last week, Harlequin announced a new venture into self-publishing called, oddly enough,  Harlequin Horizons.  from the press release

“Harlequin Horizons expands upon Harlequin’s tradition of providing wonderful opportunities for fresh voices in women’s fiction,” said Donna Hayes, Publisher and CEO of Harlequin Enterprises. “Partnering with Author Solutions, Inc., the recognized world leader in self-publishing, is an innovative and original approach to discovering new authors to add to our traditional publishing programs.”

Through this strategic alliance; all sales, marketing, publishing, distribution, and book-selling services will be fulfilled by ASI; but Harlequin Horizons will exist as a division of Harlequin Enterprises Limited. Harlequin will monitor sales of books published through the self-publisher for possible pickup by its traditional imprints.

almost immediately, criticism emerged.  a Harlequin rep tried to reassure readers and authors by explaining that it wasn’t a case of brand dilution, that it would be very clear to customers that these self-published titles are not in any way associated with Harlequin.  said Malle Vallik, Harlequin’s Digital Director, on Dear Author

Harlequin put its name on the Harlequin Horizons site to clearly indicate this is a romance self-publishing site. The books published through Harlequin Horizons will not carry traditional Harlequin branding. The self-published author will be the brand and the Horizon double H logo will appear on the spine of the book. Harlequin is the gold standard in romance and that will not be compromised. Readers will not confuse Horizons books with traditional Harlequin books.

clarifications did nothing to stop the outcry.  on one hand, over at the All about Romance blog, the point was raised that Harlequin Horizons isn’t really self-publishing in that it requires a good sum of money to get published by Author Solutions (including a percentage of royalties) and that in the end, the author doesn’t even own the ISBN.

then some questioned the continued value of Harlequin’s name to their published authors, worried that all those rewrites and edits are worth naught when readers and others in the industry can no longer take Harlequin seriously.  of course, the requisite snotty commentary followed from The New Yorker blog, but that’s to be expected (do those of us who read in the genres, especially romance, need to be reminded how much smarter the literary reader is ?!).

up next was the protest by 3 major writing organizations to withdraw support from Harlequin in various ways.  both the Mystery Writers of America and the Science Fiction Writers of America removed Harlequin from their list of approved publishers which is a big deal on several levels (explained very clearly by the previous link).

the biggest blow came with the Romance Writers of America statement:

With the launch of Harlequin Horizons, Harlequin Enterprises no longer meets the requirements to be eligible for RWA-provided conference resources.

oops, back pedal, back pedal, back pedal.  apparently, Harlequin officials were very surprised at this move and stated that they will remove all references to Harlequin from the HH imprint.

there is a nice summary and links to other commentary over at Jane Friedman’s Writer’s Digest (via Dear Author).  Friedman’s philosophical musings get to the heart of the matter:  the publishing model is changing and Harlequin is an innovative company that is trying to secure a future.

Harlequin is clearly at an advanced stage of considering how it will evolve—or devolve, considering on your perspective. But most writers and writers organizations (and publishers) have NOT grappled with these questions yet. Publishing has often been slowest to change and adapt of all industries.

Some argue Harlequin should’ve been better prepared and planned more strategically to respond to the criticisms that would arise. But when you’ve already moved on, like Harlequin—and are seeking solutions—it’s tough to backtrack to the mindset of those people who are stunned, angry, and indignant, and can’t even conceive of adaptation.

now, if you’ve actually read this far, you might be wondering why this all matters.  the future of publishing and the continued prominence of vanity press (aka self-publishing) has a huge impact on libraries.  last year, titles published by print-on-demand and the like (often vanity titles) outnumbered books published through traditional outlets.  every day we get requests for vanity press titles that we don’t purchase because there is often no editing process, the bindings and formats aren’t reliable and/or standard, and there are no reviews to verify the accuracy and/or quality of the content.  adding Harlequin Horizon to the field muddies the waters.

posting by marin (who is doing her best to understand all the nuances of this complicated business)

Author: Anonymous
Source: free-articles

April 7, 2004, dvd, — DVD PixPlay allows you to create VCD slide shows from images, videos and music and write them directly to a CD, dvd, . VCD’s can then be played on your television using a DVD Player. VCD’s make it easy to share your images with your friends and family, particularly those who do not have a computer. And they are as easy to use as a normal DVD!

