Sambutan Hari Raya Cina Di SMS Saleha GH

Tarian Singa..

Persembahan tarian oleh pelajar-pelajar SMS Saleha.. fara, eleena, mieza, farahin, cindy n shasha...

BAJU2... Mari2 Beli Baru...

for all mysahabat user or new user yang berminat untuk membeli t-shirt polo mysahabat, sila membuat tempahan dan pembayaran segera sebelum 28hb December 2008 ini k.. untuk keterangan lanjut leh lawati website mysahabt sendiri di www.mysahabat.org k..

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TARIKH AKHIR TEMPAHAN DAN BAYARAN DITERIMA PADA 28 DECEMBER 2008.

Cara Untuk Membuat Tempahan:-

1- Nama Penuh Dalam IC
2- Nama Pengguna Di MYsahabat (Username)
3- Alamat Rumah (Digunakan Untuk Penghantaran)
4- No Telefon
5- Kuantiti Tempahan, Dan Warna Baju Pilihan
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KETERANGAN SAIZ BAJU MYSAHABAT.ORG

SIZE	SHOULDER	CHEST	BODY
XS	17.5"	36"	26"
S	18"	38"	27.5"
M	19"	40"	28.5"
L	20"	42"	29.5"
XL	20.5"	44"	30.5"
XXL	21.5"	46"	31.5"
XXXL	23"	48"	32.5"

# Ukuran Berikut Adalah Mengikut 'INCH'


Nota :

* Setiap maklumat peribadi adalah dirahsiakan sama sekali dari pihak luar melainkan staff yang menguruskan projek baju MYsahabat.Org.
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SENARAI SAHABAT YANG TELAH MEMBUAT TEMPAHAN BAJU

SAHABAT	KUANTITI (HELAI)	WARNA HITAM	WARNA PUTIH	SAIZ (XS,S,M,L,XL,XXL,XXXL)	PENGESAHAN PEMBAYARAN
letto	1	1		L	PENDING
zegmagnes	4	2	2	M	PENDING
t00feak	2	1	1	M	PENDING
nanika	1	1		S	PENDING
samad88	1	1		XL	PENDING
uyasbie	1		1	M	PENDING
ayie_klau	2	1	1	M	PENDING
RAJ	2	1	1	M	PENDING
iAnA	4	1	3	S	PENDING
maelaah	1	1		XXL	PENDING
wismilak	2	1	1	M	PENDING
apeace	2	2		L, XXL	PENDING
Shah_shz	2	2		L	PENDING
areepo	1		1	M	PENDING
sarel206	2	1 (L)	1 (M)	L, M	PENDING
eastern_noodle	1	1		L	PENDING
budak_melaka	2	1 (L)	1 (M)	L, M	PENDING
zam3919	2	2		M, XL	PENDING
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pit_hafiz	2	1	1	M	PENDING
ASNAWI	1	1		XL	PENDING
harith74	1		1	XXL	PENDING
kaizer21	2	1	1	M	PENDING
IFDALFAROMA	1		2	XXL, XL	PENDING
spacejumper	1		1	M	PENDING
MAZHAR_93	1		1	M	PENDING
juragan	5	3 (M, L, XL)	2 (L, XL)	1M, 2L, 2XL	PENDING
QueeN	2	1	1	S	PENDING
Kumar Hajris	1		1	M	PENDING
Rahman Hajris	2	1	1	M	PENDING
tapaipulut	1	1		M	PENDING
halus	2	1	1	M	PENDING
pillo	1	1		M	PENDING
Master_Of_Apek	1	1		L	PENDING
ARIP30	2	1	1	M	PENDING
leykelate	1	1		XXL	PENDING
BEND	1		1	M	PENDING
YUS1788	1		1	M	PENDING
afeq_5839	1	1		L	PENDING
tokjoro69	1		1	XL	PENDING
saifulizuan	2	1 XXL	1 XXXL	XL, XXXL	PENDING
faeiz501	1	1		L	PENDING
cheeze	1		1	M	PENDING
RYOMA ECHIZEN	1	1		M	PENDING
HITMAN JPM	2	1	1	M	PENDING
rozaidi	1	1		M	PENDING
bakri89	1	1		L	PENDING
fairuz89	1	1		XXL	PENDING
mancsnet	1	1		XXXL	PENDING
mint	2	1	1	L	PENDING
otomen	1	1		XXXL	PENDING
Dsayang	2	1 (L)	1 (XL)	L, XL	PENDING
Salim Hajris	1	1		XL	PENDING
farlis	2	2		XL, L	PENDING
kusnanm	1	1		L	PENDING
JERANGKUNG	1	1		XL	PENDING
Soleh07	2	1	1	M	PENDING
kelakau	2	1	1	L	PENDING
min5129	1	1		L	PENDING
arolz	1	1		M	PENDING

