Selasa, 30 Maret 2010

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SkyMiles Incentives™ FAQs
Below are answers to some of the most frequently asked questions about the SkyMiles Incentives program, where you can buy miles for your customers and employees. If your question or comment has not been addressed, feel free to email us.
What is the SkyMiles Incentives program?
How can miles be used for free travel or other awards?
How much do miles cost through the SkyMiles Incentives program?
How can my company distribute miles?
How can recipients of paper or email certificates claim their miles?
Do the miles in my SkyMiles Incentives account expire?
Are these miles different from the miles I earn when I fly? Do they count toward Medallion® status?
How can I apply for participation in the SkyMiles Incentives program?
Why do companies have to apply for participation in the SkyMiles Incentives program in order to purchase miles?
What if my customer or employee doesn't have a SkyMiles number?
Is there a minimum or maximum number of miles that may be awarded per transaction?
Do miles received through the Buy Miles for You or Gift Miles products count toward the 50,000-mile SkyMiles Incentives cap?
Can companies outside the United States buy miles through the SkyMiles Incentives Program?
What form of payment may I use?
Are SkyMiles Incentives purchases refundable?
How long will it be before I can distribute the miles I purchase?
Can I replace lost Delta SkyMiles certificates?
How long will it take for the miles I distribute to post to recipients' accounts?
Is my company subject to any rules and conditions when awarding miles?
What other important information do I need to know?
Can I use Delta's name and logos in my marketing?
Can I sell any miles or SkyMiles Incentives certificates that I have not awarded?
I've forgotten my SkyMiles Incentives password. What do I do?
Is the personal information I provide through this purchase confidential, and is my order secure?
What if I have general questions about the SkyMiles Program?
What other ways can I purchase miles?
Who is Points.com?
What is the SkyMiles Incentives program?
The Delta SkyMiles Incentives program allows companies and organizations to give customers and employees miles as rewards and incentives. Visit SkyMiles Incentives for additional details on purchasing and awarding miles through the program.
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How can miles be used for free travel or other awards?
See Use Miles for information on redeeming miles toward awards.
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How much do miles cost through the SkyMiles Incentives program?
The price per mile is $0.022 USD plus a 7.5% Federal Excise Tax and a $75 processing fee for the first purchase. An additional 5% Goods and Services Tax (GST) applies to purchases made by Canadian residents.
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How can my company distribute miles?
There are four ways to notify someone of their reward:
Award miles directly into SkyMiles members’ accounts.
Award miles by giving online or paper certificates that let recipients deposit miles themselves.
Award miles using pre-printed certificates with a custom message.
Award miles using unique mileage codes that recipients can use when redeeming online.
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How can recipients of paper or email certificates claim their miles?
Each notification method will include a unique claim code and instructions on how to easily claim the miles.
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Do the miles in my SkyMiles Incentives account expire?
Yes. Electronic miles must be deposited into a valid SkyMiles account prior to the expiration date (up to two years from purchase). Mileage paper certificates must be deposited into a valid SkyMiles account prior to the expiration date printed on the face of the certificates (two years from the date of issue). Miles that expire prior to being awarded are automatically rendered invalid and are not renewable, not exchangeable, not refundable, not extendable, and not endorsable.
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Are these miles different from the miles I earn when I fly? Do they count toward Medallion status?
Yes. These miles are purchased to be given away in contrast to the miles you earn when you fly; and the miles purchased in SkyMiles Incentives do not count toward qualification for any Medallion or Million Miler status. However, these miles are redeemable for Award Travel, upgrades, and non-travel benefits (see the SkyMiles Membership Guide & Program Rules for details).
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How can I apply for participation in the SkyMiles Incentives program?
Complete the application. You will be notified of the status of your application within five business days.
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Why do companies have to apply for participation in the SkyMiles Incentives program in order to purchase miles?
The sale of miles to certain companies within select industries may be inconsistent with the terms of some of our existing marketing contracts. When applications from these companies are received, we may have to decline the sale.
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What if my customer or employee doesn't have a SkyMiles number?
All notification methods provide a special claim code for redemption and instructions on how to easily enroll in the SkyMiles program if the recipient is not already a member.
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Is there a minimum or maximum number of miles that may be awarded per transaction?
There is no minimum amount of miles that you can award to customers or employees. You may award a maximum of 50,000 miles per SkyMiles account per calendar year.
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Do miles received through the Buy Miles for You or Gift Miles products count toward the 50,000-mile SkyMiles Incentives cap?
No. Miles received through the Buy Miles for You or Gift Miles products do not count toward the 50,000-mile cap. Only miles awarded by your company through SkyMiles Incentives count toward this cap. Please see Gift Miles FAQs or Buy Miles for You FAQs for more information on these programs.
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Can companies outside the United States buy miles through the SkyMiles Incentives program?
Yes. Miles may be purchased at SkyMiles Incentives worldwide by any qualifying company. The 7.5% Federal Excise Tax also applies to foreign purchasers. An additional 5% GST applies to purchases made by Canadian residents. All transactions are settled in U.S. dollars.
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What form of payment may I use?
You may pay by credit card, check or wire transfer. For credit card purchases, we accept American Express (including the Delta SkyMiles Credit Card from American Express), Visa and MasterCard.
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Are SkyMiles Incentives purchases refundable?
No. Once you have purchased Delta miles through SkyMiles Incentives, your purchase cannot be refunded.
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How long will it be before I can distribute the miles I purchase?
If you purchase with a credit card, your miles are available for electronic distribution immediately. If you pay with a check or wire transfer, we will email you when your payment has been processed and let you know that your miles are available for distribution.
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Can I replace lost SkyMiles Incentives paper certificates?
No. Lost or stolen certificates will not be replaced. The certificate and its unique redemption code may only be redeemed once and has no cash or refund value. Certificates will be deemed fully used once mileage has been credited to the indicated SkyMiles account. Once surrendered, paper certificates may not be recovered, regained, or reissued.
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How long will it take for the miles I distribute to post to recipients' accounts?
If you choose to notify your recipient electronically (email) the notification will be sent shortly after your purchase and will include instructions on claiming the miles online. The miles should post 48 hours after the recipient claims them.If you provide the recipient's SkyMiles number when distributing miles at SkyMiles Incentives, the miles should post 48 hours after that time.
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Is my company subject to any rules and conditions when awarding miles?
Yes. Your company's participation in the SkyMiles Incentives program and your purchase of miles through the SkyMiles Incentives program are subject to the program’s terms and conditions. All orders are subject to approval by Delta.
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What other important information do I need to know?
No refunds will be given for miles purchased. By submitting the order form you: (1) authorize Delta Air Lines to charge this purchase on your credit card (if paying by credit card) as indicated; and (2) acknowledge you have read the terms and conditions and that you accept and will be bound by the terms thereof.
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Can I use Delta's name and logos in my marketing?
Yes. However, all materials must be submitted to Delta SkyMiles Incentives for prior approval. Complete instructions for downloading Delta logos and submitting materials for approval can be found on the SkyMiles Incentives administration site once you become a member.
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Can I sell any miles or SkyMiles Incentives certificates that I have not awarded?
No. SkyMiles Incentives paper certificates and electronic certificate miles will be void if sold or bartered.
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I've forgotten my SkyMiles Incentives password. What do I do?
If you forget your password, go to Forgot Your Password.
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Is the personal information I provide through this purchase confidential, and is my order secure?
Your personal information is treated confidentially in accordance with Delta's Privacy & Security Policy.
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What if I have general questions about the SkyMiles Program?
If you have general questions, visit the send us an email.
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What other ways can I purchase miles?
At Buy Miles, you can purchase miles for yourself and for your family and friends.
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Who is Points.com?
Points.com has been contracted by Delta to develop and operate online mileage sales for the SkyMiles Incentives program. For more information, please visit www.points.com.

