Background Wallpaper

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Background Wallpaper Biography
Wallpaper (also desktop picture and desktop background) is an image used as a background of a graphical user interface on a computer screen or mobile communications device. On a computer it is usually for the desktop, while for a mobile phone it is usually the background for the 'home' or 'idle' screen. Though most devices comes with a default picture, users can usually change it to files of their choosing.[1]
"Wallpaper" is the term used in Microsoft Windows before Windows Vista (where it is called the Desktop "Background"), while Mac OS X calls it a "desktop picture" (previously, the term desktop pattern was used to refer to a small pattern that was repeated to fill the screen).
Contents  [hide]
1 History
2 Live wallpaper
3 Dynamic backgrounds
3.1 In Mac OS X
3.2 In Windows 7
3.3 In GNOME
3.4 In Enlightenment
4 See also
5 References
6 External links
[edit]History
Original computer wallpaper pattern, as used in Xerox's Officetalk and Star; actual size.
The X Window System was one of the earliest systems to include support for an arbitrary image as wallpaper via the xsetroot program, which at least as early as the X10R3 release in 1985 could tile the screen with any solid color or any binary-image X BitMap file.[2] In 1989, a free software program called xgifroot was released that allowed an arbitrary color GIF image to be used as wallpaper,[3] and in the same year the free xloadimage program was released which could display a variety of image formats (including color images in Sun Rasterfile format) as the desktop background.[4] Subsequently a number of programs were released that added wallpaper support for additional image formats and other features, such as the xpmroot program (released in 1993 as part of fvwm[5]) and the xv software (released in 1994).
The original Macintosh operating system only allowed a selection of 8×8-pixel binary-image tiled patterns; the ability to use small color patterns was added in System 5 in 1987.[6] MacOS 8 in 1997 was the first Macintosh version to include built-in support for using arbitrary images as desktop pictures, rather than small repeating patterns.[7]
Windows 3.0 in 1990 was the first version of Microsoft Windows to come with support for wallpaper customization, and used the term "wallpaper" for this feature.[8] Although Windows 3.0 only came with 7 small patterns (2 black-and-white and 5 16-color), the user could supply other images in the BMP file format with up to 8-bit color (although the system was theoretically capable of handling 24-bit color images, it did so by dithering them to an 8-bit palette).[9] In the same year, third-party freeware was available for the Macintosh[10] and OS/2[11] to provide similar wallpaper features otherwise lacking in those systems. A wallpaper feature was added in a beta release of OS/2 2.0 in 1991.[12]
[edit]Live wallpaper
A 'live wallpaper' is a type of application that works on a mobile device using the Android operating system. The application works as a wallpaper – providing the background image for the home screen—but also works as a conventional application since it can provide user-interaction with the touch screen (allowing the image to change dynamically, for example) and access other hardware and software features within the device (accelerometer, GPS, network access, etc.). [13]
Similar functionality could be found in the Active Desktop feature of Windows 98 and later versions. There is also third party software that provides this feature for various operating systems.

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Free Wallpaper Backgrounds

Source(google.com.pk)
Free Wallpaper Backgrounds Biography
This is a listing of Australian Football League players with international and multicultural backgrounds. As the families of all non-indigenous Australians are originally from elsewhere, this list goes back a maximum of one generation. Countries are listed in alphabetical order.
The following criteria are used for this list:
player must have played at least one senior match
player must have been born in a country outside Australia OR have at least one of their parents born outside Australia.
Similar criteria were used for the inaugural Multicultural Cup which was held by Aussie Rules International, a competition in which players who had a parent or grandparent born overseas were allowed to play for that country. This is similar to the eligibility rules of many World Cup tournaments. Additionally, the Australian Football International Cup has more strict criteria, according to which a player must have spent the majority of their junior life in another country.

Free Wallpaper Backgrounds

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3d Animation Wallpaper

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3d Animation Wallpaper Biography
Warner Bros. Animation is the animation division of Warner Bros., a subsidiary of Time Warner. The studio is closely associated with the Looney Tunes and Merrie Melodies characters, among others. The studio is the successor to Warner Bros. Cartoons (formerly Leon Schlesinger Productions), the studio which produced Looney Tunes and Merrie Melodies cartoon shorts from 1933 to 1963, and from 1967 to 1969. Warner reestablished its own animation division in 1980 to produce Looney Tunes related works.[1]
Since 1990, Warner Bros. Animation has primarily focused upon the production of television and feature animation of other properties, notably including those related to Time Warner's DC Comics publications.
Contents  [hide]
1 History
1.1 1970-1986: Restarting the studio
1.2 1986-1998: Moving into television animation
1.3 1998-2004: The rise and fall of Warner Bros. feature animation
1.4 1996-present: Acquisitions and Warner Bros. Animation today
2 Filmography
2.1 Feature-length films
2.1.1 Films produced by Warner Bros.
2.1.2 Animated films distributed by Warner Bros.
2.2 Theatrical shorts
2.2.1 Tom and Jerry
2.2.2 Cartoon Network
2.2.3 Looney Tunes
2.3 Direct-to-video
2.3.1 Scooby-Doo
2.3.2 Tom and Jerry
2.3.3 DC Comics
2.3.4 DC Showcase
2.3.5 Looney Tunes related
2.3.6 Other
2.4 Television shows
2.5 Anthology television shows
2.6 TV specials
3 See also
4 Notes
5 References
6 External links
[edit]History

