Podcasts about Jacquard

Se zvonește prin ziare că am publicat un nou episod! Nu știu ce să zic... Uite cum facem - mă mai interesez să văd dacă-i adevprat și vă zic, ok? Subiectul oricum ar fi fost: revoluția industrială și efectele ei sociale. Totul a început în secolul XVIII, când cineva s-a uitat la un fir de bumbac și a zis: „Hmm, dacă am face o mașină să-l țeasă mai repede?” Boom! A început prima revoluție industrială. Cu ajutorul războiului automat (power loom) și, mai ales, al motorului cu aburi, fabricile au început să fumege ca niște dragoni pe cafea. Oamenii au trecut de la tors cu mâna la „vrrr-vrrr” cu mașini. Bumbacul a devenit noul aur, iar trenurile cu aburi au început să țiuie prin peisaj. Dar stați, urmează partea și mai cool! Pe la sfârșitul secolului XIX, a venit a doua revoluție industrială, când cineva s-a uitat la un fulger și a zis: „Ce-ar fi să-l punem în priză?” Electricitatea a invadat orașele, iar chimia a explodat – la figurat, sperăm. Acum aveam becuri, telefoane și aspirină! Problema? Bogătanii au devenit și mai bogătani, săracii au devenit și mai săraci. Sărakilor! Invitați speciali: Jon Snow, CG, Captain Picard, prima victimă a societății industriale, Engels, tonkotsu ramen, Jacquard, Savery, Papin și mulți alții. Link-uri utile:☞ Patreon: https://www.patreon.com/octavpopa ☞ Facebook: https://www.facebook.com/podcastuldefilosofie☞ Instagram: https://www.instagram.com/podcastuldefilosofie☞ Spotify, Apple: https://podcastfilosofie.buzzsprout.comSupport the showhttps://www.patreon.com/octavpopahttps://www.youtube.com/channel/UCC91fciphdkZyUquL3M5BiA

In Episode 7 of this season's Digital and Dirt Podcast, Ian welcomes Daniel Head, CEO of Jacquard, a provider of AI-driven marketing automation, to explore how AI enhances efficiency, personalization, and creativity in brand messaging and Out of Home advertising and to discuss why businesses must embrace AI to stay competitive.Podcast Breakdown00:00 - 05:52 Introduction & Networking at CES and Super Bowl Events05:53 - 12:30 Career Beginnings: Retail, Fitness, and Marketing Transition12:31 - 19:34 Amazon Experience: Super Bowl Campaign & Social Media Growth19:35 - 29:51 Health Tech Evolution & Wearable Devices29:52 - 38:21 AI, Consumer Behavior & Personal Health Insights38:22 - 46:09 Out-of-Home Advertising & Digital Strategy46:10 - 55:05 Growth Metrics, Influencer Marketing & Future Innovations

Programmare non è solo mettere insieme delle righe di codice. Anzi, è molto più complicato di così. La vera sfida comincia quando le cose non vanno come i programmatori hanno previsto. Non basta assicurarsi che il programma funzioni nei casi più comuni; è durante gli imprevisti che un programmatore deve dimostrare il suo valore. I bug, quelle maledette imperfezioni, sono proprio ciò che rende questo un lavoro tosto.Tutti i miei link: https://linktr.ee/br1brownTELEGRAM - INSTAGRAMSe ti va supportami https://it.tipeee.com/br1brown

Two years ago, energy companies scrambled for offshore wind contracts. At a recent auction, the demand was significantly lower. Plus, artist Sarah Rosalena uses Indigenous weaving, ceramics, and sculpture practices to create art that challenges tech's future, in a segment from earlier this year.Maine Offshore Wind Auction Draws Few BidsOffshore wind is coming to the Gulf of Maine. Earlier this week, the US Bureau of Ocean Energy Management held an auction for eight leases to develop wind projects off the coast of Maine. But companies bid on only half of the available leases.Guest host Rachel Feltman talks with Casey Crownhart, senior climate reporter for MIT Technology Review about that and other top science news of the week including; bird flu found in pigs, AI's electronic waste problem, what's in your black plastic spatula, and giant rats fighting the illegal wildlife trade.An Artist Combines Indigenous Textiles With Modern TechWhen multidisciplinary artist Sarah Rosalena looks at a loom, she thinks about computer programming. “It's an extension of your body, being an algorithm,” she says.Rosalena, a Wixárika descendant and assistant professor of art at the University of California Santa Barbara, combines traditional Indigenous craft—weaving, beadmaking, pottery—with new technologies like AI, data visualization, and 3D-printing. And she also works with scientists to make these otherworldly creations come to life. She involved researchers at the NASA Jet Propulsion Lab to make 3D-printed pottery with simulated Martian clay. And she collaborated with the Mount Wilson Observatory to produce intricately beaded tapestries based on early-1900s glass plates captured by the observatory's telescope, which women mathematicians used to make astronomical calculations.And that's also a big focus for Rosalena: spotlighting the overlooked contributions women made to computer science and connecting it to how textiles are traditionally thought of as a woman-based craft. When she first started making this kind of art, Rosalena learned that the Jacquard loom—a textile advancement in the 1800s that operated on a binary punch card system which allowed for mass production of intricate designs—inspired computer science pioneer Ada Lovelace when she was developing the first computer program. “[They] have this looped history,” she says. “And when I weave or do beadwork, it's also recalling that relationship.”Read the rest at sciencefriday.com.Transcript for these segments will be available after the show airs on sciencefriday.com. Subscribe to this podcast. Plus, to stay updated on all things science, sign up for Science Friday's newsletters.

durée : 01:58:39 - Jean-Paul Gasparian ; Trio Messiaen & Trio Xenakis ; Lucile Boulanger ; Diana Tishchenko ; Marielou Jacquard - par : Clément Rochefort - Jean-Paul Gasparian, piano, pour un programme arménien ; le Trio Messiaen, piano & cordes, et le Trio Xenakis, percussions ; Lucile Boulanger, viole de gambe ; Diana Tishchenko, violon, & Itamar Golan, piano ; Marielou Jacquard, mezzo, & Emmanuel Olivier, piano, pour un programme franco-russe - réalisé par : Claire Lagarde

Mélicenne a découvert le trail en 2020. Immédiatement, elle sent l'appel du long. C'est sur ce format, au coeur des montagnes, qu'elle retrouve ce sentiment de liberté qui lui était si cher en équitation, une discipline qu'elle a du arrêter suite à la maladie de son cheval.En quelques années, elle enchaine les épreuves, dépasse les 100km jusqu'à prendre le départ, en septembre 2024, du légendaire Tor des Géants, 330km et 24 000m de dénivelés positifs à boucler en moins de 150 heures.Un témoignage de plus qui nous montre ô combien il est essentiel de s'écouter, de se faire confiance et d'oser se lancer. La vie est bien trop courte pour ne pas tenter ce qui nous fait rêver !Excellente écoute.

Join us on a guided tour through "Limitless," a groundbreaking art exhibit by Leah Smithson at the historic Hotel Figueroa in Los Angeles. This immersive experience blends traditional paintings with cutting-edge augmented reality, creating a portal to celebrate the achievements of visionary women who have shaped our world.  Here, you'll be inspired by the stories of these remarkable innovators and discover how art and technology can combine to tell powerful narratives.Hotel Figueroa 2024 Featured Artist: Leah Smithson | Hotel Figueroa  NEW MUSEUMhttps://www.newmuseum.org/NEW INChttps://www.newinc.org/Leah Smithson NEW INC memberhttps://www.newinc.org/year-10-members/leah-smithsonDEMO 2024 Leah Smithson Exhibit & TalkLeah Smithson (demofestival.org)Find us online:Website:http://www.clss.studioEmail:leah@leahsmithson.comchanningsmithson@gmail.comHang out with us on Instagram:@leahsmithsonart@justglazechanningTrade Digital assets & Commoditieshttps://uphold.com/signup?referral=d8b2d5cb89Support the show Support the Show.

Episode 1145: Jacquard, Babbage, Hollerith, IBM: from weaving to computers.  Today, a story about wool weaving and computers.

"...Happy birthday dear ThursdAIiiiiiiii, happy birthday to youuuuuu

Émission du 14 février 2024 (00:00) - La scène de la semaine : "Rubber" de Quentin Dupieux(01:05) - L'ouverture(07:26) - News Dans cette 22ème émission de l'année : (18:29) - "Daaaaaali ! " de Quentin Dupieux(35:06) - "Green Border" d'Agnieszka Holland(47:48) - "La Bête" de Bertrand Bonello(58:58) - L'interview : Pauline Jacquard, créatrice des costumes du film "La Bête" "Bop To The Top !" CinéCampus : Présentation de la projection de "L'Impossible Monsieur Bébé" le 4 mars à l'Utopia Quiz "Saint-Valentin" Les Recos de l'équipe Le générique de fin

In Episode 198, Greg and Pam continue the introduction to our new book club book, The Golden Thread: How Fabric Changed History by Kassia St. Clair. Share how you are will enjoy the book on social media with #UnravelingBookClub. Check out our group on Facebook! We would love to have you join us there. Check out our new MONTHLY giveaway just because our listeners are AWESOME! You can enter the January giveaway using this Google Form. NOTES We mentioned blockchain technology. We mentioned the Jacquard machine. We mentioned the history of silk. We mentioned The Emperor's New Clothes and Kind Midas. SUPPORT THE SHOW KnitPicks & Crochet.com We are KnitPicks and Crochet.com (owned by KnitPicks) Affiliates! This means if you are going to shop at KnitPicks or Crochet.com, and start by clicking their names, the Unraveling Podcast will get a small commission at no extra cost to you! It's an easy way to support the podcast passively. (Note: links to specific yarns or products will appear like https://shrsl.com/3xzh0. These are correct and are custom links to track our account. They are safe!) Patreon You can financially support Unraveling…a knitting podcast on Patreon! Monthly membership levels are available at Swatch ($1), Shawl ($3), and Sweater ($6) and come with rewards like early access to book club episodes, access to a quarterly Zoom call, discounts on all Knitting Daddy patterns, and holiday cards. Everything available via Patreon is extra, the show remains unchanged and free. Financial support through Patreon helps us cover expenses like web hosting, prize shipping, and equipment upgrades. Affiliate Link Disclousure We are a KnitPicks Affiliate! This means that if you click on a KnitPicks link or Crochet.com, or the banner ad and make a purchase, we will receive a commission at no extra cost to you. This post contains affiliate links. That means that if you click on a link to Amazon and subsequently make a purchase, we'll receive a small commission from the sale. You pay the same, and the commissions will help cover our podcasting expenses. Our opinions are always our own. Find us all over the Internet Patreon: Unraveling…a knitting podcast Subscribe in iTunes: The Unraveling Podcast Podcast RSS Feed: Unraveling Podcast Facebook: Unraveling Podcast Instagram: @UnravelingPodcast Ravelry Group: Unraveling Podcast Greg is KnittingDaddy on Ravelry, @KnittingDaddy on Instagram, and also writes the KnittingDaddy blog. Pam is pammaher on Ravelry  and @pammaher on Instagram

Justin Squizzero loves exploring the frontiers of technology, seeing how he can tune a piece of equipment to produce a complex textile. The technology that fascinates him reached its peak before the 20th century. Weaving on an old loom doesn't mean trying to turn back time, though—it means choosing the most refined technology to create the handwoven fabrics that he envisions. If a modern tool is better than the historic one (like the laser cutter that produced the small metal rings called mails, which were needed to to convert his loom from weaving coverlets to damask), that would be one thing. For all the supposed advances in technology in the last several hundred years, though, the best tool for weaving fine linen damask is still the one invented by Joseph-Marie Jacquard more than 200 years ago. Studying with Norman Kennedy and Kate Smith at the Marshfield School of Weaving helped Justin deepen his understanding of and fascination with the tools and techniques of 18th- and 19th-century weaving. What began as a winter occupation between summers working in museums led to beginning a business as a traditional handweaver, becoming a regular teacher in School's unique curriculum, and most recently taking on the role as its Director. In Justin's weaving practice, discovery and ingenuity are as vital looking to the past as to the future. Visit the show notes page (https://handwovenmagazine.com/long-thread-podcast-justin-squizzero/) to see a photo of Justin's Jacquard loom. This episode is brought to you by: Treenway Silks Treenway Silks is where weavers, spinners, knitters and stitchers find the silk they love. Select from the largest variety of silk spinning fibers, silk yarn, and silk threads & ribbons at TreenwaySilks.com (https://www.treenwaysilks.com/). You'll discover a rainbow of colors, thoughtfully hand-dyed in Colorado. Love natural? Treenway's array of wild silks provide choices beyond white. If you love silk, you'll love Treenway Silks, where superior quality and customer service are guaranteed. Yarn Barn of Kansas You're ready to start a new project but don't have the right yarn. Or you have the yarn but not the right tool. Yarn Barn of Kansas can help! They stock a wide range of materials and equipment for knitting, weaving, spinning, and crochet. They ship all over the country, usually within a day or two of receiving the order. Plan your project this week, start working on it next week! See yarnbarn-ks.com (https://www.yarnbarn-ks.com/) to get started. Links The Burroughs Garret (https://www.theburroughsgarret.com/) Marshfield School of Weaving (https://www.marshfieldschoolofweaving.org/)

