Slashdot Mirror

aWaterman writes "FLOSS-US is an online survey of Open Source/Free Software developers currently being conducted by researchers at Stanford University's Institute for Economic Policy Research (SIEPR), supported by a grant from the National Science Foundation. This survey has been designed to complement the FLOSS survey for 2002 of Open Source/Free Software developer communities sponsored by the European Commission. FLOSS-US asks questions on some of the topics addressed by the original FLOSS survey, plus questions on several other important issues, including open source developers' motivations and expectations, usage of licenses and programming tools, individuals' contributions to projects, and support by proprietary software firms. If you are an Open Source/Free Software developer, please click here to fill out the questionnaire. We greatly appreciate your viewpoints and your responses to our survey questions."

An anonymous reader writes "I just got back from the Chicago opening of Illegal Art, Freedom of Expression in the Corporate Age, January 25 - February 21 (See the website for location, film screening dates, and information on the panel debate featuring Lawrence Lessig) and quite enjoyed myself." The anonymous review follows.

The reader continues:

The exhibit is of artwork on the legal fringes of intellectual property, litigation clouds loom over many of the pieces. (Buy now! This is a limited time offer! ;-) Even to an artistic ignoramus such as myself, it's clear the exhibit contains classic works of the genre. In this category are such items as the "Disneyland Memorial Orgy" (Poster, 1967) by the Mad Magazine artist Wally Wood, and the trademark certificate which certifies Professor Kembrew McLeod's ownership of the phrase "Freedom of Expression" (Conceptual, 1998). I also particularly enjoyed the finely detailed Spiderman quilt (Untitled) (Commercial fabric and recycled materials, 2002) by Ai Kijima and the counterfeit postage stamps, including "Prozac" (Computer generated laser print, 1996), of Michael Hernandez de Luna. De Luna creates stamps good enough to fool postal workers, as attested to by successfully delivered letters complete with postmarks. (Sorry, I cannot find any contact info for this Chicago artist on the web.)

An exhibition like this is innately political and nowhere is this more apparent than in the exhibition's video accompaniment, much of which is strongly anti-war and anti-corporate. Like the visual artwork, the borderline legality of the video work is due to its appropriation of corporate trademarks and sampling of copyrighted work. What makes it interesting as well as sometimes funny, regardless of your politics, is how the material reveals the manipulative techniques of everyday media and thereby turns the content against its owners. The very strength of the alternative message the videos present is often due to the strength of the original images.

Audio works are also included in the exhibit but I have not had the time to sample the wares.

Those who can't physically visit the exhibition in Chicago can experience many of the works via the Illegal Art web site. Video, audio, and visual art is available for download. A number of works have been added to the exhibit since it has come from New York. Images of the Chicago artists' work should be added to the web site as soon as the organizers get around to it. FWIW, rumor has the exhibit traveling to San Francisco.

gsbarnes writes "Two Stanford researchers (Dawson Engler and Yichen Xie) have written a paper (pdf) showing that seemingly harmless redundant code is frequently a sign of not so harmless errors. Examples of redundant code: assigning a variable to itself, or dead code (code that is never reached). Some of their examples are obvious errors, some of them subtle. All are taken from a version of the Linux kernel (presumably they have already reported the bugs they found). Two interesting lessons: Apparently harmless mistakes often indicate serious troubles, so run lint and pay attention to its output. Also, in addition to its obvious practical uses, Linux provides a huge open codebase useful for researchers investigating questions about software engineering."

gsbarnes writes "Two Stanford researchers (Dawson Engler and Yichen Xie) have written a paper (pdf) showing that seemingly harmless redundant code is frequently a sign of not so harmless errors. Examples of redundant code: assigning a variable to itself, or dead code (code that is never reached). Some of their examples are obvious errors, some of them subtle. All are taken from a version of the Linux kernel (presumably they have already reported the bugs they found). Two interesting lessons: Apparently harmless mistakes often indicate serious troubles, so run lint and pay attention to its output. Also, in addition to its obvious practical uses, Linux provides a huge open codebase useful for researchers investigating questions about software engineering."

gsbarnes writes "Two Stanford researchers (Dawson Engler and Yichen Xie) have written a paper (pdf) showing that seemingly harmless redundant code is frequently a sign of not so harmless errors. Examples of redundant code: assigning a variable to itself, or dead code (code that is never reached). Some of their examples are obvious errors, some of them subtle. All are taken from a version of the Linux kernel (presumably they have already reported the bugs they found). Two interesting lessons: Apparently harmless mistakes often indicate serious troubles, so run lint and pay attention to its output. Also, in addition to its obvious practical uses, Linux provides a huge open codebase useful for researchers investigating questions about software engineering."

Fiver-rah writes "The Supreme Court voted for Disney in Eldred vs. Ashcroft. Lessig's next proposal is a policy solution which needs our help. He proposes that 50 years after publication, a work falls into the public domain unless a small fee ($50 in the NYT piece, but he says $1 is sufficient here) is paid to a governing board. This has two important effects. First, it allows the vast majority of works to fall into the public domain. Second, it gives us a publicly searchable database of copyright holders, so we could easily determine what was free and what was not. Support this proposal by writing to your elected officials! We couldn't make much of a difference with the Supreme Court, but we can with Congress." Update: 01/18 20:50 GMT by T : Related news: An anonymous reader writes "With the support of Lessig infoAnarchy has set up a wiki page devoted to copyright issues."

I thought I'd grab up some of the many commentaries and responses to the Eldred decision. If you read only one of these links, see Lessig's blog. Jack Balkin, another law professor who contributed to the case, is discussing it in his blog. The NYTimes has two distinct news stories on the decision (NYT1, NYT2), plus a biting editorial about the decision. Copyright scholar Siva Vaidhyanathan has a piece in Salon. The LA Times posts one of the very few stories to present the decision in a positive light. Reason is one of several to mock the mouse.

hondo77 writes "In a 7-2 decision, The Supreme Court gave Disney what they wanted. Story just broke, no details yet." They're talking about the Eldred case, recently argued before the Supreme Court and mentioned on Slashdot many times. The upshot is that no works produced in the United States after the 1920's will ever go out of copyright. Opinions: Majority opinion, Stevens' dissent, Breyer's dissent.

hondo77 writes "In a 7-2 decision, The Supreme Court gave Disney what they wanted. Story just broke, no details yet." They're talking about the Eldred case, recently argued before the Supreme Court and mentioned on Slashdot many times. The upshot is that no works produced in the United States after the 1920's will ever go out of copyright. Opinions: Majority opinion, Stevens' dissent, Breyer's dissent.

