Sentences with phrase «text history feature»

Facebook is also changing its opt - in call and text history feature on Messenger and Facebook Lite on Android

Facebook is also reviewing the Call and Text History feature of its platform.

In response, Facebook promises to restrict the amount and duration of data it accesses through Messenger's call and text history feature, which is emphasized is completely opt - in.

Facebook is also changing its opt - in call and text history feature on Messenger and Facebook Lite on Android following widespread concern over the company's ability to scrape communication logs.

Facebook will also delete call logs older than a year for Messenger and Facebook Lite users on Android who have opted - in to the call and text history feature.

Not exact matches

Extras are thin, mostly limited to the original (I presume U.S.) trailers; The Curse of Frankenstein and Horror of Dracula additionally feature text - only cast bios and production histories.

«History of Production» provides text screens about the history of the novel and how Disney tried to make it into a featurHistory of Production» provides text screens about the history of the novel and how Disney tried to make it into a featurhistory of the novel and how Disney tried to make it into a feature film.

This detailed and high quality unit includes: * 15 lesson plans (with 13 differentiation strategies) * 93 slide PowerPoint presentation (divided into lessons) * All resources and worksheets (21 sheets) Unit's lessons include: * Introduction to the AQA GCSE Media Studies course requirements * Introduction to the four key concepts * Activity focused on pupils» own consumption of media texts * Detailed research into the history of the media - creating a timeline of people, technology and institutions * Applying Maslow's Hierarchy of Needs to film media * Introduction of camera shots, angles and movement * Film terminology «speed - dating» to introuce key media language * Analysing a mise - en - scene * Analysing a film trailer: genre conventions and audience appeal * Creating genre - specific typography and writing a commentary * Analysing logos and slogans * Exploring stereotypes in the media * Music industry terminology and genre features * Analysing a CD album sleeve: genre conventions and audience appeal * The history ofvideo gaming * Video gaming genres and gratifications * Analysing a video game cover: genre conventions and audience appeal

This informational text series uses short, but complete sentences to convey the history and facts of each featured location.

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Other features also make texting and messaging life a lot easier, including: being able to review your messaging history across all of your devices (which is especially nice on a larger screen for those with a lot to say), easily send items from your computer (potentially giving you access to all of your documents and images, not just those that happen to be on your smartphone or tablet), save attachments to your computer where they are most useful (while not losing them on your other devices as well), and my favourite — universal copy and paste (copy text from one device and paste it on a different one).

When the scan is finished, all the found data will be listed in well - organized categories, the latest update brings a new feature that make it more humane to preview the detailed information, such as: photos, text message, contacts, call history.

Google Calendar integration, the ability to text message clients directly, enhanced history, new business reports and new QuickBooks connect module are also new Windows features.

nine seventeen is accompanied by a catalogue which features texts by Dr. Peter Miller, whose shared enthusiasm for Meppayil's work brought the exhibition to the American Academy in Rome; historian and critic, Deepak Ananth, a specialist on Meppayil's work and its relationship to Indian art history; and Harvard professor and Art Historian Dr. Benjamin H.D. Buchloh, whose original essay stations Prabhavathi's work amongst the greats.

Accompanied by an illustrious publication featuring texts by Als and Jeremy Lewison, the exhibition chronicles an artist's personal and creative journey over the decades, while chronicling complex social and political narratives embedded in American history.

Jill Freedman: Resurrection City, 1968 features Freedman's original text from 1971 and new essays by John Edwin Mason, historian at the University of Virginia, and by Aaron Bryant, the Mellon Curator of Photography at Smithsonian National Museum of African American History and Culture.

These works are familiar from art history texts because their large, concave faces; stylized features; inventively worked bronze and copper surfaces; and ineffably human geometries exerted a crucial influence on early French Modernism, starting with Picasso's «Demoiselles d'Avignon.»

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

She is author of more than 20 books and nearly 200 articles, reviews, and features, ranging from Salvador Dalí's Dream of Venus to The Essential Andy Warhol, from an essay on exhibition wall text to an art history of chocolate.

Featuring an extensive text by Tiffany Bell which explores the artist's influences, history, and, most importantly, the work itself, as well as a significant essay by Robert Storr discussing Asawa's work in relation to mid-twentieth century art history, culture, and scientific theory.

On the gallery walls Tiravanija featured the text of the US Constitution's First Amendment (advocating freedom of speech), a history of radio and television communication in America, and simple directions for constructing low - tech broadcasting equipment.

The illustrated catalogue for Alfonso Ossorio — Congregations: The First Decade, 1959 - 1969 will feature a full - text reprint of Forrest Selvig's 1968 oral history interview with Ossorio for the Smithsonian Institution's Archives of American Art.

The above extracts are from a feature on the exhibition History and Identity: Seven Painters, curated by Eddie Chambers that appeared in a special issue of Third Text, Number 15, Summer 1991: 63 - 70

The catalogue features essays by exhibition curators Jennifer Blessing (Senior Curator of Photography at the Guggenheim) and Sandra S. Phillips (Senior Curator of Photography at the San Francisco Museum of Modern Art); an interview with the artist by Jan van Adrichem; interviews with the artist's subjects by Sophie Derkzer; short texts on the artist's series by Chelsea Spengemann; and the most comprehensive exhibition history and bibliography to date.