Researchers in Michigan modeled a prehistoric land bridge and used AI to predict where caribou–and humans–might have traveled along it. Also, artist Sarah Rosalena uses Indigenous weaving, ceramics, and sculpture practices to create art that challenges tech's future.Using AI To Help Find Ancient Artifacts In The Great LakesAt the bottom of Lake Huron there's a ridge that was once above water. It's called the Alpena Amberley Ridge and goes from northern Michigan to southern Ontario. Nine thousand years ago, people and animals traveled this corridor. But then the lake rose, and signs of life were submerged.Archaeologists were skeptical they'd ever find artifacts from that time. But then John O'Shea, an underwater archaeologist based at the University of Michigan, found something. It was an ancient caribou hunting site. O'Shea realized he needed help finding more. The ridge is about 90 miles long, 9 miles wide and 100 feet underwater.“Underwater research is always like a needle in a haystack,” said O'Shea. “So any clues you can get that help you narrow down and focus … is a real help to us.”That's where artificial intelligence comes in. He teamed up with computer scientist Bob Reynolds from Wayne State University, one of the premier people creating archaeological simulations. And Reynolds and his students created a simulation with artificially intelligent caribou to help them make predictions.An Artist Combines Indigenous Textiles With Modern TechWhen multidisciplinary artist Sarah Rosalena looks at a loom, she thinks about computer programming. “It's an extension of your body, being an algorithm,” she says.Rosalena, a Wixárika descendant and assistant professor of art at the University of California Santa Barbara, combines traditional Indigenous craft—weaving, beadmaking, pottery—with new technologies like AI, data visualization, and 3D-printing. And she also works with scientists to make these otherworldly creations come to life. She involved researchers at the NASA Jet Propulsion Lab to make 3D-printed pottery with simulated Martian clay. And she collaborated with the Mount Wilson Observatory to produce intricately beaded tapestries based on early-1900s glass plates captured by the observatory's telescope, which women mathematicians used to make astronomical calculations.And that's also a big focus for Rosalena: spotlighting the overlooked contributions women made to computer science and connecting it to how textiles are traditionally thought of as a woman-based craft. When she first started making this kind of art, Rosalena learned that the Jacquard loom—a textile advancement in the 1800s that operated on a binary punch card system which allowed for mass production of intricate designs—inspired computer science pioneer Ada Lovelace when she was developing the first computer program. “[They] have this looped history,” she says. “And when I weave or do beadwork, it's also recalling that relationship.”But for Rosalena, there is tension and anxiety in her decision to combine new and ancient mediums. “We're at this point of the technological frontier and that's actually terrifying for a lot of people, especially for people from my background and my Wixárika background,” she says. “It's progress for some, but it's not for all.”Part of Rosalena's work is anticipating future forms of colonization, especially amid rapid change in our planet's climate and the rise of AI. “What happens when we bring traditional craft or Indigenous techniques with emerging technology to think about current issues that we are facing? Digital technologies are always chasing after ways that we could simulate our reality, which also produces this way that we could re-envision our reality,” she says.SciFri producer and host of our podcast Universe Of Art D. Peterschmidt sat down with Rosalena to talk about how she approaches her work, why she collaborates with scientists, and how she hopes her art makes people consider today's technological advancements through an Indigenous lens.Transcripts for each segment will be available after the show airs on sciencefriday.com. To stay updated on all things science, sign up for Science Friday's newsletters.

Join Beata Wilczek, founder and research director at Unfolding Strategies, a fashion consultancy and edu lab for fashion in web3, and her guests to discover new and brave voices in fashion innovation, design, research, and education. Tune in and learn about Just, Sustainable, and Digital Fashion Futures, straight from the Unfolding Strategies headquarters in Berlin and beyond. In this episode, our guest is Dr. Ivan Poupyrev. Dr. Ivan Poupyrev is an award-winning inventor, scientist, and entrepreneur. He is currently the CEO and founder of Archetype AI, a deep tech AI startup that seeks to build a foundational model capable of understanding, reasoning, and discovering invisible insights in the real world in real time, an initiative he calls 'Physical AI.' He is a former technology executive at Google and previously worked as a research scientist at Disney Imagineering and Sony. An inventor with more than 100 issued patents and over 100 publications, he is also a TED speaker and has received numerous awards, including the Smithsonian's National Design Award. Ivan was named 'one of the best interaction designers in the world' by Fast Company. http://unfoldingstrategies.com http://beatawilczek.net https://twitter.com/ipoupyrev https://www.archetypeai.io Podcast Host: Beata Wilczek Guest: Ivan Poupyrev Music: SKY H1 Podcast Producer: Julia Kąkolewska #UnfoldingStrategies #Unfolding #UnfoldingPodcast #FashionKnowledge #FashionKnowledgePodcast #FashionPodcast #FashionEducation #FashionFutures #SustainableFashion #ResponsibleFashion #EthicalFashion #DigitalFashion #DigitalArt #DigitalDesign #VirtualFashion #CryptoFashion #MetaFashion #DigitalEducation #DigitalLiteracy #DigitalSustainability #Fashion #Podcast #Innovation #Future #Trends #Technology #Web3 #Sustainability #Inclusivity #Diversity #Equity #Metaverse #NFT #Blockchain #Cryptocurrency #AR #VR #XR #AI #3D #3DFashion #3DArt #3DDesign #VirtualReality #VirtualFashion #VirtualHumans #VirtualGoods #BeataWilczek #IvanPoupyrev

Découvrez l'abonnement "Au Coeur de l'Histoire +" et accédez à des heures de programmes, des archives inédites, des épisodes en avant-première et une sélection d'épisodes sur des grandes thématiques. Profitez de cette offre sur Apple Podcasts dès aujourd'hui ! [INTERVIEW] Le Dit du Genji est un chef d'œuvre de la littérature japonaise, ses illustrations aussi ! Au XXe siècle, le grand maître tisserand japonais Itarô Yamaguchi se lance dans la confection de quatre rouleaux pour mettre en image le roman de Murasaki Shikibu. Ils lui demanderont plus de trente ans de travail, et vous pouvez admirer le résultat à l'occasion de l'exposition 'À la cour du Prince Genji, 1000 ans d'imaginaire japonais' qui se tient du 22 novembre 2023 au 25 mars 2024 au musée Guimet, le musée national des arts asiatiques ! Au cœur de l'Histoire vous fait la visite ! Partez à la découverte de l'art japonais du tissage de la soie et des liens qu'il a permis de tisser avec la France en écoutant l'entretien entre Virginie Girod et Aurélie Samuel, la commissaire de l'exposition.> À l'occasion de l'exposition 'À la cour du Prince Genji, 1000 ans d'imaginaire japonais' qui se tient du 22 novembre 2023 jusqu'au 25 mars 2024 au musée Guimet à Paris , Virginie Girod vous propose une excursion japonaise au cœur de l'histoire. Itarô Yamaguchi est un maître tisserand qui a fait ses armes dans le quartier de Nishijin à Kyoto, très réputé pour ses productions textiles. Elles ont la particularité de tisser la soie en insérant des feuilles de papier doré ou argenté pour donner du relief et rigidifier le tissu. Alors que le secteur est en difficulté, le Japon s'ouvre au monde à partir de 1868 : c'est l'ère Meiji. 'Les Européens vont arriver au Japon, les Japonais vont venir en France. Trois japonais de Kyoto arrivent à Lyon et apprennent à tisser à la mécanique Jacquard', raconte Aurélie Samuel. Fonctionnant grâce à un système de cartes perforées, ils sont bien moins coûteux que les anciens métiers à la tire et leur déploiement au Japon va redynamiser l'industrie textile à Nishijin.Pour réaliser son chef d'œuvre, Itarô Yamaguchi va jusqu'à perfectionner le métier Jacquard pour réaliser ses tissus sophistiqués, 'des étoffes façonnés'. Il a déjà 70 ans lorsqu'il se lance dans l'illustration du Dit du Genji. Ce monument de la littérature japonaise, considéré comme le premier roman psychologique de l'histoire, a été écrit au XIe siècle. C'est la période Heian qui correspond à 'l'avènement d'une culture spécifiquement japonaise, il faut savoir que jusqu'à lors c'est essentiellement l'influence chinoise en fait qui dominait la culture japonaise', précise Aurélie Samuel.'Dès le XIIe siècle, le Dit a été illustré par des artistes : peintres, sculpteurs, laqueurs, considéré comme un trésor national. Lorsqu'au XXe siècle, Itarô Yamaguchi décide de livrer un chef-d'œuvre digne de ce nom sur l'art du tissage, pour montrer qu'il s'agit d'un art majeur, il décide de reproduire ces peintures. Ce n'est pas une copie, c'est un vrai travail historique'. C'est aussi un travail monumental qui demandera plus de trente ans. Aurélie Samuel détaille : 'il va teindre jusqu'à 14 fois le même fil pour avoir toutes les subtilités de la teinture qui vont accrocher la lumière d'une manière différente à chaque fois'. Ces rouleaux, Itarô Yamaguchi va les offrir à la France. 'Justement parce que c'est la patrie de Joseph-Marie Jacquard. Le métier Jacquard a totalement sauvé l'industrie Nishijin, dont lui-même fait partie, il a voulu remercier la France !'.Thèmes abordés : tissage peinture japon soie 'Au cœur de l'histoire' est un podcast Europe 1 Studio- Présentation : Virginie Girod - Production : Camille Bichler et Nathan Laporte- Réalisation : Pierre Cazalot- Composition de la musique originale : Julien Tharaud - Rédaction et Diffusion : Nathan Laporte- Communication : Kelly Decroix- Visuel : Sidonie Mangin

Chaque année, le festival de la soie Silk in Lyon s'installe au Palais de la Bourse. Un bel écrin pour montrer le dynamisme actuel d'une filière qui a fait la réputation de Lyon. Mais la soie a aussi son musée. Au Musée Soieries Brochier, l'histoire de la soie est racontée par le prisme d'un grande maison de soyeux. La Maison Brochier a été créée en 1890 et n'a, depuis, cessé de faire briller Lyon en France et à l'international. Situé quai Jules Courmont, au sein de l'Hôtel-Dieu, le musée présente, en ce moment, une collection de robes en velours façonnés des marques Brochier Soieries et Bianchini Férier. En 2002, Brochier a racheté Bianchini-Férier. Le tissage du velours de soie est un savoir-faire réputé à Lyon. Lili Gaubin, Américaine vivant à Chigaco, contacte un jour Cédric Brochier pour créer et imprimer un carré de soie pour le 125ème anniversaire de l'Alliance Française de Chicago. Un premier contact qui va faire naitre une belle histoire que nous raconte Lyly : "L'Argentine a été un gros importateur de soieries Bianchini. Ma mère possédait 1000 robes. Avec Cédric Brochier, nous n'avons pas eu de mal à identifier celles confectionnées avec ce velours façonné fabriqué à Lyon. Il est venu sur place nous avons décidé de les exposer au musée. Ce sont des preuves du rayonnement de la France. C'est un produit fabriqué exclusivement à Lyon qui a été exporté dans le monde entier. Ce sont des robes qui ont été portées par ma mère, portées aux Etats-Unis et en Amérique du Sud. Les voir aujourd'hui dans un musée lyonnais, c'est une grande émotion car c'est aussi un hommage à maman" Brochier est un grand nom de la soie. Cédric Brochier est l'héritier d'une famille et d'une tradition. Car la première activité dans la soie pour les Brochier remonte à 1890. Cédric a accepté de revenir sur cette histoire de la soie en nous faisant visiter le musée ouvert en 2022. "Depuis 1890, c'est une histoire qui ne s'est jamais arrêtée. La soierie a connu des rebondissements, des difficultés, mais on a toujours réussi à sauver la société. On a tissé d'autres fibres, des tissus techniques, intelligents. On a voyagé dans le monde entier pour trouver de nouveaux marchés, de nouveaux... Notre ADN, c'est toujours marcher, ne jamais s'endormir..." Cédric Brochier est intarissable sur l'histoire de la soie. "Les rois de France ont été de grands consommateurs de soie. Le clergé aussi... Mais toute la soie venait d'Italie. a un moment, les rois ont décidé de rapatrier le savoir-faire en France. François Ier a fait venir des tisserands florentins. Il y a eu ensuite des facilités offertes à Lyon pour que notre ville puisse commercer la soie. Les société se sont créées. certaines pour l'ameublement et d'autres pour l'habillement. Napoléon a aussi jouer un rôle important. En 1890, la haute-couture est arrivée. Et mon grand-père a créé la société Brochier à ce moment-là. On s'est spécialisé dans les tissus les plus compliqués, donc les plus chers, mais c'est aussi un marché compliqué car les créateurs de mode sont souvent des divas. La mode, c'est tous les 6 mois et il faut toujours réinventer..." Au Musée Brochier, vous allez découvrir un métier à bras mécanique Jacquard de 1880. Mais aussi des planches d'impression. Des inventions racontés : comme le tissu d'ameublement ininflammable créé à partir de la fibre de verre de Saint-Gobain après la Seconde Guerre mondiale. Sans oublier les nouveaux textiles conçus à partir de fibre optique et qui servent encore aujourd'hui le secteur de l'aéronautique. Musée soieries Brochier 18 quai Jules Courmont Ouvert du lundi au samedi de 10h à 19h, dimanche de 10h à 18h

