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UNICA , the Brazilian Sugarcane Industry Association, is a lobbying organization of producers of sugarcane and ethanol fuel. UNICA members are responsible for more than 50% of all ethanol produced in Brazil and 60% of overall sugar production.UNICA's headquarters are located in the city of São Paulo, Brazil, and also has offices in Washington D.C. and Brussels. Wikipedia.


Schoellberger R.,Unica
Group Analysis | Year: 2011

This article will give a short presentation of the median group of Patrick de Maré (1991) in its clinical application as socio-therapy and as a suitable setting in which to use the mind to disentangle dualities and to transform through dialogue the hate of being together into koinonia or fellowship. Reference is made to the theory of mind (de Maré and Schoellberger, 2002-08), clinical experiences and two research articles regarding efficacy and satisfaction. © The Author(s), 2011.


News Article | July 1, 2015
Site: www.businesswire.com

BOSTON--(BUSINESS WIRE)--Continuum®, the industry's only channel-exclusive provider of fully integrated managed IT services solutions, named John Mandel as Senior Vice President of Engineering, assuming leadership for the company’s 180-person worldwide engineering team. John was Vice President of Engineering at ACI Worldwide (Nasdaq:ACIW), a leading global provider of electronic payment and banking solutions, where he was responsible for four products that contributed nearly 50 percent of ACI’s $1 billion in revenue. He has over 25 years of engineering experience with a noteworthy record of building teams that consistently deliver high quality enterprise and SaaS solutions. “John has had a tremendous career leading world-class engineering teams that embody all of the attributes that Continuum possesses – large, powerful teams based in India and the U.S., agile development teams as well as large scale environments developing multiple SaaS products concurrently,” said Michael George, CEO at Continuum. “His experience will help to accelerate our pace of innovation, advance the ease of integration into our already, market leading portal platform, advance technical diligence on M&A opportunities, and ensure our leadership in RMM, backup and cloud services.” Prior to ACI, John led various engineering teams in large and small as well as mature and entrepreneurial companies. Most recently, he was Technical Advisor at Dazzmobile, helping with technology options, partnership evaluations and product definition for its new mobile SaaS platform. He was Vice President of Product Development at Kofax, a leading provider of smart process applications that combine market leading capture, process management, mobile and analytics capabilities, recently acquired by Lexmark International, Inc. He was also Vice President, Engineering at Plectix BioSystems. In 1998, he co-founded MarketSoft and spent more than seven years as Vice President, Engineering and CTO. He has held various engineering roles for Unica Corporation, Wildfire Communications and Epoch Systems, among others. John has a bachelor’s degree in computer science from University of Massachusetts in Lowell. “The opportunity to dominate the fully managed IT services market for the SMB is what drove me to join the executive team at Continuum,” said John Mandel. “I’m excited to join this seasoned executive team committed to delivering the best game changing products to our MSPs.” In addition to driving all aspects of product development, John is known for ensuring customer success by meeting their product requirements and driving services delivery. Continuum has engineers located at the company’s headquarters in Boston, in Mumbai and the company’s R1Soft location in Houston, acquired in August 2014. Continuum recently announced adding Hugh Scandrett, Vice President of Engineering at EnerNOC, Inc. (Nasdaq:ENOC), a leading provider of energy intelligence software (EIS), to its Board of Advisors. For more information on the leadership team at Continuum, visit: http://www.continuum.net/company/meet-our-team. Continuum is the technology industry's only channel-exclusive provider of fully integrated managed IT services, allowing its Managed Services Provider (MSP) partners to maintain both on premise and cloud-based servers, desktops, mobile devices and other endpoints for small-and-medium-sized businesses. Continuum’s SaaS platform enables MSPs to efficiently backup, monitor, troubleshoot and maintain clients’ IT infrastructure from a single pane of glass, all backed by an industry–leading network operations center (NOC) and Help Desk. MSPs leverage Continuum’s pay-as-you-grow business model to scale IT services without committing to long-term contracts and to reserve in-house staff for strategic initiatives. The company employs over 1,000 professionals worldwide, supports over 3,500 partners and monitors over 650,000 endpoints. For more information, visit http://www.continuum.net/ or follow us on LinkedIn and Twitter @FollowContinuum.


