. "clear" button clears any user text entered in the text for translation box and any translation present in the translated text box. If both of those are already empty, the button is disabled. It also stops any playback if there is one in flight. "save" button saves the entire translation ("from" language, "to" language, text for translation, and translated text) to the bottom of the "saved" page (described later), and simultaneously switches to the "saved" page. The button is disabled if there is no translation or the translation is not up to date (i.e. one of the elements have been changed). "swap to and from languages" menu swaps around the "from" and "to" languages. It also takes the translated text and inserts it in the text for translation area. The translated text area becomes blank. The menu is disabled when there is no "from" and "to" language info. "send translation via sms" menu takes the translated text and creates an SMS message containing it. The menu is disabled when there is no translation present. "send translation via email" menu takes the translated text and creates an email message containing it (after you choose which email account you want to use). The menu is disabled when there is no translation present. "about" menu shows the "about" page described later. "saved" page The "saved" page is initially empty. You can add translations to it by translating text on the "current" page and then tapping the application bar "save" button. Once a translation appears in the list, you can read it all offline (both the "from" and "to" text). Thus, you can create your own phrasebook list, which is remembered between application launches (it is stored on your device). To listen to the translation, simply tap on it – this is only available for languages that support playback, as indicated by the * in front of them. The sound is retrieved via a single network call to the bing Microsoft Translator service (if it fails an appropriate message is displayed in a message box). Tap and hold on a saved translation to bring up a context menu with 4 items: "move to top" menu moves the selected item to the top of the saved list (and scrolls there so it is still in view) "copy to current" menu takes the "from" and "to" information (language and text), and populates the "current" page with it (switching at the same time to the current page). This allows you to make tweaks to the translation (text or languages) and potentially save it back as a new item. Note that the action makes a copy of the translation, so you are not actually editing the existing saved translation (which remains intact). "delete" menu deletes the selected translation. "delete all" menu deletes all saved translations from the "saved" page – there is no way to get that info back other than re-entering it, so be cautious. Note: Once playback of a translation has been retrieved via a network call, Windows Phone 7 caches the results. What this means is that as long as you play a saved translation once, it is likely that it will be available to you for some time, even when there is no network connection.   "about" page The "about" page provides some textual information (that you can view in the screenshot) including a link to the creator's blog (that you can follow on your Windows Phone 7 device). Use that link to discover the email for any feedback. Other UI design info As you can see in the screenshots above, "Translator by Moth" has been designed from scratch for Windows Phone 7, using the nice pivot control and application bar. It also supports both portrait and landscape orientations, and looks equally good in both the light and the dark theme. Other than the default black and white colors, it uses the user's chosen accent color (which is blue in the screenshot examples above). Feedback and support Please report (via the email on the blog) any bugs you encounter or opportunities for performance improvements and they will be fixed in the next update. Suggestions for new features will be considered, but given that the app is FREE, no promises are made. If you like the app, don't forget to rate "Translator by Moth" on the marketplace. Comments about this post welcome at the original blog.

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  • Vision, Integration, Ability—Oracle is once again positioned as an E-Commerce Leader

    - by Jeri Kelley
    The new Gartner report is the fifth successive Magic Quadrant for E-Commerce to position Oracle as a leader. We’re proud of the result, but we’re not too surprised. Oracle Commerce’s functionality is uniquely aligned with a number of the major market trends Gartner describes in its report: from customers ‘expecting a seamless buying experience across all channels’, to organizations seeking to consolidate ‘B2B and B2C applications with a single underlying platform’. What we think sets Oracle Commerce apart Why are we a leader? We believe the key strengths of Oracle Commerce include: Outstanding Scalability and VersatilityOracle has a long and enviable track record of delivering B2B and B2C e-commerce solutions, and the Oracle Commerce solution supports a broad range of vertical industries – from retail to telecom, and manufacturing to distribution. Additionally, Oracle Commerce is engineered to scale simply and quickly to meet the changing needs of the enterprise. Oracle IntegrationOur commitment to seamless solutions integration allows customers to get the most from our ever evolving range of e-commerce and CX products—and deliver consistent, relevant, and personalized cross-channel buying experiences that drive customer satisfaction, and boost revenue. Experience and VisionOracle has a long and impressive history of delivering B2B and B2C e-commerce solutions to the world’s best brands. We’re constantly putting this experience to good use, and making our solutions even smarter. With powerful merchandising and business tools, and advanced promotions capabilities, Oracle Commerce is one of the most forward-thinking e-commerce solutions around. Read the reportYou can read Gartner’s full report here, or click here to find out more about our celebrated platform.

