Friday, July 30, 2004

Post from Boing Boing- Hard drives have come a long way

Quite an amusing story about the transport.


Friday, July 30, 2004

Ancient hard-drive, guy in bunny suit
On Gizmodo, this stunning image an an ancient, room-sized hard drive being serviced by a guy in a clean-room bunny-suit. The best part is that this thing and a million of its brothers put together probably had a lower capacity than the USB memory built into the pen I last last month.
Link

Update: Daniel Klein sez, "The picture is of a fixed-head disk, very similar to a Borroughs unit I had the pleasure of disassembling (in 1975) after a catastrophic head crash (I got authorization from Gordon Bell himself to do it). It took me 3 days to whittle it down to nuts and bolts, and the platter weighed 18 pounds. The hub upon which the platter was mounted was phosphor bronze, and weighed an additional 17 pounds. So imagine the inertia of 35 pounds spinning at 3600 RPM. It had electric brakes, because if you just switched off the power, it would spin for a loooong time. There is an (apocryphal) story of movers just hitting the circuit breaker (not the off switch that engaged the brakes), and after waiting the requisite 5 minutes for spindown, loaded the drive into a truck. All the moves and hallways were right angles, of course. Since brakes had not been engaged, it was still spinning at 2000 RPM or so by the time it was loaded. When the truck turned a corner, the drive precessed right out through the side of the truck. It held a few megabytes at most, if I recall correctly (a similar unit was used as a swap disk on the PDP-10, so it would have held 256K or so). "

Thursday, July 29, 2004

I Love eBooks!

For some time now, I have been reading ebooks on my Zire 71 PDA. Like everyone, I was curious as to whether this would be a good experience. The classics of literature are available at the UVA library for free, so I have downloaded The Last of the Mohicans, Treasure Island, The Adventures of Huckleberry Finn and The Red Badge of Courage. Now imagine hiking on the Appalachian Trail with all of these books in a 5.7 oz package. Not to mention all the other stuff you can do with a PDA these days. You have enough material to read every night for a month, and you don't need a light to read by! I read these books everywhere, on my lunch break, at the doctors office, stuck in traffic, etc. Here is a good essay on ebooks and their adoption by the public:

Feature Creep: 500 Books In Your Gadget Bag

gadgets

filed under gadgets

fcreep_ebook.jpg imageFeature Creep is a new weekly column on Gizmodo which explores the intersection of gadgets into mass culture. This week editor Sanford May looks at what it will take for an eBooks to finally compete with dead tree publishing.

The common wisdom is that eBooks will have a hard time for two reasons: bad reader devices and book junkies opting only for the hard stuff, the dead-tree form factor. But display technology, a sticking point in making attractive readers, has come a long way. And the idea that eBooks and books printed on paper can't coexist peacefully is an almost Luddite belief. Steve Jobs doesn't show up and take your CD deck when you buy an iPod - music and books on physical media remain, for some time to come. Still, bring up eBooks in a bookish crowd, and you've got conflict as contentious as any Manchester United/Arsenal match.


There are plenty of people who insist that all you need for an eBook is a computer. I don't know these people, but we wouldn't get along, anyway. You can make that same argument about digital music; a computer is as good, or better, than a dedicated device. But I don't know anyone who thinks rocking out to her spiffy new Dell laptop while walking the dog is a reasonable alternative to an iPod. (Be forewarned, there are a lot of iPod comparisons to come, but today there is not a better model out there for integrated device, content and content delivery.) A truly portable, take-anywhere device with an outstanding display and long battery life are essential for really enjoying an eBook or magazine. If somebody made one, I'd go buy one right now. I asked Micah Burch, marketing director at Vertical Inc., buzz-worthy independent publisher of contemporary Japanese works in English, to help me out with the industry perspective. I put it to him, how would he feel about a swift little snuggle-up-in-bed eBook device backed by a fully stocked content delivery service? "That would be very cool. I would definitely buy one." Problem is, the hot technology he'd snap right up exists only in theory.

The RocketBook, one of the first fully realized eBook devices, was either a move to create an entire industry segment, or a valiant attempt to push technology forward when few people cared. RocketBook came to market under similar circumstances as the first wave of digital music players: only hardcore geeks wanted one. Geeks are always in before in is hip, but they seldom pay the bills all by themselves. The display, based on the same technology used in laptops and PDAs, wasn't much fun to look at for lengthy sessions, and the library was limited. It died early, hardly mourned. To be fair, the new technology for sharp, crisp and paper-like displays wasn't available then. Call it digital paper or electronic ink, it's the future of eBooks.

