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SIPP may refer to:

Self-invested personal pension, a type of United Kingdom pension plan
Simple Internet Protocol Plus, former name of IPv6
SIPP memory, single in-line pin package, a type of computer memory
Standard Interline Passenger Procedure, ACRISS vehicle category codes
Survey of Income and Program Participation, a survey of household income and transfer payments
SIPp, test tool / traffic generator for Session Initiation Protocol
Stable Image Platform Program initiative from Intel

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A get-rich-quick scheme is a plan to obtain high rates of return for a small investment. The term “get rich quick” has been used to describe shady investments since at least the early 1900s.Most schemes create an impression that participants can obtain this high rate of return with little risk, and with little skill, effort, or time. Get rich quick schemes often assert that wealth can be obtained by working at home. Legal and quasi-legal get-rich-quick schemes are frequently advertised on infomercials and in magazines and newspapers. Illegal schemes or scams are often advertised through spam or cold calling. Some forms of advertising for these schemes market books or compact discs about getting rich quick rather than asking participants to invest directly in a concrete scheme.
It is clearly possible to get rich quickly if one is prepared to accept very high levels of risk – this is the premise of the gambling industry. However, gambling offers the near-certainty of completely losing the original stake over the long term, even if it offers regular wins along the way. Economic theory states that risk-free opportunities for profit are unstable because they will quickly be exploited by arbitrageurs.

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The private sector is the part of the economy, sometimes referred to as the citizen sector, which is owned by private individuals or groups, usually as a means of enterprise for profit, rather than being owned by the State.

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Earn Cash Selling Clothes From Your Closet With These 6 Online Resale Shops

Truth time: My wardrobe embarasses me.

It’s not because I dislike the things I wear — it’s because I have so many things I don’t wear.

Since cleaning out my closet and attempting a capsule wardrobe experiment a few years ago, I’ve unfortunately regressed to my old ways — and by “old ways,” I mean my closet is overflowing with things I just don’t wear often enough. In fact, I would guess that at this point, about 60% of my wardrobe is simply taking up space.

But I’m ready to simplify again, and, in the process, I’m hoping to make a little extra money.

So, I’m heading to the internet (because my local consignment shops are — shall we say — choosy) and selling my clothes in an effort to earn back some of the money I’ve carelessly funneled right into my closet (again).

6 Places to Sell Clothes Online

These are the sites I’ll use to try and make a few extra bucks as I clear out my wardrobe.

1. Poshmark

Poshmark touts itself as a “fun and simple way to buy and sell fashion.” And while “fun” may be an accurate descriptor, “simple” really isn’t — but that’s not necessarily a bad thing.

You see, Poshmark is more than just an online platform for selling clothes — it’s a “social marketplace.” Rather than being a place where sellers can list an item, hope it sells and move along, Poshmark is powered by buyers and sellers who share fashion ideas and styling tips, browse each others’ “closets” and generally connect over clothing and fashion.

What Poshmark isn’t? A set-it-and-forget-it type of site.

In order to make sales on Poshmark, you need to upload quality photos, write thorough descriptions, offer style guidance, “attend” buying and selling events within the app, share and promote listings and interact with other users.

Pro Tip

Some successful Poshmark users recommend investing in nice packaging or thank you cards to keep your ratings up and your listings more visible.

Buyers are allowed to negotiate prices, but you can choose to decline or accept an offer. For sales under $15, Poshmark takes a flat commission fee of $2.95. For sales of $15 or more, you’ll keep 80% of the profit. Once a sale is made, Poshmark will provide you with a pre-paid, pre-addressed shipping label.

All in all, Poshmark is a good option for anyone who’s willing to do a little (virtual) legwork.

2. thredUP

A woman works on a laptop to sell her clothes.

ThredUP is an online consignment and second-hand shop focusing on brand-name clothing for women and children — and it couldn’t be easier to use.

If Poshmark is the most involved clothing selling site on the market, thredUP might just be the least. Sure, your return may not be quite as big as if you steamed, photographed and listed each piece individually all while liking, commenting and sharing other people’s items, but for the lazy among us, thredUP couldn’t be more convenient.