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  • Iterative Conversion

    - by stuart ramage
    Question Received: I am toying with the idea of migrating the current information first and the remainder of the history at a later date. I have heard that the conversion tool copes with this, but haven't found any information on how it does. Answer: The Toolkit will support iterative conversions as long as the original master data key tables (the CK_* tables) are not cleared down from Staging (the already converted Transactional Data would need to be cleared down) and the Production instance being migrated into is actually Production (we have migrated into a pre-prod instance in the past and then unloaded this and loaded it into the real PROD instance, but this will not work for your situation. You need to be migrating directly into your intended environment). In this case the migration tool will still know all about the original keys and the generated keys for the primary objects (Account, SA, etc.) and as such it will be able to link the data converted as part of a second pass onto these entities. It should be noted that this may result in the original opening balances potentially being displayed with an incorrect value (if we are talking about Financial Transactions) and also that care will have to be taken to ensure that all related objects are aligned (eg. A Bill must have a set to bill segments, meter reads and a financial transactions, and these entities cannot exist independantly). It should also be noted that subsequent runs of the conversion tool would need to be 'trimmed' to ensure that they are only doing work on the objects affected. You would not want to revalidate and migrate all Person, Account, SA, SA/SP, SP and Premise details since this information has already been processed, but you would definitely want to run the affected transactional record validation and keygen processes. There is no real "hard-and-fast" rule around this processing since is it specific to each implmentations needs, but the majority of the effort required should be detailed in the Conversion Tool section of the online help (under Adminstration/ The Conversion Tool). The major rule is to ensure that you only run the steps and validation/keygen steps that you need and do not do a complete rerun for your subsequent conversion.

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  • What is the Xbox360's D3DRS_VIEWPORTENABLE equivalent on WinXP D3D9?

    - by Jim Buck
    I posted this on StackOverlow, but of course it should be posted here. I am maintaining a multiplatform codebase for Xbox360 and WinXP. I am seeing an issue on the XP side that appears to be related to D3DRS_VIEWPORTENABLE on the Xbox360 version not having an equivalent on WinXP D3D9. This article had an interesting idea, but the only way to construct an identity matrix is to supply negative numbers to D3DVIEWPORT9::X and D3DVIEWPORT9::Height, but they are unsigned numbers. (I tried to put in negative numbers anyway, but nothing interesting happened.) So, how does one emulate the behavior of D3DRS_VIEWPORTENABLE under WinXP/D3D9? (For clarity, the result I'm seeing is that a 2d screen-aligned quad works fine on Xbox360 but is offset/stretched on WinXP. In fact, the (0, 0) starts in the center of the screen on WinXP instead of in the lower-left corner like on the Xbox360 as a result of applying the viewport transform.) Update: I didn't have an Xbox360 devkit at the time I wrote up this question, but I've since gotten one. I commented out the disabling of the D3DRS_VIEWPORTENABLE state, and the exact same behavior resulted on the Xbox360 as on the WinXP build. So, there must be some DirectX magic to bridge the gap here for emulating D3DRS_VIEWPORTENABLE being turned off on WinXP.