BELIEVE features sixteen artists including, Jeneen Frei Njootli who has been hailed throughout Canada for her work which uses materials from history to reclaim her past; Barbara Kruger, who is creating a site - responsive, large scale text installation for MOCA that will force viewers to revisit what they believe they know and Awol Erizku, whose art is dedicated to the often - missing representation of people of colour.

The distinct materiality as well as the use of text are key features of the work, allowing us into personal facets of the artist's psyche that are laid open in an act of confession, commenting on histories of labour, of gender roles, of environments, and exploring the space of the subconscious.

All were chosen to display the diverse representations artists have made of the sky, light, clouds... The book also features the texts and thoughts of major figures in art history, philosophy, literature, and science, inviting the reader to peruse the visible poetics of the inaccessible.

Also featured is an extensive text by Tiffany Bell that explores the artist's influences, history, and, most importantly, the work itself, as well as a significant essay by Robert Storr discussing Asawa's work in relation to mid-20th century art history, culture and scientific theory.

The exhibition catalogue also features a study of UNESCO's fresco and its preparatory drawings by Anne Monfort, curator at the Musée d'Art Moderne de la Ville de Paris, an analysis of the artist's work and his close relationship with the American Abstract Expressionism movement by Barbara Drudi from the Accademia di Firenze and a text by Davide Colombo, History of Art Professor at the University of Parma.

This richly illustrated book contains essays on the intersections between art and magic by Jonathan Allen and Sally O'Reilly; texts on each of the 24 featured artists; new writing on the cultural history of magic by Simon During, Brigitte Felderer, Peter Lamont, Pierre Taillefer, Helen Varola and Marina Warner; a fold - out collation of texts and images exploring the dynamics of magic, art and power; and an illustrated selection of props and offbeat ephemera from the world of theatrical magic.

Featuring a significant selection of previously unpublished archival texts of Clark's personal writings, it is a vital source of primary documentation for twentieth - century art history scholarship.

In a review I wrote last February (Daubert Tool Lets Lawyers Track Expert's History, I recommended lawyers try The Daubert Tracker, an expert - witness service whose central feature is a database of all reported decisions interpreting and applying Daubert v. Merrell Dow Pharmaceuticals and Kumho Tire v. Carmichael, backed up when available by full - text briefs, transcripts and docket entries.

One of them is that call and text history is now part of an opt - in feature for people using Messenger or Facebook Lite on Android.

If, at any time, they no longer wish to use this feature they can turn it off in settings, or here for Facebook Lite users, and all previously shared call and text history shared via that app is deleted.

The call and text history logging are opt - in features for people using Messenger or Facebook Lite on Android devices, the company said in a post.

Call and text history logging is part of an opt - in feature for people using Messenger or Facebook Lite on Android.

Schroepfer reiterated Facebook's previous statement that users had given permission for that data to be collected, writing: «Call and text history is part of an opt - in feature for people using Messenger or Facebook Lite on Android.»

Opt - in Features in Facebook Lite and Messenger Call and text history logging is part of an opt - in feature for people using Messenger or Facebook Lite on Android.

But the vast majority of the post is written in the present tense, and the example disclaimer Facebook posts — which does explicitly say the app will «continuously upload... your call and text history» — was only introduced in 2016, a year after the feature was initially introduced.

It also claims «all previously shared call and text history shared via that app is deleted,» if the user turns off the feature.

«Call and text history logging is part of an opt - in feature for people using Messenger or Facebook Lite on Android,» the company said in a «fact check» today.

In a statement, Facebook stated: «Call and text history logging is part of an opt - in feature for people using Messenger or Facebook Lite on Android.»

This is not the case,» before going on to explain that call and text history logging is included with an opt - in feature on Messenger or Facebook Lite for Android that «people have to expressly agree to use» and that they can turn off at any time, which would also delete any call and text data shared with that app.

Because the BIPs are maintained as text files in a versioned repository, their revision history is the historical record of the feature proposal.

The logging of calls and text history has been an opt - in feature in Messenger since 2015 and in Facebook Lite.

The feature is headlined «Text anyone in your phone» and then says it will «continuously upload info about your contacts like phone numbers and nicknames, and your call and text history.&raText anyone in your phone» and then says it will «continuously upload info about your contacts like phone numbers and nicknames, and your call and text history.&ratext history.»

Once in the app, users have to go to Menu — > App Settings, and tap Sync Your Call and Text History in order to disable the feature.

«Call and text history logging is part of an opt - in feature for people using Messenger or Facebook Lite on Android,» the company said.

«Call and text history logging is part of an opt - in feature for people using Messenger or Facebook Lite on Android,» Facebook said in a blog post shared on Sunday, March 25.

Otherwise, the social media company maintains that it removes all of the text and call history shared via the core Facebook app if users decide to stop using the feature, which they can switch off at any time.