Blue Screen of Death

Blue Screen of Death (also known as a blue screen or BSoD) is an error screen displayed on a Windows computer system after a fatal system error, also known as a system crash: when the operating system reaches a condition where it can no longer operate safely.

History

BSoDs have been present in Windows NT 3.1 (the first version of the Windows NT family, released in 1993) and all Windows operating systems released afterwards. (See History of Microsoft Windows.) BSoDs can be caused by poorly written device drivers or malfunctioning hardware, such as faulty memory, power supply issues, overheating of components, or hardware running beyond its specification limits. In the Windows 9x era, incompatible DLLs or bugs in the operating system kernel could also cause BSoDs. Because of the instability and lack of memory protection in Windows 9x, BSoDs were much more common.

Incorrect attribution

On 4 September 2014, several online journals, including Business Insider,DailyTech,Engadget,Gizmodo,Lifehacker,Neowin,Softpedia,TechSpot,The Register, and The Verge attributed the creation of the Blue Screen of Death to Microsoft's former CEO Steve Ballmer while citing a source that never said such a thing: An article by Raymond Chen (Microsoft employee) titled "Who wrote the text for the Ctrl+Alt+Del dialog in Windows 3.1?" The article was about the creation of the first rudimentary task manager in Windows 3.x, which shared visual similarities with a BSoD. In a follow up on 9 September 2014, Raymond Chen complained about this widespread mistake, claimed responsibility for revising the BSoD in Windows 95 and panned BGR.com for having "entirely fabricated a scenario and posited it as real". Engadget later updated its article to correct the mistake.

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Oblique

Oblique may refer to:

an alternative name for the character usually called a slash (punctuation) ( / )

Oblique angle, in geometry

Oblique triangle, in geometry

Oblique leaf base, a characteristic shape of the base of a leaf

Oblique angle, a synonym for Dutch angle, a cinematographic technique

Oblique (album), by jazz vibraphonist Bobby Hutcherson

Oblique (film), a 2008 Norwegian film

Oblique banded rattail, a fish also known as a rough-head whiptail

Oblique case, in linguistics

Oblique argument, in linguistics

Oblique correction, in particle physics

Oblique motion, in music

Oblique order, a military formation

Oblique projection, in geometry and drawing, including cavalier and cabinet projection

Oblique reflection, in Euclidean geometry

Oblique shock, in gas dynamics

Oblique type, in typography

Oblique wing, in aircraft design

Oblique icebreaker, a special type of icegoing ship

Oblique muscle, any of several in the human body

Anatomy

Oblique arytenoid muscle, in the neck

Oblique cord, near the elbow point

Oblique (album)

Oblique is an album by jazz vibraphonist Bobby Hutcherson featuring performances by Herbie Hancock, Albert Stinson and Hutcherson's regular drummer Joe Chambers. The album was originally recorded in 1967 and first issued as catalog number GXF-3061 in Japan, in 1980. It was remastered and re-released on CD as a part of the Rudy Van Gelder Edition in 2005 with a different cover artwork. Oblique marks Hutcherson's second release in a quartet setting, his previous being Happenings from 1966. The personnel on Happenings are identical, save the replacement of Bob Cranshaw with Albert Stinson.

The pieces

Oblique is different to his previous sessions, because there is less emphasis on Hutcherson's compositions. He contributes three tunes to the date, all of which are of a more lyrical, subdued style. The one Hancock composition is of a more funky jazz-rock style, yet very laid back, likely due to the lack of horns. The set closes with two of Chambers' compositions, in his typically ominous and avant-garde manner.

Oblique (film)

Oblique (2008) is a film by the Norwegian artist Knut Åsdam (1968).

Synopsis

The 13 minute film Oblique (2008) is an articulation of identity in transition. The entire film was shot on a train moving through a continuous mass built from cities and their adjoining regions. The characters are traveling in the suspended generic space of the train through regions composite of old and new economies and old and new social realities: Newly built outer areæ around the cities, construction sites, institutional and office buildings, transitory places, between growth and collapse, marked by quasi-contradictory processes of economic progress and development of slums. On the train coach itself, a targeted but sometimes absurd narrative plays itself out as a linguistic reaction to the time and place.

Urban environments, and their heterotopic sites, are locations for Knut Åsdam's investigations into social design, patterns of behavior and modes of subjectivity, with a particular focus on spatial identity's disorder and pathologies. Åsdam perceives a city as a machine of desire, its geography as a system of desire and its architecture as a generator of desiring practices. Usage and perception of public urban spaces, their structures of political power and authority occupy a central place in the artist's studies of identities.