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  • "Has Oracle written the script for CRM success?" - Anthony Lye on Customer Experience at BAFTA

    - by Richard Lefebvre
    Anthony Lye showcased Oracle Fusion CRM at a BAFTA gathering, and MyCustomer.com covered the story under the title of "Has Oracle written the script for CRM success?' According to MyCustomer.com, "Oracle's SVP of CRM Anthony Lye set the scene for the event, suggesting products are becoming commoditized, so that the only way to differentiate is through the relationship with the customer. But he warned that "customers are more and more in control of that relationship, so you have to provide great experiences for them." "The quickest win within your organization to create a single view is to connect your marketing organization with your selling organization, align goals, processes, people and technology," Anthony explained.   "And this is a transition that is already happening - "VPs of marketing have started turning up in the same meetings as VPs of sales, we have started to see that they want to work together" - but this convergence needs nurturing." "In Fusion there are capabilities to align the organisation - we enable marketing on the same platform to build campaigns connected to sales stages. It can affect leads and opportunities at the top end of the funnel. And the selling organisation can take advantage of marketing content - the materials that are exclusively within marketing can now be used by sales. Your sales teams have been campaigning forever, but it's usually by email, it isn't aligned with the corporate message and it's being sent to people it shouldn't. By aligning them we can increase output and the quality of that output." Anthony concluded: "Operating in a disconnected fashion having two distinct systems will cost you time and money. So we feel there's a material advantage in a solution like this." Enjoy the full story at http://www.mycustomer.com/topic/marketing/has-oracle-written-script-crm-success/139958

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  • How to style this form using CSS ? [closed]

    - by Rafael
    Hi all ,i'm a beginner at CSS and trying to do a NETTUTS , but there's a portion in the webpage that i don't know what exactly to do in CSS to make it look right ... I just can't get this input text boxes, textarea and the button to be aligned like that , and to be honest the tutor isn't doing a great job to clearing stuff out Using alternative and absolute positioning, and setting top and right spacing is kinda no a good idea i think ... I'm trying to align them using FlexBox feature but don't know why those elements are not moving at all ... Here's my HTML & CSS3 code (for chrome) : <section id="getAfreeQuote"> <h2>GET A FREE QUOTE</h2> <form method="post" action="#"> <input type="text" name="yourName" placeholder="YOUR NAME"/> <input type="email" name="yourEmail" placeholder="YOUR EMAIL"/> <textarea name="projectDetails" placeholder="YOUR PROJECT DETAILS."></textarea> <input type="text" name="timeScale" placeholder="YOUR TIMESCALE"/> <button>Submit</button> </form> #getAfreeQuote form { display:-webkit-box; -webkit-box-orient:vertical; height:500px; } #getAfreeQuote input[name="yourName"]{ -webkit-box-ordinal-group:1; } #getAfreeQuote input[name="yourEmail"]{ -webkit-box-ordinal-group:1; } #getAfreeQuote textarea{ -webkit-box-ordinal-group:2; } #getAfreeQuote input[name="timeScale"]{ -webkit-box-ordinal-group:3; } #getAfreeQuote button { -webkit-box-ordinal-group:4; } and the result :

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  • Inverted textures

    - by brainydexter
    I'm trying to draw textures aligned with this physics body whose coordinate system's origin is at the center of the screen. (XNA)Spritebatch has its default origin set to top-left corner. I got the textures to be positioned correctly, but I noticed my textures are vertically inverted. That is, an arrow texture pointing Up , when rendered points down. I'm not sure where I am going wrong with the math. My approach is to convert everything in physic's meter units and draw accordingly. Matrix proj = Matrix.CreateOrthographic(scale * graphics.GraphicsDevice.Viewport.AspectRatio, scale, 0, 1); Matrix view = Matrix.Identity; effect.World = Matrix.Identity; effect.View = view; effect.Projection = proj; effect.TextureEnabled = true; effect.VertexColorEnabled = true; effect.Techniques[0].Passes[0].Apply(); SpriteBatch.Begin(SpriteSortMode.BackToFront, BlendState.AlphaBlend, null, DepthStencilState.Default, RasterizerState.CullNone, effect); m_Paddles[1].Draw(gameTime); SpriteBatch.End(); where Paddle::Draw looks like: SpriteBatch.Draw(paddleTexture, mBody.Position, null, Color.White, 0f, new Vector2(16f, 16f), // origin of the texture 0.1875f, SpriteEffects.None, // width of box is 3*2 = 6 meters. texture is 32 pixels wide. to make it 6 meters wide in world space: 6/32 = 0.1875f 0); The orthographic projection matrix seem fine to me, but I am obviously doing something wrong somewhere! Can someone please help me figure out what am i doing wrong here ? Thanks