Which ducks or geese do you prefer as table fare? Some hunters prefer certain species over others, yet Scott Leysath, Ducks Unlimited magazine cooking columnist explains why hunters should approach every species the same way in the kitchen. Host Chris Jennings and Leysath share some personal experiences with different species of waterfowl as they discuss the best, and worst ways to cook ducks and geese.www.ducks.org/DUPodcast

Join Tamara for an interview with textile maven Katie Glusica. She came to Savannah in 2008 to pursue her MFA in Fibers from SCAD, where she would have access to a then-rare and sought-after jacquard loom.  Post-graduation, she exhibited her personal textile work in tons of renowned shows, including the Smithsonian Craft Show, the Philadelphia Museum of Art Craft Show, and a SCAD booth at Design Miami of Art Basel. She uses weaving as a means to engage her viewer with the quantum concept of wave/particle duality.  At the same time, Katie launched her business of repairing and restoring handmade rugs, caning, wicker, and rattan. In recent years she has *also* done consulting work with the Telfair Museum and the Owens-Thomas House, assisting them with various textile preparation, installation, and appraisal.  Check out her work and follow her here: https://www.instagram.com/katieglusica/  https://www.katieglusica.com/  Topics in their chat include: How landing a part-time job at a rug restoration shop in Richmond during undergrad inspired Katie's lifelong work; at her fine craft shows she created an immersive gallery space to create an "experience;" she built her business of restoring furniture and rugs with an eye toward sustainability, which is antithetical to the design world which relies on you consuming every few years; her work with the Oglethorpe Plan Coalition, dedicated to preserving the Savannah Downtown National Historic Landmark District; her message to artists: tenacity is very important and don't be afraid to hear "no;" rugs are a special niche even within the special niche of textiles, and not taught in very many academic spaces; what does "deaccessioned" mean?; and how the Jacquard loom, developed in 1804, was the first machine to use binary code.    * More info on the Oglethorpe Plan Coalition: The National Historic Landmark District in Savannah, Georgia, designated in 1966, is now under threat from excessive and inappropriate development. The district is supposed to be protected by local ordinances, but increasingly, important provisions in these ordinances are not being enforced. The National Park Service grades the district as “threatened,” and preservationists are now grouping together to take action to restore the district's integrity. https://oglethorpeplancoalition.org/  Tune in and get all the details!

Stephen Wolfram answers questions from his viewers about the history science and technology as part of an unscripted livestream series, also available on YouTube here: https://wolfr.am/youtube-sw-qa Questions include: How was it determined that light travels at a constant speed in a vacuum? - Could you speak about the history of the hard sphere model in statistical mechanics? In many textbooks, it is mentioned rather briefly for something so fundamental. - How did the study of nonlinear dynamics come about? I'd imagine it would be a known thing after Newton's work. - How important are complex numbers in the history of science and tech? Would the current state be possible without them? - Solving equations of that form led negative and complex numbers to be taken more seriously, but people did not see the utility of these types of numbers. A lot of facts that are true about real numbers are also true about complex numbers. They're not necessary to solve many problems, but they're convenient for packaging. - Have you ever seen CA-like objects produced by a Jacquard loom? - Just curious on your thoughts on technological singularity.

This week we are continuing our journey through Europe and we take a pit stop in France! The French have a rich knitting history, just like some of its surrounding countries. The most interesting part is definitely les Tricoteuses; knitters who would watch executions while knitting peacefully on hats. Interesting image? Take a listen to learn more! Knitting Patterns mentioned: - Bonnie Cardigan https://www.ravelry.com/patterns/library/bonnie-27 Our sources: - Beautiful article about revolutionary knitting in France https://lithub.com/on-the-covert-role-of-knitting-during-the-french-revolution-and-world-war-ii/  - Picture of William Lee's knitting machine can be found here https://madeupinbritain.uk/Stockings - Information on natural dyes https://thebiologist.rsb.org.uk/biologist-features/to-dye-for - Tricoteuses information https://www.geriwalton.com/tricoteuse-knitting-women-of-the-guillotine/  - Tricoteuses informationhttps://timeline.com/tricoteuse-french-revolution-b9887af073f4  - History of knitting in France (in French) https://textileaddict.me/histoire-du-tricotage-en-france/  - Famous picture of les Tricoteuses https://histoire-image.org/etudes/tricoteuses-revolution-francaise  - Poem about the tricoteuses https://classicalpoets.org/2019/11/09/the-tricoteuses-and-other-poetry-by-frank-l-ludwig/#/  - Additional information on the Jacquard loom https://en.wikipedia.org/wiki/Joseph_Marie_Jacquard#/media/File:A_la_m%C3%A9moire_de_J.M._Jacquard.jpg  Spain:  - http://www.bellaonline.com/articles/art306902.asp  - Pomar, Rosa. Portuguese Knititng. 2013. Specifically the chapter "A History of Knitting", where Spain is mentioned. Information on sheep breeds (definitely recommend this book for all fiber fanatics!)  Robson, Deborah & Ekarius, Carol. The Fleece & Fiber Sourcebook. 2011. Over 400 pages of beautiful information!  An answer to Blair's question about cheviot sheep: Cheviot sheep are actually from England/Scotland! Read more about them here if you're interested: https://breeds.okstate.edu/sheep/cheviot-sheep.html 

Pixel Markup vulnerability lets some screenshots be un-redacted and un-cropped; fixed by March update. Google: Turn off VoLTE and Wi-Fi calling due to severe Exynos modem vulnerabilities on Pixel 6 and more. Qualcomm's Next Mid-Range Android Chip Can Support Up to 16GB of RAM. Oppo Find X6 Pro has a 1-inch camera sensor, 2,500 nit display, and Snapdragon 8 Gen 2. The Google Pixel 7a prototype eBay listing reaches its inevitable conclusion. Google Pixel 8 Renders Reveal Design Refresh Ahead of Possible Google I/O 2023 Launch. Google's Pixel 8-exclusive features could include a way to sharpen blurry videos. Google Glass Enterprise Edition is no more. A new era for AI and Google Workspace. Pocket Casts for Wear OS is actively being developed. YouTube TV's Price Is Increasing to $73 a Month, and It Makes Me Want to Cancel My Subscription. Google is shutting down the Jacquard smart fabric app soon. My Pixel 6 lost wireless charging with the March 2022 update. Why a manual entry PIN is better for security. Just found my favorite One product at $25. Read our show notes here: http://bit.ly/3JY2ufu Hosts: Jason Howell, Ron Richards, and Huyen Tue Dao Subscribe to All About Android at https://twit.tv/shows/all-about-android. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: GO.ACILEARNING.COM/TWIT CDW.com/HPE

Pixel Markup vulnerability lets some screenshots be un-redacted and un-cropped; fixed by March update. Google: Turn off VoLTE and Wi-Fi calling due to severe Exynos modem vulnerabilities on Pixel 6 and more. Qualcomm's Next Mid-Range Android Chip Can Support Up to 16GB of RAM. Oppo Find X6 Pro has a 1-inch camera sensor, 2,500 nit display, and Snapdragon 8 Gen 2. The Google Pixel 7a prototype eBay listing reaches its inevitable conclusion. Google Pixel 8 Renders Reveal Design Refresh Ahead of Possible Google I/O 2023 Launch. Google's Pixel 8-exclusive features could include a way to sharpen blurry videos. Google Glass Enterprise Edition is no more. A new era for AI and Google Workspace. Pocket Casts for Wear OS is actively being developed. YouTube TV's Price Is Increasing to $73 a Month, and It Makes Me Want to Cancel My Subscription. Google is shutting down the Jacquard smart fabric app soon. My Pixel 6 lost wireless charging with the March 2022 update. Why a manual entry PIN is better for security. Just found my favorite One product at $25. Read our show notes here: http://bit.ly/3JY2ufu Hosts: Jason Howell, Ron Richards, and Huyen Tue Dao Subscribe to All About Android at https://twit.tv/shows/all-about-android. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: GO.ACILEARNING.COM/TWIT CDW.com/HPE

Pixel Markup vulnerability lets some screenshots be un-redacted and un-cropped; fixed by March update. Google: Turn off VoLTE and Wi-Fi calling due to severe Exynos modem vulnerabilities on Pixel 6 and more. Qualcomm's Next Mid-Range Android Chip Can Support Up to 16GB of RAM. Oppo Find X6 Pro has a 1-inch camera sensor, 2,500 nit display, and Snapdragon 8 Gen 2. The Google Pixel 7a prototype eBay listing reaches its inevitable conclusion. Google Pixel 8 Renders Reveal Design Refresh Ahead of Possible Google I/O 2023 Launch. Google's Pixel 8-exclusive features could include a way to sharpen blurry videos. Google Glass Enterprise Edition is no more. A new era for AI and Google Workspace. Pocket Casts for Wear OS is actively being developed. YouTube TV's Price Is Increasing to $73 a Month, and It Makes Me Want to Cancel My Subscription. Google is shutting down the Jacquard smart fabric app soon. My Pixel 6 lost wireless charging with the March 2022 update. Why a manual entry PIN is better for security. Just found my favorite One product at $25. Read our show notes here: http://bit.ly/3JY2ufu Hosts: Jason Howell, Ron Richards, and Huyen Tue Dao Subscribe to All About Android at https://twit.tv/shows/all-about-android. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: GO.ACILEARNING.COM/TWIT CDW.com/HPE

Pixel Markup vulnerability lets some screenshots be un-redacted and un-cropped; fixed by March update. Google: Turn off VoLTE and Wi-Fi calling due to severe Exynos modem vulnerabilities on Pixel 6 and more. Qualcomm's Next Mid-Range Android Chip Can Support Up to 16GB of RAM. Oppo Find X6 Pro has a 1-inch camera sensor, 2,500 nit display, and Snapdragon 8 Gen 2. The Google Pixel 7a prototype eBay listing reaches its inevitable conclusion. Google Pixel 8 Renders Reveal Design Refresh Ahead of Possible Google I/O 2023 Launch. Google's Pixel 8-exclusive features could include a way to sharpen blurry videos. Google Glass Enterprise Edition is no more. A new era for AI and Google Workspace. Pocket Casts for Wear OS is actively being developed. YouTube TV's Price Is Increasing to $73 a Month, and It Makes Me Want to Cancel My Subscription. Google is shutting down the Jacquard smart fabric app soon. My Pixel 6 lost wireless charging with the March 2022 update. Why a manual entry PIN is better for security. Just found my favorite One product at $25. Read our show notes here: http://bit.ly/3JY2ufu Hosts: Jason Howell, Ron Richards, and Huyen Tue Dao Subscribe to All About Android at https://twit.tv/shows/all-about-android. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: GO.ACILEARNING.COM/TWIT CDW.com/HPE

