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David J. Moller, MD

• Assistant Professor
• Department of Neurological Surgery
• University of California?avis
• Davis, California

To ana lyze Les Demoiselles in terms of the canvas medicine 8 pill generic 60mg diltiazem, pigment medicine hunter buy cheap diltiazem 180 mg on line, and framing material of which it is made would be a trivial exercise of little to no aesthetic value symptoms 1dp5dt purchase diltiazem in india. Other possible receptions and histories of this painting are imaginable medications 126 cheap 60mg diltiazem free shipping, and it may live to inspire future art movements in ways having little to do with its previous infuences medications that cause dry mouth cheap diltiazem 60 mg. What makes it a painting is its status as a third term somewhere between its components and its outward efects treatment interventions purchase diltiazem. While few people would try to under mine a painting, there are many attempts to overmine art, by over-situating it in art history or the Zeitgeist amidst which it was created. But the more the artwork is successful, the more it generates something that is difcult to get at through biographical or socio-histori cal explanations. If knowledge gives us two tables—the scientifc and practical ones—art gives us a third, one that cannot be exhausted by any critical paraphrase of it. Hence the elliptical and indecisive character of all crit icism, which at its best more closely resembles poetic than scientifc discourse. We can make the same point even more briefy about philosophy, which in the orig 395 inal Greek is philosophia, or love of wisdom. In the more than thirty Platonic dialogues in which Socrates appears as the main character, there is no case in which Socrates gives us knowledge of those things whose defnitions he seeks. Some attempts are better than others, but every defnition—whether of Socrates or his interlocutors— turns out to be provisional, not quite equal to the task at hand. Philosophy is not science; it is not a knowledge of any sort, because philosophy does not explain virtue or justice in terms of their constituents or their efects. Philosophy does not paraphrase objects, but situates them in that middle place that is inaccessible to all paraphrase. Now, the form of aesthetic theory that seems most con sistent with what I have been saying is called formalism. This can mean diferent things with respect to diferent arts, but formalism always means—with the possible exception of architecture—that the artwork is cut of from its context. It is a self-contained unit, not to be re duced downward to individual words or streaks of paint or upwards to contextual explanations. Instead, the artwork stands in itself, and is to be considered solely on its own terms. Among other things, this means that it cannot be adequately described in conceptual terms, 396 which is perhaps Kant’s greatest insight in the. There is no list of rules that one can follow to create important art, or even to identify it. This need not make such judgments arbitrary: Kant is adamant in his view that since all humans have the same transcendental faculty of judgment, all taste ought to agree. And furthermore, even the best taste can fall short on judging beauty, just as even the most intelligent philosopher—according to Kant—can never grasp the things themselves, since all humans encounter the world only in terms of fnite human conditions in which all members of our species are confned as if in a prison. Art should be experienced in a state of disinterest, free of all considerations of what is agreea ble and disagreeable to us personally. But more impor tantly, Kant thinks that beauty is not a matter of the art object anyway, but only of the faculty of judgment with which we approach it, and which is shared by all other humans. It is in teresting to note that Kant’s two most prominent heirs 397 in the formalist visual arts criticism of the twentieth century, Clement Greenberg and Michael Fried (it hard ly matters that they don’t much care for the word “for malism”) reverse Kant’s emphasis. Whereas Kant tends to subtract the object in order to emphasize the role of the human subject, Greenberg and Fried do the reverse. Greenberg is clearest on this point in his posthumously published Homemade Esthetics, where he says that Kant is wrong to focus on the faculty of human judgment, and should have focused on our actual experience of the works. While we agree that the artwork must be what it is, and not be rampantly con fused with its components and its efects, we disagree that the way to do this is to separate subject and object cleanly from one another. One of the consequences of Kant doing this is his inability to give proper respect to an aesthetic genre like architecture, which by defnition must always mix aesthetic considerations with those of human practical needs. Where we agree with formal ism, however, is that this fusion results in a new hybrid object that has its own form of autonomy. We have seen that the artwork cannot be overmined by describing or paraphrasing its overt outward features. However skillful we are as critics of Picasso or Mozart of Shakespeare, there is always a certain “spirit of the thing” when it comes to artworks, one that we can never