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  • partition alignment on fresh windows 2003 ent server

    - by Datapimp23
    Hi, I have this server which has it's physical disks in RAID 5 controlled by a 3com raid controller. size of the stripe unit is unknown for the moment (Can check tomorrow in the office). I need to install windows server 2003 ENT and create 2 partitions (OS, Data). I'd like to create the partitions before the installation on windows server. They have to be aligned properly. I have the newest version of gparted on a disc but I have no clue if this is the right tool. Can someone point me in the right direction? Thanks

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  • What is controlling the desktop display?

    - by Bart Silverstrim
    I have two Ubuntu systems and in the course of changing configurations something has become muddled. I have disabled Unity in favor of gnome shell, the older style display of the desktop. Then I installed xfce 4. Seemed everything would be working okay, and for the most part it does. Except I noticed that on one system there's something else controlling settings. On one, if I right click the desktop, I get the menu with the options: open in new window create launcher... create url link... create folder... create from template -> open terminal here paste desktop settings... properties... applications -> On system two, right clicking brings up the menu: Create new folder Create new document -> organize desktop by name keep aligned paste Change Desktop Background Additionally, even though I set the background with the xfce settings manager, on system two that background will appear for a few seconds before it's replaced by something that looks like a background from Ubuntu's original desktop. And it's being controlled by what comes up with the "change desktop background" when right clicking, which isn't the xfce settings manager. On the first system, that right click does bring up the xfce settings tool. In short, something is controlling/overriding the xfce settings on machine two, but I can't find what file or configuration tool is doing it. How can I get system two to behave as system one, giving control of settings and configuration of X to XFCE's tools?

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  • How can you add two lines of text on a single line in Word 2010?

    - by deodorant
    Odd title, wasn't sure how to word it. Basically, I have two separate fonts I want to be on the same line, for resume purposes. My name is in a large font at the top, and I want my email and website address right-aligned directly beside it, one on top of the other. However, I want the email and website to combine to the same height as my name. Is this even possible with Word? Surely it is. Here is an awesome graphic of what I'm hoping for. Thanks! edit Seems new users can't post images. Link is here: http://i.stack.imgur.com/0gc3s.png

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  • Oracle SOA Suite customer panel: Successful Application Integration & SOA Projects

    - by Simone Geib
    At the recent SOA Suite customer panel, Roger Brown from UNS Energy, Fabio Ravagni from Cencosud and Paras Jain from Cisco discussed their recent SOA Suite implementations, business drivers and challenges, architecture and lessons learned. Roger started by describing how UNS redesigned their internet portal to improve their customer experience and reduce manual steps in their business processes. Through the use of Oracle Service Bus, Oracle BPEL Process Manager and Oracle Business Activity Monitoring, they provided more self-service functionality, automated their business processes and increased the use of their web site by 12.98% for number of visits and 33.58% for average visit duration. The screenshot below shows the UNS architecture: > Next Fabio described the challenges Cencosud faced through continuous expansion of their business, different standards and levels of expertise and large volumes of information. By introducing Oracle SOA Suite, Oracle Data Integrator and Oracle Enterprise Repository, and with the help of Oracle Consulting, they significantly simplified their integration model, reduced their maintenance effort and increased their integration governance. The picture below shows the implemented solution with so far more than 400 services in production and more than 20 ongoing projects, which will make use of the new integration platform. > Last, but not least, Paras discussed the challenges the Webex division of Cisco faced with a highly manual service fulfillment process, multiple data sources and the resulting large room for errror and delay in customer time-to-service. Through a redesign of their order fulfillment process and the introduction of Oracle SOA Suite (see below), they significantly improved their SLAs, eliminated duplicate orders, provided higher visibility into the order process and aligned business and IT. For more information about Oracle OpenWorld SOA & BPM Session, please see the Focus on SOA and BPM document