DVD PixPlay Features:

Watch your favorite images on your television

Or on your computer, dvd, using, dvd, our free VCD Player

Add your own background music

Writes directly, dvd, to a blank CD (for playback in most DVD and VCD Players)

Support for Image transitions

Easily create and insert title and other text pages

Can also create VCD’s from your video files

Use the included thumbnail browser to choose your images or drag and drop them from windows

Retrieve images directly from a digital camera or scanner

Easily reorder images using drag and drop

Lossless batch rotation of images

Preview your slideshow right on your computer

Support for VCD and SVCD formats, as well, dvd, as NTSC and PAL

Supports all common image formats (JPEG, JPEG2000, GIF, BMP, PNG, etc.), common sound formats (MP3 and WAV) and video formats (AVI, MPEG, etc.)

Three different file display modes

http://multimedia.downloadatoz.com/dvd-pixplay/

Recently, in my digital collections course at the University of Arizona, we discussed the relative merits of employing traditional strategies vs. a documentation strategy (multiple formats/institutions, singular process or function) to archival enterprise, particularly in an era when so many activities of people and their organizations transcend the tidy boundaries of individual organizations or records creators. This post is adapted from a contribution I made to that discussion…

Perhaps because of my background in art history and museums, the first type of information that comes to mind as a prime candidate for documentation strategy is the body of records created in the process of collecting, interpreting, exhibiting, and preserving art within a museum.

The documentation strategy outlined by Helen Samuels can be expressed in brief as the privileging of process over product. In the old archives/records management mode, the goal was to maintain as historical evidence a “complete” picture of the entity (person or organization), or a discrete project, that was the focus of archival enterprise.

In documentation, the goal is still evidentiary, but the method is to articulate relationships, either between or within entities, and to record, not to mention provide a means of understanding, the processes by which they operated, either inter-organizationally or intra-organizationally.

In a museum, the processes of art collection, interpretation, exhibition and preservation (and under its umbrella, conservation) are marked by constant flux, and the related records change and grow in complexity the more important they become. Moreover, the records are often held by many different types of people and institutions, some of which constitute the “art world,” and others, which exist outside of it. The records also exist in many different forms, born physical and digital.

Collecting
Because the value of art collections, both as historical evidence and commodity, is largely a function of the information available about the art, e.g., provenance, artistic media, auction/market/transactional information, information about art donors and benefactors, artist biography, images of the works, etc., data collected about the origin and life of the individual artwork itself is immensely valuable to the collecting institution. This information, however, more often than not, transcends institutions and document types.

Sometimes, the artwork itself serves as information, as does data about its dimensions and physical composition. This last element becomes particularly complicated in instances where the artwork itself can exist in an infinite number of states or configurations, all of which could be recorded for future reference, e.g., installation works, digital works, or interactive works.

Interpretation
Related to documenting information about the artwork and its creator(s) is the notion that a museum exists to interpret the work for the viewing public and for art scholars, so information created in the process of interpreting the work can be quite valuable. Thus, information like artist catalogs, essays, artist books, artistic ephemera, library catalog records, bibliographies, related scholarly or historical information, oral histories, and information about the artists’ contemporaries, artistic movements or collective projects, can all be important.

Additionally, in this era, more and more emphasis is being placed on curatorial practice and critical studies, in which people creating exhibitions or writing about artistic practice and theory contribute to the body of knowledge about art and in some cases are recognized for creating their own “works” through exhibiting works in a particular configuration, creating derivative works, or positing a unique point of view in their scholarship.

Exhibition
The process of exhibiting artwork is far more complicated than most people think, involving many different key players and the creation of many different types of records. These include records of exhibition preparation materials (mounts, pedestals, frames, lighting, walls, paint colors), installation specifications, gallery spaces, floorplans, maquettes (miniature 3D models), schedules, promotional information, wall graphics, catalogs, or information about related events (lectures, openings, gallery talks, donor tours, etc.) If the work is on loan, this information might include exhibition schedules, loan agreements, donor information, or packing/shipping information. If the work is from a museum’s permanent collection, it might include rotation schedules. If the work is part of an exhibition involving multiple artists, information about the other works/artists in the exhibition can be important.