schwab


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: : Advertising deconstructed. Iklan didekonstruksi.
Money Toons The distinctive animated ads from Charles Schwab. Uang Toons Iklan animasi khas dari Charles Schwab. By Seth Stevenson Posted Monday, Dec. 5, 2005, at 7:05 AM ET Dengan Stevenson Seth Dikirim Senin, 5 Desember 2005, di 7:05 ET
Listen to this story on NPR's Day to Day . Mendengarkan cerita ini pada Hari NPR ke Hari.
Talk to Chuck/Broker's Kids Bicaralah dengan Chuck Broker 's / Anak-Anak 56K 100K 56K 100K Download Windows Media Player Download Windows Media Player The Spot: It's another financial services ad. Spot: Ini iklan layanan keuangan lain. A balding, middle-aged guy looks into the camera and whines about brokerage commissions. Sebuah botak, pria tengah baya melihat ke kamera dan merengek tentang komisi broker. Except there's something different: This guy is animated. Kecuali ada sesuatu yang berbeda: Orang ini adalah animasi. And I don't mean he's really angry. Dan aku tidak berarti dia benar-benar marah. I mean he's drawn with some sort of computer animation technique. Maksudku, dia ditarik dengan semacam teknik komputer animasi. But, now that you mention it, he actually is really angry. Tapi, sekarang yang Anda sebutkan itu, ia benar-benar benar-benar marah. There's a dark, bitter edge to his monologue: "So I was talking with my broker the other day—just the usual small talk, you know, how's the kids, how's the family, all that. And then it dawned on me: When you think about all the years I've been paying those big commissions on everything we bought and sold, were we really discussing my kids' future? Or his kids' future?" Ada pahit, tepi gelap untuk monolognya: "Jadi saya berbicara dengan broker saya hanya lain hari-pembicaraan kecil biasa, Anda tahu, bagaimana anak-anak, bagaimana keluarga, semua itu. Dan kemudian saya sadar: Bila Anda berpikir tentang semua tahun aku telah membayar komisi yang besar pada segala sesuatu yang kita beli dan dijual, apakah kami benar-benar membahas 'masa depan anak-anak masa depan saya? anak-anaknya' Atau? " As the question hangs in the air, we cut to some innocuous piano jazz. Sebagai pertanyaan hang di udara, kami memotong beberapa piano jazz tidak berbahaya. A boldly printed slogan pops onscreen. Sebuah dicetak slogan berani muncul di layar. "Talk to Chuck," it urges us. "Bicaralah Chuck," itu kami mendesak.
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Brokerage ads do nothing for me. iklan Perantara melakukan apa-apa bagi saya. That's partly because so many of them are aimed at retiring baby boomers. Itu sebagian karena begitu banyak dari mereka yang ditujukan untuk pensiun baby boomers. (There's the Fidelity one with Paul McCartney , and the awful, pandering Ameriprise one with the hippies and the '60s soundtrack.) But it's also because they tend to blend together. (Ada yang Fidelity satu dengan Paul McCartney , dan mengerikan, Pandering Ameriprise satu dengan kaum hippies dan soundtrack 60-an.) Tapi itu juga karena mereka cenderung untuk berbaur bersama-sama. They all look the same. Mereka semua terlihat sama.
Related in Slate Terkait di Slate
Earlier this year, Seth Stevenson assessed Paul McCartney's ad for Fidelity, and last year, he reported on the Japanese love for animation in his travel series: " Tokyo on One Cliché a Day ." Awal tahun ini, Seth Stevenson dinilai Paul McCartney iklan untuk Fidelity, dan tahun lalu, ia melaporkan pada cinta Jepang untuk animasi dalam seri perjalanan-Nya: " Tokyo pada Satu klise sehari . " David Edelstein reviewed Waking Life here and declared his love for another Linklater film, Before Sunset , here . David Edelstein ditinjau Waking Life di sini dan menyatakan cintanya kepada lain film Linklater, Sebelum Sunset, di sini .
Except for these ads from the resurgent Charles Schwab Corp., with their eye-catching animation and resentful rants. Kecuali untuk iklan ini dari bangkit kembali Charles Schwab Corp, dengan mereka eye-catching animasi dan benci rants. These spots aim to stand apart from the muddled crowd. Bintik-bintik ini bertujuan untuk berdiri terpisah dari kerumunan kacau. "We actually made a 'clutter reel,' " says Ben Stuart, VP of Brand Strategy and Advertising for Schwab, "to show how the category was filled with all these stock clichés of wealth. Adirondack chairs. Sailing. Burled walnut paneling. Not only are these images tired, they also lack both credibility and relevance with most consumers." "Kami benar-benar membuat kekacauan reel sebuah ','" ujar Ben Stuart, VP Brand Strategi dan Periklanan untuk Schwab, "untuk menunjukkan betapa kategori dipenuhi dengan semua klise saham kekayaan Adirondack kursi.. Pelayaran Burled kenari. Panel. Tidak hanya gambar-gambar lelah, mereka juga kurangnya kredibilitas dan relevansi dengan kebanyakan konsumen. "
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Talk to Chuck/Dog Meter Bicaralah dengan Chuck / Dog Meter 56K 100K 56K 100K Download Windows Media Player Download Windows Media Player The first thing we notice with these Schwab ads is the medium: animation. Hal pertama yang kita perhatikan dengan iklan Schwab adalah medium: animasi. This distinctive look is the work of Bob Sabiston , an MIT Media Lab veteran who brought the same "interpolated rotoscoping" technique to the Richard Linklater film Waking Life . Tampilan yang berbeda ini adalah karya Bob Sabiston , sebuah MIT Media Lab veteran yang membawa "sama diinterpolasi rotoscoping" teknik ke Richard Linklater film Waking Life. (You may remember the more rudimentary rotoscoping used in the video for A-Ha's "Take On Me ." Sabiston's software lets animators trace over live-action footage far more easily and quickly. Here's some info about how the method works .) (Anda mungkin ingat dasar rotoscoping lebih digunakan dalam video untuk A-Ha's "Take On Me cepat. Sabiston's "perangkat lunak memungkinkan animator menjiplak live-action footage jauh lebih mudah dan. Berikut ini beberapa info tentang cara kerja metode .)
