At the risk of sounding redundant, Stevie Wonder has been on the bleeding edge of audio tech since the early '70s.
When Yamaha introduced the GS-1, the first all-digital keyboard in 1974, Wonder had one of only two in the US (the GS-1 was a big $100,000 beast). He's also surrounded himself with smart techies like Gary Ozlabal, and was an early-adopter of 2" analog and later DASH digital audio formats.
I wasn't suprised to see Stevie Wonder's name in the article. I was suprised that he didn't opt for the MIDI port implant instead.
But seriously, starting with Guido d'Arezzo in the 6th century (he's responsible for the do-re-mi-... solfege syllables) and continuing on through the early polyphonists and theorists, through the era of the masters -- Bach, Mozart, Beethoven, Brahms -- and culminating with the modern and post-modern work of Debussy, Stravinsky, Schoenberg, Ives, Cage, Riley, Glass...
Whew. Long sentence. But my point is there are hacks everywhere: Bach's eponymous fugue in Die Kunst Der Fuge (B was Bb, H was B natural back then), Schoenberg's twelve-tone system, Riley's use of aleatory elements, Cage's silence.
And starting with Edison and Bell, the recording industry is Hackarama. Leo Fender (the "log", the original electric guitar), Les Paul (multitracking on lacquer disk fer chrissake), Bob Moog, Rupert Neve, producers like George Martin and Todd Rundgren. Pushing the envelope.
Anyone know the story behind Ampex? IIRC it was started by G.I.s who brought captured German acetate recording tech back to the States after WWII, displacing domestic wire recorders. Built the first videotape recorders in the late '50s.
The M16 rifle is the very definition of a hack in hardware. It is elegant, and it gets the job done extremely well, even under the most adverse conditions.
The early history of Eugene Stoner's AR-15/M-16 was riddled with problems. Close manufacturing tolerances and adverse field conditions (think Viet Nam) caused jams at the worst possible moments.
These problems weren't really solved until the introduction of the M-16A1 with its kludgy "forward assist" (and a switch to less corrosive propellants).
Now Mikhail Kalashnikov's AK-47: that is a hackerly weapon. Five moving parts. Stamped parts instead of milled/machined components. Stranded steel wire instead of springs. Simple to operate and maintain. Fault-tolerant. A village blacksmith can gin up a new bolt carrier/gas piston assembly if need be. It's the one weapon I'd want with me if I ever had to travel back through time.
Kalashnikov picked some of the best features of three contemporary designs (Mp-44, M1 Garand, SKS) and hacked together a design that's still in production 52 years later.
First, I suspect the accuracy of anything that appears in the Washington Times. Its owners, the Unification Church, are from the Old School of Red baiters. Then again, the Korean War may have had something to do with this.
But, in reading the paraphrasis of the Chinese article, particularly the reference to "gaining control" of "Internet command", I get the feeling that they don't quite understand the decentralized nature of the Internet.
What can they do? Get root on the root nameservers?
The exhaust from a starter cart cooked off a Zuni missile from a pod hanging off an F-4 Phantom parked on the aft deck. The missile hit McCain's plane, an A-4 Skyhawk. McCain survived being cooked alive by crawling from the cockpit to the nose of his plane on the refueling probe.
k.
Re:Greedy Corporate Scumfucks
on
Copyright!
·
· Score: 2
Here's a big hint. One a lot of people simply can't seem to grasp on any level (i'm going to use that bolding here that you love): Everything doesn't have to be about money.
I took your post to heart and tried this at the supermarket checkout line.
"$57.29," she said.
"Everything doesn't have to be about money," I replied.
And so I walked out of there with a weeks worth of groceries. You're right! It worked!
Of course, the 12-gauge shotgun slung over my shoulder might have had some influence.
As a songwriter, copyright is the fulcrum upon which my lever rests. Everything stems from copyright: publishing, performance royalties, mechanicals, practically the whole revenue stream flows from the protection I get from sending $20 and Form PA (or SR for recording, TX for lyrics) to the United States Copyright Office.
How am I supposed to deal with a multi-billion dollar recording industry without this basic protection? More lawyers? No thanks.
