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Do you want to help students truly understand and enjoy math? In this inspiring episode, Dr. Erin Krupa shares her powerful research and practical classroom strategies that have helped boost student math achievement. From project-based challenges to integrating meaningful tech tools like Geometer's Sketchpad, Erin brings the research to life in ways every K–12 teacher can use. She discusses how to spark students' mathematical identity, create engaging tasks, and avoid turning math into a dry, procedural subject. Whether you're a math teacher or school leader, you'll walk away with practical strategies and renewed encouragement. Sponsored by Solution Tree For over 25 years, Solution Tree has helped teachers and leaders improve student learning with research-based professional development. Discover how real schools are seeing big results in reading and math.
This week we are delighted to talk to the always enlightening Dr Christian Schweizer about his Research Ireland funded research on Dicuil, an Irish scholar who was prominent in the Carolingian Court in Aachen in the early 9th century. Dicuil wrote many fascinating texts covering a variety of disciplines including geography, astronomy and computistics, some of which, Dr Schweizer explains were annual "gifts" owed to King/Emperor Louis the Pious in return for his patronage. We also hear about other famous Irish scholars on the continent and ponder whether there are many parallels between their experiences and academia today.Suggested reading:-Christian Schweizer, ‘Categorizing Dicuil's De cursu solis lunaeque' in Peritia: Journal of the Medieval Academy of Ireland, xxxiii (2022), pp 227-48. https://doi.org/10.1484/J.PERIT.5.131906-Anthony Harvey, ‘"Battling Andrew" and the West-Brit Syndrome Twelve Hundred Years Ago', Classics Ireland 9 (2002), 19-27.- Anthony Harvey, How linguistics can help the historian (Dublin, 2021), 11-22.-Sam Ottewill-Soulsby, ‘The Elephant's Knee: Questioning Ancient Wisdom in the Ninth Century', in The Historian's Sketchpad, November 30, 2023. https://salutemmundo.wordpress.com/2023/11/30/the-elephants-knee-questioning-ancient-wisdom-in-the-ninth-century/- Tutrone, F. (2020). ‘Lucretius Franco-Hibernicus: Dicuil's Liber de astronomia and the Carolingian reception of De rerum natura', Illinois Classical Studies 45.1, 224-52.- Ross, H. E. and Knott, B. I. (2019), ‘Dicuil (9th century) on triangular and square numbers', British Journal for the History of Mathematics, 34.2, 79-94.- Dicuil, Liber de mensura orbis terrae, ed. & trans. J. J. Tierney [and Ludwig Bieler] (1967). Dublin: School of Celtic Studies.Regular episodes every two weeks (on a Friday)Email: medievalirishhistory@gmail.comX (formerly Twitter): @EarlyIrishPodSupported by the Dept of Early Irish, Dept of Music, Dept of History, Maynooth University, & Taighde Éireann (formerly Science Foundation Ireland/Irish Research Council).Views expressed are the speakers' own.Production: Tiago de Oliveira Veloso Silva.Logo design: Matheus de Paula CostaMusic: Lexin_Music
Fluent Fiction - Norwegian: From Sketchpad to Spotlight: An Artist's Transformative Journey Find the full episode transcript, vocabulary words, and more:fluentfiction.com/no/episode/2025-03-08-23-34-01-no Story Transcript:No: Det var en kald ettermiddag i slutten av vinteren.En: It was a cold afternoon at the end of winter.No: Snøflakene dalte sakte ned over Oslo, og pakket byen inn i en hvit kappe.En: Snowflakes drifted slowly down over Oslo, wrapping the city in a white cloak.No: Gjennom Karl Johans gate gikk folk med raske skritt, godt inntullet i varme skjerf og luer.En: Through Karl Johans gate, people walked briskly, bundled up in warm scarves and hats.No: Mikkel, en ung kunstner med en blyant bak øret og en skisseblokk under armen, gikk mot Nasjonalgalleriet.En: Mikkel, a young artist with a pencil behind his ear and a sketchpad under his arm, was heading towards the Nasjonalgalleriet.No: Han følte seg litt nedfor.En: He felt a bit down.No: Inspirasjonen hadde vært fraværende i flere måneder, og det var vanskelig å finne glede i kunsten.En: Inspiration had been absent for several months, and it was difficult to find joy in art.No: Inne på Nasjonalgalleriet var det en varm og rolig atmosfære.En: Inside the Nasjonalgalleriet, there was a warm and calm atmosphere.No: Galleriet var fylt med både klassisk og moderne kunst.En: The gallery was filled with both classic and modern art.No: På veggene hang det alt fra landskapsmalerier til moderne installasjoner.En: On the walls hung everything from landscape paintings to modern installations.No: Ingrid, en entusiastisk kurator, gikk rundt med en gruppe besøkende.En: Ingrid, an enthusiastic curator, walked around with a group of visitors.No: Hun elsket jobben sin og ønsket å gjøre kunst mer tilgjengelig for alle.En: She loved her job and wanted to make art more accessible to everyone.No: Plutselig fanget en besøkende hennes oppmerksomhet.En: Suddenly, a visitor caught her attention.No: Ved en av benkene satt Mikkel og skisset i blokken sin.En: By one of the benches sat Mikkel, sketching in his pad.No: Ingrid stoppet opp, nysgjerrig på hva han tegnet.En: Ingrid paused, curious about what he was drawing.No: Etter å ha avsluttet turen, gikk hun bort og satte seg ved siden av ham.En: After finishing the tour, she went over and sat down next to him.No: "Hei," sa Ingrid med et varmt smil. "Hva tegner du på?"En: "Hi," said Ingrid with a warm smile. "What are you drawing?"No: Mikkel så opp, litt overrasket, men deretter smilte han tilbake.En: Mikkel looked up, a bit surprised, but then smiled back.No: "Bare noen tanker jeg prøver å fange," svarte han beskjedent. "Men jeg vet ikke om det er noe bra."En: "Just some thoughts I'm trying to capture," he replied modestly. "But I don't know if it's any good."No: Ingrid så på skissen hans.En: Ingrid looked at his sketch.No: Den var levende og engasjerende, med en energi som fanget essensen av rommet de satt i.En: It was lively and engaging, with an energy that captured the essence of the room they were in.No: Hun nikket anerkjennende.En: She nodded in acknowledgment.No: "Det er virkelig bra, Mikkel," sa hun oppriktig. "Vi har en samfunnsutstilling som kommer opp. Jeg tror du bør delta."En: "It's really good, Mikkel," she said sincerely. "We have a community exhibition coming up. I think you should participate."No: Mikkel nølte.En: Mikkel hesitated.No: Tanken på å vise kunstverket til en større gruppe mennesker var skremmende.En: The thought of showing his artwork to a larger group of people was daunting.No: "Jeg vet ikke," mumlet han. "Jeg tviler ofte på meg selv."En: "I don't know," he mumbled. "I often doubt myself."No: Ingrid så ham i øynene.En: Ingrid looked him in the eyes.No: "Du har talent. Jeg kan se det. Kunst er å dele en del av seg selv med verden. Jeg synes du bør gi det en sjanse."En: "You have talent. I can see it. Art is about sharing a part of yourself with the world. I think you should give it a chance."No: Mikkel tenkte over ordene hennes.En: Mikkel considered her words.No: Kanskje det var på tide å utforske mulighetene i stedet for å gjemme seg.En: Perhaps it was time to explore the possibilities instead of hiding.No: "Jeg vil prøve," svarte han til slutt.En: "I will try," he finally replied.No: Ukene gikk, og utstillingsdagen kom.En: Weeks passed, and the exhibition day arrived.No: Galleriet var stappfullt med mennesker som beundret kunsten.En: The gallery was packed with people admiring the art.No: Mikkel sto ved siden av sin utstilte skisse og så nervøst rundt seg.En: Mikkel stood by his displayed sketch and looked nervously around him.No: Til hans overraskelse stoppet mange opp ved bildet hans og ga rosende kommentarer.En: To his surprise, many stopped at his piece and gave praising comments.No: Mikkel følte en bølge av selvtillit.En: Mikkel felt a wave of confidence.No: Han begynte å prate med Ingrid, som også hadde travle dager men alltid tok seg tid til å snakke kunst.En: He started talking with Ingrid, who also had busy days but always made time to talk about art.No: De delte en felles lidenskap; en som Mikkel ikke visste han hadde savnet å dele.En: They shared a common passion; one Mikkel didn't know he had missed sharing.No: På slutten av kvelden, mens de sto i den bløte snøen utenfor galleriet, kjente de begge at noe spesielt had skjedd.En: At the end of the evening, as they stood in the soft snow outside the gallery, they both felt that something special had happened.No: De kunne bygge noe sammen – en verden hvor kunst var i sentrum, og hvor de kunne utforske og støtte hverandre.En: They could build something together—a world where art was at the center, and where they could explore and support each other.No: Slik begynte et nytt kapittel, ikke bare for Mikkel som kunstner, men også for Ingrid som fant en medreisende i sitt engasjement for kunsten.En: Thus began a new chapter, not only for Mikkel as an artist but also for Ingrid, who found a fellow traveler in her commitment to art.No: Deres felles lidenskap styrket dem begge, og skapte et bånd fylt med inspirasjon og glede.En: Their shared passion strengthened them both and created a bond filled with inspiration and joy. Vocabulary Words:afternoon: ettermiddagsnowflakes: snøflakenedrifted: daltwrapped: pakketcloak: kappebundled: inntulletscarves: skjerfsketchpad: skisseblokkabsent: fraværendejoy: gledecurator: kuratoraccessible: tilgjengeligbench: benksketching: skissetsurprised: overrasketmodestly: beskjedentlively: levendeacknowledgment: anerkjennendesincerely: oppriktigdaunting: skremmendedoubt: tvilerconsidered: tenktenervously: nervøstconfidence: selvtillitpassion: lidenskapsoft: bløteexplore: utforskecommitment: engasjementbond: båndinspiration: inspirasjon
If you're anything like Ivan (oof, sorry), you've heard of Pygmalion but never caught more than the gist. Some sort of project from the early 70s, similar to Sketchpad or Smalltalk or something, yet another promising prototype from the early history of our field that failed to take the world by storm. Our stock-in-trade on this show. But you've probably heard of Programming by Demonstration. And you've certainly heard of icons — you know, those little pictures that have become indelibly part of computing as we know it. Pygmalion is the originator of these concepts… and more! The best introduction to Pygmalion is Mariano Guerra's No-code History: Pygmalion, which includes a clearly articulated summary of the big ideas, motivation, and design, with a video demonstration of the programming interface, key terminology, and links. The most introduction to Pygmalion — or Pig Million, The Millionth Pig, as it'll surely come to be known — is the subject of today's episode: the original paper by David Canfield Smith. Links $ We don't run ads on this show anymore. Sometimes Ivan makes a fake ad for a nonsense product like CarrotGrid or Hest, but those don't pay for the dirt & vapor we grow them in. But what if they could? Gonna just get this one out of the way: Quotation — and I quote, "A crucial semantic distinction between direct and indirect speech is that direct speech purports to report the exact words that were said or written EXACTLY AS THEY WERE SAID OR WRITTEN, LU, whereas indirect speech is a representation of speech in one's own words WHICH IS ALSO TOTALLY FINE, BUT JUST BE COOL ABOUT IT HEY?" @TodePond@mas.to: but wouldn't it be funny... if i quoted those statements on a podcast... and the podcast editor thought... "that doesn't sound right, bret can't have said that"... (he can do no wrong after all)... and so they thought i was just paraphrasing him wrong... and they didn't mark them as quotes like all the other quotes in the show... wouldn't that be funny DrawDeadFish.com Shout out to Brian Hempel who sent us (among other treats) this concise summary of Pig Million from the seminal book Watch What I Do: Programming by Demonstration. Recent FoC Patreon bonus episodes were about the game Baba is You and, on our first ever video episode, the design of a visual representation for machine code. Leda and the Swan. Lenna, a sexist test image that was and to some extent still is widely used in computer graphics. Living Computation Lu: Biscuit Jimmy: Biscuit Ivan: Limp Bizkit Fine, I might as well link to Frege and analogy. Aaron Sloman's INTERACTIONS BETWEEN PHILOSOPHY AND ARTIFICIAL INTELLIGENCE: The Role of Intuition and Non-Logical Reasoning in Intelligence Ivan: Platonism Jimmy: Neoplatonism Lu: Neuplatonism I would never Derrida Nosey words History of the alphabet TodeTode Lu: Conlang Ivan: Conlon Nancarrow, beloved (by Ivan, at least) composer of music for the Player Piano. Here's a baby-faced Adam Neely with the scoop if you're new to Nancarrow. Welcome. Jimmy: Conway Twitty Autological words Heterological words School for Poetic Computation Programming by Demonstration Player vs Environment For the video demonstrating the programming model, check Mariano's post Open Canvas Working Group Lu's project CellPond, and their SPLASH talk StageCast Creator Marcel Goethals makes a lot of cool weird stuff and is a choice follow. Why does it say "Put all the metal back in the ground" at the bottom of the show notes? Music featured in this episode: Various old stuff by Ivan. The music for StageCast Creator is called Between Two Tigers. Conlon Nancarrow's Study No. 47 Wagner, the new Witness haunting every episode. ! Send us email, share your ideas in the Slack, and catch us at these normal places: Ivan: Mastodon • Website Jimmy: Mastodon • Website Lu: Mastodon • Website See you in the future! https://futureofcoding.org/episodes/072See omnystudio.com/listener for privacy information.
