Memo is an online casino that has been gaining popularity in recent years due to its vast array of games, competitive bonuses, and secure banking options. As with any online casino, it’s essential for players to understand what they can expect from the platform before creating an account or making a deposit.
Brand Overview
Memo was founded in 2017 by a team of experienced iGaming professionals who aimed to create memocasino-gb.top a unique gaming experience that caters to both beginners and seasoned players. The casino is licensed under the laws of Curaçao, which grants it permission to operate online gaming activities within certain jurisdictions. While Memo doesn’t have its own standalone app, it’s optimized for mobile play on various devices.
Registration Process
Creating an account at Memo is a straightforward process that can be completed in just a few minutes. To register, players must provide basic personal details such as name, email address, password, and date of birth. Once the registration form has been submitted, new users will receive an email with a link to activate their account.
After activating the account, players are free to log in using their registered credentials and begin exploring the platform’s offerings. The sign-up process doesn’t require any financial information or verification documents, which makes it accessible to players from multiple countries.
Account Features
Once logged in, users can access various features on their dashboard, including:
Game Library: A comprehensive list of games offered by Memo, categorized for easy navigation.
Balance and Transaction History: View the current balance and a record of past deposits and withdrawals.
Bonuses and Promotions: Displayed prominently in case new promotions or offers have been made available.
Account Settings: Options to update personal details, reset passwords, or access account verification (if requested).
Users can also set up two-factor authentication for added security.
Bonuses
Memo has designed various reward programs and promotional schemes to entice players to stay active on the platform:
Welcome Package: New users receive a three-part welcome bonus comprising match bonuses of 100% up to $200 each, along with free spins.
Deposit Bonus: Existing players can claim additional percentages for their next few deposits (50%, 75%) and up to five more match rewards afterward, though only on specific games within the gaming library (i.e., table games).
Loyalty Program: Players earn points by wagering real money, redeemable for bonuses or cash after reaching certain milestones.
Payments and Withdrawals
Memo supports various banking options, including credit/debit cards (Visa/Mastercard) and online wallets like PayPal:
Deposit Minimums: Depending on the chosen payment method, minimum deposit amounts range from $10 to $20.
Withdrawal Times: Requesting withdrawals via bank transfer can take around two to three days for processing, while other methods might be processed instantly.
Memo applies a 3% fee (minimum of $1) when players withdraw their winnings using payment options like PayPal or bank transfers.
Game Categories
The vast game library at Memo encompasses hundreds of titles across the following categories:
Slots: Classic slots featuring 3-5 reels, progressive jackpot slots from top developers.
Table Games: Roulette (European and American), Blackjack, Baccarat with different variants.
Card Games: Poker (Video Poker, Texas Hold’em) and other card-based titles like Casino War.
Memo collaborates with numerous game providers to ensure a diverse range of gaming experiences:
NetEnt
Microgaming
Play’n GO
Software Providers
By partnering with multiple software developers, Memo has created an extensive library that caters to different tastes and preferences:
BetSoft: Known for their HD-quality slots and progressive jackpots.
Aristocrat : Provides a mix of classic games and more recent hits featuring popular TV shows and movies.
Mobile Version
The mobile version mirrors the desktop experience with full functionality on smartphones or tablets running Android, iOS, Windows Mobile OS’s without the need for any apps:
Responsive Design: Optimized to accommodate varying screen sizes and resolutions.
Touch Controls: Players can navigate menus using a mouse click or touch-screen gestures.
Memo’s mobile interface doesn’t skimp on key features: users can still engage in online games, claim bonuses, deposit/withdraw funds, and monitor their account activity seamlessly from anywhere with an internet connection.
Security and License
To safeguard its players’ financial transactions and personal data:
Encrypted Communication: The website uses SSL (Secure Sockets Layer) encryption to secure all communications.
Random Number Generators (RNGs): Ensures fairness in games through RNG-based outcomes for slot machines, card dealing systems.
Memo is licensed by the Curaçao Gaming Authority under a remote gaming license no. 131/2017/Curacao.
Customer Support
Players can access help when needed via several channels:
Live Chat: Responds within minutes to player queries.
Email Support: Detailed inquiries get answered promptly via email (support@memo.com).
FAQ Section: Contains a list of frequently asked questions (Frequently Asked Questions) covering account-related matters.
User Experience
From registration through gameplay and payments, Memo has carefully designed its platform to be user-friendly for players:
Clear Navigation: Intuitive menus allow easy access to all features.
Gamification Features : Offers several incentives like the reward system to increase engagement levels.
Overall, while some users may find the experience suboptimal in certain areas (for example the limitations placed on high-roller bonuses or the wait times for withdrawal processing), the numerous benefits offered by Memo outweigh most drawbacks and make it an attractive option for slot enthusiasts.
Performance
Based on collected data from online reviews:
Fairness: Users overwhelmingly report a fair gaming environment with random outcomes.
Payment Speeds : While withdrawals may take longer than desired, deposits are usually processed quickly, as expected at reputable casinos.
Payout Rates : Some players have received high payouts when winning, reinforcing the overall fairness and RTP of their games.
The Memo experience leaves a good impression on most users due to its vast library and decent welcome offer. Overall it can be considered one of the better options available within the market today but remember no platform is perfect.
Analysis
Memo presents itself as an appealing option for both new and existing players thanks to:
Extensive Game Portfolio: A blend of timeless slots from top developers alongside their newer titles.
Competitive Welcome Bonus : A substantial starting package covering match bonuses and free spins helps increase a player’s initial balance significantly.
While Memo is missing some key features such as regular tournaments or a more extensive VIP program, its simplicity in user interface makes navigating menus much simpler for beginners looking to immerse themselves into the world of online gaming.
In addition to those features already discussed above regarding their welcome offer (see bonuses), players may also be attracted by other less obvious attractions such as:
Game Selection: Users appreciate variety while choosing between slot machines featuring various themes, progressive jackpots or popular hits.
Easy Deposit Options : Memo understands that online banking requirements can sometimes cause problems for individuals trying to initiate transactions.
However there are some areas where it appears they fall short such as when comparing average payouts over time or perhaps withdrawals processing speed for players from certain countries and at high stakes limits.
As always it is key to know about any bonus offers being promoted by these operators before deciding whether your chosen online casino will meet all of our specific gambling needs.
Tortuga Casino is an online gaming platform that offers a wide variety of games to its users. The site is designed to resemble a pirate-themed shipwreck, complete with treasure chests and swashbuckling graphics.
Brand Overview
The Tortuga brand has been around for several years now, and it’s managed by a company called Mirage Corporation B.V., which is incorporated in Curacao. This company has also launched other online gaming sites that operate under licenses from reputable jurisdictions such as Malta and Tortuga the UK. Despite being registered in a smaller island nation off the coast of Venezuela, Tortuga Casino has gained international attention for its user-friendly interface and attractive bonus offers.
Registration Process
Registering at Tortuga is relatively straightforward and can be completed within minutes. Users simply need to click on the “Join Now” button located near the top right-hand corner of their webpage. This will prompt a new window that requires users to enter personal details such as name, date of birth, email address, telephone number, country/region of residence and preferred currency for wagering purposes.
In addition to these basic credentials, potential players are required to agree to the terms and conditions set forth by Mirrage Corporation B.V., which includes rules surrounding gaming laws within their own jurisdiction. This ensures that all users adhere strictly according to established guidelines when participating on any platform offered through Tortuga Casino’s umbrella.
Account Features
Upon creating an account at Tortuga, players gain access to numerous features designed specifically with customer convenience in mind. Some notable additions include:
The possibility of creating multiple user profiles under one master account (for friends or family members, for example).
Personalized page layouts that allow users to prioritize their favorite games and easily find frequently used options.
Multi-lingual support via a selection languages including Spanish English French Chinese German Portuguese Italian Turkish Hindi Greek Bulgarian Russian Polish Czech Danish Swedish Estonian Finnish Latvian Lithuanian Norwegian Icelandic Albanian Croatian Azerbaijani Uzbek Macedonian Serbian Montenegrin Belarusian Georgian Irish Welsh Arabic Farsi Dutch Catalan Hungarian Romanian Icelandic Faroese.
W dzisiejszym świecie rynku gier hazardowych internetowe kasyna są niezwykle popularne i oferują różnorodną gamę rozgrywek, bonusów oraz funkcji dla graczy. Jednym z takich kasyn jest Club Player Casino, które zapewnia swoim użytkownikom unikalne doświadczenie gier hazardowych online.
Informacje o markie
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Aby dowiedzieć się więcej o dostępnych funkcjach można odwiedzić oficjalną stronę kasyna, tam gracz znajdzie szczegółowe opisy i wyjaśnienia każdej możliwości. Dedykowana strona “Frequently Asked Questions” (Często Zadawane Pytania) pomaga nowym użytkownikom w zrozumieniu obsługi kasyna.
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Az újszerű online kaszinók széles választékával rendelkező piacon versenyt keres az egyre több játékos, akik igénylik a minőség és a bizalom kombinációja alapján válogatnak. Az Sg éppen ebben a szellemben működik, amelynek célja annak a kiteljesítése, hogy azoknak adhasson olyan online játékkal kapcsolatos tapasztalatot, ami biztosítani fogja a szórakoztató és kielégítő élményt. Ebben a cikkben egy részletes elemzésre kerül sor a Sg online Sg kaszinóban található funkciók, előnyök és lehetőségek összeállításának bemutatása.
Regisztrációs Folyamat és Regisztrált Felhasználói Profil
A regisztrációs folyamaton keresztül elérhetővé válik az Sg online kaszinója, amelynek alapjai a bizalom megerősítésére irányulnak. Első lépésként a felhasználó megadhatja személyes adatait és regisztrációs név választását végezheti el, majd hitelesítheti saját fiókját. Az Sg online kaszinó egy olyan ügyfelet biztosít magának, akik 18 évesnél idősebbek és számára megadott címről jöttek.