HARGA SEHELAI BAJU POLO MYSAHABAT ADALAH RM 31.00
(Harga Baju Tidak Termasuk Kos Penghantaran)

TARIKH AKHIR TEMPAHAN DAN BAYARAN DITERIMA PADA 28 DECEMBER 2008

Latest Update by : 3bond Date : 15 December 2008 Time :0921 HR

KETERANGAN KOS PENGHANTARAN MENGIKUT LOKASI

JUMLAH BAJU	SEM. MALAYSIA	SARAWAK	SABAH
1-2	RM7	RM10	RM10
3-4	RM8	RM12	RM13
5-6	RM10	RM14	RM16

# Harga Kos Penghantaran Termasuk 10% Surcaj Minyak & 5% Cukai Kerajaan Yang Ditetapkan Oleh POS Malaysia

# SAHABAT DI SEKITAR LEMBAH KELANG DIGALAKKAN MENGAMBIL BAJU BY HAND DARI STAFF MYSAHABAT

---

Cara-cara pembayaran dan keterangan lanjut :-


Nama : Muhammad Hazari


Maybank Acc : 112352030213
Nama : Muhammad Hazari
Cimb Acc : 12160077007524

---

Sila smskan butiran pembayaran anda ke 013-3729990 selepas pembayaran dibuat mengikut detail berikut :-

* Nama Penuh Dan Username Di MYsahabat
* Bank Yang Digunakan
* Jumlah Bayaran
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* Nama Penuh Dan Username Di MYsahabat
* Bank Yang Digunakan
* Jumlah Bayaran / Jumlah Tempahan Baju
* Masa Bank In
* Tarikh Bank In

# Attachment Slip Bank In juga Boleh dihantar bersama Email Untuk Pengesahan Yang Lebih Kukuh.

TARIKH AKHIR TEMPAHAN DAN BAYARAN DITERIMA PADA 28 DECEMBER 2008

ermmm... ngah free skang nih.. dok usha2 keje kosong plak.. seram giler tiap kali dapat panggilan interbiew.. ade yg pegi dan ade jugak yg tak pi.. huhuhuhu.. mintak2 lew dapat keje secepat yg mungkin..

ermm.. nak citer per lg ek? ok, citer skit pasal mak lah... seminggu nak raye haji arituh mak masuk spital... sedey giler weh.. tp, alhamdulillah semuanye selamat.. mak selamat menjalani operation kat kpale. thank you to dr parthiban and staff nurse unk wad 8B di Hospital Mahkota, Melaka...

lain2 citer nantilah.. pening pale plak.. huhuu

huhuhu.. lame tak masuk blog nih.. cian dieerr.... ermm... ok, ari nih free skt sbb cuti nuzul quran.. huhuhu... nak cite pe ek? cite pasal skang nih weekend blaja kat unitar n weekdays plak ngajar kat SMKBS untuk sesi petang punye... huhuhu.. lame tak ngajar bdk2 nih.. winduu... ahakss!!

ok, stakat nih... kene ambil alih kak yatie punye jadual.. so kene ajar subjek bahasa malaysia, pendidikan seni, ICTL ngan nilam... seronok jer ngajar bdk2 nih... mcm2 perangai ade... huhuhu.. paling best skali dapat buli bdk2 nih.. syokk!! hahahhaa...

ermmm... ari jumaat nih de bt program buka puasa kat sekolah.. hope ramai yg datang and terlibat same... ok, mau masuk site mysahabat plak.. kang big boss bising.. daaa...