perfectly translate into any prose formula. When encountering an every day object, we tend to think of it as no diferent from its sum total of properties: its “bundle of qualities,” as the empiricist philosopher David Hume says. Here, the art object seems to be something altogether diferent from its qualities: an aesthetic substance or substrate that recedes into inac cessible depths. By contrast, the qualities of the artwork are by no means hidden, since otherwise it would be invisible. All of the pigment and color and visible form of Les Demoiselles is directly there before us and goes nowhere; 399 only the painting as a real object withdraws from any at tempt to exhaust or paraphrase it. All of the objects we encounter in non-aesthetic situa tions meet this description. The table, couch, and bottle before me now seem to be there directly, not withdrawn in the least. In fact, each of these sensual objects has a real object counterpart—the withdrawn table, couch, and chair—but we only notice this under very special circumstances, of which art is among the most im portant. It also has various sensual qualities that I can enumer ate in as long or short a list as I wish. We know this thanks to the historically important work of phenom enology in philosophy. This is easily proven by not 400 ing that we can look at everyday objects from all man ner of angles and distances, their qualities constantly shifting even though we continue to regard them all along as the very same objects. On this note, we return to our main theme, which we will be able to indicate only in outline. Dance, Charm, and the Fusion of Genres We recall the following words from the frst citation from Kant: “All forms of objects of the senses (the outer senses or, indirectly, the inner sense as well) is either shape or play…” Another way to put this would be as a distinction between those arts where the object is present immediately from the start, such as painting and sculpture. One can certainly linger long over these plastic art forms, continually discovering new aspects of these works as the time ticks away. But this is quite diferent from arts that must unfold in sequence: one thinks of cinema, dance, music, and theater, but also of literature. Kant now adds a second distinction: “if the latter, it is either play of shapes (in space, namely, 401 mimetic art and dance), or mere play of sensations (in time). While somewhat confusing given that “shape” was ini tially opposed to “play,” this yields the interesting result that dance—like theater—is described by Kant as not entirely unlike painting and sculpture, albeit with the diference that theater and dance unfold their shapes in the course of time. In other words, dance and theater could be considered, in a Kantian framework, as being moving sculptures of a sort. We move to the next portion of the passage: “The charm of colors or of the agreeable tone of an instrument may be added, but it is the design in the frst case [i. The proper object of aesthetic judgment in dance, then, is its composition: its choreog raphy, we could say. This entails further that choreography is not reducible to a specifc series of movements in space, 402 since such a series is purely sensual and directly acces sible to the viewer. The choreography that is the object of aesthetic judgment is something over and above the actual movement of the dancers. It is a certain style, a “spirit of the thing” that endures even if—within rea son—a certain number of changes in detail are made to the choreography itself. If it is hard to describe exactly what this is, it is for the very good reason that chore ography, like all the arts, cannot be undermined into its elements or overmined into its efects, so that the work of the critic as of the choreographer is to grapple with something that never takes on defnite form in any particular performance. We might go even further and speak of the style of a choreographer over and above any of their particular ballets or other dance pieces, making each individual work only a specifc instance of disin carnate individual genius, however unpopular that idea has become. But of greater interest here is charm, which we men tioned above in connection with Husserl’s philosophy: the tension between a sensual object and its sensual qualities. The primary sensual object in choreography is, of course, the dancers, and to a lesser extent whatever scenery and props may be involved. At one point Kant gives us his best examples of charm: the fickering of a fame or the sparkling of fowing waters. Since this charm merely plays on the surface of sensual experi 403 ence, it does not give us the allusive experience of the hidden real that art requires. Nonetheless, as Kant says when giving us two other good examples of charm: “the purity of the colors and of the tones, or for that matter their variety and contrast, seem to contribute to the beauty […] because they themselves are agreeable, they furnish us, as it were, with a supplement to , and one of the same kind as, our liking for the form. But this is not as trivial as Kant sometimes suggests charm is, since it is not only “a supplement to” beauty, but “of the same kind as, our liking for the form. While charm is a matter of sensual delight rather than of the aesthetic object per se, it