Computer Graphics Quotes

First we thought the PC was a calculator. Then we found out how to turn numbers into letters with ASCII — and we thought it was a typewriter. Then we discovered graphics, and we thought it was a television. With the World Wide Web, we've realized it's a brochure.

Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts... A graphic representation of data abstracted from banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding...

Matthew Boylan, former NASA operational graphics manager, worked for years creating photo-realistic computer graphics for NASA.  Now a vocal Flat-Earther, Boylan claims that NASA’s sole reason for existence is to propagandize the public and promote this false ball-Earth heliocentric worldview. 

Of course, I’m referring to the original. With Gene Wilder. Not the lame re-make with Depp. I like Depp. Don’t get me wrong. However, that rendition was totally spoiled by the single Umpa-Lumpa multiplied by however many in computer graphics. Awful.

Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts . . . A graphic representation of data abstracted from the banks of every computer in the human system.

If it looks like computer graphics, it is not good computer graphics.

I wanted to buy it because I was really into computer graphics,” Jobs recalled. “I realized they were way ahead of others in combining art and technology, which is what I’ve always been interested in.

The Matrix has its roots in primitive arcade games,' said the voice-over, 'in early graphics programs and military experimentation with cranial jacks.' On the Sony, a two-dimensional space war faded behind a forest of mathematically generated ferns, demonstrating the spatial possibilities of logarithmic spirals; cold blue military footage burned through, lab animals wired into test systems, helmets feeding into fire control circuits of tanks and war planes. 'Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts... A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding...

Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts . . . A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding. . . .

I wonder if we are seeing a return to the object in the science-based museum. Since any visitor can go to a film like Jurassic Park and see dinosaurs reawakened more graphically than any museum could emulate, maybe a museum should be the place to have an encounter with the bony truth. Maybe some children have overdosed on simulations on their computers at home and just want to see something solid--a fact of life.

Models are the mothers of invention.

Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts . . . A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding. . 

People are better than computers when finding patterns in images, but computers are better than people when finding patterns in numbers.

The Bush-Licklider approach was given a friendly interface by Engelbart, who in 1968 demonstrated a networked computer system with an intuitive graphical display and a mouse.

All Yadi’s years in therapy had taught her to probe gently. She was also someone good with computers, who reluctantly agreed to make Flor a graphic she could forward in the family group chat.

spirit. These rich curves feel crafted by hand, not computer. Dashing — maybe even exuberant — Baskerville has been known to steal the show, so be sure the content fits it (or doesn’t mind playing second fiddle). Good for: Debonair swagger.

Tracy’s dad was setting in motion the forces that would give rise to essentially all of modern computing: time-sharing, personal computing, the mouse, graphical user interfaces, the explosion of creativity at Xerox PARC, the Internet—all of it.

Let’s think about the fake sense of urgency that pervades the left-liberal humanitarian discourse on violence: in it, abstraction and graphic (pseudo)concreteness coexist in the staging of the scene of violence-against women, blacks, the homeless, gays . . . “A woman is rpaed every six seconds in this country” and “In the time it takes you to read this paragraph, ten children will die of hunger” are just two examples. Underlying all this is a hypocritical sentiment of moral outrage. Just this kind of pseudo-urgency was exploited by Starbucks a couple of years ago when, at store entrances, posters greeting costumers pointed out that a portion of the chain’s profits went into health-care for the children of Guatemala, the source of their coffee, the inference being that with every cup you drink, you save a child’s life. There is a fundamental anti-theoretical edge to these urgent injunctions. There is no time to reflect: we have to act now. Through this fake sense of urgency, the post-industrial rich, living in their secluded virtual world, not only do not deny or ignore the harsh reality outside the area-they actively refer to it all the time. As Bill Gates recently put it: “What do the computers matter when millions are still unnecessarily dying of dysentery?” Against this fake urgency, we might want to place Marx’s wonderful letter to Engels of 1870, when, for a brief moment, it seemed that a European revolution was again at the gates. Marx’s letter conveys his sheer panic: can’t the revolution wait for a couple of years? He hasn’t yet finished his ‘Capital’.

Because of the kind of programming that goes into games, they were (and still are) the most taxing form of programming. You can use a computer to crunch a bunch of numbers, sure, but spreadsheets don’t generally need sound cards and GPUs (graphics processing units).

The eyes have been used to signify a perverse capacity - honed to perfection in the history of science tied to militarism, capitalism, colonialism, and male supremacy - to distance the knowing subject from everybody and everything in the interests of unfettered power. The instruments of visualization in multinationalist, postmodernist culture have compounded these meanings of dis-embodiment. The visualizing technologies are without apparent limit; the eye of any ordinary primate like us can be endlessly enhanced by sonography systems, magnetic resonance imaging, artificial intelligence-linked graphic manipulation systems, scanning electron microscopes, computer-aided tomography scanners, colour enhancement techniques, satellite surveillance systems, home and office VDTs, cameras for every purpose from filming the mucous membrane lining the gut cavity of a marine worm living in the vent gases on a fault between continental plates to mapping a planetary hemisphere elsewhere in the solar system. Vision in this technological feast becomes unregulated gluttony; all perspective gives way to infinitely mobile vision, which no longer seems just mythically about the god-trick of seeing everything from nowhere, but to have put the myth into ordinary practice. And like the god-trick, this eye fucks the world to make techno-monsters. Zoe Sofoulis (1988) calls this the cannibal-eye of masculinist extra-terrestrial projects for excremental second birthing.

It was now the age of visualization, when abstract concepts as well as basic needs and wants were increasingly expressed in visual terms. From its origins as a number cruncher, the computer had gone Hollywood; it was now an image maker of vast power. Thus, graphics in many ways defined the look and feel of computing. Cutler

Extremist material of any kind always looks gaudy and cheap, like a bad pizza menu. Not because they can't afford decent computers - these days you can knock up a professional CD cover on a pay-as-you-go mobile - but because anyone who's good at graphic design is likely to be a thoughtful, inquisitive sort by nature. And thoughtful, inquisitive sorts tend to think fascism is a bit shit, to be honest. If the BNP really were the greatest British party, they'd have the greatest British designer working for them - Jonathan Ive, perhaps, the man who designed the iPod. But they don't. They've got someone who tries to stab your eyes out with primary colours.

The Ancestral Trail was split into two-halves of 26 issues each. The first half takes place in the Ancestral World and describes Richard's struggle to restore good to the world. After the initial international run, which sold over 30 million copies worldwide, Marshall Cavendish omitted the second part of the trilogy and used the third part (future) for the second series that followed. This part of the series, written up by Ian Probert and published in 1994, takes place in the Cyber Dimension. It deals with Richard's attempts to return home. Each issue centered on an adventure against a particular adversary, and each issue ended on a cliffhanger. The Ancestral Trail was illustrated by Julek and Adam Heller. Computer-generated graphics were provided by Mehau Kulyk for issues #27 through #52.

In the early 2010s, Nvidia—the designer of graphic chips—began hearing rumors of PhD students at Stanford using Nvidia’s graphics processing units (GPUs) for something other than graphics. GPUs were designed to work differently from standard Intel or AMD CPUs, which are infinitely flexible but run all their calculations one after the other. GPUs, by contrast, are designed to run multiple iterations of the same calculation at once. This type of “parallel processing,” it soon became clear, had uses beyond controlling pixels of images in computer games. It could also train AI systems efficiently.

FOR MANY YEARS, I was on a committee that read and selected papers to be published at SIGGRAPH, the annual computer graphics conference I mentioned in chapter 2. These papers were supposed to present ideas that advanced the field. The committee was composed of many of the field’s most prominent players, all of whom I knew; it was a group that took the task of selecting papers very seriously. At each of the meetings, I was struck that there seemed to be two kinds of reviewers: some who would look for flaws in the papers, and then pounce to kill them; and others who started from a place of seeking and promoting good ideas. When the “idea protectors” saw flaws, they pointed them out gently, in the spirit of improving the paper—not eviscerating it. Interestingly, the “paper killers” were not aware that they were serving some other agenda (which was often, in my estimation, to show their colleagues how high their standards were). Both groups thought they were protecting the proceedings, but only one group understood that by looking for something new and surprising, they were offering the most valuable kind of protection. Negative feedback may be fun, but it is far less brave than endorsing something unproven and providing room for it to grow.