Sony, in league with Philips and E Ink, has launched the first electronic ink eBook device, calling it the Librie and hoping it will herald the revolution. Great display, small, light and battery-efficient. And that's where the good stuff stops. There's a truly diminutive selection of compatible content, making RocketBook's old catalog look like the Library of Congress. Oh, and as part of Sony's draconian digital rights management, the few things you can get, they fall down and go boom after two months. They expire. "Books that expire? That's assed-out," said Vertical's Burch, though he did call it an understandable solution. Understandable perhaps, but hardly elegant and ultimately unfair to the consumer. People might buy periodicals with the caveat that they'll expire, but Sony isn't offering much in the way of magazines; and, realistically, few periodicals are suited for electronic ink until electronic ink comes in color, about the time US television broadcasters stop pumping analog signals into the air. After all, even The New York Times is colorful these days.

When it comes to books, DRM is a vicious cramp, but it's no joke. Sony may be nuts, but they're not that nuts. Vertical is well known for bringing to the US skillful translations of good Japanese novels, like the recently released Sayonara, Gangsters, Ring, the novel behind Japanese and Hollywood suspense films of the same name, and the award-winning Twinkle Twinkle. Micah wants you to buy these books. "You certainly don't want your stuff posted on the Internet!" I'm guessing he wants a roof over his head. And Vertical's authors would like to make a dime or two, and the company can't very well keep importing these Japanese books for free. Although, he said, "Certainly our indie spirit makes us somewhat sympathetic to efforts to break free of the Man." Still, "These issues are precisely why the technology is slower to mature than many had predicted." DRM is not going away. Check that: If publishers stop wanting DRM, it's the end of popular creative arts. Not as we know them, but period. If you want to run a capitalist economy - many societies are hell-bent on it - and you want quality in your art and entertainment, your artists must be paid. In any hipster hangout you can prattle on about the vile music tycoons and molesting movie magnates, but somewhere in all the mad cash the big boys are making, the little guy, the artist, takes home a crumb here and there. How else are these people going to make a living? In the United States, the National Endowment for the Arts, a publicly funded program supporting creative work, is tiny compared to what it used to be, and likely to get smaller. I really can't imagine anyone seriously proposing some sort of revenue-division arrangement, sort of like the tip-sharing deal the corner pizzeria waiters are always fighting about. Besides, if you won't pay per item at retail, you're not very likely to pay your annual licensing fees, either. Face it: We support our artists at the shop, be it brick-and-mortar or the Internet. When the visionary of all visionaries develops a model for all-you-can-eat media consumption that provides for the artists to actually eat, perhaps I'll change my mind; until then, we are what we are, and we'll have to play nice within the confines of the present system. For now, the key is developing a solution that makes consumers feel like they actually own what they've bought while protecting artists from rights-jacking hoodlums. Until the equally ridiculous extremes proposed by both sides converge, eBooks, like everything, will bog down in a morass of industry fears and consumer entitlement complexes.

We'll need a great eBook reader with trendy clout and not just livable, but convenient, DRM to really break open the market. But, no, Virginia, you won't have to give up your pretty printed books. Books are important. Books are as entrenched in contemporary first-world culture as anything I know. Books are really part of us, even those of you who don't read so much. "Vertical's strategy has involved incorporating the Japanese design aesthetic, and so our books are intended to be objects that you want to have around as well as good reading material," Micah said. Even if he owned a near-perfect eBook device, Micah insists, "I'd still go to the bookstore. I really think that books are a pretty damn good technology." When eBooks take off, they'll be a choice, not a mandate. Indeed, I like my shelves stuffed with attractive volumes, too. But it's not all I want. Reading the work of Michael Chabon, I developed an intense interest in Vladimir Nabokov's novels, particularly the infamous Lolita, and I keep a text copy of that one on my PowerBook. It's there for convenient search, but reading Lolita straight through, I pull out the print edition. Micah is not sure eBooks will ever kill off the paper stuff. "I think it's going to take a bigger paradigm shift to doom print -- like when the written word isn't necessary for communication." I dread that day.