Stephanie shares that she's been taking an intro to basket weaving class at a local art studio, and it's an interesting connection to computer science. Joël eats honeycomb live on air and shares a video that former Bike Shed host Steph Viccari found from Ian Anderson. It's a parody to the tune of "All I Want For Christmas Is You," but it's all about the Ruby 3.2 release. In this episode, Stephanie and Joël shift away from literature and lean into art. Writing code is technical work, but in many ways, it's also aesthetic work. It's a work of art. How do you feel about expressing yourself creatively through your code? This episode is brought to you by Airbrake (https://airbrake.io/?utm_campaign=Q3_2022%3A%20Bike%20Shed%20Podcast%20Ad&utm_source=Bike%20Shed&utm_medium=website). Visit Frictionless error monitoring and performance insight for your app stack. Weaving, Computing, and the Jacquard Loom (https://www.scienceandindustrymuseum.org.uk/objects-and-stories/jacquard-loom) Ian Anderson's Ruby Christmas song (https://www.instagram.com/reel/CmAxL_ZNMOa/?igshid=YmMyMTA2M2Y%3D) Dan McKinley's Boring Technology Club slides (https://boringtechnology.club/) Simple English Wikipedia (https://simple.wikipedia.org/wiki/Main_Page) Geepaw Hill's Twitter thread about levels of thinking (https://twitter.com/GeePawHill/status/1565389543628480518) Julia Evans's debugging puzzles (https://mysteries.wizardzines.com/) Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin (https://bookshop.org/p/books/tomorrow-and-tomorrow-and-tomorrow-gabrielle-zevin/17502475) Transcript: AD: thoughtbot is thrilled to announce our own incubator launching this year. If you are a non-technical founding team with a business idea that involves a web or mobile app, we encourage you to apply for our eight-week program. We'll help you move forward with confidence in your team, your product vision, and a roadmap for getting you there. Learn more and apply at tbot.io/incubator. JOËL: Hello and welcome to another episode of The Bike Shed, a weekly podcast from your friends at thoughtbot about developing great software. I'm Joël Quenneville. STEPHANIE: And I'm Stephanie Minn. And together, we're here to share a bit of what we've learned along the way. JOËL: So, Stephanie, what's new in your world? STEPHANIE: I'm really excited to share that I've been taking this intro to weaving class at a local art studio. I'm actually a few weeks in, and it's wrapping up soon. But one thing that I found really cool at the very first class was that the instructor mentioned that weaving was, in some ways, a predecessor or inspiration to modern computing. And he said that, and I got really excited because surely that meant that I would be good at this thing [laughs] and this craft, and then I promptly kind of forgot about it. But I was inspired the other night to look up this history to just learn more about weaving and its connection to computer science. And I learned that, in particular, the invention of something called the Jacquard loom really led to early computing machines because, basically, weaving involves threading horizontal and vertical fibers. And the way you do it if you thread the horizontal fiber, also called the weft, over or under the vertical fibers, called the warp, you get different patterns. And so with the Jacquard loom, this invention utilized punch cards as instructions for basically binary code, and that would tell the loom how to raise and lower those vertical threads, which would then lead to a beautiful pattern. And after that invention, this previously very laborious process became automated. And that also had a really big impact on the textile industry. And fabric became a lot more available at a much lower cost. So that was a really cool little history lesson for me. JOËL: That is really cool. So are you saying that punch cards, as we know them from early computing, were borrowed as a concept from the weaving industry? STEPHANIE: Yeah, that's at least what I've read. I can see now how complex weaving tapestries and patterns set the stage for more complex computations. And I don't know if I'm going to keep going down this weaving journey. I liked the intro class because it was very chill, and I got to use my hands. And I had a little bit of fun making, I don't know, like ten by 12-inch little tapestry. But yeah, I've definitely seen other more advanced weavers make really beautiful textiles and fiber arts. And it's really cool to see the application of that detail-oriented skill in different formats. JOËL: Are you going to try to make your own punch cards? STEPHANIE: That's an interesting evolution of this skill [laughs] for sure. I think what I really did like was the hands-on approach. And so the punch cards did make this process automated. But I personally enjoyed the switching of the threads and pulling them through and doing it with my hands instead of something that's kind of turned into automated machine work. Does that inspire you in some way? JOËL: I think sometimes it's interesting, right? As software people, we sort of have the two urges. We work in so much automation. When we see a process, we would love to try to automate it ourselves, even if it's been done before. So, oh, could I build a small, automatic mechanical loom using punch cards? That sounds like a fun automation challenge. At the same time, so much of my daily job is automation that sometimes it's nice to kind of remove automation entirely from the picture and, like you said, just work with your hands. STEPHANIE: That's a really interesting way to think about it. I do believe that people have different reactions to it, like you said, where they're like, "Wow, I can use my skills to do this really cool thing." On the other hand, you might also respond with, "Wow, I've done this automation code-writing work for eight hours. So now I really want to do something completely different." And I think that's the camp that I was in, at least when I first signed up for this class, just having space, like three hours a week, to sit and not look at a computer and deal with the physical realm. JOËL: So here's the other route that I think a lot of software people take, and that is, here's a fun mechanical process that can be automated. What if we simulated it virtually? So what if I create a program where you can sort of create your own punch card, like, decide where you want to punch the holes? And maybe these are just radio buttons or something or checkboxes in a grid on a webpage. And then, the program will output an SVG that is the thing that would have been woven if you'd used it in that pattern. And so now you can kind of play around with, like, huh, what if I punch here? What if I unpunch here? And you get all these patterns out, and you could just get to try it around. STEPHANIE: That's fascinating. I can't believe your brain went there. [laughter] But yeah, the idea that it's not actually about the pattern itself but the holes that you make, that part being the creative process and then what comes out of it then being a bit of a surprise or just something organic that's a really interesting take too. JOËL: Something that I find is really fun about software and things created from software is this sort of really short feedback loop in terms of trial and error. So if you were actually having a weaving machine and you made a physical punch card, and then you try something, and you realize it's not quite right, the machine weaved something you didn't quite like, now you've got to set it up again. You probably have to start from scratch with a new punch card because you can't really unpunch holes unless maybe you can put tape over it or something. That trial-and-error feedback loop is much shorter. Whereas with a program, you just pause the simulation, punch-unpunch some holes, restart, and then you just kind of keep trying. And there's something fun about that creative exploration when you've got that really tight feedback loop. STEPHANIE: That's fair. I think perhaps that actually might be why doing it manually, and by it, I mean weaving, gives you a little bit more room to [laughs] debug if you will, because you can see when something goes wrong. And this actually happened to me in class earlier this week where I didn't thread the fiber over instead of under. And I was like, oh, this doesn't look right. Like, that's not the look I'm going for. And then I could kind of quickly see, oh, I missed a thread over here and unravel and do it again. Whereas what you just described, if the punch card is wrong and then you create this big piece of fabric, at that point, I'm not really sure what happens then. If someone out there is a weaving expert and knows the answer; I would be very curious to know. JOËL: Now I kind of wish we'd had this conversation last month because, in early January, there was a game jam event that happened. It's a yearly or biyearly Historically Accurate Game Jam, and they select a theme, and then everybody has to submit a game, or a simulation, or something, an interactive program that fits with the theme. And this year's theme was the Industrial Revolution. And I feel like simulating an old automated loom with punch cards would be the perfect fit for something that's small enough that I could build it in a week without spending 10 hours a day working on it. It fits within the theme, and it's still kind of fun. STEPHANIE: Wow, that would have been a really great idea. If there was an award for best fitting the theme, I think that would have won because then you're also tackling the history of computing. I was talking about earlier the loom obviously being...or the automated loom also really playing a big role in the Industrial Revolution. And, I don't know, maybe this is our future club, Joël, and we're going to get into video game development. [laughs] What's new in your world, Joël? JOËL: There are two things. One is that today former Bike Shed host, Stephanie Viccari, shared a video with me from Ian Anderson. This was made last December to the tune of All I Want For Christmas Is You. But it's all about the, at that time, upcoming Ruby 3.2 release. It is amazing. The lyrics talk about the different features that are upcoming. It rhymes. It's set to meter. I am just blown away by this. And I'm just really hyped [laughs] about this video. STEPHANIE: You sent it to me and I gave it a watch before we sat down to record, and I also loved this video. It was so fun. And I think Ruby has a bit of a tradition of releasing new versions around Christmas time. So if this became a tradition, that would be very fun, and maybe instead of singing Christmas carols, we'll be singing new Ruby version carols around the holidays. JOËL: I feel like if Ian wants to do another one next Christmas, now that you have the precedent, it'd be a great space to try something to the tune of Last Christmas because now you can reference back last year's song. STEPHANIE: Yeah. I might as well just go all in and create a whole Christmas album of Ruby anticipation carols. [laughter] JOËL: Yeah, really excited about that. Kudos to Ian. And for all of our listeners, we'll link the video on the show notes of the podcast. Go and check it out; it is worth the two and a half-minutes of your life. STEPHANIE: Agreed. JOËL: The other cool thing, for the past few episodes, we've been talking a lot about hexagons and how they show up in nature, and bees, and how they build their honeycombs and whether that is sort of by design or sort of just happens by nature through sort of external forces. And so this week, I went out to the store, and I bought some real honeycomb. And I'm going to try it on air. STEPHANIE: [laughs] Oh my gosh, I didn't realize that's what was happening. [laughter] Okay, I'm ready. JOËL: All right, I'm going to take a slice. STEPHANIE: Wow. For research. JOËL: For science. STEPHANIE: Wow, that is a big bite. [laughs] JOËL: Hmmm, it's basically crunchy honey. STEPHANIE: So I've enjoyed honeycomb in that raw form on ice cream. I really like it on there and oatmeal and stuff like that. I think it's a little bit waxy. Like, once you get to chewing the bits at the end, that part is a bit of a less pleasant mouth-feel [laughs] in my opinion. What are you experiencing right now? JOËL: Yeah, so like you're saying, the honey kind of dissolves away in your mouth. You had this really fun mix of textures. But then, in the end, you do end up with a ball of [laughter] beeswax in your mouth. STEPHANIE: Oh no. JOËL: Which I understand is completely safe to eat, so... STEPHANIE: Yeah, that's true. JOËL: I'm just going to eat the whole thing. STEPHANIE: I think it's kind of like swallowing gum. [laughs] JOËL: Which apparently does not last for seven years in your digestive system; that's a myth. STEPHANIE: Wow, debunking myths, trying honeycomb. You're welcome, to all The Bike Shed listeners out there. Investigating the important things. JOËL: What is interesting is that we're talking about the structural power of hexagons. I can cut a pretty thin slice of the comb, and it doesn't fall apart. It still has a lot of strength to it, which is nice because it means that the honey doesn't just go splashing everywhere. I can cut up a fairly thin slice, pick it up, it still holds the honey, put it in my mouth, and it doesn't make a mess. STEPHANIE: The bees know what they're doing. [laughs] Cool. Would you eat raw honeycomb again? JOËL: Well, I got a whole block, and I had one tiny slice. So, yes, I will be eating the rest of this. STEPHANIE: [laughs] JOËL: I don't think this will be a regular thing in my weekly groceries. But I would bring this out again for a special occasion. Or I can see this fitting nicely, like you said, on maybe certain breakfasts, even on a charcuterie board or something. STEPHANIE: Oh yeah, that's a really good use for it. JOËL: In some ways, it's nice because it's a way to have honey without having to have it on something else or having to eat it with a spoon. It's honey that comes with its own carrying vessel. STEPHANIE: That's great. Yeah, like a bread bowl for soup. [laughs] JOËL: Exactly. Bees make their own bread bowls for honey. STEPHANIE: [laughs] MID-ROLL AD: Debugging errors can be a developer's worst nightmare...but it doesn't have to be. Airbrake is an award-winning error monitoring, performance, and deployment tracking tool created by developers for developers that can actually help cut your debugging time in half. So why do developers love Airbrake? It has all of the information that web developers need to monitor their application - including error management, performance insights, and deploy tracking! 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You literally have nothing to lose. Head on over to airbrake.io/try/bikeshed to create your FREE developer account today! JOËL: So, for the last couple of weeks, we've been joking that this is turning into the Stephanie and Joël book club because we've been talking about a lot of articles and books. Today, I'd like to shift a little bit away from literature and lean into art. Writing code is a technical work, but in many ways, it's also an aesthetic work. It's a work of art. How do you feel about the idea of expressing yourself creatively through your code? STEPHANIE: So this is interesting to me because it's actually quite different from what we've been talking about in recent episodes around the idea of writing sustainable code, code for other people to read. Because if you are writing code purely for creative expression and just for yourself, that will look very different than what I think folks have kind of called boring technology, which is choosing the patterns, the tools, the frameworks that are tried and true, and just kind of sticking to the things that people have solved before. And so, in some ways, I don't know if I really get to express myself creatively in the code that I write, which I think is okay for me because I don't really consider myself someone who needs a creative outlet in my work. What about you? What thoughts do you have about this? JOËL: I think it's interesting the way you described it. I'm almost wondering if I'm making maybe a comparison to physical architecture; maybe you almost have a sort of brutalist perspective on the things you construct. STEPHANIE: [laughs] JOËL: So they're functional. They're minimal. They are not always the prettiest to look at, but they're solid. Does that metaphor sound about right to you? STEPHANIE: I feel like I have to make a pun about SOLID, the design patterns, and code. JOËL: Ooh. STEPHANIE: [laughs] But I think I like brutalist, I mean, the term itself. I don't know if I necessarily identify with it in terms of my work and output. But the idea that the code that I do is functional is, I think, particularly important to me as a developer. And I don't just mean, like, oh, the code works, so it's done, but functional for whatever need I'm solving and also for the people who are working with this code again in the future. I mentioned boring technology. There's a talk that I'm kind of referencing by Dan McKinley, and you can check out his slides at boringtechnology.club. And he talks about this idea of decision-making and how that relates to writing boring or creative code. And he also references Maslow's hierarchy of needs. And so, ideally, if you're working in an existing codebase, all the low-level decisions have been made for you. And then you can kind of traverse the hierarchy and focus your creativity on the high-level problems that you're trying to solve. So maybe you're not necessarily expressing your creativity in the syntax or whatever pattern you're using, again, because a lot of those things have been solved. But where the creativity comes from is the particular domain or business problem you have and the real-world constraints that you're faced with. And how do you figure out what to do given those constraints? JOËL: I think that lines up a lot with my own experience