Graphic designer, Ava Dennis, gave a dead-eyed stare to her computer screen and contemplated chucking it out the window of her second-floor apartment. Twenty-seven was the number of rounds of edits she’d done for a personalized Valentine’s Day card. Four was the number of times her client, Kathy, had typed the phrase we want this card to resemble our love in emails to Ava. Zero was the number of Valentine’s Day dates Ava had been on, which was probably the reason for her questionable attitude around this time of year. You see, Ava Dennis was a victim of the Valentine’s Day Curse. Three times, she’d had a serious boyfriend

Brian closed the condition book, pressed his fingers to his tired eyes. Like Paddy, he wasn't quite sure he trusted the computer, but he was willing to fiddle with it a bit. Three times a week he spent an hour trying to figure the damn thing out ith the notion that eventually he could use it to generate his charts. Graphics, they called it, he thought, shifting to give the machine a suspicious glare.Timesaving and efficient, if you believed all the hype. Well,tonight he was to damn tired to spend an hour trying to be timesaving and efficient. He hadn't had a decent night's sleep in a week. Which had nothing to do with his job, he admitted. And everything to do with his boss's daughter.

In an attempt to ruin my reputation in the society, if some extremist group makes a deepfake video of me forcefully trying to have sex with a woman and puts it up on the internet, you literally have no way of not believing that it's me. And while there is nothing wrong with having sex (pedophilia, infidelity, promiscuity excluded), consent is the line between human behavior and bestiality. Suddenly all my words and ideas would turn meaningless in your eyes. The only thing that may - just may - keep you from not believing your eyes, is your understanding of my work. However, that's exactly the kind of world we are heading towards, where anyone can cook up any kind of video of someone to ruin their reputation… Keeping this in mind, we must proceed. We must raise our children with all the courage we can muster so that they can tackle the dark side of technology without committing suicide.

As World War II was ending, the great engineer and public official Vannevar Bush argued that America’s innovation engine would require a three-way partnership of government, business, and academia. He was uniquely qualified to envision that triangle, because he had a foot in all three camps. He had been dean of engineering at MIT, a founder of Raytheon, and the chief government science administrator overseeing, among other projects, the building of the atom bomb.4 Bush’s recommendation was that government should not build big research labs of its own, as it had done with the atomic bomb project, but instead should fund research at universities and corporate labs. This government-business-university partnership produced the great innovations that propelled the U.S. economy in the postwar period, including transistors, microchips, computers, graphical user interfaces, GPS, lasers, the internet, and search engines.

The Xerox Corporation’s Palo Alto Research Center, known as Xerox PARC, had been established in 1970 to create a spawning ground for digital ideas. It was safely located, for better and for worse, three thousand miles from the commercial pressures of Xerox corporate headquarters in Connecticut. Among its visionaries was the scientist Alan Kay, who had two great maxims that Jobs embraced: “The best way to predict the future is to invent it” and “People who are serious about software should make their own hardware.” Kay pushed the vision of a small personal computer, dubbed the “Dynabook,” that would be easy enough for children to use. So Xerox PARC’s engineers began to develop user-friendly graphics that could replace all of the command lines and DOS prompts that made computer screens intimidating. The metaphor they came up with was that of a desktop. The screen could have many documents and folders on it, and you could use a mouse to point and click on the one you wanted to use.

The coyote was not a coyote. Or, maybe it was a coyote. Sam still didn't know what the difference was. In any case, it was a young, not much older than a puppy. It had the shaggy look of a coyote, but the muscular build of a pit bull. Its back leg was bleeding, and Sam worried he might have grazed it with the car. The coyote/dog looked scared. "If I pick you up," Sam said gently, "will you bite me?" The coyote/dog looked at him blankly, terrified. It was shivering. Sam took off his plaid shirt, and he scooped the little dog into his arms, and he put it into the back seat of his car. They drove to an emergency veterinary clinic. The dog had broken its leg. She needed stitches and would have to be in a cast for a couple of weeks, but she was strong, and she would recover. When Sam asked the vet whether the dog might be a coyote, she rolled her eyes. She was just a dog, a mutt yes, but likely some combination of German shepherd, Shiba Inu, and greyhound. You could tell by the elbows, she said. Coyote elbows were higher than dog elbows. She brought up a graphic on her computer: a coyote, next to a wolf, next to a domesticated dog. See, she said, isn't it obvious?

Moore’s Law, the rule of thumb in the technology industry, tells us that processor chips—the small circuit boards that form the backbone of every computing device—double in speed every eighteen months. That means a computer in 2025 will be sixty-four times faster than it is in 2013. Another predictive law, this one of photonics (regarding the transmission of information), tells us that the amount of data coming out of fiber-optic cables, the fastest form of connectivity, doubles roughly every nine months. Even if these laws have natural limits, the promise of exponential growth unleashes possibilities in graphics and virtual reality that will make the online experience as real as real life, or perhaps even better. Imagine having the holodeck from the world of Star Trek, which was a fully immersive virtual-reality environment for those aboard a ship, but this one is able to both project a beach landscape and re-create a famous Elvis Presley performance in front of your eyes. Indeed, the next moments in our technological evolution promise to turn a host of popular science-fiction concepts into science facts: driverless cars, thought-controlled robotic motion, artificial intelligence (AI) and fully integrated augmented reality, which promises a visual overlay of digital information onto our physical environment. Such developments will join with and enhance elements of our natural world. This is our future, and these remarkable things are already beginning to take shape. That is what makes working in the technology industry so exciting today. It’s not just because we have a chance to invent and build amazing new devices or because of the scale of technological and intellectual challenges we will try to conquer; it’s because of what these developments will mean for the world.

THE SK8 MAKER VS. GLOBAL INDUSTRIALIZATION This new era of global industrialization is where my personal analogy with the history of the skateboard maker diverges. It’s no longer cost-effective to run a small skateboard company in the U.S., and the handful of startups that pull it off are few and far between. The mega manufacturers who can churn out millions of decks at low cost and record speed each year in Chinese factories employ proprietary equipment and techniques that you and I can barely imagine. Drills that can cut all eight truck holes in a stack of skateboard decks in a single pull. CNC machinery to create CAD-perfect molds used by giant two-sided hydraulic presses that can press dozens of boards in a few hours. Computer-operated cutting bits that can stamp out a deck to within 1⁄64 in. of its specified shape. And industrial grade machines that apply multicolored heat-transfer graphics in minutes. In a way, this factory automation has propelled skateboarding to become a multinational, multi-billion dollar industry. The best skateboarders require this level of precision in each deck. Otherwise, they could end up on their tails after a failed trick. Or much worse. As the commercial deck relies more and more on a process that is out of reach for mere mortals, there is great value in the handmade and one of a kind. Making things from scratch is a dying art on the brink of extinction. It was pushed to the edge when public schools dismissed woodworking classes and turned the school woodshop into a computer lab. And when you separate society from how things are made—even a skateboard—you lose touch with the labor and the materials and processes that contributed to its existence in the first place. It’s not long before you take for granted the value of an object. The result is a world where cheap labor produces cheap goods consumed by careless customers who don’t even value the things they own.

Like any place in Reality, the Street is subject to development. Developers can build their own small streets feeding off of the main one. They can build buildings, parks, signs, as well as things that do not exist in Reality, such as vast hovering overhead light shows, special neighborhoods where the rules of three-dimensional spacetime are ignored, and free-combat zones where people can go to hunt and kill each other. The only difference is that since the Street does not really exist -- it's just a computer-graphics protocol written down on a piece of paper somewhere -- none of these things is being physically built. They are, rather, pieces of software, made available to the public over the worldwide fiber-optics network. When Hiro goes into the Metaverse and looks down the Street and sees buildings and electric signs stretching off into the darkness, disappearing over the curve of the globe, he is actually staring at the graphic representations -- the user interfaces -- of a myriad different pieces of software that have been engineered by major corporations. In order to place these things on the Street, they have had to get approval from the Global Multimedia Protocol Group, have had to buy frontage on the Street, get zoning approval, obtain permits, bribe inspectors, the whole bit. The money these corporations pay to build things on the Street all goes into a trust fund owned and operated by the GMPG, which pays for developing and expanding the machinery that enables the Street to exist. Hiro has a house in a neighborhood just off the busiest part of the Street. it is a very old neighborhood by Street standards. About ten years ago, when the Street protocol was first written, Hiro and some of his buddies pooled their money and bought one of the first development licenses, created a little neighborhood of hackers. At the time, it was just a little patchwork of light amid a vast blackness. Back then, the Street was just a necklace of streetlights around a black ball in space. Since then, the neighborhood hasn't changed much, but the Street has. By getting in on it early, Hiro's buddies got a head start on the whole business. Some of them even got very rich off of it. That's why Hiro has a nice big house in the Metaverse but has to share a 20-by- 30 in Reality. Real estate acumen does not always extend across universes.

speak to computers in a language that they understand and have them do anything that you want to do. This skill is one whose demand is increasing at an increasing rate the world over. Whether you want to learn code to pursue a career as a programmer, web developer or graphics designer or want to learn code to be able to develop your own web applications and other computerized systems, the one thing you need to do is to start somewhere. What better place to start

Next time you run across an unusually good designer, landscaper, mechanic, electrician, carpenter, plumber, radiologist, surgeon, orthodontist, small business owner, computer software or graphics designer, computer networker, photographer, artist, boat captain, airplane pilot, or skilled member of any of the dozens of “dyslexia-rich” fields we’ll discuss in this book, ask if that person or anyone in his or her immediate family is dyslexic or had trouble learning to read, write, or spell.