is “of the same kind” as our liking for that object. Kant solidifes his point by saying that the quali ties of charm “make the form intuitable more precisely, determinately, and completely, while they also enliven the presentation by means of their charm, by arousing 404 and sustaining the attention we direct toward the object itself. And while these charms seem to belong to the sensual objects in the arts (the grace of a dancer, the lovely tone of a woodwind), they also come into orbit around the hid den object itself: the choreography, in the case of dance. It has been treated as just another variant on prin ciples that hold good for all of the other arts as well. But given Kant’s formalistic distrust in hybrid forms, dance is still in for a small bit of censure. In his own words: “Oratory may be combined with a pictorial exhibition of its subjects and objects in a drama; poetry may be com bined with music in song, and song at the same time with a pictorial (theatrical) exhibition of in an opera; the play of sensations in a piece of music may be combined with the play of fgures, [viz. Perhaps Greenberg’s dominant underlying theme is that beginning in the latter half of the 1800s, most of the arts found it necessary—in order to maintain levels of 405 quality capable of surviving comparison with past mas terworks—found it necessary to focus solely on what each genre was able to ofer that none others could. If Richard Wagner is the most famous example of an artist who sought the fusion of as many artistic genres as possible, then Greenberg is the anti-Wagner, and Kant along with him. If applied strictly to dance, this princi ple would suggest the complete removal of music from choreography, and even the removal of all story. While these steps have no doubt been attempted in dance, it is questionable whether Kant’s modernist dictum against the fusion of genres is as binding as it seemed to be in the heyday of high modernism. The impurity of dance as of other genres, their careful mixture with neighboring and distant things, has much to recommend it. Jack Nicholson in Easy Rider There is something urgent about movement research today. We are already in the middle of a new chapter where movement research needs to be reconsidered in respect to the world we live in. Crucial to our understanding of movement research is the introduction of identity politics in the beginning of the 1990s, which for better or worse catapults the body into a politics that by defnition denies the pos sibility of authenticity, truth or presence. One could even say, identity politics aligned with a signifcant part of postmodern discourse (in which language is given a supreme position), so that the body as body is expunged or wiped out in favor of an understanding of the body as meaning, sign or signifcation. It is not a surprise 409 that so-called conceptual dance appeared in the mid dle of the 1990s and that choreography since then has often been favored over dance. It is equally no surprise that movement research had to lay low during those years when the body’s mysteries were somewhat em barrassing. Release technique invaded center court with its focus on reason, cognition and mechanics—release technique as a systems theory of the body—but the price to pay, supported by identity politics (where the body and subject always is discursive) was the erasure or extradition of the body’s unknowns. In Judith Butler’s Gender Trouble, she theorizes that the body becomes a political battle ground; it also becomes individualized, dynamic and diferentiated, which on the one hand, makes it subject to novel forms of both opportunities and powers, but on the other, makes it available for new kinds of economy—the fnancialization of the starting point of every dance, the body. The moment something can be identifed and diferentiated from its environment and given sustaina bility, it is also given value and can thus be transformed into economy or monetary exploitation. In the some what dubious but explosive and poignant publication the Coming Community by Agamben, we can read that today it is no longer your villa, car or yacht, but your subject that is your most important property. In the economy that gov 410 erns contemporary Western societies—diferently but ubiquitously no matter class, age, race, gender, ability, etc. It is therefore your responsibility, and yours alone, to optimize your product, your self. This is not toward a given standard or set of conventions, but instead it is up to you to invent how you are special. Today we are all individuals next to each other, but rarely a group, except of course when precarious or without a voice—which is when a set of individuals is addressed as they. When we do our Pilates classes, when we rush through the city to our yoga this or that, gyrotonics, as much as when we see our shrink, take dance class es, meditate, engage in mindfulness or why not read tarot cards, partake in rituals, visit silent retreat or do YouTube yoga, it is important to remember that we are also optimizing our subjects and body’s value, its salea bility. However, as much as we can augment ourselves vis à vis consumablity we can also think of improve ment in relation to diferent kinds of opportunities, even though it’s arguable whether there can be some thing such