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US 7333957 B2 Abstract Media objects are transformed into active, connected objects via identifiers embedded into them or their containers. In the context of a user's playback experience, a decoding process extracts the identifier from a media object and possibly additional context information and forwards it to a server. The server, in turn, maps the identifier to an action, such as returning metadata, re-directing the request to one or more other servers, requesting information from another server to identify the media object, etc. The linking process applies to broadcast objects as well as objects transmitted over networks in streaming and compressed file formats.
Claims(6) 1. A method of linking an audio signal to metadata or actions comprising:
deriving an identifier from an audio signal received by a user device, the identifier identifying a broadcaster or distributor of the audio signal;
obtaining context information at the user device related to the audio signal;
making a request for metadata using the identifier and the context information wherein the request includes transmitting the identifier and the context information to a server;
by the server, deriving an object ID of an audio object in the audio signal using the identifier and the context information;
determining the metadata corresponding to the object ID at the server or another server; and
presenting at least a portion of the metadata on the user device.
2. The method of
3. The method of
4. The method of
5. The method of
6. A computer readable medium on which is stored instructions which, when executed by a computer, perform a method of linking an audio signal to metadata or actions comprising:
deriving an identifier from an audio signal received by a user device, the identifier identifying a broadcaster or distributor of the audio signal;
obtaining context information at the user device related to the audio signal;
making a request for metadata using the identifier and the context information wherein the request includes transmitting the identifier and the context information to a server;
by the server, deriving an object ID of an audio object in the audio signal using the identifier and the context information;
determining the metadata corresponding to the object ID at the server or another server; and
presenting at least a portion of the metadata on the user device.
Description This patent application is a continuation of U.S. patent application Ser. No. 09/563,664, filed May 2, 2000 now U.S. Pat. No. 6,505,160, which is a continuation in part of U.S. patent application Ser. No. 09/476,686, filed Dec. 30, 1999, which claims priority to U.S. Provisional Application No. 60/134,782, filed May 19, 1999. The subject matter of the present application is related to that disclosed in U.S. Pat. No. 5,862,260, and in co-pending applications Ser. No. 08/746,613, filed Nov. 12, 1996 (allowed); Ser. No. 09/343,104, filed Jun. 29, 1999; No. 60/164,619, filed Nov. 10, 1999; Ser. No. 09/476,686, filed Dec. 30, 1999; Ser. No. 09/503,881, filed Feb. 14, 2000; Ser. No. 09/525,865, filed Mar. 15, 2000; No. 60/191,778 filed March 24; and Ser. No. 09/547,664, filed Apr. 12, 2000, which are hereby incorporated by reference. The invention relates to linking audio and other multimedia data objects with metadata and actions via a communication network, e.g., computer, broadcast, wireless, etc. Advances in computer and wireless networking, multimedia coding, and higher bandwidth communication links are creating many new ways to distribute and enjoy multimedia content, such as music and movies. Coding formats for audio like MPEG 1 Layer 3 (MP3) have already caused significant changes in music delivery to consumers. Despite the advances in technology, content distributors and broadcasters still need to address how to effectively promote and sell content. This disclosure describes systems and processes for linking audio and other multimedia data objects with metadata and actions via a communication network, e.g., computer, broadcast, wireless, etc. Media objects are transformed into active, connected objects via identifiers embedded into them or their containers. These identifiers can be embedded by the owner or distributor of the media object, or automatically created from the media object. In the context of a user's playback experience, a decoding process extracts the identifier from a media object and possibly additional context information and forwards it to a server. The server, in turn, maps the identifier to an action, such as returning metadata, re-directing the request to one or more other servers, requesting information from another server to identify the media object, etc. If the identifier has no defined action, the server can respond with an option for the user to buy the link and control the resulting action for all objects with the current identifier. The linking process applies to broadcast objects as well as objects transmitted over networks in streaming and compressed file formats. Further features will become apparent with reference to the following detailed description and accompanying drawings. Linking Audio and Other Media Objects via Identifiers The following sections describe systems and processes for linking audio and other media objects to metadata and actions via an identifier. For the sake of illustration, the disclosure focuses on a specific media type, namely audio signals (e.g., music, sound tracks of audio visual works, voice recordings, etc.). However, these systems, their components and processes apply to other types of media signals as well, including video, still images, graphical models, etc. As described further below, an identifier attached to an audio signal is used to connect that signal with metadata and/or programmatic or device actions. In the context of this document, the terms �media object� and �audio object� refer to an electronic form of a media signal and audio signal, respectively. The linking of media signals applies to objects that are transmitted over wire networks (such as a computer network), wireless networks (such as a wireless telephone network), and broadcast (AM, FM, digital broadcast, etc.). There are a number of ways to associate an identifier with an audio object. One way to associate the identifier is to insert it in the form of a numeric or alphanumeric code (e.g., binary or M-ary code) in the electronic file in which the audio is stored. Another way to associate the identifier is to embed it as auxiliary data in the audio signal using steganographic methods, such as digital watermarking or other data hiding techniques. Yet another way is to derive the identifier from the audio signal, the table of contents, the file system structure, or its container (e.g., an electronic file or physical package for data like flash memory, Digital Versatile Disk (DVD), minidisk, or compact disk (CD). The physical media may have identifying characteristics, such as a unique identifier or encoded metadata, or other attributes from which an identifier can be derived (e.g., CD disk wobble). When the identifier is associated with metadata or actions, it transforms the media object into a �linked� object. The identifier travels with the object through distribution, including in some cases, through physical distribution in packaged media and through electronic distribution (broadcast or network communication). The identifier may travel within the same band as the audio object, such as a watermark, or via a separate band, such as a file header or footer or separate broadcast band. A decoding device or programmatic process extracts the identifier from the object and uses it to retrieve related data or actions (�metadata�). In the case of an audio object, like a song, the metadata typically includes the title, artist, lyrics, copyright owner, sound recording owner, information about buying or sampling opportunities and URLs to this type of data as well as web sites and other programs and devices. Linked actions include device or programmatic processes for electronically establishing a license, transferring content (either streaming or download), sending an email, recording marketing data about a transaction, etc. The identifier allows a fan of a particular type of music or artist to get more information about the music and to buy more music. From the perspective of the artists and record labels, the identifier provides an additional opportunity to promote their music and sell content, concert tickets, etc. In addition, in some implementations where identifier linking transactions are monitored, it enables the vendors of music to gather data about electronic transactions triggered by the link. For example, users of information may choose to provide information about themselves when they register their decoding device or software with the system. A user ID or other context information may then be recorded when the identifier is extracted and used to trigger a transaction. Many entities involved in the distribution of media signals can benefit from the linking capability. Artists can link their music to information about themselves and provide electronic buying opportunities for music, concert tickets, clothing, etc. Rights holding organizations can use the link to inform users about itself and licensing opportunities. In some cases, the link may also be used to monitor playing and distribution of copies of the music. Record labels can link their music to information about the artist, the label, electronic buying opportunities, etc. Electronic retailers can increase sales by linking users to opportunities to sample and buy additional music (via download or streaming delivery over a wire or wireless network). Conventional brick and mortar retailers can use linking to provide information about the music and to provide buying opportunities. Radio stations and other broadcasters can use the linking capability to bring users to their web sites, creating advertising revenue, to provide electronic buying opportunities for music, concert tickets, clothing items, etc. These and other forms of linked metadata and actions may be implemented in various combinations in different application scenarios. Depending on the application, the identifier may identify the media object in which it is embedded, or entities, things or actions other than that particular media object. One type of identifier is an object ID that identifies an audio