News Article | April 7, 2015
Site: www.wired.com

Imagine if, due to some fluke in the development of projection technology, The Empire Strikes Back had only been shown in a couple of movie theaters. Imagine it fading into obscurity and existing for decades as nothing more than a cult film, a historical footnote, an object of fascination among serious movie buffs. If you have eyeballs, you’ve almost certainly seen Helvetica. It’s one of the most widely used typefaces ever created, so popular that it generated a documentary examining its popularity. It’s almost equally certain that you have not seen Haas Unica, the typeface designed to be Helvetica’s sequel of sorts. Introduced in 1980, it was lost to history almost instantly upon its arrival. Now, after languishing in obscurity for decades, Unica has been rescued and remastered. Thanks to an effort by Monotype designer Toshi Omagari, the legendary typeface is finally available as Neue Haas Unica, an 18-font family tuned-up for the digital age. Drawn to be legible at small sizes, it could be a perfect Helvetica-substitute for user interfaces and other on-screen text elements. For designers, though, the new Unica is an exciting visitor from the past. As Pentagram partner J. Abbott Miller puts it, “There is a Rip van Winkle quality of a font having woken up after 30 years of sleep.” Helvetica was developed in 1957 by Swiss designer Max Miedinger. Designed as an update of the so-called “grotesque” typefaces developed in Germany in the late 19th Century, it was explosively popular, and by the mid-1970s, it had utterly transformed how the written word appeared throughout modern life. It was the de facto typeface for corporations of the day, employed by Knoll, BMW, American Airlines and hundreds of other companies. It brought a clear, modern look to magazine ads, subway signs, letterheads, and Presidential campaigns. As designer Michael Bierut once remarked, at the height of its popularity, Helvetica simply seemed elemental, like air, or gravity. For people who scrutinize letters for a living, however, Helvetica’s ubiquity in the 1960s and 1970s offered a great many opportunities to notice its quirks. Designed for short blasts of texts like headlines and advertisements, Helvetica didn’t always look great at small sizes or when used for lengthy blocks of text. And because it had been designed for the hot metal typesetting techniques prevalent in the 1950s, it hadn’t translated perfectly to the phototypesetting process that became popular in the 1970s. So, in 1974, Haas, the centuries-old Swiss type foundry that had introduced Helvetica in 1957, commissioned a Swiss design team called Team’77 to come up with a follow-up to the world’s most popular typeface. The group—André Gürtler, Erich Gschwind and Christian Mengelt—set out to create something native to phototypesetting that combined the best elements of Helvetica and Univers, another hugely popular sans-serif typeface of the day with a slightly more formal design. Team’77 was rigorous in its analysis of the parent typefaces and meticulous in creating their offshoot. It took them three years to complete the job. By the time they finished Unica, however, Haas was going out of business. Further, the typographic world was on the verge of being rocked by another new technology: desktop publishing. The advent of personal computers, particularly the Macintosh, would make it possible to experiment with type in tremendous new ways. Phototypesetting, for which Unica had been designed, was quickly losing relevance. As a result, Unica got lost in the shuffle. “People didn’t get to see a lot of it,” says Monotype type director Dan Rhatigan. “It was almost a stillbirth.” In the years that followed, Unica slipped into obscurity, accumulating a sort of mythology along the way. It had been digitized in the 1980s by another company—that also promptly folded. “Because it was released by companies who went out of business, there was kind of murkiness for a while about whether or not people could do anything with Unica, which I think added to its legend,” Rhatigan says. In late 2012, Rhatigan was visiting Monotype’s outpost in Germany, which had previously been the office of storied typesetting outfit Mergenthaler Linotype Company. He was rooting around in storage, looking for old material, when he happened upon a box of tracing paper and transparent sheets. The transparent pages each had a single letter, crisp and clean and ten inches tall: The photographic film masters for Unica. Rhatigan had been dimly aware of the typeface from postings on typography forums, and for a designer who wears his love of typography on his sleeves quite literally, in the form of tattoos of cherished letters, finding the fabled typeface was a thrill. “It was so exciting,” he says. “We tried to find out, does this really mean that we are free to do with this what we want?” A short investigation revealed: Yes, Monotype owned both the name and the rights. Rhatigan showed the materials to Monotype designer Toshi Omagari, who quickly took up its resurrection as a side project. Omagari redrew the letters from scratch, following the intention of original design but fine-tuning the letters and spacing for modern, digital work. Omagari drew a number of different weights and languages. When he and Rhatigan would mention the project, people would invariably get excited. “The cult aspect became more and more obvious as we talked to people about working on it,” Rhatigan says. “People knew about Unica. But since it wasn’t widely available, a lot of people did not have a chance to work with it and see if it was as good as the legend that had grown up around it. It really was this sort of lost treasure.” To your eyes and mine, the differences between Unica and Helvetica will be nearly imperceptible. The cross-stroke on the capital Q has been nudged slightly upward. The lower-case t has been shaved at the top. To designers like Omagari and Rhatigan, however, the differences are perfectly obvious. Even looking at the film masters, Rhatigan says, he could see “all the detail, all the intention that was in there.” Team’77 detailed that intention in an elaborate document from 1980, published in tandem with Unica’s release. The group started by rigorously measuring letters from Helvetica, both in its original metal form and in a second version made for phototypesetting. They then proposed dozens of adjustments. Where Helvetica’s capital letters were blocky and tended towards a uniform width, Team’77 restored Unica’s capitals to more natural proportions. The designers balanced the thickness of strokes throughout the alphabet and tweaked spacing. As a result, the group concluded, Unica had “tighter rhythm in upper case composition” and “improve[d] readability…especially for continuous text.” That readability is what draws Rhatigan to the font. Helvetica was designed for use in headlines and advertisements, but when people started using it indiscriminately for larger chunks of smaller-set text, it lost some of its magic. “Helvetica looks so great when it’s handled skillfully and used for these big bold graphic treatments, but as an everyday information typeface, it falls a little flat,” Rhatigan says. Univers “is crisp and clean and it’s great, but it is a little cold,” he adds. “It’s functional but a little bit severe, let’s say.” Unica hits a sweet spot between the two, Rhatigan says: Not quite as quirky as Helvetica, not quite as dispassionate as Univers. “Unica is beautiful, crisp, and modern and rationalized, but it has that humanity in it,” he says. In a famous essay from 1955, Beatrice Warde argued that good type should be like a crystal goblet, “calculated to reveal rather than hide the beautiful thing which it was meant to contain.” Unica nudges Helvetica closer to that mark. Designers’ reactions to the new drawing, collected by Monotype, include descriptions like “beautiful,” “classic,” and “The Holy Grail.” Rhatigan thinks Unica’s strengths are especially suited to user interfaces, where readability is paramount. When Apple moved to a skinny version of Helvetica for the iPhone’s default font, it reignited debates among type-heads about Helvetica’s legibility. As designer Khoi Vinh wrote at the time, Helvetica’s letters were “optimized for those cases where there’s ample room for the eye to truly travel along their supple curves…To use them as both Google and Apple do, in text settings, in small sizes, in paragraphs, makes reading more visually cramped and more difficult than it should be.” Might Neue Haas Unica be a better go-to option for the era of screens? “That is certainly the hope,” Rhatigan says. Hrant Papazian, the designer-founder of The Microfoundry, in Los Angeles, is another long-time Unica zealot. “I guess the main reason I can cling to is that it’s not ‘naive,'” he wrote years ago in a posting to the website Typophile. He made the case for Unica with an evocative, if somewhat odd, analogy. To Papazian’s eyes, older grotesque typefaces—those early sans-serif alphabets from the 19th Century—are like “backwards villagers.” New grotesques, like Helvetica and Univers, are like “urbanites pretending to be villagers,” he wrote. “Unica is like an urbanite who has had to move in with his villager in-laws, but has decided to make the best of it,” he continued. I tried to get in touch with Papazian in hopes that he would elaborate, but I suspect type designers will know exactly what he means.