The artist always gets screwed. Such is Life in These United States. Take away copyright protection and screwed becomes sodomized repeatedly with a cordless drill[1].
Legacy is how I describe the echoes of my life and works after I'm dead; it's what I leave my family. My copyrights and royalty stream are my estate, my rice bowl. You don't want to mess with that.
Your Rights Online are conflicting with My Rights Offline. The ham-handed enforcement techniques of the RIAA reflect poorly on the RIAA[2], not the laws that they're ineptly trying to enforce. The bottom line is that MP3 kiddies are getting a free lunch. TANSTAAFL.
Granted, $15 of the $16 retail goes to the record company. Boo hoo for them. The band/writer(s) are still screwed out of their mythical $1. Practically every/. discussion I've read on the subject of intellectual properties seems to ignore the point-of-view of the copyright owner and the work involved in creating a work of art or a patentable invention. Artists are not salaried workers; piecework in a sweatshop is closer to the truth.
k.
[1] Though in the case of {Hanson|Spice Girls|Ricky Martin|etc.} this might be fun to watch.
[2] I'm still pissed off over the Blank Tape Tax: that babyfucker Michael Jackson gets a few pennies from every blank tape I buy for the purposes of recording my own works. If I don't at least get a bit of the Elephant Man's skeleton at the end of my career, I'm going to make Jacko eat Bubbles the Chimp. Oh wait, he's already done that. Nevermind.
Re:AutoCAD was originally a unix app, time for ret
on
Bringing CAD to Linux
·
· Score: 1
Wrong.
Read this. The Autodesk Files by John Walker, one of the company's founders.
It's an interesting look at corporate culture and the history of computing in the '80s regardless of your interest in CAD/CAM.
I don't know about you, but I own more than one chisel...
Hey, so do I! But like me, you must have a favorite chisel, the one all-around chisel that fits your hand well and always keeps an edge.
We're stretching this toolbox metaphor rather thin. Here's a new one: Photoshop is Larry Bird circa 1986. Can Photogenics be Dominique Wilkins? Furthermore, who is coding the next Michael Jordan of bitmap editors/chisels?
You know, I don't know of any carpenters who only use a chisel and no other tools. So why just use one computer tool? If Photogenics does something that Photoshop doesn't do, use it, and then use Photoshop for what it does well.
True, but we're discussing bitmap editors here, not the whole box of tools (e.g., vector, 3d, video editing, page layout, batch conversion, etc.). Chisels only, in other words.
But my almost 6 years of Photoshop experience is something I can't throw out unless there's a very compelling reason to do so.
Unlike Microsoft, I'm comfortable with Adobe's monopoly (Pshop, Illustrator, AfterEffects, Premiere) because their products are stable, even under WFW 3.11 and System 7 (circa. 1994). Unlike Microsoft.
For someone new to design and graphics, having a choice of tools is a Good Thing. And competition raises the bar for everyone involved in software development.
But Photogenics would have to have a conceptual advantage; playing catch-up is not good enough.
In a production environment, stability, speed, and ease-of-use are paramount. A mature product like Photoshop also has an extensive user base, a necessary asset for a complex product (cf. comp.graphics.photoshop). RTFM sometimes only gets you so far.
Electronic stellar navigation systems have been in use for over 40 years (example: B-58 Hustler used a Bendix/Motorola system developed in the mid-'50s...IIRC it was a point-of-failure on the early '60s spy satellites).
In other words, there was an analog/vacuum tube solution for a problem that had been solved in prior centuries by a bloke with a sextant and a timepiece.
The cut took out a major East-West pipe. By definition, an East-West pipe has to pass through...(wait for it)...the Midwest!
A lot of fiber lines run along railroad rights-of-way (hence the SP in SPRINT: Southern Pacific). A lot of these rights-of-way run through...(pregnant pause)...the Midwest!
It happens often, usually involving (more localised) power, telephone, and (spectacularly) gas lines. I think the NTSB has an online database of pipeline incidents.
Slashdot Mirror
Leader Kibo appreciates your obedience. You still owe him all the candy in the world.
k.
... Gibson's short story "Red Star, Winter Orbit" in Burning Chrome.