A regisztrált felhasználói profil pontos és gyors elérésére építhetett. A felületen keresztül, egyik funkció a betétek letöltése ily módon az Sg online kaszinóban végzhető.
A Szolgáltatások Bemutatása és Alapelvek
Az Sg online kaszinó számos funkciót kínál, amelyek mindegyike biztosítja a piacon kitűnő minőséget. A legfontosabbak:
1. Szuper Minőségű Játékok: Az Sg-ben megtalálható játékok és a minőségi üzemeltetési feltételek lehetővé teszik számunkra a játéknak olyan magas színvonalon történő megvalósítását.
2. Kényelmes Letöltés: A mobillábra kifejezetten elrendezett funkcionalitást biztosít, hogy úgy legyen érhető és használható minden platformon, ahol mobil hozzáférés van lehetőség.
3. Biztonságos Játék: Az üzemeltetésre vonatkozóan bizonyosságot ad, ezáltal az Sg-ben játszva oly módon távol tudsz maradni a kockázattól és életed bántalmazása nélkül élvezheted kedvenc játékok.
Az alapelvei továbbra is a bizalom, a rendszeresség és az ügyfélélmény javításának irányulnak. Ezen kívül, évesen új funkciók születnek, amelyek növelik annak elérési módja.
Bónuszok
Ez a bónusztípus biztosít lehetőséget az Sg-ben való játékra. A díjak és különleges akciók nem ritkaság, ezeknek értelme olyan hogy csapatot adjon a rendszerre amely ezentúl könnyebben megéri.
A bónusztípusok számos alapelveken múlik, ilyen példaként: Bónusz összege (játékaihoz biztosítja az elérende kártyák), aktiválás ideje és akció típusa. Ezen túl a rendszer magában hordoz egy fegyelmeztető szabályrendszerét, mely megakadályozza kifizethetőségét.
Kifizetések
Az Sg online kaszinó támogatja az általánosan elterjedt fizetési és kiegyenlítő rendszereket, ezenkívül a következő kuponok alapján elérhetővé válik:
1. Kártya. 2. Üzlet bankfiók.
Az Sg-ban működési folyamatja és biztonságos feltételeiről rendszeresen lehetőség van megtudni. Az általánostól eltérve az ügyfelek számára nincs megadva, hogy pénzt küldjenek a kaszinóba.
Játék Kategóriák és Szoftver Továbbfejlesztése
A kiválóság olyan fontosságú, ami a működés során mindig az értékesített szolgáltatás minőségét fokozza. Az Sg-ben többféle játék beszerezhető:
Az üzemeltetett rendszerben beépített szoftverei a következők: NetEnt és Microgaming. A fent említetteket felül is megemelkedhetik az új funkcionalitások és a rendszerek alapú továbbfejlődések miatt.
Mobil Bemutatása
Az Sg mobillal elérhetővé tett függőségét az olcsóbb módon lehet megteheti. Az interneten keresztül, hozzáférést biztosít a következőkhez:
1. Mobil platformok számára kiépíttetett egy olyan elrendezésű felülettel. 2. A játékprogramot az alapelvektől meg nem távolítva, ily módon biztosítva a gyors hozzáférést.
Biztonság és Jogi Licencia
Az Sg online kaszinó egy jogszabályokat tartalmazó rendszer melyen keresztül minden személyhez nyújt megoldásokat, ily módon biztosítva a piacon birtokolható minőség és védelmet.
Az Sg online kaszinóból nem kapott ki legfőbb oka ez maga a betegek védete.
Felhasználói Élmény
Az Sg online kaszinónak egy érthető és kínált felülete van, amely úgy működik, hogy nem sokkal megváltozva biztosítja az egyéni igényeik szerint szerveződött lehetőség hozzáférhetőségét. Minőségre épül a játékban részt vevő rendszer és összes funkciók alapján.
Képességek Eredménye
Az Sg-ben meghatározott egyedinek vélt kifinomultság minél magasabbra szolgálja a biztonságot, amely értelmét veszti az ebből adódó fegyelmezés. Ezen túl ez alapján nem merült fel probléma növekedése és hiányosság.
Összesítés
Az Sg online kaszinónak sikeres stratégiai megközelítés van, melyen keresztül mindig nagyon jó elérhetősége van. A fent említett funkciók és előnyök gyors hozzáférést biztosítanak a kaszinó számára úgyhogy az egyedileg használhatóságának kiemelt fontossága áll, amelyet ebben módon mindenki megelégedve használni fogja.
Das Online-Casino Brand “Rolldorado” hat in den letzten Jahren viele Spieler für sich gewonnen haben durch seine breite Palette an Spielautomaten, Tischspiele und Live-Casinospielen. Die Website ist einladend gestaltet und bietet eine einfache Navigation, die es einfach macht, das Casino zu erkunden und Spiele auszuwählen.
Brand-Überblick
Rolldorado wurde 2018 gegründet und hat sich schnell als einer der führenden https://rolldorado-casino-online.de/ Anbieter im Online-Casino-Segment etabliert. Das Unternehmen ist lizenziert durch die Malta Gaming Authority (MGA) und folgt den strengen Vorgaben zur Spielerdatenschutz, -sicherheit und Fairness in den Spielen. Die Website wird auf Deutsch, Englisch und weiteren Sprachen angeboten.
Registrierungsprozess
Die Registrierung bei Rolldorado ist ein einfacher Prozess, der weniger als 5 Minuten dauert. Der Spieler muss lediglich seine persönlichen Daten eingeben, wie Name, Adresse, Telefonnummer und E-Mail-Adresse sowie sein Geburtsdatum. Darüber hinaus muss er eine sichere Zugangsdaten (Benutzername und Passwort) auswählen. Nachdem die Anmeldung abgeschlossen ist, erhält der Spieler einen Bestätigungscode per E-Mail.
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Ein Guthaben-Gutschein (auch bekannt als Bonusbetrag) für die ersten 5 Freispielen in bestimmten Spielen
Automatisches Registrierungsbonusprogramm mit zusätzlichen Boni nach jeder Depostierte Summe
Bonuser
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Registriert die Automatischen Cashback-Programme: Der Benutzer erhält bei jeder erfolgreichen Einzahlungsabsprache automatisch einen Anteil (bis zu) des Bonusbetrags als Guthaben.
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Tischspiele: klassische Tischspiele wie Roulette, Black Jack, Baccarat sowie spezielle Versionen mit verschiedenen Regeln oder Bonus-Funktionen.
Live-Casino-Spiele: eine Vielzahl von Live-Zahlungsprozessen für Tischspiele, wie z.B. Royal Panda Casino, bet-at-home und Novoline.
Software-Anbieter
Rolldorado kooperiert mit renommierten Softwareanbietern aus der Branche:
Microgaming: eine Pioniermarke auf dem Markt von Online-Glücksspielen
NetEnt : ein führender Spielehersteller für Automaten und Tischspiele.
Mobilversion
Das Rolldorado-Online-Casino ist für den mobilen Internetzugriff optimiert, was bedeutet, dass Benutzer ihre Lieblinge spielen können, sobald sie Zugang zu einem stabilen Internetnetzwerk haben. Es stehen auch Apps (Apple Store und Google Play) zur Verfügung.
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Rolldorado unterliegt strengen Vorgaben der Malta Gaming Authority (MGA), wodurch sichergestellt wird, dass die Website sicher ist und Spielerinformationen nicht missbraucht werden. Das Unternehmen verwendet 128-Bit SSL-Verschlüsselung für den Schutz von Nutzerdaten.
Unterstützung des Kunden
Das Support-Team von Rolldorado ist rund um die Uhr abrufbar und bietet eine Vielzahl an Möglichkeiten zur Kontaktierung, darunter E-Mail, Telefon (live-Support) sowie ein FAQs-Abschnitt auf der Website. Der Spieler kann auch direkt mit einem persönlichen Betreuer sprechen.
Benutzererfahrung
Die Benutzung des Rolldorado-Online-Casinos ist einfach und intuitiv:
Eine klare und benutzerfreundliche Layout der Website
Schnelle Navigation zwischen den Spielen und Funktionen
Regelmäßige Bonusprogramme zur Unterstützung des Spielers
Abschluss
Das Online Casino Brand Rolldorado hat sich innerhalb kürzester Zeit zu einem führenden Anbieter im Markt etabliert. Seine breite Palette an Spielen, seine sichere Plattform und sein benutzerfreundliches Layout haben es zum beliebten Wettbewerb unter den Spielern gemacht.
Insgesamt ist Rolldorado eine solide Wahl für Spieler, die nach einem Online-Casino suchen, das Sicherheit, Auswahlmöglichkeiten und Unterstützung bietet.
Amennyiben a kíváncsiság fokozódó érzete hajtja végre, hogy új online kaszinóról olvasson be egy részletes információt, akkor itt az ideje bemutatnunk nektek a Spinangan Casino szolgáltatásait. A különféle játékok és lehetőségek áttekintése mellett tisztázzuk a regisztrálástól a pénzfeloszlásig minden részletet, hogy biztosan eldöntsék, érdemes-e e webes kaszinóban együtt játszani velük.
Regisztrációs Folyamat
Ahogy bárhol is az online térben valamilyen szolgáltatást meg szerettek volna használni, a regisztráció fontos lépésnek bizonyul. Az alább leírtak figyelembevételével érdemes bekapcsolódni e kaszinóban: az oldalról bal oldali menüt keresse meg “Regisztálj”, és válassza a spinanga-hu.net hiteles szállítók közül akár magyar nyelven is regisztrálni. A következő lépésekben úgy tesznek, mintha egy rendes honlapon lettek volna.
Elsőként a nevük és elérhetőségük kérése van, majd jön az adatbiztonságért felelős megkérdezés. Ezt követi a hitelesítéseket tartalmazó oldal, amit be kell kitöltenie, hogy valamilyen rendszerhez is el lehessen kapcsolódni.