Debra Wallace, the woman behind the blog Zero, also notes the small return as a con of selling on thredUP. “Used clothing is not worth much,” she writes. “So if you’re looking to make more money, you’ll have to put in more effort” using other sites or brick-and-mortar stores.

For anyone who’s still on board, thredUP’s process is pretty simple: Go to the “Clean Out” tab on thredUP’s website and select “Order a Kit.” You can then choose whether you’d like to receive a standard clean out bag or an expedited one. (There’s also an option to just donate a bag of clothing, if you’d prefer to do that.) ThredUP will then send you a bag that you’ll fill with clothes, seal up and return for free with a prepaid shipping label.

ThredUP will then sort through your clothes, list the keepers on the site and, depending on which clean out option you chose, either recycle or return the unwanted items to you.

Depending on whether your items are highly trendy and in season or have a little more longevity to them, thredUP will determine whether to give you the money up front or when the item sells on consignment. Once your payout becomes available, you have to cash out via PayPal.

3. is similar to thredUP in a lot of ways, except it also accepts and sells men’s clothes and even kids’ toys and a few household items.

To sell your unwanted clothing on, you can either request an “inbound box” or simply print a prepaid shipping label to use for sending in your items. Once the company receives your items, it will price them, upload them to the site and send you your payout after your items sell.

Similar to thredUP, any items not accepted for resale will either be sent back to you or donated, depending on which option you choose.


4. Instagram

If you’re an avid Instagram user, you’ve probably stumbled across more than one person selling their “closet” on the popular app. And while it’s a clunky interface for buying and selling (sales are done through the comments under photos and via direct messages), the return is pretty good because no commissions or fees are shaved off the top.

Still, selling your clothing on Instagram will take a bit of legwork on your part. You’ll have to know how to work the system (lucky you, we have some tips right here!), and you’ll have to go through the trouble of steaming (it helps), photographing and listing each piece individually. You’ll also have to be totally in charge of collecting payments and shipping the items.

All in all, though, it’s a great option for those who are willing to go the extra mile to make the extra dollar.

5. Tradesy

A woman looks at a skirt to decide if she wants to sell it online.

If you want to sell your clothes on a platform that’s just a little bit more seller friendly, (but still not quite as involved as Poshmark) Tradesy is the way to go. Tradesy says it deals primarily in designer and luxury items, but technically you can sell any brand from Xhilaration for Target to Gucci — and any item from purses to wedding gear.

To sell on Tradesy, all you have to do is take a few photos of an item (Tradesy will even do a little editing for you to make it look better), add a description and input a price. (Again, Tradesy is pretty helpful and will suggest a selling price if you’re at a loss.) When an item sells, you can use one of Tradesy’s complimentary shipping kits to ship the item at no cost.

Tradesy’s flat commission fee is a little steep: The company takes $7.50 of any item sold for under $50. If an item sells for $50 or more, Tradesy takes 19.8%.

The process is a little more involved than just loading up a bag and sending it off in the mail, but with a little bit of work, your payout can be pretty good — as long as you’re selling at the right price point.

6. eBay

You thought we were going to leave eBay off this list for a second there, didn’t you?

But we couldn’t do that!

Even though it’s been around for quite some time (and sometimes has a reputation for being unwieldy or a little outdated), eBay is still a valid option when you’re selling clothing — especially when you’re looking to make a few bucks on something that isn’t necessarily a fancy name brand.

The selling process on eBay is pretty straightforward: Simply take a few photos of the item, list item details, decide between an auction-style or “buy it now” sale and wait.

Once an item sells, you’re in charge of packing and shipping it, although eBay allows you to create and print shipping labels on the platform to make the process simpler.

The fee structure is pretty seller-friendly, too. Listing or “insertion” fees are free for your first 50 listings per month. Find out more about insertion fees here.

After an item sells, eBay will take a “final value fee,” or a percentage of the total amount of the sale (which includes the listing price, shipping fee and any additional charges).

If you need more help getting started selling on eBay, check out these tips and tricks for becoming a master eBay seller. Who knows, you might even make a business out of it!

Grace Schweizer is the email content writer at The Penny Hoarder.