Sekolah Menengah Kebangsaan Bandar Sunway

huhhhuhu.. 3 months? almost done doing my practical at this school.. I get many experience during my practical and I will miss all students and teachers SMKBS.. Especially, my students 5A9 (dont ponteng2 k, rotan nanti.. hehehhe), 4A7, 4A8, 4A9, 4A11 and all form 1... and my mentor 'kak shairah'... thank you very veryyyy much bcoz give me a lots of "spirit" to continue profession as teacher... luv u all.. mmuahhx2!!!


~ others comment about SMKBS will coming soon..

My table at room teacher

Briged Siber

Masing-masing malu2 kucen..

ICTL (all form 1 k)

5A9

4A7 & 4A8

SMKBS

kat padang perhimpunan.. time nih ade ceramah kesedaran sivik...

Majlis Perlantikan Pengawas sesi 08/09

"What are we thinking about when we think about computers?"

"What are we thinking about when we think about computers?" (Turkle 47)

The tools we use to think change the ways in which we think. The invention of written language brought about a radical shift in how we process, organize, store, and transmit representations of the world. Although writing remains our primary information technology, today when we think about the impact of technology on our habits of mind, we think primarily of the computer.

Computers offer themselves as models of mind and as "objects to think with." They do this in several ways. There is, first of all, the world of computational theories. Some artificial intelligence researchers explicitly endeavor to build machines that model the human mind. Proponents of artificial life use computational processes capable of replication and evolution to redraw the boundaries of what counts as "alive".

And second, there is the world of computational objects themselves: everything from toys and games to simulation software and Internet connections. Such everyday objects of the computer culture influence thinking about self, life, and mind no less than the models of the computational philosophers. Computers in everyday life make possible a theoretical tinkering similar to what Claude Levi-Strauss (1968) described as bricolage- the process by which individuals and cultures use the objects around them to reconfigure the boundaries of their cognitive categories.

Here, examples of how engaging with a variety of computational objects like interfaces, virtual communities, and simulation games that provides material for reshowing categories of knowing, of identity, and of what is alive.

I. THINKING ABOUT KNOWING (THROUGH THE PRACTICE OF INTERFACES)

In the 1980s most computer users who spoke of transparency were referring to a transparency analogous to that of traditional machines, an ability to "open the hood" and poke around. But when, in the mid-1980s, Macintosh computer users began to talk about transparency, they were talking about seeing their documents and programs represented by attractive and easy-to-interpret icons. They were referring to an ability to make things work without needing to go below the screen surface.

This was, somewhat paradoxically, a kind of transparency enabled by complexity and opacity. As one user said, "The Mac looked perfect, finished. To install a program on my DOS machine, I had to fiddle with things. It clearly wasn't perfect. With the Mac, the system told me to stay on the surface." This is the kind of computer interface that has come to dominate the field; no longer associated only with the Macintosh, it is nearly universal in personal computing.

Today, the word "transparency" has taken on its Macintosh meaning in both computer talk and colloquial language. In our culture of simulation, when people say that something is transparent, they mean that they can easily see how to make it work. They don't mean that they know why it is working by reference to an underlying process.

2. THINKING ABOUT IDENTITY (THROUGH THE CREATION OF VIRTUAL PERSONAL)

In the late 1960s and early 1970s, the development of the windows metaphor for computer interfaces was a technical innovation motivated by the desire to get people working more efficiently by cycling through different applications, much as time-sharing computers cycled through the computing needs of different people. But in practice, windows have become a potent metaphor for thinking about the self as a multiple and distributed system. The self is no longer simply playing different roles in different settings, something that people experience when, for example, one wakes up as a lover, makes breakfast as a mother, and drives to work as a lawyer. The life practice of windows is of a distributed self that exists in many worlds and plays many roles at the same time. Now, in Doug's words, "RL" [real life] can be just "one more window."

