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> March 10th, 2010
System Will Capture Data from over 3 Million Customer Documents
Annually
IRVINE, Calif. — Kofax plc (LSE: KFX), the leading provider of document driven
business process automation solutions, today announced it will provide a
leading Southern European telecommunications operator with a document
capture solution. The value of the contract to Kofax is approximately
$300,000.
The company will use Kofax software to scan and capture data from
approximately 3 million customer contracts, account forms and related
documents it receives annually via mail, fax and email. The resulting
images and data will then be exported to an ERP system for further
processing, resulting in more efficient and cost effective processes,
improved customer service levels and better regulatory compliance
efforts.
“Whenever incoming documents drive business processes and transactions
companies and government agencies can benefit from implementing a
capture solution,” said Alan Kerr, Executive Vice President of Field
Operations at Kofax. “Reduced operating costs, increased productivity,
accelerated business processes, better data quality and improved
regulatory compliance efforts easily combine to provide a compelling,
short term return on investment.”
Cinema possesses a rich history of collaboration between artists of sound, narrative, and image. However, traditional tendencies to perceive music as a strictly supportive background or accompaniment have been subjected to in-depth critique only recently. Abigail Childs interactions with musicians in Is This What You Were Born For? (1981-89) and Bill Morrisons partnership with composer Michael Gordon in Decasia (2001) exemplify (but by no means exhaust the possibilities of) the broader range of collaborative textures that cinema has always suggested. Not coincidentally, these works represent the influence on cinema of two popular music practices: the ubiquitous re-mixing that has emerged from hip-hop culture and the group composition typical of many rock bands. Abigail Child (also a poet, critic, and scholar) has had an influential career as an experimental filmmaker since the mid-1970s when she turned from professional documentary work to the creation of independent films focusing on gender, sexuality, class, and the critical possibilities of montage. Recycling found footage from a wide variety of sources, such as porn, industrial films, and home movies, and progressing cinematic techniques often associated primarily with the historical avant-garde of the early twentieth century, Child has created an oeuvre of incredible beauty and continuing social relevance. Her films are shown at major art museums and in experimental cinema venues and can be obtained through a variety of distribution channels. Is This What You Were Born For?, the series of short films Child created in the 1980s, underscores her exploration of interdisciplinary collaboration and these endeavors have had on her work. Michael Gordons award-winning career as a composer has resulted in a variety of notable intermedia collaborations, including for example operas with diegetic film components progressing beyond the more familiar application of projection as scenery and non-narrative music performances incorporating video. Gordon is a founding member of the highly regarded new music organization Bang on a Can, a group dedicated to facilitating the composition and performance of new music, often with an interdisciplinary dimension and independently of conservative academic contexts. Decasia, Gordons internationally celebrated collaboration with filmmaker Bill Morrison, is a symphony for full orchestra paired with a montage of archival nitrate footage in various states of intriguing and evocative decomposition. The final version of the film, edited to fit the live recording of the symphony performance, was featured in the 2002 Sundance Film Festival. Decasia synaesthetically elucidates subtleties inherent to myriad generative tensions: progress/tradition, memory/time, darkness/illumination, and mini-malism/totalism.