The 2015 Kia K900 sedan gives you much of the spaciousness, luxury and technology of the Mercedes-Benz S-Class. Kia does it for $66,000, fully equipped, when the S-Class starts at $95,000. Kia provides the industry’s slickest and most useful blind spot detection by placing additional indicators in the head-up display. You can get ventilated, reclining rear seats. This is a car to watch.
The Warped Tour is a touring music festival. The tour is held in venues such as parking lots or fields upon which the stages and other structures are constructed prior to and for the duration of the event. The skateboard shoe manufacturer Vans, among others, has sponsored the tour every year since 1995, and it is often called the Vans Warped Tour. The tour began as a showcase for punk rock music, but its more recent lineups have featured diverse genres.
The Warped Tour was created in 1994 by Kevin Lyman, who got the idea while working on skateboarding shows such as the Vision Skate Escape and Holiday Havoc which included music with skateboarding contests.
The tour has always been held at outdoor venues though on a rare occasions that has not always been the case. In 1996 due to problems with the venue where the event was to be held, the show was forced to be moved indoors to theThe Capitol Ballroom nightclub in Washington DC.
In 1998, the tour went international, including venues in Australia, Japan, Europe, Canada, and the United States.
In 1999, the tour started off in New Zealand and Australia in the New Year. It then started up again in the United States for the northern hemisphere summer before ending up in Europe.
In 2006, the tour started the Warped Eco Initiative” (WEI). Ways the tour has changed since 2006: Using Biodiesel to fuel the buses, since 2006 the tour has reduced petroleum by 30%. The tour has a solar stage that is run solely from solar power that host 8–10 performers per show. The catering on the warped has switched to use washable dishes, and silverware. They also use compostable corn, and potato-starch take out boxes. The tour gives out free prizes to kids who volunteer to help recycle.
Starting in 2009, the two main stages were condensed into one and bands were given 40-minute sets, as opposed to the traditional 30 minutes across the previous two stages. Despite this, the tour decided to bring back the two main stages concept with 35-minute sets instead for the 2012 tour and beyond.
In 2012, the Warped Tour travelled to London, the first time the tour has left North America since 1998. In the UK and Europe Warped Tour is operated by English promoter Kilimanjaro Live.
As the FIFA World Cup readies to kick off, international brands are using the opportunity to market like mad and push their product with a host of funny, sexy and powerful advertising.
Korean automaker Kia has released a series of adverts starring Brazilian supermodel Adriana Lima in which she convinces Americans, more in tune with NASCAR racing and American football, to tune into the World Cup.
“While I am absolutely sure these commercials won’t change American sports fans’ preferences, they are really enjoyable to watch. Oh, and if you watch closely, you might notice some Kia vehicles in the videos as well,” wrote Dan Mihalascu for the CarScoops website.
April Fools’ Day is celebrated in many countries on April 1 every year. Sometimes referred to as All Fools’ Day, April 1 is not a national holiday, but is widely recognized and celebrated as a day when people play practical jokes and hoaxes on each other. In Italy, France and Belgium, children and adults traditionally tack paper fishes on each other’s back as a trick and shout “April fish!” in their local languages (pesce d’aprile!, poisson d’avril! and aprilvis! in Italian, French and Flemish, respectively). Such fish feature prominently on many French late 19th to early 20th century April Fools’ Day postcards.The earliest recorded association between April 1 and foolishness is an ambiguous reference in Chaucer’s Canterbury Tales (1392). Many writers suggest that the restoration of January 1 by Pope Gregory XIII as New Year’s Day of the Gregorian Calendar in the 16th century was responsible for the creation of the holiday, sometimes questioned for earlier references.
Precursors of April Fools’ Day include the Roman festival of Hilaria, held March 25, and the Medieval Feast of Fools, held December 28, still a day on which pranks are played in Spanish-speaking countries.