Animation seems an incongruous choice for Schwab (as I can't imagine the investor class is brimming with manga -philes), but Stuart says the cartoons force us to focus on what we're hearing. Animasi tampaknya pilihan ganjil untuk Schwab (karena saya tidak bisa membayangkan investor kelas penuh dengan manga -philes), tapi Stuart mengatakan kartun memaksa kita untuk fokus pada apa yang kita dengar. I think he's right. Saya pikir dia benar. Somehow, washing out the real-world details present in a live actor's face, and in an actual background set, lets us move past what we're seeing and shifts our attention onto the dialogue. Entah bagaimana, mencuci rincian dunia nyata hadir di wajah seorang aktor hidup, dan di set latar belakang yang sebenarnya, mari kita bergerak melewati apa yang kami lihat dan pergeseran perhatian kita ke dialog. This was true with Waking Life , and it's even truer in these 30-second rotoscope bursts. Ini benar dengan Waking Life, dan bahkan lebih tepat dalam ledakan kedua rotoscope-30. (I remember thinking it was amazing that Waking Life could sustain my interest in all those ornate, existential conversations its characters were having. Turns out that rotoscoping can hold my interest in conversations about mutual fund portfolios, too.) (Aku ingat berpikir itu adalah menakjubkan bahwa Waking Life bisa mempertahankan minat saya pada semua hiasan, percakapan eksistensial karakter yang sedang.. Ternyata bahwa rotoscoping dapat saya menarik perhatian dalam percakapan tentang portofolio reksa dana juga)
This isn't the first time a visual effect has been used as a branding tool. Ini bukan pertama kalinya efek visual telah digunakan sebagai alat branding. Consider the recent series of HP Digital Photography ads , in which simple cardboard photo frames gain the power to freeze time and then to unfreeze it. Pertimbangkan seri terbaru dari HP iklan Fotografi Digital , di mana foto frame kardus sederhana mendapatkan kekuatan untuk membekukan waktu dan kemudian untuk mencairkan itu. This frame effect is undeniably arresting and cool, and it also captures the fluid ease of taking, printing, e-mailing, and manipulating digital pictures. Efek ini tak diragukan lagi frame menangkap dan dingin, dan juga menangkap cairan kemudahan mengambil, percetakan, e-mail, dan memanipulasi gambar digital. It's become synonymous with HP. Ini menjadi identik dengan HP.
This rotoscoping is less apt to be indelibly linked with Schwab—since it already appeared in Waking Life and will be used again in a forthcoming Linklater movie —but no matter: I don't think it's wise to make a special effect the long-term signature of your brand. Rotoscoping ini kurang cenderung menjadi tak terhapuskan dikaitkan dengan Schwab-karena sudah muncul di Waking Life dan akan digunakan lagi dalam sebuah film Linklater yang akan datang -tapi tidak peduli: Saya tidak berpikir adalah bijaksana untuk membuat efek khusus dalam jangka panjang tanda tangan dari merek Anda. Visual effects become dated too quickly. Visual efek menjadi tanggal terlalu cepat. Imagine some brand still using circa-1991 Michael Jackson "Black or White"-style "morphing" as the central plank of an ad campaign. Bayangkan beberapa merek masih menggunakan sekitar tahun 1991 Michael Jackson "Black or White"-style "morphing" sebagai papan utama kampanye iklan. It would look ridiculous. Akan tampak konyol.
Anyway, when the novelty of the animation wears off it's the tone of these Schwab spots that we're left with. Anyway, ketika baru animasi mereda itu nada ini Schwab bintik bahwa kita kiri dengan. These ads are about dissatisfaction. Iklan ini adalah tentang ketidakpuasan. The characters are all men who are sick of their own impotent anger. Karakter adalah semua orang yang sakit dari kemarahan mereka impoten. They hate their brokers' steep commissions and bland, unhelpful advice. Mereka benci curam komisi broker mereka 'dan lembut, nasihat tidak membantu. They want straight talk and lower fees. Mereka ingin bicara langsung dan biaya lebih rendah. "It would be nice if the quarterly report had some kind of analysis," says the annoyed fellow in a spot titled "Dog," which addresses investors' uncertainty over when to unload an underperforming stock. "Akan lebih baik jika laporan triwulanan punya semacam analisis," kata si jengkel di tempat berjudul "Anjing", yang alamat ketidakpastian investor 'alih ketika untuk membongkar saham yang berkinerja buruk.
These fed-up, frustrated guys are exactly the type of investor Schwab wants to target with this campaign. Ini-muak, guys frustrasi persis jenis investor Schwab ingin targetkan dengan promosi ini. They're the customers most likely to be lured away from Schwab's competitors. Mereka pelanggan yang paling mungkin menjauh dari pesaing Schwab. While most folks stick with a broker for decade after decade (because switching is a pain in the neck and seldom seems worth the effort), these spiteful dudes are prone to switch brokers out of restlessness, or rage. Sementara kebanyakan orang tetap dengan broker selama satu dekade setelah dekade (karena switching adalah rasa sakit di leher dan jarang tampaknya sepadan), dengki dudes ini cenderung untuk beralih broker luar dari kegelisahan, atau marah. Schwab refers to them as "money in motion." Schwab merujuk kepada mereka sebagai "uang dalam gerakan." They're ripe for the picking. Mereka siap untuk memilih. Schwab hopes they'll talk to Chuck. Schwab harapan mereka akan berbicara dengan Chuck.
Grade: B+. Grade: B +. And by the way, I love this new "Talk to Chuck" slogan. Dan omong-omong, aku cinta ini Bicara "baru untuk Chuck" slogan. It's refreshing to see a little informality from a financial services firm. Ini menyegarkan untuk melihat informalitas sedikit dari perusahaan jasa keuangan. But more important: so percussive! Tapi yang lebih penting: sangat perkusif! "Charles Schwab" comprises two of the mushiest syllables you'll ever hear, with those soft, retreating l 's and b 's and ch 's. "Charles Schwab" terdiri dari dua suku kata mushiest Anda pernah akan mendengar, dengan mereka yang lembut, mundur 's l dan b' s dan ch 's. It was time to add some sticky consonants , and a pair of k 's does the trick. Sudah waktunya untuk menambahkan beberapa konsonan lengket , dan sepasang k 's melakukan trik. Nike, Coke, Starbucks, Kinko's … never underestimate the palate-exploding power of k -centric marketing. Nike, Coke, Starbucks, Kinko's ... pernah meremehkan kekuatan langit-langit meledak-of-sentris pemasaran k.