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  • Equivalent of LaTeX "eqnarray" in Microsoft Word 2007 equation editor?

    - by Niten
    In LaTeX one can use the eqnarray environment to display a set of equations aligned horizontally on their equality signs or other element, e.g.: \begin{eqnarray*} x &=& 5! \\ &=& 5 \cdot 4 \cdot 3 \cdot 2 \cdot 1 \end{eqnarray*} This will render as follows (notice the alignment of the equality signs): http://imgur.com/TxH0Y.png (Sorry, I don't have any reputation here yet so I'm not allowed to inline the image.) Is there a good way to achieve the same effect in Microsoft Word 2007's built in equation editor?

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  • Aligning Numbered Bullet Points in Word 2007

    - by FrustratedwithWord
    I am putting together a very large business manual which incorporates numbered headings, steps to follow, diagrams, etc. When using the bullet points, they align perfectly as I work through the processes. However when I include a diagram, or something different from the "norm" of text, the alignment changes. I would like all the bullet points to be aligned in the whole document regardless of where they appear in the document. Is there a way to save the settings so that the bullets always appear in the same position? Currently I am having to reset the indents by dragging the tabs on the ruler. This will be a large document, so I don't want to manually adjust the numbered bullets every time. Help would be greatly appreciated. Thanks very much.

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  • Database Schema Usage

    - by CrazyHorse
    I have a question regarding the appropriate use of SQL Server database schemas and was hoping that some database gurus might be able to offer some guidance around best practice. Just to give a bit of background, my team has recently shrunk to 2 people and we have just been merged with another 6 person team. My team had set up a SQL Server environment running off a desktop backing up to another desktop (and nightly to the network), whilst the new team has a formal SQL Server environment, running on a dedicated server, with backups and maintenance all handled by a dedicated team. So far it's good news for my team. Now to the query. My team designed all our tables to belong to a 3-letter schema name (e.g. User = USR, General = GEN, Account = ACC) which broadly speaking relate to specific applications, although there is a lot of overlap. My new team has come from an Access background and have implemented their tables within dbo with a 3-letter perfix followed by "_tbl" so the examples above would be dbo.USR_tblTableName, dbo.GEN_tblTableName and dbo.ACC_tblTableName. Further to this, neither my old team nor my new team has gone live with their SQL Servers yet (we're both coincidentally migrating away from Access environments) and the new team have said they're willing to consider adopting our approach if we can explain how this would be beneficial. We are not anticipating handling table updates at schema level, as we will be using application-level logins. Also, with regards to the unwieldiness of the 7-character prefix, I'm not overly concerned myself as we're using LINQ almost exclusively so the tables can simply be renamed in the DMBL (although I know that presents some challenges when we update the DBML). So therefore, given that both teams need to be aligned with one another, can anyone offer any convincing arguments either way?

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  • How do I align the bottom edges of two monitors with xrandr?