object. This identifier may be a number associated with the object, such as its International Standard Recording Code (ISRC). Another type of identifier is distributor ID that identifies the distributor of the audio object. Another type of identifier is a broadcaster ID that identifiers the broadcaster of the audio object. Of course, more than one identifier may be encoded into an audio object or its container. In the event that an object ID is not encoded with an audio object, but instead, a distributor or broadcaster identifier is encoded with the object, other context information, such as the time of play back or distribution, location of distribution, etc. may be used to identify the audio object as part of the linking process. An example is a radio station that marks its broadcasts with a station ID and maintains a playlist database with the air times of each audio object. At decoding time, the station ID is extracted and used along with context information such as the air time of the audio object to look up the audio object or its corresponding metadata and actions. This approach enables the linking system to provide audio object specific metadata or actions even without requiring a unique object identifier in every audio object. System Implementation In some application scenarios, the embedding process interacts with a registration process to get an identifier. The embedding process provides information about the object (e.g., a title and artist name, an ISRC, name of distributor, etc.). In response, the registration process provides an identifier and stores a database record of the association between identifier and the object or other information used in decoding to identify the object, such as its distributor or broadcaster. The registration process may be used to assign an identifier to an audio object and to distributors or broadcasters of audio objects. The embedding and registration processes may occur before the audio object is distributed to consumers, or sometime thereafter, such as when a user transfers (e.g., �rips�) an a media object from one format to another (e.g., a packaged format to an electronic file format such as a compressed file format). Once registered, an interactive or automated mapping process associates the identifier with data or actions. The registration process creates a database of identifiers and associates the identifiers with corresponding media objects, distributors, broadcasters, etc. The mapping process associates the identifiers with corresponding metadata or actions. Once associated with an audio object and metadata, the identifier transforms the audio object into a linked object. The identifier remains with the object through distribution, although some embedding processes are more robust than others to intentional or unintentional distortion/removal of the identifier. There a variety of different distribution scenarios. Some examples depicted in To activate the linked object, a decoding process extracts the identifier and uses it to access associated data or actions. The decoding process may be implemented as a separate program or device, or integrated into a player, tuner, or some other capture device, such as listening devices that convert ambient audio waves to an electronic signal and then extract the identifier from the signal. In the configuration shown in In the first case, server 1 returns data or actions associated with the identifier. The server may look up related data based on the identifier alone, or based on the identifier and other context information. Context information may be information provided by the user, by the user's computer or device, or by some other process or device. In the second case, the server looks up one or more addresses associated with the identifier and forwards the identifier and/or possibly other context data to secondary servers at these addresses via conventional networking protocols. Again, this context data may include data from the user, the user's computer, some other device or database. For example, server 1 might query a remote database for instructions about how to process an identifier. These instruction may specify data to return to the communication application or to forward to another server, which in turn, looks up associated data and returns it to the communication application. A server may return data that an audio player displays to the user or uses to control rendering of the content. For example, the server can tell the player that the object contains inappropriate content for children. The player or user can make decisions about whether or how to play the material based on this information. Both the server and the player can adopt a set of rules. The server rules may be used to control what the server returns in response to an identifier and context data. The player rules may be used to control what the player displays to the user or how it renders the content based on data returned from a server. Either the first server, or a server one or more levels of indirection from the identifier may return data and programmatic actions to a player via the communication application. Each server in these levels of indirection receives a database key, such as an identifier or context information, from the previous server, and uses it to look up corresponding actions. These actions may include returning data or programs to the communication application or to previous servers in the routing path of the message from the communication application. Also, the servers may route requests for information or actions to other servers. The server or servers may return data or perform actions in response to the identifier (or other context data) that do not directly impact the decoding process, or the device in which it operates. The system depicted in In the context of a network configuration, Internet protocols may be used to return data to the communication application or to the device or system in which it operates. The communication application may be implemented in a web browser, such as Internet Explorer or Netscape Navigator. Examples of ways of exchanging information between a client player and a server include returning a web page with metadata and program scripts designed to run on the end user's system. The metadata itself may include active links, such as URLs to other network resources, such as a web site or some other network service. The path of the identifier from the decoding process, and the return path from a server to the communication application may include one or more hops through a wire or wireless connection using standard wire and wireless communication protocols like TCP/IP, HTTP, XML, WAP, Bluetooth, etc. In addition, data returned to the user may be routed through one or more servers that may forward the data, and in some cases, augment the data or modify it in some fashion. Later, when a user opens or plays the marked MP3 in a player, such as a software player like the real player, Liquid Audio player, Windows Media Player (WMP), WinAmp, MusicMatch, etc., a plug-in software module in the player extracts the OID and forwards it to a server via an Internet connection. The plug-in may establish its own Internet connection, or pass the OID to an Internet Browser, which in turn, establishes a connection (if one is not already present) with the server. As an intermediate step, the plug-in may display a window with user options, such as �learn more about the song�, �play the song�, or both. The user can then choose to get more information by actuating the first or third options in the user interface window, which cause the plug-in to forward the OID to the server. The server then returns a web page associated with the OID, or re-directs the OID to another server (e.g., one maintained by the content distributor or owner), which in turn, returns a web page of information about the object and links to related actions (e.g., a link to a licensing server, a link to a server for buying and downloading related music etc.). The licensing server may be programmed to download software players and new music offerings compatible with those players. For instance, the licensing server may provide software for decrypting, decoding, and playing electronically distributed music according to usage rules packaged with the electronically distributed music. In this application scenario, the linking of the MP3 file enables the content owner to market music and products that promote the sale of audio objects in other formats, included formats protected with encryption, watermark copy managements schemes, etc. In the event that a media object is not linked, the decoding and server processes can be programmed to enable the user to purchase a link for the object. For example in one scenario, the player plug-in displays a graphic for a link information indicating that the link is available after determining that an OID is not in the file. If the user clicks on the graphic, the plug-in displays more information about the procedure for purchasing or renting a link. This information may be provided in conjunction with querying the server and displaying information returned from the server, or alternatively, providing preprogrammed information incorporated into the plug-in. If the user is interested in purchasing the link, he or she can then enter input (e.g., click on a button such as �Get Link�) that initiates the process of registering an OID with the object and associating metadata or actions with the OID. The process of registering the OID and associating the OID with metadata or actions may be performed as described in this document. This scenario provides yet another mechanism for transforming content into connected content. There are many possible variations to the applications scenarios illustrated in To assert control over the type of customization that users may perform, the registration and mapping processes can place constraints on the types of metadata and actions that users can link to a media object. In the multimedia content industry, there are typically many rights holders and entities involved in the distribution process. This may present a conflict when linking a media object to one entity. One way to address this problem is have an object link to many different entities. For example, the server could map an OID to many entities and return links to retailers, distributors, record labels and artists. Another way to address it is to encode additional information about