For the iPhone or iTouch with camera, there is now a great Augmented Reality shoot-em-up based on the Death Star attack from Star Wars. Tech Crunch gave the word about Falcon Gunner, and it does look like silly fun. Of course, you might want to consider carefully where you want to play this in public. This is the first of what promises to be a whole series of Augmented Reality games coming from Vertigore, and since they did the licensing deal you can expect the first chunk of them to live in the Star Wars universe.
Like everyone else on the planet, I have become a big fan of watching streaming video online. For the most part, as new sources became available, they were connected to a service that had something to gain from the offering, and the ones that didn’t gain anything soon went away. The new one that fits that description is XFinity TV from my cable provider, Comcast. It is a bit of a surprise for two reasons: first, they aren’t asking me for more money for the service, it is just there as part of the package I am already paying for. Second, it has a lot of video my TV set top box doesn’t have, and is missing a lot of the things my cable box delivers. Both of these things make sense once I looked into the reasons for them.
On the first point, I suspect I am not the only person that noticed the economy got a bit rough around the edges over the last few years. Lots of folks have cut back on expenses, and if you are Power or Water you have no worries, because those are live or die items. If you are TV, Telephone, or the Internet, people will actually survive if they don’t pay for you, hard though that may be to believe. Except for that occasional 911 call, of course. So every TV, Telephone, and Internet provider is busy building VARs into their service (Value Added Resources) to make their service too valuable per dollar spent for you to want to give it up. Which makes it obvious why my cable company is giving me a very valuable additional resource without charging me extra for it.
The second point stems from the fact that each network and program production team have their own deals with various distribution outlets. A good example of this is from the Big 4 (or so) Commercial Broadcast Networks; ABC, NBC, CBS, and Fox/CW. Both NBC and CBS are on my cable set top box Video On Demand service, with lots of the current programs. ABC is not there, nor is Fox/CW. So I can watch Chuck on NBC or Medium on CBS, but I have no access to No Ordinary Family on ABC, Smallville on CW/UPN or Fringe on Fox/WB. Or was it CW/WB and UPN/Fox? But when I log into XFinity, I have ABC and just watched the Pilot for No Ordinary Family, followed by this past weeks episode of Smallville, and tonight I just may rewatch Fringe. This combination works for me; I can watch everything I am looking for now, each through its assigned delivery system. And the streaming stuff goes with me, anywhere I have Wi-Fi access.
I first played with streaming online video in the mid 1980s, using the Multicast Backbone (MBONE) people were just beginning to develop. It could actually deliver low bandwidth audio in a two way environment at a reasonable rate, so even with a 3600 BAUD dial up modem you could do voice chat with people on another part of the planet. As long, that is, as you were both on one of the internet gateways like Q-Net, Compuserve, or AOL, rather than the much more common BBS systems. Video back then was a postage stamp sized picture at 16 colors refreshing at one frame a second if you had a good connection, and if you are interested in the basics of how it worked in olden days this thread is a good place to start.
It still pretty much works the same way today, except computers are much faster and more powerful, the ones on your desk, in your pockets, inside your TVs and DVD players, and most importantly the ones delivering the internet to you. So my Blue-Ray DVD player has its built in Netflix, YouTube, and Pandora widgets that pipe the output to my TV. On my computer, I have a premium paid account with Crunchyroll to watch Japanese, Chinese, and Korean TV programs an hour after they air in their respective countries, and another one with The Anime Network that gives me access to a completely different set of programming from those same countries. Similar fee-based arrangements are soon to be available in the US from sources such as BBC TV and Sky TV for areas outside the UK, and a whole lot of other programming suppliers from many other countries. In each case, you can watch the programs live (or near live, with a one hour delay being most common), which gives the license holder for that programming two instant advantages:
1) They get a regular payment from X number of online subscribers, without incurring any additional cost beyond building their server farm to handle the additional load. That load is minimal in a Multicast environment, and if you realized they have to pay their program suppliers for the additional people watching their show, you should also have realized they can see how many people are watching which shows based on the number of streams requested for each. So if I log into the BBC service, and only watch Doctor Who and Misfits episodes, all of the money they pass on go to the producers of those shows. That increases the odds that the programs I want to watch will be funded and renewed for another season; I know, because I helped fund them.
