Podcasts about MacPaint

We grew up with a Mac Plus/512K, so getting the Pico-Mac 68000 emulator https://github.com/evansm7/pico-mac working on Fruit Jam https://www.adafruit.com/product/6200 was a high priority for those nostalgic vibes. We've got HSTX DVI output plus a USB keyboard and mouse https://github.com/jepler/pico-mac/tree/rp2350-fruitjam and with a little effort, we built a 2-megabyte "disk" with some of our favorite games and apps: MacPaint! https://archive.org/details/mac_Paint_2 Lode Runner! https://www.macintoshrepository.org/8393-lode-runner Shufflepuck Café! ( https://www.macintoshrepository.org/6165-shufflepuck-cafe What were your favorite games from the "classic" Mac era? Visit the Adafruit shop online - http://www.adafruit.com ----------------------------------------- LIVE CHAT IS HERE! http://adafru.it/discord Subscribe to Adafruit on YouTube: http://adafru.it/subscribe New tutorials on the Adafruit Learning System: http://learn.adafruit.com/ ----------------------------------------- #apple #retro #electronics

Bill Atkinson, creador de QuickDraw, MacPaint y HyperCard, ha anunciado que padece cáncer de páncreas. Este episodio repasa su extraordinaria contribución a Apple y a la informática moderna, destacando no solo su brillantez técnica sino también su visión humanista de la tecnología. Loop Infinito es un podcast de Applesfera, presentado por Javier Lacort y editado por Alberto de la Torre. Contacta con el autor en X (@jlacort) o por correo (lacort@xataka.com). Gracias por escuchar este podcast.

Jonathan Herbert (b. 1952, New York City) explores the nonverbal relationship between cosmology and consciousness. He creates unique, intuitive formulations of water-based paint using acrylic and urethane media made on the spot, mid-process. He explores the nonverbal nature of creative inspiration via intuition. These works examine the richness of the present moment while simultaneously referring to a concurrent interest in the expression of the past, of his traumatic experiences and resulting emotions. Much of his work has been informed by his extremely abusive childhood and the unsurprisingly drug- and alcohol-ridden years of his life prior to 1986. His experiences as a night shift cab driver in bankrupt New York inspired the years-long body of work, Views from a Yellow Cab. He drove a quarter-million miles over the course of five years. An important and interesting and uncommon view of humankind, as evidenced in the movie Taxi Driver. Herbert received his diploma from the School of the Museum of Fine Arts, Boston in 1977. He continued his studies, via an Independent Study Award from the Museum School, for more than a year in Antwerp, Belgium. He began exhibiting in 1978 in Soho and the East Village and has garnered several solo exhibitions. Many of his group shows have been in New York City, including tagging subways and walls in the East Village of the 1970s. In New York in the mid-eighties, shortly after MacPaint had first been released, Herbert was one of the founders of the Digital Art Movement. During his digital years, Silicon Graphics decorated their entire Seybold booth with his work, flew him to San Francisco and asked him to demonstrate his process during the convention. His digital work has been featured internationally. Herbert for years labored lovingly over the creation of digital medical drawings for pharmaceutical books and journals, continuously expanding his education, which fed his fascination with medicine. His work as a digital artist even led to being interviewed on network TV. Herbert's bibliography begins in December 1982, in the regular Cookie Mueller column “Art and About” in Warhol's Details Magazine. There is also a Jonathan Herbert entry in the Cookie Mueller Encyclopedia. He has appeared in and been reviewed in many publications. Portraits of Herbert are in both Nightline by Peter Donahoe and Taxi: The Social History of the New York City Cab Driver. Herbert's work is in the collection of the Estate of Jean-Michel Basquiat, the Brooklyn Art Library, Pfizer Incorporated, the law firm Kirkland and Ellis, and The Kinsey Institute in Bloomington, Indiana. Herbert currently lives and works in Sarasota, Florida, where, every day, he struggles to live fully in the face of multiple invisible disabilities including lymphoma, PTSD, and cognitive impairment, most of which result from 9/11 survivorship. Across the Universe, Acrylic and urethane on canvas 40 x 60 x 1.5 in Wish, Alchemical acrylic and urethane on canvas 60 x 40 in Shan Shui, acrylic and urethane on canvas 72 x 60 x 1.5 in

A spontaneous port of MacPaint to the Apple II. No vertical blanking interrupt? No problem! Original text by Andy Hertzfeld at folklore.org.

