UXとビジネスまとめ by 篠原 稔和 - presentation from UX まとめ 2015 Sociomedia
2015年12月11日に行われた「UXまとめ2015」における篠原稔和のプレゼンテーションです。
A presentation given by Toshikazu Shinohara in UX matome 2015, Dec 11th 2015.
イベントの様子はこちらのイベントレポートから
https://www.sociomedia.co.jp/6819
UXとデザインまとめ by 上野学 - presentation from UX まとめ 2015 Sociomedia
2015年12月11日に行われた「UXまとめ2015」における上野学のプレゼンテーションです。
A presentation given by Manabu Ueno in UX matome 2015, Dec 11th 2015.
イベントの様子はこちらのイベントレポートから
https://www.sociomedia.co.jp/6819
and Contradiction in Architecture Robert Venturi .docxdurantheseldine
and
Contradiction
in Architecture
Robert Venturi
with an introduction by Vincent Scully
The Museum of Modern Art Papers on Architecture
The Museum of Modern Art, New York
in association with
the Graham Foundation for Advanced Studies in
the Fine Arts, Chicago
Distributed by Harry N. Abrams, Inc., New York
Trustees of The Museum of Modern Art as of October I992
David Rockefeller, Chairman ofthe Board; Mrs. FrankY. Larkin, Donald B.
Marron, Gifford Phillips, Vice Chairmen; Agnes Gund, Presiden; Ronald S.
Lauder, Richard E. Salomon, Vice Presidents; John Parkinson 111, Vice
President and Treasurer, Mrs. Henry Ives Cobb, Vire Chairman Emeritus
Mrs. John D. Rockefeller jrd, President Emerim, Frederick M. Alger 111,
Lily Auchincloss, Edward Larrabee Barnes, Celeste G. Bartos, Sid R. Bass,
H.R.H. Prinz Franzvon Bayern,** Hilary P. Califano, Thomas S. Carroll,*
Mrs. Gustavo Cisneros, Marshall S. Cogan, Robert R. Douglass, Gianluigi
Gabetti, Lillian Gish,** Paul Gottlieb, Mrs. Melville Wakeman Hall,
George Heard Hamilton,' Barbara Jakobson, Philip Johnson, John L.
Loeb,* Robert B. Menschel, Dorothy C. Miller,** J. Irwin Miller,*
S. I. Newhouse, Jr., Philip S. Niarchos, James G. Niven, Richard E.
Oldenburg, Michael S. Ovitz, Peter G. Peterson, John Rewald,** David
Rockefeller, Jr., Rodman C. Rockefeller, Mrs. Wolfgang Schoenborn,*
Mrs. Robert F. Shapiro, Mrs. Bertram Smith, Jerry I. Speyer, Mrs. Alfred R.
Stern, Mrs. Donald B. Straus, E. Thomas Willianis, Jt, Richard S. Zeisler.
* Tmstee Emeritus **Honorary Tmstee Ex-Oficio T~ruees: David N .
Dinkins, Mayor of the City ofNew firk, Elizabeth Holtzman, Comptrolhr
of the City of New firk, Jeanne C. Thayer, President of The International
Council
Copyright O The Museum of Modern Art, New York, 1966, 1977
All rights resewed
Second edition 1977, reprinted 1979, 1981, 1983, 1985, 1988, 1990, 1992
Library of Congress Catalogue Card Number 77-77289
The Museum of Modern Art ISBN 0-87070-282-3
Abrams ISBN 0-8109-6023-0
Second edition designed by Steven Schoenfelder
Printed by Princeton University Press, Lawrenceville, New Jersey
Bound by Mueller Trade Bindery, Middletown, Connecticut
The Museum of Modern Art
I I West 53 Street
New York, New York 10019
Printed in the United States of America
Distributed in the United States and Canada by Harry N. Abrams, Inc., New York
A Times Mirror Company
Contents
Acknowledgments 6
Foreword 8
Introduction 9
Preface 13
1. Nonstraightforward Architecture:
A Gentle Manifesto 16
2. Complexity and Contradiction vs.
Simplification or Picturesqueness 16
3. Ambiguity 20
4. Contradictory Levels:
The Phenomenon of "Both-And" in Architecture 23
5 . Contradictory Levels Continued:
The Double-Functioning Element 34
6. Accommodation and the Limitations of Order:
The Conventional Element 41
7. Contradiction Adapted 45
8. Contradiction Juxtaposed 56
9. The Inside and the Outside 70
10. Theobligation T.
Deconstruction: a reaction to rational Modernism - Thesisfsteverlynck
This is my MA Thesis which I publicly defended in front of a board of teachers from the Politecnico di Torino and Universidad de Belgrano on July 2006.