Inventing on PrincipleStop Drawing Dead FishThe Future of Programming Yes, all three of them in one episode. Phew! Links $ patreon.com/futureofcoding — Lu and Jimmy recorded an episode about Hest without telling me, and by total coincidence released it on my birthday. Those jerks… make me so happy. Lu's talk at SPLASH 2023: Cellpond: Spatial Programming Without Escape Gary Bernhardt's talk Wat Inventing on Principle by Bret Victor ("""Clean""" Audio) Braid, the good video game from the creator of The Witness David Hellman is the visual artist behind Braid, A Lesson Is Learned but the Damage Is Irreversible, Dynamicland, and… the Braid section of Inventing on Principle. Light Table by Chris Granger Learnable Programming by Bret Victor When Lu says "It's The Line", they're referring to this thing they're working on called Seet (or "see it"), and you can sneak a peek at seet right heet. Paris Fashion Week absolutely struts, and so can you! The Canadian Tuxedo. As the representative of Canada, I can confirm that I own both a denim jacket and denim pants. If you see me at a conference wearing this combo, I will give you a hug. Jimmy runs a personal Lichess data lake. Hot Module Replacement is a good thing. Pygmalion has a lot of juicy silly bits, 'parently. Cuttle is awesome! It's a worthy successor to Apparatus. Toby Schachman, Forrest Oliphant, I think maybe a few other folks too? Crushing it. Oh, and don't miss Toby's episode of this very podcast! Recursive Drawing, another Toby Schachman joint. Screens in Screens in Screens, another Lu Wilson joint. Larry Tesler. Not a fan of modes. Lu writes about No Ideas on their blog, which is actually just a wiki, but it's actually a blog, but it's actually just a garden. When we mention Rich Hickey, we're referring to the talk Simple Made Easy Jacob Collier, ugh. Suffragettes, women advocating for their right to vote, absolutely had a principle. Not sure that we should be directly likening their struggle to what we do in tech. On the other hand, it's good to foster positive movements, to resist incel and other hateful ones. Instead of linking to e/ anything, I'm just gonna link to BLTC for reasons that only make sense to longtime listeners. Stop Writing Dead Programs by Jack Rusher. Jack Rusher? Jack Rusher! It's the fish one, the one with the fish. …Sorry, these aren't actually fish, or something, because they're just drawings. René Magritte is the creator behind La Trahison des Images, origin of "Ceci n'est pas une pipe". Or maybe it was Margit the Fell Omen? Magritte's Words and Images are lovely. Here's an English translation, though its worth taking a look at the original in context. Acousmatic Music Lu has made art with behaviour — various sands, and CellPond, say. Barnaby Dixon? Barnaby Dixon. Barnaby Dixon! Barnaby Dixon!! You can listen to part of Ivan's """Metronome""", if you want. Or you can listen to an early version of the song he's using this metronome to write. Or you can hear snippets of it in the Torn Leaf Zero video (especially the ending). But, like, you could also go make yourself lunch. I recommend mixing up a spicy peanut sauce for your roasted carrots. Shred a bit of cheese, tomato. Toast the bread. Pull the sausages right when the oil starts to spit. Put them straight into the compost. Look at the bottom of the compost bucket. What's down there? It's shiny. Why are you reading this? Why am I writing this? Why do we make thispodcast? Wintergatan — Marble Machine exists Oh, I forgot to add a link to Arroost earlier. You can also watch a pretty good video that is basically an Arroost tutorial, not much to it. There are also some nice examples of things people have made with Arroost. The Rain Room looks pretty cool. It's the exact inverse of how rain works in many video games. YOU MUST PLAY RAIN WORLD. Here's a beautiful demo of a microtonal guitar, and speaking of using complex machines to make music that would be "easier" to make with a computer, here's a microtonal guitar with mechanized frets that can change the tuning dynamically. This entire YT channel is gold. Shane Crowley wrote a lovely blog post about creating music with Arroost. blank.page is a fun experiment in writing with various frictions. Super Meat Boy (the successor to Meat Boy, a Flash game) and Celeste are great examples of communicating tacit knowledge through the design of a simulation. Newgrounds and eBaum's World and Homestar Runner were early examples of (arguably) computer-native media. Hey, here's this episode's requisite link to the T2 Tile Project and Robust-First Computing. I should probably just create a hard-coded section of the episode page template linking to T2, The Witness, and Jack Rusher. The pun-proof Ivan Sutherland made Sketchpad. Planner exists. The PlayStation 3 Cell processor was this weirdly parallel CPU that was a pain in the butt to program. The SpaceMouse Put all metal back into the ground. Music featured in this episode: Fingers from This Score is Butt Ugly The Sailor's Chorus from Wagner's The Flying Dutchman. ! Send us email, share your ideas in the Slack, and catch us at these normal places: Ivan: Mastodon • Website Jimmy: Mastodon • Website Lu: Mastodon • Website See you in the future! https://futureofcoding.org/episodes/71See omnystudio.com/listener for privacy information.
Express your inner artist with ease! This week we are thrilled to highlight two EdTech tools that make digital art creation fun, simple, and engaging for students - Sketchpad and Picsart. These innovative platforms empower students of all artistic abilities to tap into their creative potential.Picsart Pro - Access Advanced Creative ToolsSketchpad - Draw, Create, Share!Find all of the tools we've discussed in the EdTech Directory: https://smartinwi.com/edtech-directory/ Get in touch: https://smartinwi.comhttps://www.twitter.com/smartinwihttps://www.threads.net/@smartinwihttps://www.facebook.com/smartinwitechtoolsforteacherpodcast@gmail.com©2018-2023 Snoring Dog Media, LLC. All rights reserved. Mentioned in this episode:Education Podcast NetworkTech Tools for Teachers is part of the Education Podcast Network. https://www.edupodcastnetwork.com/This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacyChartable - https://chartable.com/privacyPodtrac - https://analytics.podtrac.com/privacy-policy-gdrp
Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created Sketchpad, the first true computer animation program. Sutherland noted: "Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons." This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry. In Moving Innovation, Tom Sito--himself an animator and industry insider for more than thirty years--describes the evolution of CG. His story features a memorable cast of characters--math nerds, avant-garde artists, cold warriors, hippies, video game enthusiasts, and studio executives: disparate types united by a common vision. Sito shows us how fifty years of work by this motley crew made movies like Toy Story and Avatar possible. Tom Sito has been a professional animator since 1975. One of the key players in Disney's animation revival of the 1980s and 1990s, he worked on such classic Disney films as The Little Mermaid (1989), Beauty and the Beast (1991), and The Lion King (1994). He left Disney to help set up the Dreamworks Animation Unit in 1995. He is Professor of Cinema Practice in the School of Cinematic Arts at the University of Southern California. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications
Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created Sketchpad, the first true computer animation program. Sutherland noted: "Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons." This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry. In Moving Innovation, Tom Sito--himself an animator and industry insider for more than thirty years--describes the evolution of CG. His story features a memorable cast of characters--math nerds, avant-garde artists, cold warriors, hippies, video game enthusiasts, and studio executives: disparate types united by a common vision. Sito shows us how fifty years of work by this motley crew made movies like Toy Story and Avatar possible. Tom Sito has been a professional animator since 1975. One of the key players in Disney's animation revival of the 1980s and 1990s, he worked on such classic Disney films as The Little Mermaid (1989), Beauty and the Beast (1991), and The Lion King (1994). He left Disney to help set up the Dreamworks Animation Unit in 1995. He is Professor of Cinema Practice in the School of Cinematic Arts at the University of Southern California. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications
Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created Sketchpad, the first true computer animation program. Sutherland noted: "Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons." This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry. In Moving Innovation, Tom Sito--himself an animator and industry insider for more than thirty years--describes the evolution of CG. His story features a memorable cast of characters--math nerds, avant-garde artists, cold warriors, hippies, video game enthusiasts, and studio executives: disparate types united by a common vision. Sito shows us how fifty years of work by this motley crew made movies like Toy Story and Avatar possible. Tom Sito has been a professional animator since 1975. One of the key players in Disney's animation revival of the 1980s and 1990s, he worked on such classic Disney films as The Little Mermaid (1989), Beauty and the Beast (1991), and The Lion King (1994). He left Disney to help set up the Dreamworks Animation Unit in 1995. He is Professor of Cinema Practice in the School of Cinematic Arts at the University of Southern California. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created Sketchpad, the first true computer animation program. Sutherland noted: "Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons." This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry. In Moving Innovation, Tom Sito--himself an animator and industry insider for more than thirty years--describes the evolution of CG. His story features a memorable cast of characters--math nerds, avant-garde artists, cold warriors, hippies, video game enthusiasts, and studio executives: disparate types united by a common vision. Sito shows us how fifty years of work by this motley crew made movies like Toy Story and Avatar possible. Tom Sito has been a professional animator since 1975. One of the key players in Disney's animation revival of the 1980s and 1990s, he worked on such classic Disney films as The Little Mermaid (1989), Beauty and the Beast (1991), and The Lion King (1994). He left Disney to help set up the Dreamworks Animation Unit in 1995. He is Professor of Cinema Practice in the School of Cinematic Arts at the University of Southern California. Learn more about your ad choices. Visit megaphone.fm/adchoices
Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created Sketchpad, the first true computer animation program. Sutherland noted: "Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons." This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry. In Moving Innovation, Tom Sito--himself an animator and industry insider for more than thirty years--describes the evolution of CG. His story features a memorable cast of characters--math nerds, avant-garde artists, cold warriors, hippies, video game enthusiasts, and studio executives: disparate types united by a common vision. Sito shows us how fifty years of work by this motley crew made movies like Toy Story and Avatar possible. Tom Sito has been a professional animator since 1975. One of the key players in Disney's animation revival of the 1980s and 1990s, he worked on such classic Disney films as The Little Mermaid (1989), Beauty and the Beast (1991), and The Lion King (1994). He left Disney to help set up the Dreamworks Animation Unit in 1995. He is Professor of Cinema Practice in the School of Cinematic Arts at the University of Southern California. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society
Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created Sketchpad, the first true computer animation program. Sutherland noted: "Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons." This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry. In Moving Innovation, Tom Sito--himself an animator and industry insider for more than thirty years--describes the evolution of CG. His story features a memorable cast of characters--math nerds, avant-garde artists, cold warriors, hippies, video game enthusiasts, and studio executives: disparate types united by a common vision. Sito shows us how fifty years of work by this motley crew made movies like Toy Story and Avatar possible. Tom Sito has been a professional animator since 1975. One of the key players in Disney's animation revival of the 1980s and 1990s, he worked on such classic Disney films as The Little Mermaid (1989), Beauty and the Beast (1991), and The Lion King (1994). He left Disney to help set up the Dreamworks Animation Unit in 1995. He is Professor of Cinema Practice in the School of Cinematic Arts at the University of Southern California. Learn more about your ad choices. Visit megaphone.fm/adchoices
Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created Sketchpad, the first true computer animation program. Sutherland noted: "Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons." This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry. In Moving Innovation, Tom Sito--himself an animator and industry insider for more than thirty years--describes the evolution of CG. His story features a memorable cast of characters--math nerds, avant-garde artists, cold warriors, hippies, video game enthusiasts, and studio executives: disparate types united by a common vision. Sito shows us how fifty years of work by this motley crew made movies like Toy Story and Avatar possible. Tom Sito has been a professional animator since 1975. One of the key players in Disney's animation revival of the 1980s and 1990s, he worked on such classic Disney films as The Little Mermaid (1989), Beauty and the Beast (1991), and The Lion King (1994). He left Disney to help set up the Dreamworks Animation Unit in 1995. He is Professor of Cinema Practice in the School of Cinematic Arts at the University of Southern California. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology
The Mogollon culture was an indigenous culture in the Western United States and Mexico that ranged from New Mexico and Arizona to Sonora, Mexico and out to Texas. They flourished from around 200 CE until the Spanish showed up and claimed their lands. The cultures that pre-existed them date back thousands more years, although archaeology has yet to pinpoint exactly how those evolved. Like many early cultures, they farmed and foraged. As they farmed more, their homes become more permanent and around 800 CE they began to create more durable homes that helped protect them from wild swings in the climate. We call those homes adobes today and the people who lived in those peublos and irrigated water, often moving higher into mountains, we call the Peubloans - or Pueblo Peoples. Adobe homes are similar to those found in ancient cultures in what we call Turkey today. It's an independent evolution. Adobe Creek was once called Arroyo de las Yeguas by the monks from Mission Santa Clara and then renamed to San Antonio Creek by a soldier Juan Prado Mesa when the land around it was given to him by the governor of Alto California at the time, Juan Bautista Alvarado. That's the same Alvarado as the street if you live in the area. The creek runs for over 14 miles north from the Black Mountain and through Palo Alto, California. The ranchers built their adobes close to the creeks. American settlers led the Bear Flag Revolt in 1846, and took over the garrison of Sonoma, establishing the California Republic - which covered much of the lands of the Peubloans. There were only 33 of them at first, but after John Fremont (yes, he of whom that street is named after as well) encouraged the Americans, they raised an army of over 100 men and Fremont helped them march on Sutter's fort, now with the flag of the United States, thanks to Joseph Revere of the US Navy (yes, another street in San Francisco bears his name). James Polk had pushed to expand the United States. Manfiest Destiny. Remember The Alamo. Etc. The fort at Monterey fell, the army marched south. Admiral Sloat got involved. They named a street after him. General Castro surrendered - he got a district named after him. Commodore Stockton announced the US had taken all of Calfironia soon after that. Manifest destiny was nearly complete. He's now basically the patron saint of a city, even if few there know who he was. The forts along the El Camino Real that linked the 21 Spanish Missions, a 600-mile road once walked by their proverbial father, Junípero Serra following the Portolá expedition of 1769, fell. Stockton took each, moving into Los Angeles, then San Diego. Practically all of Alto California fell with few shots. This was nothing like the battles for the independence of Texas, like when Santa Anna reclaimed the Alamo Mission. Meanwhile, the waters of Adobe Creek continued to flow. The creek was renamed in the 1850s after Mesa built an adobe on the site. Adobe Creek it was. Over the next 100 years, the area evolved into a paradise with groves of trees and then groves of technology companies. The story of one begins a little beyond the borders of California. Utah was initialy explored by Francisco Vázquez de Coronado in 1540 and settled by Europeans in search of furs and others who colonized the desert, including those who established the Church of Jesus Christ of Latter-day Saints, or the Mormons - who settled there in 1847, just after the Bear Flag Revolt. The United States officially settled for the territory in 1848 and Utah became a territory and after a number of map changes wher ethe territory got smaller, was finally made a state in 1896. The University of Utah had been founded all the way back in 1850, though - and re-established in the 1860s. 100 years later, the University of Utah was a hotbed of engineers who pioneered a number of graphical advancements in computing. John Warnock went to grad school there and then went on to co-found Adobe and help bring us PostScript. Historically, PS, or Postscript was a message to be placed at the end of a letter, following the signature of the author. The PostScript language was a language to describe a page of text computationally. It was created by Adobe when Warnock, Doug Brotz, Charles Geschke, Bill Paxton (who worked on the Mother of All Demos with Doug Englebart during the development of Online System, or NLS in the late 70s and then at Xerox PARC), and Ed Taft. Warnock invented the Warnock algorithm while working on his PhD and went to work at Evans & Sutherland with Ivan Sutherland who effectively created the field of computer graphics. Geschke got his PhD at Carnegie Melon in the early 1970s and then went of to Xerox PARC. They worked with Paxton at PARC and before long, these PhDs and mathematicians had worked out the algorithms and then the languages to display images on computers while working on InterPress graphics at Xerox and Gerschke left Xerox and started Adobe. Warnock joined them and they went to market with Interpress as PostScript, which became a foundation for the Apple LaswerWriter to print graphics. Not only that, PostScript could be used to define typefaces programmatically and later to display any old image. Those technologies became the foundation for the desktop publishing industry. Apple released the 1984 Mac and other vendors brought in PostScript to describe graphics in their proprietary fashion and by 1991 they released PostScript Level 2 and then PostScript 3 in 1997. Other vendors made their own or furthered standards in their own ways and Adobe could have faded off into the history books of computing. But Adobe didn't create one product, they created an industry and the company they created to support that young industry created more products in that mission. Steve Jobs tried to buy Adobe before that first Mac as released, for $5,000,000. But Warnock and Geschke had a vision for an industry in mind. They had a lot of ideas but development was fairly capital intensive, as were go to market strategies. So they went public on the NASDAQ in 1986. They expanded their PostScript distribution and sold it to companies like Texas Instruments for their laser printer, and other companies who made IBM-compatible companies. They got up to $16 million in sales that year. Warnock's wife was a graphic designer. This is where we see a diversity of ideas help us think about more than math. He saw how she worked and could see a world where Ivan Sutherland's Sketchpad was much more given how far CPUs had come since the TX-0 days at MIT. So Adobe built and released Illustrator in 1987. By 1988 they broke even on sales and it raked in $19 million in revenue. Sales were strong in the universities but PostScript was still the hot product, selling to printer companies, typesetters, and other places were Adobe signed license agreements. At this point, we see where the math, cartesian coordinates, drawn by geometric algorithms put pixels where they should be. But while this was far more efficient than just drawing a dot in a coordinate for larger images, drawing a dot in a pixel location was still the easier technology to understand. They created Adobe Screenline in 1989 and Collectors Edition to create patterns. They listened to graphic designers and built what they heard humans wanted. Photoshop Nearly every graphic designer raves about Adobe Photoshop. That's because Photoshop is the best selling graphics editorial tool that has matured far beyond most other traditional solutions and now has thousands of features that allow users to manipulate images in practically any way they want. Adobe Illustrator was created in 1987 and quickly became the de facto standard in vector-based graphics. Photoshop began life in 1987 as well, when Thomas and John Knoll, wanted to build a simpler tool to create graphics on a computer. Rather than vector graphics they created a raster graphical editor. They made a deal with Barneyscan, a well-known scanner company that managed to distribute over two hundred copies of Photoshop with their scanners and Photoshop became a hit as it was the first editing software people heard about. Vector images are typically generated with Cartesian coordinates based on geometric formulas and so scale out more easily. Raster images are comprised of a grid of dots, or pixels, and can be more realistic. Great products are rewarded with competitions. CorelDRAW was created in 1989 when Michael Bouillon and Pat Beirne built a tool to create vector illustrations. The sales got slim after other competitors entered the market and the Knoll brothers got in touch with Adobe and licensed the product through them. The software was then launched as Adobe Photoshop 1 in 1990. They released Photoshop 2 in 1991. By now they had support for paths, and given that Adobe also made Illustrator, EPS and CMYK rasterization, still a feature in Photoshop. They launched Adobe Photoshop 2.5 in 1993, the first version that could be installed on Windows. This version came with a toolbar for filters and 16-bit channel support. Photoshop 3 came in 1994 and Thomas Knoll created what was probably one of the most important features added, and one that's become a standard in graphical applications since, layers. Now a designer could create a few layers that each had their own elements and hide layers or make layers more transparent. These could separate the subject from the background and led to entire new capabilities, like an almost faux 3 dimensional appearance of graphics.. Then version four in 1996 and this was one of the more widely distributed versions and very stable. They added automation and this was later considered part of becoming a platform - open up a scripting language or subset of a language so others built tools that integrated with or sat on top of those of a product, thus locking people into using products once they automated tasks to increase human efficiency. Adobe Photoshop 5.0 added editable type, or rasterized text. Keep in mind that Adobe owned technology like PostScript and so could bring technology from Illustrator to Photoshop or vice versa, and integrate with other products - like export to PDF by then. They also added a number of undo options, a magnetic lasso, improved color management and it was now a great tool for more advanced designers. Then in 5.5 they added a save for web feature in a sign of the times. They could created vector shapes and continued to improve the user interface. Adobe 5 was also a big jump in complexity. Layers were easy enough to understand, but Photoshop was meant to be a subset of Illustrator features and had become far more than that. So in 2001 they released Photoshop Elements. By now they had a large portfolio of products and Elements was meant to appeal to the original customer base - the ones who were beginners and maybe not professional designers. By now, some people spent 40 or more hours a day in tools like Photoshop and Illustrator. Adobe Today Adobe had released PostScript, Illustrator, and Photoshop. But they have one of the most substantial portfolios of products of any company. They also released Premiere in 1991 to get into video editing. They acquired Aldus Corporation to get into more publishing workflows with PageMaker. They used that acquisition to get into motion graphics with After Effects. They acquired dozens of companies and released their products as well. Adobe also released the PDF format do describe full pages of information (or files that spread across multiple pages) in 1993 and Adobe Acrobat to use those. Acrobat became the de facto standard for page distribution so people didn't have to download fonts to render pages properly. They dabbled in audio editing when they acquired Cool Edit Pro from Syntrillium Software and so now sell Adobe Audition. Adobe's biggest acquisition was Macromedia in 2005. Here, they added a dozen new products to the portfolio, which included Flash, Fireworks, WYSYWIG web editor Dreamweaver, ColdFusion, Flex, and Breeze, which is now called Adobe Connect. By now, they'd also created what we call Creative Suite, which are packages of applications that could be used for given tasks. Creative Suite also signaled a transition into a software as a service, or SaaS mindset. Now customers could pay a monthly fee for a user license rather than buy large software packages each time a new version was released. Adobe had always been a company who made products to create graphics. They expanded into online marketing and web analytics when they bought Omniture in 2009 for $1.8 billion. These products are now normalized into the naming convention used for the rest as Adobe Marketing Cloud. Flash fell by the wayside and so the next wave of acquisitions were for more mobile-oriented products. This began with Day Software and then Nitobi in 2011. And they furthered their Marketing Cloud support with an acquisition of one of the larger competitors when they acquired Marketo in 2018 and acquiring Workfront in 2020. Given how many people started working from home, they also extended their offerings into pure-cloud video tooling with an acquisition of Frame.io in 2021. And here we see a company started by a bunch of true computer sciencists from academia in the early days of the personal computer that has become far more. They could have been rolled into Apple but had a vision of a creative suite of products that could be used to make the world a prettier place. Creative Suite then Creative Cloud shows a move of the same tools into a more online delivery model. Other companies come along to do similar tasks, like infinite digital whiteboard Miro - so they have to innovate to stay marketable. They have to continue to increase sales so they expand into other markets like the most adjacent Marketing Cloud. At 22,500+ employees and with well over $12 billion in revenues, they have a lot of families dependent on maintaining that growth rate. And so the company becomes more than the culmination of their software. They become more than graphic design, web design, video editing, animation, and visual effects. Because in software, if revenues don't grow at a rate greater than 10 percent per year, the company simply isn't outgrowing the size of the market and likely won't be able to justify stock prices at an inflated earnings to price ratio that shows explosive growth. And yet once a company saturates sales in a given market they have shareholders to justify their existence to. Adobe has survived many an economic downturn and boom time with smart, measured growth and is likely to continue doing so for a long time to come.
We're finally taking a look at Sketchpad. This program was completed in 1963 as Ivan Sutherland's Ph.D. research. On the surface it looks like a very fancy drawing program. Under the hood it's hiding some impressive new programming techniques. Selected Sources: http://worrydream.com/refs/Sutherland-Sketchpad.pdf - Sutherland's Sketchpad thesis https://www.youtube.com/watch?v=495nCzxM9PI - Sketchpad in action https://www.computerhistory.org/collections/catalog/102738195 - Oral History transcripts
Yay! My first Wings of Fire episode. By the way, this episode was inspired by a bunch of creative folks in the Wof fandom, such as Wings of Fire: For Scavengers by Scavengers, A Fanwing's Palace: A Wings of Fire Podcast, Dragonsheep Studios, and Bellasaurus. Make sure to check them out on any podcast platform and YouTube! You can email me your OC at scalesandtailspodcast@gmail.com, and for a bonus you can share its backstory. For those of you STILL wondering, the digital drawing links are down below. https://sketchpad.app/en/ (Sketchpad), https://kleki.com (Kleki, my personal favorite :D), and Sketchbook/Procreate are available in the App Store and Google Play. Disclaimer: Procreate uses a payment plan. ~Juniperheart P.S. I was checking how many plays I got on my last episode this morning, and I found out that I had a few people listening in from New Zealand! Thank you, mates ;).
The technology behind the metaverse has its origins in the darkest days of the Cold War. This ‘Military metaverse' gave birth to the Internet, transforming warfare - and, a generation later, online gaming. Featuring Michael Zyda. JCR Licklider – “Lick” to his friends and colleagues – is little-known but absolutely an essential figure in the development of modern computing. Ivan Sutherland is probably the most influential computer scientist, full stop. Here's a video of Ivan Sutherland giving a demo of ‘Sketchpad' the first interactive computer drawing program. Bob Taylor is largely unknown outside the small community of individuals involved with the early Internet – but his work is profoundly influential. Here's an interview with Bob Taylor, talking about the origins of the Internet Here's an excellent documentary on the recreation of the “Battle of 73 Easting” – the first tank battle captured in real-time, then simulated endlessly using SIMNET. 1968: When the World Began, 3D graphics, A Brief History of the Metaverse, Bob Taylor, DARPA, Internet, IPTO, Ivan Sutherland, JCR Licklider, metaverse, Mike Zyda, military, SIMNET, simulation, SKETCHPAD, VR For more information about this and all our other 'The Next Billion Seconds" content, please check out https://nextbillionseconds.com This podcast is sponsored by the Digital Skills Organisation. The DSO is championing an employer-led, skills-based approach to digital literacy. Our offering is designed to support future-proofing the country, growing jobs, supporting our economic growth and ensuring that Australia remains a global leader in digital. If we are to equip our workforce with the skills to meet a rapidly changing, technological future, we need a new approach. We're working in collaboration with employers, trainers and employees. Their involvement is vital. We believe it's a better way to create consistent journey pathways and build relevant digital skills. We define the problem this way - digital skills training must: Create value both internally and externally. Improve customer experience. Build operational capabilities. To deliver on these objectives we need to strengthen Australia's digital workforce. It's that simple. DSO - Digitally Upskilling Australia To find out more, visit the DSO website: https://digitalskillsorg.com.au Mark Pesce - The Next Billion Seconds is produced by Ampel - visit https://ampel.com.au to find out what Ampel could do for you! If you are interested in sponsoring The Next Billion Seconds podcast, reach out to our Director of Media and Partnerships Lauren Deighton at lauren@ampel.com.au If you enjoyed this show, please leave a rating and/or review on Apple, Spotify or any other podcast platform. See omnystudio.com/listener for privacy information.