But I also wonder how a gerbil in Richard Gere's ass would deal with zero-gee.
k., just another karma gerbil
At the risk of sounding redundant, Stevie Wonder has been on the bleeding edge of audio tech since the early '70s.
When Yamaha introduced the GS-1, the first all-digital keyboard in 1974, Wonder had one of only two in the US (the GS-1 was a big $100,000 beast). He's also surrounded himself with smart techies like Gary Ozlabal, and was an early-adopter of 2" analog and later DASH digital audio formats.
I wasn't suprised to see Stevie Wonder's name in the article. I was suprised that he didn't opt for the MIDI port implant instead.
k.
Woo hoo! 627th post!
But seriously, starting with Guido d'Arezzo in the 6th century (he's responsible for the do-re-mi-... solfege syllables) and continuing on through the early polyphonists and theorists, through the era of the masters -- Bach, Mozart, Beethoven, Brahms -- and culminating with the modern and post-modern work of Debussy, Stravinsky, Schoenberg, Ives, Cage, Riley, Glass...
Whew. Long sentence. But my point is there are hacks everywhere: Bach's eponymous fugue in Die Kunst Der Fuge (B was Bb, H was B natural back then), Schoenberg's twelve-tone system, Riley's use of aleatory elements, Cage's silence.
And starting with Edison and Bell, the recording industry is Hackarama. Leo Fender (the "log", the original electric guitar), Les Paul (multitracking on lacquer disk fer chrissake), Bob Moog, Rupert Neve, producers like George Martin and Todd Rundgren. Pushing the envelope.
Anyone know the story behind Ampex? IIRC it was started by G.I.s who brought captured German acetate recording tech back to the States after WWII, displacing domestic wire recorders. Built the first videotape recorders in the late '50s.
I still use Ampex tape (456 and 499).
k.
The M16 rifle is the very definition of a hack in hardware. It is elegant, and it gets the job done extremely well, even under the most adverse conditions.
The early history of Eugene Stoner's AR-15/M-16 was riddled with problems. Close manufacturing tolerances and adverse field conditions (think Viet Nam) caused jams at the worst possible moments.
These problems weren't really solved until the introduction of the M-16A1 with its kludgy "forward assist" (and a switch to less corrosive propellants).
Now Mikhail Kalashnikov's AK-47: that is a hackerly weapon. Five moving parts. Stamped parts instead of milled/machined components. Stranded steel wire instead of springs. Simple to operate and maintain. Fault-tolerant. A village blacksmith can gin up a new bolt carrier/gas piston assembly if need be. It's the one weapon I'd want with me if I ever had to travel back through time.
Kalashnikov picked some of the best features of three contemporary designs (Mp-44, M1 Garand, SKS) and hacked together a design that's still in production 52 years later.
k.
First, I suspect the accuracy of anything that appears in the Washington Times. Its owners, the Unification Church, are from the Old School of Red baiters. Then again, the Korean War may have had something to do with this.
But, in reading the paraphrasis of the Chinese article, particularly the reference to "gaining control" of "Internet command", I get the feeling that they don't quite understand the decentralized nature of the Internet.
What can they do? Get root on the root nameservers?
Rand has some interesting studies in this field.
k.
You are so wrong.
Go here. Then go to hell.
The exhaust from a starter cart cooked off a Zuni missile from a pod hanging off an F-4 Phantom parked on the aft deck. The missile hit McCain's plane, an A-4 Skyhawk. McCain survived being cooked alive by crawling from the cockpit to the nose of his plane on the refueling probe.
k.
Here's a big hint. One a lot of people simply can't seem to grasp on any level (i'm going to use that bolding here that you love): Everything doesn't have to be about money.
I took your post to heart and tried this at the supermarket checkout line.
"$57.29," she said.
"Everything doesn't have to be about money," I replied.
And so I walked out of there with a weeks worth of groceries. You're right! It worked!
Of course, the 12-gauge shotgun slung over my shoulder might have had some influence.
k., just another greedy corporate scumfuck
As a songwriter, copyright is the fulcrum upon which my lever rests. Everything stems from copyright: publishing, performance royalties, mechanicals, practically the whole revenue stream flows from the protection I get from sending $20 and Form PA (or SR for recording, TX for lyrics) to the United States Copyright Office.