Without wholesale industry adoption of eBooks, all that spiff tech crammed into a little winky-dink will be worthless. You can't rip books to your iPage like you can rip CDs to your iPod. An Internet bookstore chockfull of material is essential, not just an alternative like Apple's iTunes Music Store. Unfortunately, the publishing industry has a well-deserved reputation for being staid and stuffy. Even progressive houses like Vertical won't be first to market. "We'd be very interested in any new iPod-like technology, but I don't think we'd be the first to jump on board until there's some sort of market acceptance," said Micah. Like sex in high school. Everyone stands around waiting for everyone else to do it so it's okay to do it because everyone is doing it. If somebody had just done it, we could have all been getting laid. The same logic doesn't well translate to book publishing. In Micah's opinion, "When you balance what a reader wants out of a book against a publisher's practical needs, it's hard to come up with something better than what we already have." Someday, someone will take the risk. But it will probably be a publishing juggernaut, wobbling under it's own wealth, doing something we don't like, or an undeniably cool innovator dwelling outside the industry and thus unable to attract the kind of content most people want in books. Small, successful independent houses won't bet the farm on an unproven market.

This looks grim, for now, I admit. Nobody is going to get really hot for eBooks until the display technology supports full color, even if they don't need color for what they'll publish and read. Color alone won't be the magic bean; most publishers will avoid the ice-cold water of the early season, holding out for fairer days. But it is going to happen, this eBook revolution. Of course, if you live long enough, everything will happen. Take heart, count years, not decades. And like anything with silicon in it, early adopters must pave the way. Most of them won't admit it now, but on the day iPod was announced, many of Apple's most ardent supporters labeled it the dumbest thing to come out of Cupertino since Pippin. Oh, how they were wrong. Those who say eBooks will never come into their own are likewise wrong, but it will not be as dramatic as Apple's digital music coup. In Micah's opinion, "The difference between iPod and eBooks is that iPod doesn't qualitatively change the work it's delivering." Strictly speaking, he's right. But iPod has greatly expanded the boundaries of music listening, tantamount perhaps to creating a new medium. eBooks must deliver in the same way before they'll be widely accepted as able substitute for the hard stuff. Like iPod, none of the eBook enhancements need be especially novel in concept; true genius will lie in the packaging: content, convenience, and, of course, cool factor. Without a truly compelling alternative to print, the eBook revolution will stall at its own forward-thinking rhetoric.

Sanford is a writer living in Dallas, Texas, dividing his time between fiction and the straight stuff. He has written in various fields, including economic development, games publishing and literary criticism. He's written the strategy guide for a series of Blair Witch movie tie-in games, and his work has appeared on the Web and in print. On the side, Sanford dabbles in full-time childcare. Rather than blog about it, he'll leave it for the kids to write sensational, tell-all memoirs -- if they grow up sane enough to form sentences.


When science fiction turns to science fact

A Machine With a Mind of Its Own

Ross King wanted a research assistant who would work 24/7 without sleep or food. So he built one.
By Oliver Morton

For a machine that's changing the world, the device on the lab bench in front of me doesn't look very impressive - it just goes back and forth, back and forth, back and forth. A contraption about the size of a human hand moves from side to side along a track. At the far right end of its trajectory, a proboscis-like pipette pecks into a foil-covered plastic container and sucks up some liquid; the hand moves a foot or so to the left, and the pipette squirts out the liquid a few drops at a time onto a rectangular plastic platter covered with an array of 96 tiny depressions. Then it repeats the routine. Whirr, plunge, suck, whirr, plunge, squirt - a mechanical counterpoint to the cries of the seagulls outside the lab in this Welsh coastal town of Aberystwyth. The effect is oddly hypnotic. Ross King, a professor of computer science at the University of Wales and the Dr. Frankenstein behind this most humdrum of monsters, watches me watching it with a wry amusement that might mask a touch of embarrassment. "It comes across better on radio than on TV," he says.

Indeed, King's robotic lab assistant is something of an ugly duckling. High-throughput screening - testing vast libraries of chemical compounds on various types of cells to see whether they interact in ways that might be useful - has become a routine function in modern bio labs, and at the high end machines that do it are positively telegenic. For instance, the Automation Partnership, based in Royston, England, offers one that bobs, weaves, shakes, and stirs like a possessed bartender. Such uncanny dexterity costs roughly $1.8 million - but if you're a pharmaceutical company interested in performing as many experiments as quickly as possible, it's money well spent.

King's humble robot is based on a Biomek 2000, a low-rent fluid-handling device that goes for only $37,900. But it can do something its more nimble cousins can't. Its components - the tireless robot arm, an incubator in which cells cultured on the platter either wither or thrive, and a plate reader that examines the little depressions to see whether anything is growing there - are linked up to a much more exceptional brain. The artificial intelligence routines in that brain can look at the results of an experiment, draw a conclusion about what the results might mean, and then set off to test that conclusion. The "robot scientist" (King has resisted the temptation of a jazzy acronym) may look like a mere labor-saving gizmo, shuttling back and forth ad nauseam, but it's much more than that. Biology is full of tools with which to make discoveries. Here's a tool that can make discoveries on its own.