as well. I think as a newer developer, syntax is sort of the thing that's top of mind. And so, maybe trying to get clever with syntax is something that I would focus on more. Sometimes that's trying to get code really short and terse. Sometimes it's because I want to try. Can I do this thing with a particular piece of syntax, or even just does it look pretty? I think now, in my code, I am actually kind of boring with my syntax. I, probably when I write Ruby, mostly use a kind of slimmed-down set of syntax and don't use the full expressive power of the language for most of my day-to-day needs. So basic things with objects, and methods, and blocks, sort of the basic building blocks that we get from Ruby regular conditionals, if...else, and a few other nice things that the language gives us. But, in many ways, it almost feels like...I don't know if you've ever seen the simplified English Wikipedia. STEPHANIE: No, I haven't. What is that? JOËL: They're treating it, I think, like a separate language, but it is a version of Wikipedia in English with a more restricted vocabulary to try to make the content more accessible to those that might struggle with more standard English. So it's a sort of smaller subset of English. And, in many ways, I feel like a lot of the day-to-day Ruby code that I write is simplified, Ruby. STEPHANIE: Wow, that's really interesting. I think this also goes back to the specialized vocabulary episode we talked about. And is there value in keeping things accessible, and straightforward, and boring but at the cost of being able to express yourself with everything you have available to you? This is a bit of a tangent, I guess, but I grew up speaking Chinese with my parents, but since then, I have really lost a lot of that vocabulary. And, in some ways, I really struggle with communicating in Chinese because I feel like I'm not able to express myself exactly the way I want to in the way that I can in English. And when I'm talking to my parents, yeah, that's been a bit of a challenge for me because I do really value being able to say things the way that I mean, and I'm not able to have that with my limited vocabulary. So I can also see how people might not enjoy working within these confines of boring syntax and boring frameworks. JOËL: Sometimes it's nice to give yourself a sort of syntactical restriction, but they're very low-level when it comes to most of what we do for programming. And I think that's sort of what I've learned as my career has evolved is that programming is so much more than just learning syntax. So kind of like with art, maybe it's nice to restrict yourself to say, oh, can I do something with only a particular brushstroke technique, or restricting myself to a particular palette or a particular medium? And that can foster a lot of creativity. So, similarly, I think you could do some things like playing Code Golf, not on production code; please don't. STEPHANIE: [laughs] JOËL: But as an experiment in a side project or just almost as a piece of art, that can be a really interesting problem to solve and give you a deeper understanding of the language. And I'm sure there are plenty of other syntactical limitations you could put on yourself or maybe fancy things you would like to explore and say, "Well, this is over the top. We don't need to structure it in this way or use this syntax. But I want to sort of push the boundaries of what can be done with it. Let's see where I can take it." STEPHANIE: That's really fair. And I think it relates back to what I was saying earlier about perhaps creativity when writing software products comes from the constraints of the business of, in some ways, physical aspects of development. In the Dan McKinley talk, I mentioned about choosing boring technology. He generally recommends against bringing in a new language or framework because of the costs, the carrying cost of doing that, and the long-term maintenance to consider. But he instead suggests turning the question on its head and being like, how can we solve this problem with the current technology that we do have? And I think that relates to what you were saying about being able to push the boundaries of a particular medium or tool and in a way that you might not have considered before. JOËL: Exactly. And I think going back to the analogy with art; sometimes it is nice to restrict yourself to a particular brushstroke or something like that to try to foster creativity. But oftentimes, you want to explore creativity in much higher-level ways. So maybe you're not restricting things like brushstrokes and color, and, instead, you want to explore lighting. You want to explore maybe certain ways of mixing colors. There are all sorts of, I think, higher-level ways that you can be creative in art that's not just the mechanics of how you apply pigment to canvas. And we see the same thing like you were saying, in code where there's a lot of higher level business problems. Generally, how do we want to structure large chunks of the code? How do we want to build abstractions? Although that can also be a dangerous place to get too creative in. STEPHANIE: Yeah, absolutely. Do you consider yourself a creative person or need a creative outlet? And how does writing code or software development play a role in that for you? JOËL: I would say, yes, I consider myself a creative person. And I would consider coding, in general, to be a creative endeavor. I sometimes describe to people that writing code is like building something out of infinite legos. You're constrained only by the power of your imagination and the amount of time you're willing to put into constructing the thing that you're building. Of course, then you have all sorts of business constraints. And there are things you want to do on a work project that are probably not the same as what you would want to do on a client project or on a personal project. But there's still creativity, I think, at every level and sometimes even outside of the code itself. Just understanding and breaking down the business problem can require a ton of creativity before you even write a single line of code in your editor. I was reading a Twitter thread the other day by @GeePawHill that sort of proposes that there are sort of four steps in evolution of kind of the mindset that programmers go through over their career. And I'd be curious to hear your thoughts on this evolution if you kind of agree with it or disagree with it if that maybe lines up with some of your experience. So this Twitter thread proposes four levels of thinking that we go through. I think we can kind of jump between these levels at various points in our work. So we might do all of these in a day, but to a certain extent, they also follow a little bit of a progression in our career. So the first level is thinking in terms of syntax; that's just knowing the characters to type in the editor. The second level is thinking in terms of code, that's, thinking a little bit more semantically. So now, instead of thinking, oh, do I need if then curly brace, then closed curly brace? Now we're thinking more in terms of, okay, I need a branch in the flow of control for my logic here. And at that level, maybe you don't even need to think about the syntax quite so much because you're so comfortable with. It kind of just fades away. Building beyond that, now you're thinking in terms of your paradigm. So Ruby is an object-oriented language, so you might be thinking in terms of what objects do I need to represent this problem and how do they need to talk to each other? And the sort of underlying semantics of, oh, do I need a conditional here or not? Those might start fading away because now you're thinking at a slightly higher level. And then, finally, thinking in terms of change sets. Now you're thinking less in terms of the language itself and more in terms of the business problems and how the current behavior of the software is different and needs to change to get to where we want the behavior to be. STEPHANIE: I think I disagree a little bit with the idea that it's a progression. And I'm thinking about how when you have a beginner's mind, anything is possible. And in some ways, if you are new to coding, before you have that understanding of what is and isn't possible, anything is possible. And so, in some ways, I've worked with people who are super new to coding, and the ideas that they come up with for how to make a change at that highest level that you were just describing, in some ways, make sense. You can be like, oh yeah, that actually is something we can do and an idea that you might eventually get to from someone more experienced, having followed those different levels of progression and reaching a place where you're like, I know exactly what tools or the details about how to do this. But when you have that beginner's mind, and you don't have the details of the how, I think you can still think about those problems at a higher level, and that is valuable, and maybe they'll need help implementing along the way. And I think that that could be a really interesting area of collaboration that perhaps we don't do enough in this industry because it's very mentorship-focused where it's like, okay, I have more experience, and so I'm going to teach you what I know. Whereas if you bring someone with a totally fresh perspective along, what ideas can you generate from there? JOËL: I think we definitely exist in all of these layers every day as developers. I think, looking back at myself as a newer developer, I tended to maybe work bottom-up when I tried to solve a problem. And I think that now I probably tend to work sort of in the reverse order, start by thinking in terms of changes and then work my way down. And so syntax, at that point, is the last thing that I'm thinking about. It's really an implementation detail. Whereas I think as a new coder, syntax was super important. Was your experience similar to that, or did you have a very different journey? STEPHANIE: It's funny that you mentioned it because I think when I was new to development, there were so many syntactic things that I didn't understand that I just kind of like blurted out of my brain when I was reading code and was then trying to latch on to the important pieces of information that I needed to know, which often meant class names or method names. Pieces that I could grab onto and be like, okay, I'm seeing that this method then calls this other method or whatever. And, yeah, what you were saying about implementation details falling away, I kind of did that at the beginning of my career a little bit, at least at that syntactic level. So, yeah, I think I'm with you where we all exist at different parts of this framework, I suppose. And that journey could look different for everyone. JOËL: So we're talking about ways to be creative at higher levels. And one way that I find has been really fun for me but also really useful has been bringing in dependency graphs as a tool for design. You knew I had to mention dependency graphs. STEPHANIE: We got there in the end. [laughter] Cool, go on. JOËL: I think it's been really good sometimes in terms of modeling change sets because dependency graphs can be a great tool for that, but also sometimes in terms of trying to understand what the underlying business problem is and how it might translate into code structures where things might be tightly coupled versus not. And so, drawing it out visually is a really powerful design tool. And because now I can look at it in two-dimensional space, I can realize, oh, I see something that feels like it's maybe an anti-pattern or might be a problem here. There's a cycle in my graph; maybe we should find a way to break that. Maybe we need to introduce some dependency inversion and break that cycle, and now our graph is acyclic. And so I think that's where there can be a lot of creativity that happens, even when you're not writing code at that point. You're just sort of talking about how different pieces of the project or even different subproblems...you're not even talking about if they're implemented in code, but just saying this subproblem is related to this subproblem, and maybe I would like to find a way for them to not have a connection to each other. STEPHANIE: I'm glad we got back to this dependency graph topic because I stumbled upon something that I'm curious to hear your opinion on. I have been following Julia Evans' work for a little bit now. And she recently released a new zine about debugging. And at the end of the zine, she includes a link to these choose-your-own adventure puzzles that she has created, specifically to teach you about debugging and how to do it. And so it's basically a little detective game, and you kind of follow along with this bug. And she gives you some different options about how would you like to find a little bit more information about this bug? And what approach would you take? And you make some different selections, and then as you go, you get more information about the bug. And that helps inform what next steps you might take. And, one, I think this is a great example of a creative project about software development, even though it's not necessarily your day-to-day work. But then she also uses a tool called Twine, which is for creating non-linear stories, or puzzles, or games. And it got me really thinking about the multi-step wizard we've been talking about and this idea of looking at a problem in different mediums. It also reminds me of if you have a designer on your team and they're doing prototyping, they usually have some kind of user interactivity that they have to codify. And they are making those decisions about okay, like, if you are at this step, then where do you go next? And those are all things that you've talked about doing as a developer, I think, at a later point in the future lifecycle. And I'm now just kind of thinking about how to integrate some of that into our workflow. Do you have any thoughts about that? JOËL: I had one of the coolest experiences in my career when I was doing a front-end project where we were building a typeahead component that was pulling data from a remote server and then populating a drop-down. And the designer and I sat down and just started to look through all the different states that you could be and how you could move from one to another. So it looked like maybe you start the typeahead is empty; it's just a text box. And then as you start typing, maybe there's a spinner that shows up. And then maybe you have some results, or maybe you don't have results. And those are two different entirely states that you could be in. And then, if you backspace, what happens? And what if something goes wrong on the server? Like, we just kept finding all these edge cases. And we built out a diagram of all the possible journeys that someone could take, starting from that empty text box, all the way to either some sort of error state or a final state where you've selected an item. But, of course, these are not necessarily terminal because in an error state, maybe you can just start typing again, and you sort of jump back into the beginning of the flow. So we did this whole diagram that ended up looking very much like a finite-state machine. We didn't use the term, but that's kind of what it ended up being. And I think we both learned a lot about the problem we were trying to solve and the user experience we were trying to create through that. There was just a lot of back and forth of, like, oh, did you think about what would happen if we get no results here? Have we thought about that state? Or it's like, okay, so now we're in an error state. What do we do? Is there a way to get out of it, or are we just kind of stuck? Oh, you can backspace. Okay, what happens then? STEPHANIE: Yeah, I mean, we've been talking about creativity as a solitary process. But I think that that goes to show that when collaborating with other people, too, that process can also be very fun and creative and fulfill that need outside of the way the code is written. JOËL: In many ways, I think working with somebody else, and that gets made at the intersection of two or more people's work, is probably the most creative way to build software. STEPHANIE: That actually reminds me of a book I read last year called "Tomorrow, and Tomorrow, and Tomorrow." And it's about these two friends and their journey creating video games together. And it kind of follows several decades of their life and their relationship, and their creative and collaborative process. And I really loved that book. It was very good, especially if you like video games. There are a lot of great references to that too. But I think what you were saying about that fulfillment that you can get with working with other people, and that book does a really good job examining that and getting into our need as humans for that type of collaboration. So that's my little book rec. It goes back to our conversation about designing a game. Again, maybe this is [laughs] what we'll do next. Who knows? The world's our oyster. On that note, shall we wrap up? JOËL: Let's wrap up. STEPHANIE: Show notes for this episode can be found at bikeshed.fm. JOËL: This show has been produced and edited by Mandy Moore. STEPHANIE: If you enjoyed listening, one really easy way to support the show is to leave us a quick rating or even a review in iTunes. It really helps other folks find the show. JOËL: If you have any feedback for this or any of our other episodes, you can reach us @_bikeshed, or you can reach me @joelquen on Twitter. STEPHANIE: Or reach both of us at hosts@bikeshed.fm via email. JOËL: Thank you so much for listening to The Bike Shed, and we'll see you next week. ALL: Byeeeeeeeeee!!!!!!!! ANNOUNCER: This podcast is brought to you by thoughtbot, your expert strategy, design, development, and product management partner. We bring digital products from idea to success and teach you how because we care. Learn more at thoughtbot.com.