Now, as traditional computing programs are displaced by the operation of AI algorithms, requirements are once again shifting. Machine learning demands the rapid-fire execution of complex mathematical formulas, something for which neither Intel’s nor Qualcomm’s chips are built. Into the void stepped Nvidia, a chipmaker that had previously excelled at graphics processing for video games. The math behind graphics processing aligned well with the requirements for AI, and Nvidia became the go-to player in the chip market. Between 2016 and early 2018, the company’s stock price multiplied by a factor of ten.

Software Engineering Pressman & Maxim Computer Graphics: Principles and Practice by John F. Hughes, Andries van Dam, Morgan McGuire, David F. Sklar, James D. Foley, Steven K. Feiner, Kurt Akeley Computer Graphics Using OpenGL Hill and Kelley

This book germinated in a collaboration between me and the artist Tony Sheeder, the original goal of which was to publish a computer-generated graphic novel. In general, I handled the words and he handled the pictures; but even though this work consists almost entirely of words, certain aspects of it stem from my discussions with Tony. This novel was very difficult to write, and I received a great deal of good advice from

VR is not as new as it seems: It germinated inside Alan Kay’s research lab at Atari. The lab collapsed when Atari did, scattering Kay’s people across the Valley, but a young, dreadlocked, programming prodigy, Jaron Lanier, continued the research on his own dime. His original goal was to revive an old dream. Like Doug Engelbart and Alan Kay, Lanier wanted to create a computing environment that was immersive, flexible, and empowering. The difference was the interface. Engelbart invented the mouse. Alan Kay added the desktop metaphor. And in Lanier’s iteration, one donned goggles and gloves and stepped into virtual reality. Lanier actually coined the phrase. And the whole point of this new, all-enveloping interface was to be able to program the computer from the inside. There was just one problem: Once people got inside the computer, virtually no one wanted to code. There was a whole world in there, a cyberdelic Disneyland just waiting to be explored. Lanier thought he was building a next-generation programming language with the corresponding next-generation graphical user interface, but what people experienced was something a lot more fun. VR was The Well’s cyberspace made real. Taking advantage of the ensuing limelight, Lanier swiftly assumed a more Jobs-like role and marketed the heck out of his virtual reality machine, but in the end, the cost of an E ticket was just too high.

He convinced John Stainton to agree that there would be no CGI (computer-generated imagery) wildlife in the movie. We didn’t want to pretend to react to an animal in front of a green screen, and then have computer graphic technicians complete the shot later. That was how Hollywood would normally have done it, but that wasn’t an option for Steve. “All the animals have to be real,” he insisted to the executives at MGM. “I’m doing all of my own stunts. Otherwise, I am not interested.” I always believed that Steve would excel at anything he put his mind to, and a movie would be no different. The camera loved him. As talks ground on at MGM, we came up with a title: Crocodile Hunter: Collision Course. But mostly we had phone calls and meetings. The main sticking point was that no insurance company would touch us. No underwriter would write a policy for a project that required Steve to be working with real live crocodiles. As negotiations seemed to be grinding to a halt, we were all feeling frustrated. Steve looked around at John, Judi, and the others. He could see that everybody had gotten a bit stretched on all our various projects. He decided we needed a break. He didn’t lead us into the bush this time. Instead, Steve said a magic word. “Samoa.” “Sea snakes?” I asked. “Surfing,” he said.

A history of simulation technology in the space program has yet to be written, but it would show how the creation of virtual reality preceded, rather than responded to, the creation of real-time computer graphics

Frida Kahlo once told her class of painting students that there is not one single teacher in the world capable of teaching art. The truth in these words comes to mind in every art class I teach. I believe you can teach technique and theory, but it is up to the individual to do the art part. For the student, this means giving yourself permission to work your way, whatever way that is. Once you accept that permission, you can incorporate foundation skills. This is no longer the Renaissance, and artists are no longer judged (or compensated) solely for realism and representation. There was a time when painting and drawing, coiling a clay pot, or fashioning a bucket to draw water from a well was part of daily life. Now we peck at keyboards, buy Tupperware, and drink from plastic bottles. By not using our hands, we lose our senses. I see this in my students. Proficient on the computer, they click out sophisticated graphics. But they are baffled by and fumble with a brush, frustrated at the time it takes to manually create what they can Photoshop in a flash. I’ve taught art for a quarter of a century and rely on sound lesson plans and discipline as well as creative freedom. Still, during each drawing, painting, and ceramic class I teach, I remind myself how I felt when I scratched out my first drawings, brushed paint on a surface, or learned to center porcelain on a wheel—how it felt to tame and be liberated by the media. And, how it felt to become discouraged by an instructor’s insistence on controlling a pencil, paintbrush, or lump of clay her or his way. For most of my Kuwaiti students, a class taken with me will be their first and last studio arts class. I work at creating a learning environment both structured and free, one that cultivates an atmosphere where one learns to give herself permission to see.

One of the most complex computer games ever devised is called Dwarf Fortress. It is not much to look at: its graphics are the terminal-based structures that were in vogue in the 1980s. What makes Dwarf Fortress an extraordinary game is the depth of agent-based logic: every character, every enemy unit, even pets are endowed with a hugely complex agent-based behavioural model. As an example, cats in Dwarf Fortress can stray into puddles of spilled beer, lick their paws later, and succumb to alcohol poisoning. Yet agent-based modeling is about much more than belligerent dwarves and drunk cats. Agent-based models are powerful computational tools to simulate large populations of boundedly rational actors who act according to preset preferences, although often enough in a stochastic manner.

the wider world’s reaction has often been disdainful. In 1984, the first Mac’s graphical user interface was widely derided as “a toy.” Bill Gates was mystified that people wanted colored computers. Critics initially called on Apple to open up the iPod. Without a strong belief in his vision, a passion for what he was doing, it would be much harder for Jobs to resist the critics.

We are not randomly suboptimal in our decisions. We are systematically suboptimal.

We need to design aircraft or automotive displays to counteract visual illusions and we need to design statistical graphics to counteract probability illusions.

Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts . . . A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding. . .

graphics-rich personal workstations and the notion of human-computer symbiosis; time-sharing and the notion of computer-aided collaborative work; networks and the notion of an on-line community; on-line libraries and the notion of instant, universal access to knowledge; and computer languages and the notion of a new, digital medium of expression.

the electronic office should consist of small personal computers, running high-resolution graphics and linked together with high-bandwidth network connections

Mind is really the first personal computer. In fact, it is so personal that it doesn’t need any external form. Its display screen is inside, its computing and graphics capability are inside, and you don’t need a keyboard, mouse, or voice recognition to communicate with it. It is so close to you that it responds to your will and the slightest impulse from your heart.

Grace Patel…” Bradley wiped his mouth with his cloth napkin, “that’s an Indian name, right?” “Yes. My father’s parents were from India.” He nodded. “Interesting. Do you plan on going into engineering or computer science?” Sara hissed, but she didn’t speak up. She’d barely said anything since Bradley had come into the room. Sebastian’s leg jiggled under the table so hard, his silverware rattled. I gripped his knee as I flashed Bradley a smile when I really wanted to stab his racist ass with my salad fork. “No. My dad didn’t pass any of those genes onto me. I’m an artist, but my plan is to study both art and graphic design in college. I have dreams of making a living from my sculptures, but since I’m a pragmatist, I want to have a marketable skill along with it.