UXとビジネスまとめ by 篠原 稔和 - presentation from UX まとめ 2015 Sociomedia
2015年12月11日に行われた「UXまとめ2015」における篠原稔和のプレゼンテーションです。
A presentation given by Toshikazu Shinohara in UX matome 2015, Dec 11th 2015.
イベントの様子はこちらのイベントレポートから
https://www.sociomedia.co.jp/6819
UXとデザインまとめ by 上野学 - presentation from UX まとめ 2015 Sociomedia
2015年12月11日に行われた「UXまとめ2015」における上野学のプレゼンテーションです。
A presentation given by Manabu Ueno in UX matome 2015, Dec 11th 2015.
イベントの様子はこちらのイベントレポートから
https://www.sociomedia.co.jp/6819
and Contradiction in Architecture Robert Venturi .docxdurantheseldine
and
Contradiction
in Architecture
Robert Venturi
with an introduction by Vincent Scully
The Museum of Modern Art Papers on Architecture
The Museum of Modern Art, New York
in association with
the Graham Foundation for Advanced Studies in
the Fine Arts, Chicago
Distributed by Harry N. Abrams, Inc., New York
Trustees of The Museum of Modern Art as of October I992
David Rockefeller, Chairman ofthe Board; Mrs. FrankY. Larkin, Donald B.
Marron, Gifford Phillips, Vice Chairmen; Agnes Gund, Presiden; Ronald S.
Lauder, Richard E. Salomon, Vice Presidents; John Parkinson 111, Vice
President and Treasurer, Mrs. Henry Ives Cobb, Vire Chairman Emeritus
Mrs. John D. Rockefeller jrd, President Emerim, Frederick M. Alger 111,
Lily Auchincloss, Edward Larrabee Barnes, Celeste G. Bartos, Sid R. Bass,
H.R.H. Prinz Franzvon Bayern,** Hilary P. Califano, Thomas S. Carroll,*
Mrs. Gustavo Cisneros, Marshall S. Cogan, Robert R. Douglass, Gianluigi
Gabetti, Lillian Gish,** Paul Gottlieb, Mrs. Melville Wakeman Hall,
George Heard Hamilton,' Barbara Jakobson, Philip Johnson, John L.
Loeb,* Robert B. Menschel, Dorothy C. Miller,** J. Irwin Miller,*
S. I. Newhouse, Jr., Philip S. Niarchos, James G. Niven, Richard E.
Oldenburg, Michael S. Ovitz, Peter G. Peterson, John Rewald,** David
Rockefeller, Jr., Rodman C. Rockefeller, Mrs. Wolfgang Schoenborn,*
Mrs. Robert F. Shapiro, Mrs. Bertram Smith, Jerry I. Speyer, Mrs. Alfred R.
Stern, Mrs. Donald B. Straus, E. Thomas Willianis, Jt, Richard S. Zeisler.
* Tmstee Emeritus **Honorary Tmstee Ex-Oficio T~ruees: David N .