In this episode, Jocelyn Hallman talks to actor Michael Chernus (Severance, The Accidental Wolf, Orange is the New Black, Easy) about tie dyeing, music, gardening, art as community practice, and the act of caring for others through art.After the show, go to @sidecraftspodcast on Instagram to see pictures of some of Michael's dye work! Follow Michael on Instagram @mchernus and on Twitter @MichaelChernus. You can also check out more about the Tie Dyen' 4 Biden project on Instagram @tiedyen4biden. Michael expressed huge gratitude to Jacquard Products for their support during the tie dye fundraiser for the Biden-Harris campaign. He and the rest of the team used Jacquard's cold water procion MX dyes for their shirts. Check it out at https://www.jacquardproducts.com/ or on Instagram @jacquardproducts. 

Ali Javidan is CEO of Range Energy, which accelerates the electrification of commercial transportation via powered trailers for the heavy duty truck market. Key topics in this conversation include: Why a truck trailer presents a great opportunity for decarbonization Why Range Energy has decoupled its trailer from communication with the tractor “Shopping cart” mode What Ali learned executing prototype programs at Tesla, Google, and Zoox The importance of empathy while developing a product and leading a company Links: Show notes: http://brandonbartneck.com/futureofmobility/alijavidan https://www.linkedin.com/in/alijavidan/ https://www.businesswire.com/news/home/20221128005599/en/Range-Energy-Launches-with-8M-in-Seed-Capital-Bringing-Electric-Trailers-to-the-Commercial-Trucking-Market?TrucksFoT https://range.energy/ Ali's Bio Ali Javidan is a hands-on engineer with a history of leading pioneering teams at Tesla, Google, and Zoox. As an early hire at Tesla, Ali built the very first Model S and was responsible for early-stage testing and development for all vehicle programs. Prior to founding Range Energy, Ali architected the prototyping and experimental operations org – xOps – at Zoox, supporting the ground-up development of all vehicle platforms at the company. At Google, Ali led the ATAP Skunkworks team where he filed 15 patents in the areas of micro-machining, additive manufacturing, and robotics, and supported the development of the Soli radar chip, Jacquard conductive textiles, and Tango mapping tablet. Ali spent his early career at Caltrans and as a racing team engineer, and currently serves as a venture partner at R7. About Range Energy Range Energy (Range) accelerates the electrification of commercial transportation via powered trailers for the heavy duty truck market. With a solution that can easily hook up to any tow vehicle, Range's powered trailers can rapidly ease the transition to electrification and meet its commercial partners' immediate needs and long-term ambitions. Range was founded in 2021 and is led by a team with deep EV industry expertise from Tesla, Zoox, Honda, and more. The company is backed by leading investors including UP Partners, R7, Yamaha Motor Ventures, and more. Future of Mobility: The Future of Mobility podcast is focused on the development and implementation of safe, sustainable, effective, and accessible mobility solutions, with a spotlight on the people and technology advancing these fields. linkedin.com/in/brandonbartneck/ brandonbartneck.com/futureofmobility/ Edison Manufacturing: Edison manufacturing is your low volume contract manufacturing partner for build and assembly of complex mobility and energy products that don't neatly fit within traditional high-volume production methods.

Simone Mendes aproveitou a sexta-feira (9/9) para organizar seu armário e mostrou algumas de suas bolsas de grifes. A cantora exibiu uma prateleira com cerca de 50 peças e falou brevemente sobre algumas delas. Atenta, a coluna LeoDias resolveu apurar os preços de alguns dos acessórios de renomadas marcas italianas, norte-americanas e britânicas. Entre as peças que Simone mostrou está uma bolsa de couro da Gucci, modelo Monogram GG Supreme Butterfly Mini Candy, que custa € 1.289,00, o que sai R$ 6676,26 em conversão direta. A bolsa transversal da Prada, Saffiano de pele de bezerro estilo pônei, custa $ 1.102,95 ou R$ 5.718,39. A bolsa GG Marmont de couro matelassê, da Gucci, em couro chevron branco, custa R$ 9.850,00. Já o modelo Double média em couro Saffiano, da Prada, não sai por menos de R$ 26 mil. Simone exibiu também uma peça de couro preto, da Gucci, que custa € 2.303,00 ou R$ 11928,18 em conversão direta. A cantora mostrou duas bolsas do mesmo modelo, em cores diferentes, da Michael Kors. As peças têm compartimento duplo e seis bolsos internos e custam R$ 2.997,00 cada. Outra bolsa da mesma marca que integra o closet da cantora, esta azul estampada com o logo da grife, custa R$ 699,00. Simone tem também uma Pochete Gucci, modelo Jacquard, que custa R$ 1.130,00. Já a bolsa, também da Gucci, Ophidia GG Couro Branca, custa R$ 4.200. O modelo da Burberry, em couro laranja/bege, é avaliado em $ 740,00 ou R$ 3.819,14 na cotação desta sexta-feira. --- Support this podcast: https://anchor.fm/nativa-fm-campinas/support

In the eight years since Danny McGaw moved to Ojai, he's developed a devoted following, especially among fellow local musicians. Born in Manchester, he was only member of his working-class family to have musical ambitions. He also had athletic ambitions; he was a talented footballer selected for the professional track. But at age 18, he came to the proverbial crossroads after an injury, and made the fateful choice to pursue his singer-songwriter ambitions. He's on road for the resumption of a pandemic-interrupted tour of Three Dog Night, hitmakers of such familiar songs as "Joy to the World," "Old-Fashioned Love Song" and "If I Ever Get to Spain," which brings him back to Ojai for a show at Libbey Bowl on August 19th. McGaw was selected for the prestigious slot through the admiration of Three Dog Night's founder Danny Hutton. His Ojai-based son Tim V. Hutton heard Danny playing his regular Sunday night slot at The Vine and asked to join Danny and his band, and so the connection was made. When Tim joined his father on tour, Danny was invited to open. We talk about Danny's introduction to songwriting at age 10, and his prolific process and discipline, which begins at 5 a.m. and has led to him writing thousands of songs. His latest album, "Set Me Free," dropped earlier this year. His work is available on his website, dannymcgaw.com. Danny also talks about his years perfecting his craft as a busker in Los Angeles, as a regular performer in Kansas City and making the most of the opportunities to get up in front of an audience.  We did not talk about Jacquard looms, the fiction of Chinua Achebe or guitar picks.

Le sari est le vêtement phare de l'Inde et les plus beaux de ces tissus sont fabriqués dans la ville de Varanasi. La communauté musulmane les assemble sur des métiers à tisser du XIXe siècle, à partir de fils de soie. Un savoir-faire unique, fruit de toutes les périodes de l'Inde. Cette guilde est aujourd'hui menacée par la mondialisation et le contexte politique. De notre envoyé spécial à Varanasi, Dans les ruelles, tendez l'oreille près des fenêtres pour entendre un cliquetis caractéristique. C'est le son des impressionnantes machines Jacquard, du nom du français Joseph-Marie Jacquard, qui les imagina au début du XIXe siècle, avant qu'elles ne fassent le tour du monde. En 2022, elles résonnent toujours à Varanasi.  « Je travaille sur un sari en soie, cela va me prendre dix jours », explique Mohamed Safi. Dans la pénombre, il fait courir ses mains le long d'un métier à tisser, à l'allure de voile de bateau. « J'ai appris le métier de mon père et je l'exerce depuis 26 ans. Nous travaillions ici dans la maison de notre famille », souligne l'artisan. Les métiers à tisser fonctionnent sans électricité, grâce à un système de cartes qui guident les chaînes de fils. Maqbool Hasan, un maître tisseur de 77 ans, fournit du travail à une cinquantaine d'artisans. Il nous invite dans son magasin. Le motif de ce châle a huit couleurs a vu le jour sur les métiers à tisser écossais de la ville de Paisley, au XVIe siècle. Au XVIIIe siècle, la région indienne du Cachemire le réinvente à l'aiguille. En 1966, quand j'ai trouvé ce châle a Bombay et je l'ai reproduit sur nos métiers à tisser, je l'ai appelé du Cachemire à Kashi, qui est l'autre nom de Varanasi.Des héritages multiples menacés Maqbool Hasan a été distingué en Inde et dans le monde pour son savoir-faire, fruit des héritages bouddhistes, hindous, moghols et britanniques. Mais la guilde millénaire dont il est le représentant est aujourd'hui menacée.  « Nous sommes dans une compétition de plus en plus serrée avec la Chine, qui inonde le marché indien de saris industriels », explique-t-il. « Nous devons importer de la soie de Chine et les droits de douane augmentent. Nous n'arrivons plus à vendre qu'aux riches familles, surtout hindoues. Mais dans le climat politique d'aujourd'hui, certains appellent à boycotter nos tissus, car nous sommes musulmans », déplore Maqbool Hasan. Les métiers à tisser, « des ancêtres de l'informatique » Avec la pandémie, beaucoup de tisseurs de Varanasi ont dû fermer leurs ateliers. Pour Isabelle Moulin, muséographe française spécialiste de la soie, il y a urgence à sauvegarder leur tradition.  « En France, il ne reste qu'une poignée d'artisans qui savent se servir des métiers Jacquard », constate Isabelle Moulin. « À l'heure du changement climatique, il est très important de préserver ces savoir-faire locaux et écologiques. Avec leurs cartes perforées fonctionnant selon un modèle binaire, ces métiers à tisser sont par ailleurs des ancêtres de l'informatique. » Cette chevalière des arts et des lettres entend fédérer un réseau mondial des villes de la soie. De son côté, Maqbool Hasan a créé plusieurs écoles pour les enfants de la communauté défavorisée des tisseurs.

Meet Bill Higgins. By day, he's one of the scientists who keeps the Fermilab National Accelerator running safe, as it pummels the smallest particles in the universe. But in his free time he's a techie storyteller of big things and big ideas: a NASA Solar System Ambassador, a researcher of esoteric technology from rocket belts to Jacquard looms, and an explorer of how we tell the story of our scientific society.Guests:Bill Higgins: Radiation Safety Physicist at Fermi National Accelerator Laboratory (Fermilab)Br. Guy Consolmagno SJ: Director of Vatican Observatory, President of the Vatican Observatory Foundation.Read Bill's "From the cabinet of physics" series on the Vatican Observatory website:https://www.vaticanobservatory.org/series/from-the-cabinet-of-physics/Sacred Space Astronomy Posts on the Vatican Observatory Website:https://www.vaticanobservatory.org/category/sacred-space-astronomy/

High-Tech Fraud Dennis loved computers. He spoke their language fluently. He could converse as easily in Windows, Basic, COBOL, FORTRAN, machine language, UNIX and Linux as English. Basic and DOS were child's play to Dennis. Computers were his life. Whenever Intel marketed a new chip, Dennis was first in line to buy faster and more complex computers for his personal use. Dennis could never afford every computer he wanted to buy. As a programmer for WYSIWYG Enterprises he earned only $60,000 a year. He lived near his work in San Jose. Dennis took the bus from his third floor walk-up apartment to his office. When he wasn't working, he was modifying and upgrading his personal computers and editing software for his personal use. Dennis loved working on his HP desktop running Windows 10 and UNIX. He had available for use a 1200 x 2400-dpi color scanner, a full color laser printer that printed at 1200 DPI and a 60 inch flat screen monitor. On the appropriate paper the printer produced photographic quality images. “Dennis,” Alain exclaimed, “these are valuable antiques (not to mention your computer systems). How can you live in that miserable, cheap apartment without renters' insurance to protect you against burglary?” “ Dennis took his photographs, which clearly fooled his computer-wise friend Alain and which he was certain would fool any fine arts appraiser, and opened the Yellow Pages under “A” for “Appraisers.” He found a listing of thirty five different names of fine arts and antique appraisers. Since Dennis never owned any of the items of value depicted in the photographs, he was curious to see the true value of the items his photographs seemed to prove were in his house. He took the photographs to the first appraiser he found in the telephone book. That appraiser, Albert Aisensohn, was the owner of Antique Universe, a retail establishment selling antiques, used furniture and old estate jewelry. Aisensohn took the photographs and said, “I can't give you an appraisal from just photographs — when can I see the merchandise?” When Dennis pulled out the five one hundred dollar bills he had in his wallet Aisensohn immediately sat at an old Underwood upright typewriter and began to type out an appraisal of the value of the various items depicted in the photographs Dennis provided to him. He made no comment, just silently put the bills in his pocket. Because he only had photographs, Aisensohn estimated age, quality of craftsmanship and value. The appraiser, more often than not, could only provide a range of values such as: Chippendale chair, circa 1890, excellent physical condition, carved from mahogany and covered in a silk Jacquard print, valued between $30,000 and $40,000. Dennis lived happily ever after, occasionally creating new photographs as the computer industry created new toys. (c) 2022 Barry Zalma & ClaimSchool, Inc. Subscribe to Zalma on Insurance at locals.com https://zalmaoninsurance.local.com/subscribe. Subscribe to Excellence in Claims Handling at https://barryzalma.substack.com/welcome. --- Support this podcast: https://anchor.fm/barry-zalma/support

For over 35 years, Jacquard Products has been the leading manufacturer of artist materials for fabric. Alex Preston, Chief Creative Strategist at Jacquard, gives you an in-depth education on the difference between Dyes and Paints. If this is your medium, this is a must listen! For more specific information on Jacquard products go to: www.jacquardproducts.com.Support the show

Jacquard Instructed Embroidery Machine: Vintage Secret Of Modern Embroidery This episode is also available as a blog post: https://www.cre8iveskill.com/blog/jacquard-instructed-embroidery-machine-vintage-secret-of-modern-embroidery --- Send in a voice message: https://anchor.fm/cre8ive-skill/message

Tricoter le jacquard avec Along Avec Anna

Guest: Christine Daron | Founder & Creative Director See omnystudio.com/listener for privacy information.