The Son of Neptune, ch. 5 to 8 So like, this week on Unwise Girls we definitely do try our best to talk about Hazel Levesque - who we do genuinely totally dig as a character! But it's so hard. It's so hard. Anyway, this week we discuss what's in the Kool-Aid, Camp Jupiter seeming weirdly good for Nico, how strange and exciting it is to finally see Percy from someone else's perspective, poor little meow meows and bumbling boys, a flashback so powerful it changes how the podcast works, the wildest swing Rick could've taken from Roman history, GroverWatch, the implications of legacy demigods, and just... everything going on with Pluto. Come back next week for The Son of Neptune, ch. 9 to 12! Check out our Patreon! (https://www.patreon.com/unwisegirls) Follow the show (https://twitter.com/unwisegirls) Hosted by Jacqueline (https://twitter.com/swampduchess) and Jane (https://twitter.com/janeyshivers). Edited by Jacqueline. Cover art by Vera (https://twitter.com/Innsmouth_Inn). Intro/outro: "Super Mariocean" by spacepony (https://ocremix.org/remix/OCR01147)
New Yorker Magazine Sep 27, 2021This week Willie and Yianni discuss a wide range of topics such as The Saints of NuWerk, pointless beer, and old facebook groups. Plus all the usual bits and bobs along the way!0:00 Cover by Malika Favre1:43 Mail Bag4:03 Talk of the Town10:50 Sketchpad by Emily Flake11:31 Zero Proof Therapy by John Seabrook21:06 The Damage Done by Dhruv Khullar27:15 Comics- Roz ChastNew Yorker Issues original artwork by Willie PageYou can find Willie and Yianni on all good and evil social media apps @_williepage_ and @yiannisines or you can find their websites at williepage.com and yiannisines.com.
The name Replit will be familiar to regular listeners of our show. The backstory and ambitions behind the project, however, I bet will be news to you. Amjad Masad, the founder and first programmer of Replit, is interviewed by Steve Krouse in this episode from the vault — recorded back in 2019, released for the first time today. Amjad shares the stories of how he taught himself to use a computer by secretly observing his father, his early experiments with Emscripten building VMs for the web, the founding of Replit, and how their community has exploded in popularity in recent years. Some of the conceptual discussions touch on Scheme, potential futures of visual programming, Sketchpad, and GRAIL. The transcript for this episode was sponsored, as ever, by Replit. The show notes and transcript are available right here: https://futureofcoding.org/episodes/052 See omnystudio.com/listener for privacy information.
CP Community and Donor Relations Manager, Maria Abando, launches a new series of episodes in which she shares her thoughts -- and sometimes talks with guests -- about important dimensions of her work and her professional journey. In this episode, she discusses mixed-race identities and how they shape us as people and society.
CP Community and Donor Relations Manager, Maria Abando, launches a new series of episodes in which she shares her thoughts -- and sometimes talks with guests -- about important dimensions of her work and her professional journey.
Robert Taylor was one of the true pioneers in computer science. In many ways, he is the string (or glue) that connected the US governments era of supporting computer science through ARPA to innovations that came out of Xerox PARC and then to the work done at Digital Equipment Corporation's Systems Research Center. Those are three critical aspects of the history of computing and while Taylor didn't write any of the innovative code or develop any of the tools that came out of those three research environments, he saw people and projects worth funding and made sure the brilliant scientists got what they needed to get things done. The 31 years in computing that his stops represented were some of the most formative years for the young computing industry and his ability to inspire the advances that began with Vannevar Bush's 1945 article called “As We May Think” then ended with the explosion of the Internet across personal computers. Bob Taylor inherited a world where computing was waking up to large crusty but finally fully digitized mainframes stuck to its eyes in the morning and went to bed the year Corel bought WordPerfect because PCs needed applications, the year the Pentium 200 MHz was released, the year Palm Pilot and eBay were founded, the year AOL started to show articles from the New York Times, the year IBM opened a we web shopping mall and the year the Internet reached 36 million people. Excite and Yahoo went public. Sometimes big, sometimes small, all of these can be traced back to Bob Taylor - kinda' how we can trace all actors to Kevin Bacon. But more like if Kevin Bacon found talent and helped them get started, by paying them during the early years of their careers… How did Taylor end up as the glue for the young and budding computing research industry? Going from tween to teenager during World War II, he went to Southern Methodist University in 1948, when he was 16. He jumped into the US Naval Reserves during the Korean War and then got his masters in psychology at the University of Texas at Austin using the GI Bill. Many of those pioneers in computing in the 60s went to school on the GI Bill. It was a big deal across every aspect of American life at the time - paving the way to home ownership, college educations, and new careers in the trades. From there, he bounced around, taking classes in whatever interested him, before taking a job at Martin Marietta, helping design the MGM-31 Pershing and ended up at NASA where he discovered the emerging computer industry. Taylor was working on projects for the Apollo program when he met JCR Licklider, known as the Johnny Appleseed of computing. Lick, as his friends called him, had written an article called Man-Computer Symbiosis in 1960 and had laid out a plan for computing that influenced many. One such person, was Taylor. And so it was in 1962 he began and in 1965 that he succeeded in recruiting Taylor away from NASA to take his place running ARPAs Information Processing Techniques Office, or IPTO. Taylor had funded Douglas Engelbart's research on computer interactivity at Stanford Research Institute while at NASA. He continued to do so when he got to ARPA and that project resulted in the invention of the computer mouse and the Mother of All Demos, one of the most inspirational moments and a turning point in the history of computing. They also funded a project to develop an operating system called Multics. This would be a two million dollar project run by General Electric, MIT, and Bell Labs. Run through Project MAC at MIT there were just too many cooks in the kitchen. Later, some of those Bell Labs cats would just do their own thing. Ken Thompson had worked on Multics and took the best and worst into account when he wrote the first lines of Unix and the B programming language, then one of the most important languages of all time, C. Interactive graphical computing and operating systems were great but IPTO, and so Bob Taylor and team, would fund straight out of the pentagon, the ability for one computer to process information on another computer. Which is to say they wanted to network computers. It took a few years, but eventually they brought in Larry Roberts, and by late 1968 they'd awarded an RFQ to build a network to a company called Bolt Beranek and Newman (BBN) who would build Interface Message Processors, or IMPs. The IMPS would connect a number of sites and route traffic and the first one went online at UCLA in 1969 with additional sites coming on frequently over the next few years. That system would become ARPANET, the commonly accepted precursor to the Internet. There was another networking project going on at the time that was also getting funding from ARPA as well as the Air Force, PLATO out of the University of Illinois. PLATO was meant for teaching and had begun in 1960, but by then they were on version IV, running on a CDC Cyber and the time sharing system hosted a number of courses, as they referred to programs. These included actual courseware, games, convent with audio and video, message boards, instant messaging, custom touch screen plasma displays, and the ability to dial into the system over lines, making the system another early network. Then things get weird. Taylor is sent to Vietnam as a civilian, although his rank equivalent would be a brigadier general. He helped develop the Military Assistance Command in Vietnam. Battlefield operations and reporting were entering the computing era. Only problem is, while Taylor was a war veteran and had been deep in the defense research industry for his entire career, Vietnam was an incredibly unpopular war and seeing it first hand and getting pulled into the theater of war, had him ready to leave. This combined with interpersonal problems with Larry Roberts who was running the ARPA project by then over Taylor being his boss even without a PhD or direct research experience. And so Taylor joined a project ARPA had funded at the University of Utah and left ARPA. There, he worked with Ivan Sutherland, who wrote Sketchpad and is known as the Father of Computer Graphics, until he got another offer. This time, from Xerox to go to their new Palo Alto Research Center, or PARC. One rising star in the computer research world was pretty against the idea of a centralized mainframe driven time sharing system. This was Alan Kay. In many ways, Kay was like Lick. And unlike the time sharing projects of the day, the Licklider and Kay inspiration was for dedicated cycles on processors. This meant personal computers. The Mansfield Amendment in 1973 banned general research by defense agencies. This meant that ARPA funding started to dry up and the scientists working on those projects needed a new place to fund their playtime. Taylor was able to pick the best of the scientists he'd helped fund at ARPA. He helped bring in people from Stanford Research Institute, where they had been working on the oNLineSystem, or NLS. This new Computer Science Laboratory landed people like Charles Thacker, David Boggs, Butler Lampson, and Bob Sproul and would develop the Xerox Alto, the inspiration for the Macintosh. The Alto though contributed the very ideas of overlapping windows, icons, menus, cut and paste, word processing. In fact, Charles Simonyi from PARC would work on Bravo before moving to Microsoft to spearhead Microsoft Word. Bob Metcalfe on that team was instrumental in developing Ethernet so workstations could communicate with ARPANET all over the growing campus-connected environments. Metcalfe would leave to form 3COM. SuperPaint would be developed there and Alvy Ray Smith would go on to co-found Pixar, continuing the work begun by Richard Shoup. They developed the Laser Printer, some of the ideas that ended up in TCP/IP, and the their research into page layout languages would end up with Chuck Geschke, John Warnock and others founding Adobe. Kay would bring us the philosophy behind the DynaBook which decades later would effectively become the iPad. He would also develop Smalltalk with Dan Ingalls and Adele Goldberg, ushering in the era of object oriented programming. They would do pioneering work on VLSI semiconductors, ubiquitous computing, and anything else to prepare the world to mass produce the technologies that ARPA had been spearheading for all those years. Xerox famously did not mass produce those technologies. And nor could they have cornered the market on all of them. The coming waves were far too big for one company alone. And so it was that PARC, unable to bring the future to the masses fast enough to impact earnings per share, got a new director in 1983 and William Spencer was yet another of three bosses that Taylor clashed with. Some resented that he didn't have a PhD in a world where everyone else did. Others resented the close relationship he maintained with the teams. Either way, Taylor left PARC in 1983 and many of the scientists left with him. It's both a curse and a blessing to learn more and more about our heroes. Taylor was one of the finest minds in the history of computing. His tenure at PARC certainly saw the a lot of innovation and one of the most innovative teams to have ever been assembled. But as many of us that have been put into a position of leadership, it's easy to get caught up in the politics. I am ashamed every time I look back and see examples of building political capital at the expense of a project or letting an interpersonal problem get in the way of the greater good for a team. But also, we're all human and the people that I've interviewed seem to match the accounts I've read in other books. And so Taylor's final stop was Digital Equipment Corporation where he was hired to form their Systems Research Center in Palo Alto. They brought us the AltaVista search engine, the Firefly computer, Modula-3 and a few other advances. Taylor retired in 1996 and DEC was acquired by Compaq in 1998 and when they were acquired by HP the SRC would get merged with other labs at HP. From ARPA to Xerox to Digital, Bob Taylor certainly left his mark on computing. He had a knack of seeing the forest through the trees and inspired engineering feats the world is still wrestling with how to bring to fruition. Raw, pure science. He died in 2017. He worked with some of the most brilliant people in the world at ARPA. He inspired passion, and sometimes drama in what Stanford's Donald Knuth called “the greatest by far team of computer scientists assembled in one organization.” In his final email to his friends and former coworkers, he said “You did what they said could not be done, you created things that they could not see or imagine.” The Internet, the Personal Computer, the tech that would go on to become Microsoft Office, object oriented programming, laser printers, tablets, ubiquitous computing devices. So, he isn't exactly understating what they accomplished in a false sense of humility. I guess you can't do that often if you're going to inspire the way he did. So feel free to abandon the pretense as well, and go inspire some innovation. Heck, who knows where the next wave will come from. But if we aren't working on it, it certainly won't come. Thank you so much and have a lovely, lovely day. We are so lucky to have you join us on yet another episode.
Recorded 1st December 2020 An extra bonus show where Donny and I discuss some of the art, drawing, vector and photo apps we like or use for creative work. We deliberately stay away from the really big names and focus more on the pocket friendly (and free) ones. GIVEAWAYS & OFFERS Glenn Fleishman's Working From Home book is completely FREE and can be downloaded here and now he has also released Take Control of Zoom Essentials free as well. Steve at Geeks Corner has restarted his podcast which is a 5-15 min show of his thoughts on tech. Also keep an eye on his site or follow him on Twitter @GeekCorner_uk to watch for regular giveaways. Why not come and join the Slack community? You can now just click on this Slackroom Link to sign up and join in the chatter! Slacker @MacJim has a family friendly Flickr group for listeners to share photos because the Darkroom channel in the Slack has become so popular - if you're interested head over to to the Essential Apple Flickr and request an invitation. On this show: DONNY YANKELLOW @rtteachr on Twitter Find his work at hedgehogalley.com Books in Apple Book Store DesignBundles.net as Skrbly Skrbly Studio on YouTube Skrbly Store Leo the Lonely Guitar Donny's Classes on Outschool.com for kids 7-18 Skrbly Studio on Etsy for iOS custom icon sets TOPICS Sketchpad https://sketch.io/sketchpad/ Affinity apps https://affinity.serif.com/en-us/ Procreate/Procreate Pocket http://procreate.art Painter https://www.painterartist.com/en/ iBisPaint https://www.ibispaint.com or https://apps.apple.com/us/app/id450722833 Art Studio Pro http://www.luckyclan.com Piskel https://www.piskelapp.com Pixelmator https://www.pixelmator.com/pro/ Vectornator https://www.vectornator.io/ Amadine https://amadine.com KidPix https://www.mackiev.com/kidpix/topfeatures.html Tux Paint http://www.tuxpaint.org Colossal https://www.thisiscolossal.com Bored Panda https://www.boredpanda.com Dribbble https://dribbble.com Deviant Art https://www.deviantart.com Essential Apple Recommended Services: Pixel Privacy – a fabulous resource full of excellent articles and advice on how to protect yourself online. Doug.ee Blog for Andy J's security tips. Ghostery – protect yourself from trackers, scripts and ads while browsing. Simple Login – Email anonymisation and disposable emails for login/registering with 33mail.com – Never give out your real email address online again. AnonAddy – Disposable email addresses Sudo – get up to 9 “avatars” with email addresses, phone numbers and more to mask your online identity. Free for the first year and priced from $0.99 US / £2.50 UK per month thereafter... You get to keep 2 free avatars though. ProtonMail – end to end encrypted, open source, based in Switzerland. Prices start from FREE... what more can you ask? ProtonVPN – a VPN to go with it perhaps? Prices also starting from nothing! Comparitech DNS Leak Test – simple to use and understand VPN leak test. Fake Name Generator – so much more than names! Create whole identities (for free) with all the information you could ever need. Wire – free for personal use, open source and end to end encryted messenger and VoIP. Pinecast – a fabulous podcast hosting service with costs that start from nothing. Essential Apple is not affiliated with or paid to promote any of these services... We recommend services that we use ourselves and feel are either unique or outstanding in their field, or in some cases are just the best value for money in our opinion. Social Media and Slack You can follow us on: Twitter / Slack / EssentialApple.com / Soundcloud / Facebook / Pinecast Also a big SHOUT OUT to the members of the Slack room without whom we wouldn't have half the stories we actually do – we thank you all for your contributions and engagement. You can always help us out with a few pennies by using our Amazon Affiliate Link so we get a tiny kickback on anything you buy after using it. If you really like the show that much and would like to make a regular donation then please consider joining our Patreon or using the Pinecast Tips Jar (which accepts one off or regular donations) And a HUGE thank you to the patrons who already do. Support The Essential Apple Podcast by contributing to their Tip Jar: https://tips.pinecast.com/jar/essential-apple-show This podcast is powered by Pinecast.