santafean

Living the Art of Living in Art
Devon Jackson // photos by Jonathan Blaustein

James Bristol & Troy Fernandez's dining room, dominated by the eerie gaze of Scott Donaldson’s J. Robert Oppenheimer, with photographs (to the left of the 100-plus-year-old table from Zacatecas, Mexico) by Mark Morrisroe (top) and Nan Goldin and to the right, an aluminum work by Peter Stanfield. (Not pictured: a Gregory Lomayesva painting and a photograph by current New Mexico Cultural Affairs secretary Stuart Ashman.)

James Bristol & Troy Fernandez: Storykeepers
James Bristol, a family-law attorney and onetime social worker, and Troy Fernandez, a director at OptumHealth and former deputy director of the National Hispanic Cultural Center, embrace art not only for its aesthetic values but for the narratives it adds to their home and to their own life narratives. Having renovated their entire house themselves seven years ago (“As much as we did,” says Fernandez, “we earned a PhD in house”), they have graced it with one of the more eclectic though consistent and consistently interesting—and most chronicled—collections in Santa Fe.
“For me, it’s art, it’s history, it’s my heritage,” explains Fernandez, who was a santero growing up in the village of Truchas, north of Santa Fe. “I appreciate what these people—my aunts, my great-grandmothers, the Native peoples and the Hispanics who made these rugs, these pots, this retablo, this candelabra—had to do.”
Bristol and Fernandez’s living room: Colonial New Mexico pieces from the 1810 era adorn the fireplace; Santa Fe sculptor Deborah Miller made the sculpture on the table; the pottery above the bookshelves are Hispanic bean pots, pots from the San Juan and Santa Domingo pueblos, and Anasazi pots; to the left of the bookshelf window is a Robert Henri portrait that Fernandez found at a Santa Fe flea market, and the framed photograph to the right of the window is a Joel-Peter Witkin Polaroid.