the distributor in the OID. For example, the OID includes fields that identify the object and its distributor. If a user activates the link to purchase products, including media objects, then the distributor name is logged with the purchase and that distributor is credited with royalties associated with the transaction. The distributor field may also be used as a key to look up the appropriate action for the OID, such as re-directing the OID to the web server of the entity associated with that OID. In this approach, even if the OID directs a user to a record label's website, the distributor field can be used to credit the distributor with a royalty for the linking transaction. The entity responsible for maintaining a web site linked via on identifier can make deals with online resources for providing data about a media object such as lyrics, song titles, radio station play lists. The website may link to this information, access it via a database manager, etc. File Identifiers One form of identifier is an identifier that is inserted in an audio object file, but in a distinct field from the audio signal itself. Some examples are file headers and footers. This file identifier may be assigned before or after distribution of the audio object to consumers. In addition, it may be derived from the audio signal or other information in the file. For example, an identifier generator may derive a unique or sufficiently unique identifier from a portion of a music signal. A variety of methods for generating a unique numbers based on a unique collection of numbers may be used. The process of embedding a file identifier may be done at the time of encoding or transcoding a file. For example, the file identifier may be inserted during a ripping process, such as when a device or programmatic process converts a song from a format stored on packaged media, like a CD or DVD, to an electronic, and compressed form, such as MP3 or some other audio codec. As another example, the file identifier may be inserted when a device or programmatic process transcodes an electronic music file from one codec format to another. Yet another example is where a file is taken from a digital or analog uncompressed format, and placed in another format for distribution. Identifiers Embedded in Audio Signal Another way to associate an identifier with an audio signal is to embed the identifier in the audio signal using steganographic methods, such as digital watermarking or other data hiding techniques. Many of such techniques have been developed and are described in published articles and patents. Watermarking methods are described in U.S. patent application Ser. No. 09/503,881. Other examples of methods for encoding and decoding auxiliary signals into audio signals include U.S. Pat. Nos. 5,862,260, 5,940,135 and 5,945,932. For more information on steganographic applications, see the patent applications incorporated by reference. The steganographic embedding method may be performed in a batch process. Consider a distributor of electronic music via the Internet or some other network, or a broadcaster of music such as a radio station. In each case, the distributor and broadcaster have a collection of audio objects. The embedding process may operate on this collection of objects in a batch process by retrieving an electronic version, encoding an identifier obtained from the registration process, and returning the marked version for later distribution or broadcasting. In some cases, it is desirable to do watermark embedding in an iterative process in a studio environment to encode the watermark with an intensity that achieves desired perceptibility and robustness requirements. The steganographic embedding method may also be performed at the time of transmission of an electronic file or broadcast of the audio object. In the case of distribution via a network such as the Internet (e.g., streaming or file download), real time embedding enables the embedding process to also embed context information that is specific to the consumer (or the consumer's computer) that has electronically ordered the object. For example, when the user requests a file in a streaming or a compressed file format via the Internet using her browser, the distributor's server can request information (perhaps voluntary) about the user to be associated with the transmitted object. Later, the decoding process or the servers that map the identifier to actions or metadata can use this information to determine the types of information to provide or responsive action to perform. In the case of broadcasting, real time embedding enables the identifier to be steganographically embedded throughout an electronic version of the audio signal just before, or as part of the broadcasting process. An object or distributor ID (as well as other identifiers or context information) can be embedded in the payload of a watermark that is also used for copy control. Portion of the watermark can be used to control whether the object can be played, transferred, recorded, etc., while another part can be used to carry identifiers and other metadata for linking functions described in this document. Alternatively, entirely separate watermark encoding and decoding methods may be used for copy control and linking functions. A watermarking process may be used to encode different watermarks in the various channels of an audio signal. Message information may be embedded in one or more channels, while synchronization or orientation signals used to detect and decode the message information may be encoded in other channels. Also, different messages (e.g., different identifiers) may be encoded in different channels. At decoding time, the different identifiers can trigger different actions or link to different data. In broadcasting applications, an identifier may be encoded along with the broadcast of the associated media signal by modulating a subcarrier of the main carrier frequency used to transmit the media signal. The subcarrier conveys auxiliary data such as the identifier, while the main carrier conveys the associated media signal To reduce audibility of the auxiliary data (e.g., the identifier(s)) encoded in the sub-carrier, the data can be randomized by applying it to a pseudorandom or random number by some function that may be inverted in the decoding process, e.g., multiplication or exclusive OR functions. One example of sub-carrier encoding and decoding is Active HSDS 97 developed by Seiko Corporation. Identifiers in Digital Radio Broadcasts Some forms of digital radio broadcasts support transmission of metadata along with media signals. This metadata can also be used to carry one or more identifiers that are mapped to metadata or actions. The metadata can be encoded at the time of broadcast or prior to broadcasting. Decoding of the identifier may be performed at the digital receiver. In particular, the digital receiver receives the broadcast data, extracts the identifier, and either automatically, or at the user's direction, forwards the identifier to a server to look up the associated metadata or action. Dynamic Identifier Extraction from Audio Content or Related Data As noted above, another way to associate an identifier with a corresponding audio signal is to derive the identifier from the signal. This approach has the advantage that the embedding process is unnecessary. Instead, the decoding process can generate the identifier from the audio object. In this case, the decoder computes a fingerprint of the audio signal based on a specified fingerprinting algorithm, The fingerprint is a number derived from a digital audio signal that serves as a statistically unique identifier of that signal, meaning that there is a high probability that the fingerprint was derived from the audio signal in question. One component of fingerprint algorithm is a hash algorithm. The hash algorithm may be applied to a selected portion of a music file (e.g., the first 10 seconds) to create a fingerprint. It may be applied to discrete samples in this portion, or to attributes that are less sensitive to typical audio processing. Examples of less sensitive attributes include most significant bits of audio samples or a low pass filtered version of the portion. Examples of hashing algorithms include MD5, MD2, SHA, SHA1. As an aside, fingerprinting may also be used to determine whether an audio signal has been watermarked. The fingerprinting application can evaluate a fingerprint for a received object and compare it with one for a watermarked object (or unmarked object) to determine whether the object is likely to be watermarked. Certain fingerprints can be associated with certain types of watermark methods. Using the fingerprint, a decoding device can select an appropriate watermark decoding system for the object. While specifically discussed in the context of audio objects, the fingerprinting process applies to other types of multimedia content as well, including still images, video, graphics models, etc. For still images and video, the identifier can be derived dynamically from a compressed or uncompressed version of the image or video signal. The fingerprinting process may be tuned to generate a specific identifier based on the type of file format. For example, the process extracts the file format from the file (e.g., from a header or footer), then uses a fingerprinting process tailored for that type of file (e.g., a hash of a compressed image or video frame). The dynamic identifier computed by this process may be associated with metadata and/or actions using the processes and systems described in this document. Registration Process One way to implement the registration process is to build client and server application programs that communicate over a computer network using standard network communication protocols. The client may be implemented as a software program that provides identifying information about an audio object. It can obtain the information by prompting the user for the identifying information, or from extracting it from the audio object or its container. The server may be implemented as a database management program that manages identifiers and corresponding audio objects. When queried to provide an identifier for particular identifying information, the program checks whether it has already assigned an identifier to an object based on the identifying information. If so, it returns that identifier that has already been assigned. If not, it assigns a new identifier number, creates