Az ellenőrzések végén érdemes a kiküldött emailt szakmailag átvizsgálni és jóváhagyásnak jelölni. Természetesen a megfelelő adatok szolgáltatása kötelező, így bármilyen hiányos adatként felveszi magát.
Regisztrációs Jutalom
Az új játékost részleteiben kísérlem áttekinteni a regisztrációhoz járó hasznosság: egy 100%-ig megtízesített, ezer forintot kitevő nyerési lehetőség. Ezek az összegek folyamatosan változnak, de megéri szemrevételeznünk a legfrissebb információkat is.
A Lehetőségek Áttekintése
Az ellenőrzendő elemek listáját áttekinthetjük egy átfogó beszámolóval. A hálózatban az alábbi részek elérhetővé válnak.
Az online kaszinó maga: a fentiekkel szemben bizonyíthatja az ismert online játékok valamelyikébe bekapcsolódásunk és a jövedelem növelésre tett kísérleteinket.
A Spinangan márkanevek használata: ezen belül több olyan családot fedezhetünk fel, amellyel kapcsolatos az adott weboldal működtetője, mint a Playson, EGT és mások.
Bónuszok
A bónuszt megismerve érdemes a korábbi részekben említett információkról is megbizonyosodni. További nyerési lehetőségek egyeztetése által szükség lesz rá, hogy ténylegesen új játékossá válhassunk.
Kifizetések
A bónusztól a pénzek kikerülhető eloszlásáig érdemes megszemlélve megemlíteni néhány apróságot, amire az informált olvasóknak mindenképp fel kell figyelniük. A beavatkozása révén kínálhatja a következőket:
Online letöltésre szánt játékokhoz történő pénzelosztás
Az éppen használt valutában (folyamatosan változik) meghatározott kifizetési határérték a fenti csomagolása esetében.
Mennyiségét mindig jól megérteni szükséges, hiszen sokszor jelentős hiányosságként jelenhet meg.
A Feltöltendő Összegek és Határok
Tudnunk kell az ilyenkor általánosan elterjedt valuták besorolását, mert ez segíteni fog a további döntéseinkben. Az adott folyamatos változást szükséges mindig figyelemmel kísérni és az apróságokat gondosan meghagyni.
A magyar Forint: (HUF)
Az euró
USD
Játék Kategóriák
A kaszinót megkeresve szembetaláljuk majd a különféle játékokat, melyek között számos minőség és fajta váltakozik. Az alábbiakat érdemes megszemlélve felmerülhet egy vagy több tisztességes elbírálás.
Automata Játék
Feltöltő játék
Bújtjáró és másos búvó, szakmai változatok
Szoftver Szolgáltatók
Az eddig leírt információknak megfelelve érdemes a legfontosabbat figyelemmel kísérni. A nagyon sok működtetőnél történik ilyen, hogy együttműködnek más oldalakkal is.
Az EGT: ennek szintén a többit érdemes felfedeznem
Mobilverzió
A mobilos megjelenés általánosan terjedő hatásként a játékosság könnyíti meg az elérhetőségét. Javaslatok, hogy használhatunk egy olyan folyamatot: úgy tennénk, mintha egy másik felületen lennénk.
Biztonsági Rendszerek és Licenszió
A valamilyen weboldal szolgáltatások általi megszerzésének bizalmánál fogva érdemes a legfontosabb tényekre felfigyelnem. A meggyőződést könnyedén megértem és támogatlak, de ehhez a kockázatok jelenléte és elterjedt szabályozás fontos szerepet játszanának.
Hitelesítettség: az egyes országokban is hivatalosan engedélyezett ügyekre általánossá válik
Megfelelő feltöltési folyamat
Visszajelzéseink és Tapasztalatunk
A Spinangan Casino szolgáltatásai valóban komponensekkel rendelkeznek. Ennek elég ékes bizonyítékának tekinthető a magyar nyelvhez hozzáigazíthatósága, amely természetesen megnövelte azok számát is, akik eddig tartózkodtak egy eseti kereséskor.
Die zunehmende Popularität von Sportwetten und Casinospiele hat zu einer Vielzahl an Angeboten geführt, die sich auf verschiedenen Plattformen erfreuen können. Eine wichtige Entwicklung in diesem Bereich ist das Ausbau der Betriebssysteme, bei denen verschiedene Anbieter eigene Spielangebote bereitstellen. In dieser betsider sportwetten Übersicht soll es um die Möglichkeiten gehen, Sportwetten und Casinospiele direkt auf dem Betriebssystem eines Glücksspielanbieters zu erleben.
Überblick
Der Begriff “Betsider” bezeichnet im Kontext von Sportwetten eine Plattform oder ein Angebot, bei der mehrere Wettbüros und Buchmacher unter einem Dach vereint sind. Ähnlich wie in einem traditionellen Betriebssystem können Nutzer zwischen verschiedenen Anbietern und Angeboten wählen und die besten Bedingungen für ihre Wetten finden.
Die Entwicklung von Betsidern ist eng verbunden mit dem technologischen Fortschritt, der es ermöglicht, mehrere Plattformen zu integrieren und zu verbinden. Dieser Trend hat sich insbesondere im Bereich der Sportwetten etabliert und bietet Nutzern eine breitere Auswahl an Wetten, Casinospiele sowie andere Glücksspielangebote.
Wie funktioniert es?
Die Funktionsweise von Betsidern basiert auf einer Plattform, die mehrere Anbieter zusammenfasst. Bei dieser Plattform wird ein Benutzerkonto angelegt und Zugang zu verschiedenen Wetten und Casinospiele gewährt. Die Nutzer können zwischen verschiedenen Wettangeboten wählen und dabei den besten Nennwert oder das beste Gewinnchance auswählen, um ihre Chancen auf einen Sieg zu maximieren.
Zusätzlich ermöglicht die Integration verschiedener Anbieter eine bessere Vergleichsmöglichkeit für die Nutzer. Sie können verschiedene Wetten im Wettvergleich vergleichen und den besten Preis finden. Dies führt dazu, dass die Konkurrenz unter den Buchmachern steigt und die Nutzergewinne erhöht werden.
Arten von Betsidern
Es gibt verschiedene Arten von Betsidern, je nachdem, welches Angebot im Vordergrund steht. Einige der bekanntesten Beispiele sind:
Sportbüros : Diese Betsider bieten eine Vielzahl an Wetten auf Sportereignisse wie Fußball, Basketball und andere Sportarten.
Casinobörsen : Hier können Nutzer verschiedene Casinospiele spielen, darunter Slots, Tischspiele und Live-Casino.
E-Sport-Büros : Diese Betsider konzentrieren sich auf Wetten zu E-Sports-Turnieren.
Rechtlicher Kontext
Die Rechtslage für Betsidern ist vielschichtig. In einigen Ländern wie dem Vereinigten Königreich oder Malta sind Online-Glücksspielanbieter lizenziert und unterliegen bestimmten Vorgaben, während in anderen Regionen die Regierung diesen Bereich streng reguliert.
Kostenlose Optionen
Zu den Vorteilen von Betsidern gehören auch kostenlose Optionen. Oft werden Nutzern ein Testgeld oder ein Demo-Konto angeboten, mit dem sie sich in verschiedenen Spielen ausprobieren können. Dies ermöglicht es den Nutzern, die Plattform zu erkunden und ein Gefühl dafür zu bekommen, wie die Spiele funktionieren.
Echtgeld-Wetten gegenüber Freispiel-Optionen
Der wichtigste Unterschied zwischen Echtgeldwetten und Freispiel-Optionen ist der Einsatz von Geld. Bei letzterer Option spielen Nutzer mit virtuellem Geld, das nicht auf ein Bankkonto übertragen werden kann.
Echtgeld-Wetten hingegen können direkte Verluste für den Spieler nach sich ziehen. Daher sollte jeder Spieler sorgfältig prüfen, welches Angebot am besten zu ihm passt und sich an die Einschränkungen des Spiels erfreuen.
Vorteile und Nachteile
Die Vorteile von Betsidern liegen in der Vielzahl der Angebote, aber auch in den Kosten können einige Personen Schwierigkeiten haben. Einige Nutzer könnten sich vor den hohen Anforderungen zurückziehen. Im Gegenzug ermöglichen die Plattformen einen höheren Vergleichsstand.
Missverständnisse und Irrtümer
Einige potenzielle Benutzer mögen nicht verstehen, dass Betsider keine Betrugsmaschinen oder betrügerische Möglichkeiten sind. Oft können sie aus einem Mangel an Kenntnis über die Verfahren stammen.
Der richtige Gebrauch von Online-Betrugsanbietern hat eine Bedeutung für das Echtgeldspielen, da es zu verschiedenen rechtlichen Schritten führen könnte. In diesem Fall wird jeder Spieler einen Anwalt oder Ratgeber suchen.
Benutzererlebnis und Zugänglichkeit
Ein weiterer Aspekt ist die Zugänglichkeit von Betsidern über verschiedene Geräte wie Smartphones und Computer ermöglicht es den Benutzern, bei jedem Zeitpunkt zu spielen. Der Aufbau der Plattformen in verschiedenen Formaten wurde bereits erreicht.
Daher wird das Anbieten und Verwalten einer umfassenden Auswahl an Wettmöglichkeiten eine entscheidende Rolle für die Zufriedenheit des Benutzers übernehmen. Die Nutzer können zwischen der Erworbenseite des mobilen Spiels, dem PC-Browser oder sogar direkt im Betriebssystem wählen und die Wahl auf das von ihnen bevorzugte Gerät anpassen.
Risiken und verantwortungsvolle Überlegungen
Die größten Risiken beim Echtgeldspielen sind finanziell. Der Missbrauch einer Glücksspielauftragsfunktion oder -abteilung kann dazu führen, dass Nutzer mit höherem Einkommen unter einem Druck stehen.