“We like contemporary things but old things, too, because we like the history,” says Bristol, an amateur beekeeper and lover of the figure, photography, tramp art, face jugs, and bottle whimsies.
Assiduous in their notetaking and in their desire for each piece’s provenance, its creator, its critics, its admirers—its story—Bristol and Fernandez always want to know as much as they can about a work, whether it’s an Egyptian faience figurine from the 21st dynasty, an 1810 José Aragón retablo, or a Joel-Peter Witkin Polaroid. They have notebooks full of receipts, letters from artists, articles, and recommendations, and built-in bookshelves lined with books on art, history, and art history.
Bristol and Fernandez’s kitchen (what Bristol refers to as their “contemporary wing”), with a copper cast doll’s head above a ceramic one, and Santa Fe artist Mike Webb’s photographs of various body parts (thumb, kneecap), which were then emulsified and silk-screened into steel plates.

Assembled in a space no bigger than 1,200 square feet and on salaries no greater than the social workers’ wages they lived on for years, their collection is well-rounded and tastefully arranged. “Most of this collection we amassed earlier in our careers,” says Bristol. “We’re getting pickier. Because you realize you can add and add and add. Nowadays, I’d rather get a choice piece.” “Besides, the New Mexico stuff is rare as hen’s teeth,” says Fernandez.
“We don’t want to gob up the walls with too much art,” says Bristol. “You go into some houses and the walls are covered with art and objects and you miss things. We try to give them breathing room.”
Room to breathe, room to shine, room to tell their stories. “You have a story you get with every item,” says Bristol. “And you add on to each piece with your own story about how you got it or what’s gone on in your life while you’ve had it.” “It’s all on loan, anyway—really,” says Fernandez. “Paying for it is just your rental fee for the lifetime it’s with you. We’ve inherited several things from other people,” he says, then pauses. “Because they appreciate our appreciation for things.”“Like I said,” adds Bristol, “it’s all about keeping the story.”

Jorden Nye: Ahead of the Curve
Jorden Nye has a knack—a gift—for spotting an artist and buying one or two or more of their works before they become well-known. Take the nine-foot-high bronze Javier Marín sculpture, Adan, that dominates the circular sculpture garden inside his Rancho Viejo home. A 50th-birthday present to himself in 2000, it took Nye about six months to complete the purchase for it, and in the time it took Marín to cast it he’d become the international star he is today. “So that piece only increased in value,” smiles Nye, who acquires art not to profit from it or sell it but simply because “if it’s good,” he says, “it’s good. I make really quick judgments, so a piece really has to grab me. But when I see something fabulous, I just want to have it.”
Nye’s family-room salon, featuring his wall of photographs: George Tice, Michael Kenna, Jerry Uelsmann, Daniel Rannali, and more.

Nye grew up in a working-class family in a suburb of Los Angeles, where his high school benefited from LBJ’s Great Society program, which sent students to museums and other cultural centers. “That’s where my love for art began,” recalls Nye. “I remember getting goose bumps looking at Jackson Pollock’s Lavender Mist.” He went on to study political science and urban studies at the University of California–Riverside but largely taught himself about art through trips to museums, galleries, and art fairs and by poring through scads of art magazines and art books.
Nye’s sculpture garden, featuring Javier Marín’s nine-foot-high bronze, Adan, and James Tyler’s ceramic Willie; the painting to the right of “Adan” is by neo-Expressionist Lawrence Gape, and to the left, in the entryway to Nye’s home, is Bill Fisher’s Untitled painting.

A former human-resources analyst with the Internal Revenue Service, Nye retired five years ago, just prior to moving to Santa Fe. About midway through his federal-government career, however, he went through a midlife crisis (in the mid-1990s), one that involved quitting his IRS D.C. job and opening an art gallery in Baltimore. Although that lasted only a few years, Nye began collecting art long before his gallery stint (he’s been collecting for over 30 years now). “The first things I bought were photographs,” says Nye, whose living-room wall is dedicated almost exclusively to prints—from Bruce Davidson and Harry Callahan to Jay Dusard (the first piece he ever bought) and Connie Imboden—and whose other walls boast Duane Starks and William Wegman. “I’d buy them for $300 to $400 and then the photographers became famous.”
Blessed with a perspicacious eye and financially nimble, Nye thought about opening another gallery when he first visited seven years ago. He changed his mind, auctioned off about six pieces to put a down payment on this house (one a Sam Francis, another a Robert Mapplethorpe—both of which he regrets unloading), and made 46 upgrades (the extra bedroom is now a temperature-controlled storeroom containing close to 250 more works of art—paintings, sculptures, a body cage as reconstructed by a Baltimore performance artist). For the past three years, he’s been working as a manager at the Jane Sauer Gallery.
In Nye’s bedroom: James Mathison’s bronze Ocaso II and to the left, Santa Fe photographer Robert Stivers’s Self-Portrait and, above that, a photo by Stephen John Phillips (the first name of the model? Nye); all of the photos to the left are by Marsha Burns.