a new entry in the database for that number and its associated identifying information. The type of identifier used to link audio objects varies with the application. As such, the registration process may vary as well. One type of identifier is a unique identifier for an audio object. Another type of identifier is one that identifies some attribute of the audio object, but does not uniquely identify it, such as a distributor or broadcaster identifier. This type of identifier requires additional context information to uniquely identify the audio object at the time of linking it to actions or metadata. For these types of identifiers, the registration process provides information identifying the attribute of the audio object, such as its distributor or broadcaster. In response, the server provides an identifier that may be embedded in several audio objects that share that attribute. One example is a broadcaster ID, such as a radio station ID. Audio broadcast by the radio station is embedded with this radio station ID. To identify the object, context information such as the play time captured at the tuner is used along with the radio station ID extracted from the received audio signal to identify the audio object. The decoding process forwards this information to a server. Using the radio station ID and context information, the server maps the ID to an appropriate action. This may include querying a radio station's playlist database for an object identifier based on the station ID and context information. The server can then map the object identifier to an action or metadata based on the object ID returned from the playlist database. Other scenarios are possible. For example, the server could forward the station ID, context data and decoder address to a radio station server, which in turn, looks up the appropriate action or metadata (e.g., web page) and sends it to the device that decoded the station ID. Broadcast content can also be associated with object identifiers. One way to implement the identifier assignment process is to allocate a unique set of identifiers with each broadcaster/distributor. Those broadcasters or distributors are then free to assign the identifiers to media objects as they wish. Once they complete the identifier assignment process, they may then associate the identifiers with the metadata or actions in a mapping process. Embedding Process The embedding process may be integrated into a software program along with the client of the registration process described in the previous section. This integration of registration and embedding functions is particularly suited to a batch embedder, where processing time required to request an identifier is less of a concern. In real time embedding, the identifier or identifiers are preferably available for associated audio objects before embedding begins. For example, the identifiers can be maintained in a local database on the embedding computer or device and indexed by object title. Distributor and broadcast identifiers are more straightforward because they may be applied to several different audio objects. The embedding process may also be implemented in an embedding clearinghouse system. The embedding clearinghouse is a computer or other electronic system that analyzes media objects and embeds one or more links in the media objects. The clearinghouse may be implemented in a server on a network, such as the Internet and operate on content in a �push,� �pull,� or some combination of push and pull models. In the push model, users and other systems send media objects to the embedding clearinghouse for analysis and embedding. The pull model, the clearinghouse has the capability to search for and gather media objects for embedding and analysis. One example of this pull model is an Internet search process called a spider that crawls the Internet, searching for media objects to analyze and embed with one or more identifying links. The embedding clearinghouse analyzes a media object (perhaps based on out of band data like a file header or footer) and inserts an identifier. This identifier may link to a metadata and actions, such as re-direction to a web site offering products, services, and information related to the content. The embedding clearinghouse may incorporate search engine technology to execute a key word search based on information from the media object and then associate the media object with a series of related URLs returned from the Internet search. The process may be automatic, or with some user input to select which sub-set of links should be inserted. The embedding clearinghouse may also offer an identifier embedding services for those wanting to link their media objects with metadata, actions, etc. In this application scenario, the embedding clearinghouse may be implemented as an Internet server that is accessible via a web page using conventional network communication and web protocols. To access the server, users visit a web page using an Internet browser. In exchange for a fee, which may be tendered electronically over the Internet from the user's computer to the server, the server provides an embedding service to embed an identifier into a media object uploaded from the user via the user's computer and Internet connection. The user can select the information to associate with a media object, such as generic identifying information (e.g., title, author, owner), generic licensing information, or special information or actions. The generic information is hosted by the provider of the embedding clearinghouse server, while the special purpose information and actions are accessed through re-direction. In particular, the provider of the clearinghouse server links the embedded identifier to an address or set of addresses of servers that provide the special information or actions. Then at decoding time, the decoding process sends the identifier to the provider's server, which in turn, redirects the identifier to a secondary server or servers that provide special purpose information or actions (e.g., redirect to a web page of the content owner, download related content, provide electronic licensing services, etc.). Decoding the ID and Embedded Context Data The implementation details of the decoding process depend on how the identifier is encoded into an audio object or its container. In the case where the identifier is encoded in a file header or footer, the decoder may be a software program or digital hardware that parses the header/footer and forwards it to the communication application. One way to implement this type of decoder is to integrate it into a media player as a plug in program. Examples of media players include Windows Media Player from Microsoft, Liquid Audio player from Liquid Audio, Winamp, Real Player from Real Networks. Preferably, the plug-in gives the user visual feedback that the identifier has been detected and displays a window with options to access more information or actions available via the link. For example, the user can be presented with a user interfaces prompting the user to click for more information or buying opportunities. If the user selects these options, the plug-in forwards the user selections and identifier to the communication application, which forwards them to the server (e.g., server 1, In the case where the identifier is steganographically encoded in the audio object, a corresponding decoder extracts the identifier. This type of decoder may be implemented as a plug in to a software player as described in the previous paragraph. It may also be implemented in a tuner for broadcast content, or in a listening device that captures audio from the ambient environment. In the case where the identifier is derived from the content or container metadata, the decoder captures the pertinent portion of the audio object, and generates the identifier as described above. This type of decoder can be implemented in a software or hardware player, a tuner, etc. The decoder may collect identifiers in response to a user request while objects containing these identifiers are being played. For example, when the user is playing music, he may like a song and want to buy it or get more information. This feature may be implemented by building an interface that has a button or voice recognition that enables the user to request information or a buy/license opportunity. Once captured, identifiers can be forwarded along with user instructions to the appropriate server. However, one particularly useful feature is to enable the user to fetch information and make orders from music as the music is playing. The system described previously supports this feature because the decoding process can forward the identifier or identifiers, embedded context information, or additional context information (user information, play time, broadcast type, file type, player type, operating system type) to the communication application as the music is playing. The user can trigger the linking action by pressing a �fetch� button, or saying fetch to a voice activated input device that causes the decoding device to package a message and invoke the communication application (e.g., Internet browser). In turn, the communication application forwards the message to a server that parses the message and determines the associated action. The activation of the �fetch it� feature may be made on a handheld device that communicates with a decoding device in a tuner via a wireless connection. For example, a user may press a button on a remote control device, like a key chain, which sends a wireless signal to a receiver in the tuner. The receiver invokes the decoding process. The tuner may also send metadata from the server to the remote control device for display using a similar wireless connection. Infrared or RF transceivers, for example, may be used to communicate the data back and forth. The decoding device may also provide continuous decoding of identifiers. When the user requests a �fetch,� the identifier and context information for the current song may be forwarded to the server. Also, the decoding device may automatically fetch generic information such as song title and artist so that this information is immediately available to the user. Another possible implementation is to temporarily buffer identifiers extracted from some predetermined number of the most recent songs, titles, etc. These identifiers can be stored along with other metadata, such as a time stamp, to inform the user when they were captured. The