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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.

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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.

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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 opendatacity.de. 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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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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A romance scam is a confidence trick involving feigning romantic intentions towards a victim, gaining their affection, and then using that goodwill to commit fraud. Fraudulent acts may involve access to the victim’s money, bank accounts, credit cards, passports, e-mail accounts, or national identification numbers; or forcing the victims to commit financial fraud on their behalf. In many instances, a mail-order bride scam will also bait the victim into committing felonies to establish citizenship for the perpetrator.

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italki is an online language learning website which connects language learners and teachers through video chat. The site allows students to find online teachers for 1-on-1 tutoring, and teachers to earn money as freelance tutors.One can choose online language lessons taught by a professional teacher, who provides structured learning plans, or a community tutor.

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Money laundering is the process of concealing the origins of money obtained illegally by passing it through a complex sequence of banking transfers or commercial transactions. The overall scheme of this process returns the money to the launderer in an obscure and indirect way.One problem of criminal activities is accounting for the proceeds without raising the suspicion of law enforcement agencies. Considerable time and effort may be put into strategies which enable the safe use of those proceeds without raising unwanted suspicion. Implementing such strategies is generally called money laundering. After money has been laundered, it can be used for legitimate purposes. Law enforcement agencies of many jurisdictions have set up sophisticated systems in an effort to detect suspicious transactions or activities, and many have set up international cooperative arrangements to assist each other in these endeavors.
In a number of legal and regulatory systems, the term “money laundering” has become conflated with other forms of financial and business crime, and is sometimes used more generally to include misuse of the financial system (involving things such as securities, digital currencies, credit cards, and traditional currency), including terrorism financing and evasion of international sanctions. Most anti-money laundering laws openly conflate money laundering (which is concerned with source of funds) with terrorism financing (which is concerned with destination of funds) when regulating the financial system.Some countries treat obfuscation of sources of money as also constituting money laundering, whether it is intentional or by merely using financial systems or services that do not identify or track sources or destinations. Other countries define money laundering in such a way as to include money from activity that would have been a crime in that country, even if the activity was legal where the actual conduct occurred.

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The Internet Society (ISOC) is an American nonprofit organization founded in 1992 to provide leadership in Internet-related standards, education, access, and policy. Its mission is “to promote the open development, evolution and use of the Internet for the benefit of all people throughout the world”.The Internet Society has its global headquarters in Reston, Virginia, United States (near Washington, D.C.), a major office in Geneva, Switzerland, and regional bureaus in Brussels, Singapore, and Montevideo. It has a global membership base of more than 100,000 organizational and individual members.

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