Gutenburg shipped the first working printing press around 1450 and typeface was born. Before then most books were hand written, often in blackletter calligraphy. And they were expensive.    The next few decades saw Nicolas Jensen develop the Roman typeface, Aldus Manutius and Francesco Griffo create the first italic typeface. This represented a period where people were experimenting with making type that would save space. The 1700s saw the start of a focus on readability. William Caslon created the Old Style typeface in 1734. John Baskerville developed Transitional typefaces in 1757. And Firmin Didot and Giambattista Bodoni created two typefaces that would become the modern family of Serif. Then slab Serif, which we now call Antique, came in 1815 ushering in an era of experimenting with using type for larger formats, suitable for advertisements in various printed materials. These were necessary as more presses were printing more books and made possible by new levels of precision in the metal-casting. People started experimenting with various forms of typewriters in the mid-1860s and by the 1920s we got Frederic Goudy, the first real full-time type designer. Before him, it was part of a job. After him, it was a job. And we still use some of the typefaces he crafted, like Copperplate Gothic. And we saw an explosion of new fonts like Times New Roman in 1931. At the time, most typewriters used typefaces on the end of a metal shaft. Hit a kit, the shaft hammers onto a strip of ink and leaves a letter on the page. Kerning, or the space between characters, and letter placement were often there to reduce the chance that those metal hammers jammed. And replacing a font would have meant replacing tons of precision parts. Then came the IBM Selectric typewriter in 1961. Here we saw precision parts that put all those letters on a ball. Hit a key, the ball rotates and presses the ink onto the paper. And the ball could be replaced. A single document could now have multiple fonts without a ton of work. Xerox exploded that same year with the Xerox 914, one of the most successful products of all time. Now, we could type amazing documents with multiple fonts in the same document quickly - and photocopy them. And some of the numbers on those fancy documents were being spat out by those fancy computers, with their tubes. But as computers became transistorized heading into the 60s, it was only a matter of time before we put fonts on computer screens. Here, we initially used bitmaps to render letters onto a screen. By bitmap we mean that a series, or an array of pixels on a screen is a map of bits and where each should be displayed on a screen. We used to call these raster fonts, but the drawback was that to make characters bigger, we needed a whole new map of bits. To go to a bigger screen, we probably needed a whole new map of bits. As people thought about things like bold, underline, italics, guess what - also a new file. But through the 50s, transistor counts weren't nearly high enough to do something different than bitmaps as they rendered very quickly and you know, displays weren't very high quality so who could tell the difference anyways.  Whirlwind was the first computer to project real-time graphics on the screen and the characters were simple blocky letters. But as the resolution of screens and the speed of interactivity increased, so did what was possible with drawing glyphs on screens.  Rudolf Hell was a German, experimenting with using cathode ray tubes to project a CRT image onto paper that was photosensitive and thus print using CRT. He designed a simple font called Digital Grotesk, in 1968. It looked good on the CRT and the paper. And so that font would not only be used to digitize typesetting, loosely based on Neuzeit Book. And we quickly realized bitmaps weren't efficient to draw fonts to screen and by 1974 moved to outline, or vector, fonts. Here a Bézier curve was drawn onto the screen using an algorithm that created the character, or glyph using an outline and then filling in the space between. These took up less memory and so drew on the screen faster. Those could be defined in an operating system, and were used not only to draw characters but also by some game designers to draw entire screens of information by defining a character as a block and so taking up less memory to do graphics.  These were scalable and by 1979 another German, Peter Karow, used spline algorithms wrote Ikarus, software that allowed a person to draw a shape on a screen and rasterize that. Now we could graphically create fonts that were scalable.  In the meantime, the team at Xerox PARC had been experimenting with different ways to send pages of content to the first laser printers. Bob Sproull and Bill Newman created the Press format for the Star. But this wasn't incredibly flexible like what Karow would create. John Gaffney who was working with Ivan Sutherland at Evans & Sutherland, had been working with John Warnock on an interpreter that could pull information from a database of graphics. When he went to Xerox, he teamed up with Martin Newell to create J&M, which harnessed the latest chips to process graphics and character type onto printers. As it progressed, they renamed it to Interpress. Chuck Geschke started the Imaging Sciences Laboratory at Xerox PARC and eventually left Xerox with Warnock to start a company called Adobe in Warnock's garage, which they named after a creek behind his house. Bill Paxton had worked on “The Mother of All Demos” with Doug Engelbart at Stanford, where he got his PhD and then moved to Xerox PARC. There he worked on bitmap displays, laser printers, and GUIs - and so he joined Adobe as a co-founder in 1983 and worked on the font algorithms and helped ship a page description language, along with Chuck Geschke, Doug Brotz, and Ed Taft.  Steve Jobs tried to buy Adobe in 1982 for $5 million. But instead they sold him just shy of 20% of the company and got a five-year license for PostScript. This allowed them to focus on making the PostScript language more extensible, and creating the Type 1 fonts. These had 2 parts. One that was a set of bit maps And another that was a font file that could be used to send the font to a device.  We see this time and time again. The simpler an interface and the more down-market the science gets, the faster we see innovative industries come out of the work done. There were lots of fonts by now. The original 1984 Mac saw Susan Kare work with Jobs and others to ship a bunch of fonts named after cities like Chicago and San Francisco. She would design the fonts on paper and then conjure up the hex (that's hexadecimal) for graphics and fonts. She would then manually type the hexadecimal notation for each letter of each font.  Previously, custom fonts were reserved for high end marketing and industrial designers. Apple considered licensing existing fonts but decided to go their own route. She painstakingly created new fonts and gave them the names of towns along train stops around Philadelphia where she grew up. Steve Jobs went for the city approach but insisted they be cool cities. And so the Chicago, Monaco, New York, Cairo, Toronto, Venice, Geneva, and Los Angeles fonts were born - with her personally developing Geneva, Chicago, and Cairo. And she did it in 9 x 7.  I can still remember the magic of sitting down at a computer with a graphical interface for the first time. I remember opening MacPaint and changing between the fonts, marveling at the typefaces. I'd certainly seen different fonts in books. But never had I made a document and been able to set my own typeface! Not only that they could be in italics, outline, and bold. Those were all her. And she inspired a whole generation of innovation. Here, we see a clean line from Ivan Sutherland and the pioneering work done at MIT to the University of Utah to Stanford through the oNLine System (or NLS) to Xerox PARC and then to Apple. But with the rise of Windows and other graphical operating systems. As Apple's 5 year license for PostScript came and went they started developing their own font standard as a competitor to Adobe, which they called TrueType. Here we saw Times Roman, Courier, and symbols that could replace the PostScript fonts and updating to Geneva, Monaco, and others. They may not have gotten along with Microsoft, but they licensed TrueType to them nonetheless to make sure it was more widely adopted. And in exchange they got a license for TrueImage, which was a page description language that was compatible with PostScript. Given how high resolution screens had gotten it was time for the birth of anti-aliasing. He we could clean up the blocky “jaggies” as the gamers call them. Vertical and horizontal lines in the 8-bit era looked fine but distorted at higher resolutions and so spatial anti-aliasing and then post-processing anti-aliasing was born. By the 90s, Adobe was looking for the answer to TrueImage. So 1993 brought us PDF, now an international standard in ISO 32000-1:2008. But PDF Reader and other tools were good to Adobe for many years, along with Illustrator and then Photoshop and then the other products in the Adobe portfolio. By this time, even though Steve Jobs was gone, Apple was hard at work on new font technology that resulted in Apple Advanced Typography, or AAT. AAT gave us ligature control, better kerning and the ability to write characters on different axes.  But even though Jobs was gone, negotiations between Apple and Microsoft broke down to license AAT to Microsoft. They were bitter competitors and Windows 95 wasn't even out yet. So Microsoft started work on OpenType, their own font standardized language in 1994 and Adobe joined the project to ship the next generation in 1997. And that would evolve into an open standard by the mid-2000s. And once an open standard, sometimes the de facto standard as opposed to those that need to be licensed. By then the web had become a thing. Early browsers and the wars between them to increment features meant developers had to build and test on potentially 4 or 5 different computers and often be frustrated by the results. So the WC3 began standardizing how a lot of elements worked  in Extensible Markup Language, or XML. Images, layouts, colors, even fonts. SVGs are XML-based vector image. In other words the browser interprets a language that displays the image. That became a way to render Web Open Format or WOFF 1 was published in 2009 with contributions by Dutch educator Erik van Blokland, Jonathan Kew, and Tal Leming. This built on the CSS font styling rules that had shipped in Internet Explorer 4 and would slowly be added to every browser shipped, including Firefox since 3.6, Chrome since 6.0, Internet Explorer since 9, and Apple's Safari since 5.1. Then WOFF 2 added Brotli compression to get sizes down and render faster. WOFF has been a part of the W3C open web standard since 2011.  Out of Apple's TrueType came TrueType GX, which added variable fonts. Here, a single font file could contain a number or range of variants to the initial font. So a family of fonts could be in a single file. OpenType added variable fonts in 2016, with Apple, Microsoft, and Google all announcing support. And of course the company that had been there since the beginning, Adobe, jumped on board as well. Fewer font files, faster page loads.  So here we've looked at the progression of fonts from the printing press, becoming more efficient to conserve paper, through the advent of the electronic typewriter to the early bitmap fonts for screens to the vectorization led by Adobe into the Mac then Windows. We also see rethinking the font entirely so multiple scripts and character sets and axes can be represented and rendered efficiently.  I am now converting all my user names into pig Latin for maximum security. Luckily those are character sets that are pretty widely supported. The ability to add color to pig Latin means that OpenType-SVG will allow me add spiffy color to my glyphs. It makes us wonder what's next for fonts. Maybe being able to design our own, or more to the point, customize those developed by others to make them our own. We didn't touch on emoji yet. But we'll just have to save the evolution of character sets and emoji for another day. In the meantime, let's think on the fact that fonts are such a big deal because Steve Jobs took a caligraphy class from a Trappist monk named Robert Palladino while enrolled at Reed College. Today we can painstakingly choose just the right font with just the right meaning because Palladino left the monastic life to marry and have a son. He taught jobs about serif and san serif and kerning and the art of typography.  That style and attention to detail was one aspect of the original Mac that taught the world that computers could have style and grace as well. It's not hard to imagine if entire computers still only supported one font or even one font per document. Palladino never owned or used a computer though. His influence can be felt through the influence his pupil Jobs had. And it's actually amazing how many people who had such dramatic impacts on computing never really used one. Because so many smaller evolutions came after them. What evolutions do we see on the horizon today? And how many who put a snippet of code on a service like GitHub may never know the impact they have on so many?

Lords: * Alex * Shannon Topics: * Reading music badly * Minigame: guess the animal from bad old-timey descriptions * How to pronounce "MacPaint" * https://www.tumblr.com/destinationtoast/708530541060816896 * Airport teleportation Microtopics: * Games that you should not play if you get addicted to games. * Roguelikes that take a reasonable amount of time to play if you are bad at them. * We're Not That Bad!™ * The Sunnyvale Singers. * Producing music with a piano. * Two guards, one who can't read a book and the other one who can read a book aloud but doesn't know the language. * Buttons corresponding to the doots. * Given a starting note, figuring out what the next note is supposed to be. * Not being able to sight sing but faking it by looking at the vertical distance between notes. * Music direction reading "lower than you think" (but in Italian) * Knowing the chord progressions to 10,000 pop songs. * Ways to make music. * Moving between shapes even without hearing them. * Playing accompaniment to silent films. * Improvising music differently each time. * Pliny the Elder describing the camel leopard. * An animal with the neck of a horse but the head of a camel. * A bigness answering thereto. * Enjoying the alligator too much. * A curse on four legs, equally pernicious on land and river. * Inflating the chameleon. * Spontaneous generation. * Horned ghosts catapulting themselves around. * Hunting an elephant by tricking it into leaning on a tree that won't support it. * Whether elephants have knees. * Vultures gestating for three years and giving live birth. * Vultures and condors reproducing without mating. * Your good friend Ms. Paint. * Naming your dog a Japanese-sounding name with no regard to Japanese phonotactics and then arguing with people who try to correct you. * Baking a cake that is 80% vanilla extract. * A poem in the options of a Tumblr poll. * Starting from a point of trust but slowly starting to doubt yourself. * Orpheus and Eurydice. * A poignant way of putting the reader in the character's frame of mind. * The value of Oregon Trail. * Iterating the Orpheus and Eurydice prisoner's dilemma, where whether looking back is the right move is different every time. * Choosing to buy a certain amount of supplies and watching that not work out for you and the character you named after your best friend in the media lab dies. * Extremely short form interactive fiction. * Making an important decision and never finding out if it was the right decision. * Performing Sicilian Reasoning to finesse the outcome of this online cake ingredient poll. * Making a perfect stairway in an online poll. * Making a phone app to help people choose the best option in the cake ingredient poll. * Instantly teleporting from your seat on the flight to the entrance to your destination airport. * Teleporting from the TSA interrogation room to the entrance of the airport. * Teleportation gravity wells. * Establishing an international airport out of your home. * Hoping the cops never figure out that you can only teleport to the entrance of an airport. * Stuperpowers * Gerrymandering your teleport destinations. * An international airport that is 100 miles long and 1 centimeter wide. * Asking a friend to convince you that a certain building is an international airport. * Drinking a glass of water while standing on your head to convince yourself of what an airport is. * Hiccups Gone Install. * You Only Get Screamered Once.