hondo77 writes "In a 7-2 decision, The Supreme Court gave Disney what they wanted. Story just broke, no details yet." They're talking about the Eldred case, recently argued before the Supreme Court and mentioned on Slashdot many times. The upshot is that no works produced in the United States after the 1920's will ever go out of copyright. Opinions: Majority opinion, Stevens' dissent, Breyer's dissent.

kien writes "Lawrence Lessig is betting his position at Stanford on his anti-spam legislative recommendations. From his blog:'First the analysis: Philip Jacob has a great piece about spam and RBLs. The essay not only identifies the many problems with RBLs, but it nicely maps a mix of strategies that could be considered in their place. But, alas, missing from the list is one I've pushed: A law requiring simple labeling, and a bounty for anyone who tracks down spammers violating the law. Here goes: So (a) if a law like the one I propose is passed on a national level, and (b) it does not substantially reduce the level of spam, then (c) I will resign my job. I get to decide whether (a) is true; Declan can decide whether (b) is true. If (a) and (b) are both true, then I'll do (c) at the end of the following academic year.' The Declan referred to in point (b) is Declan McCullagh." Update: 01/07 02:45 GMT by T : Speaking of whom, here is Declan's acceptance of Larry's bet.

truthsearch writes "From News.com: 'A jury on Tuesday found a Russian software company not guilty of criminal copyright charges for producing a program that can crack anti-piracy protections on electronic books.' HUGE legal win against the DMCA. Thank you Lawrence Lessig."

immerrath writes "The New York Times has an article [Sorry, tomorrow's article, no Google link yet] on a movement that is rapidly gaining support in the scientific community: the Public Library of Science(PLoS). The founders, Nobel Laureate Harold Varmus, Stanford biologist Pat Brown and Berkeley Lab scientist Michael Eisen, argue that scientific literature cannot be privately controlled or owned by the publishers of scientific journals, and must instead be available in public archives freely accessible by anyone and everyone. This has very important implications for the fundamental principle that Science must transcend all economic, national and other barriers. For a while now, PLoS has been trying to get scientific journals to release the rights to scientific papers; many major journals have not complied -- in response, PLoS is starting PLoS-standard-compliant journals (for which they received a $9 million grant from the Gordon and Betty Moore Foundation), to demonstrate the validity of the idea and persuade academic publishers to adopt the free access model. They even have a GPL-like open access Licence, and their journals have some very prominent scientists on the editorial board. Here is the text of an earlier Newsweek article about PLoS, and here is a Nature Public Debate explaining the issues. Michael Eisen received the 2002 Benjamin Franklin award for his work on PLoS. Don't forget to sign the PLoS open letter!"

smackthud writes "According to this article in the Minneapolis StarTribune website Stanford University is planning to clone human embryos. Story summary says it all: 'Stanford University announced today its intention to clone human embryos, becoming the first U.S. university to publicly embrace the politically charged procedure. The intent of the project is to produce stem cells for medical research.'" Stanford has released a statement distinguishing what Stanford is doing from reproductive cloning.

Henri Poole writes "I've got friends who ride their bikes for a week and get me and others to donate $100 to their cause. Spending more time on lists then roads, we've set up an analogous service for Free Software and Open Source projects. Substitute the physical sweat with a good hack, and you'll see the match. After you save your next newbie from tech-hell, just ask them to help your cause. In Lessig's blog, he writes "If there's one thing I've learned from watching, and tinkering, in this web-log space, it is that the many tiny brushstrokes of thousands paints more and more powerfully than the blast of even the most important and powerful papers...As I indicate on my Affero page, I count FSF and EFF as the two key players to support." And if you don't think you can make a difference, do this math: A $1 donation to the FSF for every user of GNU/Linux would increase their budget by 30 fold."

Makarand writes "This article in the Stanford Report has the first released findings of the Jasper Ridge Global Change Project - a multi-year experiment, conducted at Stanford University, designed to study ecosystem response to environments that might exist 100 years from now. The currently held belief that our car and factory emissions may help grow some crops and trees faster and bigger (atleast in the short term) by emitting carbon dioxide, a plant nutrient, is being questioned by this study. They found that elevated levels of carbon dioxide when combined with other consequences of climate change - higher temperatures, increased precipitation etc, reduced plant growth. This means that increased carbon dioxide levels combined with other climate change factors might eventually limit the capacity of natural ecosystems to transfer carbon in the atmosphere to plants and soil. Instead of isolating one climate change factor and studying its effects on the ecosystem, the Stanford team included four climate change factors over several generations of plants to come to their conclusions."

Suture writes "A PhD candidate in ecology at Stanford University has done an ecological analysis of humans and vampires in Sunnydale, the home of Buffy the Vampire Slayer. He took some initial assumptions on rates of population growth, vampire feeding, etc and plugged them into a differential equations model. What he got was an equilibrium human population of 36,346, and an vampire population of around 18, and furthermore the equilibrium is stable. His conclusion was that even though the show's designers are not ecologists, they managed to come up with ideas that actually made ecological sense. Scroll to the bottom of the page to see a pretty cool spiral graph of human population vs vampire population."

wdavies writes "There are various news reports (see this Google search) Oldest Rocks University Quebec that are reporting the discovery of the oldest sedimentary rocks ever found. There are older rocks, but they are extra-terrestrial, and apparently these Earth-local rocks will give a lot more information about the early stages of life on our planet. IANAG so I can't judge any more, but seems significant"

aarondsouza writes "The New Scientist has an article about Chris Chafe, a cellist and director of the Center for Computer Research in Music and Acoustics at Stanford University in California, who has the idea that one can use sound as an audible measure of the health of an internet connection. By sending a bunch of sound pulses across the line and measuring echo time, an average ping time of 10ms would be heard as a 100Hz tone. The idea is that the human ear is much more sensitive to variations in pitch, and thus "listening" to the connection would be a better indicator of its health. The article is short on technical specs but the project page (SoundWIRE) has more."

aarondsouza writes "The New Scientist has an article about Chris Chafe, a cellist and director of the Center for Computer Research in Music and Acoustics at Stanford University in California, who has the idea that one can use sound as an audible measure of the health of an internet connection. By sending a bunch of sound pulses across the line and measuring echo time, an average ping time of 10ms would be heard as a 100Hz tone. The idea is that the human ear is much more sensitive to variations in pitch, and thus "listening" to the connection would be a better indicator of its health. The article is short on technical specs but the project page (SoundWIRE) has more."

