Click Networks - IT Support Glasgow

Click Networks - IT Support Glasgow
Click Networks - IT Support Glasgow

Monday, 25 February 2013

Hotmail switching over to Microsoft Outlook (FAQs)

Microsoft is moving all of its Hotmail users to by this summer. Here's what the hundreds of millions still using Hotmail need to know about the transition.

Microsoft announced earlier this week that it is closing Hotmail and moving the "hundreds of millions" still using it to by this summer.

The move isn't unexpected, but perhaps more sudden than some anticipated. Hotmail users, once they move (or are moved) will get's clean, Metro-Style interface for their mail -- and ultimately, calendars. (For a walk-through of the UI changes Hotmail users will see, check out this Microsoft FAQ.)

Given that many of the new features in -- Microsoft's new Web-mail service that is no longer in "preview," as of this week -- are already part of Hotmail, the experience (beyond the UI itself) shouldn't be too jarringly different.

Microsoft provided guidance last summer for those who wanted to proactively make the move. There's not much required on users' parts to make this happen. But some users still have questions. And different folks around the Web have answers.

Q: How much warning do users get before Microsoft move an existing Hotmail account to
A: There will be several e-mails first prompting people to upgrade on their own.

Q: If I move my Hotmail account to an account, can I change my mind and go back?
A: At this point, no. (When was still in "preview," Microsoft did allow this.)

Q: What happens to all my stored Hotmail once I am moved off Hotmail to
A: Everything moves over. If you click the upgrade button it takes maybe a few seconds, but all your existing messages auto-populate and carry over.

Q: Which browsers support
A: is optimized for Internet Explorer 8, 9 and 10; Google Chrome 17 and higher; Firefox 10 and higher; Safari 5.1 on Mac. It also works relatively well on IE 7, Google Chrome 16 and 5; Firefox 9 and 5; Safari 5.1 on Windows and Safari 5 on Windows and Mac. It doesn't work at all on IE 6 and older; Google Chrome 4 and older; Firefox 4 and older; and Safari 4.X and older.

Q: What happens if my Microsoft ID/Windows Live ID is tied to Hotmail? Do I have to get a new one and change my accounts?
A: No. If you use an, or e-mail address as your Microsoft account, you can keep it, even after Hotmail is shuttered. "Think of this the same way as you would changing your mobile phone carrier. You are simply moving to a better service, but your 'number' (in this case your Microsoft account and email address) stays the same," a Microsoft spokesperson explained.

Q: I already created a separate, new account. So once my existing Hotmail account is moved to, what happens? Will my two accounts be merged?
A: There is no way to actually "merge" these accounts. But you can connect these two accounts and then toggle back and forth by linking them. To do this, go to account settings and select the permissions tab. Click on "manage linked accounts."

Q: Users are being allowed to keep their Hotmail addresses if they want. Wasn’t a big part of creating a plan to get rid of the tired/tainted Hotmail brand?
A: "The simple fact is that many people are attached to their email address. We do expect a certain number to want a new address (which is great); others will want to keep their Hotmail address. Either is fine since they will all get to use the new service," a Microsoft spokesperson confirmed.

Q: When will Microsoft update the calendar in so that it is Metro-Style, instead of Hotmail-Style?
A: Microsoft officials aren't saying anything other than what they've said since summer 2012, which is "soon."

Q: When will be integrated with Skype?
A: Also "soon." No further word from the Softies on the timing.

Read this full story here:

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Tuesday, 19 February 2013

Why are online companies moving into TV??

Figures are not out yet for how many people signed up to Netflix in the past week, drawn in by Kevin Spacey's House of Cards drama series, but it marked a significant shift in where we'll find 'must see' TV in the future.

Netflix plan to make at least five new shows a year for their web streaming service and they're not alone.

"I think it will certainly be a very exciting year for online content," notes Director of Amazon Studios, Roy Price.

Price is responsible for making original TV content for Amazon's pay subscription services - Amazon Prime in the US, and Lovefilm in the UK.

"The line between online and 'other' probably starts to become a bit blurred," he admits, adding that Amazon Studios currently has six shows being piloted.

"Right now we have a range," says Price, "we have kids, mostly focusing on pre-school educational content.

"And then on the adult side I would say it is all right now, half hour and comedic in nature."

Microsoft's plans aren't quite as fully formed yet but creating a TV studio in Los Angeles this year is the main objective with original content from all genres being considered.

The programming would sit on Microsoft's Xbox live and use the interactivity that service can offer.
And then there's YouTube, owned by Google.

The online site recently launched its original channels initiative with 20 new channels coming from the UK.