Array Cast - December 23, 2022 Show NotesThanks to Bob Therriault, Adám Brudzewsky, Marshall Lochbaum and John Earnest for gathering these links:[01] 00:02:00 Naming the APLNAATOT podcast twitter https://twitter.com/a_brudz/status/1607653845445873664[02] 00:03:54 John Earnest Arraycast episode 41 https://www.arraycast.com/episodes/episode41-john-earnest Michal Wallace Arraycast episode 40 https://www.arraycast.com/episodes/episode40-michal-wallace[03] 00:04:20 John's website https://beyondloom.com/[04] 00:05:10 iKe https://github.com/JohnEarnest/ok/tree/gh-pages/ike[05] 00:07:02 oK http://johnearnest.github.io/ok/index.html[06] 00:10:20 iKe Vector article https://vector.org.uk/a-graphical-sandbox-for-k-2/[07] 00:10:39 Lindenmayer fractals https://en.wikipedia.org/wiki/L-system[08] 00:15:57 k programming language https://aplwiki.com/wiki/K[09] 00:16:40 turtle graphics https://docs.python.org/3/library/turtle.html[10] 00:17:44 Swift Playgrounds https://en.wikipedia.org/wiki/Swift_Playgrounds Bret Victor http://worrydream.com/ Processing programming language https://processing.org/ Arduino https://www.arduino.cc/[11] 00:19:27 Dzaima APL -https://github.com/dzaima/APL/blob/master/APLP5/docs Dzaima BQN - https://github.com/dzaima/BQN/blob/master/app/readme.md[12] 00:25:08 Arthur Whitney https://en.wikipedia.org/wiki/Arthur_Whitney_(computer_scientist)[13] 00:25:30 APL wiki Naming https://aplwiki.com/wiki/The_name_APL Adin Falkoff https://aplwiki.com/wiki/Adin_Falkoff[14] 00:27:48 Dyalog https://aplwiki.com/wiki/Dyalog_APL Dyadic https://aplwiki.com/wiki/Dyalog_Ltd. Zylog processor https://en.wikipedia.org/wiki/Zilog[15] 00:30:32 Special k https://beyondloom.com/tools/specialk.html Fragment shader https://www.khronos.org/opengl/wiki/Fragment_Shader GLSL shader language https://learnopengl.com/Getting-started/Shaders[16] 00:33:25 NVIDIA https://learnopengl.com/Getting-started/Shaders[17] 00:37:00 Decker https://beyondloom.com/decker/index.html Lil programming language https://beyondloom.com/decker/lil.html macPaint https://en.wikipedia.org/wiki/MacPaint[18] 00:39:06 Interface builder https://en.wikipedia.org/wiki/Interface_Builder Visual Basic https://en.wikipedia.org/wiki/Visual_Basic Lua programming language https://www.lua.org/ q programming language https://aplwiki.com/wiki/Q[19] 00:44:29 APL# https://aplwiki.com/wiki/APL-sharp[20] 00:45:08 Rescript programming language https://rescript-lang.org/[21] 00:47:10 Niladic functions https://aplwiki.com/wiki/Niladic_function[22] 00:48:30 HyperCard https://en.wikipedia.org/wiki/HyperCard HyperTalk https://en.wikipedia.org/wiki/HyperTalk[23] 00:54:36 JavaScript programming language https://www.javascript.com/[24] 00:57:21 MacOS system 6 https://en.wikipedia.org/wiki/System_6[25] 01:02:12 Excel spreadsheet https://en.wikipedia.org/wiki/Microsoft_Excel[26] 01:04:02 J viewmat https://code.jsoftware.com/wiki/Studio/Viewmat[27] 01:05:40 regex https://en.wikipedia.org/wiki/Regular_expression[28] 01:06:10 Nick Psaris Arraycast episode 42 embedding languages https://www.arraycast.com/episodes/episode42-nick-psaris-q[29] 01:07:00 Python programming language https://www.python.org/[30] 01:18:21 Haskell programming language https://www.haskell.org/[31] 01:22:50 Myst video game https://en.wikipedia.org/wiki/Myst[32] 01:23:32 Decktember https://itch.io/jam/decktember

Welcome to the Instant Trivia podcast episode 460, where we ask the best trivia on the Internet. Round 1. Category: Nickelodeon 1: Summer Sanders is the host of this game show. Figure It Out. 2: These 2 guys were on Nickelodeon's "All That" before getting their own show. Kenan and Kel. 3: This character got her secret powers after being doused with a chemical in a freak accident. Alex Mack. 4: Henry and June live inside a comic book filled with mind-scrambling cartoons on this show. KaBlam!. 5: Hey! This cartoon boy has a football-shaped head and is bullied by Helga. Arnold. Round 2. Category: State Dept. Travel Warnings 1: The U.S. uses the Swiss embassy in Iran to conduct business and the Polish embassy in this neighboring country. Iraq. 2: Say so long to Sarajevo; the U.S. has been warning people about visiting this country since 1992. Bosnia. 3: In June 1997 the U.S. closed its embassy in Brazzaville in this country and advises you not to visit. The Congo. 4: If you decide to go to this country (against U.S. wishes), really avoid the city of Cali. Colombia. 5: With tensions between Ethiopia and this country mounting, the State Dept. warned Americans to get out. Eritrea. Round 3. Category: Airlines 1: Icarus is the frequent-flyer program of this international airline. Olympic Airlines. 2: In 1973 there was "Something Special in the Air": this airline's first female pilot, Bonnie Tiburzi. American Airlines. 3: Richard Branson has called this airline "My baby...and...something I am enormously proud of". Virgin Atlantic. 4: Not surprisingly, in 1988 it was the official carrier of the Seoul Olympic games. Korean Airlines. 5: Pilot Sully Sullenberger performed the "Miracle on the Hudson" while flying for this airline. U.S. Airways. Round 4. Category: Computer History 1: This removable item used for data storage was introduced in 1971; the first one was 8 inches square. floppy disk. 2: This computer was introduced in 1984 and came with a MacWrite text program and a MacPaint program for graphics. Apple Macintosh. 3: This company whose name is synonymous with copying introduced the first hand-held mouse in 1973. Xerox. 4: Even before all the polls closed, CBS used this huge computer to predict the result of the 1952 presidential election. UNIVAC. 5: In 1993 Intel introduced this new chip, which had 3.1 million transistors. Pentium. Round 5. Category: The 1860s 1: In an 1867 article, this English physician wrote, "The first ojject must be the destruction of any septic germs". Joseph Lister. 2: In 1865 this city succeeded Auckland as capital of New Zealand. Wellington. 3: On October 4, 1861 the U.S. Navy authorized the construction of this ironclad ship; it was launched 118 days later. Monitor. 4: In 1986 this 23-year-old from Cleveland invested $4000 in an oil refining business; he became very, very rich. John D.) Rockefeller. 5: In 1868 this lodge, the B.P.O.E., was founded in New York City by 15 entertainers. Benevolent and Protective Order of Elks. Thanks for listening! Come back tomorrow for more exciting trivia!

We had this Mac lab in school. And even though they were a few years old at the time, we had a whole room full of Macintosh SEs. I'd been using the Apple II Cs before that and these just felt like Isaac Asimov himself dropped them off just for me to play with. Only thing: no BASIC interpreter. But in the Apple menu, tucked away in the corner was a little application called HyperCard. HyperCard wasn't left by Asimov, but instead burst from the mind of Bill Atkinson. Atkinson was the 51st employee at Apple and a former student of Jeff Raskin, the initial inventor of the Mac before Steve Jobs took over. Steve Jobs convinced him to join Apple where he started with the Lisa and then joined the Mac team until he left with the team who created General Magic and helped bring shape to the world of mobile devices. But while at Apple he was on the original Mac team developing the menu bar, the double-click, Atkinson dithering, MacPaint, QuickDraw, and HyperCard.  Those were all amazing tools and many came out of his work on the original 1984 Mac and the Lisa days before that. But HyperCard was something entirely different. It was a glimpse into the future, even if self-contained on a given computer. See, there had been this idea floating around for awhile.  Vannevar Bush initially introduced the world to a device with all the world's information available in his article “As We May Think” in 1946. Doug Engelbart had a team of researchers working on the oN-Line System that saw him give “The Mother of All Demos in 1968” where he showed how that might look, complete with a graphical interface and hypertext, including linked content. Ted Nelson introduced furthered the ideas in 1969 of having linked content, which evolved into what we now call hyperlinks. Although Nelson thought ahead to include the idea of what he called transclusions, or the snippets of text displayed on the screen from their live, original source.  HyperCard built on that wealth of information with a database that had a graphical front-end that allowed inserting media and a programming language they called HyperTalk. Databases were nothing new. But a simple form creator that supported graphics and again stressed simple, was new. Something else that was brewing was this idea of software economics. Brooks' Law laid it out but Barry Boehm's book on Software Engineering Economics took the idea of rapid application development another step forward in 1981. People wanted to build smaller programs faster. And so many people wanted to build tools that we needed to make it easier to do so in order for computers to make us more productive. Against that backdrop, Atkinson took some acid and came up with the idea for a tool he initially called WildCard. Dan Winkler signed onto the project to help build the programming language, HyperTalk, and they got to work in 1986. They changed the name of the program to HyperCard and released it in 1987 at MacWorld. Regular old people could create programs without knowing how to write code. There were a number of User Interface (UI) components that could easily be dropped on the screen, and true to his experience there was panel of elements like boxes, erasers, and text, just like we'd seen in MacPaint. Suppose you wanted a button, just pick it up from the menu and drop it where it goes. Then make a little script using the HyperText that read more like the English language than a programming language like LISP.  Each stack might be synonymous with a web page today. And a card was a building block of those stacks. Consider the desktop metaphor extended to a rolodex of cards. Those cards can be stacked up. There were template cards and if the background on a template changed, that flowed to each card that used the template, like styles in Keynote might today. The cards could have text fields, video, images, buttons, or anything else an author could think of. And the author word is important. Apple wanted everyone to feel like they could author a hypercard stack or program or application or… app. Just as they do with Swift Playgrounds today. That never left the DNA. We can see that ease of use in how scripting is done in HyperTalk. Not only the word scripting rather than programming, but how HyperTalk is weakly typed. This is to say there's no memory safety or type safety, so a variable might be used as an integer or boolean. That either involves more work by the interpreter or compiler - or programs tend to crash a lot. Put the work on the programmers who build programming tools rather than the authors of HyperCard stacks. The ease of use and visual design made Hypercard popular instantly. It was the first of its kind. It didn't compile at first, although larger stacks got slow because HyperTalk was interpreted, so the team added a just-in-time compiler in 1989 with HyperCard 2.0. They also added a debugger.  There were some funny behaviors. Like some cards could have objects that other cards in a stack didn't have. This led to many a migration woe for larger stacks that moved into modern tools. One that could almost be considered HyperCard 3, was FileMaker. Apple spun their software business out as Claris, who bought Noshuba software, which had this interesting little database program called Nutshell. That became FileMaker in 1985. By the time HyperCard was ready to become 3.0, FileMaker Pro was launched in 1990.  Attempts to make Hypercard 3.0 were still made, but Hypercard had its run by the mid-1990s and died a nice quiet death. The web was here and starting to spread. The concept of a bunch of stacks on just one computer had run its course. Now we wanted pages that anyone could access. HyperCard could have become that but that isn't its place in history. It was a stepping stone and yet a milestone and a legacy that lives on. Because it was a small tool in a large company. Atkinson and some of the other team that built the original Mac were off to General Magic. Yet there was still this idea, this legacy.  Hypercard's interface inspired many modern applications we use to create applications. The first was probably Delphi, from Borland. But over time Visual Studio (which we still use today) for Microsoft's Visual Basic. Even Powerpoint has some similarities with HyperCard's interface. WinPlus was similar to Hypercard as well. Even today, several applications and tools use HyperCard's ideas such as HyperNext, HyperStudio, SuperCard, and LiveCode. HyperCard also certainly inspired FileMaker and every Apple development environment since - and through that, most every tool we use to build software, which we call the IDE, or Integrated Development Environment. The most important IDE for any Apple developer is Xcode. Open Xcode to build an app and look at Interface Builder and you can almost feel Bill Atkinson's pupils dilated pupils looking back at you, 10 hours into a trip. And within those pupils visions - visions of graphical elements being dropped into a card and people digitized CD collections, built a repository for their book collection, put all the Grateful Dead shows they'd recorded into a stack, or even built an application to automate their business. Oh and let's not forget the Zine, or music and scene magazines that were so popular in the era that saw photocopying come down in price. HyperCard made for a pretty sweet Zine.  HyperCard sprang from a trip when the graphical interface was still just coming into its own. Digital computing might have been 40 years old but the information theorists and engineers hadn't been as interested in making things easy to use. They wouldn't have been against it, but they weren't trying to appeal to regular humans. Apple was, and still is. The success of HyperCard seems to have taken everyone by surprise. Apple sold the last copy in 2004, but the legacy lives on. Successful products help to mass- Its success made a huge impact at that time as well on the upcoming technology. Its popularity declined in the mid-1990s and it died quietly when Apple sold its last copy in 2004. But it surely left a legacy that has inspired many - especially old-school Apple programmers, in today's “there's an app for that” world.

