The sky is blue! Only when it's not gray. Or purple. Or red. Or orange. The clouds are white! Only when they're not gray. Or even darker than that. Basically, the clouds and sky can be anything. But can the sky be a creamsicle orange bubbly thing that looks like we're on an alien planet? Apparently so.
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Boxes of software at the Library of Congress' Packard Campus for Audio-Visual Conservation
Photo by Dave Gibson
Visitors to Microsoft in Redmond, Wash., can avail themselves of free shuttle cars to help them make their way about the sprawling suburban campus. The cars are clean and quiet and always appear within minutes of being summoned, and the drivers always know where they are going. Or almost always: During my weeklong stay my drivers repeatedly told me this was their first trip to Building 126, Microsoft?s corporate archives. One or two had to look it up on Bing Maps.
Nonetheless, the facility is impressive: a dedicated building with 6,600 shelf-feet of cold storage, all holdings duly packaged in the archive world?s ubiquitous soft gray Hollinger boxes, as well as earthquake safeguards and redundant off-site storage at Iron Mountain in Pennsylvania. I had come to Microsoft to do research for the book I am writing on the literary history of word processing. Microsoft Word, I reasoned, was the most widely used piece of writing software in the world, the No. 2 pencil of the digital age. Outside researchers here are scarce indeed, but I was lucky enough to get in thanks to assistance from Microsoft Research Connections, where there are people who understand why an English professor might be interested in what they do. Over the course of a week spent sequestered in the remote archives building on the edge of the Microsoft campus, I came to appreciate exactly what it means to think about software as an artifact: not some abstract, ephemeral essence, not even as lines of code, but as something made, something that builds up layers of tangible history through the years, something that contains stories and subplots and dramatis personae. And I started thinking anew about how we preserve software for the future: future users, future programmers, and future historians. If, hundreds of years from now, a literary scholar wanted to run Word 97, the first consumer version to implement the popular ?track changes? feature, how would she find it? What machine would accommodate this ancient artifact of textual technology?
Just as early filmmakers couldn?t have predicted the level of ongoing interest in their work more than 100 years later, who can say what future generations will find important to know and preserve about the early history of software? While the notion that someone might go diving into some long outmoded version of Word might seem improbable, knowledge of the human past turns up in all kinds of unexpected places. Historians of the analog world have long known this: Writing, after all, began as a form of accounting?would the Sumerian scribes who incised cuneiform into wet clay have thought their peculiar angular scratchings would have been of interest to a future age?
We tend to conceptualize software and communicate about it using very tangible metaphors. ?Let?s fork that build.? ?Do you have the patch?? ?We can use these libraries.? ?What?s the code base?? Software may be, as David Gelernter once wrote, stuff unlike any other, but it is still a thing, tangible and present for all of its supposed virtual ineffability. Software developers themselves have a name for the way in which software tends to accrete as layers of sedimentary history, fossils and relics of past versions and developmental dead ends: cruft, a word every bit as textured as crust or dust or fluff, all of which refer to physical rinds and remainders.
And even outside the program itself, what else is the software? Is it just the code, or is it also the shrink-wrapped artifact, complete with artwork, documentation, and ?feelies,? extras like faux maps or letters that would become part of the play of a game? Is it the program or the operating system? What about the hardware? The firmware? What about controllers and other peripherals integral to the experience of a given piece of software? How to handle all the different versions and iterations of software? What about fan-generated add-ons like mods and macros? What about discussion boards and strategy guides and blogs and cheat sheets, all of which capture the lively communities around software?
More simply: What do we save, and how do we save it?
In the green hills west of Washington, D.C., sits the Library of Congress? Culpeper, Va., campus, properly known as the Packard Campus for Audio-Visual Conservation. Built with support from David Woodley Packard, it?s a state-of-the-art facility whose sweeping lines and aery interiors seem more characteristic of its Silicon Valley patronage than the Virginia countryside or federal bureaucracy. The 45-acre Packard campus is charged with the long-term safekeeping of the nation?s films, television programs, radio broadcasts, and sound recordings?the largest audio and moving-image collection in the world.
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iPhone 5C is once again being rumored as the name for Apple's rumored less expensive iPhone which, if said rumors are accurate, would not only sport a plastic back but a colorful new plastic back. That's right, iPhonechromatic! This time it's Jay Yarow of Business Insider doing the reporting:
After the photos leaked, we heard from a source that the name is going to be "iPhone 5C".
Yarow says his source isn't at Apple, and that it's here-say, but here-say he's fairly confident in. Over the weekend margarine-tubs showed up in China with the name iPhone 5C on them, which didn't look like anything Apple would design or produce, but it did reflect a report from way back in January on the iPhone 5C name from iLounge.
Apple doesn't have to decide on marketing names until just before product launch, so things can and might change, but it is interesting to see the name iPhone 5C popping up more and more often.
It's not as elegant at the Mac Pro/Mac Mini, or iPad/iPad mini dynamic, but it does fit the iPhone 3G/iPhone 4S number/letter pattern. What do you think of the name?
Source: Business Insider
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Source: http://feedproxy.google.com/~r/TheIphoneBlog/~3/HT8E-h36y48/story01.htm
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Genel Energy Plc and Mediterranean Oil & Gas Plc, through their Malta based company Phoenicia Energy Company Ltd, which is carrying out oil exploration operations, is sponsoring a scholarship for the MA in ocean governance.
The scholarship, with a value of ?13,500 to cover the tuition fees associated with the Master of Arts degree commencing in October, is being offered by the University in collaboration with the International Ocean Institute and will be held at the Valletta Campus of the University as part of its International Masters Programmes.