Dinkins, Mayor of the City ofNew firk, Elizabeth Holtzman, Comptrolhr
of the City of New firk, Jeanne C. Thayer, President of The International
Council
Copyright O The Museum of Modern Art, New York, 1966, 1977
All rights resewed
Second edition 1977, reprinted 1979, 1981, 1983, 1985, 1988, 1990, 1992
Library of Congress Catalogue Card Number 77-77289
The Museum of Modern Art ISBN 0-87070-282-3
Abrams ISBN 0-8109-6023-0
Second edition designed by Steven Schoenfelder
Printed by Princeton University Press, Lawrenceville, New Jersey
Bound by Mueller Trade Bindery, Middletown, Connecticut
The Museum of Modern Art
I I West 53 Street
New York, New York 10019
Printed in the United States of America
Distributed in the United States and Canada by Harry N. Abrams, Inc., New York
A Times Mirror Company
Contents
Acknowledgments 6
Foreword 8
Introduction 9
Preface 13
1. Nonstraightforward Architecture:
A Gentle Manifesto 16
2. Complexity and Contradiction vs.
Simplification or Picturesqueness 16
3. Ambiguity 20
4. Contradictory Levels:
The Phenomenon of "Both-And" in Architecture 23
5 . Contradictory Levels Continued:
The Double-Functioning Element 34
6. Accommodation and the Limitations of Order:
The Conventional Element 41
7. Contradiction Adapted 45
8. Contradiction Juxtaposed 56
9. The Inside and the Outside 70
10. Theobligation T.
Deconstruction: a reaction to rational Modernism - Thesisfsteverlynck
This is my MA Thesis which I publicly defended in front of a board of teachers from the Politecnico di Torino and Universidad de Belgrano on July 2006.
Lecture from the 9th session of SI658 Information Architecture at the University of Michigan School of Information, Winter term 2015.
http://si658.danklyn.com/Class-10-Analysis
The final part of the course takes social housing as a case study to develop an understanding of how modernism was thought to have failed. James Clegg
Part 2 by Deborah Jackson.
Complexity and Contradiction TodayUsing the posted excerpt from .docxdonnajames55
Complexity and Contradiction Today
Using the posted excerpt from Complexity and Contradiction as your foundational text, please choose a building or architectural project (it can be unbuilt) from 1960 – 2016 that supports / illustrates Venturi’s argument. This chosen work should be something you can research and cite.
Complexity and Contradiction is just that – complex and contradictory. There are many ways you could interpret the text. Focus on one perspective of what Venturi believes in. Use quotations from Venturi’s work to clarify which aspect of his writing your chosen building or project supports.
Use images/photographs/diagrams/drawings, etc. to help support your argument. Citations are required. Appx 700 words in length.
Robert Venturi,
Excerpts from Complexity and Contradiction in Architecture (1966)
I like complexity and contradiction in architecture. I do not like the incoherence or
arbitrariness of incompetent architecture nor the precious intricacies of picturesqueness
or expressionism. Instead, I speak of a complex and contradictory architecture based
on the richness and ambiguity of modern experience, including that experience which
is inherent in art. Everywhere, except in architecture, complexity and contradiction
have been acknowledged, from Godel's proof of ultimate inconsistency in
mathematics to T. S. Eliot’s analysis of "difficult" poetry and Joseph Albers' definition of
the paradoxical quality of painting.
But architecture is necessarily complex and contradictory in its very inclusion of
the traditional Vitruvian elements of commodity, firmness, and delight. And today the
wants of program, structure, mechanical equipment, and expression, even in single
buildings in simple contexts, are diverse and conflicting in ways previously
unimaginable. The increasing dimension and scale of architecture in urban and
regional planning add to the difficulties. I welcome the problems and exploit the
uncertainties. By embracing contradiction as well as complexity, I aim for vitality as well
as validity.
Architects can no longer afford to be intimidated by the puritanically moral
language of orthodox Modern architecture. I like elements which are hybrid rather than
"pure," compromising rather than "clean," distorted rather than "straightforward,”
ambiguous rather than "articulated," perverse as well as impersonal, boring as well as
"interesting," conventional rather than "designed," accommodating rather than
excluding, redundant rather than simple, vestigial as well as innovating, inconsistent
and equivocal rather than direct and clear. I am for messy vitality over obvious unity. I
include the non sequitur and proclaim the duality.
I am for richness of meaning rather than clarity of meaning; for the implicit
function as well as the explicit function. I prefer "both-and" to "either-or," black and
white, and sometimes gray, to black or white. A valid architecture evokes many levels
of meaning and comb.
1. Nonstraightfoward Architecture A Gentle Manifesto I .docxjeremylockett77
1. Nonstraightfoward Architecture:
A Gentle Manifesto
I like complexity and contradiction in architecture. I
do not like the incoherence or arbitrariness of incompetent
architecture nor the precious intricacies of picturesqueness
or expressionism. Instead, I speak of a complex and contra-
dictory architecture based on the richness and ambiguity of
modern experience, including that experience which is in-
herent in art. Everywhere, except in architecture, complex-
ity and contradiction have been acknowledged, from
Godel's proof of ultimate inconsistency in mathematics to
T. S. Eliot's analysis of "difficult" poetry and Joseph Albers'
definition of the paradoxical quality of painting.