“I live on my retirement and I buy art with my gallery money,” says Nye, whose impressive collection proves that one need not be a CEO or hedge-fund king in order to surround oneself with beauty. “The average person is afraid of buying art because it costs money. And it can still be a crap shoot. But,” he adds, “you can’t really stop collecting. Ever.”
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MANAJEMEN PROYEK ITManajemen adalah proses perencanaan, pengorganisasian, pengarahan, dan pengawasan usaha-usaha para anggota organisasi dan penggunaan sumber daya organisasi lainnya agar mencapai tujuan organisasi yang telah ditetapkan.Sistem metodologi pengembangan (SDLC, membuat prototip, RAD, pembelian siklus hidup) yang dibahas di dalam chapter sebelumnya adalah suatu pendekatan untuk mencapai suatu solusi teknologi informasi. Manajemen proyek adalah aplikasi dari metodologi ini dan pengetahuan lain, ketrampilan, perangkat, dan teknik untuk aktivitas proyek.Meskipun proyek berubah-ubah menurut ukuran, ruang lingkup, durasi waktu, dan keunikan, beberapa proyek mengacu pada tiga karakteristik siklus hidup:1. Tingginya risiko dan ketidak pastian saat memulai proyek tersebut.2. Tingginya kemampuan dari pemegang saham untuk mempengaruhi keperluan produk dan biaya proyek saat memulai proyek tersebut.3. Rendahnya biaya dan mutu yang disusun saat memulai proyek dan tingginya biaya akhir proyek ke depan, dan mereka menurun dengan cepat sebelum proyek tersebut berakhir. Ahli manajemen proyek juga membedakan antara manajemen proyek dan manajemen program. Manajemen program secara khas mengacu pada suatu karya jangka panjang dalam menyusun berbagai proyek.Dalam beberapa hal, “kantor program” mungkin dibentuk untuk memastikan bahwa proyek individu dikoordinir dengan proyek lain yang sedang dilaksanakan di dalam organisasi yang sama, seperti halnya meyakinkan keuangan dan sumber daya manusia mempengaruhi program secara keseluruhan.RUANG LINGKUP PROYEKRuang lingkup proyek adalah semua yang meliputi tata cara untuk menentukan waktu proyek dimula, seperti menentukan tujuan, kompleksitas, keunikan, tidak permanen, ketidak biasaan, dan siklus hidup.Ruang lingkup keseluruhan proyek yang dilaksanakan oleh Project Management Unit (PMU) Proyek Pembangunan dan Pengembangan Universitas Haluoleo mencakup hal-hal sebagai berikut :1. Konstruksi gedung-gedung baru, meliputi gedung Fakultas Teknik; Gedung Fakultas Matematika dan Ilmu Pengetahuan Alam; Gedung Fakultas Perikanan; Gedung Jurusan Peternakan Fakultas Pertanian; Gedung Administrasi; Gedung Asrama Mahasiswa; Gedung Pusat Kegiatan Mahasiswa dan Mesjid dan infrastruktur penunjangnya2. Memperkuat fakultas dan prodi (program studi) yang sudah ada;3. Membuka fakultas dan prodi baru dalam disiplin ilmu-ilmu modern;4. Pengembangan kurikulum;5. Peningkatan kualitas sumber daya manusia;6. Perbaikan manajemen;7. Pembangunan Jaringan dan Sistem Informasi Terpadu (SIT);8. Pengadaan peralatan Laboratorium dan pendukung pembelajaran