aarondsouza writes "The New Scientist has an article about Chris Chafe, a cellist and director of the Center for Computer Research in Music and Acoustics at Stanford University in California, who has the idea that one can use sound as an audible measure of the health of an internet connection. By sending a bunch of sound pulses across the line and measuring echo time, an average ping time of 10ms would be heard as a 100Hz tone. The idea is that the human ear is much more sensitive to variations in pitch, and thus "listening" to the connection would be a better indicator of its health. The article is short on technical specs but the project page (SoundWIRE) has more."

job0 writes "An interesting paper (Word document) has been submitted by some Microsoft employees (although they are careful to state that that the views are theirs and not necessarily Microsoft's) to the 2002 ACM Workshop on Digital Rights Management stating that attempts by the record industry to stop music copying will fail simply because a) the growth and availability of affordable broadband and cheap data storage devices and b )ability of users to circumvent any DRM measures means that the number of people willing to swap is growing and will soon outstrip attempts to shut them down. The paper goes to suggest that the record industry should concentrate their efforts on trying music cheaper and easier to get hold off. I wonder if Hilary and friends have had a read. The BBC is also carrying the story." (OpenOffice has no problem with the paper, btw.)

job0 writes "An interesting paper (Word document) has been submitted by some Microsoft employees (although they are careful to state that that the views are theirs and not necessarily Microsoft's) to the 2002 ACM Workshop on Digital Rights Management stating that attempts by the record industry to stop music copying will fail simply because a) the growth and availability of affordable broadband and cheap data storage devices and b )ability of users to circumvent any DRM measures means that the number of people willing to swap is growing and will soon outstrip attempts to shut them down. The paper goes to suggest that the record industry should concentrate their efforts on trying music cheaper and easier to get hold off. I wonder if Hilary and friends have had a read. The BBC is also carrying the story." (OpenOffice has no problem with the paper, btw.)

Anonymous Coward writes "There's open skepticism from researchers about the ability of DRM to solve Hollywood's copy protection problems. Read Edward Felten's review here... Papers from the workshop are available online as well."

EconolineCrush writes "Trying to convince your boss to let you run Stanford's Folding@Home client on the machines at work? Here's an article that measures the performance impact of running the Folding@Home client that might help. The article examines the client's impact on the performance of business applications, games, workstation applications, and more. When set up correctly, the Folding@Home client can be run transparently in the background with only a negligible impact on system performance, which means your boss has one less reason to turn you down."

theduck writes "Ever suspected (or feared) that web users are mostly mindless sheep evaluating your website more by the eye candy than your carefully crafted content? Well, it appears you were right. A study resulting from a collaboration between Consumer Webwatch and The Stanford Pervasive technology Lab reports that even though consumers say that they look for content first when evaluating the credibility of a website, they actually focus primarily on design look and information design/structure (i.e. ease of navigation). Of course, the study's methodology might have something to do with the results..."

truthsearch writes "Lawrence Lessig's weblog points to 'a page by John Mark Ockerbloom at the University of Pennsylvania listing books that are in the public domain elsewhere but not, because of the Copyright Term Extension Act, in the United States. Check out the books you are not allowed to download.' Includes books like 'Animal Farm' and '1984'."

D4C5CE writes "Following in the footsteps of his famous professor, in his paper "Evaluating New Copy-Prevention Techniques for Audio CDs" (yes, that's pure PS), which is one of many interesting contributions to the 2002 ACM Workshop on Digital Rights Management, Princeton student Alex Halderman takes apart (bit by bit, literally) the "tricks on tracks" employed by the music industry to frustrate fair use."

D4C5CE writes "Following in the footsteps of his famous professor, in his paper "Evaluating New Copy-Prevention Techniques for Audio CDs" (yes, that's pure PS), which is one of many interesting contributions to the 2002 ACM Workshop on Digital Rights Management, Princeton student Alex Halderman takes apart (bit by bit, literally) the "tricks on tracks" employed by the music industry to frustrate fair use."

tiltowait writes In response to the incredulity expressed in this story about the technical prowess of libraries, I'd like to present a short essay titled "Librarians: We're Not What You Think" - read on for more. Update: 10/20 18:15 GMT by M : The author has also put up his essay on his own webpage. From the spinster librarian in It's a Wonderful Life to the crochety archivist in Attack of the Clones, librarians are often portrayed (in everything from movies, musicals, children's books, literature, science fiction, comics and cartoons to pornography - yes, pornography) as something less than noble or admirable. The perception of librarians has been a popular topic recently, with several articles focusing on the fringe-type librarians (ska, rockabilly, bellydancing, modified, bodybuilding, laughing, and lipstick). Although something of an anti-stereotype, these people illustrate the range of librarian personalities.

Many people may hold the image of a librarian as a shushing school marm who does little more than stamp and shelve books because that's all they've seen librarians do. Well think again - that's about as inaccurate as believing that Alan Greenspan is nothing more than a glorified bank teller. The job titles may change but the mission of the profession remains the same: organize information and help people find it. Libraries have been around a lot longer than the Internet, and even library technology can hold its own with the best out there. For example, Google's savvy results ranking was hardly the birth of citation analysis (next up: metadata - cough, cataloging, cough), and there are enormous library systems that also predate the Internet.

Although library geeks and technology nerds may have contrary images, in today's world the boundary between the career of the librarian and the information technologist is disappearing. Librarians today not only administer Web servers and dynamic databases to help manage large digital collections and thousands of electronic resources, they teach people how to use library systems. And just as enlightened computer engineers are advocates of noncommercial software and campaign for online rights, the library profession has a long history of staunchly defending freedom - from book burnings to the FBI's Library Awareness Program to the latest copyright battles and almost all other current issues in intellectual freedom.

Check out LISNews.com (recognize the format?) and some library blogs if you're interested in reading more about real librarians.

yokem_55 writes "Lawrence Lessig has updated his blog giving his thoughts on how the oral arguments for Eldred vs. Ashcroft went before the Supreme Court on Wednesday. He discusses the goals and methods he used in framing his arguments to convince the court to overturn the Sony Bono Copyright Term Extension Act, how he felt he did in presenting his arguments, and also provides some analysis on how he thinks the court might rule."

An anonymous reader writes "Centrifuge-cameras began exploration of genetic changes at the extremes of high gravity-- in the only animal with a completely sequenced gene library. Students at Harvey Mudd designed the 100G camera, Stanford is doing the gene array and NASA is spinning the 1 millimeter worms that are the model system for how to adapt and survive 100-times your terrestrial weight. Accelerated aging and slowed DNA repair are just two biological consequences of gravity changes. The Japanese (NASDA) are building the space station centrifuge for 2006. What other garden-variety objects can be photographed in that kind of ultra-spindryer?"