[edit]1970-1986: Restarting the studio
The original Warner Bros. Cartoon studio, as well as all of Warner Bros.' short subject production divisions, closed in 1969 due to the rising costs and declining returns of short subject production. Outside animation companies were hired to produce new Looney Tunes-related animation for TV specials and commercials at irregular intervals. In 1976, Warner Bros. Cartoon alumnus Chuck Jones began producing a series of Looney Tunes specials at his Chuck Jones Productions animation studio, the first of which was Carnival of the Animals. These specials, and a 1975 Looney Tunes retrospective feature film titled Bugs Bunny: Superstar, led Jones to produce The Bugs Bunny/Road Runner Movie for Warner Bros. in 1979. This film blended classic Looney Tunes/Merrie Melodies shorts with newly produced wraparounds of Bugs Bunny introducing each cartoon. Warner Bros. responded to the success of this film by reestablishing its own cartoon studio.
Warner Bros. Animation reopened its doors in 1980 to produce compilation films and television specials starring the Looney Tunes characters. The studio's initial head was Hal Geer, who had been the original studio's sound effects editor during its final days, and he was soon joined by Friz Freleng, who left DePatie-Freleng (which became Marvel Productions after being sold to Marvel Entertainment), and returned to Warner as executive producer. Before leaving DFE, Freleng produced new animation for The Looney Looney Looney Bugs Bunny Movie (1981). The new wraparounds for Bugs Bunny's 3rd Movie: 1001 Rabbit Tales (1982) and Daffy Duck's Fantastic Island (1983) featured footage by a new Warner Bros. Animation staff, composed mainly of veterans from the golden age of WB cartoons, including writers John Dunn and Dave Detiege.
By 1986, Freleng had departed, and Hal Geer also stepped down the following year. Geer was briefly replaced by Steven S. Greene, who in turn was replaced by Freleng's former secretary Kathleen Helppie-Shipley, who would spearhead a major revival of the Looney Tunes brand in the years that followed. The studio continued production on special projects starring the Looney Tunes characters, sporadically producing new Looney Tunes shorts for theaters such as The Duxorcist (1987), Night of the Living Duck (1988), Box-Office Bunny (1990), and Carrotblanca (1995). Many of these shorts, as well as the new footage in the compilation film Daffy Duck's Quackbusters (which includes The Duxorcist), were directed by Greg Ford and Terry Lennon, as well as Darrell Van Citters.

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Computer Wallpaper

Source(google.com.pk)
Computer Wallpaper Biography
Angela Pearly-Gates Montenegro is a specialist in forensic facial reconstruction at the Jeffersonian Institute, frequently working with Dr. Temperance Brennan, who is her best friend. She is an extremely talented and professional artist. She developed and maintains the Angelator, the lab's three-dimensional graphics and computer simulation system. She has one child with Hodgins, a son Michael. Her God-daughter is Christine Booth.
Contents [show]
PersonalityEdit
Throughout the series, Angela Montenegro has been described as a "free spirit", "good-time girl" and is a "wild child" at heart. During Season 2, Hodgins was quoted as saying Angela "was the heart of the team." She is the center of life and passion among the team, although not quite the one of normalcy and stability. Although she may not exhibit the same social traits as her colleagues, she is well-suited intellectually to them, providing a sense of balance to the team as a whole. While Hodgins, Brennan, and Zack all have science deeply ingrained into their thought patterns, Angela is an artist at heart. In one episode she was quoted as saying "this time, art made science her bitch". Early on in Season 1, she considered leaving the Jeffersonian, feeling that her work was unimportant and unsure if she could handle the graphic nature of the work done there. Despite every member of the team trying (in vain) to convince her otherwise, it was the Jeffersonian's director, Dr. Goodman, that managed to change her mind. He spoke of the vital importance of her work in the respect that it provides an element of humanity to the victim, giving the victim a face and thus returning their identity. This rather emotionally provocative description by Dr. Goodman seemed to satisfy Angela.
She is open, friendly, and caring, seeming to have taken on a nurturing role in the team, considering Dr. Brennan her best friend (referring to her as "Sweetie"), and acting as adviser and "social coach" to Zack. Later when Zack is found to be an apprentice to a cannibal she blames herself. Her rapport with Hodgins appears to be that of a colleague, the two of them being the closest to socially normal within the team. Her appreciation for the well-scrubbed appearance of Seeley Booth is obvious for anyone within sight or earshot of her.
Her personality according to her coworkers is "quirky" which she seems to be aware of herself. In fact, it is revealed in season three that Angela Montenegro is not her real name; she changed it when she was 18 after the name came to her in a dream. She once told Dr. Brennan, "I don't know how to talk to crazy people unless I'm dating them."[2] She is also the most socially sophisticated of the team, especially on matters pertaining to love and romance. Rarely an episode goes by when her sexual expertise does not come up in some conversation with the team. She was once advising Zach Addy on a sexual relationship and told him to "reap the benefits of my sexual wisdom Z-man." She also frequently shows attraction to a man who turns out to be guilty of the crime they are investigating. Her sexuality is portrayed as fluid, she has engaged in relationships with both male and female partners throughout the series.
She has also frequently visited many places, particularly islands. She has made mention of going to Jamaica, and was once a magician's assistant during which she states that she was often sawed in half.