I just finished reading a book by Ben Peters called How Not To Network A Nation: The Uneasy History of the Soviet Internet. The book is an amazing deep dive into the Soviet attempts to build a national information network primarily in the 60s. The book covers a lot of ground and has a lot of characters, although the most recurring is Viktor Glushkov, and if the protagonist isn't the Russian scientific establishment, perhaps it is Viktor Glushkov. And if there's a primary theme, it's looking at why the Soviets were unable to build a data network that covered the Soviet Union, allowing the country to leverage computing at a micro and a macro scale The final chapter of the book is one of the best summaries and most insightful I've ever read on the history of computers. While he doesn't directly connect the command and control heterarchy of the former Soviet Union to how many modern companies are run, he does identify a number of ways that the Russian scientists were almost more democratic, or at least in their zeal for a technocratic economy, than the US Military-Industrial-University complex of the 60s. The Sources and Bibliography is simply amazing. I wish I had time to read and listen and digest all of the information that went into the making if this amazing book. And the way he cites notes that build to conclusions. Just wow. In a previous episode, we covered the memo, “Memorandum for Members and Affiliates of the Intergalactic Computer Network” - sent by JCR Licklider in 1963. This was where the US Advanced Research Projects Agency instigated a nationwide network for research. That network, called ARPAnet, would go online in 1969, and the findings would evolve and change hands when privatized into what we now call the Internet. We also covered the emergence of Cybernetics, which Norbert Wiener defined in 1948 as a the systems-based science of communication and automatic control systems - and we covered the other individuals influential in its development. It's easy to draw a straight line between that line of thinking and the evolution that led to the ARPAnet. In his book, Peters shows how Glushkov uncovered cybernetics and came to the same conclusion that Licklider had, that the USSR needed a network that would link the nation. He was a communist and so the network would help automate the command economy of the growing Russian empire, an empire that would need more people managing it than there were people in Russia, if the bureaucracy continued to grow at a pace that was required to do the manual computing to get resources to factories and good to people. He had this epiphany after reading Wiener's book on cybernetics - which had been hidden away from the Russian people as American propaganda. Glushkov's contemporary, Anatoly Kitov had come to the same realization back in 1959. By 1958 the US had developed the Semi-Automatic Ground Environment, or SAGE. The last of that equipment went offline in 1984. The environment was a system of networked radar equipment that could be used as eyes in the sky to detect a Soviet attack. It was crazy to think about that a few years ago, but think today about a radar system capable of detecting influence in elections and maybe notsomuch any more. SAGE linked computers built by IBM. The Russians saw defense as cost prohibitive. Yet at Stalin's orders they began to develop a network of radar sites in a network of sorts around Moscow in the early 50s, extending to Leningrad. They developed the BESM-1 mainframe in 1952 to 1953 and while Stalin was against computing and western cybernetic doctrine outside of the military, as in America, they were certainly linking sites to launch missiles. Lev Korolyov worked on BESM and then led the team to build the ballistic missile defense system. So it should come as no surprise that after a few years Soviet scientists like Glushkov and Kitov would look to apply military computing know-how to fields like running the economics of the country. Kitov had seen technology patterns before they came. He studied nuclear physics before World War II, then rocketry after the war, and he then went to the Ministry of Defence at Bureau No 245 to study computing. This is where he came in contact with Wiener's book on Cybernetics in 1951, which had been banned in Russia at the time. Kitov would work on ballistic missiles and his reputation in the computing field would grow over the years. Kitov would end up with hundreds of computing engineers under his leadership, rising to the rank of Colonel in the military. By 1954 Kitov was tasked with creating the first computing center for the Ministry of Defence. They would take on the computing tasks for the military. He would oversee the development of the M-100 computer and the transition into transistorized computers. By 1956 he would write a book called “Electronic Digital Computers” and over time, his views on computers grew to include solving problems that went far beyond science and the military. Running company Kitov came up with the Economic Automated Management System in 1959. This was denied because the military didn't want to share their technology. Khrushchev sent Brezhnev, who was running the space program and an expert in all things tech, to meet with Kitov. Kitov was suggesting they use this powerful network of computer centers to run the economy when the Soviets were at peace and the military when they were at war. Kitov would ultimately realize that the communist party did not want to automate the economy. But his “Red Book” project would ultimately fizzle into one of reporting rather than command and control over the years. The easy answer as to why would be that Stalin had considered computers the tool of imperialists and that feeling continued with some in the communist party. The issues are much deeper than that though and go to the heart of communism. You see, while we want to think that communism is about the good of all, it is irrational to think that people will act ways in their own self-interest. Microeconomics and macroeconomics. And automating command certainly seems to reduce the power of those in power who see that command taken over by a machine. And so Kitov was expelled from the communist party and could no longer hold a command. Glushkov then came along recommending the National Automated System for Computation and Information Processing, or OGAS for short, in 1962. He had worked on computers in Kyiv and then moved to become the Director of the Computer Center in Ukraine at the Academy of Science. Being even more bullish on the rise of computing, Glushkov went further even added an electronic payment system on top of controlling a centrally planned economy. Computers were on the rise in various computer centers and other locations and it just made sense to connect them. And they did at small scales. As was done at MIT, Glushkov built a walled garden of researchers in his own secluded nerd-heaven. He too made a grand proposal. He too saw the command economy of the USSR as one that could be automated with a computer, much as many companies around the world were employing ERP solutions in the coming decades. The Glushkov proposal continued all the way to the top. They were able to show substantial return on investment yet the proposal to build OGAS was ultimately shot down in 1970 after years of development. While the Soviets were attempting to react to the development of the ARPAnet, they couldn't get past infighting. The finance minister opposed it and flatly refused. There were concerns about which ministry the system would belong to and basically political infighting much as I've seen at many of the top companies in the world (and increasingly in the US government). A major thesis of the book is that the Soviet entrepreneurs trying to build the network acted more like capitalists than communists and Americans building our early networks acted more like socialists than capitalists. This isn't about individual financial gains though. Glushkov and Kitov in fact saw how computing could automate the economy to benefit everyone. But a point that Peters makes in the book is centered around informal financial networks. Peters points out that Blat, the informal trading of favors that we might call a black market or corruption, was common place. An example he uses in the book is that if a factory performs at 101% of expected production the manager can just slide under the radar. But if they perform at 120% then those gains will be expected permanently and if they ever dip below the expected productivity, they might meet a poor fate. Thus Blat provides a way to trade goods informally and keep the status quo. A computer doing daily reports would make this kind of flying under the radar of Gosplan, or the Soviet State Planning Committee difficult. Thus factory bosses would likely inaccurately enter information into computers and further the Tolchachs, or pushers, of Blat. A couple of points I'd love to add onto those Peters made, which wouldn't be obvious without that amazing last paragraph in the book. The first is that I've never read Bush, Licklider, or any of the early pioneers claim computers should run a macroeconomy. The closest thing that could run a capitalist economy. And the New York Stock Exchange would begin the process of going digital in 1966 when the Dow was at 990. The Dow sat at about that same place until 1982. Can you imagine that these days? Things looked bad when it dropped to 18,500. And the The London Stock Exchange held out going digital until 1986 - just a few years after the dow finally moved over a thousand. Think about that as it hovers around $26,000 today. And look at the companies and imagine which could get by without computers running their company - much less which are computer companies. There are 2 to 6 billion trades a day. It would probably take more than the population of Russia just to push those numbers if it all weren't digital. In fact now, there's an app (or a lot of apps) for that. But the point is, going back to Bush's Memex, computers were to aid in human decision making. In a world with an exploding amount of data about every domain, Bush had prophesied the Memex would help connect us to data and help us to do more. That underlying tenant infected everyone that read his article and is something I think of every time I evaluate an investment thesis based on automation. There's another point I'd like to add to this most excellent book. Computers developed in the US were increasingly general purpose and democratized. This led to innovative new applications just popping up and changing the world, like spreadsheets and word processors. Innovators weren't just taking a factory “online” to track the number of widgets sold and deploying ICBMs - they were foundations for building anything a young developer wanted to build. The uses in education with PLATO, in creativity with Sketchpad, in general purpose languages and operating systems, in early online communities with mail and bulletin boards, in the democratization of the computer itself with the rise of the pc and the rapid proliferation with the introduction of games, and then the democratization of raw information with the rise of gopher and the web and search engines. Miniaturized and in our pockets, those are the building blocks of modern society. And the word democratization to me means a lot. But as Peters points out, sometimes the Capitalists act like Communists. Today we close down access to various parts of those devices by the developers in order to protect people. I guess the difference is now we can build our own but since so many of us do that at #dayjob we just want the phone to order us dinner. Such is life and OODA loops. In retrospect, it's easy to see how technological determinism would lead to global information networks. It's easy to see electronic banking and commerce and that people would pay for goods in apps. As the Amazon stock soars over $3,000 and what Jack Ma has done with Alibaba and the empires built by the technopolies at Amazon, Apple, Microsoft, and dozens of others. In retrospect, it's easy to see the productivity gains. But at the time, it was hard to see the forest through the trees. The infighting got in the way. The turf-building. The potential of a bullet in the head from your contemporaries when they get in power can do that I guess. And so the networks failed to be developed in the USSR and ARPAnet would be transferred to the National Science Foundation in 1985, and the other nets would grow until it was all privatized into the network we call the Internet today, around the same time the Soviet Union was dissolved. As we covered in the episode on the history of computing in Poland, empires simply grow beyond the communications mediums available at the time. By the fall of the Soviet Union, US organizations were networking in a build up from early adopters, who made great gains in productivity increases and signaled the chasm crossing that was the merging of the nets into the Internet. And people were using modems to connect to message boards and work with data remotely. Ironically, that merged Internet that China has splinterneted and that Russia seems poised to splinter further. But just as hiding Wiener's cybernetics book from the Russian people slowed technological determinism in that country, cutting various parts of the Internet off in Russia will slow progress if it happens. The Soviets did great work on macro and micro economic tracking and modeling under Glushkov and Kitov. Understanding what you have and how data and products flow is one key aspect of automation. And sometimes even more important in helping humans make better-informed decisions. Chile tried something similar in 1973 under Salvador Allende, but that system failed as well. And there's a lot to digest in this story. But that word progress is important. Let's say that Russian or Chinese crackers steal military-grade technology from US or European firms. Yes, they get the tech, but not the underlying principals that led to the development of that technology. Just as the US and partners don't proliferate all of their ideas and ideals by restricting the proliferation of that technology in foreign markets. Phil Zimmerman opened floodgates when he printed the PGP source code to enable the export of military-grade encryption. The privacy gained in foreign theaters contributed to greater freedoms around the world. And crime. But crime will happen in an oppressive regime just as it will in one espousing freedom. So for you hackers tuning in - whether you're building apps, hacking business, or reingineering for a better tomorrow: next time you're sitting in a meeting and progress is being smothered at work or next time you see progress being suffocated by a government, remember that those who you think are trying to hold you back either don't see what you see, are trying to protect their own power, or they might just be trying to keep progress from outpacing what their constituents are ready for. And maybe those are sometimes the same thing, just from a different perspective. Because go fast at all costs not only leaves people behind but sometimes doesn't build a better mousetrap than what we have today. Or, go too fast and like Kitov you get stripped of your command. No matter how much of a genius you, or your contemporary Glushkov are. The YouTube video called “Internet of Colonel Kitov” has a great quote: “pioneers are recognized by the arrows sticking out of their backs.” But hey, at least history was on their side! Thank you for tuning in to the History of Computing Podcast. We are so, so, so lucky to have you. Have a great day and I hope you too are on the right side of history!