Apple recently released an update to their mobile operating system (iOS 15), and as usual…the Brothers are early-adopters. What's to like? What's not to like? The Brothers break down the key new features in this upgrade, and whether they are ready for primetime. Although we always recommend waiting for the 2nd or 3rdupdate to a new OS before upgrading to allow for any major kinks to work out …you will have to listen in to see if iOS 15 follows suit. Plus, hear about a new feature (Focus) that will make it even easier for Alan to ignore Brian's texts throughout the day. Have any feedback for the Brothers regarding this topic (or future topics)? Email info@themesh.tv.Alan Jackson (the older brother) lives in works in Hickory, North Carolina as the Strategic Director of Jackson Creative and Jackson Insight. Alan specializes in creating marketing campaigns and resources for a variety of clients as well as consulting on marketing research and satisfaction surveys. In his free time, Alan runs a film society and annual film festival in Western North Carolina. Alan started his technology journey at a young age, learning to program in BASIC on an Apple IIE and being one of the first people in his area to use and master the original Macintosh. He earned extra lunch money by drawing pictures of superheroes in MacPaint and selling printouts to friends for a quarter each, officially earning him the title of the nerdiest kid at school. Alan has always enjoyed learning new technologies and helping others incorporate tech into their everyday home and work lives. Oh, and he is definitely the favorite child… no matter what his siblings suggest.Originally from Hickory, North Carolina, Brian Jackson (the younger Brother) currently lives just outside of Portland, Oregon where he works a professor of Kinesiology at Pacific University. Academically, he is a “motor behaviorist” (studying motor skill learning and performance) who has used his passion for technology to research the use and effectiveness of a number of fitness and learning devices. He is a former coach (tennis), craft beer connoisseur (well…at least a consumer and admirer), and competitive dart player (yes…darts). Although admittedly deeply connected/invested in the Apple ecosystem, Brian enjoys finding, researching, and critiquing all types of new and creative technology solutions…and consulting others on educational and home technology practices (including trying to correct any mistakes that Alan has made with family advice). Oh, and he is definitely the favorite child…no matter what his siblings suggest.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Un ataque de nostalgia repentino nos lleva a repasar cuáles fueron nuestros primeros ordenadores Un ataque de nostalgia repentino nos lleva a repasar cuáles fueron nuestros primeros ordenadores y cómo la industria de la computación mutaba rápidamente en busca de las ideas ganadoras. @josejacas – PC Render https://twitter.com/josejacas/status/1393977798411292672 Emula un mac original con MacWrite y MacPaint originales de 1984 http://blog.archive.org/2017/04/16/early-macintosh-emulation-comes-to-the-archive/ El TRS-80, una leyenda de la informática https://parceladigital.com/2017/02/09/el-trs-80-una-leyenda-de-la-informatica Mi primer libro sobre ordenadores, de Luca Novelli https://retroordenadoresorty.blogspot.com/2020/07/mi-primer-libro-sobre-ordenadores-luca.html Eduo recuerda su primer libro sobre ordenadores https://twitter.com/eduo/status/782934202572472320 Mi primer post, mi primer libro de BASIC https://jcsastre.com/2012/07/03/mi-primer-post-mi-primer-libro-de-basic/ 1981 en la línea de tiempo de la computación personal https://www.computerhistory.org/timeline/1981/ BBC demuestra el uso de un modem para conectarse y bajar lentamente texto plano en 1984 https://twitter.com/JonErlichman/status/1394004961571352580 La boda de Sean Parker https://www.vanityfair.com/news/2013/09/photos-sean-parker-wedding Livescript, JScript, Javascript. Los nombres de Javascript https://medium.com/madhash/the-many-names-of-javascript-livescript-jscript-ecmascript-es6-and-not-still-java-568b584a91b5 El satisfactorio boton de Degauss en CRT https://www.youtube.com/watch?v=PjO2vVaxIWM El éxito del powerbook 100 de Apple https://www.cultofmac.com/450320/today-apple-history-powerbook-100-series-smash-hit/ El loco ratón en brazo del HP Omnibook https://www.youtube.com/watch?v=mKfJq62tnHA IBM Y su teclado desplegable mariposa https://www.youtube.com/watch?v=p_8MQPdgC-o Síguenos en Twitter @haciafalta http://twitter.com/haciafalta