"YouTube gave an advance on future advertising revenue to a few channels," explains Google's Zayna Aston, "to basically help kick start the production of original content on the platform."
'Food Tube'
One of those channels is Jamie Oliver's Food Tube which already has 143,000 subscribers, 13 million video views, and it only launched on 21 January 2013.

Whereas Amazon, Microsoft and Netflix own their content, YouTube does not, choosing to concentrate on its proven technology platform instead.

So should traditional TV networks feel threatened by their online competition?

"I think it will be interesting to see how everything evolves with respect to all the different channels and sources of content," muses Amazon's Roy Price.

"And for now all we can do is create the best service we can and certainly to date we co-exist quite amicably with all of our channel and other programming partners."

Traditional TV channels are not being complacent, with audiences increasingly using on demand services such as itv player, 4OD and the BBC's iPlayer.

Victoria Jaye oversees all of the BBC's TV content online and aside from recent statistics that revealed a 177% year-on-year increase in the use of mobiles and tablets to watch shows on iPlayer, there's been another shift.

Jaye says in 2008, 25% of people coming to iPlayer were just browsing.
That's now risen to 42% marking "a change in iPlayer from this catch-up product or utility to a sort of discovery or entertainment experience".

"I think it's really fantastic," reflects Jaye, "that we are seeing the on demand market become creatively competitive with people like Netflix originating content.

"We really want a creative competitive on demand market so for us this is, 'Bring it on!' We're excited."

Please read the full article here: BBC NEWS

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Monday, 11 February 2013

The end of CAPTCHA?? Gibberish form verification words

It now feels perverse, but about a decade ago, when I first encountered the CAPTCHA system, I found it … satisfying. Even vindicating. I can’t recall what gibberish words I first correctly deciphered, but it was a moment I'd been awaiting since third grade. That year, my teacher summoned my parents to admonish them for my abysmal, no-good, impossible-to-read handwriting. This would be a recurring source of recrimination for me, so it was a redemptive moment when I realized that this skill I'd acquired of reading poorly formed letters, honed over decades, was not only useful, but a defining characteristic of what separated people from machines.

At first, CAPTCHA felt like a simple and agreeable game. You played it quickly, strengthening your bond with the rest of mankind, putting off the day machines will roam the Internet freely, and perhaps come to rule over us in some dystopian Matrix-like future, and went on about whatever mundane task you'd been trying to do—buy concert tickets, post a comment, whatever. It was a pleasant interruption, like a kindly stranger asking you directions before you went on your way.

But like so many things in life, that initial glow faded quickly. Instead of a quick and painless waypoint, the CAPTCHAs got harder in an effort to keep ahead of ever-smarter bots. Solving one no longer recalled the satisfying click of a fastened seat belt, but instead was akin to achieving a perfect seal on a generic imitation of a Ziploc bag. You could do it, but it'd be annoying, and it would take longer than you'd want it to, and even then not work as well as it was meant to.

As the CAPTCHAs were getting harder, I realized I wasn't seeing so well and went to get glasses for the first time. Now, each time I failed one of those tests, en route to registering for a website I didn't really want to have to register for anyway, I was left wondering whether it was the fault of my weakening eyes or the algorithm. I was afraid of being enfeebled while still a young man, left behind by technology, and wondering if the kids in school now could solve these CAPTCHAs easily.
So Wednesday’s news that Ticketmaster is abandoning CAPTCHA feels like a sort of vindication to me. It hasn't just been me. The system is to blame.

If, though, this is progress after a fashion, let's not take it to mean that computers are getting close to passing as human. CAPTCHA set out to be a way for a computer to be able to distinguish between one of its fellows and a person. The Turing test asks whether a human can make that same judgment, which is a very different question.

Ticketmaster customers will now face “phrases, questions or ads” during check-out. One would imagine that asking questions about the world might be a risky proposition, ignorance being rather more widely distributed than one would hope. It's hard to come up with questions that can be reliably answered by any human being that stumbles across a given website. Another CAPTCHA alternative relies on authenticating users’ identities via credentials issued to them by Facebook, Google, Yahoo, and the like. CAPTCHA, for all its frustrations, was a mechanism that allowed for anonymity. You didn't have to prove who you were, merely that you were. The loss of anonymity online brings a whole new set of headaches, more enduring and harder to parse than the transient ones brought about by a struggle with wobbly characters.

But I won't miss trying to tell a 0 from an O, H from 4l, or q from g. It will make a funny story for future generations, that for about a decade at the beginning of the century, we'd agreed as a society that the defining mark of our shared humanity was an ability to read bad handwriting.

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Wednesday, 6 February 2013

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