/. discussion I've read on the subject of intellectual properties seems to ignore the point-of-view of the copyright owner and the work involved in creating a work of art or a patentable invention. Artists are not salaried workers; piecework in a sweatshop is closer to the truth.
How am I supposed to deal with a multi-billion dollar recording industry without this basic protection? More lawyers? No thanks.
The artist always gets screwed. Such is Life in These United States. Take away copyright protection and screwed becomes sodomized repeatedly with a cordless drill[1].
Legacy is how I describe the echoes of my life and works after I'm dead; it's what I leave my family. My copyrights and royalty stream are my estate, my rice bowl. You don't want to mess with that.
Your Rights Online are conflicting with My Rights Offline. The ham-handed enforcement techniques of the RIAA reflect poorly on the RIAA[2], not the laws that they're ineptly trying to enforce. The bottom line is that MP3 kiddies are getting a free lunch. TANSTAAFL.
Granted, $15 of the $16 retail goes to the record company. Boo hoo for them. The band/writer(s) are still screwed out of their mythical $1. Practically every
k.
[1] Though in the case of {Hanson|Spice Girls|Ricky Martin|etc.} this might be fun to watch.
[2] I'm still pissed off over the Blank Tape Tax: that babyfucker Michael Jackson gets a few pennies from every blank tape I buy for the purposes of recording my own works. If I don't at least get a bit of the Elephant Man's skeleton at the end of my career, I'm going to make Jacko eat Bubbles the Chimp. Oh wait, he's already done that. Nevermind.
Wrong.
Read this. The Autodesk Files by John Walker, one of the company's founders.
It's an interesting look at corporate culture and the history of computing in the '80s regardless of your interest in CAD/CAM.
k.
Hey, so do I! But like me, you must have a favorite chisel, the one all-around chisel that fits your hand well and always keeps an edge.
We're stretching this toolbox metaphor rather thin. Here's a new one: Photoshop is Larry Bird circa 1986. Can Photogenics be Dominique Wilkins? Furthermore, who is coding the next Michael Jordan of bitmap editors/chisels?
k.
(To the tune of O Tannenbaum)
Cthulhu TreeO Cthulhu Tree...
k.
True, but we're discussing bitmap editors here, not the whole box of tools (e.g., vector, 3d, video editing, page layout, batch conversion, etc.). Chisels only, in other words.
k.
But my almost 6 years of Photoshop experience is something I can't throw out unless there's a very compelling reason to do so.
Unlike Microsoft, I'm comfortable with Adobe's monopoly (Pshop, Illustrator, AfterEffects, Premiere) because their products are stable, even under WFW 3.11 and System 7 (circa. 1994). Unlike Microsoft.
For someone new to design and graphics, having a choice of tools is a Good Thing. And competition raises the bar for everyone involved in software development.
But Photogenics would have to have a conceptual advantage; playing catch-up is not good enough.
In a production environment, stability, speed, and ease-of-use are paramount. A mature product like Photoshop also has an extensive user base, a necessary asset for a complex product (cf. comp.graphics.photoshop). RTFM sometimes only gets you so far.
k.
Electronic stellar navigation systems have been in use for over 40 years (example: B-58 Hustler used a Bendix/Motorola system developed in the mid-'50s...IIRC it was a point-of-failure on the early '60s spy satellites).
In other words, there was an analog/vacuum tube solution for a problem that had been solved in prior centuries by a bloke with a sextant and a timepiece.
Besides, you can't "jam" the stars.
k.
The cut took out a major East-West pipe. By definition, an East-West pipe has to pass through...(wait for it)...the Midwest!
A lot of fiber lines run along railroad rights-of-way (hence the SP in SPRINT: Southern Pacific). A lot of these rights-of-way run through...(pregnant pause)...the Midwest!
It happens often, usually involving (more localised) power, telephone, and (spectacularly) gas lines. I think the NTSB has an online database of pipeline incidents.
K.
Didn't Grolier try this with multimedia a few years ago? Wasn't their patent rejected because
of prior art?
k.