News Article | March 3, 2015
Site: www.zdnet.com

Hewlett-Packard on Tuesday said that it has landed a systems and networking integration pact with Telefonica. The win is welcome news for HP, which said last week that its networking unit struggled in the company's fiscal first quarter. HP cited execution issues in China and the U.S. Under the Telefonica deal, the company will use HP's OpenNFV platform, which includes server, software, orchestration and networking technology as well as hooks into the HP Helion OpenStack service. NFV, or network functions virtualization, is a technology that's supposed to allow carriers to better provision services on the fly. Telefonica is looking to move from its proprietary architecture to a virtualization powered one called UNICA. Telefonica will also use HP's software defined networking tools. According to Telefonica, the company is looking to virtualize non-critical systems, move to virtual core networking technology and then use virtualization for home subscriber servers and other critical applications. The stack Telefonica is rolling out includes HP's converged infrastructure, Helion CloudSystem, NFV Director, Helion OpenStack and distributed cloud networking. HP said there's also a consulting and services component to the deal.


Apollo 11's source code is now freely available to everyone on GitHub, and the manned moon landing project hides some quirky bits and pieces in its code. What surprises most when looking at the antiquated guidance computer code is not the massive size of it, but the number of in-jokes that the coders slithered into it. The code managing the lunar and command modules has been online since 2003, thanks to the efforts of tech researcher Ron Burkey. He took the time to transcribe each line of code by hand after looking at the original transcripts. Now, the full code is up for grabs on GitHub thanks to previous NASA intern Chris Garry, who uploaded the files on July 7. Since the source codes were on the depository, coders and space buffs hurried to take a peek at the jokes and computing mastery, some of which remain relevant nearly 60 years after. Luckily for the most of us, the jokes are not meant only for programmers' eyes. One of the files is aptly named BURN_BABY_BURN-MASTER_IGNITION_ROUTINE.s, and it comes with a few handy reference notes. Other notable mentions come in the form of file PINBALL_GAME_BUTTONS_AND_LIGHTS.s, which controls the display system and keyboard. In case you are not familiar with programming languages, know that the source code for Apollo 11 was written in a version of Assembly. NASA did develop its proprietary version of Assembly, which already was a low-level programming language that very few were able to master. This explains why the code is so vast, as well as why chief of software engineering Margaret Hamilton seems to be tripping in a famous photo. Space buffs already started to send NASA suggestions as to what other files could be added to its future missions. Believe it or not, astronomy fans suggested that MATTDAMON.s should be part of the agency's future code, just in case we need to save the actor from Mars. To put things in perspective, you should know that the Apollo Guidance Computer (AGC) that was embedded in both the Command Modules and Lunar Modules of the Apollo missions was loaded with the processing power equivalent of a simple electronic calculator. Despite the hardware limitations of the time, scientists at NASA and MIT managed to safely land a man to the moon 47 years ago. Should you want to peruse the original source code for the mission by yourself, take a look at its GitHub page. © 2016 Tech Times, All rights reserved. Do not reproduce without permission.

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