But architecture is necessarily complex and contradic-
tory in its very inclusion of the traditional Vitruvian ele-
ments of commodity, firmness, and delight. And today the
wants of program, structure, mechanical equipment, and
expression, even in single buildings in simple contexts, are
diverse and conflicting in ways previously unimaginable.
The increasing dimension and scale of architecture in urban
and regional planning add to the difficulties. I welcome the
problems and exploit the uncertainties. By embracing con-
tradiction as well as complexity, I aim for vitality as well as
validity.
Architects can no longer afford to be intimidated by
the puritanically moral language of orthodox Modern archi-
tecture. I like elements which are hybrid rather than ''pure,"
compromising rather than "clean," distorted rather than
"straightforward," ambiguous rather than "articulated," per-
verse as well as impersonal, boring as well as "interesting,"
conventional rather than "designed," accommodating rather
than excluding, redundant rather than simple, vestigial as
well as innovating, inconsistent and equivocal rather than
direct and clear. I am for messy vitality over obvious unity.
I include the non sequitur and proclaim the duality.
I am for richness of meaning rather than clarity of
meaning; for the implicit function as well as the explicit
function. I prefer "both-and to "either-or," black and
white, and sometimes gray, to black or white. A valid
architecture evokes many levels of meaning and combina-
tions of focus: its space and its elements become readable
and workable in several ways at once.
But an architecture of complexity and contradiction
has a special obligation toward the whole: its truth must be
in its totality or its implications of totality. It must embody
the difficult unity of inclusion rather than the easy unity of
exclusion. More is not less.
2. Complexity and Contradiction vs.
Simplification or Picturesqueness
Orthodox Modern architects have tended to recognize
complexity insufficiently or inconsistently. In their attempt
to break with tradition and start all over again, they ideal-
ized the primitive and elementary at the expense of the
diverse and the sophisticated. As participants in a revo ...
1. Nonstraightfoward Architecture A Gentle Manifesto I .docxketurahhazelhurst
1. Nonstraightfoward Architecture:
A Gentle Manifesto
I like complexity and contradiction in architecture. I
do not like the incoherence or arbitrariness of incompetent
architecture nor the precious intricacies of picturesqueness
or expressionism. Instead, I speak of a complex and contra-
dictory architecture based on the richness and ambiguity of
modern experience, including that experience which is in-
herent in art. Everywhere, except in architecture, complex-
ity and contradiction have been acknowledged, from
Godel's proof of ultimate inconsistency in mathematics to
T. S. Eliot's analysis of "difficult" poetry and Joseph Albers'
definition of the paradoxical quality of painting.
But architecture is necessarily complex and contradic-
tory in its very inclusion of the traditional Vitruvian ele-
ments of commodity, firmness, and delight. And today the
wants of program, structure, mechanical equipment, and
expression, even in single buildings in simple contexts, are
diverse and conflicting in ways previously unimaginable.
The increasing dimension and scale of architecture in urban
and regional planning add to the difficulties. I welcome the
problems and exploit the uncertainties. By embracing con-
tradiction as well as complexity, I aim for vitality as well as
validity.
Architects can no longer afford to be intimidated by
the puritanically moral language of orthodox Modern archi-
tecture. I like elements which are hybrid rather than ''pure,"
compromising rather than "clean," distorted rather than
"straightforward," ambiguous rather than "articulated," per-
verse as well as impersonal, boring as well as "interesting,"
conventional rather than "designed," accommodating rather
than excluding, redundant rather than simple, vestigial as
well as innovating, inconsistent and equivocal rather than
direct and clear. I am for messy vitality over obvious unity.
I include the non sequitur and proclaim the duality.
I am for richness of meaning rather than clarity of
meaning; for the implicit function as well as the explicit
function. I prefer "both-and to "either-or," black and
white, and sometimes gray, to black or white. A valid
architecture evokes many levels of meaning and combina-
tions of focus: its space and its elements become readable
and workable in several ways at once.
But an architecture of complexity and contradiction
has a special obligation toward the whole: its truth must be
in its totality or its implications of totality. It must embody
the difficult unity of inclusion rather than the easy unity of
exclusion. More is not less.
2. Complexity and Contradiction vs.
Simplification or Picturesqueness
Orthodox Modern architects have tended to recognize
complexity insufficiently or inconsistently. In their attempt
to break with tradition and start all over again, they ideal-
ized the primitive and elementary at the expense of the
diverse and the sophisticated. As participants in a revo.
