The Computer age : a twenty-year view by Michael L. Dertouzos, Joel Moses

By Michael L. Dertouzos, Joel Moses

Gathered from twenty prime specialists in desktop technological know-how, the chapters of the pc Age diversity throughout a large spectrum of themes -- from technological traits and wishes to social questions, resembling the altering economics of data, possession ideas, legislation, the diversity of capability laptop makes use of, from technological know-how and enterprise to the home.

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A great mathematician like Leibniz would ev e n have argued that celestial intervention was not necessary to maintain them. In the late eighteenth century and through the nineteenth, we find metaphors derived from the steam engine; the optics of a steam-filled railway station helped lead us into impressionism. In the case of both clacks and engines, the art was intended for the amusement of a mercantile aristocracy. In some instances, there was no metaphor; t he automaton itself was the product, and the artist reacted with concern.

In the May-June 1972 issue of Art in America, Robert Mueller postulated a system with whic h ··a person could draw by hand directly Into video. in full COlor. uSing regu l ar brushes or pens (but ",-;thout p i gmen ts of any sort). This provides an extremely delicate control, right down to a single hairline of video input at any given pOint. And since this i n put IS im­ mediately c o nv e rted into electronic signals, It can release a repertoire of arbitrary shapes.... Shapes can be p layed ...

C o n s i d e r t h e me a n i n g w e a s c r i b e t o c h i l d re n 's d raw i n g s w h e n t h ey a re th e w o r k of o u r o w n ch i l d re n . A p i e ce d e p i ct s stages o f l e a r n i n g a n d a n out p ou r i ng o f ( u su a l l y ) s i m p l e e mo t i o n s . F req u e n t l y , w i t h th e b l ata n t ex­ cepti o n o f f i n g e r p a i nt i ng , a c h i l d s art p o rt rays a c o l l e c ti o n o f c h a ra c t e r s . ' w h i ch ofte n h ave n a m es a n d always ha v e m ea n i n g .

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