The Right Brute writes "It appears that the successors to the SHA-1 cryptographic digest algorithm have been released. FIPS 180-2 can be found here which I believe is the final version of the SHA-256/384/512 algorithm (it does not appear to have changed since the last draft). I have an implementation that I did as a CWEB literate programming example that might serve as a good companion to the specification."

bhoman writes "The San Francisco Chronicle (sfgate.com) has an article today about Stanford biochemist Patrick O. Brown, who helped develop low-cost DNA microarrays for gene research. He is seeking $20M to start a foundation that would fund peer-review of research papers and then make them available for free over the web, thereby avoiding the high-cost of subscriptions common in existing research publications. Predictably, some publishers seem to be warning that their publishing model is hard to improve upon. The article mentions that a previous effort by Brown and others, The Public Library of Science garnered the signatures of 30,000 supporters, but then implies that it basically failed, suggesting that academics need the journals more than vice versa. Sounds like Brown's idea is exactly what the web is made for."

jko9 writes "First proposed almost 20 years ago by Donald Knuth, the idea of Literate Programming is basically that of making program documentation primary, and embedding code in the documentation, rather than vice versa. Despite some obvious advantages apparent to anyone who has struggled to understand a poorly documented program, literate programming never really caught on. That all could change, however, with the release of a new program called Leo, written by Edward K. Ream. Leo supports standard literate programming languages like noweb and CWEB, but with a crucial difference - Leo adds outlines. The effect is striking: overall organization of a program is always visible and explicit. Much of the narrative of the documentation gets placed in the outline, making documentation simpler, and allowing viewers to approach the code at various levels of detail. Screenshots and tutorials for Leo are here - if that site gets slashdotted, you can download the visual tutorials in .chm form or html form from Leo's Sourceforge site. Leo is an open source program written in Python. Any current practioners of Literate Programming techniques out there? People who have tried it and given it up? Can the addition of outlines to Literate Programming make it more powerful / popular?"

Paersona writes "Ever wonder what Colleen Kollar-Kotelly is doing to pass the time while she waits for the next step in the Microsoft case? Apparently she is now serving as the lead justice of the FISA court that oversees intelligence agencies' requests for domestic wiretapping. Today, the Washington Post reveals that the FISA court has released a rare public report rebuking the FBI and Justice Department for their handling of wiretap requests." The New York Times also has a story about the FISA court. The court's opinion is available.

Seth Nickell writes: "We are proud to announce the release of the GNOME Human Interface Guidelines v1.0, the product of usability engineers, designers, hackers, and whatever-keeps-you-writing-calum irish wine[TM]. I hope they'll be useful for improving the usefulness of all free software, not just GNOME apps. Check out the release announcement for details and a plaintive plea for interface coordination between free software projects." (Also at the top of the new Gnome news site called Footnotes.)

Rocky Mudbutt writes: "An international research team from the University of Texas-El Paso (UTEP) and Mexico advanced the work at the Stanford Synchrotron Radiation Laboratory (SSRL). Ordinary alfalfa plants are being used as miniature gold factories that one day could provide the nanotechnology industry with a continuous harvest of gold nanoparticles. Alfalfa extracts gold from the medium and stores it in the form of nanoparticles -- specks of gold less than a billionth of a meter across according to a press release from Stanford Linear Accelerator Center."

Here are 10+ plus answers to Slashdot questions from motion picture digital effects expert Thad Beier. He chose the additional questions himself. (Yes, he's on Slashdot almost every day; we asked him to do the interview after reading many intelligent comments he's posted.) Anyway, there's some fine insight into the intersection of moviemaking, graphic arts, and computer science here, brought to you by an award-winning member of the film industry who just happens to be a fellow Slashdot reader.

Are 'FX programming' days numbered?
by Anonvmous Coward
Every year, 3D packages get more and more sophsticated. Not just in terms of rendering effects, but in their scripting capabilities as well. Do you see a day where the artist will be able to handle the rendering features and the scripting of a 3D prog so well that it'll no longer be necessary to have a dedicated programmer on board?

Is there a particular type of problem that will always need a programmer?

Thad:
First, I feel that the difference between 'scripting' and 'programming' is nonexistent; both are programming, albeit in different languages with different development environments. People can, and do, write thousand-line MEL scripts for Maya -- which are every bit as complex as anything written in C. With each new animation system, the scripting languages become more powerful, and subsume larger modules as primitives within the language -- this should allow non-programmers (or, more realistically, people who don't consider themselves programmers) to create significant custom systems with reasonable short scripts.

Secondly, though, I feel that there will always be a need in movies for people who are predominantly programmers. Films have to compete with each other and with the library of pre-existing films, and one way that is done is by continually pushing the state of the art. A consistent request from filmmakers is for 'something nobody has seen before'. Often that means creating custom tools; or building scripts and shaders far beyond the capabilities of non-programmers.

It is true that as time has gone on, the percentage of people on visual effects teams who consider themselves primarily programmers has fallen. One reason is that when doing 500 shots of a mouse for Stuart Little you only have to create the mouse once, but you still need hundreds of people to do the artistic tasks of animation, lighting, and compositing. That doesn't mean that the programmers aren't important, they are the key to ensuring that the artists can be productive.

Shaders
by f00Dave
How much overlap is there between the programable graphics processing units (AKA "shaders") found on modern game platforms and the software/hardware used in the special effects industry? Would programming skills for one translate to the other?

BTW, I realize that special effects are half artistry, half mathematics and half sweaty work: kudos from a 'GL hacker... [;-)]

Thad:
I note that some slashdotters have criticized your math, but you have hit upon a fundamental truth of visual effects, that the work takes far more than the available time.

While it is conceivable that there is overlap possible between programming of games hardware and writing shaders for visual effects, I haven't seen too many people making the move from games into FX; mostly it is the other way around. Certainly many people in the games business are clamoring for visual effects and other film artists to help bring cinematic ideas and qualities to the games world.

The interesting new wrinkle in this is the Cg language from Nvidia. It's a new, high-lvel language for writing shaders. Cg is then compiled down to microcode run on the graphics hardware in the machine. While I had been skeptical, now I think that this might dramatically change the way that rendering is done. The work of the visual effects and game shader-writers could be exactly the same. It wouldn't surprise me if future software renderers use graphics hardware to speed up the process.

Cost
by Fembot
When films are labled as "100$ Million on special effects" where does most of that money go? On rendering hardware or what?

Thad:
I don't think that any movies have had $100 Million in special effects, yet -- unless you count Dinosaur or Final Fantasy -- which are animated (as opposed to FX) films. That said, the overwhelming cost on any films for effects at this point goes to the creative people. Especially today, the hardware is virtually free. (In some cases, the hardware is literally free as a company will donate machines in return for good PR.)