数智化时代，我们将如何设计与销售未来的衣服？大家都知道LEVI'S吗？下面给大家看一个智能服装案例。2017 年，GOOGLE和LEVI'S就推出了首款智能夹克Levi's Commuter Trucker Jacket with Jacquard by Google （为方便看下面简称为Jacquard1.0和Jacquard2.0）。在LEVI'S的官网找到官方对这款产品的介绍是这是专为骑车的人设计的，有了Jacquard这门技术，这件夹克可以从袖口直接访问数字服务，无论去哪里，了解你一天的最新情况，远程自拍，如果你落下手机或夹克，会得到通知，这样用户就可以集中精力在重要的事情上。（图片来源：Business Insider）这是第一代产品，左袖上采用触敏材质和蓝牙模块，用户可以将夹克和手机连接，由不同触摸手势来控制手机功能，可以播放音乐和导航。还有就是“Always Together”的功能，手机离开特定范围后可以发出警告，有防盗作用。（图片来源：LEVI'S官网）这个是我在LEVI'S官网上找的图。（图片来源：LEVI'S官网）这是Jacquard 2.0夹克，有四种款式可以选择。第二代夹克用户可以将这个模块从左边袖子取下，并用于另一款支持该技术的智能穿戴设备上（第一代的夹克上的模块只能辨识对应的特定一款夹克），第二代模块相对第一代非常小。第二代的模块取下后还可以当作普通牛仔夹克，尽量减少夹克对环境的影响。价格也从从第一代的 350 美元降到了 198 美元的起步价。Jacquard2.0 在Jacquard1.0 基础上增加了一些新功能。用户可以通过接触手势控制手机拍照；或是触发名为”My Day”的功能，听一天行程安排；”Ask Assistant”的功能，用户可用 Google Assistant 来定制新功能。大家有没有在家练瑜伽但是却怕动作不规范的苦恼？在运动健康领域，品牌WEARABLE X为瑜伽爱好者推出了Nadi X智能瑜伽裤，在家就能得到专业的瑜伽指导，相当于电子瑜伽教练，在脚踝、膝盖和臀部装设的感应和触觉反馈装置，能够识别各种瑜伽姿势，通过柔和的震动为用户提供实时运动反馈，纠正体势，指导练习。Nadi X需与配套的iPhone应用程序和The Pulse设备一起使用。The Pulse 是由电池和蓝牙模块组成，在使用时，配合Nadi X塞在左膝后的小口袋，为瑜伽裤的内置传感器和震动马达提供能量。（图片来源：Wearable X Official）

数智化时代，我们将如何设计与销售未来的衣服？大家都知道LEVI'S吗？下面给大家看一个智能服装案例。2017 年，GOOGLE和LEVI'S就推出了首款智能夹克Levi's Commuter Trucker Jacket with Jacquard by Google （为方便看下面简称为Jacquard1.0和Jacquard2.0）。在LEVI'S的官网找到官方对这款产品的介绍是这是专为骑车的人设计的，有了Jacquard这门技术，这件夹克可以从袖口直接访问数字服务，无论去哪里，了解你一天的最新情况，远程自拍，如果你落下手机或夹克，会得到通知，这样用户就可以集中精力在重要的事情上。（图片来源：Business Insider）这是第一代产品，左袖上采用触敏材质和蓝牙模块，用户可以将夹克和手机连接，由不同触摸手势来控制手机功能，可以播放音乐和导航。还有就是“Always Together”的功能，手机离开特定范围后可以发出警告，有防盗作用。（图片来源：LEVI'S官网）这个是我在LEVI'S官网上找的图。（图片来源：LEVI'S官网）这是Jacquard 2.0夹克，有四种款式可以选择。第二代夹克用户可以将这个模块从左边袖子取下，并用于另一款支持该技术的智能穿戴设备上（第一代的夹克上的模块只能辨识对应的特定一款夹克），第二代模块相对第一代非常小。第二代的模块取下后还可以当作普通牛仔夹克，尽量减少夹克对环境的影响。价格也从从第一代的 350 美元降到了 198 美元的起步价。Jacquard2.0 在Jacquard1.0 基础上增加了一些新功能。用户可以通过接触手势控制手机拍照；或是触发名为”My Day”的功能，听一天行程安排；”Ask Assistant”的功能，用户可用 Google Assistant 来定制新功能。大家有没有在家练瑜伽但是却怕动作不规范的苦恼？在运动健康领域，品牌WEARABLE X为瑜伽爱好者推出了Nadi X智能瑜伽裤，在家就能得到专业的瑜伽指导，相当于电子瑜伽教练，在脚踝、膝盖和臀部装设的感应和触觉反馈装置，能够识别各种瑜伽姿势，通过柔和的震动为用户提供实时运动反馈，纠正体势，指导练习。Nadi X需与配套的iPhone应用程序和The Pulse设备一起使用。The Pulse 是由电池和蓝牙模块组成，在使用时，配合Nadi X塞在左膝后的小口袋，为瑜伽裤的内置传感器和震动马达提供能量。（图片来源：Wearable X Official）

数智化时代，我们将如何设计与销售未来的衣服？大家都知道LEVI'S吗？下面给大家看一个智能服装案例。2017 年，GOOGLE和LEVI'S就推出了首款智能夹克Levi's Commuter Trucker Jacket with Jacquard by Google （为方便看下面简称为Jacquard1.0和Jacquard2.0）。在LEVI'S的官网找到官方对这款产品的介绍是这是专为骑车的人设计的，有了Jacquard这门技术，这件夹克可以从袖口直接访问数字服务，无论去哪里，了解你一天的最新情况，远程自拍，如果你落下手机或夹克，会得到通知，这样用户就可以集中精力在重要的事情上。（图片来源：Business Insider）这是第一代产品，左袖上采用触敏材质和蓝牙模块，用户可以将夹克和手机连接，由不同触摸手势来控制手机功能，可以播放音乐和导航。还有就是“Always Together”的功能，手机离开特定范围后可以发出警告，有防盗作用。（图片来源：LEVI'S官网）这个是我在LEVI'S官网上找的图。（图片来源：LEVI'S官网）这是Jacquard 2.0夹克，有四种款式可以选择。第二代夹克用户可以将这个模块从左边袖子取下，并用于另一款支持该技术的智能穿戴设备上（第一代的夹克上的模块只能辨识对应的特定一款夹克），第二代模块相对第一代非常小。第二代的模块取下后还可以当作普通牛仔夹克，尽量减少夹克对环境的影响。价格也从从第一代的 350 美元降到了 198 美元的起步价。Jacquard2.0 在Jacquard1.0 基础上增加了一些新功能。用户可以通过接触手势控制手机拍照；或是触发名为”My Day”的功能，听一天行程安排；”Ask Assistant”的功能，用户可用 Google Assistant 来定制新功能。大家有没有在家练瑜伽但是却怕动作不规范的苦恼？在运动健康领域，品牌WEARABLE X为瑜伽爱好者推出了Nadi X智能瑜伽裤，在家就能得到专业的瑜伽指导，相当于电子瑜伽教练，在脚踝、膝盖和臀部装设的感应和触觉反馈装置，能够识别各种瑜伽姿势，通过柔和的震动为用户提供实时运动反馈，纠正体势，指导练习。Nadi X需与配套的iPhone应用程序和The Pulse设备一起使用。The Pulse 是由电池和蓝牙模块组成，在使用时，配合Nadi X塞在左膝后的小口袋，为瑜伽裤的内置传感器和震动马达提供能量。（图片来源：Wearable X Official）

数智化时代，我们将如何设计与销售未来的衣服？大家都知道LEVI'S吗？下面给大家看一个智能服装案例。2017 年，GOOGLE和LEVI'S就推出了首款智能夹克Levi's Commuter Trucker Jacket with Jacquard by Google （为方便看下面简称为Jacquard1.0和Jacquard2.0）。在LEVI'S的官网找到官方对这款产品的介绍是这是专为骑车的人设计的，有了Jacquard这门技术，这件夹克可以从袖口直接访问数字服务，无论去哪里，了解你一天的最新情况，远程自拍，如果你落下手机或夹克，会得到通知，这样用户就可以集中精力在重要的事情上。（图片来源：Business Insider）这是第一代产品，左袖上采用触敏材质和蓝牙模块，用户可以将夹克和手机连接，由不同触摸手势来控制手机功能，可以播放音乐和导航。还有就是“Always Together”的功能，手机离开特定范围后可以发出警告，有防盗作用。（图片来源：LEVI'S官网）这个是我在LEVI'S官网上找的图。（图片来源：LEVI'S官网）这是Jacquard 2.0夹克，有四种款式可以选择。第二代夹克用户可以将这个模块从左边袖子取下，并用于另一款支持该技术的智能穿戴设备上（第一代的夹克上的模块只能辨识对应的特定一款夹克），第二代模块相对第一代非常小。第二代的模块取下后还可以当作普通牛仔夹克，尽量减少夹克对环境的影响。价格也从从第一代的 350 美元降到了 198 美元的起步价。Jacquard2.0 在Jacquard1.0 基础上增加了一些新功能。用户可以通过接触手势控制手机拍照；或是触发名为”My Day”的功能，听一天行程安排；”Ask Assistant”的功能，用户可用 Google Assistant 来定制新功能。大家有没有在家练瑜伽但是却怕动作不规范的苦恼？在运动健康领域，品牌WEARABLE X为瑜伽爱好者推出了Nadi X智能瑜伽裤，在家就能得到专业的瑜伽指导，相当于电子瑜伽教练，在脚踝、膝盖和臀部装设的感应和触觉反馈装置，能够识别各种瑜伽姿势，通过柔和的震动为用户提供实时运动反馈，纠正体势，指导练习。Nadi X需与配套的iPhone应用程序和The Pulse设备一起使用。The Pulse 是由电池和蓝牙模块组成，在使用时，配合Nadi X塞在左膝后的小口袋，为瑜伽裤的内置传感器和震动马达提供能量。（图片来源：Wearable X Official）

Textiles have played a significant role in our history and culture, starting with the Stone Age and continuing to the present. As award-winning journalist Virginia Postrel tells us, thread and fabric played are catalysts in revolutionizing human labor and innovations that economic historians often overlook. The Fabric Of Civilization is Virginia's book on textile history that stitches our aesthetics, history, and cultural identity. It focuses on textiles as among the oldest, most essential, and most pervasive of human inventions.In this episode, Virginia reminds us that people around the world are all woven together through our shared experiences, from using a string to hunting food to making clothes with artistic patterns. Episode Quotes:What is the significance of a string to man during the Stone Age?Lots and lots of things become possible because of string. One of which, as you alluded to is you can take your stone, weapons or whatever, your stone knives, and you can attach them to a stick and make a spear or an arrow. Those sorts of things become possible. So it's a critical, very early technology.Why do scholars often overlook the contributions and importance of textile in human history?There was a paper published where people had identified Neanderthal strings that were 50,000 years old, really old strings. So it's very important technology, but string rots and stones don't so that people didn't really think about looking for string and or later on, 10,000 years, rather than 50, looking for textiles. Our minds are shaped by what is left and what is left is the hard stuff.How did spinning machines affect the economy of weavers in the late 18th century?Before the spinning machines, weavers had often been idle because they couldn't get enough thread to weave. Once the spinning machines came in, there was an expansion of demand for weavers and weavers made good money for the day. And it was what one historian calls a golden heyday for them, but that lasted about a generation.Why did the group of Luddites resist the use of power looms despite improving the productivity of weavers?They were not ideologues. They were not people who had some cultural distaste for technology or something like that. They were just guys who didn't want to lose their jobs, at a time when losing your job could mean starving. This is serious business. But they smashed looms and the government said you can't do that. Few people were executed, actually because of violent actions. A lot of people were deported to Australia. But the looms continued and we had this enormous expansion of productivity.On weaving as the birthplace of computing.Weaving is the original binary operation. Because you either are lifting a thread or you're not lifting. You're going over or under, you've got this one or zero intrinsic process. And so, people have been figuring out ways to record and remember those patterns for thousands and thousands of years. In the 19th century, Jacquard came up with a way of mechanizing or automating really some of the most complicated kinds of weaving, which had been done on what are cultural looms.How can traditional textile artisans around the world preserve their art?The thing that I think is important is that for these crafts to survive in ways that don't condemn people to eternal poverty is they have to be luxurious. They have to be things that are special.Time Code Guide:00:02:19 The String Age00:04:42 Archeologist's work on prehistoric textile00:08:15 The Development of Spinning Machine in the Industrial Revolution00:10:47 The labor-intensive process of making thread for Viking sail00:11:43 The Women-dominated Thread industry00:14:49 Silk weaving before the Industrial Revolution that produced economic ecosystem00:17:31 Industrial espionage in the Silk Weaving Technology00:20:00 Resistance movements against production and technological advancement in textile0:23:00 Metaphors of weaving in English language00:25:18 Weaving as the original binary operation00:28:27 Creating patterns through weaving00:30:55 Mathematical concepts in weaving00:33:54 The European Cloth Trade00:36:58 Stinky fabric dyes from snail glands00:42:09 Global production of indigo dye00:44:14 Aesthetic expression in historic textiles00:45:01 The human value of aesthetics00:48:56 The art of expressing identity through clothing styles00:52:57 Meanings of clothing styles evolve over timeShow Links:Guest ProfileVirginia Postrel's Official WebsiteVirginia Postrel on LinkedInVirginia Postrel on TwitterHer WorkThe Fabric of Civilization: How Textiles Made the WorldThe Power of Glamour: Longing and the Art of Visual PersuasionThe Substance of Style: How the Rise of Aesthetic Value Is Remaking Commerce, Culture, and ConsciousnessThe Future and Its Enemies: The Growing Conflict Over Creativity, Enterprise

