text:
Security Blanket or Security Theater?
- How Dependent Are We on Computers?
- What Is Computer Security?
- Threats
- Harm
- Vulnerabilities
- Controls
- Analyzing Security With Examples
- Conclusion
- Exercises
Imagine a series of events unfolding on a single day. First, 20 million U.S. smart phones stop working. Next follow outages in wireline telephone service, problems with air traffic control, disruptions to the New York Stock Exchange, and eventually severe loss of power on America's East Coast. What could cause such crippling outcomes?
You might think first they are isolated events, just coincidentally occurring on the same day. But with several things happening at once, you next start to look for common causes. Perhaps the various organizations providing these services bought some of their software from the same vendor, and the software is failing because of a shared flaw. Possibly this situation is like the Y2K problem, when people were concerned that on January 1, 2000 computer systems would crash because they used only two digits for the date (98, 99) and would fail when computer clocks rolled over the year boundary. Or maybe dependencies in one sector trigger actions that cause the initial failure to cascade into other sectors, for example:
- A software defect causes disruption in mobile phone service.
- Consequently, those who need to use phones revert to their wireline service, thereby overloading circuits.
- Air traffic controllers in some parts of the country depend on wireline communication, so overloaded circuits lead to air traffic control problems.
- Similarly, the New York Stock Exchange is severely debilitated by its brokers' inability to place and verify trades.
- At the same time, the power grid experiences problems because its controllers, no longer able to exchange information by using mobile phones, shut down because of a flawed protocol.
There is yet another scenario, used by the Bipartisan Policy Center in its February 2010 Cyber ShockWave exercise: malicious computer software or malware, "planted in phones months earlier through a popular 'March Madness' basketball bracket application, disrupts mobile service for millions" [BPC10].
It is difficult—sometimes impossible—to distinguish between an accident and an attack. Consider, for example, an online gambling site that received a flood of blank incoming email messages that overwhelmed servers and slowed customer traffic to a crawl. Blank messages could easily come from a software or hardware problem: a mail handler caught in a loop with one malformed message that it dispatches over and over. Shortly thereafter, the company received email written in broken English. It told the company to wire $40,000 to ten different accounts in Eastern Europe if it wanted its computers to stay online [MCA05]. So much for the "just an accident" theory.
Are these scenarios realistic or implausible? And are cyber security exercises such as these and the ones described in Sidebar 1-1 designed to confirm our readiness (a security blanket) or exacerbate our worries (security theater)? What is the likelihood we will be able to determine the causes of these kinds of failures and then prevent or mitigate their effects?
No matter what your work or family responsibilities, it is important for you to understand the nature of these scenarios, make reasoned judgments about their likelihood, and take prudent actions to protect yourselves and the people, data, and things you value.
One way to develop an understanding is to imagine how you might interpret a situation and then react to it. For example, in the unfolding events from mobile phone outage to East Coast power failure, consider these roles:
- You are using your mobile phone to talk with your friend, and the connection drops. You redial repeatedly but never connect. You then try to call your friend on your land line, but again there is no connection. How long does it take you to realize that the problem affects far more people than just you and your friend? Do you contact the telephone company? (And how? You cannot phone, and your Internet connection may very well depend on your telephone carrier!) By the time the power goes out, how do you know the power failure is related to your phone problems? When do you take any action? And what do you do?
- You are using your mobile phone to call your stockbroker because your company's initial public offering (IPO) is scheduled for today—so your company's viability depends on the resulting stock price and the volume of sales. As you begin your conversation with the stockbroker, the connection drops. You redial repeatedly, but never connect. You then try to call your broker on the land line, but again there is no connection. How long does it take you realize that the problem affects your company? Your broker? Others? Whom do you call to report a problem? And when the power goes out, what action do you take?
- You are a government official involved with air traffic control. All morning, you have heard rumors of telephone problems around the country. On your secure government line, you get a call confirming those problems and reporting widening problems with the air traffic control system. How do you determine what is wrong? To whom do you report problems? When you realize that problems with air traffic control may be dangerous to aircraft and their passengers, how do you react? Can you ground all aircraft until the sources of the problems are located and corrected?
- You are a government official involved with regulating the power grid. All morning, you have heard rumors of telephone problems around the country. Your web-based reporting system begins to report sporadic power outages on the East Coast. On your secure government line, you get a call confirming those problems and reporting widening problems with the air traffic control system. How do you determine what is wrong? To whom do you report problems? When you realize that problems with the power grid may threaten the viability of the entire nation's power system, how do you react? The power grid is owned by the private sector. Does the government have authority to shut down the grid until the sources of the problems are located and corrected?
The last situation has precedents. During World War I, the U.S. government took over the railroads [WIL17] and the telephone-telegraph system by presidential proclamations:
- I, Woodrow Wilson, President of the United States, ... do hereby take possession and assume control and supervision of each and every telegraph and telephone system, and every part thereof, within the jurisdiction of the United States, including all equipment thereof and appurtenances thereto whatsoever and all materials and supplies [WIL18].
During World War II, the U.S. government encouraged the automotive industry to redirect production toward jeeps, trucks, and airplane parts. The Automotive Council for War Production was formed at the end of 1941, and automobile production was suspended entirely in 1942 so that the industry's total capacity could focus on the war effort. So possible reactions to our complex scenario could indeed range from inaction to private sector coordination to government intervention. How do you determine cause and effect, severity of impact, and over what time period? The answers are important in suggesting appropriate actions.
Analyzing Computer Security will assist you in understanding the issues and choosing appropriate responses to address these challenges.
In this chapter, we examine our dependence on computers and then explore the many ways in which we are vulnerable to computer failure. Next, we introduce the key concepts of computer security, including attacks, vulnerabilities, threats, and controls. In turn, these concepts become tools for understanding the nature of computer security and our ability to build the trustworthy systems on which our lives and livelihoods depend.
How Dependent Are We on Computers?
You drive down the road and suddenly your car brakes to a stop—or accelerates uncontrollably. You try to withdraw money from your bank and find that your account is overdrawn, even though you think it should contain plenty of money. Your doctor phones to tell you a recent test showed that your usually normal vitamin D level is a fraction of what it should be. And your favorite candidate loses an election that should have been a sure victory. Should you be worried?
There may be other explanations for these events, but any of them may be the result of a computer security problem. Computers are embedded in products ranging from dogs to spaceships; computers control activities from opening doors to administering the proper dose of radiation therapy. Over the last several decades, computer usage has expanded tremendously, and our dependence on computers has increased similarly. So when something goes awry, it is reasonable to wonder if computers are the source of the problem.
But can we—and should we—depend on computers to perform these tasks? How much can we entrust to them, and how will we determine their dependability, safety, and security? These questions continue to occupy policy makers, even as engineers, scientists, and other inventors devise new ways to use computers.
From one perspective, these failures are welcome events because we learn a lot from them. Indeed, engineers are trained to deal with and learn from past failures. So engineers are well qualified to build large structures on which many of us depend. For example, consider bridges; these days, bridges seldom fail. An engineer can study stresses and strengths of materials, and design a bridge that will withstand a certain load for a certain number of years; to ensure that the bridge will last, the engineer can add a margin of safety by using thicker or stronger materials or adding more supports. You can jump up and down on a bridge, because the extra force when you land is well within the tolerance the engineer expected and planned for. When a bridge does fail, it is usually because some bridge component has been made of defective materials, design plans were not followed, or the bridge has been subjected to more strain than was anticipated (which is why some bridges have signs warning about their maximum load).
But computer software is engineered differently, and not all engineers appreciate the differences or implement software appropriately to address a wide variety of security risks. Sidebar 1-2 illustrates some of these risks.
Like bridges, computers can fail: Some moving parts wear out, electronic hardware components stop working or, worse, work intermittently. Indeed, computers can be made to fail without even being physically touched. Failures can happen seemingly spontaneously, when unexpected situations put the system into a failing or failed state. So there are many opportunities for both benign users and malicious attackers to cause failures. Failures can be small and harmless, like a "click here" button that does nothing, or catastrophic, like a faulty program that destroys a file or even erases an entire disk. The effects of failures can be readily apparent—a screen goes blank—or stealthy and difficult to find, such as a program that covertly records every key pressed on the keyboard.
Computer security addresses all these types of failures, including the ones we cannot yet see or even anticipate. The computers we consider range from small chips to embedded devices to stand-alone computers to gangs of servers. So too do we include private networks, public networks, and the Internet. They constitute the backbone of what we do and how we do it: commerce, communication, health care, and more. So understanding failure can lead us to improvements in the way we lead our lives.
Each kind or configuration of computer has many ways of failing and being made to fail. Nevertheless, the analytic approach you will learn in this book will enable you to look at each computer system (and the applications that run on it) to determine how you can protect data, computers, networks, and ultimately yourselves.