A reasonable estimate for the cost is 75% for artists, and 25% for everything else. This has changed dramatically over the digital visual effects era which started around 1990 -- back then it was probably exactly the opposite. But machines have gotten much cheaper and animators have become more expensive, and that trend will probably continue. It's interesting that people talk about how much cheaper Linux PCs are compared to SGI machines (say), but truly both machines have almost the same cost (zero) compared to the cost of the animator who is using the machine. The choice of workstation should be entirely based on what makes the artist most productive.

Directors approach?
by FurryFeet
I'm guessing you get to work pretty closely to directors. If so, can you tell us what is their approach to the new tools technology has given them? Are they still "thinking celluloid" made cheaper by rendering it digitally, or do they really seek to break the mold and make shots that were previously impossible?

Thad:
The job of a movie director is to harness the skills of hundreds of talented, unique, possibly difficult people to create his vision and tell his story. In our experience, directors always request the ideas and proposals from his creative team; and they listen to that advice. The FX team is hired to help make the movie, and are trusted to help make the decisions. In most cases, the director will work very closely with the FX supervisor when shooting the shots that will have effects, asking for help and comment on all aspects of the shot. After the ability to get the most out of his team, though, the most important quality of a director is decisiveness -- once all of the input has been gathered, everybody has to march in the same direction.

Every director we have worked with has been extremely interested in any ideas we could contribute to making shots cheaper, better, easier to shoot, or cheaper. They want to get the best images on film, and any resources saved on one shot can make the next one better.

best way to get into the industry?
by josepha48
What is the best way to get into the computer generated special effects industry? Is it who you know or what you know? If it is what you know what should one know? (Programming, graphics tools, etc...).

Thad:
Well, my first sincere, if unhelpful answer is "Are you sure that you want to?" It isn't really an industry in the traditional sense -- there is little or no job security, there are long hours typically with no overtime paid, the stress can be extreme and the rewards are not great. There are almost no rational reasons to choose CG visual effects as a career. So think about it before making that choice. If it really is the most important thing in the world for you, then read on.

Every person is different, and every position to be filled is different, so any advice given will either be too specific to be generally useful, or so broad as to be a platitude, but I'll do my best. Over the last few years it is my impression that there have been far more applicants trying to get into the field than available jobs; that might just be a cyclical problem or it might be persistent.

A solid undergraduate education is always a good thing. Some basic art experience is helpful, to learn color theory, layout -- basically learn what makes a good image good. Knowledge of mathematics and elementary physics is useful, to know how the world works. General computer experience is helpful, for example the ability to write and understand shell scripts. To get a job at a large facility a familiarity with the most commonly used tools is helpful.

Clearly you would like to have some animation experience. Computer animation is useful, but 2D hand-drawn animation is also an exceptionally good way to learn how to bring images to life.

When preparing a reel of your work, a few great shots is better than a large volume of mediocre work. You want something to make your reel stand out from the rest of them. Play to your strengths; concentrate on what you do best. If the work on your reel includes shots done by a team of people, be certain to call out your particular contribution. A demonstrated ability to work on teams with other creative people is a definite plus.

The Siggraph show every year is a good place to meet recruiters from many companies in a few days. It takes place in late July or early August. This year's conference took place last week, and all of the big companies demonstrated vigorous recruiting efforts. A few companies have great pages to assist people in planning their careers. Here is the employment FAQ from Pixar and the one from PDI. While they are animation companies as opposed to visual effects companies, their advice is still appropriate, by and large.

What movies have impressed you?
by Anonvmous Coward
When somebody has intimate knowledge about how a movie is made, it gets really hard to make their eyes jump out of their head.

For example, there's a scene in the Director's Cut of Robocop where Alex Murphy is just about to be shot in the head by the lead bad dude. The camera is pointing right at Alex's face, then swings around behind him. As soon as the camera is behind him the bad guy fires a gun, the back of Alex's head explodes and you can see a hole clean through it. This whole scene was one smooth camera movement, no edits.

I was *stunned* to find out that Alex was a puppet. They were able to make a puppet that totally convinced me that Peter Weller was sitting in front of this guy about to get his head blown off. I could not believe that they were able to do one that convincing.

I'm curious, what movies have had that affect on you? "OMG! I had no idea that was an effect!"

Thad:
Your example is a classic of FX misdirection. Another one is in 'Spiderman'. We see Peter Parker with his shirt off pretty early in the movie, and he's the scrawny little twerp that he's supposed to be, and you accept it without a second thought. Later, after he's been bitten, he takes off his shirt and he's totally ripped. Not until that point do you say "hey, wait a minute! How did they do that effect!" When, of course, the effect happened in the first shot with a body replacement that you never expected. I was blown away, it was just so cool, and so easy. The best effects are those that you would never expect, and that by the time you realize that they must have been effects they are over.

These days almost every film has FX shots that nobody could possibly see. Our first film was 'Showgirls', and I defy anybody to find the dozen shots we did in that movie -- they are not in-your-face effects. Two of our more recent films, 'The Fast and The Furious', and 'For Love of The Game' were praised in the Los Angeles Times and Variety as films with a refreshing lack of special effects. It's not that they're missing obvious things; it's just that FX can be undetectable.

So, when you say if there's anything where I'd say "I had no idea that was an effect", well, it's certainly true -- but for most of those shots I still don't know that it was an effect.

Project you'd like to tackle?
by seldolivaw
Although recently a lot of the big names in science fiction and fantasy are finally making it onto the screen in a plausible way (e.g. Tolkein) there are still plenty of great books out there that haven't even been optioned. If you could turn any science-fiction/fantasy book or series into a movie, which would it be?

[My personal choice: the Foundation saga by Asimov. So huge! Such a great plot! So eminently filmable! Somebody make this movie, dammit! :-)]

Thad:
Surprisingly, and contrary to your question, classic SF books like The Foundation Trilogy and Ender's Game are always in play; we get scripts or proposals for these every couple of years. You're not the only one that wants to see these books filmed; it's very difficult to do, though. While the tremendous success of The Lord of The Rings is on everybody's mind, don't forget that people have been trying for years to make those books into films with limited success. A good book has such scope and detail that it's hard to distill it into a reasonable-length movie. While I'd love to see a movie made from Stephenson's 'Snowcrash', any reasonable length movie would have to leave out at least half of the stuff that makes the book great.