If this slightly faded town has any contemporary claim to fame, it's Malcolm Pryce's surreal pastiche-noir novels about private eyes and druid mafiosi, Last Tango in Aberystwyth and Aberystwyth Mon Amour. The University of Wales tends to operate well under the radar. It's a quiet hive of computational biology that benefits from small departments and relative isolation, conditions in which like minds are bound to find each other.

Ross King dresses in the black shirt, black jeans uniform that might be called goth geek, a voguish look in bio labs these days. He's soft-spoken and so even-keeled that his flashes of intensity aren't always obvious. But when he tells you that computers will surpass human scientific endeavor in every way, there's true-believer zeal behind the quiet Scots accent.

King came to the borderlands of information technology and biology by chance. When he was an undergraduate microbiologist at the University of Aberdeen in the early 1980s, no one in his class wanted to take on a computer modeling assignment offered as a final project. King literally drew the short straw, and soon he was programming the characteristics of microbial growth into a primitive mainframe. He has hardly looked back since.

Studying AI at the Turing Institute in Glasgow, he set about using machine-learning techniques to predict the shapes of proteins, one of the fundamental challenges of bioinformatics. King, though, found a twist. With his friend Colin Angus, whom he'd met at Aberdeen, he developed software that translated protein structures into musical chord sequences, one of which ended up as a track called "S2 Translation" on Axis Mutatis, an album by Angus' band, the Shamen. Later, at London's Imperial Cancer Research Fund (now called Cancer Research UK), he moved on to using AI to control the drug-related properties of various molecules. However, he soon found that his chemist colleagues weren't interested.

"We'd say, 'We want to make this drug to see if it will work,'" King recalls. "But we could never get any chemists to make the drug. They didn't explicitly say, 'Our intuition is better than your machinery.' They'd just never make the compound we wanted."

It wasn't until he moved to Aberystwyth in the mid-'90s that King found comrades who fully appreciated the potential of AI and machine learning. One of the first people he encountered there was Douglas Kell, a voluble, handlebar-mustached biologist with a clear view of where his field was headed. Kell felt that the piecemeal approach typical of molecular biology from the 1970s onward had been an unrewarding detour. The true aim of biology, he believed, was not the study of individual components and their interactions but a predictive knowledge of whole biological systems: metabolisms, cells, organisms.

In the 1990s, biology was poised to go Kell's way. Genomic research - using then-new hardware like the Biomek 2000 - was starting to produce data at a phenomenal rate, data that covered entire biological systems. That information wouldn't just challenge the capacity of molecular biology to explain what was going on molecule by molecule; it would highlight the inadequacy of the molecule-by-molecule approach.

Automation made it possible to find genes among the growing mountains of data, but it did little to illuminate how they work as a system. King and Kell realized they could begin to tackle that challenge by letting computers not only sift the data but also choose what new data should be generated. That was the key idea behind the robot scientist - to close the loop between computerized lab tools and computerized data analysis.

Once the goal was clear, the collaboration expanded. Steve Oliver at the University of Manchester, who had led the first team to sequence a complete chromosome, lent his expertise in yeast genomics. Another addition was AI specialist Stephen Muggleton, who had passed through the Turing Institute a few years ahead of King on his way to becoming a professor at Imperial College in London. He had worked with King before, and he, too, had been thwarted by chemists unwilling to follow up on ideas arising from his research. For King's team, making machines that could take the next step without human intervention was something of a declaration of independence (and perhaps just deserts).

By summer 2003, the robot scientist was fully programmed and ready to perform its first experiment. The team selected a problem based on a fairly simple and well-known area of biology - "something tractable but not trivial," as King puts it. The assignment was to identify genetic variations in differing strains of yeast.

Yeast cells, like other cells, synthesize amino acids, the building blocks of proteins that King and Angus had used to create their music. Generating amino acids requires a combination of enzymes that turn raw materials into intermediate compounds and then the final products. One enzyme might turn compound A into compound B, which then might be made into C by another enzyme, or D by yet another, while another turns surplus G into yet more C, and so on.

Each enzyme along the way is the product of a gene (or genes). A mutant strain that lacks the gene for one of the necessary enzymes will stall out, unable to continue the process. Such mutants can be easily "rescued" by receiving a sort of food supplement consisting of the intermediate substance they can't make themselves. Once that's done, they can get back on track.