Recorded 11th October 2020 This week Mark and Jim join me to talk about the possibilities of the upcoming event… and take a quick gander at the news of the week. GIVEAWAYS & OFFERS Glenn Fleishman's Working From Home book is completely FREE and can be downloaded here and now he has also released Take Control of Zoom Essentials free as well. Steve at Geeks Corner has restarted his podcast which is a 5-15 min show of his thoughts on tech. Also keep an eye on his site or follow him on Twitter @GeekCorner_uk to watch for regular giveaways. Why not come and join the Slack community? You can now just click on this Slackroom Link to sign up and join in the chatter! Slacker @MacJim has a family friendly Flickr group for listeners to share photos because the Darkroom channel in the Slack has become so popular - if you're interested head over to to the Essential Apple Flickr and request an invitation. On this week's show: JAMES ORMISTON MacJim in the Slack In charge of the Essential Apple Flickr Also on Flickr as thesrpspaintshop Has videos on Vimeo MARK CHAPPELL @oceanspeed, @essentialapple and @essentialmac on Twitter Puts Essential Apple related stuff on YouTube Co-host of the The Watching Men Podcast with Karl Madden APPLE Apple's next iPhone will be announced on October 13th – The Verge Apple's T2 Chip Has Unpatchable Security Flaw, Claims Researcher – Mac Rumors Apple's T2 security chip has an unfixable flaw – Ars Technica More Details on the Mac T2 Security Chip Jailbreak – The Mac Observer Comment from @Dougee: “My thoughts on this after reading the articles is that it's been blown out of all proportion and mostly click bait headlines as usual.If you are a high value target then you may have an issue. But as you have said you need physical access to the device with enough time to brute force the users password. The vulnerability is not persistent so for long term attack you would need multiple access to the device.A good strong login password would protect most users and if you have a high valuable data it would be best to use another encryption to protect the data, use file vault to do full disk encryption and then use something like Veracrypt to protect sensitive data.Where I think it will be used is in stolen devices as now there is a way to brute force the user login to wipe the device and then resell.When out and about always keep your device with you if you are a high value target.” Apple made ProtonMail add in-app purchases, even though it had been free for years – The Verge iOS 14 icon set nets designer six figures in six days – 9to5 Mac PSA: No, iOS 14 widgets can't secretly steal private info with your keyboard – 9to5 Mac Apple to extend Apple TV+ free year trials through February 2021 – 9to5 Mac Apple's Internal Networks Were Hacked for Three Months – The Mac Observer Judge denies preliminary injunction to Epic and Fortnite will remain banned from App Store – 9to5 Mac Apple using retail stores as distribution centers to speed up new product deliveries – 9to5 Mac TECHNOLOGY House Democrats push Congress to break up Big Tech monopolies – Engadget Needham: There's no real threat to Apple from regulators – CNBC Microsoft thumbs its nose at Apple with new “app fairness” policy – Ars Technica Microsoft digs at Apple with 10 principles for app store fairness, but they won't apply to Xbox – Geekwire My take is this is BS - The Mac is no less open than Windows and developers can be in the MAS or not. NOTE that Microsoft isn't including Xbox in this - that's a closed market just like iOS... There MS take 30% just like all the others... SECURITY & PRIVACY UK 'mass surveillance' regime is illegal, EU court declares – IT Pro Wi-Fi security risks during pandemic – FBI warning – 9to5 Mac WORTH A CHIRP / ESSENTIAL TIPS Sketchpad 5.1 - Draw, Create, Share! Sketchpad: Free online drawing application for all ages. Create digital artwork to share online and export to popular image formats JPEG, PNG, SVG, and PDF. Chairman of our MUG sent this to everyone as an interesting find maps.nls.uk/geo/explore/side-by-side Mostly covers the UK but there are a couple of world atlases… The side by side bit is what makes it special JUST A SNIPPET For things that are not worth more than a flypast @Dougee says of the Blacklight tool: “Blacklight is an awesome tool as you can check the website without actually visiting it. When you visit a site with an ad blocker you don't know beforehand if the blocker can fully protect your browser, you still leave a fingerprint or get tracked. Blacklight does all this for you.” NEMO'S HARDWARE STORE (1:23:16) SOS Hydration Electrolyte Drink Mix or UK Store $10 US / £8 UK SOS Hydration Waterbottle or UK Store $7 US / £6 UK IO Gear Charger – Amazon $35 US doesn't appear to be in the UK store. Essential Apple Recommended Services: Pixel Privacy – a fabulous resource full of excellent articles and advice on how to protect yourself online. Doug.ee Blog for Andy J's security tips. Ghostery – protect yourself from trackers, scripts and ads while browsing. Simple Login – Email anonymisation and disposable emails for login/registering with 33mail.com – Never give out your real email address online again. AnonAddy – Disposable email addresses Sudo – get up to 9 “avatars” with email addresses, phone numbers and more to mask your online identity. Free for the first year and priced from $0.99 US / £2.50 UK per month thereafter... You get to keep 2 free avatars though. ProtonMail – end to end encrypted, open source, based in Switzerland. Prices start from FREE... what more can you ask? ProtonVPN – a VPN to go with it perhaps? Prices also starting from nothing! Comparitech DNS Leak Test – simple to use and understand VPN leak test. Fake Name Generator – so much more than names! Create whole identities (for free) with all the information you could ever need. Wire – free for personal use, open source and end to end encryted messenger and VoIP. Pinecast – a fabulous podcast hosting service with costs that start from nothing. Essential Apple is not affiliated with or paid to promote any of these services... We recommend services that we use ourselves and feel are either unique or outstanding in their field, or in some cases are just the best value for money in our opinion. Social Media and Slack You can follow us on: Twitter / Slack / EssentialApple.com / Soundcloud / Facebook / Pinecast Also a big SHOUT OUT to the members of the Slack room without whom we wouldn't have half the stories we actually do – we thank you all for your contributions and engagement. You can always help us out with a few pennies by using our Amazon Affiliate Link so we get a tiny kickback on anything you buy after using it. If you really like the show that much and would like to make a regular donation then please consider joining our Patreon or using the Pinecast Tips Jar (which accepts one off or regular donations) And a HUGE thank you to the patrons who already do. Support The Essential Apple Podcast by contributing to their Tip Jar: https://tips.pinecast.com/jar/essential-apple-show This podcast is powered by Pinecast.
The second in our series of live panel discussions in association with Kornit Digital, manufacturers of advanced digital printing solutions. ‘Sketchpad to Shopping Bag: The Future of Fashion Production and Fulfilment’ continues the important debate around the future of the UK textile industry. I'm joined by panellists from education, design, manufacturing and retail, as well as the Chief Marketing Officer of Kornit Digital. We discuss: Why more companies are looking to reshore their production to create a faster time to market How supply chains are changing and why that's important to the UK fashion industry How COVID_19 has affected the industry Why big retailers need to change their buying model and re-look at their pricing and margins The importance of partnerships between manufacturers and retailers / brands Why designers and manufacturers must leverage technology to create on-demand manufacturing as a service How e-commerce is replacing brick and mortar stores, giving consumers more choice and the opportunity for more bespoke products Panellists: Fiona Lambert Ex MD New Business Development. River Island Davinder Madaher Textile Designer, Madaher Jenny Holloway CEO, Fashion Enter Barbara Shepherd Head of Business Engagement, Manchester Fashion Institute Omer KulkaChief Marketing Officer, Kornit Listen to the previous discussion in this series here. Make it British Live! Online All of the talks from MiB Live! Online, our virtual trade show and summit, can be watched here: MiB.Live/online2020 More Make it British Make it British website Make it British Brands Directory - search for brands and manufacturers that make in the UK Manufacturers Directory - search for manufacturers that are verified members of Make it British Find a UK Manufacturer - ways we can help you find your perfect manufacturing partner Make it British Live! - our trade show Make it British Instagram
Today, we think of Pixar as the company that gave us such lovable characters as Woody and Buzz Lightyear, Monsters Mike Wazowski and James P Sullivan, Nemo, Elastagirl, and Lightnight McQueen. But all that came pretty late in the history of the company. Let's go back to the 70s. Star Wars made George Lucas a legend. His company Lucasfilm produced American Graffiti, the Star Wars Francise, the Indiana Jones Francis, The Labrynth, Willow, and many others. Many of those movies were pioneering in the use of visual effects in storytelling. At a time when the use of computer-aided visual effects was just emerging. So Lucas needed world-class computer engineers. Lucas found Ed Catmull and Alvy Ray Smith at the New York Institute of Technology Computer Graphics Lab. They had been hired by the founder, Alexander Schure, to help create the first computer-animated film in the mid-70s. But Lucas hired Catmull (who had been a student of the creator of the first computer graphics software, Sketchpad) and Smith (who had worked on SuperPaint at Xerox PARC) away to run the computer division of Lucasfilm, which by 1979 was simply called the Graphics Group. They created REYES and developed a number of the underlying techniques used in computer graphics today. They worked on movies like Star Trek II where the graphics still mostly stand up nearly 40 years later. And as the group grew, the technology got more mature and more useful. REYES would develop into RenderMan and become one of the best computer graphics products on the market. Pioneering, they won prizes in science and film. RenderMan is still one of the best tools available for computer-generated lighting, shading, and shadowing. John Lasseter joined in 1983. And while everything was moving in the right direction, in the midst of a nasty divorce when he needed the cash, Lucas sold the group as a spin-off to Steve Jobs in 1986. Jobs had just been ousted from Apple and was starting NeXT. He had the vision to bring the computer graphics to homes. They developed The Pixar Image Computer for commercial sales, which would ship just after Jobs took over the company. It went for $135,000 and still required an SGI or Sun computer to work. They'd sell just over 100 in the first two years - most to Disney. The name came from Alvy Ray Smith's original name he suggested for the computer, Picture Maker. That would get shortened to Pixer, and then Pixar. The technology they developed along the way to the dream of a computer animated film was unparalleled in special effects. But CPUs weren't going fast enough to keep up. The P-II model came with a 3 gig RAID (when most file systems couldn't even access that much space), 4 processors, multiple video cards, 2 video processors, a channel for red, blue green, and alpha. It was a beast. But that's not what we think of when we think of Pixar today. You see, they had always had the desire to make a computer animated movie. And they were getting closer and closer. Sure, selling computers to aid in the computer animation is the heart of why Steve Jobs bought the company - but he, like the Pixar team, is an artist. They started making shorts to showcase what the equipment and software they were making could do. Lasseter made a film called Luxo Jr in 1986 and showed it at SIGGRAPH, which was becoming the convention for computer graphics. They made a movie every year, but they were selling into a niche market and sales never really took off. Jobs pumped more money into the company. He'd initially paid $5 million dollars and capitalized the company with another $5 million. By 1989 he'd pumped $50 million into the company. But when sales were slow and they were bleeding money, Jobs realized the computer could never go down market into homes and that part of the business was sold to Vicom in 1990 for $2 million, who then went bankrupt. But the work Lasseter was doing blending characters that were purely made using computer graphics with delicious storytelling. Their animated short Tin Toy won an Academy Award in 1988. And being an artist, during repeated layoffs, that group just continued to grow. They would release more and more software - and while they weren't building computers, the software could be run on other computers like Macs and Windows. The one bright spot was that Pixar and the Walt Disney Animation Studio were inseparable. By 1991 though, computers had finally gotten fast enough, and the technology mature enough, to make a computer-animated feature. And this is when Steve Jobs and Lasster sold the idea of a movie to Disney. In fact, they got $24 million to make three features. They got to work on the first of their movie. Smith would leave in 1994, supposedly over a screaming match he had with Jobs over the use of a whiteboard. But if Pixar was turning into a full-on film studio, it was about to realize the original dream they all had of creating a computer-animated motion picture and it's too bad Smith missed it. That movie was called Toy Story. It would bring in $362 million dollars globally becoming the highest-grossing movie of 1995 and allow Steve Jobs to renegotiate the Pixar deal with Disney and take the company public in 1995. His $60 million investment would convert into over a billion dollars in Pixar stock that became over a hundred thousand shares of Disney stock worth over $4 billion, the largest single shareholder. Those shares were worth $7.4 billion dollars when he passed away in 2011. His wife would sell half in 2017 as she diversified the holdings. 225x on the investment. After Toy Story, Pixar would create Cars, Finding Nemo, Wall-E, Up, Onward, Mosters Inc, Ratatouille, Brave, The Incredibles, and many other films. Movies that have made close to $15 billion dollars. But more importantly, they mainstreamed computer animated films. And another huge impact on the history of computing was that they made Steve Jobs a billionaire and proved to Wall Street that he could run a company. After a time I think of as “the dark ages” at Apple, Jobs came back in 1996, bringing along an operating system and reinventing Apple - giving the world the iMac, the iPod, and the iPhone. And streamlining the concept of multi-media enough that music and later film and then software, would be sold through Apple's online services, setting the groundwork for Apple to become the most valuable company in the world. So thank you to everyone from Pixar for the lovable characters, but also for inventing so much of the technology used in modern computer graphics - both for film and the tech used in all of our computers. And thank you for the impact on the film industry and keeping characters we can all relate to at the forefront of our minds. And thank you dear listener for tuning in to yet another episode of the History of Computing Podcast. We are so lucky to have you. And lucky to have all those Pixar movies. I think I'll go watch one now. But I won't be watching them on the Apple streaming service. It'll be on Disney service. Funny how that worked out, aint it.
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.