Multi-cluster Kubernetes Networking- Patterns, Projects and GuidelinesSanjeev Rampal
Talk presented at Kubernetes Community Day, New York, May 2024.
Technical summary of Multi-Cluster Kubernetes Networking architectures with focus on 4 key topics.
1) Key patterns for Multi-cluster architectures
2) Architectural comparison of several OSS/ CNCF projects to address these patterns
3) Evolution trends for the APIs of these projects
4) Some design recommendations & guidelines for adopting/ deploying these solutions.
More Related Content
Similar to You Are Screwing Up The World by Dan Klyn - presentation from IA CAMP 2015
Lecture from the 9th session of SI658 Information Architecture at the University of Michigan School of Information, Winter term 2015.
http://si658.danklyn.com/Class-10-Analysis
The final part of the course takes social housing as a case study to develop an understanding of how modernism was thought to have failed. James Clegg
Part 2 by Deborah Jackson.
Complexity and Contradiction TodayUsing the posted excerpt from .docxdonnajames55
Complexity and Contradiction Today
Using the posted excerpt from Complexity and Contradiction as your foundational text, please choose a building or architectural project (it can be unbuilt) from 1960 – 2016 that supports / illustrates Venturi’s argument. This chosen work should be something you can research and cite.
Complexity and Contradiction is just that – complex and contradictory. There are many ways you could interpret the text. Focus on one perspective of what Venturi believes in. Use quotations from Venturi’s work to clarify which aspect of his writing your chosen building or project supports.
Use images/photographs/diagrams/drawings, etc. to help support your argument. Citations are required. Appx 700 words in length.
Robert Venturi,
Excerpts from Complexity and Contradiction in Architecture (1966)
I like complexity and contradiction in architecture. I do not like the incoherence or
arbitrariness of incompetent architecture nor the precious intricacies of picturesqueness
or expressionism. Instead, I speak of a complex and contradictory architecture based
on the richness and ambiguity of modern experience, including that experience which
is inherent in art. Everywhere, except in architecture, complexity and contradiction
have been acknowledged, from Godel's proof of ultimate inconsistency in
mathematics to T. S. Eliot’s analysis of "difficult" poetry and Joseph Albers' definition of
the paradoxical quality of painting.
But architecture is necessarily complex and contradictory in its very inclusion of
the traditional Vitruvian elements of commodity, firmness, and delight. And today the
wants of program, structure, mechanical equipment, and expression, even in single
buildings in simple contexts, are diverse and conflicting in ways previously
unimaginable. The increasing dimension and scale of architecture in urban and
regional planning add to the difficulties. I welcome the problems and exploit the
uncertainties. By embracing contradiction as well as complexity, I aim for vitality as well
as validity.
Architects can no longer afford to be intimidated by the puritanically moral
language of orthodox Modern architecture. I like elements which are hybrid rather than
"pure," compromising rather than "clean," distorted rather than "straightforward,”
ambiguous rather than "articulated," perverse as well as impersonal, boring as well as
"interesting," conventional rather than "designed," accommodating rather than
excluding, redundant rather than simple, vestigial as well as innovating, inconsistent
and equivocal rather than direct and clear. I am for messy vitality over obvious unity. I
include the non sequitur and proclaim the duality.
I am for richness of meaning rather than clarity of meaning; for the implicit
function as well as the explicit function. I prefer "both-and" to "either-or," black and
white, and sometimes gray, to black or white. A valid architecture evokes many levels
of meaning and comb.
1. Nonstraightfoward Architecture A Gentle Manifesto I .docxjeremylockett77
1. Nonstraightfoward Architecture:
A Gentle Manifesto
I like complexity and contradiction in architecture. I
do not like the incoherence or arbitrariness of incompetent
architecture nor the precious intricacies of picturesqueness
or expressionism. Instead, I speak of a complex and contra-
dictory architecture based on the richness and ambiguity of
modern experience, including that experience which is in-
herent in art. Everywhere, except in architecture, complex-
ity and contradiction have been acknowledged, from
Godel's proof of ultimate inconsistency in mathematics to
T. S. Eliot's analysis of "difficult" poetry and Joseph Albers'
definition of the paradoxical quality of painting.
But architecture is necessarily complex and contradic-
tory in its very inclusion of the traditional Vitruvian ele-
ments of commodity, firmness, and delight. And today the
wants of program, structure, mechanical equipment, and
expression, even in single buildings in simple contexts, are
diverse and conflicting in ways previously unimaginable.