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3d Nature Wallpaper

Source(google.com.pk)
3d Nature Wallpaper Biography
Virtual reality (VR) is a term that applies to computer-simulated environments that can simulate physical presence in places in the real world, as well as in imaginary worlds. Most current virtual reality environments are primarily visual experiences, displayed either on a computer screen or through special stereoscopic displays, but some simulations include additional sensory information, such as sound through speakers or headphones. Some advanced, haptic systems now include tactile information, generally known as force feedback, in medical and gaming applications. Furthermore, virtual reality covers remote communication environments which provide virtual presence of users with the concepts of telepresence and telexistence or a virtual artifact (VA) either through the use of standard input devices such as a keyboard and mouse, or through multimodal devices such as a wired glove, the Polhemus, and omnidirectional treadmills. The simulated environment can be similar to the real world in order to create a lifelike experience—for example, in simulations for pilot or combat training—or it can differ significantly from reality, such as in VR games. In practice, it is currently very difficult to create a high-fidelity virtual reality experience, due largely to technical limitations on processing power, image resolution, and communication bandwidth; however, the technology's proponents hope that such limitations will be overcome as processor, imaging, and data communication technologies become more powerful and cost-effective over time.
Virtual reality is often used to describe a wide variety of applications commonly associated with immersive, highly visual, 3D environments. The development of CAD software, graphics hardware acceleration, head mounted displays, database gloves, and miniaturization have helped popularize the notion. In the book The Metaphysics of Virtual Reality by Michael R. Heim, seven different concepts of virtual reality are identified: simulation, interaction, artificiality, immersion, telepresence, full-body immersion, and network communication. People often identify VR with head mounted displays and data suits.[citation needed]
Contents  [hide]
1 Background
1.1 Terminology and concepts
1.2 Timeline
2 Impact
3 Heritage and archaeology
3.1 VR reconstruction
3.2 Fiction
3.3 Motion pictures
3.4 Radio
3.5 Fine art
3.6 Music
3.7 Therapeutic uses
4 Implementation
4.1 Manufacturing
4.2 Urban design
5 Pioneers and notables
6 Artists using Virtual Reality Technology
7 See also
8 Notes
9 References
10 External links
[edit]Background
[edit]Terminology and concepts
The term "artificial reality", coined by Myron Krueger, has been in use since the 1970s; however, the origin of the term "virtual reality" can be traced back to the French playwright, poet, actor, and director Antonin Artaud. In his seminal book The Theatre and Its Double (1938), Artaud described theatre as "la réalité virtuelle", a virtual reality in which, in Erik Davis's words, "characters, objects, and images take on the phantasmagoric force of alchemy's visionary internal dramas".[1] Artaud claimed that the "perpetual allusion to the materials and the principle of the theater found in almost all alchemical books should be understood as the expression of an identity [...] existing between the world in which the characters, images, and in a general way all that constitutes the virtual reality of the theater develops, and the purely fictitious and illusory world in which the symbols of alchemy are evolved".[2]
The term has also been used in The Judas Mandala, a 1982 science-fiction novel by Damien Broderick, where the context of use is somewhat different from that defined above. The earliest use cited by the Oxford English Dictionary is in a 1987 article titled "Virtual reality",[3] but the article is not about VR technology. The concept of virtual reality was popularized in mass media by movies such as Brainstorm and The Lawnmower Man. The VR research boom of the 1990s was accompanied by the non-fiction book Virtual Reality (1991) by Howard Rheingold.[4] The book served to demystify the subject, making it more accessible to less technical researchers and enthusiasts, with an impact similar to that which his book The Virtual Community had on virtual community research lines closely related to VR.
Multimedia: from Wagner to Virtual Reality, edited by Randall Packer and Ken Jordan and first published in 2001, explores the term and its history from an avant-garde perspective. Philosophical implications of the concept of VR are discussed in books including Philip Zhai's Get Real: A Philosophical Adventure in Virtual Reality (1998) and Digital Sensations: Space, Identity and Embodiment in Virtual Reality (1999), written by Ken Hillis.

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