text:
Brad Paisley Says Politics Are Off Limits at the 2018 CMA Awards
Some of the best moments from recent CMA Awards found hosts Brad Paisley and Carrie Underwood taking digs at politicians or the American political system. They targeted both sides of the aisle with jokes and parody songs over 10 years. They're not likely to target either side during year 11.
Paisley says politics are off limits for him. "I'm not gonna touch that. I just don't find politics funny anymore," he says. "There was a time when it was. It's just not funny to me anymore. To me, I wanna do fun stuff. I don't wanna talk down, I don't wanna talk up — it's like, 'Let's have fun.' And let's talk about things that everybody can agree are funny."
"Obamacare By Morning" and "Before He Tweets" are the two best-remembered political parody songs that created a stir for the co-hosts on social media. Paisley says that kind of humor would do well in 2018, but he doesn't want the heat. "I want everyone to feel welcome and inclusive and we're not out to offend anyone," the 2010 CMA Entertainer of the Year says.
Paisley, who is slated to perform in addition to co-host at Wednesday night's (Nov. 14) CMA Awards, didn't elaborate on what he and Underwood will discuss. Typically they write much of the monologue in the days leading up to the show, so they touch on the most newsworthy items. He did say that he's not afraid to get political in other ways, in a manner similar to how he's done before.
"I try to find the thing we can all agree on, whatever that is," he says. "What's the common ground? What's the thing you can sit with anyone no matter where they stand and say, 'Don't we agree on this?'"
"I don't know that it's always music's job to do (be political). It can be, but I also think that sometimes it's music's job to get you away from some of these things."
Remember: The best way to watch the CMAs is on TV, with ToC on your phone!
Greatest CMA Moment of All Time? Here's Our Faves

subset: commoncrawl


text:
A brief break from email and startup posts for a grammar nit post.
It's quite irritating to me to see smart people constantly misusing "it's" in place of "its" like Fred Wilson did when he wrote "it's users can and will leave" regarding Facebook. This may well be a total anomaly for Fred; I'm just picking on him because he happened to be the third or fourth sharp blogger I've noticed do this in the last few days.
I'm a big fan of informality in blog posts and write tons of run-on and otherwise crappy sentences in my blog posts. But I still consider it's/its, they're/their/there, and other sloppy grammar mistakes to be below the bar I consider acceptable even in blog posts or emails.
OK, that's all.


text:
Santi - LED adjustable bronze disc wall light
2-4 days. Express option available. See details below
You may also like
We make it easy for you to purchase the necessary bulbs for your light/lamp during the checkout process. Our system automatically pairs the required bulb type and quantity with your light/lamp, so you don't have to worry about it.
By default, the option to purchase bulbs is set to "YES", but if you prefer to not include them, simply select "NO" option from above.
Delivery information
Once your order is processed and dispatched from our warehouse, you will receive a tracking reference. Our goal is to dispatch all orders within 48 hours, and for orders placed before 3pm, we strive to ship the same business day.
Delivery (Total order value)
Under £100 = £6
£100 to £200 = £10
Over £200 = FREE
If your item is Pre-Order, please see the estimated date in the product information below.
Express delivery
At checkout, we offer an express delivery option for those who need their order shipped as quickly as possible. To ensure same-day processing and shipping, please place your express order no later than 1pm. If you place an express order after 2pm, it will be shipped on the following day.
Here's an example to clarify: if you place an express order at 3pm on a Monday, it won't be shipped until Tuesday morning, and will arrive on Wednesday.
Please be aware that we do not offer weekend delivery service. If you require express delivery for a Friday arrival, kindly place your order by 1pm on Thursday.
Delivery (Total order value)
Under £100 = £10
£100 to £200 = £15
Over £200 = £20
Warranty & Returns
Warranty Information:
Electrical Parts and Faults: Rest assured you have 2 years of coverage for electrical parts and faults.
Product Finish: Everyone uses our products in different ways and in different places. We will guarantee the finish of our products for 1 year and will discuss any issues after that on a case by case basis.
Please be aware that, in the event of a return, we reserve the right to provide a like-for-like replacement or a suitable alternative.
The price of our products doesn't allow for free returns. If you're returning an item because you've changed your mind, you'll need to arrange for the goods to be returned to us. We advise that a secure/tracked service is used to ensure all returned items arrive back to us, within 28 days of receiving the product, in a resalable condition. Once we receive your returned order we will inspect all goods and any refunds will be processed within 14 days.


text:
The fuel line brings fuel from from the storage tank to the vehicle. The line is commonly made of reinforcement rubber to prevent splitting and kinking. The fuel system is crucial to the smooth running of the engine. Parts of this critical system can wear out just like any other part in the car. These lines are vulnerable to breakage after years of wear and tear. In most cases, they can become dysfunctional without prior warning, but there are few signs you can watch out for to know whether the line is broken or compromised.
In this case, when the line is broken it becomes leaky, producing drips or in more serious cases puddles of fuel underneath the vehicle. Initially, a leaky line will cause a drop in fuel pressure which is capable of compromising the operation of the fuel system. This can cause minor triggers and engine misfires, which may lead to stalling. Driving with a broken fuel system is very dangerous and can potentially result in injuries or even death from fuel leak fires. Notably, it poses a major hazard, which is why you should fix it immediately upon noting signs of leakage.
How do you know your car has a leaking fuel system?
You can take your vehicle to an auto repair for check-up to determine if the fuel line is broken. First, the mechanic will put the vehicle on jacks and then closely follow the line, which runs from the rear of the vehicle to the front.
If the mechanic spots an area with a buildup of dust and road grime and an area with wet spots, then there is evidence that the line has a leakage. Besides these follow-up processes, there are various other common indicators to tell whether a car has a leaking fuel line.
One of these indicators is engine performance. Once a vehicle has a leaking line it develops some problems with the engine performance system causing issues such as hard starting, stalling misfires. In some cases, it can even prevent the car from running at all due to the flaws in the performance of the engine.
Repair Indicators
Another indicator is an odor or a constant gasoline smell coming from the vehicle. Another indicator that the line is broken is visible fuel leaks. In this case, the fuel leaks will depend on a vehicle's fuel injection lines whereas some may be at the front or rear of the vehicle. Usually, leaks that are large enough to produce visible puddles are likely to cause performance issues and should be repaired as quickly as possible to prevent them from developing into safety hazards.
Usually, auto repair shops have advanced systems that can help with diagnosis to determine the state of the fuel system, and other critical vehicle systems and components. You should take your vehicle to an auto repair regularly for maintenance. A broken fuel system poses a major problem to the functionality of the entire engine system. Regular maintenance ensures that the problem can be detected and remedied early enough.


text:
2002-06-09 01:20 UTC Much more on humanitarian eugenics
JJ followed up (sorry — I couldn't find a permalink) on my last post with some interesting comments.
I don't in any way mean to belittle your belief
This isn't really a belief; I carefully avoid the word in general. As I point out on my personal home page, I have no beliefs. This is an opinion, based on scientific evidence and concern for the future of our species.
I think the source of my confusion comes from the fact that the material I've read about eugenics tends to describe with great conviction the desired outcome, but is tellingly silent about how that outcome should be achieved. Does the end justify the means?
The means is pretty simple. In fact, JJ, you summed it up pretty nicely in your last post (see below). Society has to agree to stop breeding without a license from the state. Much like you cannot adopt children without a license, in a eugenics programme you would not be allowed to bear offspring without a license. This has multiple potential benefits: reduction in population growth, reduction in the number of children born in unhealthy environments (assuming abusive would-be-parents were identified and denied a license), and of course, an improvement if the quality of the gene pool.
[A] societal change of this nature would be incredibly dirty work. It would involve radical changes not only in the structure and nature of our governments but also in the very way we think about each other.
This is a large and intractable problem. It will almost certainly require a large and complicated solution.
It would create an entirely new kind of class separation based on often arbitrary measures of innate intelligence.
This class separation is by no means new. Look at US non-immigrant visa requirements, for instance. Look at qualification requirements in employment offers. Look at game shows (from the awful commentary on our society that is The Weakest Link to the even more thought-provoking Survivor), where people voluntarily subject themselves to such judgments.
Furthermore, like sexism, racism and wealthism before it, intelligencism would merely be an issue that society has to deal with. Our past successes in such matters encourages me greatly. (Despite the fact that a side-effect of those successes, the political correctness movement, is largely to blame for the problem itself.)
I also disagree with your statement that eugenics is
about enforced population growth controlsuch as in China. That may be another outcome of the process, but as I understand it eugenics is more about what kinds of children are allowed to be conceived rather than how many.
Since the process limits who may have children, rather than forcing couples to reproduce, it will automatically result in population control. That is not, however, a primary goal of humanitarian eugenics.
Discriminatory reproductive control, though, seems to create more problems than it would claim to solve.
It aims to solve merely one: the devolution of our civilisation. That this is happening, and that it is a logical outcome of the egalitarian "political correctness" that our society is obsessed with, is a verifiable fact.
In order to be taken seriously, eugenics supporters will have to [...] Define innate intelligence in quantifiable terms and be able to reliably test for it without error.
There is no such thing as "without error". This, though, doesn't seem to be an issue with some societies. For example, many states in the US still practice the death penalty, even though the US judicial system is not without error. Killing potentially innocent people seems a lot more dramatic than not letting certain people procreate.
As far as an innate intelligence test goes, universities seem quite happy to rely on school grades to determine someone's innate intelligence. Why would a system which currently decides the outcome of someone's entire life be suitable for that but not for the purposes of deciding whether they are likely to have children with above-average intelligence?
Prove that higher innate intelligence makes a person a stronger contributor to society.
See section 2 of the paper which started this discussion.
Likewise, prove that lower innate intelligence makes a person a lesser contributor to society.
Mathematically, that is a logical restatement of the previous point.
Demonstrate that innate intelligence is the only genetic trait worth distilling. For instance, is an extremely intelligent person with a debilitating genetic physical disease worth more than a physically superior person with lesser intelligence?
Not to the future of the human race's gene pool, no. If the aim is to protect our genetic diversity while increasing the genetic quality of the population at large, then successful candidate parents must be overall above average. How this is determined is up to the scientists and psychologists tasked with the question (I am certainly not qualified to answer it myself). Note that half the population is above average! This is not a small number of people.
Coming up with the criteria is the hardest part of the process, but it is one which can be constantly reviewed, and it could be linked to the legal system so that appeals could be made if sufficient ground existed to challenge a denial. This is not a unique problem; how do we decide who deserves state support? How do we decide who is allowed into a college and who is not? Who gets a job in a competitive market?
Outline a workable plan to legislate and enforce reproductive control while preventing violence, discrimination, and classism.
Again, that is a problem that is not specific to eugenics, so I see no difficulty here.
The biggest problem I see with supporting eugenics is the bad name it has aquired, through being associated with the Nazi movement, for instance. I'll leave that problem up to the PR folk to solve.


