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Swift 2.0 + Smaller Apps:

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SinceSwift is still evolving asa development language, Apple previously did not includeSwift programming“codelibraries” within iOS. For this reason, developers who choose to write App Store apps withSwift must includethecode librariesinsideeach of their apps. Consequently,App Store applications written in Swift carry approximately 8MB of additionalcode, and the more Swift apps you have, the more storage space you lose to code library copies.

With iOS 9, we are told that this will change: Swift’s code libraries will be pre-installed withinthe new iOS operating system. This means that Swift applications updated for iOS 9 will require less space and consume less data when downloaded over a cellular connection. Users with lower-capacityiPhones and iPads or non-unlimited cellular data plans will see at least small improvements over time.

Google Now Competitor, Proactive, Built-in to Spotlight:

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While Apple has positioned Siri as an “intelligent personal assistant” since the fall 2011 launch of the iPhone 4s, a feature codenamed “Proactive” maygo much further to integrate with your data. To begin with, Proactive couldbecome a new layer withinthe iOS operating system, replacing the pulldown Spotlight menu currently found on theiOS Home screen, that acts as a competitor to Android’s Google Now feature.

Within the new Proactive screen, users will have a dedicated Search Bar at the top to access the established features ofSpotlight: users will still be able to search for names, launch apps, and find audio tracks. Sources indicate thatProactivewill includea greater emphasis on displaying news stories as search results, and will more reliably display news results when you search for information, including news on current topics and famous people.

Cue app that Apple acquired

Below the search bar will sit a new user interface that automatically populates with contentbased around three key parts of iOS: Apps, Contacts, and Maps, effectively a considerably upgraded version of Siri’s existing “digital assistant” functionality.For example, if a user has a flight listed in her Calendar application and a boarding pass stored in Passbook, a bubble within the new Proactive screen will appear around flight time to provide quick access to the boarding pass. If a user has a calendar appointment coming up, a map view could appear with an estimated arrival time, directions, and a time to leave indicator based on traffic. Proactivewill also be able to triggerpush notifications to help the user avoidmissing calendar events. Even with these new notifications, however, the existing Notification Center apparently isn’t likely to see major changes.

Beyond Calendar integration, the feature will be able tointegrate with commonly used apps.For example, if an iPhone user typically opens the Facebook app when hewakes up around 9AM, a button to access Facebook will start to appear for the user around 9AM. If the user calls hismother every Tuesday at 5PM, a bubble to “Call Mom” could appear around that time every Tuesday. As this feature integrates deeply with a user’s contact list, it is likely that the Recent Contacts menu introduced to the top of the Multitasking pane in iOS 8 will be relocated to Proactive’s interface. Lastly, Proactive will be able to display restaurant suggestions and ratings around breakfast, lunch, and dinner times in Proactive, changing basedon the user’s location.

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“What Is a Photograph?”

David Benjamin Sherry,

Liz Deschenes, and , 2013. © Liz Deschenes, courtesy Miguel Abreu Gallery, New York.

Adam Fuss, , 2001 © Adam Fuss, courtesy Cheim Read, New York.

Travess Smalley. . 2011. © Travess Smalley, courtesy Higher Pictures, New York.

Floris Neusüss, , 1991. © Floris Neusüss. Coutesy the artist and Von Lintel Gallery, New York.

If the question is “What is a photograph?,” the new exhibition of that title at the International Center of Photography presents what is certainly a very curious answer. Including works by twenty-one artists, ranging from vintage, over-painted photographs by Gerhard Richter and Sigmar Polke to recent Photoshop constructions by Artie Vierkant and Kate Steciw, this show explores, in the words of curator Carol Squiers, “the range of creative experimentation that has occurred in photography since the 1970s.” The 1970s saw both the birth of the market for vintage photography and the movement of photographs, for the first time, into exhibition spaces designed for paintings and sculptures—a shift reflected in the works of conceptual artists such as Vito Acconci, Douglas Huebler, and John Baldessari, and in the large-scale studio portraits of Richard Avedon (whose first exhibition at New York’s Marlborough gallery was in 1975.) While unacknowledged in its press materials, the ICP exhibition in a sense traces the legacy of this move; what is on display could largely be grouped into two categories: photographs as paintings, and photographs as sculptures. In the former category are the works of Richter and Polke, Marco Breuer’s burned and effaced sheets of photo-paper, the opaque vertical color fields of James Welling, Floris Neusüss and Adam Fuss’s large-scale photograms, and Matthew Brandt’s photographic abstractions which are dipped in lake water; in the latter category are the object-and-photograph sculptures of Marlo Pascual, Mariah Robertson’s photo-paper scroll draped across ICP’s atrium, Vierkant’s colorful cutout shapes, and Liz Deschenes’s sequence of rectangular boxes which contain blackened photosensitive surfaces (and resemble a Donald Judd wall relief.)

Sigmar Polke, . © 2013 Estate of Sigmar Polke/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn; Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY.

At best this is an extremely partial view of the photographic production of the past few decades, and the contrast between this assemblage of works and an exhibition of Robert Capa’s color photographs, on view in ICP’s upstairs galleries, is astonishing. Capa’s images show events that he witnessed and places that he visited over the years, from Paris to Vietnam to Moscow. I was reminded as I walked through the show, that photographs had the potential to show us something that existed out there , at a certain moment, in front of the camera’s lens. And not only this, but photography was once defined by its capacity to be reproduced across different media: a single photograph could appear on a contact sheet, in a magazine, on a billboard, in a book, or as a framed print; at the ICP, Capa’s photographs hang on the walls in frames, while vitrines display copies of various magazines in which they appeared.

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