Now you can disable Google ad tracking. How to disable it?

Factoflife - Now, Google ad tracking can be disabled. Recently, Google has given new privacy policy to ensure protection of its users’ personal information. A provision on the technology firm’s privacy statement had been ruled out. In this statement, Google promises not to integrate cookies on personal information without approval from each user.

Ever since Google had changed its method of tracking its users, their personal information on their account had been incorporated with the company’s search records on the Internet.

 ProPublica, a non-profit news agency, had conducted a study on Google’s changes in its privacy statement. They research explained that the search engine had promised primarily to keep the two sets of data as separate entities so as to protect user’s information. However, it had update its policies so that it deleted the statement that supports this promise. They used to state that they would ask for user’s consent before the combine cookie data with personally identifiable information.

DoubleClick is actually an online advertising company acquired by Google. This company employs the cookies to monitor surfing people’s surfing behavior through their IP address. This mechanism allows the company to point their ads to the right target. With cookie information, DoubleClick can predict the surfing habit in one’s location. However, it is unable to determine one’s identity.

Meanwhile, Google had all the names, email and other information in their search data.

Many organizations of Google’s users had filed a complaint against the company to the Federal Trade Commission during this acquisition. They contest that their privacy had been violated by this provision change in Google’s privacy statement.

Check out amazing animal facts and tigers facts.

iRacing Showed Up Before Le Mans So You Can Drive It In Your Living Room

Nothing’s better than getting home, saying auf pantsdersehen to anything more substantial than a pair of gym shorts and enjoying some small-screen entertainment. If your screen is usually an iRacing display, you’re in for a treat: the lovable wonks showed up before Le Mans to scan the Circuit des 24 Heures.

There have been plenty of racing games and sims that have included the 24 Hours of Le Mans’ full street circuit over the years, including Project Cars and the last two releases in the Gran Turismo series, although none quite have the cult following that iRacing does.

Part of that cult following is from the series’ attention to detail, as you can see here. They don’t just grab the layout, but attempt to replicate the bumps and other key details to put you at Le Mans from the comfort of your own home.

This also made scanning Le Mans’ circuit a bit tougher for the iRacing team. It’s a track that doesn’t exist except for a short period of time during the year. So, they had to show up before the track was opened to competitors in order to scan it. 

iRacing claims that the 24 Hours of Le Mans circuit is their single most requested track to add. It’s Le Mans. It’s precious unobtainium for the masses. Few of us will ever get to drive it, and even those who do get precious little seat time there. As 2015 winner Jordan Taylor points out, there’s simply no opportunity to come and practice the track in the offseason. It simply doesn’t exist. 

Taylor speaks the truth about how significant it is to have Le Mans somewhere to study and drive, too. Seat time in anything—so long as it’s somewhat accurate—helps. As much as I suck at video games, even my fumble-throughs on friends’ racing sims have helped get me familiar with a track before I show up to drive it in real life. You show up more confident because you’ve already seen the track and have some idea of what to do. 

So, soon you can practice driving the full Circuit des 24 Heures from wherever, thanks to iRacing. Cool. Next step: saving up for a lilac GTE-Am Porsche, haha. 

No release date for iRacing’s version of Le Mans has been set, but the legwork has been done to get all the information they need.

Check out to get list of  new games coming out and upcoming video games

Finding Dory Review

One year after she helped reunite Marlin (Albert Brooks) and Nemo (Hayden Rolence), Dory (Ellen DeGeneres) is settled into her new life. But when some long-forgotten childhood memories resurface, she sets out to find her parents, with help from her new friends. First stop: the Monterey Marine Life Institute.

Spare a thought for those wildly successful bazillionaires at Pixar. Yes, the Californian dream factory is one of the most respected studios in history — a virtual byword for a specific brand of boundless creativity — but in recent years, and in anticipation of their 17th feature, they seem perennially to have something to prove. That the envelope-pushing geniuses are locked in an endless competition, against not just the likes of DreamWorks or the resurgent animation arm of parent company Disney, but their own legacy — a 20-year hot streak of unimprovable Oscar-winning hits.

IThere have been muttered charges of sequelitis (with Toy Story 4 and Cars 3 on the way), alongside the general feeling of a swinging pendulum where, for every soaring Inside Out, there’s a corresponding The Good Dinosaur, a tepidly received curio that represented the studio’s first loss at the box office. But now, into these choppy waters, swimsFinding Dory — an emotionally complex, beautifully wrought piece of vintage Pixar that, 13 years after Finding Nemo, delivers a warmly familiar formula that still manages to hold hidden depths.

It helps that, like Pixar’s pitches, there’s an elegant simplicity to the way the plot turns the first film on its head. After Piper, a nicely paired short about a plucky seabird, we meet Dory (Ellen DeGeneres) as a cute (but still troublingly forgetful) kid who mysteriously loses her parents then wanders the ocean for years, trying to plug the holes in her sieve-like brain until she crashes into a panicked clownfish called Marlin (Albert Brooks). This early revelation — Dory’s back story is that she basically hasn’t got one — is a potent reminder that Andrew Stanton (the returningFinding Nemo writer-director who also gave us WALL-E’s lonely robot in a trash-piled dystopia) is unafraid to add tragic undercurrents to something that’s notionally a family film.

Flash forward a year and, after the events of Finding Nemo, Dory has formed a happy family of sorts with Marlin and his son (Hayden Rolence) until some flashbacks to fragmented childhood memories have her seeking a parental reunion of her own. Repaying the faith shown by Dory in that first ocean-spanning adventure, her new friends join her and — by way of an encounter with a furious giant squid — find themselves at Californian aquarium and conservation centre the Marine Life Institute. Suffice to say, their plan to find Dory’s mum and dad (expertly voiced by Diane Keaton and Eugene Levy, respectively) does not go smoothly. And it’s here that the film truly sparks to life, swapping its gentle expository opening scenes for a smart journey into Dory’s faltering mind — like a maritime take on Memento — that also doubles as a thrilling headlong dive into a micro community that’s as vividly drawn as Sunnyside Daycare in Toy Story 3 or, for that matter, the dentist’s office in Finding Nemo.

It’s also a showcase for relentlessly funny dialogue, stunning set-pieces and a high-quality stable of new voice actors. Dominic West and Idris Elba stage an unlikely The Wire reunion as Rudder and Fluke, a pair of heroically lazy sea lions, Modern Family’s Ty Burrell is excellent as neurotic beluga whale Bailey and Kaitlin Olson engages as near-sighted whale shark Destiny. But it’s Dory’s guide through the pipes and tanks of this Sea World stand-in — a grouchy chameleonic octopus called Hank, voiced by Ed O’Neill — who proves to be the star attraction. Both technical marvel (the first shot of his shifting, suckered body took six months to construct) and gruff mentor figure, Hank is also a canny story tool — enabling Dory to break out of the water and driving some of the final act’s outlandish stunts.

Yes, as characters are repeatedly separated and reunited, a touch of lost-fish fatigue sets in. But only the terminally churlish will be able to resist something so strikingly strange, sly — one showstopping moment shows the supposedly sedate atmosphere of an aquarium touching-pool as a battlefield of children’s plunging hands and cowering sea creatures — and gleefully inventive. And at the heart of the story is Dory’s wrenching emotional journey. Despite that expansive ocean, it’s an intimate, hopeful tale of perseverance, friendship and leaping the sea wall of your personal limitations. Don’t be fooled by all those fish. It may be the most human story Pixar has ever told.