This was originally published on The Penny Hoarder, which helps millions of readers worldwide earn and save money by sharing unique job opportunities, personal stories, freebies and more. The Inc. 5000 ranked The Penny Hoarder as the fastest-growing private media company in the U.S. in 2017.

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Kalyana Veedu (transl. Wedding house) is a 2018 Tamil language comedy family soap opera directed by Thirumurugan and starring Thirumurugan, R. Sundarrajan, Spoorthi Gowda, Anjana, Benzie Preinkline, Dona Shankar and Ankitha. The show replaces Kula Deivam and airs Monday to Saturday from 16 April 2018 at 19:30 (IST) and is broadcast on Sun TV.
This show crossed 300 episodes on 10 April 2019. This show will complete its 400th episode on 5th August 2019

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The South African Internet eXchange (SAIX) is an Internet exchange point which serves Internet traffic in Southern Africa. SAIX allows local Internet service providers (ISPs) and network operators to exchange traffic within Southern Africa.
SAIX is run by Telkom, a semi-privatised South African company. At present, SAIX provides service to two thirds of South Africa’s ISPs.

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Corporate social responsibility (CSR, also called corporate sustainability, sustainable business, corporate conscience, corporate citizenship, conscious capitalism, or responsible business) is a type of international private business self-regulation. While once it was possible to describe CSR as an internal organisational policy or a corporate ethic strategy, that time has passed as various international laws have been developed and various organisations have used their authority to push it beyond individual or even industry-wide initiatives. While it has been considered a form of corporate self-regulation for some time, over the last decade or so it has moved considerably from voluntary decisions at the level of individual organisations, to mandatory schemes at regional, national and even transnational levels.
Considered at the organisational level, CSR is generally understood as a private firm policy. As such, it must align with and be integrated into a business model to be successful. With some models, a firm’s implementation of CSR goes beyond compliance with regulatory requirements and engages in “actions that appear to further some social good, beyond the interests of the firm and that which is required by law”. The choices of ‘complying’ with the law, failing to comply, and ‘going beyond’ are three distinct strategic organisational choices. While in many areas such as environmental or labor regulations, employers may choose to comply with the law, or go beyond the law, other organisations may choose to flout the law. These organisations are taking on clear legal risks. The nature of the legal risk, however, changes when attention is paid to soft law. Soft law may incur legal liability particularly when businesses make misleading claims about their sustainability or other ethical credentials and practices. Overall, businesses may engage in CSR for strategic or ethical purposes. From a strategic perspective, the aim is to increase long-term profits and shareholder trust through positive public relations and high ethical standards to reduce business and legal risk by taking responsibility for corporate actions. CSR strategies encourage the company to make a positive impact on the environment and stakeholders including consumers, employees, investors, communities, and others. From an ethical perspective, some businesses will adopt CSR policies and practices because of ethical beliefs of senior management. For example, a CEO may believe that harming the environment is ethically objectionable.Proponents argue that corporations increase long-term profits by operating with a CSR perspective, while critics argue that CSR distracts from businesses’ economic role. A 2000 study compared existing econometric studies of the relationship between social and financial performance, concluding that the contradictory results of previous studies reporting positive, negative, and neutral financial impact, were due to flawed empirical analysis and claimed when the study is properly specified, CSR has a neutral impact on financial outcomes. Critics questioned the “lofty” and sometimes “unrealistic expectations” in CSR. or that CSR is merely window-dressing, or an attempt to pre-empt the role of governments as a watchdog over powerful multinational corporations. In line with this critical perspective, political and sociological institutionalists became interested in CSR in the context of theories of globalization, neoliberalism and late capitalism. Some institutionalists viewed CSR as a form of capitalist legitimacy and in particular point out that what began as a social movement against uninhibited corporate power was transformed by corporations into a “business model” and a “risk management” device, often with questionable results.CSR is titled to aid an organization’s mission as well as serve as a guide to what the company represents for its consumers. Business ethics is the part of applied ethics that examines ethical principles and moral or ethical problems that can arise in a business environment. ISO 26000 is the recognized international standard for CSR. Public sector organizations (the United Nations for example) adhere to the triple bottom line (TBL). It is widely accepted that CSR adheres to similar principles, but with no formal act of legislation.