Um die Chancen der Spieler zu verbessern und mögliche Verluste einzudämmen, haben viele Anbieter verantwortungsvolle Überlegungen implementiert. Hierbei geht es darum, dem Benutzer mehr Kontrolle über seine Wetten oder -sitzposition zu geben.
Einige Anbieter bieten Funktionen an, um eine limitierte Betragsausgabe pro Woche (Wochenbetragsbegrenzung) oder pro Tag für Echtgeld-Wetten auf verschiedenen Glücksspielarten und Spieltypen einzuführen.
One of the fundamentals of interior design feng shui is the five elements. Light and dark are always in balance. You should try to keep things simple and avoid using a lot of decorative elements. You should also use mirrors to create a more peaceful atmosphere. In addition, you should avoid red and yellow accents because they attract bad energy. You can also incorporate a lot of water elements in your home by placing aquariums and a mirror on the wall.
To create a feng shui home, you must pay close attention to the natural lighting in your home. In addition, it’s essential to have a good night’s sleep and to make sure there’s plenty of natural light. If you have a large window, you should open it as much as possible. But if you can’t open it, you can always use blackout curtains or let the sunlight stream in.
Remember that the entryway is the first place people come into your home. It should be attractive and orderly. Besides, you should include practical items to keep your entrance organized. This way, you will create a welcoming atmosphere that will attract visitors. If you don’t have a designer or don’t have the time to do it yourself, you can always hire an interior designer. This is one of the easiest ways to apply feng shui to your home.
In applying feng shui tips to your home, you need to consider the five elements. Wood represents growth and encourages personal development, while metal is associated with logic and sharpness. The fifth element, earth, is a stable, foundational element. Bring some of nature inside by placing landscape imagery throughout your home. Incorporate natural elements into your home with plants, wooden furniture, and other decorative objects.
In addition to using natural materials for your home, you should also use a lot of wooden items. The five elements of feng shui are all important. They help create balance in your home and your life. They can improve your life and your business. There are many books that deal with feng shui. There are also some excellent guides to feng shui in your home.
If you want to maintain the high value of your home you simply need to be able to perform mundane tasks that will stay its best condition for the long run. Some repairs can cost hundreds or even thousands, but it is much better to invest your money towards the best repair solution than having to repair the system again in a few months.
In terms of your HVAC, you will want to closely monitor the system’s performance, especially during the cold seasons. This will give you assurance that the system will help you to reduce your utility bills and will impress you during the cold weather.
The first step that you should take is to purchase duct tape and staples. Essentially, these are the materials that are used to replace old parts or conveniences, which have worn efficiently in the system. Be careful to follow the existing system blueprint while you’re placing these materials on your HVAC system. The red tape will give your machine an extra sheen so that you can sacrifice or keep all the visible parts of the machine together.
There are many free online tutorials on how you can maintain a well-oiled HVAC. One of these covers the inspection and repair of the system. You can learn from many sources and this will help you reduce your bills. A well-maintained HVAC system allows air to circulate properly throughout the internal rooms of your home. You also have the chance to increase your home’s circulation and this overall energy efficiency can save you a lot of money.
Studies have shown that the areas in your home that experience these problems are often located in your house. If it’s always been like this in the past, then it’s time to be more energy efficient. This can be done by placing more insulation in your attic and replacing windows with those with high efficiency ratings.
When it is cold and when it is hot all around the house, you will want to ensure that you use your thermostat properly so that your system isn’t warmed or cooled unintentionally. By keeping a close eye on the temperature you see in your fridge and in your freezer, you will be able to follow how the system is operating. This will also ensure that you don’t have to waste energy because you did not get the temperature that you have set when there was no one in the house.
You do not have to let your HVAC system run 24/7. You can actually install things that monitor the temperature and remind you to turn it off when it is not needed then use the auto and portable warm or cool function. If you want to ensure that you enjoy a pleasant temperature all the time, you should set up thermost restructuring systems and new tags to permanent balusters.
If your HVAC system is running all the time, you have to put insulation materials in it, which is not only boosts energy savings, it can also cut energy consumption. Experts have said that if there is less heat flowing into the structure from the exterior, there would be a reduction in energy consumption as well. This means you are also helping the environment save electricity as well. Afterall, the whole world is suffering due to energy consumption, so you should first consider the Center for Green Building in order to save energy.
There are scenarios that you can easily avoid, just by taking the tips mentioned above and preventing all those small situations. What you should do is make sure that your HVAC system is running a proper and energy-saving way. This will allow you to have lower utility bills, and also ensure that you are helping the environment. You should also remember that you always have options, but it is always a good idea to stick to what you think is most practical.
Tongue very much in cheek, Calgary-born, now New York-based, painter Attila Richard Lukacs offered recent work, continuing his powerfully painted, affecting odyssey of gay life. The thirty-five-year-old Lukacs, who came to New York in 1996 after spending ten years in Berlin, gained notoriety early on in his career for his erotically uncompromising portrayal of rough boys. His subjects’ working class rage is treated with a sympathy that is homoerotically inclined, and so it is hard to tell whether his bare-chested young men constitute a political statement or an extended meditation on skinhead allure.
Additionally, the ghost of the German past inevitably accompanies Lukacs’ art, which forthrightly plays with images that, for many people, have associations with the neo-Nazi movement in Germany. It is a difficult thing to dehistoricize such imagery, and while Lukacs is at pains to downplay the flirtation with the far right and emphasizes his paintings’ erotic flair, it seems unavoidable that his work would be seen by some as ethically questionable.
Even though he claims to have thought it up while drunk, Lukacs appears to be addressing such criticism in the title of his show, “It’s Not About Schinkel, It’s About Schinken.” Schinkel is the name of the influential, classically inspired nineteenth-century German architect Karl Friedrich Schinkel, and schinken is the German word for ham. It’s not an overinterpretation to see in the pun Lukacs’ refusal to associate himself with any grand Aryan scheme, as well as an insistence on the fleshy focus of his art.
Indeed, for Lukacs, flesh is the goal. His homosexuality is expressed through the powerful delineation of the male form, his affection for the male body profoundly evident in this show, which includes exquisitely finished paintings of young men with shaved heads and bare, muscular torsos; the striking Labours in Natural History (1997), an extraordinarily detailed, life-size wax sculpture of a bionic skinhead; and the inspired conceptual sculpture Casting for a Lost Track (1997), which, celebrating maleness in the abstract, comprises forty-eight pairs of Dr. Martens boots, placed in a packing crate with a transparent acrylic cover.
Above all else, Lukacs convinces by virtue of his technique, which is brilliantly confident in its meditation on male physicality. This was an extremely male show – no female figures existed in the many paintings and sculptures exhibited. For example, the large painting entitled The Fresh Air Front (1997) includes nine young men, standing and sitting against a heavily graffittied wall; their slightly menacing air is accentuated by Lukacs’ closely detailed portrayal of their bodies, their unclothed torsos in particular.
Người tiên phong trong ngôn ngữ lập trình máy tính, Phòng thí nghiệm IBM Watson tại Đại học Columbia, 1950-52
Ảnh trái: từ Jean Ford Brennan, “Phòng thí nghiệm IBM Watson tại Đại học Columbia: Lịch sử”, IBM, Armonk NY (1971). Chú thích ghi: “John Backus người lãnh đạo nhóm phát triển FORTRAN (1954-57) là một trong những lập trình viên SSEC đầu tiên .” Sau khi phục vụ trong Quân đội Hoa Kỳ trong Thế chiến II, Backus đã nhận bằng Cử nhân toán học tại Trường Đại học Tổng hợp Columbia năm 1949 và ông cũng đã nhận được bằng Thạc sĩ Toán học Columbia vào năm 1950. Ông làm việc tại Phòng thí nghiệm IBM Watson tại Đại học Columbia từ năm 1950 đến 1952 và tiếp tục lãnh đạo Nhóm nghiên cứu lập trình của IBM và được vinh danh là thành viên IBM năm 1963. Bên cạnh FORTRAN, Backus cũng đã phát triển BNF (Backus Normal Form hoặc Backus Naur Form, một ứng dụng của ngữ pháp tạo sinh của Noam Chomsky cho các ngôn ngữ máy tính hình thức), ngôn ngữ được sử dụng để mô tả hình thức ngôn ngữ máy tính và ông là tác giả chính của Báo cáo sửa đổi Algol 60. Ông đã nghỉ hưu năm 1991. Trích dẫn giải thưởng ACM Turing:
Vì những đóng góp sâu sắc, ảnh hưởng lớn và lâu dài cho việc thiết kế các hệ thống lập trình cấp cao thực tế, đáng chú ý là qua công trình của ông trên FORTRAN và xuất bản chính thức các quy trình chính thức cho đặc tả ngôn ngữ lập trình.
John Backus qua đời tại nhà riêng ở Ashland, Oregon, ngày 17 tháng 3 năm 2007.
Vào năm 2004, tôi có trao đổi thư với anh ấy như sau, sau một lời giới thiệu:
____________________________ Ngày: Thứ Tư, ngày 31 tháng 3 năm 2004 12:06:14 EST
Chào John, thật vui khi liên lạc với anh. Kể từ khi tôi đến làm việc tại nơi mà chúng ta vẫn gọi là Phòng thí nghiệm Watson, anh đúng là một người hùng.
Lần đầu tiên tôi bắt gặp máy tính và Fortran vào năm 1965 trong Quân đội, và đã đến Columbia vào năm 1966 (khi IBM vẫn còn ở đây, trong chính tòa nhà tôi đang ngồi, nhưng lúc đó tôi không biết về nó). Vào thời đó, Phòng thí nghiệm Watson vẫn còn rải rác các bảng cắm, bộ bài và dây nhỏ. Tôi vẫn còn cái bàn những năm 1940 của ai đó và một đống sách hướng dẫn EAM (kinh nghiệm “lập trình” đầu tiên của tôi là trên chiếc 407).