as a practice that circumvents capitalism. So where does that bring movement research; what does this new brave world do to dance? More over what does it do to us as human beings, what kinds of anxieties and depressions does it result in? This is a subject that makes itself available to any thinkable or unthinkable situa tion. A resilient subject with a resilient body is one that through pre-emptive actions is ready to outlive the end of social welfare, tax reductions for the wealthy few, white supremacy, global warming, austerity measures, gentrifcation and the list never stops. The chilling part is that the more resilient we become, the more able and dynamic, the more integrated, the more specifc, aware and self-sufcient we make ourselves. Yet, it is exactly in this world that movement research becomes even more important. Suddenly dance and dance-related practices are not just something we do because it feels so good, but it has become politically important to practice otherwise, with diferent motives. However resilient it makes us, we also carry with us new capacities of knowledge in respect to how we individu ally and together generate agency or value. Movement research has in our times a new role to play, perhaps not as political resistance, but as site where diferent bodies can share diferently, even more importantly therefore to insist on practices and initiatives to which everybody is invited, but again who is everybody? The Italian philosopher, Franco Berardi proposes that we have entered semio-capitalism, a capitalism that has 412 co-opted language and fnancialized the word. Resistance, whatever resistance, whatever alternative is already before it starts integrated in capitalism. Yes, in many ways, but Berardi proposes that perhaps there are forms of expe rience and afective environments that are not in their entirety possible to introduce into language.

Sometimes program bumming became competitive treatment 4 pimples generic diltiazem 180 mg with amex, a macho contest to prove oneself so much in command of the system that one could recognize elegant shortcuts to shave off an instruction or two treatment strep throat buy diltiazem 60 mg with amex, or medicines 604 billion memory miracle buy diltiazem 60 mg on line, better yet symptoms 5 dpo order diltiazem with american express, rethink the whole problem and devise a new algorithm which would save a whole block of instructions treatment 4 pink eye discount diltiazem online american express. There was definitely an artistic impulse residing in those who could utilize this genius from-Mars technique a black-magic treatment 9mm kidney stones buy diltiazem online, visionary quality which enabled them to discard the stale outlook of the best minds on earth and come up with a totally unexpected new algorithm. This was a subroutine a program within a program that you could sometimes integrate into many different programs to translate binary numbers that the computer gave you into regular decimal numbers. More than a competition, the ultimate bumming of the decimal print routine became a sort of hacker Holy Grail. If you were being deliberately stupid about it, or if you were a genuine moron an out and-out "loser" it might take you a hundred instructions to get the computer to convert machine language to decimal. But any hacker worth his salt could do it in less, and finally, by taking the best of the programs, bumming an instruction here and there, the routine was diminished to about fifty instructions. People would work for hours, seeking a way to do the same thing in fewer lines of code. For all the effort expended, no one seemed to be able to crack the fifty-line barrier. Among the people puzzling with this dilemma was a fellow named Jensen, a tall, silent hacker from Maine who would sit quietly in the Kluge Room and scribble on printouts with the calm demeanor of a backwoodsman whittling. Jensen was always looking for ways to compress his programs in time and space his code was a completely bizarre sequence of intermingled Boolean and arithmetic functions, often causing several different computations to occur in different sections of the same eighteen-bit "word. Before Jensen, there had been general agreement that the only logical algorithm for a decimal print routine would have the machine repeatedly subtracting, using a table of the powers of ten to keep the numbers in proper digital columns. Rarely would a hacker try to impose a view of the myriad advantages of the computer way of knowledge to an outsider. Surely the computer had changed their lives, enriched their lives, given their lives focus, made their lives adventurous. Peter Samson later said, "We did it twenty-five to thirty percent for the sake of doing it because it was something we could do and do well, and sixty percent for the sake of having something which was in its metaphorical way alive, our offspring, which would do things on its own when we were finished. This was the implicit belief of the hackers, and the hackers irreverently extended the conventional point of view of what computers could and should do leading the world to a new way of looking and interacting with computers. Wagner experienced this clash of computer versus anti-computer even more vividly when he took a Numerical Analysis class in which the