What kinds of Work will You do in Freelancing? What kind of work will you do in Freelancing? And to understand the type of work in freelancing, You need to have a clear idea of what freelancing is. There is no specific type of freelancing, it can be of many types, such as - Freelance Photography, Freelance Journalism, Freelance Writer, Freelance Data Entry, Freelance Logo Designer, Freelance Graphics Designer etc. There's no end to the amount of work you can do with freelancing. The most interesting thing is that you are everything in this process. There is no one to twirl over your head, you are the boss here. Even here there is no obligation to work from 9-5. Today I discuss some freelancing tasks that are popular in the freelancing sector or are done by many freelancers. For example: Data Entry: It wouldn't be too much of a mistake to say that data entry is the easiest job. Rather, it can be said without a doubt that data entry is more difficult than any other job. Data entry work basically means typing. This work is usually provided as a PDF file and is described as a 'Word type work'. Any employee can take a data entry job as a part-time job for extra income at the end of his work. Graphics Design: One of the most popular jobs in the freelancing world is graphic design. The main reasons for the popularity of this work are its attractiveness and simplicity. Everything we see online is contributed by graphics. For example, Cover pages, Newspaper, Book cover pages, advertisements and Photographs, Editing or changing the background of a picture or photo, Creating banners for advertising, Creating visiting cards, Business cards or leaflets, Designed for webpages known as (PhD), T-shirt designing, Logo designing, Making cartoons and many more. Web Design and Development: 'Web design' or 'Site design' are used interchangeably. The most important job of freelancing is web design. From the simplest to the most difficult aspects of this work, almost all types of work are done by freelancers. There are many other themes like WordPress, Elementor, Joomla, and DV that can be used to create entire sites. Sometimes coding is required to create some sites. If the web designer has coding experience or skills then there is no problem, and if not then the site creation should be done by programmers. Programming: Programming means writing some signals, codes, or symbols into a specific system. And its job is to give different types of commands or orders to the computer. If you give some command to the computer in Bengali or English, the computer will not understand it. For that want binary code or number. Just as any book is written in English, Hindi, Japanese Bengali, etc. every program is written in some particular programming language like C++, Java, etc. The written form of the program is called source code. A person who writes source code is called a programmer, coder, or developer. While writing the program, the programmer has to follow the syntax or grammar of that particular programming language. Other work: Apart from the above jobs, there are various other types of jobs that are in high demand in the freelancing sector or market. The tasks are: Writing, Article or blog post writing SEO Marketing, Digital marketing, Photo, Audio, Video Editing, Admin jobs, Software development, Translation, Affiliate marketing, IT and Networking etc. Please Visit Our Blogging Website to read more Articles related to Freelancing and Outsourcing, Thank You.

I don't have a problem with AI generated content, I have a problem when it's rooted in fraud and deception. In fact, AI generated content could open up new horizons of human creativity - but only if practiced with conscience. For example, we could set up a whole new genre of AI generated material in every field of human endeavor. We could have AI generated movies, alongside human movies - we could have AI generated music, alongside human music - we could have AI generated poetry and literature, alongside human poetry and literature - and so on. The possibilities are endless - and all above board. This way we make AI a positive part of human existence, rather than facilitating the obliteration of everything human about human life.

IRCC Announces Eligible Programs for PGWPs Immigration, Refugees and Citizenship Canada (IRCC) has updated its guidelines regarding the programs eligible for a Post-Graduation Work Permit (PGWP). As of November 1, international graduates applying for a PGWP must meet additional field of study requirements to qualify for this essential work permit. Eligible Fields of Study for PGWPs The eligible fields of study for the PGWP correspond to the occupation-based Express Entry categories introduced by IRCC in 2023. These categories are aligned with national labor market demands and include the following: • Agriculture and Agri-Food • Healthcare • Science, Technology, Engineering, and Mathematics (STEM) • Trade • Transport Eligible programs in these fields are classified using the Classification of Instructional Programs (CIP), a systematic approach to describing and categorizing educational programs in Canada, akin to the National Occupation Classification (NOC) system used for job classification. Below is a summary of selected instructional programs eligible for the PGWP, along with their respective CIP codes: CIP 2021 Title CIP 2021 Code Field of Study Category Agricultural business and management, general 01.0101 Agriculture and agri-food Animal/livestock husbandry and production 01.0302 Agriculture and agri-food Plant nursery operations and management 01.0606 Agriculture and agri-food Animal health 01.0903 Agriculture and agri-food Agronomy and crop science 01.1102 Agriculture and agri-food Special education and teaching, general 13.1001 Healthcare Exercise physiology 26.0908 Healthcare Physical therapy assistant 51.0806 Healthcare Polysomnography 51.0917 Healthcare Cytotechnology/cytotechnologist 51.1002 Healthcare Computer programming/programmer, general 11.0201 STEM Chemical engineering 14.0701 STEM Engineering mechanics 14.1101 STEM Water, wetlands and marine resources management 03.0205 STEM Computer graphics 11.0803 STEM Electrician 46.0302 Trade Heating, air conditioning, ventilation and refrigeration maintenance technology/technician 47.0201 Trade Machine tool technology/machinist 48.0501 Trade Insulator 46.0414 Trade Plumbing technology/plumber 46.0503 Trade Heavy equipment maintenance technology/technician 47.0302 Transport Air traffic controller 49.0105 Transport Truck and bus driver/commercial vehicle operator and instructor 49.0205 Transport Flight instructor 49.0108 Transport Transportation and materials moving, other 49.9999 Transport

Lync has its title altered. And so what sort of computer software is it now? Well, it is identified as Lync Mac Business. The particular motive for carrying this out is a need to combine the familiar experience and level of popularity from consumers associated with Lync Mac along with security regarding Lync as well as control feature set. Yet another thing which Lync has got influenced in this specific new version of Lync happens to be the transformation associated with particular graphical user interface aspects which are used in the popular program of Lync Mac. It has been chose to utilize the same icons as in Lync as an alternative to attempting to make new things. Microsoft Company furthermore included the particular call monitor screen which happens to be applied within Lync in order that consumers could preserve an active call seen inside a small display when customers happen to be focusing on yet another program. It is additionally essential to point out that absolutely no features which were obtainable in Lync are already eliminated. And you should additionally understand that Lync Mac happens to be nevertheless utilizing the foundation regarding Lync. And it is very good that the actual software is nevertheless operating on the previous foundation since it happens to be known for the security. However what helps make Lync Mac a great choice if perhaps you're searching for an immediate texting software? There are a wide range of advantages which this particular application has got and we'll have a look at a few of these. Changing from instantaneous messaging towards document sharing won't take a great deal of time. Essentially, it provides a flawless incorporation associated with the software program. An improved data transfer administration is yet another factor that you'll be in a position enjoy from this program. Network supervisors can assign bandwidth, limit people and also split video and audio streams throughout each application and control the effect of bandwidth. In case you aren't making use of Microsoft Windows operating system and prefer Lync in that case possibly you're concerned that you will not be able to utilize this particular application or it is going to possess some constraints? The reply happens to be no. As we've talked about many times currently, Lync is currently best-known as being Lync For Mac Business .There is nothing that is actually extracted from the main edition therefore the full functionality is actually offered for you. And it is certainly great to understand the fact that Lync that we should simply call Lync For Mac version is actually capable to provide you all the characteristics which you'll need. If you happen to be trying to find a fantastic application for your own organization, in that case this is the one particular you are in search of Lync For Mac which will still be acknowledged as being Lync for a long period edition is actually competent to present you with everything that is actually necessary for your organization even if you decided to not utilize Microsoft operating system. Know about more detail please visit lyncmac.com

As the 1970s drew to a close, and Commodore, Tandy, Altair, and Apple began to emerge from the sidelines, PARC director Bert Sutherland asked Larry Tesler to assess what some analysts were already predicting to be the coming era of “hobby and personal computers.” “I think that the era of the personal computer is here,” Tesler countered; “PARC has kept involved in the world of academic computing, but we have largely neglected the world of personal computing which we helped to found.”41 His warning went largely unheeded. Xerox Corporation’s parochial belief that computers need only talk to printers and filing cabinets and not to each other meant that the “office of the future” remained an unfulfilled promise, and in the years between 1978 and 1982 PARC experienced a dispersal of core talent that rivals the flight of Greek scholars during the declining years of Byzantium: Charles Simonyi brought the Alto’s Bravo text editing program to Redmond, Washington, where it was rebooted as Microsoft Word; Robert Metcalf used the Ethernet protocol he had invented at PARC to found the networking giant, 3Com; John Warnock and Charles Geschke, tiring of an unresponsive bureaucracy, took their InterPress page description language and founded Adobe Systems; Tesler himself brought the icon-based, object-oriented Smalltalk programming language with him when he joined the Lisa engineering team at Apple, and Tim Mott, his codeveloper of the Gypsy desktop interface, became one of the founders of Electronic Arts—five startups that would ultimately pay off the mortgages and student loans of many hundreds of industrial, graphic, and interaction designers, and provide the tools of the trade for untold thousands of others.