There was a nexus of Digital Research and Xerox PARC, along with Stanford and Berkeley in the Bay Area. The rise of the hobbyists and the success of Apple attracted some of the best minds in computing to Apple. This confluence was about to change the world. One of those brilliant minds that landed at Apple started out as a technical writer.  Apple hired Jef Raskin as their 31st employee, to write the Apple II manual. He quickly started harping on people to build a computer that was easy to use. Mike Markkula wanted to release a gaming console or a cheap computer that could compete with the Commodore and Atari machines at the time. He called the project “Annie.” The project began with Raskin, but he had a very different idea than Markkula's. He summed it up in an article called “Computers by the Millions” that wouldn't see publication until 1982. His vision was closer to his PhD dissertation, bringing computing to the masses. For this, he envisioned a menu driven operating system that was easy to use and inexpensive. Not yet a GUI in the sense of a windowing operating system and so could run on chips that were rapidly dropping in price. He planned to use the 6809 chip for the machine and give it a five inch display.  He didn't tell anyone that he had a PhD when he was hired, as the team at Apple was skeptical of academia. Jobs provided input, but was off working on the Lisa project, which used the 68000 chip. So they had free reign over what they were doing.  Raskin quickly added Joanna Hoffman for marketing. She was on leave from getting a PhD in archaeology at the University of Chicago and was the marketing team for the Mac for over a year. They also added Burrell Smith, employee #282 from the hardware technician team, to do hardware. He'd run with the Homebrew Computer Club crowd since 1975 and had just strolled into Apple one day and asked for a job.  Raskin also brought in one of his students from the University of California San Diego who was taking a break from working on his PhD in neurochemistry. Bill Atkinson became employee 51 at Apple and joined the project. They pulled in Andy Hertzfeld, who Steve Jobs hired when Apple bought one of his programs as he was wrapping up his degree at Berkeley and who'd been sitting on the Apple services team and doing Apple III demos. They added Larry Kenyon, who'd worked at Amdahl and then on the Apple III team. Susan Kare came in to add art and design. They, along with Chris Espinosa - who'd been in the garage with Jobs and Wozniak working on the Apple I, ended up comprising the core team. Over time, the team grew. Bud Tribble joined as the manager for software development. Jerrold Manock, who'd designed the case of the Apple II, came in to design the now-iconic Macintosh case. The team would eventually expand to include Bob Belleville, Steve Capps, George Crow, Donn Denman, Bruce Horn, and Caroline Rose as well. It was still a small team. And they needed a better code name. But chronologically let's step back to the early project.  Raskin chose his favorite Apple, the Macintosh, as the codename for the project. As far as codenames go it was a pretty good one. So their mission would be to ship a machine that was easy to use, would appeal to the masses, and be at a price point the masses could afford. They were looking at 64k of memory, a Motorola 6809 chip, and a 256 bitmap display. Small, light, and inexpensive. Jobs' relationship with the Lisa team was strained and he was taken off of that and he started moving in on the Macintosh team. It was quickly the Steve Jobs show.  Having seen what could be done with the Motorola 68000 chip on the Lisa team, Jobs had them redesign the board to work with that. After visiting Xerox PARC at Raskin's insistence, Jobs finally got the desktop metaphor and true graphical interface design.  Xerox had not been quiet about the work at PARC. Going back to 1972 there were even television commercials. And Raskin had done time at PARC while on sabbatical from Stanford. Information about Smalltalk had been published and people like Bill Atkinson were reading about it in college. People had been exposed to the mouse all around the Bay Area in the 60s and 70s or read Engelbart's scholarly works on it. Many of the people that worked on these projects had doctorates and were academics. They shared their research as freely as love was shared during that counter-culture time. Just as it had passed from MIT to Dartmouth and then in the back of Bob Albrecht's VW had spread around the country in the 60s. That spirit of innovation and the constant evolutions over the past 25 years found their way to Steve Jobs.  He saw the desktop metaphor and mouse and fell in love with it, knowing they could build one for less than the $400 unit Xerox had. He saw how an object-oriented programming language like Smalltalk made all that possible. The team was already on their way to the same types of things and so Jobs told the people at PARC about the Lisa project, but not yet about the Mac. In fact, he was as transparent as anyone could be. He made sure they knew how much he loved their work and disclosed more than I think the team planned on him disclosing about Apple.  This is the point where Larry Tesler and others realized that the group of rag-tag garage-building Homebrew hackers had actually built a company that had real computer scientists and was on track to changing the world. Tesler and some others would end up at Apple later - to see some of their innovations go to a mass market. Steve Jobs at this point totally bought into Raskin's vision. Yet he still felt they needed to make compromises with the price and better hardware to make it all happen.  Raskin couldn't make the kinds of compromises Jobs wanted. He also had an immunity to the now-infamous Steve Jobs reality distortion field and they clashed constantly. So eventually Raskin the project just when it was starting to take off. Raskin would go on to work with Canon to build his vision, which became the Canon CAT.  With Raskin gone, and armed with a dream team of mad scientists, they got to work, tirelessly pushing towards shipping a computer they all believed would change the world. Jobs brought in Fernandez to help with projects like the macOS and later HyperCard. Wozniak had a pretty big influence over Raskin in the early days of the Mac project and helped here and there withe the project, like with the bit-serial peripheral bus on the Mac.  Steve Jobs wanted an inexpensive mouse that could be manufactured en masse. Jim Yurchenco from Hovey-Kelley, later called Ideo, got the task - given that trusted engineers at Apple had full dance cards. He looked at the Xerox mouse and other devices around - including trackballs in Atari arcade machines. Those used optics instead of mechanical switches. As the ball under the mouse rolled beams of light would be interrupted and the cost of those components had come down faster than the technology in the Xerox mouse.  He used a ball from a roll-on deodorant stick and got to work. The rest of the team designed the injection molded case for the mouse. That work began with the Lisa and by the time they were done, the price was low enough that every Mac could get one.  Armed with a mouse, they figured out how to move windows over the top of one another, Susan Kare designed iconography that is a bit less 8-bit but often every bit as true to form today. Learning how they wanted to access various components of the desktop, or find things, they developed the Finder. Atkinson gave us marching ants, the concept of double-clicking, the lasso for selecting content, the menu bar, MacPaint, and later, HyperCard.  It was a small team, working long hours. Driven by a Jobs for perfection. Jobs made the Lisa team the enemy. Everything not the Mac just sucked. He took the team to art exhibits. He had the team sign the inside of the case to infuse them with the pride of an artist. He killed the idea of long product specifications before writing code and they just jumped in, building and refining and rebuilding and rapid prototyping. The team responded well to the enthusiasm and need for perfectionism.  The Mac team was like a rebel squadron. They were like a start-up, operating inside Apple. They were pirates. They got fast and sometimes harsh feedback. And nearly all of them still look back on that time as the best thing they've done in their careers.  As IBM and many learned the hard way before them, they learned a small, inspired team, can get a lot done. With such a small team and the ability to parlay work done for the Lisa, the R&D costs were minuscule until they were ready to release the computer. And yet, one can't change the world over night. 1981 turned into 1982 turned into 1983.  More and more people came in to fill gaps. Collette Askeland came in to design the printed circuit board. Mike Boich went to companies to get them to write software for the Macintosh. Berry Cash helped prepare sellers to move the product. Matt Carter got the factory ready to mass produce the machine. Donn Denman wrote MacBASIC (because every machine needed a BASIC back then). Martin Haeberli helped write MacTerminal and Memory Manager. Bill Bull got rid of the fan. Patti King helped manage the software library. Dan Kottke helped troubleshoot issues with mother boards. Brian Robertson helped with purchasing. Ed Riddle designed the keyboard. Linda Wilkin took on documentation for the engineering team. It was a growing team. Pamela Wyman and Angeline Lo came in as programmers. Hap Horn and Steve Balog as engineers.  Jobs had agreed to bring in adults to run the company. So they recruited 44 years old hotshot CEO John Sculley to change the world as their CEO rather than selling sugar water at Pepsi. Scully and Jobs had a tumultuous relationship over time. While Jobs had made tradeoffs on cost versus performance for the Mac, Sculley ended up raising the price for business reasons. Regis McKenna came in to help with the market campaign. He would win over so much trust that he would later get called out of retirement to do damage control when Apple had an antenna problem on the iPhone. We'll cover Antenna-gate at some point. They spearheaded the production of the now-iconic 1984 Super Bowl XVIII ad, which shows woman running from conformity and depicted IBM as the Big Brother from George Orwell's book, 1984.  Two days after the ad, the Macintosh 128k shipped for $2,495. The price had jumped because Scully wanted enough money to fund a marketing campaign. It shipped late, and the 128k of memory was a bit underpowered, but it was a success. Many of the concepts such as a System and Finder, persist to this day. It came with MacWrite and MacPaint and some of the other Lisa products were soon to follow, now as MacProject and MacTerminal. But the first killer app for the Mac was Microsoft Word, which was the first version of Word ever shipped.  Every machine came with a mouse. The machines came with a cassette that featured a guided tour of the new computer. You could write programs in MacBASIC and my second language, MacPascal.  They hit the initial sales numbers despite the higher price. But over time that bit them on sluggish sales. Despite the early success, the sales were declining. Yet the team forged on. They introduced the Apple LaserWriter at a whopping $7,000. This was a laser printer that was based on the Canon 300 dpi engine. Burrell Smith designed a board and newcomer Adobe knew laser printers, given that the founders were Xerox alumni. They added postscript, which had initially been thought up while working with Ivan Sutherland and then implemented at PARC, to make for perfect printing at the time. The sluggish sales caused internal issues. There's a hangover  when we do something great. First there were the famous episodes between Jobs, Scully, and the board of directors at Apple. Scully seems to have been portrayed by many to be either a villain or a court jester of sorts in the story of Steve Jobs. Across my research, which began with books and notes and expanded to include a number of interviews, I've found Scully to have been admirable in the face of what many might consider a petulant child. But they all knew a brilliant one.  But amidst Apple's first quarterly loss, Scully and Jobs had a falling out. Jobs tried to lead an insurrection and ultimately resigned. Wozniak had left Apple already, pointing out that the Apple II was still 70% of the revenues of the company. But the Mac was clearly the future.  They had reached a turning point in the history of computers. The first mass marketed computer featuring a GUI and a mouse came and went. And so many others were in development that a red ocean was forming. Microsoft released Windows 1.0 in 1985. Acorn, Amiga, IBM, and others were in rapid development as well.  I can still remember the first time I sat down at a Mac. I'd used the Apple IIs in school and we got a lab of Macs. It was amazing. I could open a file, change the font size and print a big poster. I could type up my dad's lyrics and print them. I could play SimCity. It was a work of art. And so it was signed by the artists that brought it to us: Peggy Alexio, Colette Askeland, Bill Atkinson, Steve Balog, Bob Belleville, Mike Boich, Bill Bull, Matt Carter, Berry Cash, Debi Coleman, George Crow, Donn Denman, Christopher Espinosa, Bill Fernandez, Martin Haeberli, Andy Hertzfeld, Joanna Hoffman, Rod Holt, Bruce Horn, Hap Horn, Brian Howard, Steve Jobs, Larry Kenyon, Patti King, Daniel Kottke, Angeline Lo, Ivan Mach, Jerrold Manock, Mary Ellen McCammon, Vicki Milledge, Mike Murray, Ron Nicholson Jr., Terry Oyama, Benjamin Pang, Jef Raskin, Ed Riddle, Brian Robertson, Dave Roots, Patricia Sharp, Burrell Smith, Bryan Stearns, Lynn Takahashi, Guy "Bud" Tribble, Randy Wigginton, Linda Wilkin, Steve Wozniak, Pamela Wyman and Laszlo Zidek. Steve Jobs left to found NeXT. Some, like George Crow, Joanna Hoffman, and Susan Care, went with him. Bud Tribble would become a co-founder of NeXT and then the Vice President of Software Technology after Apple purchased NeXT. Bill Atkinson and Andy Hertzfeld would go on to co-found General Magic and usher in the era of mobility. One of the best teams ever assembled slowly dwindled away. And the oncoming dominance of Windows in the market took its toll. It seems like every company has a “lost decade.” Some like Digital Equipment don't recover from it. Others, like Microsoft and IBM (who has arguably had a few), emerge as different companies altogether. Apple seemed to go dormant after Steve Jobs left. They had changed the world with the Mac. They put swagger and an eye for design into computing. But in the next episode we'll look at that long hangover, where they were left by the end of it, and how they emerged to become to change the world yet again.  In the meantime, Walter Isaacson weaves together this story about as well as anyone in his book Jobs. Steven Levy brilliantly tells it in his book Insanely Great. Andy Hertzfeld gives some of his stories at folklore.org. And countless other books, documentaries, podcasts, blog posts, and articles cover various aspects as well. The reason it's gotten so much attention is that where the Apple II was the watershed moment to introduce the personal computer to the mass market, the Macintosh was that moment for the graphical user interface.