Short stories are a better bet. The astonishing success of movie versions of Philip K. Dick's short stories would have completely bewildered him, but they are great source material. I'd love to see a John Varley short story -- say, 'The Phantom of Kansas' -- although I admit that 'Millenium', based on the book-length version of his short story 'Air Raid', was perhaps the worst movie I've ever seen.

Reduction in man-hours for CG?
by ceswiedler
At one point, as a film student, I was interested in computer animation as a way for a single person or small group to produce a film, without the expense of locations, casting, cameras, etc. I thought that soon, as hardware and software improved, it would be possible for me to create a film on my own computer at home.

But my experience in animation in college taught me that increasing hardware capacity doesn't reduce the time it takes to produce a film or demo reel; it simply increases the quality of the final output. I imagine that the modelling, animation, and rendering of the scenes in Tron took as much human time as comparable scenes in Fellowship of the Ring. It's possible to render Tron-quality CG in realtime on a modern PC, but nobody wants to watch it.

My question is this: do you think it will ever be possible to produce a full-length CG film in about a man-year or less, with effects which are reasonbly "modern" for the time? Will the technology curve eventually flatten out, once we get to a certain point where the human eye can't really tell the difference? Or is it implausible to think that a single person or small group could provide all of the artistic input (scriptwriting, directing, modelling, animation, acting, etc) to produce a full film, even ignoring all technological constraints?

Thad:
There are movies created by small teams of people; and some of these will be CG generated films. They won't be "Toy Story", though, they'll be motion-capture or cg-puppet films with relatively simple lighting setups; I don't think that you can do high-quality animation quickly, except through some kind of performance capture. There's a sort of Moore's Law at work with state-of-the-art animation where the complexity of scenes doubles every couple of years. Animators always will wait a certain amount of time for their frames to render, on the order of 15 minutes to an hour -- and that time hasn't changed even though computers are 1000 times the speed they were 10 years ago.

Your question has been answered in the affirmative last year by 'Jimmy Neutron, Boy Genius'. That was a relatively small team of people working for just a few man years; and they created an incredibly successful film. Compared to 'Monsters Inc.' it wasn't state-of-the-art, but compared to say 'Rugrats in Paris', you'd have to say that it was.

I think your question about the technology curve flattening out means that you're asking whether at some point the most elaborately specified scene might render in real-time. That it's not inconceivable but it is unlikely. It's possible that computer speed will finally outstrip the ability of an animator to create complexity, so that frames will render that fast; but I think it's more likely that database-amplification techniques will allow the specification of arbitrarily complex scenes.

To some extent what makes movies interesting is that a single two-hour movie can contain the distilled essence of a thousand man-years of work, and if it was a well managed process you can see each hour of effort up on the screen. You can see these movies over and over, and always see something new. It's like a tidal wave of information flooding over you. A small team of people won't be able to do that; but they can make perfectly good smaller movies.

Killing the Classics
by Skyshadow
Several directors have recently released "special editions" of their classic movies which subtly change the films by using computers effects to either clean up the old effects or (far worse) alter the original film.

The problem that I have with this is twofold: First, these "special editions" seem to be the ones that show up on TV and on video rental shelves, so that they and not the original become the pervasive copy.

Second, I can foresee a day when older movies are edited in this fashion so they can be remarketed to audiences with more "modern" attitudes (think similar to Speilburg taking the guns out of the hands of the pursuing authorities in the ET rerelease).

Do you believe that, as a creative professional, you have any sort of ethical duty to resist these sorts of changes? Is there a line to be drawn between merely cleaning up the original effects and replacing them entirely (as in the Star Wars special edition), or between effects-patchup and all-out content alteration (aka, the wussification of Han Solo by having Greedo shoot first)? Do you feel that old films should be left alone, or do you consider them more as ongoing acts of creation?

Thad:
I do not like the changing of movies. A movie, to me, reflects the time that it was created and becomes a kind of historical document. On the other, dominant hand, it is completely the choice of the owner of a film to do with it what he pleases.

I can understand the feeling that a movie is somehow owned by society at some point, but my point of view is different. Making a film is tremendously hard, making a good one far harder still -- and with that effort comes the right to muck it up down the road if that's what one decides to do. So, I don't see an ethical dilemma at all. I think that the place to make your protest felt is as a critic and as a movie patron; vote with your wallet. A related problem is that movies have a relatively short lifetime. The first Star Wars film reportedly had deteriorated quite a bit before the Special Edition was created; as the dyes in the film don't have good long-term stability. There will be a fifty-year period of movies that will be lost unless extraordinary (and unlikely) efforts are made. In the near future, though, all movies will be digital at some point in the process, and they have at least a fighting chance of being around for a long time. There are several digital-post facilities being set up now, which scan the whole film to allow better color correction and editing -- the most striking use of this was on O Brother, Where Art Thou?, where the final movie was dramatically color-corrected throughout in a way not possible with optical means.

question for thad
by Jucius Maximus
Thad: When designing tools for making 3D scenes or characters, how much does real world physics play into what is generated? Do you use fluid mechanical models to generate the flow of water over a waterfall or the movement of a large tree affected by a mass of air? Do you use vibro aoustical and biomechanical models to determine they way a CG mechanised character will walk?

In essence, how much do you take real physics into account when designing something a CG item to emulate a 'real' item on screen? What is the balance between physical limits and creative freedoms?

Thad:
Our charter is to create the sequence that the director of the film wants for his movie; that usually means building things that look and move like things do in real life. Often we would use real-world physics to do this. Typically, though, we take extremely simplified views of the real world to make the computations more simple, and to make them run faster.

As an example of physics in action, Nick Foster at PDI created a simplified fluid dynamics model to be used for animation; this was used to create several shots in ANTZ and Shrek. One of the big problems with simulation, as opposed to animation, is that it is difficult to control. Typically one sets initial conditions and then lets the simulation run. Having a system that runs very quickly enables the artist using the tool to try many different initial conditions, to try to create the desired final result. A slow, but more physically accurate solution would have been worthless if the animator couldn't get to a reasonable result.

Often what is done is an absurdly simplified model of reality is chosen, then it is made more accurate (and slow) until it looks good enough for the film. On our recent movie 'Showtime', we had to do a waterfall bursting out of a building, and we simulated the motion of water with air-drag, then simulated the water dragging the air with it, to get the characteristic motion of a waterfall; but we didn't have to go any further than that and simulate viscosity of the water or evaporation.

ILM has done some wonderful work simulating the dynamics of creatures, creating models of bones, muscles, fat, and skin. These give a character like a dinosaur a 'weight' that just can't be animated by hand. These dynamics are a great cue to they audience for how big and heavy these creatures are.

