Danny Hillis Interview – Connection Machine Legacy. August 23, 2016
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Simulating Physics with Computers
International Journal of Theoretical Physics, VoL 21, Nos. 6/7, 1982 Simulating Physics with Computers Richard P. Feynman Department of Physics, California Institute of Technology, Pasadena, California 91107 Received May 7, 1981 1. INTRODUCTION On the program it says this is a keynote speech--and I don't know what a keynote speech is. I do not intend in any way to suggest what should be in this meeting as a keynote of the subjects or anything like that. I have my own things to say and to talk about and there's no implication that anybody needs to talk about the same thing or anything like it. So what I want to talk about is what Mike Dertouzos suggested that nobody would talk about. I want to talk about the problem of simulating physics with computers and I mean that in a specific way which I am going to explain. The reason for doing this is something that I learned about from Ed Fredkin, and my entire interest in the subject has been inspired by him. It has to do with learning something about the possibilities of computers, and also something about possibilities in physics. If we suppose that we know all the physical laws perfectly, of course we don't have to pay any attention to computers. It's interesting anyway to entertain oneself with the idea that we've got something to learn about physical laws; and if I take a relaxed view here (after all I'm here and not at home) I'll admit that we don't understand everything. -
Think in G Machines Corporation Connection
THINK ING MACHINES CORPORATION CONNECTION MACHINE TECHNICAL SUMMARY The Connection Machine System Connection Machine Model CM-2 Technical Summary ................................................................. Version 6.0 November 1990 Thinking Machines Corporation Cambridge, Massachusetts First printing, November 1990 The information in this document is subject to change without notice and should not be construed as a commitment by Thinking Machines Corporation. Thinking Machines Corporation reserves the right to make changes to any products described herein to improve functioning or design. Although the information in this document has been reviewed and is believed to be reliable, Thinking Machines Corporation does not assume responsibility or liability for any errors that may appear in this document. Thinking Machines Corporation does not assume any liability arising from the application or use of any information or product described herein. Connection Machine® is a registered trademark of Thinking Machines Corporation. CM-1, CM-2, CM-2a, CM, and DataVault are trademarks of Thinking Machines Corporation. C*®is a registered trademark of Thinking Machines Corporation. Paris, *Lisp, and CM Fortran are trademarks of Thinking Machines Corporation. C/Paris, Lisp/Paris, and Fortran/Paris are trademarks of Thinking Machines Corporation. VAX, ULTRIX, and VAXBI are trademarks of Digital Equipment Corporation. Symbolics, Symbolics 3600, and Genera are trademarks of Symbolics, Inc. Sun, Sun-4, SunOS, and Sun Workstation are registered trademarks of Sun Microsystems, Inc. UNIX is a registered trademark of AT&T Bell Laboratories. The X Window System is a trademark of the Massachusetts Institute of Technology. StorageTek is a registered trademark of Storage Technology Corporation. Trinitron is a registered trademark of Sony Corporation. -
Getting Started Computing at the Al Lab by Christopher C. Stacy Abstract
MASSACHUSETTS INSTITUTE OF TECHNOLOGY ARTIFICIAL INTELLI..IGENCE LABORATORY WORKING PAPER 235 7 September 1982 Getting Started Computing at the Al Lab by Christopher C. Stacy Abstract This document describes the computing facilities at the M.I.T. Artificial Intelligence Laboratory, and explains how to get started using them. It is intended as an orientation document for newcomers to the lab, and will be updated by the author from time to time. A.I. Laboratory Working Papers are produced for internal circulation. and may contain information that is, for example, too preliminary or too detailed for formal publication. It is not intended that they should be considered papers to which reference can be made in the literature. a MASACHUSETS INSTITUTE OF TECHNOLOGY 1982 Getting Started Table of Contents Page i Table of Contents 1. Introduction 1 1.1. Lisp Machines 2 1.2. Timesharing 3 1.3. Other Computers 3 1.3.1. Field Engineering 3 1.3.2. Vision and Robotics 3 1.3.3. Music 4 1,3.4. Altos 4 1.4. Output Peripherals 4 1.5. Other Machines 5 1.6. Terminals 5 2. Networks 7 2.1. The ARPAnet 7 2.2. The Chaosnet 7 2.3. Services 8 2.3.1. TELNET/SUPDUP 8 2.3.2. FTP 8 2.4. Mail 9 2.4.1. Processing Mail 9 2.4.2. Ettiquette 9 2.5. Mailing Lists 10 2.5.1. BBoards 11 2.6. Finger/Inquire 11 2.7. TIPs and TACs 12 2.7.1. ARPAnet TAC 12 2.7.2. Chaosnet TIP 13 3. -
Selected Filmography of Digital Culture and New Media Art