user can then select one or more of the items to send to the server for more information or related actions. These features may be implemented in one or more devices. While the example above discusses a remote control device and a separate tuner with a decoder, these functions may be integrated into a single device, such as a car stereo, phone handset, personal digital assistant, and a variety of other types of players or tuners. The identifier enables dynamic linking. Dynamic linking enables the identifier encoded with a media object to remain fixed, while the metadata or actions associated with that identifier can be changed. To change the associated metadata, the mapping process edits the identifier database to associate new metadata or actions with an identifier. The mapping process can be automated to change metadata or actions associated with an identifier at periodic intervals or in response to system events. In addition, a user may change the associated metadata or actions interactively at any time. To facilitate access to the database, a web based interface can be added to the database. Dynamically linked data returned from a server to a player environment can be displayed to the user in a variety of ways. One way is to display it in a web page or user interface window of a player. The data can be animated by scrolling it across the visual display. The data can also be displayed in the form of HTML links, which, when activated, cause the download of other data or initiate actions, such as playing streaming content from a server. Server Types As discussed elsewhere, the servers used to link identifiers to actions may be programmed to provide a variety of actions including:
This is by no means in exhaustive list. Another type of server action is to initiate a process of searching a database, a collection of databases or the Internet for additional information related to a linked media object. This type of search service may be performed continuously and the results associated with the identifier. Then, in response to a request from a decoding process, the server can return a digest of the results with links to web pages for additional information. Communication Application The implementation details of the communication application are highly dependent on the type of communication link and protocols used to connect the decoding process to a server. Above, an Internet browser is provided as an example. A browser may be implemented in conventional PCs, handheld devices, wireless phones, stereo systems, set top boxes, etc. However, the communication application need not be based on computer network protocols. For wireless devices, where the marked content is played on wireless carrier frequencies, the communication application can employ wireless communication technology to forward identifiers and context information to servers that map this information to actions or metadata and return it via a wireless carrier frequency to user's handset. Tracking Transactions and Report Generation As depicted in Capture Devices As noted above, the decoding process may be implemented in a variety of devices or software that process media objects. These devices and software include programmable devices such as personal computers, personal digital assistants, telephone handsets, set-top boxes, personal stereos, hi-fi components, tuners, receivers, televisions, etc. as well as hardwired devices that may be incorporated into these systems and devices. In some contexts, it is useful to implement a recording function. This is particularly true in devices that receive a broadcast or stream of media content and need to capture at least a portion of it to decode an identifier. Examples of these devices are radio receivers, and wireless telephone handsets. The record function may be automatic or user activated. In the latter case, the user actuates an input device to control the record process and optionally the record duration. For example, the user may hear a song that she likes and press record. The device, in turn, records at least a part of the object that is currently being received (an audio, visual or audio visual signal). The user can then decide contemporaneously or at a later time to execute the identifier decoding process on the recorded signal. The recording function can be designed to execute for a predetermined or user specified duration. In the case of radio and television tuners/receivers, the record function can be used to capture a media signal as it is received. In the case of a telephone handset, the record function can be used for a variety of functions, such as recording part of a telephone conversation, recording speech or other ambient audio through a microphone, or recording a media signal received by the handset via a wireless communication channel. The recordings can be compressed and stored in local memory on the device. In addition, they may be annotated with metadata about the media signal, such as a time stamp to show time of capture, a location stamp to show location of capture, metadata extracted from the object (in band or out of band data), etc. The location stamp may be provided by a global positioning device. Some wireless phone systems are capable of computing location of a telephone handset via triangulation. This location data may be used to provide geographic location coordinates or the name of nearby landmark, city name, etc. The metadata may be displayed on a display device to help the user remember the context of a particular recording. In addition, it may be provided as context information along with an identifier to a server that links the identifier and context information to metadata or actions. Transmarking In some applications, it may be useful to convert auxiliary information embedded in a media signal from one format to another. This converting process is referred to as transmarking. Transmarking may include converting an out of band identifier like a tag in a header/footer to a watermark or vice versa. It may also involve converting a message in one watermark format to another. The process involves a decoding operating on an input media object, and an encoding of the decoded information into the media object. It may also involve a process for removing the mark originally in the input object to avoid interference with the newly inserted mark. There are a variety of reasons to perform transmarking. One is to make the embedded information more robust to the types of processing that the media object is likely to encounter, such as converting from one watermark used in packaged media to another watermark used in compressed, and electronically distributed media, or a watermark used in radio or wireless phone broadcast transmission applications. This type of transmarking process may be performed at various stages of a media object's distribution path. As suggest previously, an identifier in a watermark or file header/footer may be encoded at the time of packaging the content for distribution, either in an electronic distribution format or a physical packaged medium, such as an optical disk or magnetic memory device. At some point, the media signal may be converted from one format to another. This format conversion stage is an opportunity to perform transmarking that is tailored for the new format in terms of robustness and perceptibility concerns. The new format may be a broadcast format such as digital radio broadcast, or AM or FM radio broadcast. In this case, the identifier may be transmarked into a watermark or other metadata format that is robust for broadcast applications. The new format may be a compressed file format (e.g., ripping from an optical disk to an MP3 format). In this case, the identifier may be transmarked into a file header/footer or watermark format that is robust and compatible with the compressed file format. The transmarking process may leave an existing embedded identifier in tact and layer an additional identifier into the media object. This may include encoding a new watermark that does not interfere with an existing watermark (e.g., insert the new watermark in unmarked portions of the media object or in a non-interfering transform domain). It may also include adding additional or new identifier tags to headers or footers in the file format. Amplifying an Embedded Identifier Rather than converting embedded data to another format, an amplifying process may be used to renew an identifier that has become weakened or separated due to processing of the media object in which it is embedded. In this case, an decoder and encoder pair may be used to determine the current identifier and re-encode it. Of course, the encoder can also choose to embed a new or additional identifiers as well. If the previous identifier is lost, the encoder can query an identifier database established in the registration process, passing identifying information about the media object. The database uses the identifying information to find an associated identifier and returns it to the encoder for embedding in the media object. Concluding Remarks Having described and illustrated the principles of the technology with reference to specific implementations, it will be recognized that the technology can be implemented in many other, different, forms. To provide a comprehensive disclosure without unduly lengthening the specification, applicants incorporate by reference the patents and patent applications referenced above. These patents and patent applications provide additional implementation details. They describe ways to implement processes and components of the systems described above. Processes and components described in these applications may be used in various combinations, and in some cases, interchangeably with processes and components described above. The particular combinations of elements and features in the above-detailed embodiments are exemplary only; the interchanging and substitution of these teachings with other teachings in this and the incorporated-by-reference patents/applications are also contemplated. Patent Citations
Non-Patent Citations
Referenced by
Classifications Legal Events
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Tuesday, March 20, 2012
AnneMarie's Quilt
We decided on some basic, bright-colored, fun log-cabin blocks. Each of us made three blocks, and I quilted it.
I put some of my favorite little-boy prints on the back—the brown and blue plaid from Katie Jump Rope, a Pezzy print, and a few others.