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The Motorola i860 was the first iDEN phone to feature a camera. The VGA camera is equipped with a 10-second video record option and built-in ultra-bright spotlight. As it was the first iDEN phone to feature a camera, it also was first to feature multimedia messaging as well as push-to-send, where contact information can be sent to another compatible device using the phone’s push-to-talk button.
Its included demo games include Boulder Dash by Instacom ltd. and First Star Software. It also features a version of the classic card game spades, developed by Skava. The i860 is also capable of holding up to 80+ downloaded ringtones, as well as the standard Nextel 600-contact storage capability. As with most camera phones, the wallpaper can be replaced with any one of the user’s pictures.
i860 features a GPS function, which can pinpoint ones exact location anywhere on earth where service is available, as well as a useful internet function, which can be used for text messages, sending pictures, and video from phone to phone, or from phone to computer. The useful “Recent Calls List” can show the user all incoming, outgoing and missed calls, and the phone is equipped with an easy-to-use datebook which can alert the user (at ones convenience) to an upcoming task.
The i860 features coast to coast walkie-talkie capability, which is supposed to reduce cell phone traffic.

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Hysterical Mining

The world of computing was powered by women until men, realizing how profitable the industry was becoming, pushed women out.

The first person to be what we would now call a coder was a woman: Lady Ada Lovelace. During WWII, women were pioneers in writing software for early computers. When the number of coding jobs exploded in the ’50s and ’60s, companies looked for programmers who were logical, good at math and meticulous. And for once, gender stereotypes worked in women’s favour.

The assumption that technology is inherently male is not only historically inaccurate, it is also unhealthy, to say the least. A technology designed by white males who had access to higher education serves mostly white men, at the expense of individuals with other skin colour, gender, background, etc. And since technology is playing an increasingly crucial role in the way society is being shaped, it is important that it doesn’t reflect the mindset of only a portion of the human race. But i’m sure you already know that.

Ada Lovelace
Barbara Kapusta, The Giant, 2018. Installation view: Hysterical Mining, Kunsthalle Wien 2019, Photo: Jorit Aust

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ENIAC, the world’s first digital computer, at the University of Pennsylvania, had six primary programmers: Kay McNulty, Betty Jennings, Betty Snyder, Marlyn Wescoff, Fran Bilas and Ruth Lichterman. They were initially called “operators.”

A exhibition at Kunsthalle Wien, ironically titled Hysterical Mining, examines with depth and subtlety the tensions brought about by a very male techno-chauvinism. The artworks are mining, no for data or minerals, but for new meanings and strategies to approach the production and use of technologies.

The exhibition analyses the material worlds we are creating through technology and technology’s role in shaping local and global configurations of power, forms of identity and ways of living. It draws on radical feminist and techno-feminist theories from the 1970s until now that criticised and revised the nexus tying new technologies and technoscience to patriarchal ideas.”

Hysterical Mining is a visually captivating exhibition. But it requires time if you want to fully engage with all the ideas, knowledge and nuances deployed by the artists. Any effort will be rewarded though.

Here’s a couple of artworks i found particularly thought-provoking:

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Katrin Hornek, Casting Haze, 2018–2030. Installation view: Hysterical Mining, Kunsthalle Wien 2019, Photo: Jorit Aust

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Katrin Hornek, Casting Haze, 2018–2030

Katrin Hornek’s Casting Haze explores the technologies of CO2 mineralization, an emerging approach which, instead of releasing carbon dioxide into the atmosphere, would remove it from the air, store it and re-implement it into productive cycles in order to make profit out of it. The idea that such technologies could help us reduce the greenhouse gas emissions from anthropogenic point sources is seducing but it would probably be interpreted by many nations and corporations as a green light to emit even more industrial carbon dioxide, a 21st century, geo-engineered version of the Jevons paradox.

Hornek’s work not only explore the geographies, economies, industrial entanglement and philosophical grounding of the various fixations methods, she is also combining research-based analysis and artistic speculation to embody the technology in a sculpture.

With the help of scientists, the artist is planning to capture CO2 out of air or water and re-mineralize it into a sculpture. The object will be awarded (hopefully in 2030) as a trophy for the individuals or research groups who will have helped to reshape the world’s climate in the most sustainable way. The weight of the sculpture will correspond to the average one-month CO2 emission by a single human body at rest, roughly 14 kilos.