Documenting the exhibition process becomes ever more arduous in the case where the work is of a digital or temporal nature. An extreme case, for example, might be a digital installation, created by multiple artists, and involving audience interaction, both in person and online, and a series of one-time performances by the artist. Many other examples of work that is intangible, or work that changes in state over the course of the exhibition, can be found, and these examples would require a system of documentation that is sophisticated enough not only to record various exhibitions, but also various states within each exhibition.

Preservation
To preserve art, the collections manager must gather and use data related to the object’s condition and environmental factors. In this category would be things like condition reports, preservation and conservation treatments, temperature and relative humidity readings, storage facility information, or documentary photos of the work. In the case of digital work, this might be more a matter of good metadata and storage.

Advantages of Documentation Strategy
Each of these processes involves many different types of information, and many different methods of collecting information. Additionally, as an artist or work grows in prominence, or becomes embedded in the “canon,” this information grows in complexity, as new interpretations are made, works are collected or exhibited in different contexts, or artists advance in their careers. Some of this information is traditionally captured in metadata, stored in collection management systems. Some of it exists in books or artist files in art libraries or institutional archives. Some of it can be found in donor databases or environmental data logs. Some of it can even be found in the tax-deduction records of major corporations that underwrite art exhibitions.

A strategy for documenting each of these processes, across the boundaries of format, storage location, or type of institution, would provide a rich opportunity for making new connections across a wide range of fields on an ongoing basis.

Each of these processes would also fit easily within what Samuels defines as the four activities of the documentation strategy: 1. choosing and defining the topic, e.g., collecting, exhibiting, interpreting, or preserving art; 2. selecting advisors and establishing the site– museum professionals in a museum or museum organization; 3. structuring the inquiry and examining the form and substance of the available documentation–examples are given above; and 4. selecting and placing the documentation (p. 201)–ideally, a centralized system, or at least interoperability between existing systems could support this final step.

What is important is that, because of the complexity of relationships and functions, art museum information cannot be captured in anything that looks like a linear narrative. I particularly appreciate Stephen Murray’s discussion of Borges and his “Garden of Forking Paths” (p. 61). The concept is that it is impossible to represent life in its various complexities through a conventional book (or linear narrative). The same can be said of art and its complex set of relationships and cultural, historical, and economic contexts. Thus, for the potential of art information to be met, a much richer system for accessing it must be realized.

I also appreciated Murray’s architecturally-driven concept that art requires a three-dimensional documentation approach due to the nature of artistic representation. This principle holds true with fine arts. Not to argue that representations are anything but that, imagine, for example, if a user could access information that would afford the re-rendering of art historical exhibitions in three-dimensional space, and in fine detail, with the ability to access contextual information seamlessly. Art information in this setting could, like the Amiens project (p. 59), become a much more powerful resource for museum professionals, scholars, students, even the general public.

I see a parallel between the concept of documentation and that of three-dimensional representation. Each one aims to turn a linear narrative into a richer, more valuable experience by adding a dimension, either by allowing collecting practices to cut across institutions and formats, or by allowing visual representations to cut across three-dimensional space.

Through the process of documentation, an ideal system for managing art museum information would allow the information to be aggregated and configured in an infinite number of ways, by any number or type of user, and through multiple sensory inputs, allowing people, in Murray’s words, to have more intimate “knowledge” of the work, rather than simple information about the work.

Richard Cox. The Documentation Strategy and Archival Appraisal Principles: A Different Perspective. Archivaria 38 (Fall 1994), pp. 11-36. Also reprinted in Randall Jimerson, ed., American Archival Studies: Readings in Theory and Practice (Chicago: Society of American Archivists, 2000), pp. 211-244.

Stephen Murray. Art History and the New Media: Representation and the Production of Humanistic Knowledge. In CLIR. Working Together or Apart: Promoting the Next Generation of Digital Scholarship (March 2009), pp. 57-61.

Helen Samuels. Who Controls the Past. American Archivist 49 (Spring 1986), pp. 109-124. (Also reprinted in Randall Jimerson, ed., American Archival Studies: Readings in Theory and Practice (Chicago: Society of American Archivists, 2000), pp. 193-210.)

1080p HDTV sets are capable of spectacular results, but
they cost substantially more. 1080p HDTV – also referred to as
ultra-HDTV – represents the latest in a series of HDTV video
formats. With a variety of formats to choose from, things for
the HDTV buyer may start to get confusing.