I've been wanting to improve my straight-line quilting, so I opted for straight lines on the diagonal across the quilt. I recently got a new walking foot that has this quilting guide on it—why didn't I know about this little doohickey before?? It makes straight-line quilting so much easier, no marking necessary! I just marked the center diagonal and used the guide to work my way out from there. The only problem with using a quilting guide like this is if you get a little crooked or curvy on one line, all the lines after that will be the same, because you're always using the previous line as your guide. In fact, the flaws might even be magnified as you stitch more and more lines. So I sometimes took the quilt off my machine, laid it out on the floor and inspected my lines. If they were looking a little crazy, I marked the next line in order to straighten things out again. But I only had to do that 3 or 4 times, I'd say.
And it turns out that I really don't mind straight-line quilting—as long as I don't have to turn the darn quilt! It's the turning that I despise. So you may see more edge-to-edge straight-line quilting from me in the future.
Congratulations, AnneMarie, on the addition to your family! Enjoy the quilt!
28 comments:
- A.J. Dub. said...
You gals are good friends! That is a sweet quilt.
I used the quilting guide when I did the pillow sham and liked it a lot. - March 20, 2012 at 12:23 PM
- Little Bluebell (Adrianne) said...
Aw!! You guys are so sweet!! AnneMarie is going to love it. There is no such thing as too many quilts. ; )
- March 20, 2012 at 12:28 PM
- Nicky said...
It looks lovely and just the thing to lift your spirits!
- March 20, 2012 at 12:30 PM
- iluvmybugs said...
I'm sure your friend, and her new little guy, are going to love it! TFS
~Terry~ - March 20, 2012 at 12:43 PM
- Laura @ Needles, Pins and Baking Tins said...
Aww, it's so cute!
- March 20, 2012 at 12:47 PM
- Marjorie's Busy Corner said...
Lovely Lee; it is extra special coming from a friend...don't you think?
- March 20, 2012 at 12:56 PM
- Jessica said...
Oh how sweet! Great quilting, I'm sure she'll love it!
- March 20, 2012 at 1:00 PM
- Erin @ Two More Seconds said...
That is just the PERFECT little boy quilt. Love it so much.
- March 20, 2012 at 1:00 PM
- Leila said...
Love it! You can never go wrong with log cabins.
Congratulations again AnneMarie! - March 20, 2012 at 1:10 PM
- Kristie said...
It's beautiful :). I am sure it will be loved!
- March 20, 2012 at 1:15 PM
- Svetlana said...
What a wonderful quilt, really pretty, love the log cabins.
- March 20, 2012 at 1:21 PM
- Linda said...
To make straight quilting lines and not mess with the channel guide, just use a Hera marker to "draw" lines on your quilt, marking along the edge of your longest ruler. In fact, that's the way to free-motion quilt straight lines on my quilts, following the Hera-marked line. That way too, there's no need to do any quilt turning at all.
- March 20, 2012 at 2:12 PM
- Cherie said...
It looks amazing!! Love all the blocks! The quilting is great too! I like straight lines...need to invest in a guide and a free motion foot me thinks =D
- March 20, 2012 at 4:03 PM
- Tanya said...
What great friends...the quilt looks wonderful great colours
- March 20, 2012 at 4:46 PM
- Katie B. said...
That's so sweet! I know AM and her family will love it.
- March 20, 2012 at 5:19 PM
- beaquilter said...
very nice quilt! and good job quilting it too
- March 20, 2012 at 5:20 PM
- Katy Cameron said...
Love all the bright colours in the quilt
- March 20, 2012 at 5:52 PM
- The Thompsons said...
You can never have enough quilts. It's adorable. :)
- March 20, 2012 at 5:54 PM
- CathyK said...
A gift that will be treasured, I am sure! Very sweet of you ladies!
- March 20, 2012 at 7:22 PM
- Lora said...
Love the quilt and the straight line quilting. I hate turning quilts also. I keep the long-arm quilters in business. Very thoughtful gift - can't have too many quilts!
- March 20, 2012 at 9:51 PM
- OPQuilt said...
This is such a generous gift to a friend and who wouldn't love to receive this in the mail to celebrate the birth of a child. I use my guide on my even-feed foot all the time--so glad you found it. Every once in a while I'll bump it, so sometimes I put a little bit of masking tape to secure it in line. I agree with the echoing of wobbly lines--but the other fun thing about taking off the quilt is to admire all the fine work that has gone into (and is going into) a quilt like this.
It's really lovely!
Elizabeth E.
www.opquilt.com - March 21, 2012 at 12:03 AM
- diane said...
a beautiful and thoughtful gift that I am sure AnneMarie will love.
- March 21, 2012 at 12:28 AM
- Marlene @ KISSed Quilts . com said...
Very thoughtful ...and so glad you got a walking foot!!
- March 21, 2012 at 12:57 AM
- Katie @SwimBikeQuilt said...
just fabulous!!!
- March 21, 2012 at 8:25 AM
- Lindsay Conner said...
What a sweet gift ladies! I'm sure she was thrilled! :)
- March 21, 2012 at 9:33 AM
- **nicke... said...
i love those quilting lines! perfect! i am sure she will be soo happy with it.
- March 22, 2012 at 12:15 AM
- Heidi @ Buttons and Butterflies said...
Thanks for the tip on rechecking with lines. Nothing like an echo of an oopsie you might have made!!!
- March 22, 2012 at 12:24 AM
- amandajean said...
I LOVE THIS QUILT!!! how nice of you three to make such a sweet gift for your friend's new little boy. who could have too many quilts?
- March 24, 2012 at 10:58 AM

subset: commoncrawl


text:
The near future. The glittering skyline of Tokyo now lies broken and crumbling under the weight of an oppressive evil: the tyrannical Rebi Rah. Rah has transformed Shinjuku, the heart of Tokyo, into a city of demons... and that's just the beginning. There are only three days left until Rah destroys the world.
For years, no one has dared to cross the foul moat which Rah and his evil minions built around the Demon City - until now. Desperate to rescue her father, who was taken captive by Rah and his monstrous minions, the beautiful Sayaka Rama enlists the help of Kyoya, a streetwise Tokyo teenager. The two must bravely venture into the Demon City, where even the army fears to tread.
Even if Sayaka and Kyoya manage to defeat Rah's army of monsters, will they be able to destroy the dark sorcerer? Or will they face the same fate as all those who came before them?
Spoken Languages: English, Japanese, English subtitles.
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Making Social Media Work for Your Business - Sponsored by SurePayroll
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Follow this link to register. After this seminar has passed, the recording will still be available. CPE credit will be available to live attendees only.
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* To obtain CPE credit, the live session must be attended. The recording does not qualify for credit.


text:
iMessage read receipts: A little bit of heaven... or a lot of hell?
Today's Talk Mobile is all about social etiquette and how technology can affect the way we treat our fellow human beings. Case in point, when Apple introduced iMessage in iOS 5 they took a page from BlackBerry Messenger and offered "read receipts", a way for you to know not only if your instant message was delivered, but if the person it was delivered it to had actually opened the Messages app and seen it. That's a great way to create confidence in a messaging system, but it's also a great way to create expectational debt between the people sending the messages, and surface some anger, frustration, and jealousy.