text:
Skye Everest Collage Paw Patrol Touch Lamp Switch Lamp Night Light Table Lamp
Add light and colour to your little ones bedroom with their favorite cartoon character.
This lamp is ready to use right out of the box, with little assembly required, screw in your bulb and enjoy!
Complete their room with these beautiful designs
Create a themed room with the child's table lamp and provide safe lighting and allows for a soft ambiance.
The simple touch or switch feature makes it easy for even little fingers to turn it off and on, ensuring that they can do so in the day or in the middle of the night. The compact size makes this a good child's bedside light, but it can be used on a desk or dresser, too.
This table lamp is a perfect gift for a child's birthday or other special occasion.
Specifications for Touch:
Metal base
Easy touch feature
Requires E14 Small Edison screw globe 40watt (additional cost if required)
Assembled height 34cm
Specifications for Switch:
Ceramic base
Easy switch feature
Requires B22 Globe (additional cost if required)
Assembled height 32cm
Looking for something specific and can't find it? No problem send us an email or message on Facebook to arrange your order.


text:
Reliable & Affordable VA to DE Auto Transport
Wondering how much to ship a car from VA to DE?
Is there a vehicle you need to move to DE sitting in VA? If so, it's important to find a reputable and reliable company that offers auto transport services that fit your needs and will ultimately meet your expectations.
Schedule your vehicle pickup in VA
Have your vehicle delivered to DE
There are a few things to keep in mind when looking for auto transport services in VA or DE. First is Cost; shipping a vehicle across country or state to state can fluctuate greatly in price when choosing an auto transporter in DE or VA. So it's imperative to get an estimate based on your move and the distance of travel, along with your vehicle specifications. Another important factor to look for when pricing auto transportation from VA to DE is if they offer any insurance or recovery plans. You should never put your vehicle in the hands of an auto shipping company that is not properly licensed, insured and current on their bond. By making sure of these factors, you will enjoy peace of mind knowing if something were to happen to your vehicle during transport you are covered.
Top reasons to ship a car from VA to DE with Direct Connect
- Vehicle Tracking-lets your know where your vehicle is at all times
- Direct Connect Guarantee-ensures that your vehicle will arrive in the condition we picked it up in.
- BBB A+ Rating-our record speaks for itself
- Over 20 years of experience moving all types of cars, trucks & motorcycles
VA Car Shipping Companies
Do you need to ship a vehicle to or from VA to DE? When moving to a far place, VA to DE auto transport companies are the easiest and most convenient way to relocate your vehicle. When choosing auto transport companies in VA or DE it's important to compare pricing and quality of the service they provide. Pricing can vary and it's important to get an estimate from the best auto transport company based on your vehicle specification before committing to one. As a potential customer, you are able to ask for documentation such as permits and licenses from the VA to DE auto transport companies to ensure the auto carrier company is operating legally. One last recommendation for when you have finally chosen your auto transportation service is to always be on time when dropping your car off and document the condition of your vehicle before its loading on the truck.
Professional Vehicle Shipping Services From VA to DE
With decades of experience in the transportation industry, Direct Connect Auto Transport can handle any type of VA to DE car shipping job. Our staff will work with you to determine your shipping needs and establish a time and place for pickup and drop off. We offer efficient, safe and reliable VA to DE shipping services. Book with us 24/7 using our secure online system or call one of our professional shipping coordinators today.


text:
24/7 Trusted Plumber Company in San Gabriel, CA - (626) 986-3628 - Fast & Local.
Fully Mobile Plumbing Services - We will come to your place ! Special Coupons for July 2024 !
24 Hour Plumbing Services in 91507
Looking for 24 Hour Plumbing Services in 91507 or around San Gabriel, CA? Get the best price from us!
Give us a Call: (626) 986-3628.
24 Hour Plumbing Services in 91507 - Best Service!
24 Hour Plumbing Services in 91507 - Why Us?
Decent Prices.Large Experience.
Free Quotes.
Wonderful Reputation.
Emergency Service Around The Clock.
Professional Plumbers.
Licensed And Insured.
& More..
More zips and cities we provide:
24 Hour Plumbing 91507
24 Hour Plumbing Santa Fe Springs
24 Hour Plumbing 90601
24 Hour Plumbing 91716
24 Hour Plumbing 90222
24 Hour Plumbing 90662
24 Hour Plumbing 90003
24 Hour Plumbing 91182
24 Hour Plumbing Brea
24 Hour Plumbing Monrovia
& More..
Condensation Line Repair Air Filtration System Replacement Air Duct Repair Catastrophe Response Hvac System Repair Backwater Valves Installation Heat Pump Water Heater Installation Shower Maintenance Drain Line Cleanout Kitchen Remodeling
San Gabriel Plumber
Plumber in San Gabriel, CA
Address: Shining Ave, San Gabriel, CA 91775 Email: firstname.lastname@example.com
Phone: (626) 986-3628
Plumber in San Gabriel, CA
Address: Shining Ave, San Gabriel, CA 91775 Email: firstname.lastname@example.com
Phone: (626) 986-3628
Special Coupons
For Internet Customers
10% Off Well Pump Repair
15% OFF Water Line Replacement
15% Off Sewer Line Replacement
10% OFF ANY Plumbing Service
15% OFF Drain Cleaning Service
10% Off Water Header Installation
Elias Stokes: "Had a tremendous time plumbing service by these guys. They arrived very rapid to our house and repaired my clogged drain very fast. The top class plumbers in the neighborhood." 5 out of 5 stars
Margarita Huber: "I was amazed with how much expertise the technicians had. They achieved to deal with every issue we had in our apartment. They even did more for no additional charge. I was very satisfied." 5 out of 5 stars
Gerardo Mullen: "I would really like to thank your team for the great work they executed in my home. As the plumber showed up in they tried to calm me down, as I was very upset as my bath was overflowing and my bathroom was flooded. I was so contented when the guys ended the job and when I saw my toilet all clean again." 5 out of 5 stars
Plumber In Lake Forest 24/7
Garage Door Repair in Anaheim
Simi Valley Plumber
Locksmith Roselle