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Source: http://gsegarden.wordpress.com/2013/07/24/thank-you-to-our-partners/
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Magicka is a satirical action adventure game which parodies classic RPG titles.
The player controls a wizard whose mission is to stop an evil sorcerer. Combat involves combining elements in various ways to create thousands of different spells.
The game also supports multiplayer, allowing up to four wizards to play cooperatively on different platforms.
Requirements:
? iOS 6.0 or later
What's New in This Release: [ read full changelog ]
? Update to cloud saving: Fluffier! Lighter!
? Searching for Active Games won't show you the people you've declared "dead to you" (i.e. "blocked")
? Very talkative chatters will have their very important chat messages wrapped properly
? Added a localization string for the network error "LostConnection" so everyone can be annoyed for a clear reason
? Updated localization and GUI where localized text would overflow their GUI elements.
Source: http://handheld.softpedia.com/get/Games/Action/Magicka-for-iPad-140294.shtml
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The chatter of needles and a thousand workers animate a factory.
Levi?s, like those stitched together in a Cambodian factory visited by the author, were displayed at a Costco in Mountain View, Calif., in 2011.This story is part of the cover story project on the global food and clothing chain in The Christian Science MonitorWeekly issue of July 22, 2013.
Paul Sakuma/AP
EnlargeThe door opened, and I disappeared into an endless room of workers and sewing machines, a veritable Bluejeans Land, at a factory producing Levi's and Old Navy brand pants.
Skip to next paragraphKelsey Timmerman?has made it his business to follow the labels on his food and clothing straight to their source ? the people who sew his family?s clothes and grow the food on his kitchen table. This cover project is adapted from his books ? ?Where Am I Wearing?? and ?Where Am I Eating? ? for which he traveled the globe to tell the stories of the food and clothing economies ? including human rights, rural poverty, the loss of cultural diversity and biodiversity, climate change, and fair trade ? through the lives of the workers he met along the way.
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Wires and tubs hung from the ceiling. Trolleys were pushed. Needles chattered. A thousand workers wore hairnets colored according to their duty.
The assistant factory manager led me past a pile of cut denim. On each side of us, young women folded and pinched fabric, lining it up before squeezing off a few bursts on the sewing machine.
Their hands were fast and efficient. As we walked down the line, pairs of adult jeans slowly started to take shape.
At the end of the line, we stood next to a pile of Levi's, and I asked my guide: "How many people have a hand in sewing a single pair of jeans?"
"Eighty-five," she said, "and that doesn't count the others."
"The others?"
"Please, I'll show you."
Motorized grinding stones lined the walls of a smaller room. I watched as a young woman started grinding the cuffs and pockets of a perfectly good pair of jeans. Another woman ground a hole in a knee, stopping to hold it up, and I imagined her asking herself, "Will the Americans think this is a cool hole?"
She was not a machine: The realization sank in that there is no such thing as a bluejeans machine.
Near another bluejeans factory in Cambodia I met eight young female garment workers who shared lodging in an 8-by-12-foot room with one water spigot that acted as kitchen sink, shower, and laundry. The only piece of furniture was a bed that held four ? the other girls slept on the floor at night.
Over the course of a few weeks in the spring of 2007, I got to know several of the women, including Ai, age 24, whom I accompanied back to her village to meet her family. Ai couldn't afford to make the journey often, but she sent half of her $55 monthly wage home to her family. The average garment worker in Cambodia supports five to seven family members back in the village.
"I have always lived in the village," Ai's mother told me. "I will never live anywhere else. But there are no jobs here, so I have to send my daughters to Phnom Penh to work."
Ai told me what she missed most about the village: "[W]orking and talking in the rice fields. At the factory we aren't allowed to talk. The Chinese bosses want us to work as quickly as possible."
That's right, she said, Chinese bosses. Many of the factories in Phnom Penh are owned by Chinese and Taiwanese companies, overseeing the Cambodian labor force that makes jeans for European and American brands. (Levi's aren't even sold in Cambodia.)
When the global financial crisis hit, many workers, including Ai, lost their jobs. By December 2009, 70 factories had closed in Cambodia and 70,000 workers were unemployed.
"The global economic crisis has a human face. In Cambodia it's not just people's livelihoods at risk; it's people's lives," Douglas Broderick, Cambodia's United Nations resident coordinator at the time, said in a press release addressing declining jobs and the rising cost of food in Cambodia.
Ai moved back to her village to help on the farm, but by the end of 2010 she'd heard about an opportunity in Phnom Penh at a hotel, cleaning rooms for $70 a month. She returned to take the job.
"I think it is enough," Ai says, "compared to my job at the factory."
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A third of men admit not having a clue what they were doing when they started a DIY job.
They ended up having to cover over their shortcomings ? with the bathroom the most error-prone area. Now a new programme will lift the lid on Britain?s worst bodge jobs.
Channel 5 is searching the country to find the worst DIY disasters and most horrendous home improvements.
A staggering 14 million men have owned up to wrecking the family home after undertaking an improvement project that was a step too far.
A similar number admit having at least one urgent DIY job they have yet to attempt. The bill for outstanding DIY work across the UK amounts to ?2million.
The majority of men will happily fudge a job...so do you live with a clueless carpenter or pathetic plasterer?
Perhaps you have video footage of a revolting renovation?
Get in touch by email: diy@iwcmedia.co.uk, or visit facebook.com/DIYFails, tweet @DIYFails or call 0141 353 8445.
Source: http://www.express.co.uk/news/uk/416119/DIY-disaster-dads-are-just-the-job-for-bodgers-show
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