"I hate that stupid #$^%@ read receipt", a friend of mine told me years ago, "my boss calls me 5 minutes after sending a BBM to ask why I haven't responded yet. 'I know you saw my message! I can see you saw it!', he says to me. 'Why haven't you answered?!'" My friend shook his head. "Because I'm busy #$^%@ working! That's why!"
Personal relationships can be even trickier. What does it mean if someone new you're seeing has read your iMessage but not responded? What do you do when that read receipt just sits there, staring at you, mocking you...? Or when you really need an answer to a question from your parter, and the read receipt tells you've they've seen it, but you get no reply and the seconds, minutes, or even hours tick by?
What happens when a mutual friend, or person of mutual interests, iMessages someone else back while not replying to you? Argh.
Our friends over at CrackBerry.com don't seem any more at ease with their "dirty R", and they've suffered it longer than anyone.
Luckily, Apple makes the use of read receipts optional - you can turn them on or off in Settings - but that they exist also creates the expectation that we'll use them.
So, what do you think about read receipts? Are yours on? Do you expect other people to have theirs on? And what do you do when you know your message has been read, but no reply has been sent?
Have something to say about this story? Leave a comment! Need help with something else? Ask in our forums!
Reader comments
iMessage read receipts: A little bit of heaven... or a lot of hell?
My read receipts are off. I also pay little to no attention to whether others have them on. I figure they will answer when they can. I expect the same courtesy. If it's important I'll text again or call.
If not, it can wait.
Sent from the iMore App
Always had mines off. That was one of the features I hated about BBM. Sometimes I just don't feel like writing a response at that exact moment.
First thing I do when I set up iMessage is make sure the read receipts are off. (I also never send read receipts in email.) My thought is that there is a "delivered" status so they know the message was sent successful, and they'll know when I've read it when I respond as time/motivation allows. No need to send additional information, in my opinion.
Almost no one I know actually uses read receipts. I do--I think its helpful. If I'm not ready to give a response, I can always say I'm in a meeting or I'll get back to them on it.
Even better, if I see a push notification/lock screen notification and I don't want to read it, I can avoid it and it doesn't show as read. Since I use Read Receipts it makes it look even better like I haven't had the chance to read it yet.
I keep my read receipts on. Once people learn your habits, it's irrelevant if you read the message or not. They know I'll respond when convenient. Sometimes I wait to get back to my laptop if the response needs to be detailed.
People's expectations shouldn't necessitate an immediate response. If it's an emergency a phone call would be more appropriate.
I keep read receipts off on all my devices for many of the same reasons of those of you above. Read receipts treat everyone who contacts you via iMessage at the same priority level. They all receive the same level of response despite the major gaps in importance and relation (wife, boss, friend, etc.). Accountability in communication is important, but it's not always warranted to every group or person. Essentially, a read receipt is a confirmation of transferred responsibility. Once that person has seen it and you know, then you know that it's "technically" no longer your responsibility to ensure that person received what you sent (EDIT) and the responsibility to communicate back is in their court so to speak. I think it's appropriate in some settings in not others. Also, features such as Messages opening you to the latest message (if there's only pending notification badges or enough badges tie into a specific conversation) makes it hard to be fair to people who are waiting for your response when you are not ready or capable of responding appropriately.
A way I think read receipts could expand is to take the route of Do Not Disturb – specificity. Certain groups and individuals can have the right to know but not others. This re-establishes priority and allows you limit the feature to who you denote as applicable.
(For jailbreakers out there, I am currently working on a project that will allow this – (EDIT) approached differently then an already-released option in Cydia called SelectiveReading)
I keep mine on because I like the comfort of knowing my messages are getting through. With text messaging, if someone's in a no service area and don't get my message, or do get my message, I have no way of knowing. With iMessage though at least I can tell when they get through.
So it's more for my piece of mind and I really don't care when they respond...I just hope they feel the same way, that may be the one drawback.
I use read receipts and love them. I wish everyone used them, but I don't think the majority of people even know about them since they are off by default. It's just nice to know when someone read your message, and I don't take it personally if they don't respond right away. I'm sure some will find this shocking but not all texts messages are meant to be responded to!!
The one scenario I wouldn't like to use them is for work, whether it be a boss or coworker. But I don't have a work iPhone so it's not a big deal to me, but I could definitely see how it would be to others.
In all honestly I couldn't care less. Everyone I know and love leads incredibly busy lives, and the read receipt does nothing more than verify whether or not they got the message. They'll answer when they can, and I do the same. I've worked hard to create a drama free zone though. I know people that would bother. In which case, take yourself less seriously, or turn it off for the peace of mind.
I have mine on and certain people like my sons babysitters I make sure they have theirs on. In my opinion it's not that big of a deal with a few exceptions. With that said though people in my experience in general are not good communicators anymore especially younger generations, and it does annoy me when I message say some friends to confirm they'll be coming over for dinner and there is no response for hours, and they don't have the recite on where as I rather know they got the message even if they don't respond in a timely matter.
Sent from the iMore App
The problem I had with ios and read receipts is that ios MAKES you view an available message. Example, whenever I noticed an incoming message on my lock screen and unlocked to view it, ios opened the message directly, without giving me an option to look at the message but not read the contents. This was a constant frustration especially since I had come from blackberry where this did not happen.
Turned off read receipts on day 3 (when I was irritated enough and found out how).
I always keep mine on and I try to encourage others to have theirs on but I know which of my friends are going to answer right away anyway. I do like knowing that others have read the message. Even if they don't respond, I, at least, know they got the message.
I'm afraid I have a bit of a double standard when it comes to read receipts. I prefer not to use them but I appreciate when other people do. Sometimes I don't need a response from someone but it's nice to know the message was read.
First of all, whoever came up with 'read receipts' should be shot right about now, secondly, what's worse is the messaging app showing you online to your whole phone book when you're in the app as is the case in whatsapp or bbm is unbelievably stupid!!! WTF???? and whats even worse worse it does not give you an option to turn it off!!!! WTF!!!! Thats why I had to delete whatsapp!
Someone please make a petition to get rid of read receipts and online status in messaging apps!!!
My read recipts are on, basically people need to understand that you have a choice to read or not to reat the message. My wife has the same problem, but also with phone calls, shoud I answer it? is normally her question. My response is always the same. Thats your personal phone, you are not in the obligation to anser if you don't want to.
If you get an assigned phone from your employer, thats a bit more trick. What I usually do is leave the phone on a drawer when I don't intend to answer any work related calls, messages or emails. But if I'm on call, the phone is with me at all times.
Remember it's your choice and your desición to answer, so send the read receipts iMessage.
I turn off iMessage receipts for the same reason I've been turning off email read receipts for decades (once the novelty wore off in a few weeks) - just because the device /thinks/ I've read something, doesn't mean I have. I may open an email or see a message arrive and note the gist enough to make an assessment of its urgency, or I may open it in error etc. the system gets it wrong much too often to be reliable for those who may get the receipt and think they've something to give them confidence that I have picked something up, so it is a discourtesy to them to allow the system to mislead them that way.
When the tech is smart enough to know I've actually read and digested a message content, then I'll trust it to tell the sender on my behalf, otherwise it can butt out.