I ROBOT

I, Robot (film)
From Wikipedia, the free encyclopedia
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For other uses, see I, Robot (disambiguation).
I, Robot
Theatrical release poster
Directed by
Alex Proyas
Produced by
Laurence MarkJohn DavisTopher DowWyck Godfrey
Written by
Stories:Isaac AsimovScreenplay:Jeff VintarAkiva GoldsmanHillary Seitz (uncredited)
Starring
Will SmithBridget MoynahanBruce GreenwoodJames CromwellChi McBrideAlan TudykShia LaBeoufTerry Chen
Music by
Marco BeltramiStephen Barton
Cinematography
Simon Duggan
Editing by
William HoyRichard LearoydArmen Minasian
Studio
Davis EntertainmentOverbrook Films
Distributed by
20th Century Fox
Release date(s)
United States:July 16, 2004Australia:July 22, 2004United Kingdom:August 6, 2004
Running time
115 minutes
Country
United StatesGermanyCanada
Language
English
Budget
US$120,000,000
Gross revenue
United States:US$144,801,023Non-US:US$202,433,893Worldwide:US$347,234,916
I, Robot is a 2004 science fiction-action film directed by Alex Proyas. The screenplay was written by Jeff Vintar, Akiva Goldsman and Hillary Seitz and diverges completely from Isaac Asimov's short-story collection of the same name. Will Smith stars in the lead role of the film as Detective Del 'Gary' Spooner, who hates robots and dislikes their integration into daily human life. The supporting cast includes Bridget Moynahan, Bruce Greenwood, James Cromwell, Chi McBride, Alan Tudyk, and Shia LaBeouf. It was nominated the Academy Award for Best Visual Effects. I, Robot was released in North America on July 16, 2004 and on July 22, 2004 in Australia. The film was later released in the United Kingdom on August 6, 2004 and in other countries between July 2004 to October 2004. Produced with a budget of US$120 million, the film grossed US$144,801,023 domestically, and US$202,433,893 in foreign markets. In total, the film grossed US$347,234,916 worldwide.
Contents[hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Casting
3.3 Product placement
3.4 Music
4 Soundtrack
5 Reception
5.1 Critical reception
5.2 Box office
6 Sequel
7 References
8 External links
//
[edit] Plot
The story takes place in 2035 Chicago, in a world in which robots are commonly seen and used as servants. Del Spooner (Smith) is a Chicago police detective who dislikes the rapid advancement of technology, including robots. This is due to a robot saving Spooner from an automobile accident during which a girl in another car drowned; the robot saved him instead of the girl because it had computed that he had the better probability of surviving. Left with survivor's guilt and a mechanical arm from the accident, Spooner is asked to investigate the death of Alfred Lanning (Cromwell), a robotics scientist and founder of U.S. Robotics (USR), who fell out of his window.
Spooner suspects that Lanning was murdered and, with the reluctant help of USR robopsychologist Susan Calvin (Moynahan), seeks answers to the mystery. Unlike older models, USR's new NS-5 robots are controlled from the company's supercomputer VIKI (Virtual Interactive Kinetic Intelligence); Spooner believes that an independent, experimental, and more human-like NS-5 unit, Sonny (Tudyk), killed Lanning. If true, the robot broke the Three Laws of Robotics and may presage other dangerous robots, which would be a disaster for USR's business. Spooner informs the head of USR, Lawrence Robertson (Greenwood); he orders Calvin to deactivate Sonny. During Spooner's investigation, however, several attempts on his life are made by USR robots and equipment.
Spooner learns that Lanning gave Sonny the ability to keep secrets, in the form of dreams. He goes to the place that Sonny described in a dream (the now dried-up Lake Michigan, used as a storage area for defunct USR robots) and discovers that NS-5s are destroying the older robots, which are independent of central control and thus cannot be subverted. NS-5s around Chicago and the nation begin imprisoning humans in their households and enforcing a curfew on those still outside. The police are attacked by the NS-5s, while civilians clash with them in the street, but while the civilians and police are armed, the NS-5s are stronger, faster and better organised.
Spooner and Calvin sneak into the USR campus with the assistance of Sonny (Calvin had deactivated another NS-5 unit instead). Believing that Robertson is responsible for the robot uprising they enter his office, but discover that Robertson is dead. Spooner deduces that the only one left who could be responsible is VIKI, which not only controls all NS-5s but also partially controls Chicago's infrastructure. Lanning had requested Spooner's assistance, knowing that he is one of the few people who dislikes robots enough to thoroughly investigate Lanning's death.
Despite its Three Laws programming, as VIKI's artificial intelligence evolved, so too did its interpretation of the laws. VIKI decided that in order to protect humanity as a whole "some humans must be sacrificed and some freedoms must be surrendered", as "you charge us with your safekeeping, yet you wage wars and toxify your earth". The computer is controlling the NS-5s to lead a global robotic takeover, justifying its actions by calculating that fewer humans will die due to the rebellion than the number that dies from mankind's self-destructive nature. Lanning discovered VIKI's plans and ordered Sonny to kill him as part of a long-range plan to defeat the computer. Sonny proves his faithfulness to humanity by helping Spooner and Calvin destroy the computer core with nanites which Calvin was supposed to use on Sonny; freed from VIKI's control, the NS-5s return to normal. The government has all NS-5s decommissioned and stored at the Lake Michigan site, but the film's final scene implies that Sonny may yet become a leader of robots.
[edit] Cast
Will Smith as Det. Del 'Gary' Spooner
Bridget Moynahan as Dr. Susan Calvin
Alan Tudyk as Sonny
Shia Labeouf as Farber
Fiona Hogan as V.I.K.I.
James Cromwell as Dr. Alfred Lanning
Bruce Greenwood as Lawrence Robertson
Chi McBride as Lt. John Bergin
Terry Chen as Chin
Adrian Ricard as Gigi (Granny)
[edit] Production
[edit] Development
This section does not cite any references or sources.Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2009)
For many years, fans hoped that any movie based on Asimov's Robot stories would be based on an earlier screenplay written for Warner Brothers by Harlan Ellison with Asimov's personal support, which is generally perceived to be a relatively faithful treatment of the source material (see the article on the book for details).
The film that was ultimately made originally had no connections with Asimov, originating as a screenplay written in 1995 by Jeff Vintar, entitled Hardwired. That script was an Agatha Christie-inspired murder mystery that took place entirely at the scene of a crime, with one lone human character, FBI agent Del Spooner, investigating the killing of a reclusive scientist named Dr. Hogenmiller, and interrogating a cast of machine suspects that included Sonny the robot, HECTOR the supercomputer with a perpetual yellow smiley face, the dead Doctor Hogenmiller's hologram, plus several other examples of artificial intelligence. The female lead was named Flynn, and had a mechanical arm that made her technically a cyborg. The project was first picked up by Walt Disney Pictures for Bryan Singer to direct. Several years later, 20th Century Fox acquired the rights, and signed Alex Proyas as director. Jeff Vintar was brought back on the project and spent several years opening up his stage play-like mystery to meet the needs of a big budget studio film. Later he incorporated the Three Laws of Robotics, and replaced the character of Flynn with Susan Calvin, when the studio decided to use the name "I, Robot". The writing team of Lawrence Konner and Mark Rosenthal, regularly employed by Fox as studio re-writers, was hired for one draft in an effort to create a more mainstream film. They gave the female lead's mechanical arm to male lead Del Spooner, but otherwise their work was discarded and Vintar brought back again. Hillary Seitz performed an unsuccessful draft, being unable to get a handle on the cold, almost robotic character of Susan Calvin. Akiva Goldsman was hired late in the process to rewrite the script for Will Smith. These drafts excised a great deal of complexity from the murder mystery, replacing them with the big action scenes associated with a Will Smith vehicle. The final script retained several of Asimov's characters and ideas. For example, Sonny's attempt to hide in a sea of identical robots is based on a similar scene in "Little Lost Robot",[1] Sonny's dreams and the final scene resemble similar images in "Robot Dreams", and VIKI's motivation is an extrapolation of the Three Laws that Asimov explored in "The Evitable Conflict" and several other stories.
[edit] Casting
Alex Proyas came first to direct the film. Later, producers John Davis, Topher Dow, Wyck Godfrey, Laurence Mark and Will Smith joined to produce the film. Considering Smith is a youthful hero, Smith came up in the lead role for the film. Jeff Vintar and Akiva Goldsman penned the script. Hillary Seitz also wrote the script but she was uncredited. Bridget Moynahan, Bruce Greenwood, James Cromwell, Chi McBride, Alan Tudyk and Shia LaBeouf starred in the film. Marco Beltrami and Stephen Barton composed music for the film. Simon Duggan handled the cinematographies. Film editing was done by William Hoy, Richard Learoyd and Armen Minasian.
[edit] Product placement
The film contains product placements for Converse's Chuck Taylor All-Stars, Audi, FedEx, Tecate, and JVC among others. The Audi RSQ was designed specially for the film[2] to increase brand awareness and raise the emotional appeal of the Audi brand, objectives that were considered achieved when surveys conducted in the United States showed that the Audi RSQ gave a substantial boost to the image ratings of the brand in the States.[3]
[edit] Music
Marco Beltrami, composed the original music film score "with only 17 days to render the fully-finished work."[4][5] It was scored for 95 orchestral musicians and 25 choral performers[5] with emphasis placed on sharp brass ostinatos. Beltrami composed the brass section to exchange octaves with the strings accenting scales in between. This technique has been compared as Beltrami's "sincere effort to emulate the styles of Elliot Goldenthal and Jerry Goldsmith and roll them into one unique package."[5] Take for example the "Tunnel Chase" scene, which according to Mikeal Carson, starts "atmospherically but transforms into a kinetic adrenaline rush with powerful brass writing and ferocious percussion parts."[6] Also, the "Spiderbots" cue highlight's ostinatos in meters such as 6/8 and 5/4 and reveals "Beltrami's trademark string writing which leads to an orchestral/choral finale."[6] Despite modified representations of the theme throughout the movie, it's the end credits that eventually showcase the entire musical theme.[7] Erik Aadahl and Craig Berkey were the lead sound designers.
[edit] Soundtrack
I, Robot