text:
Pioneers. Iconoclasts. Ad Men. Brothers. Whatever you call them, Robert and Richard Greenberg are responsible for founding R/Greenberg Associates (now R/GA) and for bringing about incredible innovations in the worlds of advertising and film. What began in 1977 as two brothers designing film titles and advertising out of a remarkably tiny brownstone where they slept in bookcases has evolved into a full-service international agency responsible for some of the most iconic commercial and film work of the last 35 years.
After stints working unsatisfying jobs – Robert for a cola company, Richard under Director Pablo Ferro – the brothers struck out on their own. Robert handled the business side of the operation, ensuring they had the means and the equipment, while Richard handled the creative. Born of a tradition that included Saul Bass, who designed the titles for films like North by Northwest, Psycho, and West Side Story, and Stephen Frankfurt, designer of the classic opening sequence for To Kill a Mockingbird, the title design of R/Greenberg Associates took motion and titles a step further. As is evident throughout their oeuvre, the Greenbergs ascribed to a philosophy of formal simplicity while endeavoring to innovate and intrigue at every turn.
Beginning with Stop, a short film Richard made in university, the thread that runs most clearly throughout his style is a particular application of typography. Stop is as much a political response to the tumultuous events of the 1968 Democratic National Convention as it is an exploration of type and film as media. In Stop, the letters are simultaneously message and medium, a lens through which images are both displayed and distorted, the repetition of forms echoing the song's lyrics and outlining the message in no uncertain terms. This usage of type as structure and as obstruction is a motif to which Richard would return again and again.
The Greenbergs' first major film project as a company, the teaser and opening title sequence to 1978's Superman, gave them a start, but their second established them as a creative voice. In the opening sequence for Ridley Scott's Alien, a disjointed version of the Futura typeface is used to instill a sense of foreboding, the letters broken into pieces, the space between them unsettling. Altered States, from 1980, uses another geometric sans-serif typeface, a slightly modified ITC Avant Garde Gothic. The letters invade, becoming a lens for the scene and conveying a sense of encroachment. They shuffle themselves disorientingly, the man within eventually lost to text. This technique and the use of type as a lens can be seen again in the titles to The Dead Zone.
These three title sequences, as well as the ones for Richard Donner's Ladyhawke and Brian de Palma's Blow Out and The Untouchables, combine type and sound in a way that is symbiotic, the type heightening the effect of the music, the music adding layers to the type. In 1982, their work hit a distinctly lighter note with The World According to Garp, where type as a device took the backseat to an adorable, floating baby, allowing R/Greenberg Associates to demonstrate their range.
Throughout each of these projects and many others, they developed specialized technologies which would become industry standards during the optical era and beyond, speeding along the evolution of the medium as a whole. For Superman, they developed a slit-scan technology; for Garp, they developed a white matte screen process to float the baby. They perfected motion control, used rostrum cameras to animate, and made great strides in the use of computers for visual effects. Marrying cutting-edge technology with an acuity of ideas is the foundation on which R/GA was built and their title designs stand as monuments to their achievements, defining movies not just through consistent branding and memorable imagery, but through their presentation of abstractions of plot and narrative undercurrents.
In this in-depth interview, we speak with the Greenberg brothers about their philosophies and the iconic title design work that inspired a generation of moviegoers.
A discussion with Designer RICHARD GREENBERG and current R/GA Chairman and CEO ROBERT GREENBERG.
What made you want to go into design?
Richard: Well, I grew up in Chicago and I went to Chicago Public School. In first grade, my teachers wondered if I should go to the Art Institute since I was always so visual. So I went to these classes and it opened up my eyes. I grew up in a fundamentally middle class Jewish neighbourhood and all of a sudden I was involved with kids from all different parts of the city, from different ethnic and cultural backgrounds. The idea of being a painter or a sculptor was too far-fetched for my father, who wanted something more practical, so I thought about design. I was actually an architect in school for the first couple of years and then I switched over to graphic and product design.
So how did you move over to motion work?
Richard: When I was studying at University of Illinois, I moved within different disciplines with a lot of missteps and false starts. I worked for the motion picture unit and someone let me work on an Arriflex camera. I had of course seen the Saul Bass opening sequences for Hitchcock and Preminger and I got it into my head that someday I would try to do work like that. I saw Bass's film Why Man Creates in design school, which was really graphic – he literally hand-wrote things out on the screen, very well produced – and I was really fascinated with it. I also went to a screening of underground filmmaker Kenneth Anger's films Fireworks and Scorpio Rising. He dealt with subject matter that you really couldn't deal with at the time; there was a lot of overt homosexuality and they were heavily metaphoric.
Then, in a class I had as a senior at University of Illinois we did typographic things very much like Emil Ruder and his typography book. We had an assignment to imply a third dimension using type of various sizes on a two-dimensional page. I thought, "Ok, I'll take that and animate it to create a portrait with real emotion."
And that was your first short film Stop?
Richard: Yes. I went home that summer and I thought it would be very interesting to create a fourth dimension – motion – so I bought a Bolex. It wasn't even a reflex Bolex! It was a real cheap Bolex camera with, you know, 16mm film. So I started animating using pictures from the 1968 Democratic National Convention where people got gassed and whatnot. I used Buffalo Springfield's song, [sings] There's something happening here, what it is ain't exactly clear...
Oh – "For What It's Worth."
Richard: Yeah. And when I went back to school in the fall, one of my classmates showed me the typical student film where he's, like, walking with his girlfriend in the woods. He was sending it to the New York Film Festival, which I didn't even know about. So I xeroxed a form and sent in what I had made and it changed my life! I was a senior in college and it won. The prize was $3,000 – a lot back then – and the judges were avant garde filmmakers no one had heard of like Brian De Palma and an instructor at the NYU film school named Martin Scorsese. It gave me a lot of confidence.
What happened when you graduated?
Richard: Well, I got a BA in industrial design and an MFA in graphic design. But I couldn't design a poster if my life depended on it; I had no print experience! I thought I would be an academic and after I finished graduate school I taught at the Institute of Design at IIT (Illinois Institute of Technology) and the University of Illinois, both in Chicago. I was also working for a local design place called Morton Goldsholl Associates. Mort Goldsholl was kind of a contemporary of Saul Bass but he was in the suburbs of Chicago as opposed to the entertainment industry in Los Angeles.
Robert: Mort was a real byproduct of IIT and the Bauhaus movement.
Richard: I liked Goldsholl; I liked doing the work. I was 27 years old and the dean said that they'd give me tenure if I came back in September. I realized I didn't want to teach. Instead I went to New York and worked for Pablo Ferro.
Robert: Richard had a choice between Eames, Saul Bass, and the Ferro brothers. So he took a job with José and Pablo.
Richard: Pablo had made a splash with his bold work for Kubrick's Dr. Strangelove. I was at the bottom of the totem pole so I had to load the camera and fetch coffee. I went from a world of comfort and privilege to being a PA! I mean, Pablo would have me bring the film to the lab when we were finished at night and the lab was on 9th Avenue and 43rd or something. I would walk. It was a creative city, but your shoes would crunch from walking over all the hypodermic needles. That was New York then!
Robert: I think every Friday Richard would have to run to the bank to try and cash his check before anyone else because they never had enough cash flow!
Richard: Yeah, and one day Pablo and José asked me to bring them coffee and I just... I don't know where it came from because I'm very passive, but I just said, "Fuck you," and walked out!
But they were doing graphic commercials for clients like GM and other big companies, so I got to see how it worked. It gave me the experience to realize that I could do this if I had somebody to handle the business part. I sensed that graphic design in motion was nowhere near as advanced as it was in print because print had this Swiss–German influence and all the motion stuff was just a carnival. It was really a circus. I thought we could take that print discipline and apply it to film graphics. That's where my brother Bobby came in. He had been in Canada working for my uncle and he came down and was absolutely brilliant at it. So I would do all of the creative and he would manage everything and then we brought in others.
And that's how R/Greenberg started?
Robert: R/Greenberg Associates began as just the two of us – I was the producer and Richard was the creative. We saw an opening in the market for a company who could take great print design and put it into motion. That's how simple it was, our core mission.
I had been trained, or rather mentored, by my uncle while running a company in Canada. It was a subsidiary of Royal Crown Cola and we made different things – picture frames, mirrors, accessory items. It was a very big plant – 107,000 square feet – and I had three shifts. After working with my uncle for almost seven years, I decided to move to New York. I was pretty young; I was 29 and Richard was 30.
Richard: Right, I think we started in 1977 and like any design-based production team just starting out, we took any project available. We started it out of – I mean, it's hard to imagine we were both living there, but – this tiny, tiny place in the top two floors of a brownstone on 38th Street. It was so small that no one knew we actually lived there! I had a bed that came out of a bookcase and so did Bobby on the other floor.
Robert: It was a whorehouse originally! The ceiling was replaced on an angle which left just enough space for a rostrum animation camera to fit. I was used to a lot of creature comforts and here I was sleeping on the floor!
Richard: I remember our first really big job was something for IBM and all the bigwigs came over. They looked at me and one said, "Boy, you must be really happy when you can go home." I said, "Well, this is home." So, we really scrambled and it wasn't that easy.
Robert: I was thrilled when I could get off of the camera – I was also the cameraman – and turn it over to Kenny Stytzer who joined us as our first employee.
Kenny turned out to be one of the very best animation cameramen ever, but we didn't know that at the time. We started adding other people and that small space got pretty crowded. We had a Moviola in our kitchen. Then we added more people and there were probably ten of us by the time we moved to 240 Madison, just down the block, a couple of years later.
Richard: We would get all these wonderful graduates from Cooper Union or Yale – really talented people who didn't want to move to California.
Then the industry began to change and we started doing title sequences. We did a movie called Roseland that took place in the Roseland Ballroom in New York. We did something for a Farrah Fawcett movie which gave me a sense of how to do a title sequence.
Did you get interested in title sequences while working with Pablo Ferro or was there something else that led you that way?
Richard: Well, I had always been very interested in the history of graphics, especially motion graphics which people didn't realize even existed at that point. There were avant garde filmmakers who were working in it, though. There was a guy at USC – no, UCLA – by the name of Harry Marks, who had done a lot of work. And I believe Bob Abel was just starting out. There was the Canadian film board (NFB) and all the Len Lye films that were done during World War II, some of which were very graphic. I knew the work that Pablo had done for Kubrick. But it was beginning to happen all over and in many ways I was part of it because I was aware of it.
So, how did you progress to handling bigger movie titles?
Robert: We got a call from Steve Frankfurt who was president of Young & Rubicam Advertising at the time. He opened a division in feature promotion and gave us the opportunity to work on Superman.
Had you known each other previously?
Robert: No, he had heard of us and called for our reel, but he didn't know us.
Richard: With him, we worked up an idea for a graphic trailer which is very similar to what became the titles. Dick [Richard] Donner, the director of the movie, was a contemporary of Steve's, and became a very successful movie director. His first big movie was The Omen, which is pretty incredible, and then he got Superman. They brought me over to London and we talked. R/GA presented the idea of these streaking titles to Warner Bros. and I told them I knew how to do it.
And did you?
Richard: No, we had no idea how to do it! For about two weeks we kept trying to figure it out. Then we realized we had to let the Oxberry run and put a black card in front of it to end the streak. The streak was created by putting a negative and positive Kodalith together with a blue gel in between. The blue gel allowed enough light through to create that streak.
Superman was the first comic book movie with [Grade] A actors in it like Marlon Brando. So the idea was to announce their participation in a fabulous way. We thought it would cheapen the tease if any real footage was shown. So that's what we did, and it was developed for the advertising materials and then refined for the title. Dick was working with a high-end London optical house at the time and if they had been able to do the streaking they would've gotten the job. But they didn't really want to come to New York or fly me back there, so it worked out because nobody but us could do it! Then we bought an Elicon early in the '80s. It was a very crude version of a motion control system.
How did that work?
Richard: Hah, it didn't quite work. It sort of worked. Those titles were created by re-working the idea of what the animation stand was; you would literally move the camera on the rostrum stand and cap it at particular points to create a kind of three-dimensional motion. Everything we did until the mid-'80s was pre-computer – Superman is all pre-digital. It is more beautiful, in a way, than digital work could have been. There will be a point in the near future when – and we're almost there now – films won't be shot on film anymore. We came in as everything was only beginning to change over throughout the industry.
It seems like for many of your projects – like Superman with that streaking effect – you came up with the idea but didn't know how to execute it. You had to invent a way to produce the effect.
Robert: That was part of our creative process. We would sell ideas to clients based on 35mm film frames. We'd make storyboards that were created on the animation camera, printed out as a half transparency, and put into frames, and then we'd bring a light box with us and show the client the progression – as frames. And so for the Superman titles, when Steve Frankfurt said, "We've got to go ahead and make this thing," we were clueless about how to do it. We had to invent what they called "slit-scan." Later, we found that Bob Abel, as a competitor, had really invented slit-scan before us for 2001: A Space Odyssey. But we didn't know that! We had to figure it out.
To describe it in more technical terms, the way it happened was that there was a motorized capping shutter on the camera. That allowed us to leave the lens open to do the storyboard still frames for the teaser, and then we had to buy equipment and design it to be able to do motion. We had to do it later in CinemaScope for the opening titles, which are anamorphic. That was really, really difficult because it had never been done.
Then, when the titles were inserted, they had an outline, which was a problem. The whole thing became a nightmare optical shoot that took something like 14 to 16 hours. Every time we'd do it, there'd be something screwed up, and it got down to the wire. Stuart Baird, who was the editor, was there and we only had one more shot at it. Harvey stayed up all night, we all did, and it came out the next morning with a hitch in it, but nobody saw it. We covered it over with a music cue! And then it made it, you know? Stewie took the Concord and got it there just in time. Our career was made on something that made it just by a hair. I think a lot of things work that way.
Then we went to the opening. Richard Donner had congratulated us before we got there, so they had seen an earlier version. Seeing it put together with the movie and not to mention the great music – it was pretty awesome.
So the Superman titles got a great response and gave you a confidence boost?
Richard: People loved it! I had never been at a screening before and we were at the Ziegfeld in New York City, which is a giant theater, with all of the high rollers in New York, and people applauded after the title sequence! I've never seen that happen. And Dick Donner was there and so was John Williams, who had done the score. It was a really big thing. I'm very shy, but never after that did I have to explain who I was.
Since the teaser trailer for Superman won the Clio that year, it gave us something that's very, very important in New York advertising: a tie to the entertainment business, which – I don't care what New Yorkers say – is very fascinating to them. Everybody in New York wants to be a movie director. When they say they don't, that's bullshit.
So what came next?
Robert: Well, Steve Frankfurt got to know us through Superman, and that led to us doing all of his film work. Then there was another company, Frankfurt Gips Balkind, that did all the print work, so we were Steve's right-hand production facilities for feature promotion, print or logo type design, teaser trailers, trailers, commercials, and so forth – and of course, opening titles.
Richard: Then Ridley [Scott] was doing this movie called Alien that was going to be a B-movie for Fox – he didn't know how big it would be. Ridley had come out of British advertising and his work looked beautiful but he'd had no success with it.