Dejan Grba SELECTED FILMOGRAPHY OF DIGITAL CULTURE AND NEW MEDIA ART This filmography comprises feature films, documentaries, TV shows, series and reports about digital culture and new media art. The selected feature films reflect the informatization of society, economy and politics in various ways, primarily on the conceptual and narrative plan. Feature films that directly thematize the digital paradigm can be found in the Film Lists section. Each entry is referenced with basic filmographic data: director’s name, title and production year, and production details are available online at IMDB, FilmWeb, FindAnyFilm, Metacritic etc. The coloured titles are links. Feature films Fritz Lang, Metropolis, 1926. Fritz Lang, M, 1931. William Cameron Menzies, Things to Come, 1936. Fritz Lang, The Thousand Eyes of Dr. Mabuse, 1960. Sidney Lumet, Fail-Safe, 1964. James B. Harris, The Bedford Incident, 1965. Jean-Luc Godard, Alphaville, 1965. Joseph Sargent, Colossus: The Forbin Project, 1970. Henri Verneuil, Le serpent, 1973. Alan J. Pakula, The Parallax View, 1974. Francis Ford Coppola, The Conversation, 1974. Sidney Pollack, The Three Days of Condor, 1975. George P. Cosmatos, The Cassandra Crossing, 1976. Sidney Lumet, Network, 1976. Robert Aldrich, Twilight's Last Gleaming, 1977. Michael Crichton, Coma, 1978. Brian De Palma, Blow Out, 1981. Steven Lisberger, Tron, 1982. Godfrey Reggio, Koyaanisqatsi, 1983. John Badham, WarGames, 1983. Roger Donaldson, No Way Out, 1987. F. Gary Gray, The Negotiator, 1988. John McTiernan, Die Hard, 1988. Phil Alden Robinson, Sneakers, 1992. Andrew Davis, The Fugitive, 1993. David Fincher, The Game, 1997. David Cronenberg, eXistenZ, 1999. Frank Oz, The Score, 2001. Tony Scott, Spy Game, 2001. -
Art Gallery: Global Eyes Global Gallery: Art 152 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG Adamczyk Walt J
Art Gallery: Global Eyes Chair Vibeke Sorensen University at Buffalo Associate Chair Lina Yamaguchi Stanford University ELECTRONIC ART & ANIMATION CATALOG ELECTRONIC ART & ANIMATION ART GALLERY ART 151 Table of Contents 154 Art Gallery Jury & Committee 176 Joreg 199 Adrian Goya 222 Masato Takahashi 245 Andrea Polli, Joe Gilmore 270 Peter Hardie 298 Marte Newcombe 326 Mike Wong imago FACES bogs: Instrumental Aliens N. falling water Eleven Fifty Nine Elevation #2 156 Introduction to the Global Eyes Exhibition Landfill 178 Takashi Kawashima 200 Ingo Günther 223 Tamiko Thiel 246 Joseph Rabie 272 Shunsaku Hayashi 327 Michael Wright Running on Empty Takashi’s Seasons Worldprocessor.com The Travels of Mariko Horo Psychogeographical Studies Perry’s Cowboy • Animation Robotman Topography Drive (Pacific Rim) Do-Bu-Ro-Ku 179 Hyung Min Lee 224 Daria Tsoupikova 158 Vladimir Bellini 247 r e a Drought 328 Guan Hong Yeoh Bibigi (Theremin Based on Computer-Vision Rutopia 2 La grua y la jirafa (The crane and the giraffe) 203 Qinglian Guo maang (message stick) 274 Taraneh Hemami Here, There Super*Nature Technology) A digital window for watching snow scenes Most Wanted 225 Ruth G. West 159 Shunsaku Hayashi 248 Johanna Reich 300 Till Nowak 329 Solvita Zarina 180 Steve Mann ATLAS in silico Ireva 204 Yoichiro Kawaguchi De Vez En Cuando 276 Guy Hoffman Salad See - Buy - Fly CyborGLOGGER Performance of Hydrodynamics Ocean Time Bracketing Study: Stata Latin 226 Ming-Yang Yu, Po-Kuang Chen 250 Seigow Matsuoka Editorial 301 Jin Wan Park, June Seok Seo 330 Andrzej -
Creativity in Computer Science. in J
Creativity in Computer Science Daniel Saunders and Paul Thagard University of Waterloo Saunders, D., & Thagard, P. (forthcoming). Creativity in computer science. In J. C. Kaufman & J. Baer (Eds.), Creativity across domains: Faces of the muse. Mahwah, NJ: Lawrence Erlbaum Associates. 1. Introduction Computer science only became established as a field in the 1950s, growing out of theoretical and practical research begun in the previous two decades. The field has exhibited immense creativity, ranging from innovative hardware such as the early mainframes to software breakthroughs such as programming languages and the Internet. Martin Gardner worried that "it would be a sad day if human beings, adjusting to the Computer Revolution, became so intellectually lazy that they lost their power of creative thinking" (Gardner, 1978, p. vi-viii). On the contrary, computers and the theory of computation have provided great opportunities for creative work. This chapter examines several key aspects of creativity in computer science, beginning with the question of how problems arise in computer science. We then discuss the use of analogies in solving key problems in the history of computer science. Our discussion in these sections is based on historical examples, but the following sections discuss the nature of creativity using information from a contemporary source, a set of interviews with practicing computer scientists collected by the Association of Computing Machinery’s on-line student magazine, Crossroads. We then provide a general comparison of creativity in computer science and in the natural sciences. 2. Nature and Origins of Problems in Computer Science December 21, 2004 Computer science is closely related to both mathematics and engineering. -