Paul [McJones] đã chỉ ra vấn đề web của tôi trong lịch sử điện toán Columbia:
http://www.columbia.edu/acis/history/
mà có thể được theo dõi thông qua các liên kết vô tận đến các trang phụ về con người, thiết bị và sự kiện, cùng với một số sách và báo trực tuyến. Tôi bắt đầu thực hiện điều này khi phát hiện ra mình đã trở thành (gần như) người đàn ông lớn tuổi nhất ở đây và là nguồn hoài niệm yêu thích của mọi người.
Tuy nhiên, khi tôi bắt đầu viết, tôi trở nên thích thú với thời đại Eckert và Phòng thí nghiệm Watson hơn bất cứ điều gì tôi nhớ. Đặc biệt là khi tôi bắt đầu nhận được các cuộc gọi và email từ các cựu chiến binh của những năm đó, bao gồm Herb Grosch, Eric Hankam, Ellie Krawitz, Ken Schreiner, và Seymour Koenig, tất cả những người mà bạn có thể nhớ (và có thể tiếp cận dễ nhất qua email), cũng như nhiều người khác từ những năm sau khi anh rời đi. Eric vẫn sống trong cùng một căn hộ, ngay góc phố. Ellie đang ở Đại học New York. Herb ở Đại học Toronto.
Nơi này có một lịch sử, một điều chưa được biết đến nhiều ở Columbia, không bao giờ bận tâm đến phần còn lại của thế giới. Thật trùng hợp, Columbia đang có Lễ kỷ niệm 250 năm trong năm nay và tôi đã trở thành nhà sử học máy tính thực tế trong dịp này, từ từ nhưng chắc chắn sẽ đưa tài liệu vào trang web C250:
http://www.columbia.edu/c250/
ví dụ. Hollerith (và sắp tới là Eckert) với tư cách là “Những người Columbia đi trước thời đại”, cũng như trong tập kỷ niệm (“Stand Columbia”).
Nếu bạn xem qua các trang lịch sử điện toán, bạn sẽ thấy tôi đã cố gắng xác định một số lượng đầu tiên (một số trong số chúng có thể gây tranh cãi) có thể được yêu cầu bởi Columbia và / hoặc Phòng thí nghiệm Watson tại Columbia, như tính toán khoa học tự động đầu tiên , cuộc họp thành lập ACM và (điều này nằm trong dự đoán của anh) SSEC, trong đó có một trường phái cho rằng đây là máy tính kiến trúc von-Neumann thực sự đầu tiên (trong đó nó có khả năng lưu trữ chương trình hướng dẫn vận hành và trộn dữ liệu và dữ liệu trong cùng một bộ dự trữ, mặc dù đó không phải là chế độ hoạt động bình thường của nó và mặc dù bộ nhớ trong của nó rất nhỏ):
http://www.columbia.edu/acis/history/ssec.html
Thì, tôi không muốn thư này quá dài, vì vậy tôi sẽ dừng lại bằng cách nói rằng tôi sẽ rất vui khi được nghe tin từ anh và kết hợp (tất nhiên có công nhận) bất cứ điều gì bạn muốn thêm vào, như cũng như bất kỳ sửa chữa. Tôi có một bản phác thảo tiểu sử nhỏ ở đây:
http://www.columbia.edu/acis/history/backus.html
và rất muốn thêm vào, cụ thể là trong mọi vấn đề liên quan đến Phòng thí nghiệm Watson hoặc Columbia. (Có một chủ đề hiện tại trên nhóm tin tức Alt.Folklore.Computing về nơi cài đặt Fortran đầu tiên. Tôi tự hỏi liệu anh có giữ liên lạc với Phòng thí nghiệm Watson sau khi anh rời đi và gửi cho họ các phiên bản đầu tiên cho 650 hoặc NORC của họ không.)
Ngoài ra nếu anh có bất kỳ hồi ức nào về Wallace Eckert, tôi có thể thêm chúng vào hồ sơ của anh ấy:
http://www.columbia.edu/acis/history/eckert.html
trước khi công bố C250 với nó.
Cảm ơn!
– Frank
Frank da Cruz
Dự án Kermit
Đại học Columbia
612 West 115th Street New York NY 10025-7799
Hoa Kỳ
____________________________ Ngày: CN, 11 tháng 7 năm 2004 15:00:37 -0400 (EDT)
Từ: Frank da Cruz <fdc@columbia.edu>
Tới: “John Backus” <jbackus1@xxxxxxx.xxx>
cc: “Tiến sĩ Herbert R.J. Grosch” <hgrosch@xxxxxxx.xxx>
Chủ đề: Lịch sử điện toán Columbia (một lần nữa)
Xin chào John, Herb [Grosch] khuyến khích tôi thử liên lạc lại với anh. Tôi không có nhiều thứ để thêm vào tin nhắn đầu tiên của mình, ngoại trừ việc tôi đã thực hiện một số lượng khai quật khá lớn kể từ đó và, như Herb đã nói, có một số tài liệu mới về Đài quan sát hải quân phát tín hiệu thời gian của Eckert:
Mặc dù những thứ này không liên quan gì đến Columbia, ngoài kết nối Eckert, tôi thấy những năm Chiến tranh thật hấp dẫn, có lẽ vì cả bố mẹ tôi đều ở trong Chiến tranh nên tôi lớn lên cùng với nó. Tôi thậm chí còn có một thư viện nhỏ về Air Almanacs trên kệ sách của mình!
Tôi vừa xem qua tài liệu Backus trên Web và nhận thấy một số điểm tương đồng:
Anh đã học Đại học Virginia, nhưng đã bỏ sớm và gia nhập Quân đội. Tôi cũng vậy (tôi không biết UVA như thế nào khi anh ở đó nhưng vào đầu những năm 1960, tất cả điều mọi người đã làm là tự uống say).
Anh đã được huấn luyện kỹ thuật trong Quân đội; tôi cũng vậy (đó là nơi tôi học cách bấm phím, nối dây, v.v. và lần đầu tiên nhìn thấy Fortran và * di động * IBM 1410, nơi nó được sử dụng để lập trình “hệ thống thông tin chỉ huy và kiểm soát” đầu tiên – tôi không biết điều đó tốt hay xấu nhưng đó là lịch sử).
Anh đã đến Columbia sau khi rời Quân đội – tôi cũng vậy (Nghiên cứu tổng quát), về những gì còn lại của GI Bill.
Anh đã nhận bằng Cử nhân và Thạc sĩ tại Columbia? (Tôi cũng vậy) Một số khóa học tôi học ở EE (chúng tôi chưa có bộ phận Khoa Học Máy Tính) là những khóa học tương tự có nguồn gốc từ Herb Grosch và Wallace Eckert (ví dụ: Phương pháp số), sau đó vẫn được dạy bởi Phòng thí nghiệm Watsonbers.
Giống như anh (?) Tôi có một sự nghiệp hoàn toàn bất ngờ trong điện toán và đây là tôi 35 năm sau. Nhân tiện, Eric Hankam có trải nghiệm Quân đội tương tự với anh – anh ấy đã dành toàn bộ thời gian của mình ở trường! Tôi có cuốn tự truyện của anh ấy ở đây:
http://www.columbia.edu/acis/history/hankam.html
Dù sao, tôi rất biết ơn về bất cứ điều gì anh có thể muốn đóng góp bằng trí nhớ, chỉnh sửa hoặc hình ảnh về thời gian của anh ở Columbia, hoặc bất cứ điều gì liên quan đến nó. Tiểu sử Backus nhỏ của tôi:
http://www.columbia.edu/acis/history/backus.html
vẫn còn khá sơ sài và tôi chắc chắn rằng danh sách xuất bản đã hoàn thành rồi (nhân tiện, chúng tôi có một bản thảo trong thư viện Sách hiếm của chúng tôi có tên là “Cách tiếp cận trừu tượng cho định lý bốn màu và theo lý thuyết về bản đồ” có phải là của anh không ?)
Tôi đoán dự án chính của anh tại Phòng thí nghiệm Watson là SSEC. Đây là những gì tôi có:
http://www.columbia.edu/acis/history/ssec.html
Tôi kết luận với một phần có tên “SSEC có phải là máy tính được lưu trữ chương trình đầu tiên không?” . Tôi muốn nhận được ý kiến của anh về phần đó. Nhân tiện, có một kho tàng kỷ vật SSEC rộng lớn tại Đại học North Carolina State:
nhưng có vẻ cách tiếp cận duy nhất là gặp trực tiếp.
Cảm ơn!
– Frank
____________________________ Từ: “john backus” <jbackus1@xxxxxxx.xxx> Tới: “‘Frank da Cruz'” <fdc@columbia.edu> Cc: “‘Dr. Herbert R.J. Grosch'” <hgrosch@xxxxxxx.xxx> Chủ đề: RE: Lịch sử điện toán Columbia (một lần nữa)
Ngày: Chủ nhật, 11 tháng 7, 2004 14:26:03 -0700
Xin chào Frank
Tôi xin lỗi vì đã không trả lời email trước đó của anh, nhưng tôi đã nhận được nó vào ngày vợ tôi qua đời và mọi thứ đã rơi vào tình trạng hỗn loạn kể từ đó. Tôi vẫn đang rất bận chỉnh sửa và xuất bản cuốn sách chưa hoàn thành mà cô ấy đã làm trong bảy năm qua.
Tôi mới chỉ khám phá một ít trong số lượng tài liệu khổng lồ mà anh giới thiệu trực tuyến, nhưng những gì tôi thấy thật là hấp dẫn. Thật đáng kinh ngạc khi anh đã nắm bắt được rất nhiều chi tiết nhỏ. Tôi có thể dành cả đời để vào các liên kết hấp dẫn mà anh cung cấp.