3 . THINKING ABOUT ALIVENESS (BY PLAYING WITH COMPUTER TOYS)

The genius of Jean Piaget (1960) showed us the degree to which it is the business of childhood to take the objects in our world and use how they “work” to construct theories-of space, time, number, causality, life, and mind. In the mid-twentieth century, when Piaget was formulating his theories, a child's world was full of things that could be understood in simple, mechanical ways. A bicycle could be understood in terms of its pedals and gears, a windup car in terms of its clockwork springs. Children were able to take electronic devices such as basic radios and with some difficulty bring them into this "mechanical" system of understanding.

Since the end of the 1970s, however, with the introduction of electronic toys and games, the nature of many objects and how children understand them has changed. When children today remove the back of their computer toys to "see" how they work, they find a chip, a battery, and some wires. Sensing that trying to understand these objects "physically" will lead to a dead end, children try to use a "psychological" kind of understanding (Turkle 1984, 29-63). Children ask themselves if the games are conscious, if the games know, if they have feelings, and even if they "cheat." Earlier objects encouraged children to think in terms of a distinction between the world of psychology and the world of machines, but the computer does not. Its "opacity" encourages children to see computational objects as psychological machines.

Today's adults grew up in a psychological culture that equated the idea of a unitary self with psychological health, and in a scientific culture that taught that when a discipline achieves maturity, it has a unifying theory. When they find themselves cycling through varying perspectives on themselves as when they cycle through a sequence such as "I am my chemicals" to "I am my history" to "I am my genes", they usually become uncomfortable (Kramer 1993).

People who grew up in the world of the mechanical are more comfortable with a definition of what is alive that excludes all but the biological and resist shifting definitions of aliveness. So, when they meet ideas of artificial life which put the processes of replication and evolution rather than biology at the center of what is alive (Langton 1989) they tend to be resistant, even if intrigued. They feel as though they are being asked to make a theoretical choice against biology and for computational process. Children who have grown up with computational objects don't experience that dichotomy. They turn the dichotomy into a menu and cycle through its choices. Today's children have learned a lesson from their cyborg objects. They cycle through the cy-dough-plasm into juice and emergent conceptions of self and life.

Computer Film and Our Relationship to Computers

Surprisingly large numbers of people who have either worked as independent film artists, or who have developed in that area of liaison between art and technology which has evolved steadily during the last twenty years, have recently found themselves concerned in making computer films. On the following pages I have considered their work in its relationship to the field of computer art in general, to the computer film in all its existing aspects, and to the history of independent film art and abstract film.

What is interesting about all these techniques is that they are widely used in computer work in general, and are highly suited to the basic programming methods. Before continuing with the discussion of this aspect of computer art, it is important to note that the developments of more interactive, real-time computer, and near-computer, art have not made such wide use of these basic techniques, but have rather been concerned with the use, modification, transformation and translation of current events in the environment into new input to that environment in an interactive feedback loop. It would be possible to discuss basic and recurrent principles which are emerging from this kind of 'interactive' art but we will limit this treatment only to considerations which may have some bearing on the problems of computer film.

Computers are ideally suited to dealing with complex relationships of data precisely and very rapidly, and they are being developed towards highly efficient indexing and retrieval capability. Although the second of these functions will ultimately be of great significance to computer artists, in the immediate future they will find themselves restricted to more limited data, and have little useful call on larger data banks.

Another computer development of some significance is the more limited, computerised control of machinery to carry out processes previously dealt with at a time-consuming, manual level. Aspects of this general development will certainly affect the film computer artist, as well as the musician. Indeed, in the field of music, the computerised studio of Peter Zinovief in London goes a long way to providing this for music, and its structure could provide a useful model for the design of a computerised visual studio for the future.

As with computers in general, the bias of computer-film hardware and software development has been towards science, technology and business. In many ways it is even misleading to talk of the development of computer film hardware at all. Until recently the possibility of making movie film on a computer has barely been 'designed' for at all.

