Internet in the car

Written by German News

Continued from page 1

Diese werden dann über die integrierte Navigation sofort zielgerecht an den neuen Einsatzort geführt. CarPCs übernehmen außer solch kommerziellen Aufgaben aber auch ganz alltägliche: Navigation, Entertainment und Kommunikation.

Ein Internet-Zugang im Auto würde in solch einer verzwickten Lage helfen – Das Bordcomputersystem würde mit tagesaktuellen Daten, die er Online-Verbindung ins Auto lädt, den Fahrer informieren, welche Tankstelle geöffnet – und mithin sogar die aktuellen Preise abfragen.

Mehr noch: Das Navigationssystem hätte nur die geöffneten Tankstellen berücksichtigt und dann berechnet, welche bequem mit dem verbleibenden Benzin erreichbar sind – um dem Fahrer schließlich ohne manuelle Eingaben die preiswertesten drei zu empfehlen.

Das Beispiel zeigt – beim Internet im Auto geht es nicht primär uns Surfen –für Surftrips in Websites ist das Displays zu klein. Aber viele Hersteller bieten die einfacheren WAP-Seiten (Wireless Application Protocol) an – schließlich haben viele Fahrzeuge mit Mobilfunk, Anzeigesystem und Rechner die entsprechenden Technologien ja bereits an Bord.

Ziel der automobilen Online-Anbindung ist es vielmehr, sinnvolle Dienste in Interaktion mit einer externen Intelligenz ins Auto zu bringen – etwa der Dienst "Parkinfo", den BMW neben der Tankstellensuche im Online-Portal anbietet.

Über den Internet-Zugang kommen Daten von Parkhäusern in 80 Städten. Wobei einige Garagen nicht nur die Zahl der freien Parkplätze melden, sondern auch noch über die Tendenz – nach oben oder unten -- informieren

Sie wollen dazu mehr wissen? Dann lesen Sie eine Detailstudie und einen umfassenden Artikel bei tom's networking guide.

Von Car-Web-WAP über Windows XP im Wagen bis zu Anbietern von CarPCs und Autohersteller finden Sie dort alle Informationen und können Ihr Auto "internetfest" machen.

published at

Arno Kral

editor at German News

Captivating An Audience

Written by Miguel Andoor

Continued from page 1

Listening involves, at least in part, listening to all things happening inside you: in your heart, your mind, and your body. It's been proven that any anxiety, or any emotion you feel, manifests itself in some physical form in your body. When we listen for our body responses, and connect them to our emotions, we become better able to control those emotions.

One way to listen to these body responses is possible through a relatively new form of therapy called biofeedback, where a device is attached to you to monitor certain of your bodily processes and excretions. Some devices can detect levels of nervousness by measuringrepparttar amount of sweat on your skin. Other devices measure other emotions, albeit indirectly. People have found that they can consciously affect not only their states of mind, but also precise parts of their anatomy, by listening torepparttar 107997 devices, and focusing their thoughts accordingly. This contradictsrepparttar 107998 conviction formerly held by many scientists, that such a high degree of control overrepparttar 107999 body and mind was not possible. Yoga is an alternative to biofeedback devices that achievesrepparttar 108000 same basic result: a much better ability to hear what's happening inside your body, so that you can change it. Such body awareness is vital to a performer's success in captivating an audience.

Is there any musician more acutely aware ofrepparttar 108001 role ofrepparttar 108002 body inrepparttar 108003 shaping of his performance than a singer? Is there a professional singer anywhere who does not have some wrinkle in his singing connected to a part of his body? Our bodies are our instruments. When we learn to listen properly to our bodies and how our emotions directly impact our bodies, we becomerepparttar 108004 masters of our instrument.

Listen, sometimes, torepparttar 108005 thoughts of others with whom you normally wouldn't associate. If you've labeled yourself as a "liberal," listen to some Rush Limbaugh. Find a grain of truth or goodness in what he says. If you're a fan of George Bush, readrepparttar 108006 thoughts of Al Gore. Why should we do this? To experience different points of view. When you perform in a role as part of a play, and even when you sing a song, you take on a persona that's not you. You adoptrepparttar 108007 personality of another. You gain skill in doing this when you readrepparttar 108008 thoughts of those with whom you would normally disagree. I guarantee that doing this will enhance your playing fromrepparttar 108009 broadened view of life it creates in you.