T-TESTS FOR INDEPENDENT SAMPLES T-tests are used to test whether the means of a continuous variable differ across two different groups. For example, do men and women differ in their levels of income, when measured as a continuous variable? Does crime vary between two parts of town? Do rich people live longer than poor people? Do high-performing students commit fewer acts of violence than do low-performing students? The t-test approach is shown graphically in Figure 12.1, which illustrates the incomes of men and women as boxplots (the lines in the middle of the boxes indicate the means rather than the medians).2 When the two groups are independent samples, the t-test is called the independent-samples t-test. Sometimes the continuous variable is called a “test variable” and the dichotomous variable is called a “grouping variable.” The t-test tests whether the difference of the means is significantly different from zero, that is, whether men and women have different incomes. The following hypotheses are posited: Key Point The independent-samples t-test is used when one variable is dichotomous and the other is continuous. H0: Men and women do not have different mean incomes (in the population). HA: Men and women do have different mean incomes (in the population). Alternatively, using the Greek letter m to refer to differences in the population, H0: μm = μf, and HA: μm ≠ μf. The formula for calculating the t-test test statistic (a tongue twister?) is As always, the computer calculates the test statistic and reports at what level it is significant. Such calculations are seldom done by hand. To further conceptual understanding of this formula, it is useful to relate it to the discussion of hypothesis testing in Chapter 10. First, note that the difference of means, appears in the numerator: the larger the difference of means, the larger the t-test test statistic, and the more likely we might reject the null hypothesis. Second, sp is the pooled variance of the two groups, that is, the weighted average of the variances of each group.3 Increases in the standard deviation decrease the test statistic. Thus, it is easier to reject the null hypotheses when two populations are clustered narrowly around their means than when they are spread widely around them. Finally, more observations (that is, increased information or larger n1 and n2) increase the size of the test statistic, making it easier to reject the null hypothesis. Figure 12.1 The T-Test: Mean Incomes by Gender

Atari’s driving game Gran Trak 10 was the very first to have a store of ROM, but it did not use a chip to implement this memory. It stored sprite graphics in a matrix of diodes, each of which was placed individually on the printed circuit board.

Among the handful of companies that were trying to solve these problems, most embraced a culture of strictly enforced, even CIA-like secrecy. We were in a race, after all, to be the first to make a computer-animated feature film, so many who were pursuing this technology held their discoveries close to their vests. After talking about it, however, Alvy and I decided to do the opposite—to share our work with the outside world. My view was that we were all so far from achieving our goal that to hoard ideas only impeded our ability to get to the finish line. Instead, NYIT engaged with the computer graphics community, publishing everything we discovered, participating in committees to review papers written by all manner of researchers, and taking active roles at all the major academic conferences. The benefit of this transparency was not immediately felt (and, notably, when we decided upon it, we weren’t even counting on a payoff; it just seemed like the right thing to do). But the relationships and connections we formed, over time, proved far more valuable than we could have imagined, fueling our technical innovation and our understanding of creativity in general.

Seems Heather’s dad had a part in the filming, and she’d used his Mac to get the texts that were tied in with his iPhone. Chad had given Heather the password recently when she’d asked to use his Mac for a school presentation because the graphics were better on his computer than her PC.

Although earlier computers existed in isolation from the world, requiring their visuals and sound to be generated and live only within their memory, the Amiga was of the world, able to interface with it in all its rich analog glory. It was the first PC with a sufficient screen resolution and color palette as well as memory and processing power to practically store and display full-color photographic representations of the real world, whether they be scanned in from photographs, captured from film or video, or snapped live by a digitizer connected to the machine. It could be used to manipulate video, adding titles, special effects, or other postproduction tricks. And it was also among the first to make practical use of recordings of real-world sound. The seeds of the digital-media future, of digital cameras and Photoshop and MP3 players, are here. The Amiga was the first aesthetically satisfying PC. Although the generation of machines that preceded it were made to do many remarkable things, works produced on them always carried an implied asterisk; “Remarkable,” we say, “. . . for existing on such an absurdly limited platform.” Even the Macintosh, a dramatic leap forward in many ways, nevertheless remained sharply limited by its black-and-white display and its lack of fast animation capabilities. Visuals produced on the Amiga, however, were in full color and could often stand on their own terms, not as art produced under huge technological constraints, but simply as art. And in allowing game programmers to move beyond blocky, garish graphics and crude sound, the Amiga redefined the medium of interactive entertainment as being capable of adult sophistication and artistry. The seeds of the aesthetic future, of computers as everyday artistic tools, ever more attractive computer desktops, and audiovisually rich virtual worlds, are here. The Amiga empowered amateur creators by giving them access to tools heretofore available only to the professional. The platform’s most successful and sustained professional niche was as a video-production workstation, where an Amiga, accompanied by some relatively inexpensive software and hardware peripherals, could give the hobbyist amateur or the frugal professional editing and postproduction capabilities equivalent to equipment costing tens or hundreds of thousands. And much of the graphical and musical creation software available for the machine was truly remarkable. The seeds of the participatory-culture future, of YouTube and Flickr and even the blogosphere, are here. The

Nathan Myrhvold had been a protégé of the celebrated physicist Stephen Hawking before forming a software company in Berkeley, California, with some fellow Princeton University Ph.D’s. What drew Myrhvold, or any physicist, to programming? The outer reaches of science increasingly relied on computers; the days of a genius scribbling formulas on the back of an envelope had almost vanished. Physicists usually saw programming as a means to an end. Myrhvold found that his attachment to software superseded his fascination with physical science. His company gained wide notice when he and his friends wrote a faster, smaller clone of IBM’s TopView graphics program. IBM briefly considered making TopView the software interface—the piece seen by customers—for PCs. Trying to keep pace with IBM, Gates wanted a clone of TopView, so he bought Myrhvold’s company. Since

One might think that math aptitude would apply across the code-writing world, but this was not so. The logical operations of a computer, while abstract, were abstract in a familiar way. When computers added two numbers together, for instance, they did so in much the same way as people do: One plus one equals two. A computer performed this addition faster than a person, but the route to the answer was the same. This was not so with graphics. When an ordinary person (as opposed to a civil engineer) wanted to draw a circle, he did not apply a special algorithm to his choice of a diameter. He just drew a circle with his hand. Having no hands, computers drew circles—and all the other shapes—by applying mathematical formulas. The better the formulas, the more accurate and versatile the shapes.

One spring day, I was away on a business trip; Karen was home with the kids. It was a warm afternoon, and she was sitting with our son Matthew at the computer in my office. The kitchen door that leads to the backyard was open. They were reviewing a homework project when they heard what sounded like fingernails scratching on the hardwood floors in the kitchen followed by a thumping gallop from our cat Sox. An instant later, a squirrel raced into the office with the cat at its heels. In a panic, Karen grabbed Matthew and the cat, and ran out of the office slamming the door behind her. Her plan was to leave the squirrel in my office and let me deal with it when I got home in a few days; the homework could wait. However, 30 minutes and two glasses of Merlot later, Karen saw the flaw in her plan. She wasn’t worried so much about sticking me with the task of removing a hungry, pissed-off squirrel from my office as she was the possibility of the squirrel shredding everything in there before I got home. Or worse, she feared the house would permanently smell of dead squirrel. There was a decent chance her scream gave it a heart attack. Luckily, the window in my office was open that afternoon. The only problem, there was a screen in the window. Karen figured if she could remove the screen, the squirrel, if it were still alive, would find its way back to the great outdoors. My office was on the first floor, so she was able to remove the screen easily from the outside. Standing in the backyard at a safe distance, she watched the open window, but no squirrel appeared. Venetian blinds were down covering the window opening. Karen thought, “If I just reach in and pull the cord on the blinds I can raise them enough for the little rodent to see his escape route.” Taking deep breaths while standing on the third rung of our stepladder, Karen thought through exactly what she had to do: raise the blinds with one hand, pull the cord with the other, lock it in place and get the hell out of there. No problem, the squirrel was no doubt cowering in the corner. Not quite. As soon as she raised the blinds, the squirrel – according to Karen who was the only witness – saw daylight and flew through the air, landing on her head. Its toes were caught in Karen’s hair as it made a desperate attempt to free itself. Karen said, “It was running in place on top of my head.” She fell off the ladder and ran screaming through the backyard with the squirrel stuck to her head. (I’m sure it was only a few seconds, but time stands still when there’s a squirrel on your head.) It eventually freed its claws, jumped off her head and ran away. Sue was the first person Karen called after she calmed down enough to speak. They discussed the situation thoroughly and agreed that shampooing several times with Head and Shoulders, rubbing the tiny scratch marks on her scalp with alcohol and drinking the rest of the bottle of Merlot were the proper steps to prevent rabies. I was her second call. Karen gave me a second-by-second recounting of the event, complete with sound effects and a graphic description of how the squirrel’s toes felt as they dug into her scalp. Then she told me the whole thing was my fault because I wasn’t home to protect the family when it happened. Apparently being away earning a living was not an acceptable excuse. She also said she learned a valuable lesson that day. “Not to leave the back door open?” I guessed. No, the lesson was that all squirrels are evil and out to get her. (She also decided that she doesn’t like “any animal related to squirrels,” whatever that means.)