Films have mostly been made either by setting up a cine camera before a visual display tube, or by using a microfilm plotter, designed around the output of individual frames of static microfilm to produce consecutive animated frames. Many shortcomings of the film equipment available to artists can be put down to the relatively early stages of the technology and its slow development, but other limitations come about because the only point at which an artist has been consulted about the design is in the choice of shape and colour for the box and buttons.

Between the computer-controlled film 'process' camera, or animation rostrum, and the microfilm plotter lies a whole range of possible computer-film output machinery which has hardly begun to be thought about in a coherent way by film artists and computer technologists. Much thought is at present going into the design of the display processor so that it can operate in a more suitable way for visual output, and the whole analogue and mechanical aspects of the display tube and camera are under development. The direction which such developments take as well as the ever-present, and unavoidable economic factors, depends on the formulation of what kinds of output are to be needed, and it is important that the needs of the film artist are taken into account at an early stage.

Film the Science Fiction Portrayals

The Matrix

Science Fiction Film is a film genre that uses speculative, science-based depictions of imaginary phenomena such as extra-terrestrial lifeforms, alien worlds, and time travel often along with technological elements such as futuristic spacecraft, robots, or other technologies. Science fiction films have often been used to provide social commentary on political or social issues, and to explore philosophical issues, such as "what makes us human." In many cases, tropes derived from written science fiction may be used by filmmakers ignorant of or at best indifferent to the standards of scientific plausibility and plot logic to which written science fiction is traditionally held.

The film The Matrix, produced since 1966 on an IBM grant, explores the possibilities available in a polar co-ordinate program developed for him by Dr Jack Citron. The images, although built up from dots, tend towards the linear mode which is common from the calligraphic terminal, and in spite of the relatively rapid pace of the animation, there seems to be a movement towards a greater austerity, the work being held within a set of fairly well-defined intentions. This tendency is continued in Matrix.

The Matrix is a 1999 science fiction action film written and directed by Larry and Andy Wachowski and starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Joe Pantoliano, and Hugo Weaving. It was first released in the USA on March 31, 1999, and is the first entry in The Matrix series of films, comics, video games, and animation.

The film describes a future in which the world we know is actually the Matrix, a simulated reality created by sentient machines in order to pacify and subdue the human population while their body heat is used as an energy source. It contains numerous references to the cyberpunk and hacker subcultures; philosophical and religious ideas; and homeges to Alice’s Adventures in Wonderland, Hong Kong actions movies, Spaghetti Wesrtern and Japanese animation.

Matrix is in many ways the most advanced computer film produced by an artist to date. Unlike all the other work it does not use the computer simply as a convenient producer of abstract sequences of film for later manipulation.

In Matrix we see the development of these elements towards an articulate whole structure, which grows out of the program. There is still some later manipulation of the material, and though it is coloured by the same methods as in his other films, this is done with a great deal of restraint. What is important in this film is the way in which all the major developments and transitions are an integral part of the program. It begins to explore the area where the capacities of the computer can be used to expand our notions of film structure.

In the film, the code that comprises the Matrix itself is frequently represented as downward-flowing green characters. This code includes mirror images of half-width kana characters and Western Latin letters and numerals. In one scene, the pattern of trickling rain on a window being cleaned resembles this code. More generally, the film's production design placed a bias towards its distinctive green color for scenes set within the Matrix, whereas there is an emphasis on the color blue during the scenes set in the real world. In addition, grid-patterns were incorporated into the sets for scenes inside the Matrix, intended to convey the cold, logical, artificial nature of that environment.

The "digital rain" is strongly reminiscent of similar computer code in the film Ghost in the Shell, an acknowledged influence on the Matrix series. The linking of the color green to computers may have been intended to evoke the green tint of old monochrome computer monitors.

The Matrix received Oscars for film editing, sound effects editing, visual effects and sound. In 1999, it won Saturn Awards for Best Science Fiction Film and Best Direction. The Matrix also received BAFTA awards for Best Sound and Best Achievement in Special Visual Effects, in addition to nominations in the cinematography, production design and editing categories.