One curious reality of the FX world is that often reality is not what is wanted. A classic example of this is starfields. In any real-world photograph, the stars are invisible, they are far far darker than anything else in the scene. Directors often want stars in the sky to go with their actors, though; so that is what they get.

Finally, there are times when straightforward animation is the best approach. For the movie Red Planet, we had to create zero-g fire. I spent a few weeks trying to simulate the flow of smoke and fire in a zero-g environment, when my colleague Jamie Dixon thought that he could just animate all the shots by hand in a couple of days -- which he proceeded to do. When CalTech's physics department reviewed the movie for the Los Angeles Times, they panned every bit of science in the movie, except for the zero-g fire; which they thought looked "pretty cool."

CGI alternatives
by Strange Ranger
Do you think CGI can too often be seen as a "suppressor" of other art forms? The specific example in my head right now is Old Puppet Yoda vs. New CGI Yoda, we haven't seen (AFAIK) any major puppeteering work in cinema in a long time. Other possibly "suppressed" art forms might be makeup art, the art of the stunt man, set construction, backdrop painting, cinematograghy, heck even acting could be listed here. Will CGI be escorting some or all of these art forms down the same path as Silent Films, blacksmithing, and totem-pole carving?

Do you ever want to say "Hey this would be a lot better if it were done with [not CGI] instead"?

Thad:
There are many times as many people working in the FX field today as there were ten years ago. Now, it's true that some of the techniques are not as much in demand as they were, but it's not as bad as you might think. A company that we do quite a bit of collaborative work with is Illusion Arts, in Van Nuys California. The two founders, Bill Taylor and Syd Dutton, started doing practical camera effects and matte paintings, and built a very successful company around these kinds of classical techniques. Today, they are now doing synthetic 3D camera moves and painting on Macs; but 90% of the talents and skills they used before are still applicable today; just the medium is different. What makes a good artist is foremost their eye; their ability to see what is right and to see how to fix what is wrong. Illusion Arts was the lead shop in The Fast and The Furious, and along with us and Digiscope made a very modern movie.

In your example of puppetry, I too was a little disappointed to see the CG Yoda; especially in the closeups it just wasn't exactly the same. Of course, there's no way that a puppet could have done the lightsaber battle. Also, a growing area of FX is performance capture; recording data in real-time and applying it to CG characters. In Episode One and Two of the Star Wars movies, there is a tremendous amount of motion capture, used to animate robots and creatures. Performance capture is just puppetry with one's whole body, really.

Back in 1989, Graham Walters and I build the CG puppet Waldo C. Graphic for The Jim Henson Hour. The puppet was animated by putting one's hand into a 'waldo' (a mechanical tracking device reminiscent of a Luxo Lamp), and moving it around; and watching the results on a TV screen. This was so similar to the way that the Henson puppeteers usually work that it took no time at all to get comfortable with the puppet; I don't think it took Henson himself more than about 5 seconds to get totally up to speed on it.

Speaking about stunt work, one of the very first things that people realized with digital techniques is that 'wire-removal' is fairly straightforward. One can identify a moving wire in a scene and use several techniques to get rid of it. This meant that whereas stunt people used to use the thinnest possible safety wires, or none at all; now they could use systems with significant margins of safety. Also, face-replacement techniques coming to the fore means that stunt people can play far closer to the camera than they used to, opening up new opportunities for stunts.

When it comes to acting, though, I don't think that digital graphics will ever replace traditional techniques. There's no good reason to attempt it, and it's unbelievably hard. The subtlety and complexity of motion of skilled human actors is astonishing, and a ridiculous portion of the human brain is dedicated to interpreting those expressions and motions.

So, I would say that for every job lost, many are created -- and the people whose jobs are lost can often put those same skills to use in this new digital world.

Little studios vs Big Studios
by Milinar
I've followed your company's work over the past few years with great interest. It seems to me that the effects you do are pretty much on par with big studios like digital domain, etc. Have you purposefully stayed a small studio, with a few dedicated individuals? And what advantages has that given you?

Thad:
When we started Hammerhead, we made a deliberate commitment to stay small. We didn't see significant economies of scale in the field, and it seemed like we'd have much more fun in a smaller company. There is a strong culture in American business that you have to "grow or die", but it was our experience that growth was extremely difficult to manage and that companies that grew quickly found themselves dying quickly, too. Once you get past a couple of dozen people, there seems to be a phase change in company culture, and productivity declines.

We do find that our small ('boutique' is the term of art) studio can compete against companies one or two orders of magnitude larger than us on many jobs that don't require a huge volume of shots. While our staff is small, we are extremely experienced, having been doing digital visual effects since we helped create the field at the beginning of the 90's. We tend to hire very capable, experienced artists -- one way that we keep it interesting for them is that they are given a huge amount of creative control over their shots.

As a small company we can be very flexible, too. We can reconfigure ourselves for whatever project is at hand; and become the Deep Blue Sea company when that is what is going on. There is very little overhead not contributing to getting a particular job done. Paradoxically, in a small company you can do more different things. We've done FX for films, wrote and produced a big Hollywood film, made our own low-budget horror film, and wrote and sold software. We will very likely be making a couple of TV pilots next year of shows with substantial visual effects content. Bigger FX companies have to be more focused, they can't afford to be experimental and possibly make mistakes, because they would be much larger mistakes.

Our biggest weakness is that we cannot even begin to take on huge jobs. Movies like Pearl Harbor or Spiderman require hundreds of people; and we have to leave these jobs to the ILMs and Sonys of the world. Still, there are hundreds of movies a year with a few dozen to a hundred and fifty shots, with reasonable time schedules, where we can compete well. I think that we have found a 'sweet spot', where many features combine to make a pleasant, profitable, successful company -- and the small size is an important part of that.

Dropped crusade against Pixar patent?
by Anonymous Coward
I heard a rumor that you dropped your "crusade" against Pixar's software patent on deep-shadow technology? The rumor implied you were "bought-out"? Care to comment/share your thoughts on software patents in the VFX industry?

Thad:
While this was not moderated up, I do feel it needs an answer. The patent that is referred to is for the obvious enhancement of Lance Williams' 1978 z-buffer shadow scheme [pdf link] given that today's computers have more than 64 Kb of memory. In the Williams algorithm the scene is rendered from the point of view of the light, and the depth to the first surface is stored. Then, when rendering the image from the camera's point of view, you can easily tell whether a surface should be in shadow or not. The Deep Shadow Map idea was to store a function of depth vs. opacity at each pixel in the image rendered from the light POV, to allow partially transparent surfaces and subpixel shadow coverage.