Give it to God. When you receive applause for your performances, you know how such a response can go to your head. Our egos are stroked by such responses. There's a little voice inside saying, "It's all for me, it's all through me, it's all because of me!" You've becomerepparttar 108010 center ofrepparttar 108011 universe, as far as your ego is concerned. You then come to believe that this isrepparttar 108012 way it should always feel.

Learn to channel these instances of positive feedback back torepparttar 108013 audience, and to a higher power. Learn to associate yourself with that higher power andrepparttar 108014 audience. You arerepparttar 108015 focal point forrepparttar 108016 praise, yet you are notrepparttar 108017 repository or destination ofrepparttar 108018 praise. You arerepparttar 108019 lens that captures applause and praise, and directs them with gratitude and love to God, torepparttar 108020 audience, and whatever sources you give credit for building your skill and dedication to singing and to performing.

Don't block feelings; let them flow through you. When you hold onto negative or positive feelings without expressing them, you become greedy with your feelings. You become an emotional miser. Such a creature is unfit for performing, and unfit for transmitting and interpreting works by great composers for any kind of audience.

If you are such a miser, all hope is not lost. Condition your mind to see yourself as a kind of way station for thoughts, ideas and emotions. As stated before, you are notrepparttar 108021 destination, you arerepparttar 108022 messenger.

This doesn't apply just to performing, but to living. As you experience any emotion in your non-performing life, do so with relish, lettingrepparttar 108023 feeling wash through you. Taste its sweetness. This doesn't mean you give in to destructive feelings such as hate or jealousy. You can experience these emotions, and yet still maintain an objective part of you that corralsrepparttar 108024 feeling in one door of your mind, and out another, so to speak.

Talk of expressing and conveying emotions to an audience often brings uprepparttar 108025 topic of crying. The following questions arise: Is it proper for a performer to cry onstage before an audience? Does this help or hinderrepparttar 108026 performance? Most important, does crying engage an audience? To this, a famous actress once offered, "If you cry,repparttar 108027 audience won't." This may be true. Remember, there is a subtle distinction between being a "carrier" or a “transmitter” of emotions, and being a collecting point or receptacle for emotions. Let feelings flow through you and torepparttar 108028 audience, without letting them become trapped within.

Inrepparttar 108029 film Remains ofrepparttar 108030 Day, Anthony Hopkins, no slouch at conveyingrepparttar 108031 full range of human emotion, communicates feelings that leave you emotionally ripped apart atrepparttar 108032 end ofrepparttar 108033 film. Yet, his character doesn't cry once inrepparttar 108034 film. For much ofrepparttar 108035 film his character is stoic, quiet, laconic, and subservient. Hopkins' mastery of being a conduit or conductor for emotion, rather than a recipient or host, makesrepparttar 108036 character and film successful.

Conclusion. Many materials exist to help you learn specific techniques to lure an audience's interest. But without a deep awareness ofrepparttar 108037 full range of your humanity, you can't sustain that interest. The greatest performers are those most human. And you needn't look just to other performers to model great people. Seek beyondrepparttar 108038 disciplines of singing and performing to adoptrepparttar 108039 compassion and empathy of others:repparttar 108040 Carnegies and Rockefellers,repparttar 108041 Schweitzers and Mother Teresa's. May you find fulfillment in giving each of your performances. --------------------------------------- This Feature Article submitted by: Repertoire Online Classical Vocal Music, digital music files and printable sheet music available for immediate download. Career support for singers, vocal teachers and vocal students.

Operatic baritone Miguel Andoor has enchanted audiences around the world for more than four decades. He has also performed in most of the major professional opera companies on the East Coast, including the Metropolitan Opera. He has received rave notices on his brilliant voice and unusually authentic acting ability. More information about Miguel is available at his web site,

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