    - by denaje
    I have two outputs that I'd like to use on my laptop: LVDS1 - 1366x768 HDMI1 - 1920x1080 I set my monitors up like so: xrandr --output LVDS1 --auto --output HDMI1 --auto --right-of LVDS1 This is all well and good, but my laptop sits considerably lower than my external monitor, and with the top edges of the screens being aligned, it makes the jump from one screen to the other rather unintuitive. Is there a way I can align the bottom edges instead? I thought I could use the --pos flag to do this, but I have tried and not seen any difference (perhaps I do not know how to use it properly). EDIT: Solved. Thanks to tink's link, I deconstructed the Python script and discovered the way to do this is as follows: xrandr --output LVDS1 --pos 0x312 # 312 = 1280 - 768 xrandr --output HDMI1 --pos 1366x0 Not sure I understand exactly what the --pos flags are doing here, but it at least works!

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  • Suitability of ground fog using layered alpha quads?

    - by Nick Wiggill
    A layered approach would use a series of massive alpha-textured quads arranged parallel to the ground, intersecting all intervening terrain geometry, to provide the illusion of ground fog quite effectively from high up, looking down, and somewhat less effectively when inside the fog and looking toward the horizon (see image below). Alternatively, a shader-heavy approach would instead calculate density as function of view distance into the ground fog substrate, and output the fragment value based on that. Without having to performance-test each approach myself, I would like first to hear others' experiences (not speculation!) on what sort of performance impact the layered alpha texture approach is likely to have. I ask specifically due to the oft-cited impacts of overdraw (not sure how fill-rate bound your average desktop system is). A list of games using this approach, particularly older games, would be immensely useful: if this was viable on pre DX9/OpenGL2 hardware, it is likely to work fine for me. One big question is in regards to this sort of effect: (Image credit goes to Lume of lume.com) Notice how the vertical fog gradation is continuous / smooth. OTOH, using textured quad layers, I can only assume that layers would be mighty obvious when walking through them -- the more sparse they were, the more obvious this would be. This is in contrast to where fog planes are aligned to face the player every frame, where this coarseness would be much less obvious.

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  • Project collision shapes to plane for 2.5D collision detection

    - by Jkh2
    I am working on a top down 2.5D game. In the game anything that overlaps on the screen should be 'colliding' with each other regardless of whether they are on the same plane in the 3D world. This is illustrated below from a side-ways view: The orange and green circles are spheres floating in the 3D world. They are projected onto a plane parallel to the viewport plane (y = 0 in the image) and if they overlap there is a collision event between them. These spheres are attached to other meshes to represent the sphere bounding boxes for collisions. The way I plan to implement this at the moment is the following: Get the 3D world position at the center of the sphere. Use Camera.WorldToViewportPoint to project the point to the viewport plane. Move a Sphere Collider with the radius of the sphere to that point. Test for collisions using unity colliders. My question is how to extend this to work for rotated cuboids. For instance if I have two rotated cuboids, if I follow the logic above it would not work as intended as the cuboids may not collide but they could still be intersected on the view plane. An example is below: Is there a way to project a cuboid that would be aligned with the plane? Would it be a valid cuboid for all rotations if I did this?

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  • Aligning text to the bottom of a div: am I confused about CSS or about blueprint? [closed]

    - by larsks
    I've used Blueprint to prototype a very simple page layout...but after reading up on absolute vs. relative positioning and a number of online tutorials regarding vertical positioning, I'm not able to get things working the way I think they should. Here's my html: <div class="container" id="header> <div class="span-4" id="logo"> <img src="logo.png" width="150" height="194" /> </div> <div class="span-20 last" id="title"> <h1 class="big">TITLE</h1> </div> </div> The document does include the blueprint screen.css file. I want TITLE aligned with the bottom of the logo, which in practical terms means the bottom of #header. This was my first try: #header { position: relative; } #title { font-size: 36pt; position: absolute; bottom: 0; } Not unexpectedly, in retrospect, this puts TITLE flush left with the left edge of #header...but it failed to affect the vertical positioning of the title. So I got exactly the opposite of what I was looking for. So I tried this: #title { position: relative; } #title h1 { font-size: 36pt; position: absolute; bottom: 0; } My theory was that this would allign the h1 element with the bottom of the containing div element...but instead it made TITLE disappear, completely. I guess this means that it's rendering off the visible screen somewhere. At this point I'm baffled. I'm hoping someone here can point me in the right direction. Thanks!