2012, Dec, Google Introduces Metaweb Searching
Google Gets A Second Brain, Changing Everything About Search Wade Roush12/12/12Follow @wroush Share and Comment In the 1983 sci-fi/comedy flick The Man with Two Brains, Steve Martin played Michael Hfuhruhurr, a neurosurgeon who marries one of his patients but then falls in love with the disembodied brain of another woman, Anne. Michael and Anne share an entirely telepathic relationship, until Michael’s gold-digging wife is murdered, giving him the opportunity to transplant Anne’s brain into her body. Well, you may not have noticed it yet, but the search engine you use every day—by which I mean Google, of course—is also in the middle of a brain transplant. And, just as Dr. Hfuhruhurr did, you’re probably going to like the new version a lot better. You can think of Google, in its previous incarnation, as a kind of statistics savant. In addition to indexing hundreds of billions of Web pages by keyword, it had grown talented at tricky tasks like recognizing names, parsing phrases, and correcting misspelled words in users’ queries. But this was all mathematical sleight-of-hand, powered mostly by Google’s vast search logs, which give the company a detailed day-to-day picture of the queries people type and the links they click. There was no real understanding underneath; Google’s algorithms didn’t know that “San Francisco” is a city, for instance, while “San Francisco Giants” is a baseball team. Now that’s changing. Today, when you enter a search term into Google, the company kicks off two separate but parallel searches. -
Steuernummer Mit Peter Absprechen
Tamiko Thiel [email protected] www. tamikothiel.com Biography Tamiko Thiel was awarded the 2018 iX Immersive Experiences Visionary Pioneer Award for her life work by the Society for Art and Technology Montreal. Born in 1957, she is a visual artist exploring the interplay of place, space, the body and cultural identity in works encompassing a supercomputer, objects, installations, digital prints in 2D and 3D, videos, interactive 3d virtual worlds (VR), augmented reality (AR) and artificial intelligence (AI). Thiel received her B.S. in 1979 from Stanford University in Product Design Engineering, with an emphasis on human factors. She received her M.S. in Mechanical Engineering in 1983 from the Massachusetts Institute of Technology (MIT), with a focus on human-machine design at the Biomechanics Lab and computer graphics at the precursors to the MIT Media Lab. She then earned a Diploma (Master of Arts equivalent) in Applied Graphics in 1991 from the Academy of Fine Arts in Munich, Germany, specializing in video installation art. Her first artwork, the visual design for the Connection Machine CM-1/CM-2 artificial intelligence supercomputer (1986/1987, and in 1989 the fastest machine in the world) is in the collection of the Museum of Modern Art New York and the Smithsonian Institution. She began working with virtual reality in 1994 as creative director and producer of the Starbright World (1994-1997) online VR playspace for seriously ill children, in collaboration with Steven Spielberg, and her VR artwork Beyond Manzanar (2000, with Zara Houshmand), has been in the collection of the San Jose Museum of Art in Silicon Valley since 2002. -
This Introduction to the SHOT SIGCIS Session Examining The
Preprint—Not For Circulation This introduction to the SHOT SIGCIS session Examining the Interaction of Speculative Literature and Computing: Toward a Research Agenda of October 2010 is taken from the introduction to Science Fiction and Computing: Essays on Interlinked Domains edited by David L. Ferro and Eric Swedin and forthcoming from McFarland. Introduction by David L. Ferro When I was in fifth grade, around the Christmas holidays, we were randomly paired up with someone else in the class to exchange gifts. I can't remember what I gave, but I recall what I received: a paperback book, its cover torn off. It was Isaac Asimov's The Rest of the Robots, a collection of short stories that opened up for me, not only a whole new literary genre, but a whole new way of looking at the world. I still have it on my shelf. I didn't think much about receiving that book as the rest of my life unfolded and as I made the career choices that led me to writing this introduction. In retrospect, however, it was a defining moment. Today I teach in a computer science department and have a PhD in Science and Technology Studies. Asimov's book both inspired and reflects my life as well as the book you hold before you. The stories that Asimov wrote were thought experiments–using a fictional format–that explored the engineering and scientific development necessary for further advances in computers. They also dealt with the social implications of those advances. Only now, in researching this book, do I realize how apt Asimov was as the progenitor of inspiration. -
Chapter 10. Our Archive