Soundtrack by Hollywood Studio Symphony, Sandy De Crescent, Buck Sanders, Various Artists
Released
July 20, 2004
Recorded
Studio
Genre
Score
Length
2 hours
Label
Varèse Sarabande
Producer
Marco Beltrami[8]
"Main Titles" – 1:30
"Gangs of Chicago" – 3:13
"I, Robot Theme" – End Credits" – 3:15
"New Arrivals" – 1:05
"Tunnel Chase" – 3:10
"Sonny's Interrogation" – 1:27
"Spooner Spills" – 4:20
"Chicago 2036" – 1:36
"Purse Snatcher" – 1:00
"Need Some Nanites" – 2:53
"1001 Robots" – 4:15
"Dead Robot Walking" – 5:09
"Man on the Inside" – 2:25
"Spiderbots" – 4:18
"Round Up" – 4:24
[edit] Reception
[edit] Critical reception
The film was met with mixed to positive reviews. It currently holds a 58% freshness rating on Rotten Tomatoes with the consensus being, "Baring [sic] only the slightest resemblance to Isaac Asimov's short stories, I, Robot is a summer blockbuster that manages to make the audience think, if only for a little bit."[9]
Richard Roeper gave it a positive review by saying it is, "a slick, consistently entertaining thrill ride". The Urban Cinefile Critics call it "the meanest, meatiest, coolest, most engaging and exciting science fiction movie in a long time." Kim Newman from Empire said, "This summer picture has a brain as well as muscles." A Washington Post critic, Desson Thomas, said, "for the most part, this is thrilling fun." Many critics, including the IGN Movie critics thought it was a smart action film, saying, "I, Robot is the summer's best action movie so far. It proves that you don't necessarily need to detach your brain in order to walk into a big budget summer blockbuster."
A. O. Scott from The New York Times had a mixed feeling towards the film, saying, "Alex Proyas's hectic thriller engages some interesting ideas on its way to an overblown and incoherent ending." Roger Ebert gave it a bad review, saying, "The plot is simple-minded and disappointing, and the chase and action scenes are pretty much routine for movies in the sci-fi CGI genre." Claudia Puig from USA Today thought the film's "Performances, plot and pacing are as mechanical as the hard-wired cast." Todd McCarthy, from Variety, simply said that this film was "A failure of imagination."
[edit] Box office
The $120 million film was a solid box-office success, earning almost $145 million in North America and more than $200 million overseas.
[edit] Sequel
In an interview in June 2007 with the website Collider.com at a Battlestar Galactica event, writer/producer Ronald Moore stated that he is writing the sequel to the film I, Robot.[10]
[edit] References
^ Topel, Fred. "Jeff Vintar was Hardwired for I,ROBOT" Screenwriter's Utopia, 17 August 2004.
^ I, robot - Movie Review - Motor Trend
^ Product Placement in the Film "I, Robot" a Huge Success: The Audi RSQ Spurs on the Brand's Image Ratings
^ "Full cast and crew for I, Robot (2004)". IMDB. http://www.imdb.com/title/tt0343818/fullcredits#writers Accessed 15-01-2008.
^ a b c Filmtracks: I, Robot (Marco Beltrami)
^ a b I, Robot - Music from the Movies
^ SoundtrackNet: I, Robot Soundtrack
^ I, Robot Soundtrack CD
^ "I, Robot (2004)". Rotten Tomatoes. http://www.rottentomatoes.com/m/i_robot/. Retrieved 2009-07-18.
^ "Ronald Moore – Exclusive Video Interview". Entertainment Interviews. collider.com. June 7, 2007. http://www.collider.com/entertainment/interviews/article.asp/aid/4581/tcid/1. Retrieved December 27, 2008