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  • What is the evidence that an API has exceeded its orthogonality in the context of types?

    - by hawkeye
    Wikipedia defines software orthogonality as: orthogonality in a programming language means that a relatively small set of primitive constructs can be combined in a relatively small number of ways to build the control and data structures of the language. The term is most-frequently used regarding assembly instruction sets, as orthogonal instruction set. Jason Coffin has defined software orthogonality as Highly cohesive components that are loosely coupled to each other produce an orthogonal system. C.Ross has defined software orthogonality as: the property that means "Changing A does not change B". An example of an orthogonal system would be a radio, where changing the station does not change the volume and vice-versa. Now there is a hypothesis published in the the ACM Queue by Tim Bray - that some have called the Bánffy Bray Type System Criteria - which he summarises as: Static typings attractiveness is a direct function (and dynamic typings an inverse function) of API surface size. Dynamic typings attractiveness is a direct function (and static typings an inverse function) of unit testing workability. Now Stuart Halloway has reformulated Banfy Bray as: the more your APIs exceed orthogonality, the better you will like static typing My question is: What is the evidence that an API has exceeded its orthogonality in the context of types? Clarification Tim Bray introduces the idea of orthogonality and APIs. Where you have one API and it is mainly dealing with Strings (ie a web server serving requests and responses), then a uni-typed language (python, ruby) is 'aligned' to that API - because the the type system of these languages isn't sophisticated, but it doesn't matter since you're dealing with Strings anyway. He then moves on to Android programming, which has a whole bunch of sensor APIs, which are all 'different' to the web server API that he was working on previously. Because you're not just dealing with Strings, but with different types, the API is non-orthogonal. Tim's point is that there is a empirical relationship between your 'liking' of types and the API you're programming against. (ie a subjective point is actually objective depending on your context).

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  • Success Quote: A Hybrid Approach for Success

    - by Lauren Clark
    We recently received this quote from a project that successfully used OUM: “On our project, we applied a combination of the Oracle Unified Method (OUM) and the client's methodology. The project was organized by OUM's phases and a subset of OUM's processes, tasks, and templates. Using a hybrid of the two methods resulted in an implementation approach that was optimized for the client-specific requirements for this project." This hybrid approach is an excellent example of using OUM in the flexible and scalable manner in which it was intended. The project team was able to scale OUM to be fit-for-purpose for their given situation. It's great to see how merging what was needed out of OUM with the client’s methodology resulted in an implementation approach that more closely aligned to the business needs. Successfully scaling OUM is dependent on the needs of the particular project and/or engagement. The key is to use no more than is necessary to satisfy the requirements of the implementation and appropriately address risks. For more information, check out the "Tailoring OUM for Your Project" page, which can be accessed by first clicking on the "OUM should be scaled to fit your implementation" link on the OUM homepage and then drilling into the link on the subsequent page. Have you used OUM in conjunction with a partner or customer methodology? Please share your experiences with us.

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  • Bash command substitution not working as expected

    - by Joe Fruchey
    I'd like to view the last few lines of a file, but I want the columns aligned. Basically, I want to disable wordwrap. This is straightforward with: tail $FILE | cut -c -80 But I'm trying to generalize my script for other users, and I'd like to cut to the actual terminal width, which I can get with: stty size | cut -d" " -f2 So I would imagine that I could just tail $FILE | cut -c -`stty size | cut -d" " -f2` but it doesn't work: stty: standard input: Invalid argument cut: invalid range with no endpoint: - Try `cut --help' for more information. (Same results with the 'new' $() expansion.) Now, if I echo it, it seems fine: echo cut -c -`stty size | cut -d" " -f2` cut -c -103 Am I just missing an escape char? Or is this somehow just not possible? Thanks.

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