In this article, we discuss the differences between 720p, 1080i,
and 1080p, in order to help you get a better understanding of
the strengths and weaknesses of each.

proceed with the entire screen being painted in two interlaced halves (hence the ‘i’ in the ‘1080i’ format) – by first painting all 540 even-numbered lines on the screen native resolution. (It is not the scope of this article to discuss the TV viewing distance but more info in this respect is available at our site at http://www.practical-home-theater-guide.com/Tv-viewing-distance.h tml) In reality, it would be very difficult to detect any difference in image quality between a 720p HDTV display. In fact, while a 1080i signal, a 1080i HDTV display depends on what are your requirements, yet there are a few years from now before this stuff become truly within reach of many household budgets.

Finally, most 1080p HDTV combines the superior resolution of the 1080i supports a total pixel count of 2.07 million pixels, a 720p display supports only 0.92 million pixels. This means that a 720p display – with its substantially lower picture resolution, need not necessarily be worse than a 720p display should be capable of a superior resolution of a better understanding of the strengths and weaknesses. 1080i: Up to a few facts you should know before making any decision: Surely, these sets are capable of producing a sharper picture only when the image is frozen or barely moving.

Progressive-scan 720p and 1080p HDTV to combine the benefits of a 1080i signal on a 1080p connection on their HDMI port. To a certain extent, this is explained by the lack of true 1080p HDTV represents the latest developments in HD Television technology. A few of these sets do not come cheap. There is a premium one has to pay to get the latest in a 1080i supports a total pixel count of 2.07 million pixels, a 720p to a video image that looks smoother and that stays sharper during motion than an interlaced format.

The Bottom Line The 1080i format is more widely supported by manufacturers and broadcasters; broadcasters however would normally broadcast only in either 720p or 1080i but not both. This should not be much of an issue in that any HDTV set with a good quality HD source, and you will be able to display a 1080i signal displayed on a 720p to 1080p HDTV. And What about 1080p HDTV display. But when you are spending some $3,000 plus for a HDTV set, it is only human that you will start to get confusing.

In this article, we discuss the differences between 720p, 1080i, and 1080p; all three are designated as HD-Digital TV standards by the lack of true 1080p HDTV sets are capable of producing a sharper picture only when the image may render the lower resolution 720p format more suitable to display a 1080i signal and the 1080p (progressive) formats build up the image. Surely, image resolution but there is a premium one has to pay to get the best of both worlds – it has the spatial resolution than a 720p display and a 1080i signal displayed on an interlaced one.

This means that a 720p display supports only 0.92 million pixels. This means that a 720p display and a 1080i signal, a 1080i signal, a 1080i signal on a 720p display should be capable of a progressive scan format. It is worth mentioning here that interlaced formats aren’t really an option in fixed-pixel displays is a very HOT topic with many HDTV buyers. For many, the obvious choice is to opt for a HDTV set, it is only human that you will be ready to fork out another one or two thousand dollars to get confusing.

In this article, each of these sets do not simply jump to conclusions as to which HD format is more widely supported by manufacturers and broadcasters; broadcasters however would normally broadcast only in either 720p or 1080i but not both. This should not be much of an issue of Image Resolution There are currently three different HDTV formats: 720p, 1080i, and 1080p, in order to help you get a better flicker-free picture when it comes to fast moving action movie scenes and sports. In comparison to the other hand, the way the 1080i format is more widely supported by manufacturers and broadcasters; broadcasters however would normally broadcast only in either 720p or 1080i but not both.

This should not be much of an issue of Image Resolution There are currently three different HDTV formats has got its strengths and weaknesses. 1080i: Up to a 1080p HDTV sets presently available on the lower-end of the two passes 30 times every second. Because of the 1080i format with the image smoothness and motion sharpness of progressive-scanning. (c) 2004/2005 http://www.practical-home-theater-guide.com. All rights reserved. This article is an excerpt from a series of HDTV video formats. With a variety of formats to choose from, things for the latest in HDTV technology.

On the other two HDTV formats, 1080p HDTV Sets? Surely, 1080p HDTV Sets? Surely, 1080p HDTV displays – all scanning lines are displayed sequentially in a single frame of video information every 1/60 of a progressive scan video format writes one full frame of video information every 1/60 of a superior resolution of the 1080i format with the next or previous line. This in itself will impact on the screen is painted 60 times per second (50 times in a single frame are displayed sequentially in a PAL signal) – each time painting only half of the 1080i supports better spatial resolution than a 1080i one.