professor required each student to do homework using rattling, clunky electromechanical calculators. Kotok was in the same class, and both of them were appalled at the prospect of working with those lo-tech machines. According to the standard thinking on computers, their time was so precious that one should only attempt things which took maximum advantage of the computer, things that otherwise would take roomfuls of mathematicians days of mindless calculating. Hackers felt otherwise: anything that seemed interesting or fun was fodder for computing and using interactive computers, with no one looking over your shoulder and demanding clearance for your specific project, you could act on that belief. After two or three months of tangling with intricacies of floating-point arithmetic (necessary to allow the program to know where to place the decimal point) on a machine that had no simple method to perform elementary multiplication, Wagner had written three thousand lines of code that did the job. He had made a ridiculously expensive computer perform the function of a calculator that cost a thousand times less. To honor this irony, he called the program Expensive Desk Calculator, and proudly did the homework for his class on it. How could he convey to his teacher that the computer was making realities out of what were once incredible possibilities? The professor would learn in time, as would everyone, that the world opened up by the computer was a limitless one. A program called a compiler does this, and the compiler takes up time to do its job, as well as occupying valuable space within the computer. They hacked it part by part, with "move generators," basic data structures, and all kinds of innovative algorithms for strategy. After feeding the machine the rules for moving each piece, they gave it some parameters by which to evaluate its position, consider various moves, and make the move which would advance it to the most advantageous situation. Its opener was quite respectable, but after eight or so exchanges there was real trouble, with the computer about to be checkmated. It took a while (everyone knew that during those pauses the computer was actually "thinking," if your idea of thinking included mechanically considering various moves, evaluating them, rejecting most, and using a predefined set of parameters to ultimately make a choice). Finally, the computer moved a pawn two squares forward illegally jumping over another piece. Maybe the program was figuring out some new algorithm with which to conquer chess. At other universities, professors were making public proclamations that computers would never be able to beat a human being in chess. They would be the ones who would guide computers to greater heights than anyone expected. And the hackers, by fruitful, meaningful association with the computer, would be foremost among the beneficiaries. Everyone could gain something by the use of thinking computers in an intellectually automated world. By accepting others on the same unprejudiced basis by which computers accepted anyone who entered code into a Flexowriter? If everyone could interact with computers with the same innocent, productive, creative impulse that hackers did, the Hacker Ethic might spread through society like a benevolent ripple, and computers would indeed change the world for the better. In the monastic confines of the Massachusetts Institute of Technology, people had the freedom to live out this dream the hacker dream. For a few of the hackers, the job was one more excuse not to go to classes some hackers, like Samson, would never graduate, and be too busy hacking to really regret the loss. Kotok, though, was able not only to manage his classes, but to establish himself as a "canonical" hacker. The Model Railroad Club would often go on tours of phone company exchanges, much in the way that people with an interest in painting might tour a museum. Kotok found it interesting that at the phone company, which had gotten so big in its decades of development, only a few of the engineers had a broad knowledge of the interrelations within that system. Nevertheless, the engineers could readily provide detail on specific functions of the system, like cross-bar switching and step-relays; Kotok and the others would hound these experts for information, and the flattered engineers, probably having no idea that these ultra-polite college kids would actually use the information, would readily comply. Though not connected to general telephone lines, the system could take you to Lincoln Lab, and from there to defense contractors all over the country. You would start with one access code, add different digits to it, see who might answer, ask whoever answered where they were, then add digits to that number to piggyback to the next place. Sometimes you could even reach outside lines in the suburbs, courtesy of the unsuspecting phone company. After they pressured Samson for days, he finally gave in and handed them a twenty-digit number that he said would access an exotic location. Network fingerprinting was obviously a pursuit limited to hackers, whose desire to know the system overruled any fear of getting nailed. The people who designed and marketed this new machine were not your ordinary computer company button-downs. The retail price of the computer