Much of what you see out there is manufactured by your brain, painted in like computer-generated graphics in a movie; only a very small part of the inputs to your occipital lobe comes directly from the external world, the rest comes from internal memory stores and other processes.

A note on terminology: anything that is executable on a computer we call a program. Some programs have graphical user interfaces; we will call these applications.

WHAT IS IT, exactly, that people are really afraid of when they say they don’t like change? There is the discomfort of being confused or the extra work or stress the change may require. For many people, changing course is also a sign of weakness, tantamount to admitting that you don’t know what you are doing. This strikes me as particularly bizarre—personally, I think the person who can’t change his or her mind is dangerous. Steve Jobs was known for changing his mind instantly in the light of new facts, and I don’t know anyone who thought he was weak. Managers often see change as a threat to their existing business model—and, of course, it is. In the course of my life, the computer industry has moved from mainframes to minicomputers to workstations to desktop computers and now to iPads. Each machine had a sales, marketing, and engineering organization built around it, and thus the shift from one to the next required radical changes to the organization. In Silicon Valley, I have seen the sales forces of many computer manufacturers fight to maintain the status quo, even as their resistance to change caused their market share to be gobbled up by rivals—a short-term view that sank many companies. One good example is Silicon Graphics, whose sales force was so accustomed to selling large, expensive machines that they fiercely resisted the transition to more economical models. Silicon Graphics still exists, but I rarely hear about them anymore.

one of the pioneers of interactive computer graphics, Ivan Sutherland.

Detecting Cancer The surface structures of cancer cells are crinkly and wrinkly. These convoluted structures display fractal properties which vary markedly during the different stages of the cancer cell’s growth. Using computers, mathematical pictures can be obtained, which reveal whether or not cells are going cancerous. The computer is able to measure the fractal structure of cells. If cells are too fractal, it spells trouble. There is something wrong with those cells.

Doom, meanwhile, had a long-term impact on the world of gaming far exceeding even that of Myst. The latest of a series of experiments with interactive 3D graphics by id programmer John Carmack, Doom shares with Myst only its immersive first-person point of view; in all other respects, this fast-paced, ultraviolent shooter is the polar opposite of the cerebral Myst. Whereas the world of Myst is presented as a collection of static nodes that the player can move among, each represented by a relatively static picture of its own, the world of Doom is contiguous. As the player roams about, Doom must continually recalculate in real time the view of the world that it presents to her on the screen, in effect drawing for her a completely new picture with every frame using a vastly simplified version of the 3D-rendering techniques that Eric Graham began experimenting with on the Amiga back in 1986. First-person viewpoints had certainly existed in games previously, but mostly in the context of flight simulators, of puzzle-oriented adventures such as Myst, or of space-combat games such as Elite. Doom has a special quality that those earlier efforts lack in that the player embodies her avatar as she moves through 3D space in a way that feels shockingly, almost physically real. She does not view the world through a windscreen, is not separated from it by an adventure game’s point-and-click mechanics and static artificiality. Doom marks a revolutionary change in action gaming, the most significant to come about between the videogame’s inception and the present. If the player directs the action in a game such as Menace, Doom makes her feel as if she is in the action, in the game’s world. Given the Amiga platform’s importance as a tool for noninteractive 3D rendering, it is ironic that the Amiga is uniquely unsuited to Doom and the many iterations and clones of it that would follow. Most of the Amiga attributes that we employed in the Menace reconstruction—its scrolling playfields, its copper, its sprites—are of no use to a 3D-engine programmer. Indeed, the Intel-based machines on which Carmack created Doom possess none of these features. Even the Amiga’s bitplane-based playfields, the source of so many useful graphical tricks and hacks when programming a 2D game such as Menace, are an impediment and annoyance in a game such as Doom. Much preferable are the Intel-based machines’ straightforward chunky playfields because these layouts are much easier to work with when every frame of video must be drawn afresh from scratch. What is required most of all for a game such as Doom is sufficient raw processing power to perform the necessary thousands of calculations needed to render each frame quickly enough to support the frenetic action for which the game is known. By 1993, the plebian Intel-based computer, so long derided by Amiga owners for its inefficiencies and lack of design imagination, at last possessed this raw power. The Amiga simply had no answer to the Intel 80486s and Pentiums that powered this new, revolutionary genre of first-person shooters. Throughout

The Star workstation he shepherded to launch was an amazing accomplishment. Enclosed in a squat beige-colored box which, like its ancestral Alto, slid on casters under a desk, the machine came packed with features no one had ever seen before and few envisioned in a commercial office machine. These included a bitmapped screen (in “muted blue,” as Xerox promotional literature described it at the time), a mouse (“an electronic pointing device”), windowed displays, and “What You See Is What You Get” document preparation. The bundled functions included text processing, a drawing program, the first integrated “help” program, and electronic mail. By far the system’s most striking feature was its graphical user interface, the stylized display that communicated with the user via the bitmapped screen. This arrangement of icons and folders built around what the Star designers called the “desktop metaphor” is so familiar today that it seems to have been a part of computing forever. But its pioneering implementation on the Star included some capabilities that had yet to resurface on the market nearly two decades later. Text, formulas, and graphics could all be edited in the same document. (Compare today’s “integrated” software, in

which a drawing imported into a text document can no longer be altered, but must be changed in the original graphics program and reintroduced into the text document.) Out of the box the Star was multilingual, offering typefaces and keyboard configurations that could be implemented in the blink of an eye for writing in Russian, French, Spanish, and Swedish through the use of “virtual keyboards”—graphic representations of keyboards that appeared on screen to show the user where to find the unique characters in whatever language he or she was using. In 1982 an internal library of 6,000 Japanese kanji characters was added; eventually Star users were able to draft documents in almost every modern language, from Arabic and Bengali to Amharic and Cambodian. As the term implied, the user’s view of the screen resembled the surface of a desk. Thumbnail-sized icons representing documents were lined up on one side of the screen and those representing peripheral devices—printers, file servers, e-mail boxes—on the other. The display image could be infinitely personalized to be tidy or cluttered, obsessively organized or hopelessly confused, alphabetized or random, as dictated by the user’s personality and taste. The icons themselves had been painstakingly drafted and redrafted so they would be instantaneously recognized by the user as document pages (with a distinctive dog-eared upper right corner), file folders, in and out baskets, a clock, and a wastebasket. Thanks to the system’s object-oriented software, the Star’s user could launch any application simply by clicking on the pertinent icon; the machine automatically “knew” that a text document required it to launch a text editor or a drawing to launch a graphics program. No system has ever equaled the consistency of the Star’s set of generic commands, in which “move,” “copy,” and “delete” performed similar operations across the entire spectrum of software applications. The Star was the epitome of PARC’s user-friendly machine. No secretary had to learn about programming or code to use the machine, any more than she had to understand the servomechanism driving the dancing golf ball to type on an IBM Selectric typewriter. Changing a font, or a margin, or the space between typed lines in most cases required a keystroke or two or a couple of intuitive mouse clicks. The user understood what was happening entirely from watching the icons or documents move or change on the screen. This was no accident: “When everything in a computer system is visible on the screen,” wrote David Smith, a designer of the Star interface, “the display becomes reality. Objects and actions can be understood purely in terms of their effects on the display.