How did you go about designing those titles?
Richard: The titles came from the idea of something "unsettling." It's disturbing to people to see those little bits of type coming on. I think Steve once said to me that sound is 50% of a film and I agree with that. So we abstracted the idea of the off-putting sound but in a typographic way. We wanted to set up tension and as these little bits come in, they seem very mechanical. We wanted to break the type apart using that letter-spaced sans serif, which really hadn't been done in film before. When the bits finally resolve into a word, I think people weren't prepared to read it as a title because of the spacing.
It looks sort of like Futura. Was it a custom typeface?
Richard: It's probably a slight variation on Futura, but it wasn't custom. It was incredibly simple, but it struck a chord. Maybe because it was attached to one of the most frightening movies ever made!
Alien really put Ridley on the map. It made a lot of money for 20th Century Fox, way more than they expected, and that led to other things, like R/GA designing the effects for Predator and our Academy Award nomination. We didn't win because Spielberg had made a movie that year, and effects weren't on anybody's radar. It was the first award they would present at the Academy Awards just to get it out of the way. That's all changed now.
So similar to Superman, the Alien titles grew out of the marketing for the film.
Richard: Yes. Steve and I created a teaser trailer that was just the egg and those letters and it really worked. It created a sense of foreboding. The teaser trailer was the creative touchpoint for the titles. Phil Gips was the art director. The trailer for Alien, just like Superman, had no voice-over. At the end it just had that copy line which is then repeated a million times: "In space no one can hear you scream." That was written by the art director's wife, Barbara Gips.
And similar to the teaser, the opening titles use the motif of the pan across –
Richard: Across the planet, correct. That grew out of the advertising, too. In that particular period of American filmmaking, from the late '70s into the early '80s, there were some attempts by studios to have the graphic nature of the advertising and the titles feel cohesive. That really dissipated later. Marketing has grown to the point where there are separate departments for everything and the process is more complicated. We tried to use techniques that were experimental for the time.
So what was after Alien? Was it Altered States?
Richard: Altered States was in there. Usually when you're developing ideas you try to present a couple of storyboards that you at least believe in but I had the notion that we could set up the film by putting type against type. I thought I could set up a metaphor of the first trip because that's what the movie's about, so I made a little piece of film instead.
That seems to be a clear thread connecting much of your work, actually. There's a clear progression with the use of type.
Richard: I really liked that way of teasing of the audience. Bass would do stuff like that – using a motif and then transforming it, like an eye. I believe a classic title sequence could be a tease, like Altered States was, where you didn't really know what you were looking at and then there was the "A-ha!" moment.
Robert: Richard really came out of the world's best program, which happened to be at the University of Illinois. David Colley was his teacher, and my brother came out with, essentially, a masters education in typography. Most other people don't. Kyle Cooper did. Richard was way ahead of me in that regard – he had all the right influences. He met or knew a lot of the type designers when we used to hire.
So, you wanted to use type as a tease in Altered States?
Richard: Right, so we just shot type going against type on color film. I went out to California on a Saturday night and I showed it to Stuart Baird who was the editor, and Ken the director. Ken just recently passed away, actually.
Yeah, Ken Russell.
Richard: Yeah, Ken Russell and Danny Melnick, the producer, were there. I remember sitting far away from them in the screening room. I was so nervous and I thought to myself, "What if they don't like this? I don't have another idea." But they loved it and we produced it and it all fell into place.
I remember another time I was flying out – we were doing something incredibly simple for Hair, for Miloš Forman – and the flight was very rocky and we kept losing altitude. I remember saying a little prayer that I didn't mind dying, but not for Hair! [laughs] It's on the resumé now but it was just a straight title that faded up and faded down. We didn't always get to execute our ideas.
So, Altered States was another example of a project that started out as a teaser trailer and then moved into a feature film title?
Robert: That's correct. It started with Superman and then with Alien and Altered States and so many others. We worked on a few fun projects with Steve; he was the world's best creative director. He would put together writers and artists and others as part of a team, and we would do the motion and Gips Balkind would do the print.
When we were in the initial process of something, Steve would say, "Well, which one do you guys really like?" And if he was in an agreement, which was almost always, we'd all agree that this was the best idea, but that they'd never buy it. So Steve would sell it to the client. That made a huge difference because it doesn't matter how good you are if you can't sell an idea. And Steve was a master at that because he had done it for so many years at Young & Rubicam. He started with Rosemary's Baby, which he did with his own company, Frankfurt Communications. And then he brought in Paula Silver from Warner Brothers, who became my brother's wife. She worked on Steve's side, overseeing the projects.
So that was 1980, Altered States. What about Blow Out, from 1981? That movie is very connected with the idea of sound and visuals because of Travolta's character.
Richard: That was an interesting one. I had presented lots of stuff to Brian De Palma who was cutting the movie somewhere near our studio. But he didn't like it and I didn't really like it; we weren't sold on any of the ideas. It suddenly occurred to me that this movie is about sound, so why not go straight at it and do a graphic version of the VU meter? I sent Brian something like a straight line with a frame and called him up to explain the idea. He simply said, "Good!" and that's what it became. That's an example of an idea that was very, very hard to find.
Let's talk a little about The World According to Garp. Was that opening scene with the baby already in place, or did you have to conceptualize and experiment?
Richard: That scene was already there. Glenn Close catches a baby. Now, the baby that she catches was not the same one we used, because by the time they decided to do a sequence, that baby would have been a year old. So we had to make it work back to that. The movie is Hollywood-style entertainment but it has a kind of down ending, which they wanted to mitigate somewhat with the idea of rebirth, which informed the opening titles.
We had the idea of a baby floating in space and Warner Bros. had bought that wonderful Beatles song, "When I'm Sixty-Four." We hadn't developed the technology that would allow the audience to believe this baby was actually floating and of course we couldn't throw the baby up in the air! So we used a luna crane and we laid the baby down.
He was on milk glass – just glass that's white with a light underneath. Then we created the match – and this was new at the time – from the difference between the color of the baby's skin and true white. If you look closely at the white of his eye, you can see the clouds moving. It was impossible to get two takes of the baby being happy, so we panned off the baby and let it re-enter the frame. The final takes might have been like the third and the thirty-fifth because in between the baby would cry or fidget, and because we had this real baby boy on his back, that was the first time I realized that when a baby urinates they urinate straight up! [laughs]
So it was a little dangerous. We had a very heavy camera on a boom high above this little child, and I'm not sure they would let you do that anymore. But we managed to create a sequence of a kind of exultant baby. And the way he's holding his legs is just very cute.
And The Untouchables?
Richard: That movie was beautifully shot in color. I thought it would be great to do something that was black and white, some very film noir titles to contrast it. I had an art director that I was working with and we kept looking at shadows. I got the idea that the shadows should be actually cast by the word. And the art director kept saying, "It's boring." Finally I just looked at him and said, "It's supposed to be boring." I wanted it to take its time. That's how I thought about this stuff; I didn't want it to be rushed. I guess it was in reaction to what was so prevalent at the time: news graphics and stuff that was all so rushed. And it's only gotten worse.
With R/GA you were building an impressive resumé of titles and becoming quite successful. Did the studios come to you or did you seek out work?
Richard: At one point directors with big movies would come to us and it was a wonderful situation to be in. When I was in New York, if they wanted to talk to me, they had to fly me out and because I'm part of the Directors Guild, it had to be business class or first class and they had to put me up at a hotel. So if they bothered to do that, I knew I had a good chance at the project. I never had to go into meetings where we were one of eight companies they'd talked to. That just didn't happen. It was a very good position to be in.
Robert: These were the days when Richard was really focused on title design. I think Richard was the person that Saul Bass respected the most, and that was one thing that I knew. He led the creation of the title work but we all had a lot to do with parts and pieces. I would add a part or two creatively at times because it was such a collaborative process, but producing was my job. Richard led our work, and oversaw it, and had the meetings with the heads of studios, the directors, the editors, and so forth.
Robert, how involved were you with the technology side of things? It seems like R/Greenberg was on the forefront of tech and having the latest equipment to push technique forward.
Robert: Yeah, that was me. I am not a good operator, but I am a very good person to develop software and technology and integrate it. I still do that here, but I have an older kind of ability. I am not particularly good on computers like many of the people that work here but I understand how they work and all. Like other people that lead organizations, I was very good at hiring people that were a whole lot better than me. That's how you do it.
We hired some of the best. We invented a lot of the technology. We also had major relationships with like, Nikkor, which made printing lenses, or Kodak. We designed a number of film stocks, and on and on.
Who were some of your collaborators – other members of the team you had then?
Robert: Larry Plastrick, our editor, was critical to a lot of our success. He had a company of his own called Cinemetrix and he was just critical to the opening title. He invented the quick cut. He edited everything – all our trailers, even the Alien opening. His brother Harvey was one of the best optical people in the world then, too.
There wasn't that much competition back then and we started a lot of the very best people in the business, ones that are still doing this type of work, like Garson Yu or Kyle Cooper or Jakob Trollback. You could see implied motion in Kyle's work and then you could see conceptual things in his portfolio. That's what we were looking for then – those two things. So almost everybody passed through our shop and we became fairly big.
Then, my brother left and there was a whole series of things that happened after that. That was R/Greenberg Associates, part two. There's also a part three, which is where we're at now, where everyone has their own companies.
Richard, what year was that – when you left New York?
Richard: I think it was '91.
What happened was, my then-wife, Paula Silver, had been the producer for a lot of the advertising-based stuff and she eventually became head of marketing at Columbia before they were Sony. I did a film on a cathedral for the Metropolitan, for which Saul Bass was on the board. It had a budget of $100,000, all in, and it was a nice little film for the Program for Film on Art.
Then, Vestron offered me a little movie to do and I took it because I was kind of tired of titles already. That was Little Monsters, which I had a lot of fun doing. It was eventually bought by MGM and kids still watch it.
Then I didn't know what to do. The company was becoming less creatively driven, so I decided to move out to California and pursue the feature thing. I had no idea how hard it would be! I started a company, Greenberg/Schluter, with Bruce Schluter and we did things like Dracula, which was actually made separate from R/Greenberg Associates.
Were you also connected to the west coast division of R/Greenberg Associates?
Richard: Well, what happened was... Robert decided that he needed a Hollywood presence so we started a company called R/GA LA (R/Greenberg Associates West, Inc.). I headed it and we did more title sequences. It was probably around '93 that R/GA LA was started and by that point we were entering the digital world. Even in the artwork for The Untouchables, the shadows were created digitally, and of course True Lies is completely digital. Something like that wouldn't be possible without a computer because you have all those points to change "True" to "Lies" and there's just no way you could do that otherwise.
I don't like decoration for decoration's sake – I think that an idea has to be pared down to its essentials to really come alive. That's a philosophy that I hold to in every part of my life. We came in as everything was beginning to change over.
Who made the trip from New York to Los Angeles?
Richard: Kyle [Cooper] came out with R/GA from New York and we worked together for a couple of years. Se7en, from 1995, was done with R/GA. You know, there's certain directors that you work with – and David Fincher is one of them – where the ideas are very strong, very graphic, and they're willing to accept a departure from what came before. The nervous type in Se7en's sequence and the idea of getting inside the head of a psychopath – it's a wonderful piece of work. It certainly took title sequences in a very interesting direction.
Right. So, during this part two, R/Greenberg Associates in both New York and LA was one of the few companies actually producing or known for title design and specific things like that. Did you move more into visual effects because of the technology that you were using and creating?
Robert: Post Richard's involvement, I had to take over the creative side, and then we evolved into a different type of company, considerably bigger, doing more commercial work. The work became much more complicated as we started doing more special effects and things like that. We grew to be close to 200 people, still doing title designs. We moved from just doing animation into a fuller digital studio with all sorts of equipment to do whatever was needed – optically or with aerial image projection and motion control – and then computer graphics came in. We also did print work, and interactive in its utmost early stages in terms of CD-I/CD-ROMs, stuff like that.
I started representing directors, so we had an offshoot company called Savoy. We started to develop feature products, get more into feature development. We went into a movie with Wesley Snipes – Blade. R/Greenberg Associates grew in two different directions. We opened the office in LA in the mid-'90s and like Richard mentioned, he joined us for a couple of years as head of that office.
Richard: The way we were set up, though, we weren't making very much money. Then Kyle went off to create Imaginary Forces with Peter Frankfurt and Chip Houghton. Imaginary Forces basically took over the office space that we were in and created a lot of wonderful work for a while.
Robert: I transferred the overall company and dove into building an agency. We changed the name to R/GA and we're almost 1400 people now. So we just called that office R/GA, LA.
This is the third period – us moving into an agency, coming out of the R/Greenberg background.
Right. So what prompted this move towards being an agency and away from the LA division?
Robert: What prompted it was seeing the Internet, the web, and then past that, mobile and social media. I saw computer graphics very early on in 1982.
Right. A lot of things were changing. There was a huge jump in movie technology and title design. Now it seems like it's everywhere. Do you think the quality of motion design in film is suffering?
Richard: Well, it used to be that the studios would make very little money on something like Superman. And when a picture was important, the studios would spend some money and time on the titles. Now it's really changed because everything, theoretically, can be done on a Mac.
When I was in design school we were asked, "Should formica look like wood just because it can?" and it's a difficult, philosophical question. Now all type has moving shadows and three dimensions and sometimes that adds real value and sometimes it doesn't. It seems like studios don't really do the middleground films anymore; they're really only interested in big event movies where they can make a tremendous amount of money. Good work always comes through and the world changes. It never ends – or at least I hope it doesn't.
Did directors and studios view your titles work as an investment in the film?
Richard: Somewhat. You know, very few title sequences actually affect the commercial potential of a film. But, for example, I'd worked on this little film called Dirty Dancing which ended up being a gigantic hit. I came up with the idea to throw away the whole opening and take it to the sexy part where the 'help' are dancing together. We did that.
Of course, the technology always changes and titles change with it. Bobby always kept Greenberg Associates at the razor's edge. It was expensive but it's what kept us so vital. It was a wonderful combination and New York was very different than it is now.
And now? Are you still doing titles work?
Richard: If it comes up! When you're dealing with movies now, it's so much about the size, budget, and the pre-contractual stuff. I feel like there's less creativity actually involved, but that could be me. A lot of the really good work is being done for television. I love the opening to Mad Men. I love that guy falling through space. It's a wonderful metaphor for advertising. You never know where you are.
Robert: Richard had a great career. He often thinks of going back, but then he'd have to deal with the crap of it all.
Right. Over three decades later, a lot has changed.
Robert: Yeah. But I do watch for what we call the R/GA Alumni, and I really am so thrilled when I see something great that they're doing.