The Famous Computer Cafe This is a podcast episode featuring three interviews with people who created a radio show that did hundreds of interviews. The Famous Computer Cafe was -- not a restaurant -- but a radio program that aired from 1983 through the first quarter of 1986. The program included computer news, product reviews, and interviews. The program was created by three people — who were not only the on-air voices, but did all the work around the program: getting advertisers, buying air time, researching each day's computer news, booking interviews -- everything. Those three people were Andrew Velcoff, Michael Walker (now Michael FireWalker), and Ellen Lubin (later Ellen Walker, now Ellen Fields.) For this episode of Antic, I got to talk with all three of The Famous Computer Cafe's proprietors. There were several versions of the show, which aired on several radio stations, primarily in California. A live, daily half-hour version allowed phone calls from listeners. Taped versions (running a half-hour and up to two hours) also aired daily. The show started in 1983 on two stations in the Los Angeles area: KFOX 93.5 FM and KIEV 870 AM. In 1985 it began airing in the California Bay Area: on KXLR 1260 AM in San Francisco and KCSM 91.1 FM in San Matro, and KSDO 1130 AM in San Diego. Also in 1985 a nationally syndicated, half-hour non-commercial version of The Famous Computer Cafe was available via satellite to National Public Radio stations around the United States, though it's not clear today which stations ran it. To me, the most exciting thing about the show was the interviews. The list of people that the show interviewed is a who's-who of tech luminaries of the early 1980s.  But not just computer people: they interviewed anyone whose work was touched by personal computer technology. musicians, professors, publishers, philosophers, journalists, astrologers. The cafe aired interviews with Philip Estridge, the IBM vice president who was responsible for developing the PC; Microsoft Chairman Bill Gates; Atari Chairman Jack Tramiel; Bill Atkinson, developer of MacPaint; Infocom's Joel Berez; Gene Roddenberry, creator of Star Trek; musician Herbie Hancock; Trip Hawkins, founder of Electronic Arts; author Douglas Adams; Stewart Brand, editor of the Whole Earth Catalog; psychologist Timothy Leary; science fiction writer Ray Bradbury; synthesizer pioneer Robert Moog; and pop star Donny Osmond. The list goes on and on and on. By mid-1985, the show had run more than 300 half-hour interviews. Here's the bad news. Those episodes, those interviews, are lost. Today, a recording of only one Cafe episode is known to exist. That show, which aired January 2, 1986, includes an interview with Rich Gold, creator of the Activision simulation Little Computer People; a call-in from tech journalist John Dvorak; and commercials for Elephant Floppy Disks and Microsoft Word. The entire 29-minute episode is available at Internet Archive, with the gracious permission of the show's creators. It's an amazing time capsule -- which survived because Rich Gold, interviewed on the program, saved a cassette of that show. Perhaps, somewhere, there are hundreds more episodes waiting to be re-discovered — if someone has the recordings. If you do, contact me at antic@ataripodcast.com. The good news is that transcripts of six interviews do exist (and are now online): Timothy Leary, Donny Osmond, Hitchhiker's Guide to the Galaxy's Douglas Adams and Steve Meretzky; Frank Herbert, author of the Dune series; Tom Mahon, author of Charged Bodies; and Jack Nilles, head of the University of Southern California Center for Futures Research. Check this episode's show notes, at AtariPodcast.com, for links to the one episode, the six transcripts, and the cool Famous Computer Cafe logo. You'll hear the interviews in the order in which I recorded them. First up is Michael FireWalker, then Ellen Fields, then Andrew Velcoff. The interview with Michael FireWalker took place on May 27, 2020. The interview with Ellen Fields took place on June 1, 2020. The interview with Andrew Velcoff took place on July 3, 2020. Special thanks to fellow researcher Devin Monnens, and the Department of Special Collections at Stanford University. This podcast used excerpts from the one The Famous Computer Cafe episode that is known to exist. That episode, now available at Internet Archive, was digitized by Stanford University (the physical tape is in their special collections located in the Stanford Series 9 of the Rich Gold Collection (M1510), Box 2.) If you have any other recordings of any Famous Computer Cafe episodes, please contact me at antic@ataripodcast.com. The Famous Computer Cafe 1986-01-02 episode The Famous Computer Cafe interview transcripts The Famous Computer Cafe ads, photos, articles

We discuss the update design resources for Big Sur and iOS 14. We dissect the App Store Small Business Program. Now that M1 Macs are in the wild we debate the differences and performance. How to reinstall macOS on M1. Redesigned MacBooks With Apple Silicon to Launch in Second Half of 2021. Picks: BizHUB Pro USB-C Multiport Professional Adapter, UltraHUB - USB-C Multiport HDMI Macbook Pro Adapter, 6 in 1 USB-C Macbook Pro Adapter, Life-Line USB-C Cable Combo, Check M1 compatibility for all your Mac apps with this free open source tool, Is Apple Silicon ready? Ready for Big Sur: Introducing 1Password 7.7 for Mac, Is It Read-Only Friday?

FOR IMMEDIATE RELEASE: At 3pm Central time, author, storyteller, playwright and craft publisher Mark Binder will perform the world's first Zoom eBook at Digital Book World. The whimsical autobiographical talk will spiral around the subject of "How technology and distribution spark creativity". "It's going to be an informative and (hopefully) entertaining whirlwind," Mark explained. "Changing technology has always influenced my process: from my first Mac 512 and MacPaint through The Brothers Schlemiel and Cinderella Spinderella to forthcoming release of The Groston Rules." For information and to register, visit https://www.digitalbookworld.com/

Welcome to the History of Computing Podcast, where we explore the history of information technology. Because understanding the past prepares us to innovate (and sometimes cope with) the future! Today we're going to cover yet another of the groundbreaking technologies to come out of MIT: Sketchpad.  Ivan Sutherland is a true computer scientist. After getting his masters from Caltech, he migrated to the land of the Hackers and got a PhD from MIT in 1963. The great Claud Shannon supervised his thesis and Marvin Minsky was on the thesis review committee. But he wasn't just surrounded by awesome figures in computer science, he would develop a critical piece between the Memex in Vannevar Bush's “As We May Think” and the modern era of computing: graphics.  What was it that propelled him from PhD candidate to becoming the father of computer graphics? The 1962-1963 development of a program called Sketchpad. Sketchpad was the ancestor of the GUI, object oriented programming, and computer graphics. In fact, it was the first graphical user interface. And it was all made possible by the TX-2, a computer developed at the MIT Lincoln Laboratory by Wesley Clark and others. The TX-2 was transistorized and so fast. Fast enough to be truly interactive. A lot of innovative work had come with the TX-0 and the program would effectively spin off as Digital Equipment Corporation and the PDP series of computers.  So it was bound to inspire a lot of budding computer scientists to build some pretty cool stuff. Sutherland's Sketchpad used a light pen. These were photosensitive devices that worked like a stylus but would send light to the display, activating dots on a cathode ray tube (CRT). Users could draw shapes on a screen for the first time. Whirlwind at MIT had allowed highlighting objects, but this graphical interface to create objects was a new thing altogether, inputing data into a computer as an object instead of loading it as code, as could then be done using punch cards.  Suddenly the computer could be used for art. There were toggle-able switches that made lines bigger. The extra memory that was pretty much only available in the hallowed halls of government-funded research in the 60s opened up so many possibilities. Suddenly, computer-aided design, or CAD, was here.  Artists could create a master drawing and then additional instances on top, with changes to the master reverberating through each instance. They could draw lines, concentric circles, change ratios. And it would be 3 decades before MacPaint would bring the technology into homes across the world. And of course AutoCAD, making Autodesk one of the greatest software companies in the world.  The impact of Sketchpad would be profound. Sketchpad would be another of Doug Englebart's inspirations when building the oN-Line System and there are clear correlations in the human interfaces. For more on NLS, check out the episode of this podcast called the Mother of All Demos, or watch it on YouTube.  And Sutherland's work would inspire the next generation: people who read his thesis, as well as his students and coworkers.  Sutherland would run the Information Processing Techniques Office for the US Defense Department Advanced Research Project Agency after Lick returned to MIT. He also taught at Harvard, where he and students developed the first virtual reality system in 1968, decades before it was patented by VPL research in 1984. Sutherland then went to the University of Utah, where he taught Alan Kay who gave us object oriented programming in smalltalk and the concept of the tablet in the Dynabook, and Ed Catmull who co-founded Pixar and many other computer graphics pioneers.  He founded Evans and Sutherland, with the man that built the computer science department at the University of Utah and their company launched the careers of John Warnock, the founder of Adobe and Jim Clark, the founder of Silicon Graphics. His next company would be acquired by Sun Microsystems and become Sun Labs. He would remain a Vice President and fellow at Sun and a visiting scholar at Berkeley.  For Sketchpad and his other contributions to computing, he would be awarded a Computer Pioneer Award, become a fellow at the ACM, receive a John von Neumann Medal, receive the Kyoto Prize, become a fellow at the Computer History Museum, and receive a Turing Award.  I know we're not supposed to make a piece of software an actor in a sentence, but thank you Sketchpad. And thank you Sutherland. And his students and colleagues who continued to build upon his work.