IBM launched its Chess machine, renamed simply the Personal Computer, in August 1981, a scant four months after the Star. Judged against the technology PARC had brought forth, it was a homely and feeble creature. Rather than bitmapped graphics and variable typefaces, its screen displayed only ASCII characters, glowing a hideous monochromatic green against a black background. Instead of a mouse, the PC had four arrow keys on the keyboard that laboriously moved the cursor, character by character and line by line. No icons, no desktop metaphor, no multitasking windows, no e-mail, no Ethernet. Forswearing the Star’s intuitive point-and-click operability, IBM forced its customers to master an abstruse lexicon of typed commands and cryptic responses developed by Microsoft, its software partner. Where the Star was a masterpiece of integrated reliability, the PC had a perverse tendency to crash at random (a character flaw it bequeathed to many subsequent generations of Microsoft Windows-driven machines). But where the Star sold for $16,595-plus, the IBM PC sold for less than $5,000, all-inclusive. Where the Star’s operating system was closed, accessible for enhancement only to those to whom Xerox granted a coded key, the PC’s circuitry and microcode were wide open to anyone willing to hack a program for it—just like the Alto’s. And it sold in the millions.

Xerox had the Alto; IBM launched the Personal Computer. Xerox had the graphical user interface with mouse, icons, and overlapping windows; Apple and Microsoft launched the Macintosh and Windows. Xerox invented What-You-See-Is-What-You-Get word processing; Microsoft brazenly turned it into Microsoft Word and conquered the office market. Xerox invented the Ethernet; today the battle for market share in the networking hardware industry is between Cisco Systems and 3Com. Even the laser printer is a tainted triumph. Thanks to the five years Xerox dithered in bringing it to market, IBM got there first, introducing its own model in 1975.

Well, we left and heard back a few days later that, no, they’d decided they would build their own machine, it was cheaper. They didn’t need to support fancy things like color, sound, and graphics, all the cool things we had. Chuck Peddle, in the garage, had told us he thought it was possible for them to do their own computer in four months. I didn’t see how anyone could, but I guess after he saw the Apple II, it would be a lot easier to design something like what he wanted.

So said Alan Kay, one of the pioneers of computer graphics. It is, perhaps, the best defence of creativity in ten words or fewer. I suspect, too, that the opposite is also true: that an inability to change perspective is equivalent to a loss of intelligence.fn1

Soon after the West Coast Computer Faire, where we introduced the Apple II, a couple of other ready-to-use personal computers came out. One was the Radio Shack TRS-80, and the other was Commodore’s PET. These would become our direct competitors. But it was the Apple II that ended up kicking off the whole personal computer revolution. It had lots of firsts. Color was the big one. I designed the Apple II so it would work with the color TV you already owned. And it had game control paddles you could attach to it, and sound built in. That made it the first computer people wanted to design arcade-style games for, the first computer with sound and paddles ready to go. The Apple II even had a high-resolution mode where a game programmer could draw special little shapes really quickly. You could program every single pixel on the screen—whether it was on or off or what color it was—and that was something you could never do before with a low-cost computer. At first that mode didn’t mean a lot, but eventually it was a huge step toward the kinds of computer gaming you see today, where everything is high-res. Where the graphics can be truly realistic. The fact that it worked with your home TV made the total cost a lot lower than any competitors could do. It came with a real keyboard to type on—a normal keyboard—and that was a big deal. And the instant you turned it on, it was running BASIC in ROM.

In the 1990s, when Microsoft Office introduced an animated, paperclip called Clippy that sat at the side of the screen and dispensed advice, it represented a leap forward in graphics—and often caused computers to freeze.

The Very Difference Between Game Design & 3D Game Development You Always Want to Know Getting into the gaming industry is a dream for many people. In addition to the fact that this area is always relevant, dynamic, alive and impenetrable for problems inherent in other areas, it will become a real paradise for those who love games. Turning your hobby into work is probably the best thing that can happen in your career. What is Game Designing? A 3D Game Designer is a creative person who dreams up the overall design of a video game. Game design is a large field, drawing from the fields of computer science/programming, creative writing, and graphic design. Game designers take the creative lead in imagining and bringing to life video game worlds. Game designers discuss the following issues: • the target audience; • genre; • main plot; • alternative scenarios; • maps; • levels; • characters; • game process; • user interface; • rules and restrictions; • the primary and secondary goals, etc Without this information, further work on the game is impossible. Once the concept has been chosen, the game designers work closely with the artists and developers to ensure that the overall picture of the game is harmonized and that the implementation is in line with the original ideas. As such, the skills of a game designer are drawn from the fields of computer science and programming, creative writing and graphic design. Game designers take the creative lead in imagining and bringing to life video game stories, characters, gameplay, rules, interfaces, dialogue and environments. A game designer's role on a game development outsourcing team differs from the specialized roles of graphic designers and programmers. Graphic designers and game programmers have specific tasks to accomplish in the division of labor that goes into creating a video game, international students can major in those specific disciplines if desired. The game designer generates ideas and concepts for games. They define the layout and overall functionality of the Game Animation Studio. In short, they are responsible for creating the vision for the game. These geniuses produce innovative ideas for games. Game designers should have a knack for extraordinary and creative vision so that their game may survive in the competitive market. The field of game design is always in need of artists of all types who may be drawn to multiple art forms, original game design and computer animation. The game designer is the artist who uses his/her talents to bring the characters and plot to life. Who is a Game Development? Games developers use their creative talent and skills to create the games that keep us glued to the screen for hours and even days or make us play them by erasing every other thought from our minds. They are responsible for turning the vision into a reality, i.e., they convert the ideas or design into the actual game. Thus, they convert all the layouts and sketches into the actual product. It may involve concept generation, design, build, test and release. While you create a game, it is important to think about the game mechanics, rewards, player engagement and level design. 3D Game development involves bringing these ideas to life. Developers take games from the conceptual phase, through *development*, and into reality. The Game Development Services side of games typically involves the programming, coding, rendering, engineering, and testing of the game (and all of its elements: sound, levels, characters, and other assets, etc.). Here are the following stages of 3D Game Development Service, and the best ways of learning game development (step by step). • High Concept • Pitch • Concept • Game Design Document • Prototype • Production • Design • Level Creation • Programming

That language is an instrument of human reason and not merely a medium for the expression of thought, is a truth generally admitted. -George Boole The way I feel about music is that there is no right and wrong. Only true and false. -Fiona Apple

John Judis and Ruy Teixeira identified a useful distinction between members of this seemingly homogenous demographic—a distinction that can help to explain why two white-collar Americans might vote in opposite ways. They suggested that a group they call “professionals” tend toward the Democratic side. These professionals are typically white-collar workers with college or advanced degrees. They include “academics, architects, engineers, scientists, computer analysts, lawyers, physicians, registered nurses, teachers, social workers, therapists, fashion designers, interior decorators, graphic artists, writers, editors, and actors.” In the 1950s, according to Judis and Teixeira, such professionals represented only 7 percent of the workforce. Today, after a decades-long transition from a blue-collar, industrial economy to one where the engine of growth is ideas and services, they represent more than 15 percent of American workers.

When Jobs started developing Next, the competition he had in mind was the Mac. PCs were not even a blip on his competitive radar screen. After all, at that time PCs didn’t even have an easy-to-use graphical interface. But by the time the Next computer system emerged three years later, Microsoft’s persistent efforts with Windows were about to change the PC environment. The world of Windows would share some of the characteristics of the Mac world in that it provided a graphical user interface, but it also retained the fundamental characteristics of the PC world, i.e., Windows worked on computers that were available anywhere in the world from hundreds of sources. As a result of fierce competition by the hundreds of Computer manufacturers supplying them, these computers became far more affordable than the Mac.

In 1991, when Apple started to talk about the hand-held computing devices called personal digital assistants, or PDAs, a lot of people both inside and outside Intel considered them a “10X” force capable of restructuring the PC industry. PDAs could do to PCs what PCs were doing to mainframes, many said. Not wanting to be blind to this possibility, we made a very substantial external investment and started a major internal effort to ensure that we would participate in any PDA wave in a big way. Then Apple’s Newton came out in 1993 and was promptly criticized for its failings. What does this say about the PDA phenomenon? Is it less of a “10X” force because its first instantiation was disappointing? When you think about it, first versions of most things usually are. Lisa, the first commercial computer with a graphical user interface and the predecessor of the Mac, did not receive good acceptance. Neither did the first version of Windows, which was considered an inferior product for years—DOS with a pretty face, as many called it. Yet graphical user interfaces in general, and Windows in particular, have become “10X” forces shaping the industry.