The exhibition shows a promotional video for the future award ceremony, a curtain featuring logos of companies currently involved in carbon capture, utilisation and/or storage, on a background that pictures fossils of nummulites, amoeba-like organisms that lived 55 millions years ago. The arid clay surface on the floor alludes to the changing perceptions of the relation between humans and the Earth through the ages, at a time when humans have become a powerful but uncontrollable geological force.

Louise Drulhe, Critical Atlas of Internet, 2015; The Two Webs, 2017. Installation view: Hysterical Mining, Kunsthalle Wien 2019, Photo: Jorit Aust

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Louise Drulhe, Path taken by information (network packet), depending on the service involved. Data recovered on From Critical Atlas of Internet, 2015

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Louise Drulhe, Topographical Map. Map of the top websites (and all their derived activities), according to Alexa. From Critical Atlas of Internet, 2015

“Most people do not consider Internet as a territory,” explained Louise Drulhe in an interview with Chloe Stavrou for Furtherfield. “This idea of cyberspace is a bit old fashioned. But, I think it is still pertinent today to study Internet as a real space.”

The Critical Atlas of Internet is an eye-opening investigation of the Internet space, an attempt to represent its invisible geography and architecture.

Drulhe has developed 15 conceptual exercises that rely on drawings, schemas, objects, 3D models and videos to map the internet and give more visibility to its social, political and economic dimensions.

Though apparently whimsical, her spatialization exercises shed light on issues such as the monetization of our online gestures; the evolution from a decentralized and democratic Internet to one dominated by the GAFA; the many walls erected online (from the Great Firewall of China, to the one that separates the deep web and the “surface” web, to the borders defined by Facebook and other private networks that leave you out if you’re not registered with them); the physical occupation of the internet on earth and its hardware geography, etc.

I spent half an afternoon exploring Drulhe’s topography of Internet space and i don’t think i’ve exhausted all its lessons.

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Louise Drulhe, The Two Webs, 2017. Image: © vinciane lebrun-verguethen/voyez-vous

In The Two Webs, Drulhe continues her research into the covert realities of the web.

Based on data she gathered, the artist created a series of pencil drawings that depict the disturbing symmetry between the web and the tracking-web, between the web you see and the web that is looking back at you. 90% of websites leak data to third parties, reminding you that nothing’s ever as free as it seems in the sleek world of Silicon Valley.

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Delphine Reist, Étagère, 2007. Installation view: Hysterical Mining, Kunsthalle Wien 2019, Photo: Jorit Aust

Étagère (“shelf” in English) is filled with dozens of electrical power tools that come to life as you go nearer. Behind a plexiglass sheet, the drill, circular saw, pneumatic hammer, sanding machine shake, spin, swirl, growl, roar following a kind of noisy choreography written by the artist.

They are the ultimate masculine instruments. The only time when these devices are tolerated inside the white museum and galleries rooms is before exhibitions open, when the artworks are assembled, the space refreshed and prepped for the show.

By animating the appliances in an overblown, almost frantic manner, Delphine Reist pushes our tendency to anthopomorphise the non-human to its most absurd limits. Moreover, Reist performs a work of “de-scription” (a term coined by Madeleine Akrich and Bruno Latour). In contrast to the process of “inscription” by the engineer, manufacturer or designer of a device that inscribes the object with the uses, interactions as well as the privileged user profile of the designer, “de-scription” frees the object from its initial script, decodes the alleged neutrality of the processes of manufacturing and circulation.

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Judith Fegerl, The Kitchen Was What She Had Given of Herself to the World, 2019

Judith Fegerl’s sculpture, on the other hand, refers to the kind of tools and technology that are assigned to women: the kitchen appliances.

The artist subjects rectangular structures made of magnetic stain-less steel in the standardized dimensions of European kitchen modules (60 x 60 x 90 cm) to induction heating. Her intervention destabilizes their shapes and cover the surfaces with circular patterns that evoke induction cooktops. Fegerl uses the technology to leave her marks on the smooth, metallic surface, customizing the structures to her own specifications and deriding the idea that the freedom and happiness of a woman can be boosted by yet another piece of sophisticated domestic apparatus (often designed by men.)