2) Both the Network/Service as a whole and those specific programs that pull in the subscription viewers get a spike in their ratings. In a commercial network environment, this means being able to charge more per 30 second spot. But even for non-commercial (in the sense of not running advertisements, NOT in the sense of not making money) networks like HBO or the BBC, ratings are king and are at the heart of increasing revenues.
This one looks very interesting; from October 10th to the 24th this year the USA Science & Engineering Festival will take place in the Washington, D.C. area. Billing itself as the the country’s first national science festival, it already has over 500 organizations signed up to participate, and will end with a two day Expo in the nation’s capital. This event will give science & engineering groups the opportunity to present themselves to the public with hands-on science activities to inspire the next generation of researchers and developers. The teams involved are wide ranging, and include such diverse outfits and events as the 4H National Youth Science Day, the You Can Do The Cube competition, a presentation from Hollywood Movie Physics, and the Versatile Mr. Freeze from FermiLabs, to name but a few. And yes, you can follow them on a boatload of social media tools, including Twitter.
Rock Lobster by the Bit-52’s, the New Zealand band The Trons practicing before hitting the stage for their Berlin gig, Pat Metheny’s Orchestrion project; From technology new and old, Robot Rock has been alive and about in the world for quite a few decades now.
Everyone here does remember that Ada Lovelace, the daughter of the poet Lord Byron, invented computer programing? Her good buddy Charles Babbage invented the Difference Engine, but couldn’t get it to do much more than the obvious add, subtract, multiply, and divide. When Ada invented the computer algorithm, she merged the algebraic mathematical procedures structure (to achieve a result, you have a sequence of steps to preform with a specific order, each of which does a small segment of the complete task, and holds the results for final assembly) with Babbage’s mechanical analytical engine.
She also created the concept of the non-volatile storage medium in which you could save your programs or results for reuse later, which from the day she invented it in the 1830s until a better method was devised in the 1970s meant punch cards. Just like the Algorithm, it wasn’t a new idea; punch cards had been used to control mechanical processes for several hundred years at that point, specifically looms. In fact, the first punch cards were only used to channel the thread you wanted to the spindle you wanted it to be processed by, using a notch on the edge of the card to guide it to its destination.
But like all technologies, it evolved; and by the 1880s census the punch cards as modified by Ada were being used to tabulate how many of who lived where more efficiently than ever. That cut the governments processing time down to a fraction of what it had been, and ushered in the first real taste of what would later be described as Big Brother when Huxley got around to writing. It also encouraged the government of the time to dump a lot of money into the whole mechanical tabulating industry, since they saw a reduction in their costs for statistical gathering and processing of census data in the regions where such tools were available. While not exactly the first worm that fed on its own tail, the cycle of calculation improvements (from both hardware and software improvements), generating better results faster than before, and resulting in additional funding to improve the hardware and software, was one of my favorite early examples of a positive feedback loop.
The title of this entry is accurate but not true; William S. Burroughs’ wrote Ah, Pook Is Here with Malcolm McNeill creating the artwork back in the late 60s and early 70s, so it is not exactly new. However, the first part of Burroughs only graphic novel evaporated from the face of the earth not long after it was released, so the recently resurrected and soon to be released 2-volume set will be brand new to pretty much everyone. It started as a comic strip that came out once a month in the UK magazine Cyclops, and when that folded they created the rest of the story, 120 pages of amazing words and images. But they couldn’t get anyone to publish it, so no one has ever actually read the entire story. Finally, Fanta Graphics will publish the entire science fiction lost masterpiece, with all the time travel, mind control, and eternal life subtext that only a collision between the Mayan and Western cultures could produce, when filtered through these two amazing communicators.