Thật đáng kinh ngạc khi những con đường ban đầu của chúng ta giống nhau. Và điều đó cũng đúng khi tôi cũng ở đó, rằng tất cả mọi người ở UVA đều uống cho đến khi ngớ ngẩn. Tôi hy vọng anh đã không bỏ học như tôi! “Sự nghiệp” của tôi tại Columbia cũng được tài trợ bởi dự luật GI. Tôi đã học chuyên ngành toán.
Tôi đã dành rất ít thời gian tại Phòng thí nghiệm Watson. Nhưng chủ yếu tôi nhớ thời gian làm việc với SSEC. (mặc dù tôi nghĩ rằng hơi quá khi coi nó là máy tính ” lưu trữ chương trình ” đầu tiên – mặc dù một trong những chương trình tôi đã làm sử dụng một số ô lưu trữ được chuẩn bị đặc biệt làm nguồn của một hướng dẫn sau khi một số dữ liệu được lưu trữ trong đó.) Hy vọng tôi đã giúp đỡ được.
Có quá nhiều điều để nói, và rất ít thời gian, có lẽ sẽ dễ dàng hơn nếu chúng ta nói chuyện điện thoại. Thời gian nào có thể gọi được?
— John
____________________________ Ngày: Thứ hai, 12 tháng 6 năm 2004 12:44:27 EDT Từ: Frank da Cruz <fdc@columbia.edu> Tới: “john backus” <jbackus1@pacbell.net> Cc: “‘Dr. Herbert R.J. Grosch'” <hgrosch@hotmail.com> Chủ đề: RE: Lịch sử điện toán Columbia (một lần nữa)
Tôi xin lỗi vì đã không trả lời email trước đó của anh, nhưng tôi đã nhận được nó vào ngày vợ tôi qua đời và mọi thứ đã rơi vào tình trạng hỗn loạn kể từ đó.
Đó là điều tồi tệ nhất tôi có thể tưởng tượng, tôi rất xin lỗi. Bên cạnh đó, hoài niệm máy tính là không quan trọng.
Tôi vẫn đang rất bận chỉnh sửa và xuất bản cuốn sách chưa hoàn thành mà cô ấy đã làm trong bảy năm qua.
Điều đó chắc hẳn rất khó khăn. Tôi có thể hỏi nó là về cái gì không?
Tôi mới chỉ khám phá một ít trong số lượng tài liệu khổng lồ mà anh giới thiệu trực tuyến, nhưng những gì tôi thấy thật là hấp dẫn. Thật đáng kinh ngạc khi anh đã nắm bắt được rất nhiều chi tiết nhỏ. Tôi có thể dành cả đời để vào các liên kết hấp dẫn mà anh cung cấp.
Cảm ơn, đó là làm vì say mê – Tôi thú nhận một số nỗi nhớ về những ngày mà máy tính được các nhà khoa học thiết kế và sử dụng để giải quyết các vấn đề nghiêm trọng, so với ngày nay, khi chúng chủ yếu là các thiết bị giải trí và mua sắm tại nhà.
Điều tôi thích nhất ở công việc này là cách nó thu hút những người ở đây từ lâu. Trang web hiện lên trên trang tìm kiếm web, hoặc ai đó nói với họ về nó, sau đó họ viết thư cho tôi và đây là cách nó phát triển. Thêm vào đó, tôi rất vui khi liên lạc với các đồng nghiệp cũ (tất nhiên là có sự cho phép của họ!)
Thật đáng kinh ngạc khi những con đường ban đầu của chúng ta giống nhau. Và điều đó cũng đúng khi tôi cũng ở đó, rằng tất cả mọi người ở UVA đều uống cho đến khi ngớ ngẩn. Tôi hy vọng anh đã không bỏ học như tôi!
Tôi nhìn thấy chữ viết trên tường và rời đi trước khi điều đó xảy ra – “bạn không thể sa thải tôi, tôi bỏ việc!” 🙂
“Sự nghiệp” của tôi tại Columbia cũng được tài trợ bởi dự luật GI. Tôi đã học chuyên ngành toán.
Dự luật GI là một điều tuyệt vời. Không có nó, tôi không biết cha mẹ mình sẽ làm gì sau Chiến tranh. Tôi học chuyên ngành Xã hội học, về tất cả mọi thứ, và sớm phát hiện ra sẽ không có ai trả tiền cho bạn để cứu thế giới, cuối cùng tôi (sau khi lái xe taxi và các công việc kỳ quặc khác) làm việc tại Khoa Vật lý và Trường Kỹ thuật Columbia, nơi một số giáo sư giúp đỡ tôi và giao cho tôi việc lập trình – tất nhiên là ở Fortran! – trên các máy tính mini đầu tiên của họ, và khuyến khích tôi tham gia các khóa học sau đại học. Cuối cùng, tôi đã nhận được bằng tốt nghiệp miễn học phí, được tuyển vào Trung tâm Máy tính và đã làm việc ở đây kể từ đó, đưa cả hai đứa con của tôi đến Columbia để được miễn học phí, vì vậy tôi không thể phàn nàn.
Tôi đã dành rất ít thời gian tại Phòng thí nghiệm Watson. Nhưng chủ yếu tôi nhớ thời gian làm việc với SSEC. (mặc dù tôi nghĩ rằng hơi quá khi coi nó là máy tính ” lưu trữ chương trình ” đầu tiên – mặc dù một trong những chương trình tôi đã làm sử dụng một số ô lưu trữ được chuẩn bị đặc biệt làm nguồn của một hướng dẫn sau khi một số dữ liệu được lưu trữ trong đó.) Hy vọng tôi đã giúp đỡ được.
Vâng, tôi biết là nó hơi quá 🙂
Có quá nhiều điều để nói, và rất ít thời gian, có lẽ sẽ dễ dàng hơn nếu chúng ta nói chuyện điện thoại. Thời gian nào có thể gọi được?
Bất cứ lúc nào trong khoảng từ 9:00 sáng đến 1:00 chiều hoặc 2:00 chiều và 6:00 tối, giờ miền đông, ngoại trừ chiều thứ năm này tôi sẽ đi gặp nha sĩ.
1 xxx xxx-xxxx
Cảm ơn đã phản hồi tôi!
– Frank
(Tôi đã không nhận được tin từ anh ấy sau đó.)
Vào năm 2017, Eleanor Kolchin (trước đây là Krawitz), người đã ở Phòng thí nghiệm Watson vào những năm 1940 và 50, nhận xét, “Tôi biết [John] Backus. Anh ấy làm về phát triển Fortran … Tôi nhắm mắt lại và tôi có thể thấy anh ấy. Chúng tôi [trong Phòng thí nghiệm Watson] là [một số] người đầu tiên sử dụng Fortran. Mỗi giáng sinh, chúng tôi đều có một bữa tiệc, và vì không có nhiều người ở 612 W 116th Street và chúng tôi luôn có một ‘túi đựng đồ’ … tất cả chúng tôi đều biết nhau. Thỉnh thoảng tôi cũng làm việc tại SSEC, chúng tôi đang tính toán quỹ đạo của các hành tinh bên ngoài … một tính toán đang diễn ra tại SSEC, và tôi đã kiểm tra máy tính tại Phòng thí nghiệm Watson của chúng tôi. Tôi yêu cầu được phép tiếp tục làm việc tại Phòng thí nghiệm Watson, bởi vì tôi đã lấy bằng thạc sĩ tại Columbia rồi. (Email, ngày 7 tháng 4 năm 2017)
Ấn phẩm được chọn:
Backus, John W., “The IBM 701 Speedcoding System”, IBM, New York (10 Sep 1953), 4pp.
Backus, John W., “The IBM Speedcoding System”, The Journal of the Association for Computing Machinery, Vol.1 No.1 (Jan 1954), pp.4-6.
Backus, John W., and Harlan Herrick, “IBM 701 Speedcoding and Other Automatic Programming Systems”, Symposium on Automatic Programming for Digital Computers, Office of Technical Services, US Dept of Commerce, Washington DC (May 1954), pp.106-113.
Specifications for the IBM Mathematical FORmula TRANslating System, FORTRAN, IBM Applied Science Division, New York (10 Nov 1954), 43pp.
Amdahl, G.M, and J.W. Backus, The System Design of the IBM Type 704, IBM Engineering Laboratory, Poughkeepsie NY (1955), 11pp.
Backus, J.W., et al., The FORTRAN Automatic Coding System, Proceedings of the Western Joint Computing Conference 1957, pp.188-198.
Backus, J.W., The Syntax and Semantics of the Proposed International Algebraic Language of Zürich ACM-GAMM Conference, Proceedings of the International Conference on Information Processing, UNESCO, 1959, pp.125-132.
J.W. Backus, et al., and P. Naur (ed.), Revised Report on the Algorithmic Language ALGOL 60, CACM, Vol. 6, p. 1; The Computer Journal, Vol. 9, p. 349; Num. Math., Vol. 4, p. 420. (1963)
J.W. Backus, “The History of Fortran I, II, and III”, Annals of the History of Computing, Vol.1 No.1 (July-September 1979).
Shasha, Dennis, and Cathy Lazere, Out of Their Minds: the lives and discoveries of 15 great computer scientists, Copernicus / Springer-Verlag, New York (1995), ISBN: 0-387-97992-1.
Papers of John W. Backus 1954-1994, US Library of Congress, 2,540 items.
IBM 704 Fortran Programmer’s Reference Manual (15 Oct 1956).
IBM 704 Fortran Programmer’s Primer (1957).
IEEE Annals of the History of Computing, Special Issue, “FORTRAN’s Twenty-Fifth Anniversary”, vol.6 No.1 (January 1984).
Ekman, Torgil, and Carl-Erik Fröberg, Introduction to Algol Programming (Lärobok i ALGOL), Studentlitteratur, Lund, Sweden (1964) and Oxford University Press, London (1967).