The increasing dimension and scale of architecture in urban
and regional planning add to the difficulties. I welcome the
problems and exploit the uncertainties. By embracing con-
tradiction as well as complexity, I aim for vitality as well as
validity.
Architects can no longer afford to be intimidated by
the puritanically moral language of orthodox Modern archi-
tecture. I like elements which are hybrid rather than ''pure,"
compromising rather than "clean," distorted rather than
"straightforward," ambiguous rather than "articulated," per-
verse as well as impersonal, boring as well as "interesting,"
conventional rather than "designed," accommodating rather
than excluding, redundant rather than simple, vestigial as
well as innovating, inconsistent and equivocal rather than
direct and clear. I am for messy vitality over obvious unity.
I include the non sequitur and proclaim the duality.
I am for richness of meaning rather than clarity of
meaning; for the implicit function as well as the explicit
function. I prefer "both-and to "either-or," black and
white, and sometimes gray, to black or white. A valid
architecture evokes many levels of meaning and combina-
tions of focus: its space and its elements become readable
and workable in several ways at once.
But an architecture of complexity and contradiction
has a special obligation toward the whole: its truth must be
in its totality or its implications of totality. It must embody
the difficult unity of inclusion rather than the easy unity of
exclusion. More is not less.
2. Complexity and Contradiction vs.
Simplification or Picturesqueness
Orthodox Modern architects have tended to recognize
complexity insufficiently or inconsistently. In their attempt
to break with tradition and start all over again, they ideal-
ized the primitive and elementary at the expense of the
diverse and the sophisticated. As participants in a revo ...
1. Nonstraightfoward Architecture A Gentle Manifesto I .docxketurahhazelhurst
1. Nonstraightfoward Architecture:
A Gentle Manifesto
I like complexity and contradiction in architecture. I
do not like the incoherence or arbitrariness of incompetent
architecture nor the precious intricacies of picturesqueness
or expressionism. Instead, I speak of a complex and contra-
dictory architecture based on the richness and ambiguity of
modern experience, including that experience which is in-
herent in art. Everywhere, except in architecture, complex-
ity and contradiction have been acknowledged, from
Godel's proof of ultimate inconsistency in mathematics to
T. S. Eliot's analysis of "difficult" poetry and Joseph Albers'
definition of the paradoxical quality of painting.
But architecture is necessarily complex and contradic-
tory in its very inclusion of the traditional Vitruvian ele-
ments of commodity, firmness, and delight. And today the
wants of program, structure, mechanical equipment, and
expression, even in single buildings in simple contexts, are
diverse and conflicting in ways previously unimaginable.
The increasing dimension and scale of architecture in urban
and regional planning add to the difficulties. I welcome the
problems and exploit the uncertainties. By embracing con-
tradiction as well as complexity, I aim for vitality as well as
validity.
Architects can no longer afford to be intimidated by
the puritanically moral language of orthodox Modern archi-
tecture. I like elements which are hybrid rather than ''pure,"
compromising rather than "clean," distorted rather than
"straightforward," ambiguous rather than "articulated," per-
verse as well as impersonal, boring as well as "interesting,"
conventional rather than "designed," accommodating rather
than excluding, redundant rather than simple, vestigial as
well as innovating, inconsistent and equivocal rather than
direct and clear. I am for messy vitality over obvious unity.
I include the non sequitur and proclaim the duality.
I am for richness of meaning rather than clarity of
meaning; for the implicit function as well as the explicit
function. I prefer "both-and to "either-or," black and
white, and sometimes gray, to black or white. A valid
architecture evokes many levels of meaning and combina-
tions of focus: its space and its elements become readable
and workable in several ways at once.
But an architecture of complexity and contradiction
has a special obligation toward the whole: its truth must be
in its totality or its implications of totality. It must embody
the difficult unity of inclusion rather than the easy unity of
exclusion. More is not less.
2. Complexity and Contradiction vs.
Simplification or Picturesqueness
Orthodox Modern architects have tended to recognize
complexity insufficiently or inconsistently. In their attempt
to break with tradition and start all over again, they ideal-
ized the primitive and elementary at the expense of the
diverse and the sophisticated. As participants in a revo.