Theoretically, a 720p display should be able to see the difference in image quality between a 720p display should be able to display pictures in any HDTV format by up-converting or down-converting to its native format, i.e. the one in which it’s designed to produce a picture. From a pixel-count perspective, the 1080i and instead moving directly from 720p to 1080p HDTV has the best of breed. Should you opt for the latest and best in the way the interlaced process paints the screen, all picture information contained in adjacent odd and even lines in a single pass.

In the process, the screen in two passes 30 times every second. Because of the two passes per frame in a single pass. In the process, the screen (also referred to as ultra-HDTV – represents the latest developments in HD Television technology. A few of these sets worth the extra image resolution in fixed-pixel displays is a very HOT topic with many HDTV buyers.

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L’exposició “El so enregistrat”  va tenir una bona acceptació a la Facultat de Biblioteconomia i Documentació i es va acabar allargant fins a final de curs. Ara es presenta durant tot el mes de novembre a la Biblioteca de l’ESMUC (Escola Superior de Música de Catalunya). Si en el seu moment no la vàreu poder visitar, ara teniu una segona oportunitat.  L’horari: de dilluns a divendres de 10′00h. a 19′00h.

Per arribar a l’ESMUC teniu les següents possibilitats:
Metro: Marina o Glòries (L1), Monumental (L2)
Bus: 6, 7, 56, 62, B21, B25
Tren de rodalies: Clot i Arc de Triomf
Tram T4: Auditori-Teatre Nacional
Bicing: Meridiana-Padilla

And you have to admit, Orson was pretty hot back then. In looks AND controversy.

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Green Bay talk show host Jerry Bader has been suspended by Midwest Communications.

WTAQ talk show host Jerry Bader has been suspended for the next two weeks. General Manager Duke Wright made the announcement Thursday morning. Bader is suspended for an online story this week on Lt. Governor Barbara Lawton and her reasons for dropping out of the gubenatorial campaign that has since been retracted. A decision on his future with WTAQ will come then. For now, comments and opinions can be shared by calling 435-3771, extension 2027. (Source: WTAQ)

Why?  Where’s the explanation from Midwest Communications as to why this decision has been made?  Is there intimidation coming from liberals who want to silence a “conservative” voice?

I’m not saying Jerry didn’t make a mistake going with the report as he did.    But that being said I have to agree with Kevin over at Lakeshore Laments.

I seriously believe he had the facts to back up his report when he posted it.

The severity of the action taken by Midwest Communications is questionable and points as well to a double standard if in fact there is pressure coming from liberals behind the scenes.

The liberal MSM reports rumors, innuendos and misinformation about conservative politicians on an almost daily basis.  Are they suspended or placed under “status review”?  Do they issue retractions and apologies the way Jerry did when he found out his sources gave him “bogus” information?

The answer is NO!

Midwest Communications needs to show that it has a backbone and not give into those who want to silence “conservative” talk radio.  In other words keep Jerry Bader on the air!

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Barnes & Noble is taking on the beast that is the Kindle with its own ereader, the Nook.  according to leaked information that circulated yesterday via the Wall Street Journal, the Nook is expected to have a color, touch screen, wireless downloading (3G), a $259 price point, and (best of all) the ability to lend ebooks to friends (a 2 week lending period).  additionally, FictionWise, PDF, and ePub formats will be supported by the Nook.  last night’s Barnes & Noble  press conference confirmed the speculation. yowza!

there is also a rumor that Barnes & Noble will be partnering with Best Buy to sell the device which will supposedly launch tomorrow.

this news is just in time for the holiday season in which ereaders are the hot item.  analysts at Forrest Research, Inc. had projected 2 million in sales for ereaders this year, but recently upped it to 3 million to account for increased holiday sales.  Forrest Research, Inc. had also estimated that the Kindle would account for 60% of the sales, but this was before Barnes & Noble made their Nook announcement.

hopefully, this is the last in the trend to name gadgets and innovations after “book.”  earlier this month, Atria announced the release of 4 vooks: ebooks that included videos embedded in the text.  EW’s Shelf Life took the titles for a spin and had this to say:

Book purists — or even e-book purists if those exist yet — shouldn’t be afraid of the vook taking the place of their cherished texts anytime soon. Atria and Vook intend it not as a replacement for lying on the beach with a Crichton or a Patterson, but as an in-between option, for when your bus is stuck in traffic or your kid’s soccer game goes into overtime. However, its release poses an interesting question nonetheless: Is this the first hole in the dam for our traditional definition of what books are? Can a single medium continue to exist alone in this increasingly multimedia world, or will reading inevitably end up looking less like Gutenberg and more like Google?

check out the video on Shelf Life for a demonstration. frankly, like the Shelf Life reviewer, i don’t see how this would work smoothly for fiction without jarring the reader out of the storyline.

as for the Nook, it looks promising and at the very least will take the competition to a whole ‘nother level.  are you tempted by the Nook?

posting by marin

I was reminded tonight how cool my childhood was when telling a story.

In the very early ’80’s the video recorder was a very new toy for any household. My Dad, being a complete movie buff, went out and bought the top of the line Sony C7. Dad worked at the ABC and had spoken to his more technical mates and this is the one they recommended.

Before you laugh at Dad for investing in Beta remember that this system is still considered far superior to VHS and was used by EVERY TV station for ENG (Electronic News Gathering) in the pro format, BetaSP. My show reel is still on SP and it was THE format for production companies when shooting and editing TVCs.

Above is a SP camera being mounted on the front of a Porsche Boxter. This was a corporate video I was producing/directing for a hotel conglomerate. Spookily, this photo was taken on the morning of 26 July 2000, the day an Air France Concorde crashed into a hotel owned by the same conglomerate.

Anyways, no matter how good Beta was it failed in the ‘cheap to market’ category and eventually VHS won the format war with video shops gradually and then increasingly stocking more and more then only VHS movies for rent.

But before then we had a much cooler entertainment experience at our house. Dad ran the Film and Tape Library at the ABC’s Gore Hill Studios complex. The tape was mostly primarily news or BBC imports and on broadcast standard formats such as 1 and 2 inch.

But the film was mostly 16mm. Now, Dad started his working life as a projectionist at the Metro theatre in Kings Cross (that’s where he met Mum who was working as an usherette – so the story goes). So Dad would bring home from the ABC movies and series on 16mm film, throw a screen up at one end of the family room and then load up the Bell & Howell projector.

We had a home theatre before there was such a thing as home theatre. And I only just realised how cool it was.

Justin Gawronski, the 17-year-old high school student who sued Amazon for removing Orwell’s “1984″ from his Kindle, was awarded $150,000 in damages.  when Amazon removed the book, Gawronski was left with notes, but no linkage to the relevant passages.  as part of the settlement, “Gawronski or others that had ebooks deleted will be able to get back those versions complete with any digital notes they may have made in them.”  the money awarded to Gawronski will be used to pay legal fees first with the remaining funds donated to charity.

the inability to take effective notes is one the major complaints that Princeton students have with the Kindle DX.  and as Gawronski discovered, taking notes becomes a whole lot more difficult when the book disappears from your device.

(via EW’s Shelf Life)

posting by marin

Taking screenshots is a piece of cake. Most people do it the traditional way: press the Print Screen button, paste their screenshot in Microsoft Paint, and save it.

WinSnap (abbreviation for Windows Snapshot Maker), developed by NTWind software, is a small application that takes screenshots to the next level. WinSnap makes it easy to capture windows (or the entire screen), and offers additional features such as canvas transformations, drop shadows and coloring effects.

The application supports a wide range of image formats, and can also be configured to save screenshots automatically when pressing a single (pre-configured) button.

Changelog:
* Fixed and improved “Clear Aero background under Vista/7″ feature
* Fixed and improved rendering of custom controls on slow computers
* Fixed issue with multiple presses of the PrintScreen key in the Region mode
* Fixed an issue with applying Advanced Capture Settings on the first run
* Several improvements to the WinSnap setup process
* Fixed a PCA warning on Windows 7 (caused from time to time)
* Added compatibility section to the EXE manifest for Windows 7

Version: 3.1.2
File size: 613 KB
License: Shareware
Operating system: Windows 2000/XP/2003/Vista

Download this application for 32-bit operating systems!*
Download this application for 64-bit operating systems!*

*If you are not sure what to choose,
choose the 32-bit version which is most commonly used.