Category: History of Computing and Multimedia

How to dispose of your computer: In Loving Memory of the Mainframe (aka IMS)

In Loving Memory of the Mainframe (aka IMS) is a site with a YouTube video of the goodbye New Orleans jazz funeral that was held outside in the snow at the University of Manitoba for their IBM 650 mainframe. See the Network World story How to really bury a mainframe. The Network World site provides a transcript of the eulogy including this,

Farewell IMS, we’ll remember you well. After forty-seven years, there are many stories to tell. Like when Tel Reg nearly shut down MTS, and when the Y2K bug put us under duress. You helped us achieve our academic objectives, and gave our admin processes a proper perspective.

But now we must lay you under the flora, because we have to go deal with this bloody Aurora. So we commit your parts to be recycled. Earth to Earth. Ashes to Ashes. Dust to Dust. To the god of computers, please bless it and keep it, and give it grace and peace, but please do not resurrect it.

Now, how do we bury projects this gracefully?

Rome Reborn in Google Earth

Image of Google Rome Ever wondered what it was like to stand in the Roman forum back in 320 CE? Well, growing up in Rome and being dragged through the now hot and dusty forum I have wondered what it was like back then amny times. Now I can fly around imperial Rome thanks to a collaboration between the Rome Reborn project led by Bernie Frischer at Virginia and Google Earth. You can download the latest Google Earth viewer and relevant layers at Google Earth Rome. All that is missing is people.

This project has recieved a lot of press like the BBC story, Google Earth revives ancient Rome. I first noticed it on the Italian Google News where it made the Top Stories front page yesterday (called Prima Pagina in the Italian.) The mayor of Rome, Gianni Alemanno even blogged it on the Google blog inviting people to tour.

The idea that virtual technologies now let people experience the city that I guide as it appeared in 320 A.D. fills me with pride — a pride that I inherited from Rome’s glorious past.

As a humorous aside, there is an interesting view to be had if you go through the “floor” of ancient Rome. Then you see the satellite view of modern Rome (flattened) below the ancient 3D model in an interesting inversion of the archaeological layers.

Screen Shot from Google Earth Rome

Here you see the distinctive design of Michelangelo’s Campidoglio beneath the model. The lines are the flags for items of interest that you can click on to get descriptions of the buildings.

Kane Kramer: Inventor of the Digital Audio Player?

Image of DrawingI came across a story that Kane Kramer, and English inventor, invented the digital audio player and patented it in 1979 though he lost the patent. Here is an interview with the Guardian.

No. I like the iPod, but it feels a bit unfair to have to buy one. I could show you my drawings from 1979-82 and there is an iPod – same size, shape. It feels like mine.

Kane apparently testified for Apple when they were being sued by others.

Krazy: Vancouver Art Gallery

Cover to Catalogue

While in Vancouver for the Congress, I went to the Vancouver Art Gallery to see the show Krazy! The Delirious World Of Anime + Comics + Video Games + Art which brought together in one exhibit significant works from Anime, Comics, Graphic Novels, Manga, Video Games, Animation and Art. The show was better than I had expected reading the article in the Globe and Mail. For each section they got curators with a background in the field. For example, Will Wright (of SIMs fame) did the video game section.

The challenge of such an exhibit is how to show stuff like comics that are meant to be consumed in another form. The video game section was particularly problematic – they had inkjet printouts of Spore (upcoming game by Wright) screens and characters (that weren’t much better than a good screen), but it wasn’t like the comic section where they had original art and sketches. To exhibit in an art gallery the types of work that are consumed in other contexts was more an exercise in legitimation – telling us these should be thought of as art. The selection of what was important was what was really being exhibited – a “best of” list of lists with commentary on the walls.

Cybersyn: Before the Coup, Chile Tried to Find the Right Software for Socialism

Image of Cybersyn Opsroom

In New York for my last f2f meeting of the MLA Committee on Information Technology I got a New York Times with an intriguing article about a Chilean management system, Cybersyn, titled Before the Coup, Chile Tried to Find the Right Software for Socialism.

Cybersyn was born in July 1971 when Fernando Flores, then a 28-year-old government technocrat, sent a letter to Mr. Beer seeking his help in organizing Mr. Allende’s economy by applying cybernetic concepts. Mr. Beer was excited by the prospect of being able to test his ideas.

He wanted to use the telex communications system – a network of teletypewriters – to gather data from factories on variables like daily output, energy use and labor “in real time,” and then use a computer to filter out the important pieces of economic information the government needed to make decisions.

Cybersyn was apparently semi-functional before the coup that overthrew Allende’s government and it was used to help manage around the small-business and truckers strike in 1972. I don’t think the Opsroom pictured above was ever fully operational, but visualization screens were important even if at the time they were hand-drawn slides that were projected rather than computer generated visualizations (see http://varnelis.net/blog/kazys/project_cybersyn on the chairs of the Opsroom.) Beer and the Chileans wanted Cybersyn to help them implement an alternative socialist economy that was managed in real time rather than “free” and chaotic or planned in the heavy handed way of most socialist economies of the time.

Rooting around, I found a good article about Cybersyn and the English visionary designer Stafford Beer from 2003 in the Guardian by Andy Beckett, Santiago Dreaming. It turns out that Beer gave the Massey Lectures in 1971 and they have been reprinted by Anansi as Designing Freedom. He also moved part-time to Toronto in the 80s where his last partner, Dr. Allenna Leonard of Metaphorum still resides. He died in 2002.