Susan Kare Welcome to the History of Computing Podcast, where we explore the history of information technology. Because by understanding the past, we're able to be prepared for the innovations of the future! Today we'll talk about a great innovator, Susan Kare. Can you imagine life without a Trash Can icon? What about the Mac if there had never been a happy Mac icon. What would writing documents be like if you always used Courier and didn't have all those fonts named after cities? They didn't just show up out of nowhere. And the originals were 8 bit. But they were were painstakingly designed, reviewed, reviewed again, argued over, obsessed over. Can you imagine arguing with Steve Jobs? He's famous for being a hard person to deal with. But one person brought us all of these things. One pioneer. One wizard. She cast her spell over the world. And that spell was to bring to an arcane concept called the desktop metaphor into everyday computers. Primitive versions had shipped in Douglas Engelbart's NLS, in Alan Kay's Smalltalk. In Magic Desk on the Commodore 64. But her class was not an illusionist as those who came before her were, but a mage, putting hexadecimal text derived from graph paper so the bits would render on the screen the same, for decades to come. And we still use her visionary symbols, burned into the spell books of all visual designers from then to today. She was a true innovator. She sat in a room full of computer wizards that were the original Mac team, none was more important than Susan Kare. Born in 1954 in Ithaca, New York this wizard got her training in the form of a PhD from New York University and then moved off to San Francisco in the late 1970s, feeling the draw of a generation's finest to spend her mage apprenticeship as a curator at a Fine Arts Museum. But like Gandalph, Raistlin, Dumbledoor, Merlin, Glinda the good witch and many others, she had a destiny to put a dent in the universe. To wield the spells of the infant user interface design art to reshape the universe, 8-bits at a time. She'd gone to high school with a different kind of wizard. His name was Andy Hertzfeld and he was working at a great temple called Apple Computer. And his new team team would build a new kind of computer called the Macintosh. They needed some graphics and fonts help. Susan had used an Apple II but had never done computer graphics. She had never even dabbled in typography. But then, Dr Strange took the mantle with no experience. She ended up taking the job and joining Apple as employee badge number 3978. She was one of two women on the original Macintosh team. She had done sculpture and some freelance work as a designer. But not this weird new art form. Almost no one had. Like any young magician, she bought some books and studied up on design, equating bitmap graphics to needlepoint. She would design the iconic fonts, the graphics for many of the applications, and the icons that went into the first Mac. She would conjure up the hex (that's hexadecimal) for graphics and fonts. She would then manually type them in to design icons and fonts. Going through every letter of every font manually. Experimenting. Testing. At the time, fonts were reserved for high end marketing and industrial designers. Apple considered licensing existing fonts but decided to go their own route. She painstakingly created new fonts and gave them the names of towns along train stops around Philadelphia where she grew up. Steve Jobs went for the city approach but insisted they be cool cities. And so the Chicago, Monaco, New York, Cairo, Toronto, Venice, Geneva, and Los Angeles fonts were born - with her personally developing Geneva, Chicago, and Cairo. And she did it in 9 x 7. I can still remember the magic of sitting down at a computer with a graphical interface for the first time. I remember opening MacPaint and changing between the fonts, marveling at the typefaces. I'd certainly seen different fonts in books. But never had I made a document and been able to set my own typeface! Not only that they could be in italics, outline, and bold. Those were all her. And she painstakingly created them out of pixels. The love and care and detail in 8-bit had never been seen before. And she did it with a world class wizard: someone with a renowned attention to detail and design sense like Steve Jobs looking over her shoulder and pressuring her to keep making it better. They brought the desktop metaphor into the office. Some of it pre-existed her involvement. The trash can had been a part of the Lisa graphics already. She made it better. The documents icon pre-dated her. She added a hand holding a pencil to liven it up, making it clear which files were applications and which were documents. She made the painting brush icon for MacPaint that, while modernized, is still in use in practically every drawing app today. In fact when Bill Atkinson was writing MacSketch and saw her icon, the name was quickly changed to MacPaint. She also made the little tool that you use to draw shapes and remove them called the lasso, with Bill Atkinson. Before her, there were elevators to scroll around in a window. After her, they were called scroll bars. After her, the places you dropped your images was called the Scrapbook. After her the icon of a floppy disk meant save. She gave us the dreaded bomb. The stop watch. The hand you drag to move objects. The image of a speaker making sound. The command key, still on the keyboard of every Mac made. You can see that symbol on Nordic maps and it denotes an “area of interest” or more poignant for the need: “Interesting Feature”. To be clear, I never stole one of those signs while trampsing around Europe. But that symbol is a great example of what a scholarly mage can pull out of ancient tomes, as it is called a Gorgon knot or Saint John Arm's and dates back over fifteen hundred years - and you can see that in other hieroglyphs she borrowed from obscure historical references. And almost as though those images are burned into our DNA, we identified with them. She worked with the traditionally acclaimed wizards of the Macintosh: Andy Hertzfeld, Bill Atkinson, Bruce Horn, Bud Tribble, Donn Denman, Jerome Coonen, Larry Kenos, and Steve Capps. She helped Chris Espinosa, Clement Mok, Ellen Romana, and Tom Hughes out with graphics for manuals, and often on how to talk about a feature. But there was always Steve Jobs. Some icons took hours; others took days. And Jobs would stroll in and have her recast her spell if it wasn't just right. Never acknowledging the effort. If it wasn't right, it wasn't right. The further the team pushed on the constantly delayed release of the Mac the more frantic the wizards worked. The less they slept. But somehow they knew. It wasn't just Jobs' reality distortion field as Steven Levy famously phrased it. They knew that what they were building would put a dent in the Universe. And when they all look back, her designs on “Clarus the Dogcow” were just the beginning of her amazing contributions. The Mac launched. And it did not turn out to be a commercial success, leading to the ouster of Steve Jobs - Sauron's eye was firmly upon him. Kare left with Jobs to become the tenth employee at NeXT computer. But she introduced Jobs to Paul Rand, who had helped design the IBM logo, to design their logo. When IBM, the Voldemort of the time, was designing OS/2, she helped with their graphics. When Bill Gates, the Jafar of the computer industry called, she designed the now classic solitaire for Windows. And she gave them Notepad and Control Panels. And her contributions have continued. When Facebook needed images for the virtual gifts feature. They called Kare. You know that spinning button when you refresh Pinterest. That's Kare. And she still does work all the time. The Museum of Modern Art showed her original Sketches in a 2015 Exhibit called “This is for everyone.” She brought us every day metaphors to usher in the and ease the transition into a world of graphical user interfaces. Not a line of the original code remains. But it's amazing how surrounded by all the young wizards, one that got very little attention in all the books and articles about the Mac was the biggest wizard of them all. Without her iconic designs, the other wizards would likely be forgotten. She is still building one of the best legacies in all of the technology industry. By simply putting users into user interface. When I transitioned from the Apple II to the Mac, she made it easy for me with those spot-on visual cues. And she did it in only 8 bits. She gave the Mac style and personality. She made it fun, but not so much fun that it would be perceived as a toy. She made the Mac smile. Who knew that computers could smile?!?! The Mac Finder still smiles at me every day. Truly Magical. Thanks for that, Susan Kare. And thanks to you inquisitive and amazing listeners. For my next trick. I'll disappear. But thank you for tuning in to yet another episode of the History of Computing Podcast. We're so lucky to have you. Have a great day!

At the FileMaker Developer Conference last week, FileMaker, Inc. announced they had changed their name to Claris International and purchased Stamplay. This is a bit of déjà vu for anyone who remembers MacWrite, MacPaint and Claris Corporation. It’s a blast from the past that’s been modernized. We’ll share our thoughts on the announcement and even speculate as to what the future holds. Come join us for this exciting new era for FileMaker.

Bill Atkinson, well-known for QuickDraw, MacPaint, and HyperCard, reflects on the 40th anniversary of his start at Apple. Audio excerpt from the Churchill Club’s 2011 event discussing the legacy of Steve Jobs. Text available at folklore.org.