The New Enlightenment • The New Enlightenment Chapter 10. Our Archive Peter B. Kaufman Published on: Feb 23, 2021 License: Creative Commons Attribution 4.0 International License (CC-BY 4.0) The New Enlightenment • The New Enlightenment Chapter 10. Our Archive Who controls our access to the libraries of content developed and produced and archived over the last hundred-plus years? Who controls, or has tried to control, our search across these screens and servers for the moving pictures and sounds we are looking for? The forces of the Monsterverse are arrayed on every battlefield. We have to recognize these forces for what they are. And we have to gird for war. As we digitize all of our cultural heritage materials for access, we link our institutions and ourselves together online, and are in fact building one big supercomputer— futurologist Kevin Kelly has called it a “planetary electric membrane”—comparable to the individual human brain. It is an organism of collective human intelligence in the business now of processing the hundreds of thousands of full-length feature films we have made, the millions of television shows, the tens of millions of recorded songs, tens of billions of books, and billions of web pages—and looking at the world every day through camera lenses and microphones, including 3 billion phones and counting—all recording our own sounds and visions. It is a supercomputer so large that if we think of it as one connected thing, it processes some 3 million emails every second and generates so many exabytes of data each year that it consumes 5 percent of the world’s electrical energy. -
Parallel Architecture Hardware and General Purpose Operating System
Parallel Architecture Hardware and General Purpose Operating System Co-design Oskar Schirmer G¨ottingen, 2018-07-10 Abstract Because most optimisations to achieve higher computational performance eventually are limited, parallelism that scales is required. Parallelised hard- ware alone is not sufficient, but software that matches the architecture is required to gain best performance. For decades now, hardware design has been guided by the basic design of existing software, to avoid the higher cost to redesign the latter. In doing so, however, quite a variety of supe- rior concepts is excluded a priori. Consequently, co-design of both hardware and software is crucial where highest performance is the goal. For special purpose application, this co-design is common practice. For general purpose application, however, a precondition for usability of a computer system is an arXiv:1807.03546v1 [cs.DC] 10 Jul 2018 operating system which is both comprehensive and dynamic. As no such op- erating system has ever been designed, a sketch for a comprehensive dynamic operating system is presented, based on a straightforward hardware architec- ture to demonstrate how design decisions regarding software and hardware do coexist and harmonise. 1 Contents 1 Origin 4 1.1 Performance............................ 4 1.2 Limits ............................... 5 1.3 TransparentStructuralOptimisation . 8 1.4 VectorProcessing......................... 9 1.5 Asymmetric Multiprocessing . 10 1.6 SymmetricMulticore ....................... 11 1.7 MultinodeComputer ....................... 12 2 Review 14 2.1 SharedMemory.......................... 14 2.2 Cache ............................... 15 2.3 Synchronisation .......................... 15 2.4 Time-Shared Multitasking . 15 2.5 Interrupts ............................. 16 2.6 Exceptions............................. 16 2.7 PrivilegedMode.......................... 17 2.8 PeripheralI/O ......................... -
Sept. 25Th Born: Sept
small memory linked with Steven J. Wallach others through a network that Sept. 25th Born: Sept. 25, 1945; users altered through reprogramming. The company’s Brooklyn, New York motto was: “We’re building a Motorola Wallach has contributed to high- machine that will be proud of performance computing through us.” Sept. 25, 1928 the design of vector and parallel systems, notably the Convex Motorola was founded in mini-supercomputer series. Chicago as Galvin Manufacturing by Paul V. and Joseph E. Galvin. Bob Paluck and Wallach founded It helped popularize car radios Convex Computer in 1982 to in the 1930s, with devices produce a vector processor marketed under the “Motorola” machine similar to Cray's brand name (“motor” plus “-ola,” [March 4], but with a better to signify sound). In 1947, the price/performance ratio. company changed its name to His design work for the Data Motorola. General [Sept 20] Eclipse The company's semiconductor MV/8000 processor at the end group manufactured its first of the 1970s was memorably transistor in 1952, a three-amp chronicled in Tracy Kidder’s device and, in 1955, it released “The Soul of a New Machine” the world’s first commercial [July 00]. Wallach is portrayed germanium-based transistor. as a man with a photographic Danny Hillis (2014). Photo by Joi memory who likes rearranging Ito. CC BY 2.0. Motorola announced its first his office when frustrated. microprocessor, the 8-bit Supposedly, after his mother With the CM-5, announced in MC6800 on [March 7] 1974, and read the book, she asked him, 1991, TMC switched from an its 32-bit chip, the 68000, on “Where did you learn to speak architecture of simple [Sept 26] 1979.