Another interesting thread is Fernando Flores who was the political lead of Cybersyn and the person that recruited Beer for the project. After the coup, Flores went to the US and got a Ph.D. in Computer Science collaborating with Terry Winograd, and being influenced by Maturana, also Chilean. That’s right – the Flores of Understanding Computers and Cognition. He is now back in Chile as a senator and supports various projects there.

The common thread is that Beer, Flores and Maturana all seem interested in viable systems in different spheres. They were applying cybernetics.

Dreyfus: Alchemy and Artificial Intelligence

Willard in Humanist pointed us towards an interesting RAND Paper by Hubert L. Drefus from 1965, Alchemy and Artificial Intelligence which suggests that artificial intelligence research is like alchemy – initial success has led to it being oversold when the fundamental paradigm is wrong.

Alchemists were so successful in distilling quicksilver from what seemed to be diret, that after several hundred years of fruitless effort to convert lead into gold they still refused to believe that on the chemical level one cannot transmute metals. To avoid the fate of the alchemists, it is time we asked where we stand. Now, before we invest more time and money on the information-processing level, we should ask whether the protocols of human subjects suggest that comptuer language is appropriate for analyzing human behaviour. Is an exhaustive analysis of human intelligent behavior into discrete and determinate operations possible? Is an approximate analysis of human intelligent behavior in such digital terms probable? The answer to both these questions seems to be, “No.”

In this paper Dreyfus leverages the lack of progress after people like H. A. Simon in 1957 predicted the extraordinary. Dreyfus does more than make fun of the hype, he uses it to question what AI research might achieve at all and to think about intelligence.

Now that we are 50 years after Simon’s predictions things are more complicated. We do have chess playing machines that are better players than humans. (Drefus points out how the early machines being hyped were really stupid chess players.) We do have machines that can recognize complex patterns and recognize speech. We do have better machine translation. It may be going slowly, but research is moving forward. Perhaps the paradigm of the mind as a machine is wrong, but thinking about it that way and trying to model intelligent behaviour is getting results. What then do we make of the alchemical insult. Is it too easy to call magical thinking those projects that are ambitious and make the mistake of predicting success? Having recently read Siegried Zielinski’s Deep Time of the Media, I’m finding myself more sympathetic of magical projects that promise to transmute data into intelligence. Impossible … probably, but that is no reason not to try.

To paraphrase the third of (recently died) Arthur C. Clarke’s three laws of prediction:

“Any sufficiently magical proposal should be indistinguishable from research.”

This obviously applies to grant proposals.

Ong: Secondary Orality and Secondary Visualism

Wandering some more through the Notes from the Walter Ong Collection blog I came across an intriguing note on Revising Secondary Orality and Secondary Visualism. The Walter J. Ong Collection at Saint Louis University has PDFs of lectures including one on Secondary Orality and Secondary Visualism (PDF). In the lecture Ong seems to be thinking about virtual reality as a form of secondary visuality just as radio and television are a secondary orality. If secondary orality is orality which is scripted (while appearing spontaneous like the oral), secondary visuality would be planned while being visually spontaneous. Perhaps the scripting or planning in this case would be the code that makes virtual spaces available rather than the scripting of the humans in the space.

Image of VRML Dream

Secondary visuality might be like the VRML Dream – a performance of Shakespeare’s A Midsummer Night’s Dream that was streamed over the Internet with VRML. According to a student who participated when he was younger, they had two sets of performers – the voice actors in one room and the VRML body actors in another. Or secondary visuality could be visualizations that transcode data from one sensory modality to another (from text to the visual.)

Zielinski: Deep Time of the Media

Image of Cover Siegried Zielinski’s Deep Time of the Media (translated by Gloria Custance, Cambridge, MA, MIT Press, c2006) is an unusual book that pokes into the lost histories of media technologies in order to start “toward an archaeology of hearing and seeing by technical means” (as the subtitle goes.) Zielinski starts by talking about the usual linear history of media technologies that recovers what predicts what we believe is important. This is the Vannevar Bush, Ted Nelson type of history. Zielinski looks away from the well known precursurs towards the magical and tries to recover those moments of diversity of technologies. (He writes about Gould’s idea of punctuated equilibrium as a model for media technologies – ie. that we have bursts of diversity and then periods of conformity.)

I’m interested in his idea of the magical, because I think it is important to the culture of computing. The magical for Zielinski is not a primitive precursor of science or efficiency. The magical is an attitude towards possibility that finds spectacle in technology. Zielinksi has a series of conclusions that sort of sketch out how to preserve the magical:

Developed media worlds need artistic, scientific, technical, and magical challenges.  (p. 255)

Cultivating dramaturgies of difference is an effective remedy against the increasing ergonomization of the technical media wolrds that is taking place under the banner of ostensible linear progress. (p. 259)

Establishing effective connections with the peripheries, without attempting to integrate these into the centers, can help to maintain the worlds of the media in a state that is open and transformable. (p. 261)

The most important precondition for guaranteeing the continued existence of relatively power-free spaces in media worlds is to refrain from all claims to occupying the center. (p. 269)

The problem with imagining media worlds that intervene, of analyzing and developing them creatively, is not so much finding an appropriate framework but rather allowing them to develop with and within time. (p. 270)

Kairos poetry in media worlds is potentially an efficacious tool against expropriation of the moment. (p. 272)

Artistic praxis in media worlds is a matter of extravagant expenditure. Ist priviledged location are not palaces but open laboratories. (p. 276)