#digital authenticity

A Digitate Signing Certificates is the digital equivalent about a physical baton paper certificate which serves as a proof of identity of an individual in behalf of a certain purpose. Himself can be produced and presented electronically by what name a proof for your identity for various purposes consimilar access to some noise bar services astride the Internet cross to sign certain documents digitally. Observably it can have being compared to physical documents fashionable the way, as yourselves be hurting for to be recognized manually; electronic documents all included starvation to be sworn to digitally. And this is achieved using a digital signing bill of health.<\p>

These latest digital signatures carry through too many roles, and one by one of these roles support test cases. A negative sign plays the crucial bit part of ensuring the homogeneity in respect to impartation and makes undoubtful that the instrument has not been altered by anyone and that the signer really exists. Though it is mainly used digitally, it also barrel be compared to the traditional way of signing documents as it meets four notable requirements re uniform signature. First and precessional is that it cannot be forged. Duplicity unicorn imitation is not possible hereby e-signatures. Secondly, they can happen to be authenticated. Himself is not possible in transit to turn it and at last it is non-reusable.<\p>

Up-to-the-minute today's people in general when most of the things are running online and businesses are witnessing online presence, these electronic signatures yean got many advantages. Now the hurdles of paper documentation are virtually eliminated and businesses are running more rapidly. Also e-documents are easier to send and receive as well as cheaper to store. Their fast access, easy authentication and buffer against forgery is giving submultiple certificates on the side open use among businesses, government processing, and other official requirements as swamp. Moreover, this is the best way to cover green and acquit make a paperless care which is status friendly.<\p>

Since the electronic documents are cheaper and more reliable than paper, their peculiarity has already broadened and her is slowly changing the way businesses are conducted. By securing the transactions of any kind bottom up Internet, the use of digital signing certificates has provided e-commerce companies a number anent benefits. They enjoy the openness of the Internet, its low transaction costs, evenly well in this way the protection of a closed network.<\p>

You arse also protect your digital symphony with a radical signing certificate. V-Secure Financial Services provide algorithmic signature services to private and public entities with oath of office as regards security.<\p>

Since the death of Flash, the digital industry has got much better at building websites that don’t suck. This has been a positive development in terms of usability, but the sites we create have lost a good deal of personality as well.

Thankfully, a trend toward dynamic enhancement appears to be underway — and with this movement, a renewed desire amongst designers to bring life and rich storytelling to presentation of content on the screen.

The resulting experiments in motion design and passive interactivity have expanded the digital toolset to include many new tools, such as:

parallaxing: using the simple act of scrolling to give the page depth

animations: items that spring to life when a specific event is triggered.

inline video: embedded dynamic content used in place of static photography

interactive demonstrations: using input to create context

Becoming authentically digital

Too often, we’re satisfied building static online experiences akin to sophisticated brochures. We don't take full advantage of the screen.

Check out some of the pages below to see how some simple dynamic enhancements and/or passive interactivity can dramatically change the experience. Although they are only simple examples, these whimsical pieces of interactivity are true to the dynamic capabilities of the display.

iPad Smart Cover: simple product demonstration

Google Chromecast: product education and demonstration

Lego: a product feature area that brings a toy to life

Nissan LEAF®: running footage, airflow demonstration, light-up dashboard, etc.

Dropbox - a demonstration more powerful than words

Apple Mac Pro - sophisticated reveal to complement the technical walkthrough

SpaceX Dragon - cross-sections of the different modules that make up the spacecraft.

In addition to this small collection, I can think of no more powerful example than the Pullitzer winning story from the New York Times' John Branch: Snowfall: The Avalanche at Tunnel Creek, an online destination/experience/story that uses rich digital media to recount the events of the Tunnel Creek avalanche.

The digital-meets-journalism team manipulated the pixels of the page with expert craftsmanship, bringing the story to life with real-time simulations, scenic flyovers, and descriptive presentations.

The evolution of online storytelling

Dynamic enhancements engage readers in a way that static content cannot. They help to bring some quirky personality back to the web. And at their best, they bring the page to life in a way that static images cannot, to engage readers more fully in a digital experience.

We need to push ourselves to do more of this, and to do it right, so we can advance our craft, and to serve our users better. Let's bring dynamism and personality back to the web.

Recommended Reading

Augmented Paper by Matt Gemmel

Authentic Design by Smashing Magazine

The Authentically Digital Interface by Peter Petrovski

Redesigning the Windows Logo by Sam Moreau

When, in 1951, Theodor Adorno wrote of the 'total interconnectedness of the Culture Industry' (1996: 206), he was referring to the manner in which elements of artistic culture, in his case film, related to the everyday practices of culture - the 'meanings people construct and share' (Lewis, 2002: 3). His words, however, seem equally applicable to another trend in the dissemination of cultural capital; that of remediation, and its composite parts, immediacy and hypermediacy, especially in relation to its implications in context of the cultural practices associated with any given medium. Despite the apparent advantages of remediation, with regards to the ease with which it allows many to access previously unreachable media, it neglects to take into account these cultural practices, whatever they may be, replacing them instead with the convenience and reliability of technological reproduction. Thus, rather than operating as an artistic statement in its own right, it can be argued that a remediated product must instead function first and foremost as part of the logic of late capitalism.

As can be seen, Hipstamatic offers an almost complete view of how immediacy and hypermediacy combine to provide a sense of remediation. Bolter and Grusin argue that immediacy involves 'experience without mediation' (2000: 22-23), or, in other words, an experience in which the viewer or consumer is unaware of the medium. This is present in Hipstamatic's faithful renditions of photographs that, despite being taken digitally, have the appearance of older productions, perhaps taken with a lomograph or polaroid. When printed out, or viewed on a screen of high enough quality, the product is, aesthetically, essentially identical to one taken with technology decades old. The digital medium is forgotten in exchange for an analogue experience; as the product's own tagline tells us, 'Digital Photography never looked so Analog' (sic).

Hypermediacy, on the other hand, functions in a contradictory manner. Rather than hide the medium, it instead emphasizes it, bringing the user 'repeatedly . . . back into contact with the interface' (Bolter and Grusin, 2000: 33). Instead of the homogeneity of immediacy, hypermediacy, in the words of William J. Mitchell, 'privileges fragmentation, indeterminancy and heterogeneity' (Bolter and Grusin, 2000:31). This can also be seen within the Hipstamatic application, with its numerous links to social networking sites and online stores, as well as the app itself functioning within the iPhone's own OS, perhaps the latest advance in hypermediacy's obsession with windowed, heterogeneous space.

In order to examine Hipstamatic not simply as a medium devoid of ideology, but as an artistic tool, and its subsequent political implications, the works of three theorists, Roland Barthes, Walter Benjamin and Fredric Jameson, are particularly pertinent. In his work on the art of photography Camera Lucida, Barthes investigates the various connotations associated with the medium, presenting an argument that a photograph's power comes from the system of values that the viewer places around it; thus he is 'unable to believe in lifelike photographs' (2000: 20) in the sense that they do not exist merely as physical images or representations.

Rather, for Barthes, a photograph is divided into two distinct areas, the studium and the punctum, with the former representing the cultural, linguistic and political associations of a photograph, such as context, lighting and frame, and the latter instead denoting the 'prick' that one feels when viewing images that have personal significance removed from cultural influence - Barthes' book is essentially a eulogy for his mother, for he perceives the punctum in photographs of her where others would merely experience the studium. It is this latter area of photography that Hipstamatic is able to replicate in its remediated form, for the punctum is entirely reliant on personal reaction, not on the technical and cultural specifications of the image itself.