Already on it,” he assured her. Pedophiles loved to hide digital files—say, incriminating photos—as attachments to computer games, where the file sizes were already so huge and graphic-rich that it was hard to see the piggyback. Inside stereo speakers was also a favorite spot for stashing thumb drives. In this house, given this crime scene, they couldn’t afford to assume anything.

In 2006, realizing that high-speed parallel computations could be used for purposes besides computer graphics, Nvidia released CUDA, software that lets GPUs be programmed in a standard programming language, without any reference to graphics at all.

There are some people who, when they speak, no matter what the topic, seem to draw you into their own worldview, almost like an act of magic, like you are stepping into a movie, TV show, computer game, or graphic novel of their making. This can be a sign of their energy and creativity.

There are at least 8 required PC components for a comfortable and effective PC experience- A CPU, at least one RAM module, at least one drive, a power supply, a motherboard, a CPU cooler, a case, ( Technically, a case isn’t required. But it makes your PC experience a great deal better ) and at least one case fan. A graphics card is also a component that most PCs have. However, it isn’t needed as long as your CPU is equipped with integrated graphics.

Nine years later another computer hit 1.8 teraflops. But instead of simulating nuclear explosions, it was devoted to drawing them and other complex graphics in all their realistic, real-time, three-dimensional glory. It did this not for physicists, but for video game players. This computer was the Sony PlayStation 3, which matched the ASCI Red in performance, yet cost about five hundred dollars, took up less than a tenth of a square meter, and drew about two hundred watts.11 In less than ten years exponential digital progress brought teraflop calculating power from a single government lab to living rooms and college dorms all around the world. The PlayStation 3 sold approximately 64 million units.

some CPUs, or central processing units, can be provided with integrated graphics, which takes the place of a graphics card. Integrated graphics tend to be pretty unimpressive, and are used to output an image onto a screen.

Creativity is not copywriting or art directing, creativity is not interior, graphic, or fashion design, creativity is not mimicry or doodle, is not gesture or token, is not a clever text message, a new and even sillier pair of trousers, or an unmade bed, it’s not your shitty computer music, or your shitty homemade films, or your shitty Web site with a flashing cock. Creativity is . . . creativity is a massive and serious lifetime’s endeavor to further humankind’s fundamental understanding of itself.

As much as I love computers, I can't imagine getting an excellent education from any multimedia system. Rather than augmenting the teacher, these machines steal limited class time and direct attention away from scholarship and toward pretty graphics.

I was definitely one of those early Apple adopter designers. If it wasn’t for Steve Jobs concentrating on the small nuances of typography and eventually revolutionizing the world of graphic design and printing, I would never have taken a second look at the computer world. Everything he touched turned the design world upside down, sending us all at warp speed into a new generation of creativity. Thank you, Steve.

Some early approaches were deeply principled, but the associated programs made assumptions about hardware that were no longer valid a few years later; readers, looking first at the details of implementation, said "Oh, this is old stuff - it's not relevant to us at all", and missed the still important ideas of the research. All too frequently, too, researchers have simply reinvented things known in other disciplines for years.

Quantum computing is not only faster than conventional computing, but its workload obeys a different scaling law—rendering Moore’s Law little more than a quaint memory. Formulated by Intel founder Gordon Moore, Moore’s Law observes that the number of transistors in a device’s integrated circuit doubles approximately every two years. Some early supercomputers ran on around 13,000 transistors; the Xbox One in your living room contains 5 billion. But Intel in recent years has reported that the pace of advancement has slowed, creating tremendous demand for alternative ways to provide faster and faster processing to fuel the growth of AI. The short-term results are innovative accelerators like graphics-processing unit (GPU) farms, tensor-processing unit (TPU) chips, and field-programmable gate arrays (FPGAs) in the cloud. But the dream is a quantum computer. Today we have an urgent need to solve problems that would tie up classical computers for centuries, but that could be solved by a quantum computer in a few minutes or hours. For example, the speed and accuracy with which quantum computing could break today’s highest levels of encryption is mind-boggling. It would take a classical computer 1 billion years to break today’s RSA-2048 encryption, but a quantum computer could crack it in about a hundred seconds, or less than two minutes. Fortunately, quantum computing will also revolutionize classical computing encryption, leading to ever more secure computing. To get there we need three scientific and engineering breakthroughs. The math breakthrough we’re working on is a topological qubit. The superconducting breakthrough we need is a fabrication process to yield thousands of topological qubits that are both highly reliable and stable. The computer science breakthrough we need is new computational methods for programming the quantum computer.

PROMPTS FOR WRITING RESUMES AND BIOS Generate a compelling professional summary for a marketing manager with 5 years of experience. Create a list of 10 action verbs to effectively describe accomplishments in a resume. Draft a LinkedIn bio for a recent college graduate with a degree in computer science. Suggest 5 resume formatting tips to create a visually appealing and easy-to-read document. Write an engaging personal bio for a freelance graphic designer’s website. How can transferable skills be effectively showcased in a career change resume? Create a list of 5 questions to ask a client before writing their resume or bio. Develop a powerful resume objective statement for a sales professional targeting a managerial role. Provide tips for optimizing a LinkedIn profile to increase visibility and attract recruiters. Write an attention-grabbing personal

Want to be a Freelancer? Do You want to be a Freelancer? If so, first of all - You need to be well-versed in the subject you want to freelance on. If you can be good at a few things, you will get more work as a freelancer. Most of the clients on this platform are foreigners. So to communicate with them you have to master the English language very well. How to Start Freelancing? To start working as a freelancer you need to work step by step from the very beginning. Find a specific task or skill that you want to excel at. Must practice speaking or communication in English. Create your own freelancing account. You have to decide how much money you will take in exchange for the work. Choose the Topic that Suits You - There are many types of jobs that can be done on the freelancing marketplace. Both fairly easy and difficult jobs are available on this platform. Easy jobs include data entry, article writing, and jobs for which a large number of bids are received due to which these jobs have to be rushed and competition is high. Difficult jobs include high-quality expensive jobs like web development, web design, graphics design, and software development. Which have higher remuneration. Now you have to decide what kind of work you will do in freelancing. Everything You Need to Train - The first thing you need to train is patience. Without patience, you can never survive on this platform. There are quite a number of freelancing service providers in our country who provide coaching through various courses. You can complete your training through coaching if you want. You will need a good laptop or computer with an internet connection for regular practice. A minimum of basic computer knowledge is essential for learning the job, along with the ability to speak English. You have to focus hard on the subject you want to master and develop a mindset to stick with it. Incorporate what you have learned and done into your portfolio, gain an understanding of the marketplaces, be disciplined, and work on time. Work to Gain Experience - Your path to freelancing may not be smooth. But it should not stop there. Just as in life, there are various problems, pains, and dangers, so it is in the case of freelancing. At first, you may not get job offers or get results as expected. So don't be impatient, you have to strengthen yourself mentally. Because you are in the first step of gaining your experience. Don't just think of yourself as a freelancer, think of yourself as a student who needs experience, not money. So if you make a mistake at work, try to learn from it. You can Reduce the Unemployment rate by Teaching others to Work - Apart from earning income by teaching others to work, you can reduce the unemployment rate by contributing to the economic development of the country. Day by day the country's job market is deteriorating due to which the number of unemployed is increasing every year. Many youths have lost their whole lives, lost precious time of their lives in the pursuit of government jobs. If you are thinking of making your career permanently as a freelancer then you can train those youngsters and form a team of yours. By doing this you can help create employment for millions of youth and increase your income. Please Visit Our Blogging Website to read more Articles related to Freelancing and Outsourcing, Thank You.

there are significant advances on the horizon, such as the graphics-processor unit, which uses parallel computing to create massive increases in performance, not only for graphics, but also for neural networks, which constitute the architecture of the human brain.

When Apple sued Microsoft in 1988 for stealing the “look and feel” of its Macintosh graphical display to use in Windows, Bill Gates’s defense was essentially that both companies had stolen it from Xerox.

There is nothing wrong with having grand visions, but the most important favor you can do for yourself is to learn how to break those visions into small parts and attack each piece slowly, one at a time.