Rithöfundur ráfar inn á ritstjórnarskrifstofu. Hvað eru mörg R í því? Það er komið að síðu 49, athugavandur-atómþungi. Hver er höfundurinn? Það er hann Hagalín sem heldur þrumuræðu um hættuna sem stafar af atómkveðskap. Orðabúrarnir ræða einnig um hárdúk í millifóður, blússuföt í skólann og ekki má gleyma Jacquard-vefnaðinum. Atlantíska bandalagið kemur einnig við sögu og fleiri þróaðir pabbabrandarar eru sagðir.  Tónlistin í þættinum er eftir Kevin McLeod.

« La Famille » : révélations sur une communauté secrète Et puis révélations sur « La Famille » C'est le nom de cette communauté religieuse très secrète, qui vit depuis des siècles en plein Paris. 3.000 membres qui vivent et ne se marient qu'entre eux en attendant l'Apocalypse. Le grand reporter Nicolas Jacquard nous racontera la vie incroyable des Inspirés, c'est le titre du livre qu'il publie. Et c'est dans la suite de C L'Hebdo.

Ils sont trois mille, se marient entre eux, vivent en vase clos dans l'est parisien et attendent l'Apocalypse. Nicolas Jacquard, journaliste au Parisien Aujourd'hui en France, a enquêté à leur sujet. Il en tire un livre très fouillé sur cette tribu que certains de ses anciens membres considèrent comme une secte.

Ombline Roche et Julien Pearce vous accompagnent chaque jour de la semaine dès les premières lueurs du soleil avec de l'information et de la convivialité. L'émission parfaite pour commencer la journée du bon pied, et informer.

Join the Three Dudes Wearing Plaid as they learn why it's funny to run Doom on your smart fridge, who has the best name in the history of 3DWP, and what a fishcock is (but whatever you're thinking, we promise, it's not that). Our theme music is by Evan Schafer, and the show is edited by Gus Guszkowski. If you have questions or comments about anything we talked about on the show, feel free to email us at 3dudeswearingplaid@gmail.com, and follow us on Instagram @3dwpcast! All the links for this episode can be found below: https://knowyourmeme.com/memes/it-runs-doom https://knittinghistory.co.uk/resources/a-short-history-of-machine-knitting/ https://www.theatlantic.com/technology/archive/2014/09/before-computers-people-programmed-looms/380163/ https://en.wikipedia.org/wiki/Jacquard_machine https://www.wired.com/2015/10/margaret-hamilton-nasa-apollo/ https://en.wikipedia.org/wiki/Edge-notched_card https://www.nytimes.com/2019/05/17/science/math-physics-knitting-matsumoto.html https://siuewmst.wordpress.com/2019/05/01/stitch-n-bitch-alive-and-kicking-in-cities-and-universities/ https://en.wikipedia.org/wiki/A_Tangled_Web https://www.nsf.gov/awardsearch/showAward?AWD_ID=1847172&HistoricalAwards=false https://www.americanscientist.org/article/adventures-in-mathematical-knitting https://christinalk.github.io/blog/2017/02/06/knitting-programming https://en.wikipedia.org/wiki/Alexander_Crum_Brown https://knitting-crochet.wonderhowto.com/how-to/knit-mobius-strip-scarf-287556/ https://www.theatlantic.com/technology/archive/2018/03/the-making-of-skyknit-an-ai-yarn/554894/

Sandy is a compassionate coach who works with a variety of clients personally and in group settings. Her path is one of living a WHOLE HEARTED life where she starts by embracing space for willingness, and moves us to a doorway of healing. Holistic meaning whole and from all angles, she starts with vibrant healing foods that move our bodies out of inflammation and into a place of optimal health. Where we can begin to really make change in our-lives and reclaim joy taking our own stand for change and personal growth.

It has been over four years since Project Jacquard, Google's smart fabric technology, made its debut at the I/O developer conference. Launched out of what was then Google's ATAP unit, Jacquard is currently best known for being available on Levi's jeans jackets, but Saint Laurent also launched its $1,000 Cit-e Backpack with built-in Jacquard technology. […]

Welcome to Episode 65 of the snobOS Podcast!Intro: We talk vacation travel and softball update.The Lowdown: We talk iPhone 12 leak and Coronavirus Effect: Apple employees told to work from home, Apple cancels in-store learning sessions in Italy, and Shortage of replacement iPhone and parts for Apple Stores.2nd String: We talk Microsoft employees come down with Coronavirus, Google teases Adidas shoes with Jacquard-infused insoles, Spotify working on Google Assistant-, Siri-inspired voice activation feature, and Google fixes face unlock feature on Pixel 4.For the Culture: We talk new Netflix series, Love Is Blind.The Hookup: We talk how to Keep those phones clean and Whoosh on Amazon.Apple Podcasts | Spotify | Google PodcastsEmail: snobOScast@gmail.comFollow snobOS Podcast @snobOScastFollow Nica Montford @TechSavvyDivaFollow Terrance Gaines @BrothaTechDownload, rate & review on Apple Google & SpotifyEngage on social @snobOScastLeave comments and suggestionsWeb: snobOScast.comEmail: snobOScast@gmail.com

One of the earliest computing devices was the abacus. This number crunching device can first be found in use by Sumerians, circa 2700BC. The abacus can be found throughout Asia, the Middle East, and India throughout ancient history. Don't worry, the rate of innovation always speeds up as multiple technologies can be combined. Leonardo da Vinci sketched out the first known plans for a calculator. But it was the 17th century, or the Early modern period in Europe, that gave us the Scientific Revolution. Names like Kepler, Leibniz, Boyle, Newton, and Hook brought us calculus, telescopes, microscopes, and even electricity. The term computer is first found in 1613, describing a person that did computations. Wilhelm Schickard built the first calculator in 1623, which he described in a letter to Kepler. Opening the minds of humanity caused people like Blaise Pascal to theorize about vacuums and he then did something very special: he built a mechanical calculator that could add and subtract numbers, do multiplication, and even division. And more important than building a prototype, he sold a few! His programming language was a lantern gear. It took him 50 prototypes and many years, but he presented the calculator in 1645, earning him a royal privilege in France for calculators. That's feudal French for a patent. Leibniz added repetition to the mechanical calculator in his Step Reckoner. And he was a huge proponent of binary, although he didn't use it in his mechanical calculator. Binary would become even more important later, when electronics came to computers. But as with many great innovations it took awhile to percolate. In many ways, the age of enlightenment was taking the theories from the previous century and building on them. The early industrial revolution though, was about automation. And so the mechanical calculator was finally ready for daily use in 1820 when another Frenchman, Colmar, built the arithmometer, based on Leibniz's design. A few years earlier, another innovation had occurred: memory. Memory came in the form of punchcards, an innovation that would go on to last until World War II. The Jacquard loom was used to weave textiles. The punch cards controlled how rods moved and thus were the basis of the pattern of the weave. Punching cards was an early form of programming. You recorded a set of instructions onto a card and the loom performed them. The bash programming of today is similar. Charles Babbage expanded on the ideas of Pascal and Leibniz and added to mechanical computing, making the difference engine, the inspiration of many a steampunk. Babbage had multiple engineers building components for the engine and after he scrapped his first, he moved on to the analytical engine, adding conditional branching, loops, and memory - and further complicating the machine. The engine borrowed the punchcard tech from the Jacquard loom and applied that same logic to math. Ada Lovelace contributed the concept of Bernoulli numbers in algorithms giving us a glimpse into what an open source collaboration might some day look like. And she was in many ways the first programmer - and daughter of Lord Byron and Anne Millbanke, a math whiz. She became fascinated with the engine and ended up becoming an expert at creating a set of instructions to punch on cards, thus the first programmer of the analytical engine and far before her time. In fact, there would be no programmer for 100 years with her depth of understanding. Not to make you feel inadequate, but she was 27 in 1843. The engine was a bit too advanced for its time. While Babbage is credited as the father of computing because of his ideas, shipping is a feature. Having said that, it has been proven that if the build had been completed to specifications the device would have worked. Sometimes the best of plans just can't be operationalized unless you reduce scope. Babbage added scope. Despite having troubles keeping contractors who could build complex machinery, Babbage first looked to tree rings to predict weather and he was a mathematician who worked with keys and ciphers. As with Isaac Newton 150 years earlier, the British government also allowed a great scientist/engineer to reform a political institution: the Postal System. You see, he was also an early proponent of applying the scientific method to the management and administration of governmental, commercial, and industrial processes. He also got one of the first government grants in R&D to help build the difference engine, although ended up putting some of his own money in there as well, of course. Babbage died in 1871 and thus ended computing. For a bit. The typewriter came in 1874, as parts kept getting smaller and people kept tinkerating with ideas to automate all the things. Herman Hollerith filed for a patent in 1884 to use a machine to punch and count punched cars. He used that first in health care management and then in the 1890 census. He later formed Tabulating Machine Company, in 1896. In the meantime, Julius E. Pitrap patented a computing scale in 1885. William S Burroughs (not that one, the other one) formed the American Arithmometer Company in 1886. Sales exploded for these and they merged, creating the Computing-Tabulation-Recording Company. Thomas J Watson, Sr joined the company as president in 1914 and expanded business, especially outside of the United States. The name of the company was changed to International Business Machines, or IBM for short, in 1924. Konrad Zuse built the first electric computer from 1936 to 1938 in his parent's living room. It was called the Z1. OK, so electric is a stretch, how about electromechanical… In 1936 Alan Turing proposed the Turing machine, which printed symbols on tape that simulated a human following a set of instructions. Maybe he accidentally found one of Ada Lovelace's old papers. The first truly programmable electric computer came in 1943, with Colossus, built by Tommy flowers to break German codes. The first truly digital computer came from Professor John Vincent Atanasoff and his grad student Cliff Berry from Iowa State University. The ABC, or Atanasoff-Berry Computer took from 1937 to 1942 to build and was the first to add vacuum tubes. The ENIAC came from J Presper Eckert and John Mauchly from the University of Pennsylvania from 1943 to 1946. 1,800 square feet and ten times that many vacuum tubes, ENIAC weighed 50 tons. ENIAC is considered to be the first digital computer because unlike the ABC it was fully functional. The Small-Scale Experimental Machine from Frederic Williams and Tom Kilburn from the University of Manchester came in 1948 and added the ability to store and execute a program. That program was run by Tom Kilburn on June 21st, 1948. Up to this point, the computer devices were being built in universities, with the exception of the Z1. But in 1950, Konrad Zuse sold the Z4, thus creating the commercial computer industry. IBM got into the business of selling computers in 1952 as well, basically outright owning the market until grunge killed the suit in the 90s. MIT added RAM in 1955 and then transistors in 1956. The PDP-1 was released in 1960 from Digital Equipment Corporation (DEC). This was the first minicomputer. My first computer was a DEC. Pier Giorgio Perotto introduced the first desktop computer, the Programmer 101 in 1964. HP began to sell the HP 9100A in 1968. All of this steam led to the first microprocessor, the Intel 4004, to be released in 1971. The first truly personal computer was released in 1975 by Ed Roberts, who was the first to call it that. It was the Altair 8800. The IBM 5100 was the first portable computer, released the same year. I guess it's portable if 55 pounds is considered portable. And the end of ancient history came the next year, when the Apple I was developed by Steve Wozniak, which I've always considered as the date that the modern era of computing be.