“When we collaborate, when we bring a group of passionate, creative, dedicated Jewish professionals together, we can change the world,” says Irene Sandalow, Executive Director of SketchPad Chicago.This podcast shows how much is accomplished when the Jewish community organizes. Irene saw a need in the Jewish community and acted on it. She recognized that working from home wasn't enough for her. She devoted her efforts to taking Jewish values into the public sphere. She details the process of creating SketchPad from idea to reality. I enjoyed learning about Irene's background. Irene's upbringing shaped her into being a passionate Jewish leader and community organizer. Hopefully, this conversation inspires others to create intentional Jewish communities of their own. As a new member of SketchPad, I look forward to joining committees and being a integral part of SketchPad.Key takeaways from this podcast are:Sketchpad is guided by Jewish values, including collaboration, radically hospitality, inclusiveness, and warm hospitality.Sketchpad began as a grassroots efforts, the founding organization took active roles is its establishment. SketchPad continues to maintain its founding values by providing a warm, open, and safe space to its members and to the greater Jewish community. You can learn more about SketchPad at https://www.sketchpadchicago.org. Follow Sketchpad on Facebook at http://facebook.com/sketchpadchicago You can reach reach Irene at irene@sketchpadchicago.org.Support the show (https://www.bridges613.org/donate)
Welcome to the History of Computing Podcast, where we explore the history of information technology. Because understanding the past prepares us for the innovations of the future! Today we're going to cover the first real object-oriented programming language, Smalltalk. Many people outside of the IT industry would probably know the terms Java, Ruby, or Swift. But I don't think I've encountered anyone outside of IT that has heard of Smalltalk in a long time. And yet… Smalltalk influenced most languages in use today and even a lot of the base technologies people would readily identify with. As with PASCAL from Episode 3 of the podcast, Smalltalk was designed and created in part for educational use, but more so for constructionist learning for kids. Smalltalk was first designed at the Learning Research Group (LRG) of Xerox PARC by Alan Kay, Dan Ingalls, Adele Goldberg, Ted Kaehler, Scott Wallace, and others during the 1970s. Alan Kay had coined the term object-oriented programming was coined by Alan Kay in the late 60s. Kay took the lead on a project which developed an early mobile device called the Dynabook at Xerox PARC, as well as the Smalltalk object-oriented programming language. The first release was called Smalltalk-72 and was really the first real implementation of this weird new programming philosophy Kay had called object-oriented programming. Although… Smalltalk was inspired by Simula 67, from Norwegian developers Kirsten Nygaard and Ole-johan Dahl. Even before that Stewart Nelson and others from MIT had been using a somewhat object oriented model when working on Lisp and other programs. Kay had heard of Simula and how it handled passing messages and wrote the initial Smalltalk in a few mornings. He'd go on work with Dan Ingalls to help with implementation and Adele Goldberg to write documentation. This was Smalltalk 71. Object oriented program is a programming language model where programs are organized around data, also called objects. This is a contrast to programs being structured around functions and logic. Those objects could be data fields, attributes, behaviors, etc. For example, a product you're selling can have a sku, a price, dimensions, quantities, etc. This means you figure out what objects need to be manipulated and how those objects interact with one another. Objects are generalized as a class of objects. These classes define the kind of data and the logic used when manipulating data. Within those classes, there are methods, which define the logic and interfaces for object communication, known as messages. As programs grow and people collaborate on them together, an object-oriented approach allows projects to more easily be divided up into various team members to work on different parts. Parts of the code are more reusable. The way programs are played out is more efficient. And in turn, the code is more scalable. Object-oriented programming is based on a few basic principals. These days those are interpreted as encapsulation, abstraction, inheritance, and polymorphism. Although to Kay encapsulation and messaging are the most important aspects and all the classing and subclassing isn't nearly as necessary. Most modern languages that matter are based on these same philosophies, such as java, javascript, Python, C++, .Net, Ruby. Go, Swift, etc. Although Go is arguably not really object-oriented because there's no type hierarchy and some other differences, but when I look at the code it looks object-oriented! So there was this new programming paradigm emerging and Alan Kay really let it shine in Smalltalk. At the time, Xerox PARC was in the midst of revolutionizing technology. The MIT hacker ethic had seeped out to the west coast with Marvin Minsky's AI lab SAIL at Stanford and got all mixed into the fabric of chip makers in the area, such as Fairchild. That Stanford connection is important. The Augmentation Research Center is where Engelbart introduced the NLS computer and invented the Mouse there. And that work resulted in advances like hypertext links. In the 60s. Many of those Stanford Research Institute people left for Xerox PARC. Ivan Sutherland's work on Sketchpad was known to the group, as was the mouse from NLS, and because the computing community that was into research was still somewhat small, most were also aware of the graphic input language, or GRAIL, that had come out of Rand. Sketchpad's had handled each drawing elements as an object, making it a predecessor to object-oriented programming. GRAIL ran on the Rand Tablet and could recognize letters, boxes, and lines as objects. Smalltalk was meant to show a dynamic book. Kinda' like the epub format that iBooks uses today. The use of similar objects to those used in Sketchpad and GRAIL just made sense. One evolution led to another and another, from Lisp and the batch methods that came before it through to modern models. But the Smalltalk stop on that model railroad was important. Kay and the team gave us some critical ideas. Things like overlapping windows. These were made possibly by the inheritance model of executions, a standard class library, and a code browser and editor. This was one of the first development environments that looked like a modern version of something we might use today, like an IntelliJ or an Eclipse for Java developers. Smalltalk was the first implementation of the Model View Controller in 1979, a pattern that is now standard for designing graphical software interfaces. MVC divides program logic into the Model, the View, and the Controller in order to separate internal how data is represented from how it is presented as decouples the model from the view and the controller allow for much better reuse of libraries of code as well as much more collaborative development. Another important thing happened at Xerox in 1979, as they were preparing to give Smalltalk to the masses. There are a number of different interpretations to stories about Steve Jobs and Xerox PARC. But in 1979, Jobs was looking at how Apple would evolve. Andy Hertzfeld and the original Mac team were mostly there at Apple already but Jobs wanted fresh ideas and traded a million bucks in Apple stock options to Xerox for a tour of PARC. The Lisa team came with him and got to see the Alto. The Alto prototype was part of the inspiration for a GUI-based Lisa and Mac, which of course inspired Windows and many advances since. Smalltalk was finally released to other vendors and institutions in 1980, including DEC, HP, Apple, and Berkely. From there a lot of variants have shown up. Instantiations partnered with IBM and in 1984 had the first commercial version at Tektronix. A few companies tried to take SmallTalk to the masses but by the late 80s SQL connectivity was starting to add SQL support. The Smalltalk companies often had names with object or visual in the name. This is a great leading indicator of what Smalltalk is all about. It's visual and it's object oriented. Those companies slowly merged into one another and went out of business through the 90s. Instantiations was acquired by Digitalk. ParcPlace owed it's name to where the language was created. The biggest survivor was ObjectShare, who was traded on NASDAQ, peaking at $24 a share until 1999. In a LA Times article: “ObjectShare Inc. said its stock has been delisted from the Nasdaq national market for failing to meet listing requirements. In a press release Thursday, the company said it is appealing the decision.” And while the language is still maintained by companies like Instantiations, in the heyday, there was even a version from IBM called IBM VisualAge Smalltalk. And of course there were combo-language abominations, like a smalltalk java add on. Just trying to breathe some life in. This was the era where Filemaker, Foxpro, and Microsoft Access were giving developers the ability to quickly build graphical tools for managing data that were the next generation past what Smalltalk provided. And on the larger side products like JDS, Oracle, Peoplesoft, really jumped to prominence. And on the education side, the industry segmented into learning management systems and various application vendors. Until iOS and Google when apps for those platforms became all the rage. Smalltalk does live on in other forms though. As with many dying technologies, an open source version of Smalltalk came along in 1996. Squeak was written by Alan Kay, Dan Ingalls, Ted Kaehler, Scott Wallace, John Maloney, Andreas Raab, Mike Rueger and continues today. I've tinkerated with Squeak here and there and I have to say that my favorite part is just getting to see how people who actually truly care about teaching languages to kids. And how some have been doing that for 40 years. A great quote from Alan Kay, discussing a parallel between Vannevar Bush's “As We May Think” and the advances they made to build the Dynabook: If somebody just sat down and implemented what Bush had wanted in 1945, and didn't try and add any extra features, we would like it today. I think the same thing is true about what we wanted for the Dynabook. There's a direct path with some of the developers of Smalltalk to deploying MacBooks and Chromebooks in classrooms. And the influences these more mass marketed devices have will be felt for generations to come. Even as we devolve to new models from object-oriented programming, and new languages. The research that went into these early advances and the continued adoption and research have created a new world of teaching. At first we just wanted to teach logic and fundamental building blocks. Now kids are writing code. This might be writing java programs in robotics classes, html in Google Classrooms, or beginning iOS apps in Swift Playgrounds. So until the next episode, think about this: Vannevar Bush pushed for computers to help us think, and we have all of the worlds data at our fingertips. With all of the people coming out of school that know how to write code today, with the accelerometers, with the robotics skills, what is the next stage of synthesizing all human knowledge and truly making computers help with As we may think. So thank you so very much for tuning into another episode of the History of Computing Podcast. We're lucky to have you. Have a great day!
昨天，拼多多和JVC母公司兆驰股份达成全面战略合作。兆驰股份是国内最大的电视ODM厂商之一，年产电视超1000万台。公司长年为飞利浦、夏普、小米、海尔等国内外一线品牌提供代工服务。与兆驰的合作，能让拼多多平台的消费者最先买到“拼多多电视”。在合作发布会上，兆驰集团董事长顾伟透露，JVC品牌电视将率先在拼多多上推出定制化产品，双方已经制定了具体的生产计划。 天猫数据显示，6月份“分类垃圾桶”关键词搜索量同比增长3000%以上，而分类垃圾桶产品6月的销售额同比增长500%以上，其中上海用户贡献了分类垃圾桶超过85%的销售。 快手昨天发布通知，快手将对快手小店收取服务费，对不含推广佣金的商品收取5%的服务费，对于含有推广佣金信息的商品收取50%的服务费，这一规定将于7月20号正式实施。快手电商相关负责人说：“快手收取的技术服务费100%都将用于商户成长奖励金，快手电商不会自留一分钱”。此次对快手小店的调整也是快手战略转变的一个缩影。去年10月，快手创始人宿华曾公开对外表示，快手要提速商业化。而向小店收取服务费，再拿这些佣金去鼓励用户，快手不用出一分钱，便能激励用户去自发的完善商业生态。 优酷内容开放平台产品升级，宣布剧场模式正式上线，以及数据和结算升级。由新片场影业出品的网络电影《马永贞决战上海滩》成为“剧场模式”首个试水项目。“剧场”是指合作方在优酷平台的自运营厂牌。优酷为合作方提供“剧场装修、用户触达、活动管理”等产品服务。在剧场模式下，合作方将拥有自主运营的主页面，其中页面风格设计、文案、内容排播均可自定义，让厂牌实现“定制化”。 36氪获悉，昨天起，支付宝联合银行开通ETC免费申领，并提供设备包邮服务。目前，中国邮政储蓄银行已率先联合支付宝推出此服务。支付宝方面表示，未来将进一步拓宽合作银行渠道。用户上支付宝搜“ETC服务”，进入相关小程序，即可全程在线办理，设备激活后，130元押金将原路退回用户的支付宝账户。 人工智能微软小冰微信公众号主页显示，因违反《互联网用户公众账号信息服务管理规定》已被屏蔽所有内容，账号已被停用。目前微软小冰具体违反了哪些规定暂时未知，官方也并未作出回应。“微软小冰”是微软（亚洲）互联网工程院基于2014年提出建立的情感计算框架，通过算法、云计算和大数据的综合运用，采用代际升级的方式，逐步形成向EQ方向发展的完整人工智能体系。 特斯拉昨天在推特上发布一则消息，公告新的Sketchpad功能触屏绘画即将上线。特斯拉CEO马斯克转发了这一推文，并表示音乐功能的升级也提上了日程，车载卡拉OK或将成为现实。所以，如果你是特斯拉车主，那在不远的将来，你的朋友聚会可能可以多出一项选择——在车里对着那块大屏幕唱卡拉OK。 8点1氪，今日言论。威马汽车创始人沈晖在2019年夏季达沃斯论坛上表示，短期内，氢燃料 电池车不会实现大范围发展，电动车还是主流。沈晖还指出，在电能如此普及的情况下，电动车充电还存在一些困难。相较之下，氢燃料电池在安全和成本方面挑战都很大。最大的制约因素是加氢站的布局在当下还极为有限。 中国建设银行副行长黄毅说，互联网改变了金融的生态，后来的区块链、云计算、大数据形成了一个更大的挑战。对于Facebook新近发布的数字货币Libra，黄毅表示，如果Libra一旦成功，对金融行业就不是挑战了，而是颠覆。
Tamar Daniel is an award-winning fashion designer with 15 years of global experience working with top fashion companies. She loves marrying her passion for helping women further their careers with making luxe clothing that builds confidence. Tamar started out designing for Topshop and moved to Philadelphia for a position with Anthropologie. In 2015 Tamar founded her company TUXE. Her brand has been worn by top celebrates such as Meghan Markle. TUXE has been featured in The Oprah Magazine, Vanity Fair, and many more. Tamar lives with her husband and four kids on the main line and is always looking for a female entrepreneur poker game. How did you come up with the idea of combining coaching with fashion? It came about in two ways. Tamar learned that most of her customers brought a certain product because they had a very specific end use in their mind. Most of them bought a certain product just to boost up their confidence psychologically for a certain event. The second event that led to the idea of combing coaching with fashion happened when Tamar engaged a coach. It was a new thing for her and she was not used to of it. She really liked the whole process of coaching helpful and actionable. She thought she could be of great help to her customers if she could combine coaching with fashion and that is how she came up with this idea. What makes your product unique? When Tamar was thinking of starting a bodysuit company, she really did not know if it was a sensible idea. To get around her confusion and doubt, she conducted several focus groups where her aim was to learn about the popularity of bodysuits among women. She gathered all the information related to bodysuits, how most of the bodysuits were only comfortable in first wear and the ways through which bodysuits could be improved in their production to provide a better overall experience to the consumer. She got to work with her factories to engine the product in a smarter and thoughtful way making her product unique. How did you get Meghan Markle to wear TUXE? Tamar built a relationship with her fashion stylist. Did you have any business before you started your brand TUXE? She started a sketchpad business in 2011. Tamar has always been good at fashion sketching. Sketchpad is a book filled with 420 figure templates in 20 different fashion-forward poses. Tamar came up with this idea to help aspiring fashion designers who love to sketch clothes but do not have the skills or the patience to draw proportional figures. She still owns the business but with some shares of a Californian publishing company. What was it like growing up in London and Israel and then coming to the States? Tamar has lived in different parts of the world and she believes she is comfortable living almost anywhere. She is able to adjust quickly to her surroundings. She easily adapts herself to different people, weather, and culture. Did you always want to be a designer? Tamar spent most of her Sundays at the Victorian and Albert Museum in London where they have an amazing permanent display of fashion throughout the ages. She felt at home whenever she was there. She started sketching from a very young age. She did not know anyone who did what she loved doing and it's hard to be something you don’t see anyone doing. She thinks as soon as she could put words to what she did, she wanted to be that i.e. a designer. What was it like when you started your business? Tamar had been working at an Anthropologie for quite some time. After giving birth to her fourth child, she decided it was time to quit big corporations and start her own line of work. She started with the sketchpad business but it was over for her because she got it licensed for a publishing company in California. She decided to start her own line of clothing. Tamar believes she did not prepare herself well before starting her business. This cost her a lot of time and money in the initial phases. In her first year, she invested a lot of money in her business with almost no returns. Tamar had realized she needed to change her approach towards her business. Where do you get your inspiration from? Tamar gets inspired by people building businesses especially women. She likes to read a lot of business publications, blogs, and articles. She follows people who are in a leadership position who has done something unprecedented and who are not making excuses to grow continuously in their lives and business and inspire others. What has been something that you have been really proud of? Tamar became a surrogate mother for a child and that is something she has really been proud of doing in her life. She is still connected with the child’s mother. What is one piece of advice you would like to share with the listeners of this podcast? Tamar talks about being relentless in life. Sometimes, in life its all about being consistent and perseverant. Tamar loves the word relentless as it is symbolic of continuous hard work and not giving up no matter how hard it gets. How can we connect with you? You can connect with her through her email. Her email address is tamar@tuxebodywear.com You can also follow her on LinkedIn. Her LinkedIn profile’s URL is https://www.linkedin.com/in/tamardaniel/ You can also know more about her brand and products through her website. Her website’s URL is https://www.tuxebodywear.com
The insanely talented and funny Alexis Winford, of St. Louis improv and sketch fame, chats about some helpful advice her dad gave her, attending a funeral right before her first improv class, and giving her characters' souls a body. See her performing with many great groups like: Sketchpad, Your Mom, Mordecai Montrose and The Mission Trip.
