Links and write-ups about beautiful things from around the web!
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Visual 6502
Archeology Magazine has a feature story about the “digital archeologists” behind Visual6502, the group “excavating” and fully remapping the inner workings of the classic 8-bit MOS Technology 6502 microprocessor. That might not sound interesting, but if you’ve been alive for more than 20 years you know the chip: it was the heart of early home computers ranging from the Apple I and Apple ][ to the Atari game consoles all the way up to the Nintendo NES.
Very cool and all, but in case you’re still not interested, here’s some excellent trivia slipped into the article:
In the 1984 film The Terminator, scenes shown from the perspective of the title character, played by Arnold Schwarzenegger, include 6502 programming code on the left side of the screen.
Whaaat!? The SFX team working on The Terminator went so far as to copy actual assembly code into their shots? That’s pretty awesome! So where’d they get it? It was copied from Apple II code published in Nibble Magazine (even the T-800 enjoys emulators when its not busy hunting down humanity, I guess).
Bonus nerdery: check out this HTML5 + JavaScript visual simulation of the 6502 chip. Holy smokes!
(Via Discover, photo from the Visual6502 site)
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Ibm Selectric Turns 50
It’s the 50th anniversary on Sunday of the IBM Selectric, the typewriter that revolutionized modern office equipment. Removing those antiquated mechanical keys attached to individual type bars, the Selectric introduced the crazy golf ball thing seen above, rapidly rotating the correct letter into place before striking the paper (unlike older typewriters, the paper stayed put and the ball + ink ribbon moved). Users could even swap out their golf ball for one of many with a different font set, a feature now taken for granted with our magical computers.
Retro-sexy enough to be featured in the 1960 world of Mad Men (the model they use is somewhat anachronistic), solid enough to be Hunter S. Thompson’s preferred machine (his was red), but with enough geek cred to be used as an electromechanical computer terminal interface (six-bit character encoding!).
My office’s supply room still stocks some of these balls, even though I can’t imagine there are many typewriters left. I’d better go stock up.
(Via El Reg)
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Microsoft Adventure
Speaking of the Seattle behemoth, here’s an interesting history of Microsoft Adventure, the first output of the young company’s “consumer products division” in 1979, an early early example of the not-yet-there retail computer game industry:
The story of Microsoft Adventure provides a good early illustration of both the very real technical and marketing acumen of Gates’s company and its genius for ignoring ethical considerations while still staying on the right side of the law. It provides an early example of what was already becoming the company’s modus operandi, one guaranteed to piss off idealistic hackers as much as it would delight its financial backers. And, not incidentally, it also represents a very important moment in the continuing evolution of adventure games. …
But now we come to the elephant in the room: the question of credit. At no place in the Microsoft Adventure program or its accompanying documentation do the names of Crowther and Woods appear. We are told only that “Adventure was originally written in FORTRAN for the DEC PDP-10 computer,” as if it were the result of a sort of software immaculate conception. Needless to say, Crowther and Woods were never contacted by Microsoft at all, and received no royalties whatsoever for a program that by all indications turned into quite a nice seller for the company; it was later ported to the Apple II, and was one of the programs IBM wanted available at day one for the launch of its new PC in 1981. Because Crowther and Woods, immersed in old-school hacker culture as they were, never even considered trying to assert ownership over their creation, Microsoft violated no laws in doing this. However, the ethics of cloning someone else’s game design and lifting all of their text literally verbatum, and then copy protecting it (the irony!) and selling it… well, I don’t think that calling it “ethically dubious” is going too far out on a limb.
The article also has some tech discussion about how Microsoft coder Gordon Letwin managed to squeeze all of the classic Adventure gameplay and text into that newest of new mediums, the floppy, a revolutionary move away from the slow-loading cassette tapes common at the time.
(Via O’Reilly Radar)
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MS-DOS Turns 30
Happy 30th birthday, MS-DOS. Thanks for all the memories, whether they were extended, expanded, highmem, or in UMBs.
Sure, you were cobbled together from various other x86 OSes, had features that often felt bolted on, and were scheduled to be “dead” in 1987 (see: OS/2, which Microsoft actively helped develop and then subsequently torpedoed), but you’re somehow still with us today in Windows 7, at least in virtual machine emulation form.
(Pictured above, the OEM box for MS-DOS 3.2, probably from the era when I first started playing around on our AT&T 6300. Photo credit: unknown, but not for lack of trying…)
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Wario Monetization Robot
I wanted something nice to have at the office that tell us every time someone make a purchase on our game. Every time we make a buck Wario rings the bell and flash his greedy green eyes. If we made a lot then Wario shoot smoke from his ears!
Wario would approve.