Animator Wahyu Ichwandardi, also known as Pinot, has been documenting his attempt to capture Childish Gambino's "This Is America" choreography since the beginning of June...using MacPaint and MacroMind Video on original Mac 128k hardware! Why did he do this? How did he do this? Macintosh 128K with MacPaint 1.5 & Summagraphics MacTablet. Macintosh SE with MacroMind VideoWorks & Apple 1GB External SCSI hard drive. BMOW Floppy Emu for data transfer via SD card. http://twitter.com/pinot https://www.instagram.com/pinot https://www.youtube.com/watch?v=1pXm2NqfHMs https://mashable.com/article/this-is-america-retro-animation-pinot-mac

Week in News: Police officers fired in California after abusing privacy through large databases. Microsoft gives to OpenStreetMap, Lyle plays with HoloLen, Supercomputers and Linux, and #FamilesBelongTogether bot attack. And a long form discussion on software/apps/programs performance and change over history with a bit about Podcasting software.Brian's Trailer The California Attorney General’s Office Says It’s Finally Taking Database Abuse Seriously—But Time Will Tell | Electronic Frontier FoundationGeekSpeak Episode: Swimming in a Sea of Internet FraudMicrosoft releases 125 million building footprints in the US to the OpenStreetMap communityMicrosoft HoloLens | The leader in mixed reality technology​Supercomputers: All Linux, all the timeApplications - the transitionClowns (video game) - WikipediaLode Runner Web GameChoplifter - WikipediaAdobe Photoshop - WikipediaOur software must get better | Seth's BlogHardware is sexy, but it’s software that matters | Seth's BlogAudio Editing (rambling) ZoomH6 – Video: GeekSpeak Audio Recording Setup using the ZoomH6 Adobe Audition Ferite Recording Studio iPad Software Descript – Text Editor for Speech Audio Patron, Weekly, JoyCalifornia's new data privacy law the toughest in the USDescript - Transcription and Audio EditingMacPaint - Wikipedia#FamiliesBelongTogether Robotic Attack this Week

How did TIVO lead to Netflix? How does good software lead to empowerment? In this episode, we deconstruct the everyday impact of great software. It’s pretty cool having control of the screen: This week Paul Ford and Rich Ziade meet with their friend Timothy Meaney, VP Product & Quality at Insight Catastrophe, to talk about what makes software great. Between the earliest spreadsheet programs, the hidden databases upholding Manhattan, and the ChromeBook interface that makes Paul’s kids cry, we learn how the best software is characterized by its simplicity. [Podcast player] ►iTunes/►SoundCloud/►Overcast/►Stitcher/►MP3 /►RSS 2:35 — Tim: “People also don’t think about software.” 6:10 — Tim: “There was something very powerful about computing, being from what you just described — me being alone in my room writing a game that I want to play myself — to talking to other people.” 6:50 — Tim: “The web, since [AOL Instant Messenger] has been about people.” 7:05 — Paul: “What’s interesting from the two of you is that the quality of greatness is accessibility. It’s not about inventing anything, it’s about making it accessible.” 8:00 — Paul: “Suddenly AIM replaced a whole category of communication. BASIC made it possible to program. MacPaint made it possible to draw.” 8:50 — Rich: “Photoshop has gone straight to hell! To hell with Creative Cloud! To tell with whatever is happening in Photoshop today. I don’t understand it.” 9:10 — Paul: “The magazine industry died, why do they make me relive it every day?” 10:05 — Rich: “Once it came to me — the mental model kicked in around layers in Photoshop — I lost my mind. I was like, oh my god, this is how everything is done.” 11:20 — Paul: “If you walk up and down the streets of Manhattan where we happen to be right now, billions and billions of dollars of decisions will be made this week based on Microsoft Excel and Microsoft PowerPoint. Those are the tools and the software that people will use to move entire markets.” 16:05 — Paul: “I just want to pull SQLite out and point at it because it’s a tiny piece of software and it stores data. That’s all. It’s a tiny database. It used to be that you’d go to Oracle and spend $30,000 to have this database. SQLite is on every Android phone, every iOS phone — it’s in just about every computer and every platform.” 21:20 — Paul: “TiVo was our first step on our cultural path to Netflix.” 25:40 — Tim: “The cycle is funny, right. It’s reached a point where it’s so transparent that we’ve ceded the control. A 10-year-old is not getting excited about gaining that control, they just have it.” 25:55 — Paul: “If you ever want to see a 6-year-old have a temper tantrum, just give them the interface to a ChromeBook.” 26:25 — Paul: “I thought the NYPD was gonna arrest me for downloading Chicago 17.” 26:50 — Paul: “God, I love a good shared file system between friends! I miss that in my life!” A full transcript of this episode is available. LINKS Tim Meaney VisiCalc SQLite BASIC The Rise and Fall of AIM, the Breakthrough AOL Never Wanted OiNK.cd Shut Down, Admin Arrested Track Changes is the weekly technology and culture podcast from Postlight, hosted by Paul Ford and Rich Ziade. Production, show notes and transcripts by EDITAUDIO. Podcast logo and design by Will Denton of Postlight.

John Chakeres was fascinated with photography and the space program from the time he was a child. After graduating from college with a degree in art, photography and printmaking, he followed his second boyhood dream to the Kennedy Space Center when the first shuttle launched in 1981. John photographed the shuttle program – some 50 launches in all – until the Challenger disaster five years later.

This episode was recorded 22 May 2013 live and in person at Adobe's offices in Fremont in Seattle. You can download the m4a file or subscribe in iTunes. (Or subscribe to the podcast feed.) John Nack is Principal Product Manager, Adobe Digital Video. He has a blog (definitely worth reading, especially if you use Photoshop) and is @jnack on Twitter. This episode is sponsored by Microsoft Azure Mobile Services. One of the cooler features recently added is the ability to create custom APIs. Originally you were limited to standard operations on your database tables — but now you can design any API you want. This allows you to create a full REST/JSON API that's tailored to your app, that works as efficiently as possible. (And it's all in JavaScript. Mobile Services runs Node.js. Write your apps in your favorite text editor on your Mac.) Things we mention, in order of appearance (pretty much): Adobe LiveMotion Photoshop John's Blog Kurt Vonnegut Granfalloons despair.com Cocoa 64-bit Carbon 64-bit Unfrozen Cave Man Olive Garden South Bend, Indiana Tiramisu St. Sebastian Breadsticks Monkeys 2005 Movable Type DeBabelizer GifBuilder Anarchie 1984 Mac 2001 Algonquin Hotel Apple II PCjr ASCII Art Clip Art Googly Eyes Bill Atkinson MacPaint Rorschach Test Apple II GS Great Books Quadra 840AV Quadra Ad Director SuperCard Søren Kierkegaard Immanuel Kant Notre Dame Football Windows NT HTML New York City 1998 Flash Macromedia Illustrator Navy ROTC San Francisco GoLive NetNewsWire After Effects Thomas Knoll Camera Raw Photoshop Touch Germany Philistinism Perfectionism Volkswagen Carbon-dating Web Standards SVG CSS Gus Mueller Acorn Neven Mrgan Khoi Vinh Croatia Portland JDI Healing Brush Buck Rogers Creative Cloud Facebook Smugmug WWDC Jetta Ketchup Death-march Comic Book Guy John Gruber “If you see a stylus, they blew it.” Microsoft Surface Metro UI Rahm Emmanuel: “You never want a serious crisis to go to waste.” The Mythical Man-Month Content-Aware Fill Shawshank InDesign Adobe Magazine Nike PageMaker Postscript SLR Lightroom Black & Decker Dr. Evil Loren Brichter Instagram Kickstarter NGO Tumblr Acquisition Troy Gaul Blurb The Onion: Report: 98 Percent Of U.S. Commuters Favor Public Transportation For Others Data T-1000 Syria MacApp Resource Manager John Knoll Industrial Light & Magic QuickTime OpenDoc Corba OLE SnapSeed Mac System 6 Apple events AppleScript Audio Bus 1992 “The only time you should start worrying about a soldier is when they stop bitchin'” Alan Kay: “The Mac is the first computer good enough to be criticized.” TapBots Tweetbot 2 Android Kai's Power Tools Kai Krause Fremont RUN DMC Porsche Boxster Flavawagon Google Glass Robert Scoble

James and John discuss eBay Finds: Think Different poster set, Apple Demo Days banner, and early Apple product information. John talks about his Japanese PowerBook G3, and news includes iOS86 theme, Not Another Apple Podcast, Jobs videos, Apple packaging, MacPaint history, and The Agony and the Ecstasy of Steve Jobs. To see all of the show notes and join our website, visit us at RetroMacCast.

Bienvenue dans le quarante-et-unième épisode de CacaoCast! Dans cet épisode, Philippe Casgrain et Philippe Guitard discutent des sujets suivants: AppStore - Les applications visant iPhone OS 2.2 ne sont plus supportées sur l'App Store MacPaint au musée - Le code source, ainsi que QuickDraw, pour les nostalgiques libdispatch sur Debian - La pièce maîtresse de Grand Central Dispatch est adoptée par un autre OS ShareKit - Intégration facile avec les médias sociaux MGSplitViewController - une amélioration notable au UISplitViewController pour iPad Ecoutez cet épisode

James and John discuss eBay Finds: mystery Apple part and G5 necklace. James shares his recent Apple ][ acquisition, and news includes MacPaint source code availability, kfest keynote, and Apple2History site renovation. Other related links from this episode: Join our website:  RetroMacCast See our photos on Flickr MacPaint portrait of Bill Atkinson

Apple Reports 3Q 2010 Earnings / Apple to Open Two New US Stores This Weekend / Yankee Group Says iPhone Halo Shines on A T and T / Apple Changes iOS Developer Submission Options / File Maker Releases FileMaker Go for ipad and FileMaker Go for iPhone / Jobs Tops GuardianMedia 100 2010 Poll / Glamour Requires Ad in Traditional Magazine to Buy Ad on iPad Edition / Apple Gives Source Code for MacPaint and QuickDraw to the Computer History Museum

James and John discuss eBay Finds: a G3 iMac lamp and a dead man's Apple //c. The feature is a history of MacPaint. News includes a tangerine hackintosh, old tablet news, and an opinion on Apple's NeXT purchase decision from 1997.Other related links from this episode:Join the website at RetroMacCastSee our photos on FlickrFolklore.org: MacPaint EvolutionJuiced.GSSignedByWoz