I keep mine on. If I read at least you know I'm not ignoring you, if I don't reply I hope you know me well enough to know I forgot and you can reach me again. I hate it when people don't keep them on. I feel ignored. At least let me know you've read it. You don't have to reply, ill just nudge you again if it's that important.
I personally like having it turned on, as well as turned on for those I send messages to. I have, over the past 8 years of using cell phones and text messages, found many people who assume that my phone is tied to my hip and I will always look at their messages or take their calls. With them knowing that, at least on iOS, that if it says "Read", then I did in fact read it.
My cell phone is not so they can reach me whenever they want, but so I can reach out to the rest of the world where-ever I happen to be. If I dont want to reach out to the world at a particular time, I mute my phone, leave it in another room, or simply turn it off.
Mine is on by default, but nobody in my circle really cares. The understanding is that we don't owe anyone anything outside of working hours. If I can email you a certain file at 11 pm, it's a bonus, not an obligation.
For me, read receipts is more of a way of knowing that my message has gone through and acknowledged by the other party, not as a surveillance tool.
Mine has been off since day one. Also turned off the whole families. There is only one of my acquaintances that has Read turned on, but that is only because it was automatically on and I don't think he knows. I've never been a slave to my phone and find the Read status an invasion.
Sent from the iMore App
There was a great Woody Allen movie (1970's) where one character called his service from everyplace he went so they would know which phone number to use to reach him. As if someone were really that important that they needed to be reached 24 hours per day.
To me, read-reciepts are guilding the lily. POTS providers spent many years and many millions $ to get a connection reliability of 99.99999%. Then we drop that reliability for cell calls, which on ATT are missing most of those 9's. Then we all move to msg'ing which is pretty much half-duplex communication, or ALEAP....As Little Effort As Possible.
I believe we have finally reached the nirvana of self importance....I have something to say, I don't care if you respond or really if you even receive my message....I just want to state my likes and dislikes with unrelenting incontinence.
I thoroughly expect Twitter to be replaced with semaphore at some point, then later with simple grunts and groans and the digital equivalent of peeing on a fire hydrant.
Mine are on, but if I don't want someone to know I've read a message, I'll just swipe down the message center. This allows me to view at least the gist, but doesn't count as "read."
Definitely have mine on. Sure, only half of my friends do, but at least they know when I have seen a message being sent, and when they see that gray ellipsis they know I'm typing (glad to see Apple do that). But seriously, of all my friends that see them, only one person in the past has sent a "Seen but no reply. Hmmm?" message, and why? Because if I'm busy (or, more likely, asleep), I don't just fail to respond, I just don't check. Period. Ever since the Flipside years...
So my gf phone said i have (seen) her text messages, when i never did. I was.asleep the whole time now she hates me and wont believe me. Please give me proof this is possible


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text:
Ever feel as if a trip to the grocery store just keeps getting more costly? We tracked down the average cost of foods found in the kitchens of most American families, broke those prices down by year and determined how much more you pay today.
Sleep terrors in early childhood may lead to sleepwalking later
Sandee Lamotte, CNN |
posted May 4th - 7:36pm
Does your little one suffer from sleep terrors? Then get ready to lock the window and doors, because they might soon sleepwalk, too. A study of nearly 2,000 children in Quebec over a 12-year period found that as many as a third of the children who had early childhood sleep terrors became sleepwalkers later.
10 fun ways to celebrate Screen-Free Week
Katia Hetter, CNN |
posted May 4th - 2:33pm
For my daughter, this year's Screen-Free Week won't be different from any other week. Dating back to 1994 when it was called "TV Turnoff," it's now an effort by the Campaign for a Commercial Free Childhood to get people around the world to take a break from digital entertainment.
Is it time to worry about another housing bubble?
Kathryn Vasel, CNN |
posted May 4th - 10:22am
It's been a long and uneven road to revival for the housing market. But things have been heating up for the last few years.
15 tips for living with chronic illness
Kim Giles, KSL.com Contributor |
posted May 4th - 6:58am
In this edition of LIFEadvice Coach Kim address the challenges of long term health issues and how to live with joy anyway.
The death of the 40-hour workweek
Jeanne Sahadi, CNN |
posted May 3rd - 8:34pm
When you're hired for a full-time job, the understanding is that you'll put in at least a 40-hour workweek.
14-year-old Highland teen shows off entrepreneurial skills
Jen Jacobson |
posted May 3rd - 8:45am
At 14 years old, Noah Cahoon is CEO of his own company, called Paper Box Pilots. Noah sells a toy product to families across the world. His business even won the attention of an entrepreneur and judge on the TV show "Shark Tank."
New Salt Lake parking meters still viewed widely negatively, poll says
Katie McKellar |
posted May 2nd - 12:35pm
Despite revamping its troubled parking meters last month, Salt Lake City still has a negative parking reputation in the eyes of nearly half of its residents.
Can social media make you happy?
Todd Leopold, CNN |
posted May 1st - 8:31pm
Social media may make you happy — or not. Like almost all human interaction, it's what you make of it.
FDA approves new drug to dissolve chin fat
Jen Christensen, CNN |
posted Apr 30th - 8:25pm
This news may mean the end for the ultimate selfie killer, the double chin. The Food and Drug Administration will now let you say bye-bye to nasty neck fat and hello to a jawline that doesn't jiggle. The agency approved the first drug that can eliminate neck fat in most people without surgery.
3 big stressors for women — and how to cope with them
Connie Sokol, KSL.com Contributor |
posted Apr 30th - 7:52pm
As involved and nurturing moms, we face daily and deep challenges in running a home and raising a family. Here's what I learned after informally posting this question on my Facebook page: "What are the top three stressors in your life?"
Bike technology offers great design and even better safety features
Jessica Kaing |
posted Apr 29th - 9:15pm
With the impressive growth for bike gear and bike technology, commuting can be safer and easier with the available resources provided for bikers.
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Ladies, you'll be the belle of Hawaii football when you represent the Warriors in this replica football jersey by Under Armour. The feminine-cut jersey helps you sport a cute game day look. It features "We are One" lettering woven into the bottom hem and printed team graphics throughout. Even though you're not out there with the team, you can still cheer on the Warriors in true fan style!
- 100% Nylon
- 100% Nylon construction
- HeatGear fabric keeps wearer dry and comfortable by wicking moisture from skin
- High-quality graphics
- Imported
- Jock tag
- No player name on back
- Officially licensed Warriors replica jersey
- Quality embroidery
- Rib-knit v-neck collar
- Screen print graphics
- Side slits at hem
- Tagless collar
Special event items are produced by manufacturers only after the outcome of a game
or event. These are advanced sale items and will ship immediately after they are
received in our warehouse.
Manufacturer direct items are shipped directly from the manufacturer. These items
are not available for international or expedited shipping.
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number, and/or designs. Some options may be limited by league rules.


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Rising Museum Board is the choice of framers, museums, and conservators for the mounting, matting, and preservation of fine prints and documents. Machine-made of 100% cotton, acid-free, neutral pH, and buffered with calcium carbonate for added protection.
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Rising is a registered trademark.


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