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RIP Alex Steinweiss, Creator of Album Covers
I’ve wondered where the idea of music albums as discrete packaged works of art came from, and now I know. From the New York Times: Alex Steinweiss, Originator of Artistic Album Covers, Dies at 94
“The way records were sold was ridiculous,” Mr. Steinweiss said in a 1990 interview. “The covers were brown, tan or green paper. They were not attractive, and lacked sales appeal.” Despite concern about the added costs, he was given the approval to come up with original cover designs.
His first cover, for a collection of Rodgers and Hart songs performed by an orchestra, showed a high-contrast photo of a theater marquee with the title in lights. The new packaging concept was a success: Newsweek reported that sales of Bruno Walter’s recording of Beethoven’s “Eroica” symphony increased ninefold when the album cover was illustrated.
Mr. Steinweiss also created a distinctive handwriting script that he used on many of his album covers, which came to be known as the Steinweiss Scrawl (recently resurrected as the font Steinweiss Script by designer Michael Doret).
Mr. Steinweiss said he was destined to be a commercial artist. In high school he marveled at his classmates who “could take a brush, dip it in some paint and make letters,” he recalled. “So I said to myself, if some day I could become a good sign painter, that would be terrific!“
More good information about his career and innovations (including diagrams of his LP packaging) are available on this page about his work for the Remington record label.
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Anonymizing the photographer
Via New Scientist, research into an image processing technique designed to mask the actual physical position of the photographer, by creating an interpolated photograph from an artificial vantage point:
The technology was conceived in September 2007, when the Burmese junta began arresting people who had taken photos of the violence meted out by police against pro-democracy protestors, many of whom were monks. “Burmese government agents video-recorded the protests and analysed the footage to identify people with cameras,” says security engineer Shishir Nagaraja of the Indraprastha Institute of Information Technology in Delhi, India. By checking the perspective of pictures subsequently published on the internet, the agents worked out who was responsible for them. …
The images can come from more than one source: what’s important is that they are taken at around the same time of a reasonably static scene from different viewing angles. Software then examines the pictures and generates a 3D “depth map” of the scene. Next, the user chooses an arbitrary viewing angle for a photo they want to post online.
Interesting stuff, but lots to contemplate here. Does an artificially-constructed photograph like this carry the same weight as a “straight” digital image? How often is an individual able to round up a multitude of photos taken of the same scene at the same time, without too much action occurring between each shot? What happens if this technique implicates a bystander who happened to be standing in the “new” camera’s position?
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The Phantom Tollbooth
I’ve been re-reading Norton Juster’s The Phantom Tollbooth, one of my favorite books from when I was a kid, and it still holds up. I remember really enjoying it for its wit and wordplay (even if a lot of it whizzed over my head), but the point of the story, in which Milo learns about Wisdom (including false understandings of such) and the dangers lurking in the Mountains of Ignorance, resonates much more strongly as an adult.
“Because, my young friends,” he muttered sourly, “what could be more important than doing unimportant things? If you stop to do enough of them, you’ll never get to where you’re going.” He punctuated his last remark with a villainous laugh.
“Then you must―” gasped Milo.
“Quite correct!” he shrieked triumphantly. “I am the Terrible Trivium, demon of petty tasks and worthless jobs, ogre of wasted effort, and monster of habit.”
“But why do only unimportant things?” asked Milo, who suddenly remembered how much time he spent each day doing them.
“Think of all the trouble it saves,” the man explained, and his face looked as if he’d be grinning an evil grin―if he could grin at all. “If you only do the easy and useless jobs, you’ll never have to worry about the important ones which are so difficult. You just won’t have the time. For there’s always something to do to keep you from what you really should be doing…”
And with that, I’d better get off Tumblr!
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Gold by Evan Roth
[Video no longer available]
Gold, an acrylic + light sculpture by Evan Roth of the Graffiti Research Lab, capturing the marker movement of Jean-Michel Basquiat’s handwriting. The way the projected light spirals through the acrylic is beautiful!
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Simulated Heat Mapping for Computer Vision
A new approach to computer vision object recognition: simulated heat-mapping:
The heat-mapping method works by first breaking an object into a mesh of triangles, the simplest shape that can characterize surfaces, and then calculating the flow of heat over the meshed object. The method does not involve actually tracking heat; it simulates the flow of heat using well-established mathematical principles, Ramani said. …
The method accurately simulates how heat flows on the object while revealing its structure and distinguishing unique points needed for segmentation by computing the “heat mean signature.” Knowing the heat mean signature allows a computer to determine the center of each segment, assign a “weight” to specific segments and then define the overall shape of the object. …
“A histogram is a two-dimensional mapping of a three-dimensional shape,” Ramani said. “So, no matter how a dog bends or twists, it gives you the same signature.”
In other words, recognizing discrete parts (like fingers or facial features) of an object in front of the camera should be much more accurate with this approach than with older techniques like simple edge detection. Uses for real-time recognition are apparent (more accurate Dance Central!), but it seems like this would also be a boon for character animation rigging?
(Via ACM TechNews)