Multi-cluster Kubernetes Networking- Patterns, Projects and GuidelinesSanjeev Rampal
Talk presented at Kubernetes Community Day, New York, May 2024.
Technical summary of Multi-Cluster Kubernetes Networking architectures with focus on 4 key topics.
1) Key patterns for Multi-cluster architectures
2) Architectural comparison of several OSS/ CNCF projects to address these patterns
3) Evolution trends for the APIs of these projects
4) Some design recommendations & guidelines for adopting/ deploying these solutions.
Bridging the Digital Gap Brad Spiegel Macon, GA Initiative.pptxBrad Spiegel Macon GA
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# Internet Security: Safeguarding Your Digital World
In the contemporary digital age, the internet is a cornerstone of our daily lives. It connects us to vast amounts of information, provides platforms for communication, enables commerce, and offers endless entertainment. However, with these conveniences come significant security challenges. Internet security is essential to protect our digital identities, sensitive data, and overall online experience. This comprehensive guide explores the multifaceted world of internet security, providing insights into its importance, common threats, and effective strategies to safeguard your digital world.
## Understanding Internet Security
Internet security encompasses the measures and protocols used to protect information, devices, and networks from unauthorized access, attacks, and damage. It involves a wide range of practices designed to safeguard data confidentiality, integrity, and availability. Effective internet security is crucial for individuals, businesses, and governments alike, as cyber threats continue to evolve in complexity and scale.
### Key Components of Internet Security
1. **Confidentiality**: Ensuring that information is accessible only to those authorized to access it.
2. **Integrity**: Protecting information from being altered or tampered with by unauthorized parties.
3. **Availability**: Ensuring that authorized users have reliable access to information and resources when needed.
## Common Internet Security Threats
Cyber threats are numerous and constantly evolving. Understanding these threats is the first step in protecting against them. Some of the most common internet security threats include:
### Malware
Malware, or malicious software, is designed to harm, exploit, or otherwise compromise a device, network, or service. Common types of malware include:
- **Viruses**: Programs that attach themselves to legitimate software and replicate, spreading to other programs and files.
- **Worms**: Standalone malware that replicates itself to spread to other computers.
- **Trojan Horses**: Malicious software disguised as legitimate software.
- **Ransomware**: Malware that encrypts a user's files and demands a ransom for the decryption key.
- **Spyware**: Software that secretly monitors and collects user information.
### Phishing
Phishing is a social engineering attack that aims to steal sensitive information such as usernames, passwords, and credit card details. Attackers often masquerade as trusted entities in email or other communication channels, tricking victims into providing their information.
### Man-in-the-Middle (MitM) Attacks
MitM attacks occur when an attacker intercepts and potentially alters communication between two parties without their knowledge. This can lead to the unauthorized acquisition of sensitive information.
### Denial-of-Service (DoS) and Distributed Denial-of-Service (DDoS) Attacks
1.Wireless Communication System_Wireless communication is a broad term that i...JeyaPerumal1
Wireless communication involves the transmission of information over a distance without the help of wires, cables or any other forms of electrical conductors.
Wireless communication is a broad term that incorporates all procedures and forms of connecting and communicating between two or more devices using a wireless signal through wireless communication technologies and devices.
Features of Wireless Communication
The evolution of wireless technology has brought many advancements with its effective features.
The transmitted distance can be anywhere between a few meters (for example, a television's remote control) and thousands of kilometers (for example, radio communication).
Wireless communication can be used for cellular telephony, wireless access to the internet, wireless home networking, and so on.
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16. We must learn to see
each not-wholeness
expanding action
(even if minor) as
a bomb blast
to the world
- Christopher Alexander
17. Even architects not immune to
the charms of the places
depicted, are loath to pursue
the folksy aesthetic they see
as implied and do not want to
engage with such primitive
construction
- Peter Buchanan
18. The opposite of a fact
is falsehood,
but the opposite of
one profound truth
may very well be
another profound truth.
- Nils Bohr
21. using
architecture as a
means of
expressing other
kinds of formal
order
2011
http://www.nytimes.com/1989/11/05/arts/architecture-view-the-museum-that-theory-built.html
22. “
Less the molding of space to solve
a problem than it is the concrete
realization of a theoretical idea.
Not a singular, unified object [ but ] a building that attempts to
move beyond singularity of place to a multiple, dynamic idea
of what enclosure is, what defines inside and outside.
''a building that is waiting to be a building''
1989