Liên kết (kiểm tra lần cuối ngày 1 tháng 7 năm 2018):
On one of my shopping trips to Re-Use Hawai’i, I picked up reclaimed louvers and painted trim pieces to turn them into wall art. I created a template to aid me in making cool star wars paintings. It helped standardize the size of the artwork and the placement of the cross pieces. These will simply be glued and nailed together. Determining nail length was a challenge for me when I started learning about woodwork. Now, I typically use nails that are long enough to penetrate through the first material and enter at least half-way through the second. While the nails will mechanically fasten the cross piece in place, wood glue creates a chemical bond that will help keep pieces together. I simply squeezed a curved zigzag pattern of glue along the length of each piece and slid them in place. I set the brad nails centered on the cross piece and the perpendicular louvers, hammering them in at a slight angle, then inset the brads with an oversized nail set.
My miter saw made quick work of trimming the louvers flush with the cross pieces. I did not sand out the imperfections because they are sign posts of the wood’s reclaimed history. Orange carbon paper found in family storage aided me in transferring my drawing from paper to wood and will allow me to reproduce these paintings time and time again. I recommend this simple painting project for beginning woodworkers. These also make good use of scrap lumber, and you can scale your paintings or signs either larger or smaller. After 3 layers of no-VOC paint and non-toxic varnish, this fawn is finished. I’m displaying pieces from my woodland collection on our accent wall made with reclaimed louvers, too.
Employing loom techniques to photographs, Louise Noguchi, in four works from her 1995 series, Compilation Portraits, weaves tiny squares of complete photographs of either murderers or murder victims into those of auto-portraits. She therefore offers a persuasive disavowal of one postmodern tenet, which is that the representation of and close identification with a subject of a cultural and experiential background differing from that of the artist is morally unacceptable appropriation.
As with these contributions, Fruits de Mer (1997) by General Idea, undoubtedly the wittiest, most sophisticated piece exhibited, skillfully combines decoration and discourse. Phallic shaped sea cucumbers and lit circular halogen lights, mixed with multi-coloured starfish, adorn a gold fishing net suitable for hanging in sea food chain restaurants. The phallic/anal symbolism of the sea cucumbers and the halo-like lights hilariously dresses macho nautical culture in Freudian drag. Decoration here is subversively gay, as is the dual language pun, fruits, initially reading as part of the French term for sea food. Further, the pink, blue and gold colours making up the piece refer to Yves Klein’s signature colours, and in doing so, parody the machismo his female body prints and bravado performances represent. Exemplifying and arguably initiating the lineage of the trend in Toronto art towards subversive decoration, General Idea is both a suitable beginning and end point to “Rococo Tattoo.”
As the curator of “Rococo Tattoo,” Monk successfully taps into risky waters and, in doing so, manages to provide a convincing argument to an ethically aware audience that art is, in the late nineties, able to offer pleasurable imagery and critical discourse simultaneously. Decoration here does not equate frivolous escapism; rather, it offers viewers an unapologetically handsome and sexy costume party to honour and enhance the complex analyses of social and political issues contained in this exhibition.
Hal Foster, The Return of the Real: The Avant-Garde at the End of the Century, Cambridge, MA, London, UK: MIT Press, 1996, 300 pp., ill. b. & w.
This collection of seven essays, none of which are reprints, charts the complex genealogy of the theory and practice of contemporary art in the United States over the last three decades. Crucial to Foster’s argument is recognizing traces of avant-garde practices in contemporary work in terms of aesthetic form and cultural-political strategies. An in-depth and detailed inquiry questions and supports the critical position of what Foster defines as two phases of neo-avantgarde artistic practice. Miminalism is defined as an important critical and transitional influence, and is the primary focus of the second essay. Because Minimalism challenged conditions of established perception, argues the author, an important critique of the social-space of art, its exhibition context and its commodity status were developed. But in tracing this legacy, Foster also recognizes that the influences of Minimalism are largely outside history, language and sexuality. These critical areas are connected by Foster to the “repetitions and ruptures” of the second phase of the neo-avantgarde. Perhaps most importantly, the essays examine how perception becomes reflexive under the influences of Minimalism and the art practices that followed. This approach is grounded, as the title suggests, in an often suppressed corporeality that is inseparable from social-spatial sites, both political, institutional and cultural. P. R. W.
Much theorizing has been done about the chicken-and-egg relationship between architecture and society, the degree to which one shapes and determines the other. Does a society make a city in its own image? Yes. Does a city’s structure produce a particular kind of society? Yes again. The stated intention of “See-Through Cities,” at Christopher Cutts Gallery in Toronto, was to examine the question of how architecture builds and modifies social formations (and vice versa); but the show leapt outside this academic tennis game to present a curious but exciting hybrid of conceptual art and conceptual architecture.
Organized by artist Luis Jacob, filmmaker/artist Kika Thorne and architect/artist Adrian Blackwell, the exhibition featured works by ten artists – some working collaboratively – all of whom address the built environment not as a series of formal structures, but as a collection of phenomena. For example, architect Marie-Paule MacDonald’s contribution was to present five clusters of architectural paintings for sale, executed by various architects on vellum and mylar, around the idea of The Found City. The drawings depict buildings (often the homes of the architects) whose current use differs from its original purpose, to explore the flux of the built environment as it responds to the changing needs, work habits, lifestyles and ideologies of its inhabitants. We found a lot of a website sell architecture paitings by search ‘ where to buy art‘ in google and bing.
The intimacy of architecture and lived experience was also the subject of a striking installation by Thorne and Blackwell. One to One Over One to Three Hundred was situated in a room constructed for the occasion within the gallery proper. The piece featured a sequence of dissolve images projected onto the floor of this room via a mirror suspended near the ceiling. The images include an aerial view of Toronto (scale,1:300); and a bird’s eye view of the artists’ shared studio space (1:1) as life-size figures move about within the space, going about their daily business (eating, sleeping, working, etc.). To create the projected sequence, the artists had constructed a space in their studio, arranged aerial photos gathered from the City’s municipal archives on the floor and lived in the space for three weeks, documenting this entire process in a series of still images shot from a camera mounted on the ceiling. The effect was transporting yet familiar.
The layering of MacDonald’s drawing assemblages and Thorne and Blackwell’s installation called direct attention to a complexity in their attendant ideas. But many other works in the show, though as conceptually jam-packed, were deceptively simple in appearance. John Marriott’s speculative stick-on mouseholes (made from computer-cut vinyl) dotted the bottom of various gallery walls like so much punctuation. In bright, cartooney colours such as yellow, forest-green, brown, magenta and mother-of-pearl (reflective mylar), they popped us from two dimensions into three and hinted at a world beyond the surface of wall. The reflective `hole,’ in particular, created the seamless illusion that the gallery’s maple floor penetrated the base of wall and continued behind it.
Kika Thorne’s photograph entitled Tofu Architecture suggested a hardy, eco-friendly, construction material (for models, if not actual buildings) and a white-on-white aesthetic that reminded me of Richard Meier’s design for the Getty Museum in Los Angeles. The snapshot-sized colour image – one from a set of four close-ups of building models made of the mushy soy-based stuff – was so small and subdued that some visitors might have missed it – Thorne’s humour and modesty standing in stark contrast to the grandiose self-mythologizing for which the architectural profession is renowned.
Luis Jacob’s eight-foot maple floor sculptures are based on the plan views of several buildings in Toronto’s financial district. Flipping them on their sides, then elongating them, the artist proposes a horizontal monumentality over the usual skyscraper’s race upwards – perhaps only possible in a spatially blessed country like Canada. The effect of Jacob’s elegant fabrications was typical of the show’s other inclusions: on first view, they were visually engaging but also prompted inquiry on the part of the viewer to unfurl other layers of meaning the work might hold. Jacob himself was often present in the gallery during the show and responded to viewers’ questions, making “See-Through Cities” one of the most generous art-viewing experiences I have had out-side an artist’s own studio.
In works such as The Library of Rhizomatic Activity, Lucy Pullen proposes the role of the artist as initiator, where the artwork is ultimately completed by the viewer/participant. The work’s twenty-five bookplates are intended to be inserted into library books, as a way of infiltrating that institution. Infiltration was also the name of the ‘zine on display near the Pullen piece. Published by someone with the nom de plume Ninjalicious, each edition features photographs and directions to off-limits areas in buildings throughout Toronto. Subtitled “the zine about going where you’re not supposed to go,” its subjects (hospitals, hotels, subways, etc.) are accessible to the average “urban explorer” on foot.
Two inclusions in the show have been seen before by Toronto audiences: Ken Hayes and Barry Isenor’s poured rubber sculptures from a body of work entitled Primitive Accumulations were presented as part of 1984’s “Demo Home” exhibit, organized and featuring work by and Hayes and Isenor around the theme of domestic and showroom environments. This curatorial nod to a precursor is both an homage and an invitation to discuss the history of speculative architecture. Steve Reinke’s video Symposium is part of his series The Hundred Videos, shown in their entirety at The Power Plant last year. Symposium, using footage from a presentation at NSCAD, presents itself as the record of a conference of serial killers in which Joseph Beuys delivers a keynote speech on social sculpture. Lifted like a sketchbook page from Reinke’s opus, Symposium lends an eerie contextualizing element to the show’s other works.
“See-Through Cities” was truly a curatorial accomplishment: rather than the all-too-frequent postmortem of ideas that have seen their best expression elsewhere, it was a tight yet comprehensive group show that took risks by infiltrating living culture.
The image that appears on the cover of this issue is from a film sequence in Paulette Phillips’s recent play . In the film a woman quite literally bashes her head against a brick wall. It is the contradictions that coexist in this film-frame that hook me as much as its individual elements: the dazed and confused look of its protagonist, her well-groomed appearance and bloody forehead, the fresh green of the shrubbery. The image’s easter-egg colours lend an eerily cheerful note to its intimation of violence.
Many, seeing it during the course of production, have joked that my interest in the shot has a strong element of identification and I can’t deny this possibility. Though happily for me, it is in a more figurative sense that my head meets with brick walls. At another level, C itself might be seen as the metaphoric subject of its own cover. Enduring regular blows dealt by funding and staff cuts and staggering forward under the weight of its deficit, C has managed nonetheless, like the woman on its cover, to maintain a refined appearance.