text:
Embedded Certificate in Advertising
A Certificate in Advertising can be completed by either business or non-business majors along with classes for their degree program. It can significantly enhance the chances of securing a job and succeeding in any advertising related field. Required classes can count as marketing electives for marketing majors and minors, business electives for all business majors, or general electives for all majors.
For more information, please see the Academic Catalog.
A Certificate in Advertising can be completed by either business or non-business majors along with classes for their degree program. It can significantly enhance the chances of securing a job and succeeding in any advertising related field. Required classes can count as marketing electives for marketing majors and minors, business electives for all business majors, or general electives for all majors.
To apply for the Certificate in Advertising fill out the Online Application.Program Location
Carrollton Campus
Method of Delivery
Face to Face
The University of West Georgia is accredited by The Southern Association of Colleges and Schools Commission on Colleges (SACSCOC).
The Richards College of Business is accredited by the Association to Advance Collegiate Schools of Business - International (AACSB-I).
Credit and transfer
Total semester hours required: 12
This program may be earned entirely face-to-face. However, depending on the courses chosen, a student may choose to take some partially or fully online courses.
Save money
UWG is often ranked as one of the most affordable accredited universities of its kind, regardless of the method of delivery chosen.
- Total tuition costs and fees may vary, depending on the instructional method of the courses in which the student chooses to enroll.
- The more courses a student takes in a single term, the more they will typically save in fees and total cost.
- Face-to-face or partially online courses are charged at the general tuition rate and all mandatory campus fees, based on the student's residency (non-residents are charged at a higher rate).
- Fully or entirely online course tuition rates and fees my vary depending on the program. Students enrolled in exclusively online courses do not pay non-Resident rates.
- Together this means that GA residents pay about the same if they take all face-to-face or partially online courses as they do if they take only fully online courses exclusively; while non-residents save money by taking fully online courses.
- One word of caution: If a student takes a combination of face-to-face and online courses in a single term, he/she will pay both all mandatory campus fees and the higher eTuition rate.
- For cost information, as well as payment deadlines, see the Student Accounts and Billing Services website
There are a variety of financial assistance options for students, including scholarships and work study programs. Visit the Office of Financial Aid's website for more information.
Course Requirements (12 hours):
- MKTG 3803 - Principles of Marketing
- MKTG 3809 - Advertising Practices
- MKTG 3810 - Social Media and Online Marketing
- ABED 4118 - Web Page Design
- MKTG 4886 - Marketing Internship (Advertising Focus)
- MKTG 4881 - Independent Study in Marketing
- COMM 3350 - Telecommunications and Electronic Media Industries
- Art 3401 - Graphic Design I
- MKTG 4885 - Special Topics in Marketing
The purpose of this course is to provide an introduction to Web design. Students will learn concepts related to planning and developing web sites by studying Web usability, multimedia, and Web 2.0 applications for business and education web sites. (same as MKTG 4818).
An introduction to communication design with a strong emphasis on sound design and typographic principles, developing an understanding of structure, history, technology and application.
Examination of contemporary industry and social issues facing digital media industries. Particular attention given to analysis of structure and process, revenue sources, programming and services, audience research, and effects of traditional electronic media platforms (e.g., radio and television) and digital media platforms (e.g., streaming services, social media).
Study of marketing policies and practices in the flow of goods and services to the customer/consumer.
The integrative role of advertising in persuasive communication in business and related fields. Includes strategies for organizing, developing, implementing, and evaluating effective media decisions in the digital age.
This course will examine the impact of social media and the internet on marketing strategy. Topics will include an exploration of social media technologies and applications such as Facebook, blogs, Twitter, wikis, YouTube, etc. Students will learn how to develop an online presence, leverage these technologies and use the power and impact of Web 2.0 in implementing successful marketing strategies.
In-depth supervised individual study of one or more current marketing problems in a business organization.
The study of selected contemporary marketing topics of interest to faculty and students.
Practical marketing related experience with a previously approved business firm for selected junior or senior students.
No faculty members listed
Guidelines for Admittance
Specific requirements are associated with the following areas: Freshman; Adult Learners; Transfer; International; Home School; Joint/Dual Enrollment; Transient; Auditor; Post-Baccalaureate Non-Degree Seeking
Application Deadlines
Specific Graduate Admissions Deadlines are available via the Graduate School
* Application, app fee, and document deadline
See The Scoop for more specific deadlines.
Admission Process Checklist
Check your Application Status
Contact the Office of Admissions for additional information.
Specific dates for Admissions (Undergraduate only), Financial Aid, Fee Payments, Registration, Start/End of term, Final Exams, etc. are available in THE SCOOP.
Objectives not available