In Chaucer’s Canterbury Tales (1392), the “Nun’s Priest’s Tale” is set Syn March bigan thritty dayes and two. Modern scholars believe that there is a copying error in the extant manuscripts and that Chaucer actually wrote, Syn March was gon. Thus, the passage originally meant 32 days after April, i.e. May 2, the anniversary of the engagement of King Richard II of England to Anne of Bohemia, which took place in 1381. Readers apparently misunderstood this line to mean “March 32”, i.e. April 1. In Chaucer’s tale, the vain cock Chauntecleer is tricked by a fox.
In 1508, French poet Eloy d’Amerval referred to a poisson d’avril (April fool, literally “April fish”), a possible reference to the holiday. In 1539, Flemish poet Eduard de Dene wrote of a nobleman who sent his servants on foolish errands on April 1. In 1686, John Aubrey referred to the holiday as “Fooles holy day”, the first British reference. On April 1, 1698, several people were tricked into going to the Tower of London to “see the Lions washed”.
In the Middle Ages, up until the late 18th century, New Year’s Day was celebrated on March 25 (Feast of the Annunciation) in most European towns. In some areas of France, New Year’s was a week-long holiday ending on April 1. Many writers suggest that April Fools originated because those who celebrated on January 1 made fun of those who celebrated on other dates. The use of January 1 as New Year’s Day was common in France by the mid-16th century, and this date was adopted officially in 1564 by the Edict of Roussillon.
A study in the 1950s, by folklorists Iona and Peter Opie, found that in the UK and those countries whose traditions derived from there, the joking ceased at midday. But this practice appears to have lapsed in more recent years.
In the 1920s, many of Macy’s department store employees were first-generation immigrants. Proud of their new American heritage, they wanted to celebrate the United States parade of Thanksgiving with the type of festival their parents had loved in Europe.
In 1924, the parade (originally known as the Macy’s Christmas Parade and later the Macy’s Thanksgiving Day Christmas Parade) was staged by the store. Employees and professional entertainers marched from 145th Street in Harlem to Macy’s flagship store on 34th Street dressed in vibrant costumes. There were floats, professional bands and live animals borrowed from the Central Park Zoo.At the end of that first parade, as has been the case with every parade since, Santa Clauswas welcomed into Herald Square. At this first parade, however, the Jolly Old Elf was enthroned on the Macy’s balcony at the 34th Street store entrance, where he was then “crowned” “King of the Kiddies.” With an audience of over a quarter of a million people, the parade was such a success that Macy’s declared it would become an annual event.
Anthony “Tony” Frederick Sarg loved to work with marionettes from an early age. After moving to London to start his own marionette business, Sarg moved to New York City to perform with his puppets on the street. Macy’s heard about Sarg’s talents and asked him to design a window display of a parade for the store. Sarg’s large animal-shaped balloons, produced by the Goodyear Tire and Rubber Company in Akron, Ohio, replaced the live animals in 1927 when the Felix the Catballoon made its debut. Felix was filled with air, but by the next year, helium was used to fill the expanding cast of balloons.
At the finale of the 1928 parade, the balloons were released into the sky where they unexpectedly burst. The Through the 1930s, the Parade continued to grow, with crowds of over 1 million lining the parade route in 1933. The first Mickey Mouse balloon entered the parade in 1934. The annual festivities were broadcast on local New York radio from 1932 through 1941, and resumed in 1945 through
1951.The parade was suspended 1942–1944 during World War II, owing to the need for rubber and helium in the war effort. The parade resumed in 1945 using the route that it followed until 2008. The parade became a permanent part of American culture after being prominently featured in the 1947 film, Miracle on 34th Street, which shows actual footage of the 1946 festivities. The event was first broadcast on network television in 1948 (see below). By this point the event, and Macy’s sponsorship of it, were sufficiently well-known to give rise to the colloquialism “Macy’s Day Parade”. Since 1984, the balloons have been made by Raven Industries of Sioux Falls, SD.
following year they were redesigned with safety valves to allow them to float for a few days. Address labels were sewn into them, so that whoever found and mailed back the discarded balloon received a gift from Macy’s
The classic “Macy’s Thanksgiving Day Parade” logo was, with one exception, last used in 2005. For 2006 a special variant of the logo was used. Every year since a new logo has been used for each parade. The Logos however are seen rarely, if at all, on television as NBC has used its own logo with the word “Macy’s” in script and “Thanksgiving Day Parade” in a bold font. The logos are assumed to be for Macy’s use only, such as on the Grandstand tickets and the ID badges worn by parade staff. The Jackets worn by parade staff still bear the original classic parade logo, this being the only place where that logo can be found.
