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While the number of possibilities that exist is extremely large, the print-ing controls offer easy support for three fairly obvious workflow options: In an early-binding workflow, where all the color is already in final out- put space, setting the Source Space to Document and the Print Spaceto Same as Source lets you print the document values unchanged tothe final output device. You can also print proofs to some other device by selecting its profilein Print Space. If you choose absolute colorimetric rendering, the proofing printer will lay down ink in the paper white areas to matchthe paper white of the final output, while relative colorimetric will scale the final paper white to the paper white of the proofer. In a late-binding workflow, where the document is in a space otherthan the final output space, choosing the profile for the final outputdevice in Print Space makes the application convert the color to the final output spaceyou'd use this when you're actually printing to thefinal output device. To generate proofs in a late-binding workflow, you can set Proof Setupto the final output space, then select Proof in the Source Space, and the profile for your proofing device in Print Space. This instructs the application to first convert the color from the source spaces to the final output space specified in Proof Setup, then to convert that color to the space you've specified in Print Space. The result is that the printer sim- ulates the final output. Again, absolute colorimetric rendering makes the proofer simulate the final paper white, while relative colorimetric scales the color to the paper white of the proofer. One caveat: InDesign only applies absolute colorimetric rendering to the contents of frames. It leaves the paper white areas paper white, which defeats the point ofthe excercise since our eyes promptly adaptto the blank paper white. An easyworkaround is to place a blank frame on the background of the master page. Other arrangementsare possiblesome cameras use CMY filters instead ofRGB, because theytransmit more light, while still others may add a fourth color. In a Bayer Pattern colorfilter array, each photosensor is filtered so that it captures onlya single color oflight: red, green,or blue. Twice as many greenfilters are used as red or bluebecause our eyes are most sensitive to green light. But no matter how the color filters are arranged, each element in thesensor simply records a brightness value in the raw file. Camera Raw and ColorThe demosaicing process necessitates some assumptions about the colo- rimetric values of red, green, and blue.

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We rode the B subway line here as National League infiltrators, hapless Mets fans in search of meaningful late-season baseball. We intended to root for the Red Sox, operating on the age-old and mindless theory that the enemy of our enemy was our friend. As we waded through the endless lines outside (security at Yankee Stadium is Department of Homeland Security cubed, a maze of questionable barriers), police officers in full body armor walked past. This is why I left my father’s old Boston Braves cap at home, and why it was just as well that my son had not donned his Pedro Martinez jersey. Red Sox-Yankees offers a demented land. Or not. For years, I regaled my sons, Nick and Aidan, with tales of the Red Sox and Yankees tribal wars, which extended from the 1970s to the early years of this century. To get the flavor, here is Alan Richman, a Boston Globe columnist writing of Yankee fans, circa 1978: “Not since the Panzer Corps reunions were declared illegal have so many misanthropes, malcontents and just plain miserable people gathered to have a good time. And here was the great New York columnist Larry Merchant on the mood at Yankee Stadium awaiting the arrival of those “doughty” Red Sox (Bostonians for affectations known only to themselves adore words with Olde English roots). The crowd at the Stadium, he wrote, “was magnificently hostile, a collision of separate needs and collective memory. The Yankees owner, George Steinbrenner, with his ersatz Vince Lombardi imitations, made a delicious heavy. Explaining why he might fire his manager, Billy Martin, for the sin of losing to the Red Sox, Steinbrenner explained, “He’s not going to push me to the wall without getting thrown over it. This was a man I could root against joyfully. As my Mets descended into a bottomless chasm of losing in the 1970s and early 1980s, my buddies Peter Kurz and Fred Cooper and I trooped up to Yankee Stadium like desert wayfarers in search of an oasis. We rooted loudly for the Red Sox: Carl Yastrzemski and Jim Rice and Rick Burleson and George Scott, who was known as Boomer and was a big slugger and a balletic defender with the glove he called Black Beauty. Life in the Yankee Stadium upper deck was bracingly Darwinian — flat beer, loose joints and anything goes.

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In fact, he now calls his framework a perspective rather than a theory, partly because our psychosocial experience of the Internet is changing too rapidly for theory to be reliably predictive. Other theorists have been more concerned with the uses that specific groups make of the Internet. In recent years, Cheris Kramarae has extended to the Internet the notions of “Muted Group Theory,” which examines how women are disadvantaged because language (and its technologies) are male-dominated. The true potential of cyberspace will not be realized for women until computer terminals are readily available in shelters for the homeless, in laundromats, daycare centers, and so on. A third approach to studying new technologies focuses on the various contexts in which the technology is introduced and employed. Both Franklin (1990) and Rowland (1997) take this approach when studying technology. They maintain that technology does not fall from the sky fully formed. It is developed by individual societies for particular reasons. Once it is in use, it has a complex relationship with that society: technology affects and is, in turn, affected by the social, technological, and political context in which it is used. This approach sees the Internet as a participant in the history of technological developments, rather than as a sudden and inexplicable arrival. Since the Internet is such a recent arrival on the technological scene, appears to incorporate so many previous technologies, and continues to evolve, communication theorists have been slow to construct frameworks that describe and explain this new phenomenon. The starting point must be to situate the Internet within the history of communication technologies. One useful such attempt is that of Jay Bolter and Richard Grusin in Remediation: Understanding New Media (1999). Like Ursula Franklin, these authors argue that the new media are best understood not as unique technologies, but as developments from older media. Their theory of new media claims that all communication technologies refashion, or “remediate,” previous forms, while negotiating space in the existing technological landscape. Their theory also explains how preexisting media resist, imitate, or accommodate the new.

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