text:
Tottenham 22/23 Third Kids Kit
*Socks are included
- Short sleeves.
- breathable technology.
- Club crest.
- Shirt sponsor.
- 100% Polyester.
We ship 1 day after we receive your payment.
Worldwide FREE SHIPPING is included!
We always send packages with Tracking Numbers so you can track it every step of the way!
For any questions you can Contact Us


text:
Public Money? Public Code! 31 organisations ask to improve public procurement of software
Digital services offered and used by public administrations are the critical infrastructure of 21st-century democratic nations. To establish trustworthy systems, government agencies must ensure they have full control over systems at the core of our digital infrastructure. This is rarely the case today due to restrictive software licences.
Today, 31 organisations are publishing an open letter in which they call for lawmakers to advance legislation requiring publicly financed software developed for the public sector be made available under a Free and Open Source Software licence. The initial signatories include CCC, EDRi, Free Software Foundation Europe, KDE, Open Knowledge Foundation Germany, openSUSE, Open Source Business Alliance, Open Source Initiative, The Document Foundation, Wikimedia Deutschland, as well as several others; they ask individuals and other organisation to sign the open letter. The open letter will be sent to candidates for the German Parliament election and, during the coming months, until the 2019 EU parliament elections, to other representatives of the EU and EU member states.
"Because the source code of proprietary software is often a business secret, it radically increases the difficulty of discovering both accidental and intentional security flaws in critical software. Reverse engineering proprietary software to improve or strengthen it is an absolute necessity in today's environment, but this basic technical requirement is unlawful in many circumstances and jurisdictions. With critical infrastructure such as hospitals, automobile factories, and freight shippers having all been brought offline this year due to flaws concealed within proprietary software, unauditable code is a liability that states can no longer subsidize with special legal privileges without incurring a cost denominated in lives.
Right now, the blueprints for much of our most critical public infrastructure are simply unavailable to the public. By aligning public funding with a Free Software requirement -- "Free" referring to public code availability, not cost -- we can find and fix flaws before they are used to turn the lights out in the next hospital."
Edward Snowden, President of the Freedom of the Press Foundation about the "Public Money Public Code" campaign launch.
Public institutions spend millions of euros each year on the development of new software tailored to their needs. The procurement choices of the public sector play a significant role in determining which companies are allowed to compete and what software is supported with tax payers' money. Public administrations on all levels frequently have problems sharing code with each other, even if they funded its complete development. Furthermore, without the option for independent third parties to run audits or other security checks on the code, sensible citizen data is at risk.
"We need software that fosters the sharing of good ideas and solutions. Only like this will we be able to improve digital services for people all over Europe. We need software that guarantees freedom of choice, access, and competition. We need software that helps public administrations regain full control of their critical digital infrastructure, allowing them to become and remain independent from a handful of companies."
Matthias Kirschner, President of the Free Software Foundation Europe.
That is why the signatories call on representatives all around Europe to modernise their digital infrastructure to allow other public administrations, companies, or individuals to freely use, study, share and improve applications developed with public money. Thereby providing safeguards for the public administration against being locked in to services from specific companies that use restrictive licences to hinder competition, and ensuring that the source code is accessible so that back doors and security holes can be fixed without depending on only one service provider.
"Public bodies are financed through taxes. They should spend funds responsibly and in the most efficient way possible. If it is public money, it should be public code as well!" says Kirschner.
Further information
- Open Letter
- Sign the Open Letter!
- Video (3:47) in different formats (licensed under CC-By 4.0 ), or also for embedding on Vimeo and Youtube
The initial signatories
- April
- Associação Ensino Livre
- Associação Nacional para o Software Livre (ANSOL)
- Chaos Computer Club (CCC)
- Courage Foundation
- D3-Defesa dos Direitos Digitais
- Digitalcourage
- Digitale Gesellschaft
- Dyne.org Foundation
- ePaństwo Foundation
- European Digital Rights (EDRi)
- Expose Facts
- Free Software Foundation Europe (FSFE)
- HackYourPhD
- Linux User Group Of Slovenia (LUGOS)
- Linuxwochen
- Modern Poland Foundation
- quintessenz
- Open Knowledge Foundation Deutschland
- Open Labs
- Open Rights Group
- Open Source Business Alliance
- Open Source Initiative (OSI)
- openSUSE
- Public Software CIC
- Software Liberty Association Taiwan
- The Document Foundation
- Wikimedia Deutschland
- Xnet


text:
This unisex zip-up hoodie features a soft and durable fabric that has a cotton feel to it. The brushed fleece on the inside will make this your most comfy zip-up hoodie ever! It also comes with a visible nylon zipper front closure. Each panel is individually printed, cut and sewn to ensure a flawless graphic with no imperfections.
• 20% cotton, 75% polyester, 5% spandex • Soft cotton handfeel fabric surface • Brushed fleece fabric on the inside • Nylon zipper front closure • High definition printing colours • Design will never peel, flake or crack