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Marlies Pöschl, Aurore (videostill), 2018

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Marlies Pöschl, Aurore (videostill), 2018

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How much can you automate affect? Can compassion, kindness and competence in care for the elderly be programmed? And can the human patients perceive it? Can artificial empathy assuage our fears about artificial intelligence?

Two years ago, Marlies Pöschl organised a workshop with primary-school pupils, graduating secondary-school students and senior citizens to reflect on robots that would care for our seniors. Based on the conversations, Pöschl created a semi-documentary science fiction film about Aurore, an intelligent nursing operating system that remains invisible in the film. She is the perfect carer: on call around the clock, skillful and affectionate. Yet, the film suggests, Aurore has dreams and imaginary landscapes of her own. She’s just too professional to share them.

It has often been said that the jobs that machines won’t “steal” from us are the ones that require softer skills. Nursing, for example. Yet, nursing machines might still become a necessity as populations in Western countries are ageing and less and less younger workers are eager to address the needs of the elderly. The suggestion that robots will take care of our bodies during the last years of our life remains odious to most of us but the characters in the film look happy enough to have someone to chat with.

More image from the exhibition:

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Trisha Baga, Hamilton Beach, 2016; Brother Making an Impressionist Painting, 2016; Dog Bowl with Boobs, 2016; Optical 88, 2016; Thelma and Louise, 2016; William’s Wonder Bread, 2016; Microscope, 2016. Installation view: Hysterical Mining, Kunsthalle Wien 2019

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Veronika Eberhart, 9 is 1 and 10 is none (filmstill), 2017

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Fabien Giraud & Raphaël Siboni, 1922 – The Uncomputable (The Unmanned, Season 1, Episode 4), videostill, 2016

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Fabien Giraud & Raphaël Siboni, 1953 – The Outlawed (The Unmanned, Season 1, Episode 3). Installation view: Hysterical Mining, Kunsthalle Wien 2019

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Louise Drulhe, Critical Atlas of Internet, 2015; The Two Webs, 2017; Barbara Kapusta, The Giant, 2018; Judith Fegerl, the kitchen was what she had given of herself to the world, 2019. Installation view: Hysterical Mining, Kunsthalle Wien 2019. Photo: Jorit Aust

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Pratchaya Phinthong, 2017, 2009; Barbara Kapusta, The Giant, 2018; Tabita Rezaire, The Song of the Spheres, 2018. Installation view: Hysterical Mining, Kunsthalle Wien 2019, Photo: Jorit Aust

Judith Fegerl
Tabita Rezaire, Ultra Wet – Recapitulation (film still), 2017–2018

Hysterical Mining has two location: the Museumsquartier one immerses visitors inside a blue desktop background; the smaller one at Karlsplatz features a series of books anyone can browse to further investigate the topic of the exhibition. I highly recommend having a look exhibition guide, it is available as a PDF.

Hysterical Mining, curated by Anne Faucheret and Vanessa Joan Müller, remains open until 6 October 2019 at the Kunsthalle Wien in context of the VIENNA BIENNALE FOR CHANGE.

Related stories: Gaming Masculinity. Trolls, Fake Geeks, and the Gendered Battle for Online Culture and Algorithms of Oppression. How Search Engines Reinforce Racism.

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Olivia MFSK is an amateur radioteletype protocol, using multiple frequency-shift keying (MFSK) and designed to work in difficult (low signal-to-noise ratio plus multipath propagation) conditions on shortwave bands. The signal can be accurately received even if the surrounding noise is 10 dB stronger. It is commonly used by amateur radio operators to reliably transmit ASCII characters over noisy channels using the high frequency (3–30 MHz) spectrum. The effective data rate of the Olivia MFSK protocol is 150 characters/minute.
Olivia modes are commonly referred to as Olivia X / Y (or, alternatively, Olivia Y / X ), where X refers to the number of different audio tones transmitted and Y refers to the bandwidth in hertz over which these signals are spread. Examples of common Olivia modes are 16/500, 32/1000 and 8/250.

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