New safety measures were incorporated in 2006 to prevent accidents and balloon related injuries. One measure taken was installation of wind measurement devices to alert parade organizers to any unsafe conditions that could cause the balloons to behave erratically. Also, parade officials implemented a measure to keep the balloons closer to the ground during windy conditions. If wind speeds are forecast to be higher than 34 miles per hour, all balloons are removed from the parade. In 2007, the journal Puppetry International published a first person account of being a balloon handler. If you are planning to see the parade this year please visit NYCTourist.com tips on getting just the right spot.
of the automobile aftermarket was formed in 1963 by Roy Richter, Ed Iskenderian, Willie Garner, Bob Hedman,Robert E. Wyman, John Bartlett, Phil Weiand, Jr., Al Segal, Dean Moon, and Vic Edelbrock, Jr.
and now consists of 6,383 companies worldwide, bringing together
aftermarket manufacturers, original equipment manufacturers, media, car
dealers, specialty equipment distributors, installers, retailers and
Products in this $27.8 billion-a-year industry include performance
and racing components, cosmetic and functional accessories, wheels and
tires, mobile electronics, safety products, restoration parts, handling
equipment, drivetrain parts and more. The industry covers muscle cars, classics, luxury vehicles, sport compacts, street rods, light trucks (off-road and sport trucks) SUVs and recreational vehicles.
SEMA provides services for employees of its member companies that
include education and professional development, market research,
legislative and regulatory advocacy, industry publications, international business development and business to business events.
The largest of the SEMA events held annually during the first week of November is the SEMA Show at the Las Vegas Convention Center in Las Vegas, Nevada in conjunction with the Automotive Aftermarket Industry Week.
As part of this event, SEMA and other automotive aftermarket trade
groups make-up one of the single largest events on the Las Vegas
calendar. This is a title formerly held by the now defunct COMDEX show. This auto show is not open to the public. Registration as media, manufacturer, buyer or exhibitor is required.
LAS VEGAS — Mazda’s not a company that makes a big deal about things.
At the 2013 SEMA Show, there was no Mazda press conference, no thumping
music at its booth, and no scantily clad booth professionals — just
four tasteful concepts. From the company that brought us the ultimate
automotive expression of “less is more,” the MX-5 Miata, this is to be
Starting off, there’s the Mazda Ceramic 6 Concept, an example of the
Mazda6 that’s been modified to enhance the sedan’s performance and
Mazda may not be a manufacturer that comes to mind where racing is
concerned; however, you might be surprised to learn that there are
likely more Mazda cars doing track events every weekend than any other
Mazda3 and Mazda6 compact and midsize cars are among some of the most attractive in their respectable segments.
Building on their stellar looks, Mazda has juiced up a few examples with
special paint schemes, as well as aftermarket brake and suspension
kits. The resulting cars are more stock-plus rather than fully tuned.
The idea here was to demonstrate the potential of Mazda’s new lineup.
Mazda is not only in the business of racing and track days. Selling
cars, very attractive cars, is what they do best. Their recently
MIT has demonstrated a “Dynamic Shape Display” that can physically change shape to render 3D content. As Fast Company reports, the display is called inFORM, and it’s a large surface that sits atop a series of pins, actuators, and linkages. By moving each actuator, inFORM can move the pin it’s attached to up or down, allowing for a wide range of interactions.
A projector mounted above the surface provides context to the shapeshifting pins, giving them color and highlighting depth. In a video released by MIT, the table is shown moving a ball, mirroring a book, displaying 3D charts, and giving an extremely visible smartphone notification.