Unfortunately, Pixar has decided to patent this. They presented the idea at Siggraph '00 but didn't mention in the paper the fact that they'd filed a patent; although word got out pretty soon. As the patent has not been granted yet, and they filed the patent before the Patent Office's policy change that now publishes patent applications, it's unknown what their claims are. What I am fairly sure of, though, is that Pixar didn't invent this technology, and that people at Pixar know this. So, it's not only really nasty to try to build on somebody else's technique and wrest it for yourself, but there may be legal problems as well.

I've discussed this with lawyers, and they say that the time to fight a patent is after it grants. While that seem weird and suboptimal, there's nothing about patent law that isn't weird and suboptimal. So, I'm going to wait and see what happens. There are other possibilities for fighting the patent that don't make sense to reveal at this time, for obvious reasons. Clearly this comment reveals that there is no agreement between Pixar and me to remain quiet on this issue.

It wouldn't surprise me if patents destroy the visual effects industry as we know it today. Pixar already has one notch in its belt, last week forcing the company ExLuna to withdraw its Entropy renderer that competed with Pixar's Renderman (and the shareware BMRT program that preceded Entropy, as well). A rational, cold-blooded analysis of the software patent situation would reveal that almost every complex program today could be attacked on patent grounds, as we've seen recently with the JPEG fiasco. Back when I worked at PDI, we were attacked a couple of times for patent violations, only escaping a devastating patent by NYIT on the thinnest of technicalities. In irony not lost on anybody, Ed Catmull of Pixar (with Disney's lawyers help) led the fight against NYIT's patent.

Interestingly, this has happened before in visual effects. Back in the bad old days, every single analog visual effects technology was patented and owned by the studios. Rear Projection, Front Projection, Blue Screens, Sodium Screens -- everything. The studios would in effect pool the patents between themselves; but if you wanted to make a visual effects film you had to do it completely within the studio system. It might happen again.

Pointing to the conclusions of this listening study, nullity writes: "The results are interesting, and show a high variation in the performance of the various codecs on different musical styles. Ogg seems to work well on dance music, WMA8 on chamber music, etc."

david_christie writes "Dan Gillmor has a piece on the economist Yochai Benkler's paper "Coase's Penguin, or Linux and the Nature of the Firm" which examines open source projects asan example of an emerging general model of economic behavior that is neither market nor company based. A previous version of the paper was noted in slashdot back in October, but it's been revised for upcoming publication in the Yale Law Review and is well worth a second look. Benkler attempts to explain why open source projects succeed, without falling back on theories about the special nature of software projects or hacker culture. He suggests that more general economic principles are at work, which are displacing the traditional motivations (market prices and employee relationships) that economists use to quantify individual behavior. If he's right the open source model could spread to other forms of creative work where the output is information or culture (music production comes to mind). The author thinks deeply about the information flows characterizing collaborative projects like free software development ("commons-based peer production"). That distinguishes this paper from the usual economist mumbo-jumbo about price points and such. Like Larry Lessig on the legal side of things, this is a guy who gets it and has thought deeply about how his field relates to it."

Oscar Carrillo asks: "We have to do a large NIH grant which collects tons of data. And much of that data is in the form of questionnaires. The forms will be available on the web, but it's mostly not feasible to have the subjects sit in front of the computer all day (not to mention that people get annoyed sitting in front of a computer all day). The study is being conducted at several universities and institutions around the country. Using Linux/JSP/Struts/PostgreSQL will take care of most of our needs. But it would save a lot of data entry, if all forms could be scanned at each site, images uploaded to the website, and then automatically put through OCR (Optical Character Recognition) to get only the relevant raw data that subjects wrote. Does anyone know of something that can handle this? Are there any open source projects that can handle this? Any good commercial alternatives?"

Daniel Gomez-Ibanez writes "I made a digital turntable - it stores digital audio and plays it back like a record player. This lets you scratch the audio from a CD. I like it because there's no 'computer' involved- a four year old can figure it out. There's a description here." Daniel also has a more descriptive web page on the inspiration and design of this beast.

Daniel Gomez-Ibanez writes "I made a digital turntable - it stores digital audio and plays it back like a record player. This lets you scratch the audio from a CD. I like it because there's no 'computer' involved- a four year old can figure it out. There's a description here." Daniel also has a more descriptive web page on the inspiration and design of this beast.

Daniel Gomez-Ibanez writes "I made a digital turntable - it stores digital audio and plays it back like a record player. This lets you scratch the audio from a CD. I like it because there's no 'computer' involved- a four year old can figure it out. There's a description here." Daniel also has a more descriptive web page on the inspiration and design of this beast.

junge_m writes "Donald Knuth has released another of his by now famous pre-fascicles to Volume 4 of his epic: Pre-fascicle 2c is all about 'Generating all Combinations' supplementing his pre-fascicles 2a and 2b. Furthermore he challenges us all to do more of his daunting exercises and report our success. He thinks we are way too lazy in this respect! So come on slashdot crowd: Do your homework and get the credit from the grandmaster himself!"

junge_m writes "Donald Knuth has released another of his by now famous pre-fascicles to Volume 4 of his epic: Pre-fascicle 2c is all about 'Generating all Combinations' supplementing his pre-fascicles 2a and 2b. Furthermore he challenges us all to do more of his daunting exercises and report our success. He thinks we are way too lazy in this respect! So come on slashdot crowd: Do your homework and get the credit from the grandmaster himself!"

junge_m writes "Donald Knuth has released another of his by now famous pre-fascicles to Volume 4 of his epic: Pre-fascicle 2c is all about 'Generating all Combinations' supplementing his pre-fascicles 2a and 2b. Furthermore he challenges us all to do more of his daunting exercises and report our success. He thinks we are way too lazy in this respect! So come on slashdot crowd: Do your homework and get the credit from the grandmaster himself!"

junge_m writes "Donald Knuth has released another of his by now famous pre-fascicles to Volume 4 of his epic: Pre-fascicle 2c is all about 'Generating all Combinations' supplementing his pre-fascicles 2a and 2b. Furthermore he challenges us all to do more of his daunting exercises and report our success. He thinks we are way too lazy in this respect! So come on slashdot crowd: Do your homework and get the credit from the grandmaster himself!"

junge_m writes "Donald Knuth has released another of his by now famous pre-fascicles to Volume 4 of his epic: Pre-fascicle 2c is all about 'Generating all Combinations' supplementing his pre-fascicles 2a and 2b. Furthermore he challenges us all to do more of his daunting exercises and report our success. He thinks we are way too lazy in this respect! So come on slashdot crowd: Do your homework and get the credit from the grandmaster himself!"