text:
Moroccan Riads are the ideal place to stay when visiting Morocco. Tucked away from bustling city life, Riads serve as the perfect escape to read a book, enjoy a typical Moroccan meal, a sunset cocktail or simply decompress and take in the sights and sounds of an exotic setting. The majority of Boutique Riads in Morocco are centuries old and have been restored by talented Moroccan artisans. Each property differs with some having Andalusian, Moorish or Spanish architecture. The traditional décor, made up of intricate hand-made zellij tilework, tadelakt walled interiors and draped terraces offer an Arabian Nights sensibility. With more then 1,000 traditional riad homes in Marrakech's ancient medina, we've narrowed it down to the "Best 8 Marrakech Riads Marrakech Riads" that are well appointed with beautiful rooftop terraces, excellent cuisine and priced just right for almost any traveler who wants to splurge on a little bit of luxury.
Ryad Dyor
A luxury riad located in the Riad Larouss region of the medina. Owned by two designers, one Dutch and the other Spanish, this boutique hotel is a standout place to stay in the Marrakech. medina. Modern design meets Moroccan flair: a chic riad with lamplit courtyards, roof terrace and cool, understated décor. Ryad Dyor is converted from a pair of riads, whose 2 shady courts lead into each other, one with an ornately tiled fountain, the other with a rose-petalled splash pool. Copper lanterns, Balinese mirrors, egg-smooth tadelakt bathtubs surround guests. On the roof, under a loggia hung with gauzy textiles, the manager knows just when to offer cocktails or mint tea to guests lazing in the afternoon sunshine. The laid-back atmosphere – everyone is made to feel at home, nothing is too much trouble – will delight couples seeking both style and substance on a long weekend break or some post-trek pampering.
Property Amenities: Plunge pool, terrace, traditional hammam/spa, gourmet restaurant, wifi, laundry services
Driba Jdida, Sidi Ben Slimane, + 212-5243-75980
Riad De Tarabel
Riad de Tarabel is a luxurious boutique hotel in an old colonial mansion in the heart of the old medina of Marrakech. With ten rooms, including three suites this boutique property is a mixture of Colonial and French design. Riad de Tarabel was built in the 19thCentury and renovated in 2006. Each room is individually designed with true elegance that combines family heirlooms with contemporary pieces creating a French, colonial-feel. All of their Junior Suites have clawfoot baths and one has a fireplace. Some have open bath facilities.
Property Amenities: Rooftop plunge pool, Hammam, Dining area with restaurant, Wifi, Laundry
Derb Sraghna, Dar El Bahca, +212- 661-989782
Riad 72
Wrapped around a central courtyard brimming with banana trees, Riad 72 is a chic, well-appointed riad in the Marrakech medina. The elegantly decorated salon has an intricately carved ceiling, and gently lit by beautiful copper lanterns. The courtyard is flanked with large banana trees. Featuring classic Moroccan furnishings with contemporary flair, this boutique property also has a cuisine menu with Ottlolenghi inspired recipes.
Property Amenities: Terraces, panoramic garden, traditional hammam/spa, restaurant, balconies, wifi, laundry services
72 Arset Azwel, Bab Doukkala, +05243-87629
Riad Idra
Riad Idra is an elegant, contemporary, Moroccan, riad located in the Dar El Bacha region of the Marrakech medina. Riad Idra is a luxurious cocoon shielded from the commotion of the ochre city and a well-hidden jewel. A house full of light the intimate courtyard offers an outlet to the world of sight and sound for a magical stay.
Property Amenities: Spa/Traditional Hammam, Rooftop terrace Wifi
105 Derb Tizougarine, Dar El Bacha, +212-5243-91776
Riad Jaaneman
An elegant boutique riad in the bohemian heart of the Marrakech medina Riad Jaaneman is a refined oasis of urbane flamboyance and sophistication. Just a stone's throw away from the timeless bustle of the souks and the vibrant rhythms of the city, Jaaneman defined is classical style meets eclectic harmony. Originating from an Indian word that literally means 'Soul of Me', "Jaaneman" translates into 'My love' or 'darling'. With 5 originally decorated suites, each boasts cutting-edge design reminiscent of art deco and a feeling of the Orient. Luxurious bed linens and artisanal soaps are just a few of the luxury amenities travelers can anticipate.
Property Amenities: Spa/Traditional Hammam, Rooftop terrace, Wifi
12 Rue Dar Sraghna, Dar el Bacha, +212-5243-82164
Dar Darma
A haven of calm in the Marrakech, medina, Dar Darma has been awarded a place on the Conde Naste gold list of Hotel in 2017. This traditional riad of 6 Suites, Dar Darma offers privacy, traditional Moroccan hospitality in a relaxed, atmosphere. The terraces have sweeping views that stretch from the Medina rooftops and the Koutoubia Mosque to the Atlas Mountains. The shady lounges, the swimming pool and a little basin offer the perfect place to cool off in the hot summer months Darma's Moroccan lounge, the hall of arches and the fireplace lounge looks out onto a shady patio and are ideal places to relax, read, listen to music and enjoy dishes made by their traditional Moroccan chef.
Property Amenities: Spa/Traditional Hammam, Dipping pool, Rooftop terrace, Wifi
11/12 Derb Tarik Sidi Bouharba, +212-5243-76657
Riad Joya
Crafted with care by Italian art director and owner, Umberto Branchini, Riad Joya provides a high-octane dose of Milanese chic amid the medina's dusty lanes. Sumptuous suites, as well as a lovely plunge pool, and a cracking rooftop bar. Riad Joya is an elegant boutique hotel of timeless beauty and seductive atmosphere well appointed in the Marrakech medina. The overall atmosphere is of an elegant private house where understated luxury fuses with eclectic style and bespoke service and attention.
Property Amenities: Spa/Traditional Hammam, Rooftop terrace, Wifi
Derb El Hammam,+ 212- 5243-91624/ +212-5 24 38 50 55
Riad Dar Mo'Da
A charming boutique, riad, Dar Mo'da is located in the Mouassine, historic quarter of the Marrakech medina, just minutes from Djemma El Fna square. This traditional Moroccan home has been restored impeccably. Dar Mo'Da's wall to wall, white, clean lines and cool atmosphere coupled with traditional Moroccan, Syrian and Italian designer pieces, make it a one-of-a-kind place to stay. Guests can relax in the welcoming courtyard featuring a dipping pool or in the adjacent lounges and dining room. Dar Mo'da has four exclusive suites whose décor combine the magic of the orient and the comforts of the west. The roof terrace offers breathtaking views of the city and nearby Koutoubia mosque with the backdrop of the Atlas mountains and beyond.
Property Amenities: Spa/Traditional Hammam, Dipping pool, Rooftop terrace, Wifi
182 rue el Moussine, Moussine+212- 524 442819
Discover the Best Moroccan Riads & Boutique Hotels. Follow us on Instagram.
For More Information about Travel Exploration's Boutique & Chic Marrakech Riads


text:
At Vancouver Island Counselling, we learn and understand the root of family challenges. One of the noticing's of our time are the issues that youth are dealing with, which adversely impacts parents.
Parents often feel overwhelmed, and powerless to help their children that may be struggling with peer issues, focus and attention. Here is one powerful way of helping the family stay together. Family meal time is vitally important. For many parents, it would be much easier and simpler to forget about family dinners. Jobs, children, after-school activities all contribute to families being constantly on the go, thus feeling the need to eat on the run. But more and more parents are realizing the importance of shared family time at the dinner table. Often, this is the only time when all family members are all together in one place.
Although family dinners are viewed by some people as another burdensome chore at the end of a tiring day, more families realize that the benefits of sharing time at day's end cannot be measured by calories alone.
Numerous studies show that eating together not only is an important aspect of family life, but helps make weight control easier. When a family sits down together, it helps them handle the stresses of daily life and the hassles of day-to-day existence. Eating together tends to promote more sensible eating habits, which in turn helps family members manage their lives more easily.
Here are tips from the experts on family dining:
The purpose of a family dinner may differ from family to family. In one family, good table manners might be the most important thing parents want to teach; in another, it might be communicating with one another, learning how to listen, and learning to respect each other. Children need to learn a little bit at a time, experts say. If dinnertime is an interesting time of day for your child, he is going to learn how to sit, and say, "How was your day?" and "What was the best thing that happened to you today?"
Dinnertime is a time of respite from the hustle-bustle of everyday life. Your family can review the day that's passed and plan for the day that's coming.
Teach by example
Divide tasks, so Mom or Dad alone are not responsible for preparing food, serving, and washing dishes. The chores and joys of feeding, nurturing and cleaning up should be shared. Don't discuss things that would embarrass or humiliate family members. Certain subjects children may want to discuss might require more compassion, or more individualized listening. Otherwise, there are no taboo topics.
Build self-esteem
Dinner is a perfect opportunity to build self-esteem in children. By listening to what children have to say, you are saying, "I value what you do; I respect who you are and what you're doing; what you do is important to me." Mealtime can be looked at as an opportunity or as a chore. If it's viewed as an opportunity, then all sorts of possibilities are created; if it's viewed as a chore, then the possibilities don't exist. And it doesn't matter if the food is filet mignon, or pizza and salad.
Parents should let children choose their own seats. If they fight over a favorite seat, help settle the dispute peacefully.
Family dynamics
One parent may feed the kids early, with the intention of protecting the other parent from a raucous meal. But this actually can isolate the absent parent from family dynamics and create distance. Certain scheduling conflicts cannot be avoided, but carving out family meal time on a regular basis can enhance family dynamics.
Excerpts from an article published in Stanford's Medicine on Children's Health.


text:
Washington, D.C. Manhole Cover Trivet
Often overlooked but always underfoot... manhole covers. Protect your table or countertop with a manhole cover in the form of a cork trivet. Measuring 3/8" thick and 7 1/4" in diameter, the trivet's design is inspired by a real manhole cover found on the streets of Washington, D.C.
Design: Jason Lempieri
Code: 78867
Member Price: $25.20


text:
Are Shakespeare's tragedies all structured in the same way? Are the characters rather isolated, grouped, all connected?
Narration, even fictional, contains a network of interacting characters. Constituting a well defined corpus, the eleven Shakespearean tragedies can easily be compared: We propose here a network visualization in which each character is represented by a node connected with the characters that appear in the same scenes. The result speaks for itself: the longest tragedy (Hamlet) is not the most structurally complex and is less dense than King Lear, Titus Andronicus or Othello. Some plays reveal clearly the groups that shape the drama: Montague and Capulets in Romeo and Juliet, Trojans and Greeks in Troilus and Cressida, the triumvirs parties and Egyptians in Antony and Cleopatra, the Volscians and the Romans in Coriolanus or the conspirators in Julius Caesar.
Get the full size poster here: ➔ Full-size poster (5460×4000) |
Two characters are connected if they appear in the same scene.
Their size and color intensity are proportional to their weighted degree.
The 'network density' measures how close the graph is to complete. A complete graph (100%) has all possible edges between its nodes.