The robot scientist's job was to take a bunch of different strains of yeast, each lacking one gene relevant to synthesizing the three so-called aromatic amino acids - three related chords - and to see which supplements they required and thus work out what gene does what. The machine was armed with a digital model of amino acid synthesis in yeast, as well as three software modules: one for making what might be called informed guesses about which strains lacked which genes, one for devising experiments to test these guesses, and one for transforming the experiments into instructions to the hardware.

Crucially, the robot scientist was programmed to build on its own results. Once it had conducted initial tests, it used the outcomes to make a subsequent set of better-informed guesses. And when the next batch of results arrived, it folded them into the following round of experiments, and so on.

If the process sounds familiar, that's because it fits a textbook notion of the scientific method. Of course, science in the real world progresses on the basis of hunches, random inspirations, lucky guesses, and all sorts of other things that King and his team haven't yet modeled in software. But the robot scientist still proved awfully effective. After five cycles of hypothesis-experiment-result, the automaton's conclusions about which mutant lacked which gene were correct 80 percent of the time.

How good is that? A control group of human biologists, including professors and graduate students, performed the same task. The best of them did no better, and the worst made guesses tantamount to random stabs in the dark. In fact, compared with the inconsistency of human scientists, the machine looked like a radiant example of experimental competence.

The robot scientist didn't start out knowing which strains of yeast were missing which genes. Its creators, however, did. So, from a biologist's point of view, the machine made no valuable contribution to science. But, King believes, it soon will. Even though yeast is fairly well understood, aspects of its metabolism are still a mystery. "There are basic bits of biochemistry that have to be there or the yeast wouldn't exist," King explains, "but we don't know which genes are coding for them." By year's end, he hopes to set the robot scientist searching for some of these unknown genes.

Meanwhile, the team is designing new hardware and software to upgrade the robot's mechanics. King and company received a grant to buy a machine like those from the Automation Partnership, one that can deal with far more samples and keep them from becoming contaminated with airborne bacteria. Then they would like to give the device's brain an Internet connection, so the software can reside in a central server and control several robots working in far-flung locations.

King has his eyes on different fields of science, too. The robot scientist's hypothesis-generating behavior might be just the thing for using pulsed laser energy to catalyze chemical reactions. Applying lasers to chemistry could be very powerful in theory, but variables like frequency, intensity, and timing are hard to calculate, and chemical reactions happen so quickly that it's tricky to make adjustments on the fly. A robot scientist's reasoning and reflexes would be quick enough to try lots of different approaches in a fraction of a second, learning what works and what doesn't through ever-better-informed guesses. King recently started testing this idea at a new femtosecond laser facility in Leeds.

For now, however, the emphasis remains on biology. Stephen Muggleton argues that the life sciences are peculiarly well suited to machine learning. "There's an inherent structure in biological problems that lends itself to computational approaches," he says. In other words, biology reveals the machinelike substructure of the living world; it's not surprising that machines are showing an aptitude for it. And that aptitude makes the machines a bit more lifelike themselves, developing plans and ideas - in a limited sense - and the means to carry them out. If you believe living things are uniquely mysterious, it's easy to imagine that fathoming the secrets of life would be the last intellectual quest to become fully automated. It may be the first.

Contributing editor Oliver Morton (oliver@dial.pipex.com) wrote about Hollywood stuntbots in Wired 12.01.



Wednesday, July 28, 2004

Pictures say it all


baitntackle
Originally uploaded by b3nd3r.

JibJab

Wednesday, July 28, 2004

Are TV Networks "Inducers" for airing JibJab Bush/Kerry spoof?
Ernest Miller says,
BoingBoing noted yesterday that JibJab, the creators of the hilarious Bush/Kerry/Guthrie parody were facing threat of a copyright lawsuit by the current copyright holders for "This Land is Your Land." Now, the Home Recording Rights Coalition has issued a press release pointing out that when the television news broadcasts promoted the flash animation they were likely "inducing" people to violate copyright, assuming that the animation isn't fair use. Under the INDUCE Act, that could make the broadcasters liable for literally millions of copyright violations. Heh.
Link

Tuesday, July 27, 2004

Greetings from the Swamps of Enon

Howdy,
I am totally new to this blogging thing although I have been reading some of them for a while. This will be a place for me to collect my thoughts, no matter how disjointed or uncombobulated they may be. I can blow off some steam here. I can post things that I find interesting, amusing or disgusting. I can talk about cycling, kayaking, geocaching, ..whatever.