Salutations compadres! It's another special week as we have another amazing guest: RICHARD HERRING. That's right – the creator of RHLSTP (“Ruh-huh-luh-stuh-puh!”), one half of comedy double act Lee and Herring, and writer of many masterful Edinburgh Fringe shows. In our exclusive interview with the fantastic “Podfather ”, you'll hear Olly asking him a multitude of searching questions (albeit not as searching as, “Ham hand or sun cream armpit?”). Herring discusses his university scrapbook, his contemporaries and his analytical approach to comedy. Please subscribe, review our show on iTunes and tell us you love us on social media.
Yeehaw! Giddy up! Welcome back to another rootin' tootin' episode of A History of Comedy in Several Objects. Saddle up and get prepared for more galloping comedy analysis with your hosts Oliver Double and Elspeth Millar. This week's episode is so good that you'll be lasso-ing for more. It kicks more than a Bucking Bronco (if a Bucking Bronco had an analytical comedy podcast). This week features an exclusive interview with the gun-slingin' JOSIE LONG and her sketchpad, talking about the creative process behind her 2006 Edinburgh show, Kindness and Exuberance. Remember to subscribe to the podcast, and please leave us a review on iTunes. And remember – if there's a snake in your boot, seek medical help!
Gene Kitsmiller joins Joshua Evans and Christopher Melton to chat more about Disney, kinda. Why are you reading this. It's a BONUSode.
We see with our brains, not with our eyes. The eyes are simply a tool to gather photons of light. The processing of images happens in the visual cortex (in the back of your brain). There is also an interesting thing that happens as we listen to information. We also draw pictures in our brain. This is what I call the pre-arrival lens and it can set a responder up for success or it can cause some significant challenges. Our sponsor: Midwest Fire MidwestFire.com Intro music Safety Dance (1982) Men Without Hats GMC - Virgin Records Situational Awareness Matters! website www.SAMatters.com Firefighter Near Miss Reporting System http://www.firefighternearmiss.com/ Contact Rich Gasaway www.RichGasaway.com Support@RichGasaway.com 612-548-4424
We've come to the season 3 finale and the town of Effingham has gathered for their annual gift exchange. And our host, Todd Hammers, embarks on a quest. Welcome Thru Effingham is created and performed by Sketchpad Comedy and produced by Hugmonster Sound with STL Vernacular. This episode features Shea Ballentine, Jason Flamm, Matt Martin and Alexis Winford. Show support for Welcome Thru Effingham by sharing our weekly episodes. About Welcome Thru Effingham Sketchpad Comedy creates Welcome Thru Effingham. Sketchpad Comedy is a sketch comedy group based in St. Louis, MO. Sketchpad Comedy began in July of 2014. It started with STL SketchPAD, a live sketch comedy show that is put on by writers and performers in St. Louis, MO. Since then the team at Sketchpad has helped over 120 writers put on hundreds of live sketches. Their motto is simple: They believe comedy should be accessible to anyone who wants to write, perform, or watch it. They accomplish this through community, collaboration, and creation. This podcast is no exception. You can show support for WTEff by sharing our episodes on social.
Everyone's favorite beat reporter is in the hospital... making wishes come true for the children! Meanwhile, our host Todd Hammers struggles to maintain his sanity after discovering that "no one is out there." Welcome Thru Effingham is created and performed by Sketchpad Comedy and produced by Hugmonster Sound with STL Vernacular. This episode features Shea Ballentine, Jason Flamm, Matt Martin and Alexis Winford. Show support for Welcome Thru Effingham by sharing our weekly episodes. About Welcome Thru Effingham Sketchpad Comedy creates Welcome Thru Effingham. Sketchpad Comedy is a sketch comedy group based in St. Louis, MO. Sketchpad Comedy began in July of 2014. It started with STL SketchPAD, a live sketch comedy show that is put on by writers and performers in St. Louis, MO. Since then the team at Sketchpad has helped over 120 writers put on hundreds of live sketches. Their motto is simple: They believe comedy should be accessible to anyone who wants to write, perform, or watch it. They accomplish this through community, collaboration, and creation. This podcast is no exception.
In this week's episode Mayor Dewgood is shocked to find that Sheriff Jimbo has left for his book tour and elected Bottom Tooth Bill, a former mafia boss, as the new Sheriff of Effingham. Also, The Town Witch opens up her own store: Say Tan. Welcome Thru Effingham is created and performed by Sketchpad Comedy and produced by Hugmonster Sound with STL Vernacular. This episode features Shea Ballentine, Jason Flamm, Matt Martin and Alexis Winford. Show support for Welcome Thru Effingham by sharing our weekly episodes. About Welcome Thru Effingham Sketchpad Comedy creates Welcome Thru Effingham. Sketchpad Comedy is a sketch comedy group based in St. Louis, MO. Sketchpad Comedy began in July of 2014. It started with STL SketchPAD, a live sketch comedy show that is put on by writers and performers in St. Louis, MO. Since then the team at Sketchpad has helped over 120 writers put on hundreds of live sketches. Their motto is simple: They believe comedy should be accessible to anyone who wants to write, perform, or watch it. They accomplish this through community, collaboration, and creation. This podcast is no exception. You can show support for WTEff by sharing our episodes on social.
The Town Witch is going through a bit of an identity crisis, while Lucas Dukie tries to enlist #LisaChimmons to sell his cones. Welcome Thru Effingham is created and performed by Sketchpad Comedy and produced by Hugmonster Sound with STL Vernacular. This episode features Shea Ballentine, Brian Dooley, Jason Flamm, and Alexis Winford. Show support for Welcome Thru Effingham by sharing our weekly episodes. About Welcome Thru Effingham Sketchpad Comedy creates Welcome Thru Effingham. Sketchpad Comedy is a sketch comedy group based in St. Louis, MO. Sketchpad Comedy began in July of 2014. It started with STL SketchPAD, a live sketch comedy show that is put on by writers and performers in St. Louis, MO. Since then the team at Sketchpad has helped over 120 writers put on hundreds of live sketches. Their motto is simple: They believe comedy should be accessible to anyone who wants to write, perform, or watch it. They accomplish this through community, collaboration, and creation. This podcast is no exception. You can show support for WTEff by sharing our episodes on social.
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With a worry about being "gay enough" to start things off, this week finds Eliot Glazer (Eliot's Sketchpad, Haunting Renditions) in the guest star chair. After a lengthy discussion about Drag Race with Sharon, Katie, and Jason, we all discuss extreme plastic surgery and how much we all hate vocal fry. The convo is then rounded out with the relic that is call-in radio and how hard it is to stay on top of your RSS feed. Truth!
TAG Interview with Tom Sito - 2Find all TAG Interviews on the TAG website at this link TAG's President Emeritus Tom Sito (who is also an animator, director, storyboard artist and college professor) has written a fine book on the history of Computer Generated Imagery: Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created the first true computer animation program. Instead of presenting a series of numbers, Sutherland's Sketchpad program drew lines that created recognizable images. Sutherland noted: "Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons." This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry. ... And Tom takes us through that long-ago beginning to right now. ... This is Tom's second TAG podcast. The first covered his animation career, the second is centered on his just-released book and the history of CG. (This audio interview is broken into three parts of thirty minutes each. Starting tomorrow, the video/YouTube versions -- each 45 minutes in length -- will appear. So choose your format.)
The functionality of the episodic buffer, visuo-spatial sketchpad & episodic buffer is covered in this podcast.
Time travel is fun. Want to learn to do it? Follow me. The year is 1608. England buzzes with William Shakespeare. Hamlet, Macbeth, and King Lear are performed to rave reviews while 44 year-old William grieves the death of his mother. A team of 47 translators works on an English translation of the Bible. Not one of them suspects their translation will remain in use 400 years into the future. In 1611 their Bible will be released as the authorized version of King James. The novel by Miguel de Cervantes, Don Quixote de La Mancha hasn't been translated into English but it's all the rage in Spain. No one suspects that in exactly 8 years – on April 23, 1616 – Cervantes and Shakespeare will die simultaneously at twilight. No one knows each man will forever be remembered as the most celebrated voice in his language. Baltasar Gracian is a 7-year-old boy in Belmonte, Spain. He'll grow up to become a Jesuit scholar, troublemaker and philosopher. His book, The Art of Worldly Wisdom, will sweep Europe in much the same way Benjamin Franklin's Poor Richard's Almanac will sweep another continent 150 years later. In 1992, Baltasar's book will be rediscovered and spend 18 weeks on the bestseller list of a country that didn't exist while he lived. But no one has an inkling of this. Today young Baltasar is a just a 7-year old boy playing in the dust in Spain. It's been exactly 116 years since Christopher Columbus sailed for Queen Isabella and walked the soil of a whole new world. Today that new world is a place where conquistadors search for gold and tell tales of the Seven Cities of Cibola. No one cares about a shipload of English weirdoes and misfits who sailed over the horizon a few months ago to set up a colony in the wilderness. They're probably dead by now anyway. And even if they're not, nothing will ever come of it. I think someone said they decided to call their colony “Jamestown.” In exactly 361 years Neal Armstrong will do that Columbus thing again and a poet named James Dickey will complain, “There's no moon goddess now. But when men believed there was, then the moon was more important, maybe not scientifically, but more important emotionally. It was something a man had a personal relationship to, instead of its simply being a dead stone, a great ruined stone in the sky.” – Self Interviews, p. 67 Are you beginning to see what I mean by Time Travel? It's a delightful way to play. And frankly, you don't play enough. I hope you don't mind me saying. The key to time travel is: 1. Learn the details of a day that is past. Meet the people. Feel the buzz. Be part of their society. Become one of them. 2. From that distant vantage point, what do you imagine about our current day, knowing you will never see it? 3. Now return happily to 2008 and see how things actually turned out. If you want to take an even trippier trip: 1. Imagine yourself 20 years from now. What are your circumstances? 2. Now look back at 2008 and think about what you wish you'd done differently. You'll be surprised how much this “Time Travel” exercise will change your priorities and alter your actions. Free the Beagle. Aroo! Roy H. Williams
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