When used in conjunction with a Kinect sensor, inFORM gets a lot more interesting. The sensor is able to accurately map and interpret the position of 3D objects, and MIT’s system uses that data to allow you to move the table’s pins with just your hands. This can even work remotely, as demonstrated by the video, which shows an MIT staffer interacting with items via a video conference.
It’s also very interested in mapping and terrain models, which could be used by urban planners and architects to better visualize and share 3D designs. The MIT Tangible Media Group, which is responsible for inFORM’s creation, says it’s currently collaborating with MIT’s Changing Places group to explore the possibilities for urban planners.
It’s extremely impressive stuff, but it’s just one step on a long path to what MIT calls Radical Atoms. First conceptualized over a decade ago, Radical Atoms are what MIT believes will be the future of interactivity. The idea is that we presently interact with computers through graphical user interfaces (GUI), while inFORM and other projects like it offer up a tactile user interface (TUI).
MIT likens TUIs to a digital iceberg: just the tip of the digital content emerges “above water” into the physical realm. Moving past TUIs, the end game is Radical Atoms, a future in which “all digital information has physical manifestation … as if the iceberg had risen from the depths to reveal its sunken mass.”
A Word From Tangible Media Group and M.I.T.
We are currently exploring a number of application domains for the inFORM shape display. One area we are working on is Geospatial data,
such as maps, GIS, terrain models and architectural models. Urban planners and Architects can view 3D designs physically and better
understand, share and discuss their designs. We are collaborating with the urban planners in the Changing Places group at MIT on this
(http://cp.media.mit.edu/). In addition, inFORM would allow 3D Modelers and Designers to prototype their 3D designs physically without 3D
printing (at a low resolution). Finally, cross sections through Volumetric Data such as medical imaging CT scans can be viewed in 3D
physically and interacted with. We would like to explore medical or surgical simulations. We are also very intrigued by the possibilities of
remotely manipulating objects on the table.
Past research on
shape displays has primarily focused on rendering content and user interface elements through shape output, with less emphasis on
dynamically changing UIs. We propose utilizing shape displays in three different ways to mediate interaction: to facilitate by providing
dynamic physical affordances through shape change, to restrict by guiding users with dynamic physical constraints, and to manipulate by
actuating physical objects. We explore potential interaction techniques and introduce Dynamic Physical Affordances and Constraints with our
inFORM system, built on top of a state-of-the-art shape display, which provides for variable stiffness rendering and real-time user input
through direct touch and tangible interaction. A set of example applications demonstrates how dynamic affordances, constraints and
object actuation can create novel interaction possibilities.
, our devices have been designed to simulate affordances–the quality which allows an object to perform a function, such as a handle, a dial or a wheel–but not actually have
them. Follmer says that’s not the way it’s supposed to be. “As humans,
we have evolved to interact physically with our environments, but in the
21st century, we’re missing out on all of this tactile sensation that
is meant to guide us, limit us, and make us feel more connected,” he
says. “In the transition to purely digital interfaces, something
profound has been lost.”
The solution is programmable matter, and the inFORM is one possible
interpretation of an interface that can transform itself to physically
be whatever it needs to be. It’s an interesting (and literal) analogue
to skeuomorphism: while in the touch-screen age we have started rejecting interfaces that ape the look of
real world affordances as “tacky” in favor of more pure digital UIs,
the guys at the Tangible Media Group believe that interface of the
future won’t be skeuomorphic. They’ll be supermorphic, growing the affordances they need on the fly.
Although the inFORM is primarily a sandbox for MIT to experiment with the tactile interfaces to come, it would be wrong to dismiss this project as mere spitballing. “We like to think of ourselves as imagining the futures, plural,” Follmer says. “The inFORM is a look at one of them.” But while the actual consumer implementation may very well differ, but both Follmer and Leithinger agree that tangible interfaces are coming. “Ten years ago, we had people at Media Lab working on gestural interactions, and now they’re everywhere, from the Microsoft Kinect to the Nintendo Wiimote,” says Follmer. “Whatever it ends up looking like, the UI of the future won’t be made of just pixels, but time and form as well. And that future is only five or ten years away. It’s time for designers to start thinking about what that means now.”