But as steeped as I am in my own narrow problems or in my desire for a flourishing publication, I do sense in this image more than a personal identification. A generic feeling seems to permeate this era, one of pressure and disintegration – fiscal, information, territorial, religious, ethnic. With the endurance of those who have no other option, the people of Ireland and London, Israel and Palestine, Bosnia and Sarajevo stagger forward through the pain, revenge and loss of wars and bombs. Corporate and public sector down-sizing leave thousands of first-world, middle-class employee/consumers on the brink of unknown futures.
From where I live and work, the scene is more specific. C’s office is located in a mixed downtown neighbourhood in Toronto – residential, public service and small business. Residents present a fair economic and ethnic range – students, artists, shopkeepers, electricians, health-care workers, carpenters, architects, jewellery designers, researchers, gardeners, business people; asian, african, european and native backgrounds. C is also across the street from the Queen Street Mental Health Centre and around the corner from Toronto Western Hospital’s detox unit. Located here and publishing an international contemporary art magazine, we are simultaneously in the midst and at the borders of North American culture. It is easy in this neighbourhood to be aware of the fragility of our social fabric and the people who make it up. I frequently (if warily) engage in snippits of conversation with those whose psychological and social dysfunction is inscribed on their bodies, clearly visible though rarely easy to read. A few weeks ago, as I cleared snow from the walk in front of the office, such a man was walking by. He asked with quick intensity, “Do you want to hear a joke?” Ah, sure, I said – though I wasn’t at all. “What did the dog say to the tree?” I don’t know. “Bark. Bark.” He flashed a half-smile and turned quickly to go. I was relieved that the joke was merely silly.
When he glanced back as if to see whether I got it, I wanted to say something (perhaps grateful that his joke had not turned ugly): They speak the same language, I suggested. He stopped in his tracks; obviously, he had not expected a response. “What?” He leaned slightly toward me as I elaborated, The dog and the tree – they speak the same language. His face lit up, as if the idea was pleasure itself. We smiled again then each turned to go. I can’t romanticize mental distress or forget the costs borne by the socially maladjusted, yet I marvel at human ingenuity in expressing and enduring pain and at the pathos in our eagerness to share a joke with a stranger.
The woman on our cover is neither admirable in her actions nor comprehensible in her motives. Yet she does offer one point where thoughts of myself and of this manpassing-by converge quite easily. Such unlikely links offer a reminder of how delicate the lines that connect and separate our realities really are.
In this issue, apparently unlikely associations abound and the lines that link and separate various thoughts and endeavors wind their way through each of our features, and will no doubt, through our futures as well.
Whether it’s art “from the easels of animation legends such as Chuck Jones or works created by masters from other art disciplines such as cinematic artist John Alvin (see “Cinema on Canvas” in the November issue), sculptor Lawrence Noble or art designer Dick Duerrstein, interpretive art that focuses on the classicism of the animation medium is hot, hot, hot,” enthuses Robert Patrick, director of marketing and wholesale for Linda Jones Enterprises, Irvine, CA.
“The making of an animated film may have evolved over the last decade,” continues Patrick, “but the enduring nature of its basic structure–a series of drawings that when flipped through create the illusion of movement, of life–has remained the same.”
Patrick understands that production art from classic, hand-drawn and hand-painted films “has become rarer with each breath we take,” but he goes on to say that “the evolution of an art genre must be organic, a response to the complicated world in which we live.”
“People now like big art, and oversized wall art (unique multiple canvas art done by artists of Artbywicks Inc.) are more popular,” Dan says. “Demand for large art is strong, but artists are now hand-embellishing editions, giving collectors that much-sought-after originality at limited-edition prices.
Although Leslie Combemale, owner of the ArtInsights gallery in Reston, VA, says she still has a core collector base for the original production art from feature-length and short animated films, “we are seeing fewer new clients looking to start a collection featuring such art.”
Combemale agrees that the major trend in the animation market is toward interpretive works by artists such as Peter Ellenshaw and Dick Duerrstein. Another trend she believes will continue is film art by the likes of John Alvin, who completed the movie posters for “ET,” “Blade Runner” and “Young Frankenstein.” Alvin also worked on campaigns for various Disney films.
“We started carrying originals from some of the 130 movies that Alvin worked on around three years ago,” Combemale says, “and we had some immediate collectors, all of whom had been buying animation art from our gallery.”
Combemale says 2006 was the best year she’s ever had, largely because of film art, which is really taking off. For 2007, Combemale is predicting greater success. “We’re looking to carry more interpretive artists whose images are of Disney characters or animated characters in general,” she says. “Limited-edition cels don’t have the appeal they once had unless they’re interpretive because they represent something that is different from the original.”
For Clampett Studio Collections, the animation art market has been strong and consistent for the past five years, according to Ruth Clampett, founder and creative director for Hollywood-based Clampett Studio Collections, home of the Warner Bros. Gallery Program. As the daughter of Warner Bros. Director Bob Clampett, Ruth grew up surrounded by animation art and says today there is a “continuing shift” of galleries “wanting to specialize with specific properties or types of art, whereas in the past there were more generalists. This has led us to cater more to specific gallery’s needs and wants.” Like other publishers, Clampett is producing exclusive editions for many galleries in order to cater to their particular customer base.
“With our properties,” Clampett says, “the artwork started out as all classic and traditional animation, which is now just a small part of our offerings.” Artists who create interpretive works for Clampett include 3-D artist Charles Fazzino and Alan Bodner.
“Interest in animation art comes down to two main things: exposure and education,” says Debbie Weiss, owner of Wonderful World of Animation Art Gallery in Culver City, CA. “When you find that collectors are familiar with the art form you are selling and have had a recent exposure to it–for example, the DVD has just been released, or the film has just been shown on TV like the seasonal ‘How the Grinch Stole Christmas’ or ‘Nightmare Before Christmas’–interest in the art increases.”
Weiss also adds that the more collectors learn about the process, the history and the types of animation art available to them from gallery staffs, the more likely they are to purchase because they truly understand what it is they are buying.
“We also have noticed a trend toward animation art branching into fine art,” Weiss says. “Animators such as Alan Bodner and Glen Orbik are turning out some terrific fine-art paintings that are outside the animation realm and are very popular with collectors. And artists such as Luke Chueh, Bob Dob, and John Alvin have all been successful at interpreting animation art icons.”
Events Galore
Well-orchestrated themed events and “performance paintings” are critically important for today’s purveyors of animation art. Below is a sampling of recent events:
* Linda Jones Enterprises (LJE), completed a U.S. and Canada “Toys for Tots” promotion that involved eight galleries and coincided with the 40th anniversary of Chuck Jones’ “Dr. Seuss’ How the Grinch Stole Christmas” television special. Among the galleries participating in the LJE “Toys for Tots” campaign was Animazing Gallery, New York City, which welcomed comedian Whoopi Goldberg and 3-D artist David Kracov, who helped launch the gallery’s Toys for Tots campaign.
* ArtInsights, Reston, VA, hosted a showing of works by cinematic artist John Alvin during which the legendary Darth Vader made a special guest appearance.
* Wonderful World of Animation, Culver City, CA, held a “Simpsons” Happy Hour event, during which a “Simpsons” episode was “premiered.” The gallery was decked out to look like the cartoon’s Moe’s Bar. The event attracted collectors and Hollywood actors.
* Collectors Editions teamed with Animation Art Limited gallery in the Woodfield Mall in Schaumburg, IL, for a special event featuring performance artist Trevor Carlton.
“When it comes to events, we really focus on giving both established collectors and new customers a reason to come into the gallery and have a special experience,” says Clampett Studio Collections’ Ruth Clampett. “We start by having new releases for the gallery to launch and then also provide them with “sold out” art or show-exclusive art that collectors would not normally be able to get. In planning specific shows or events, we will bring in talent–not just the artist–but voice artists or other people related to the production of the animation. We have done everything from cel painting demonstrations to brief presentations on the history and process of animation to voice talent broadcasts.”
“Whether the exhibits are gallery-based or set at museums or community centers, we feel that bringing collectors together with a popular property–be it ‘Star Wars,’ ‘The Simpsons,’ or Disney–along with a representative artist brings in large numbers of new collectors and generates publicity that might otherwise be more difficult to obtain,” says Acme’s Sean McLain. “We like to make high-profile artists working on high-profile entertainment properties available to galleries and build a special event around them, complete with presentations, demonstrations, meet-and-greets and signings.”
Fine Future
As for the future of animation art, Linda Jones Enterprises’ Robert Patrick jokes that he wishes he had “a crystal ball that works,” but asserts that animation art will stay steady.
“Collectors of art will continue to add animation art to their collections, and artists will continually be drawn (pun intended) to the animation genre–original, interpretive, whatever form it takes,” he says. “And that’s because publishers such as ourselves and the company we keep will continue to believe in their missions of creating, publishing and delivering the finest in animation art to collectors of art. It’s a simple and elegant goal that has worked well for Linda Jones Enterprises for the past 30 years.”
The Wonderful World of Animation’s Debbie Weiss opines: “I think collectors will continue to snap up the great art. They will continue to buy the best that they can afford, and they will really focus on the quality of the poses and rarity. I feel that the galleries who truly love animation art will continue to prosper as they will create and sustain the demand. And collectors will continue to flock to those galleries who really care about the art and their clientele. As the art becomes harder and harder to find and more and more collectors enter the market, the demand for good art, and thus prices, will continue to climb.”
What it comes down to is this, says Clampett: “As publishers, it is our responsibility to listen to the collectors with one foot planted in our rich animation past and the other stepping into the future of new ideas, new characters and new art forms. As long as there are cartoon fans, there will be animation art collectors. This is a great business, and I feel privileged to be a part of it.”