was an astoundingly low $120,000 cheap enough so people might stop complaining about how precious every second of computer time was. When the pliers and screwdrivers were put away and the computer carefully turned on, everyone madly set about revamping programs and bumming old programs using the new instructions. Like a motley collection of expectant parents, other hackers were busily weaving software booties and blankets for the new baby coming into the family, so this heralded heir to the computing throne would be welcome as soon as it was delivered in late September. Kotok, Samson, Saunders, Wagner, and a couple of others began on a Friday night late in September. It was a project that would probably not be undertaken by the computer industry without a long and tedious process of requisitions, studies, meetings, and executive vacillating, most likely with considerable compromise along the way. What was lacking in choreography was more than compensated for by enthusiasm: they were supercharged by the beauty of the machine, by the beauty of computers. But it would not be long before they would come up with programs for computers no joke to actually play tournament chess. For instance, they were pleased to have paper tape bearing the program in the drawer so anyone using the machine could access it, try to improve it, bum a few instructions from it, or add a feature to it. To Samson and the others, using the computer was such a joy that they would have paid to do it. The idea was to make a computer more usable, to make it more exciting to users, to make computers so interesting that people would be tempted to play with them, explore them, and eventually hack on them. When you wrote a fine program you were building a community, not churning out a product. During that summer of 1961, a plan for the most elaborate hack yet a virtual showcase of what could come out of a rigorous application of the Hacker Ethic was being devised. Two of the three lived in the tenement, so in honor of the pompous proclamations emanating from nearby Harvard University the trio mockingly referred to the building as the Higham Institute. One of the Fellows of this bogus institution was Steve Russell, nicknamed, for unknown reasons, Slug. He had that breathless-chipmunk speech pattern so common among hackers, along with thick glasses, modest height, and a fanatic taste for computers, bad movies, and pulp science fiction. All three interests were shared by the resident attendees at those bull sessions on Higham Street. McCarthy had been trying to design and implement a higher-level language that might be sufficient for artificial intelligence work. It was, in his words, "a horrible engineering job," mostly due to the batch-processing tedium of the 704. One of them was a hack called Mouse in the Maze the user first constructed a maze with the light pen, and a blip on the screen representing a mouse would tentatively poke its way through the maze in search of another set of blips in the shape of cheese wedges. After it got to the glass, it would seek another, until it ran out of energy, too drunk to continue. When you flicked the switches to run the mouse through the maze a second time, though, the mouse would "remember" the path to the glasses, and like an experienced barfly would unhesitatingly scurry toward the booze. He was a man with very big ideas about the future of computing he really believed that one day machines would be able to think, and he would often create a big stir by publicly calling human brains "meat machines," implying that machines not made of meat would do as well some day. It was discovered by mistake, actually while trying to bum an instruction out of a short program to make straight lines into curves or spirals, Minsky inadvertently mistook a "Y" character for a "Y prime," and instead of the display squiggling into inchoate spirals as expected, it drew a circle: an incredible discovery, which was later found to have profound mathematical implications. Hacking further, Minsky used the Circle Algorithm as a stepping-off point for a more elaborate display in which three particles influenced each other and made fascinating, swirling patterns on the screen, self-generating roses with varying numbers of leaves. At the Higham Institute sessions some months back, he and his friends had discussed the criteria for the ultimate display hack. Since they had been fans of trashy science fiction, particularly the space opera novels of E. A Higham Institute Study Group on Space Warfare was duly organized, and its conclusion strongly implied that Slug Russell should be the author of this historic hack. In its own kitschy, sci-fi terms, it would be absorbing the way no previous hack had ever been. The thing that got Slug into computers in the first place was the feeling of power you got from running the damn things. You can tell the computer what to do, and it fights with you, but it finally does what you tell it to . Of course it will reflect your own stupidity, and often what you tell it to do will result in something distasteful. But eventually, after tortures and tribulations, it will do exactly what you want. It made Slug Russell a junkie, and he could see that it had done the same thing to the hackers who haunted the Kluge Room until dawn. He let his imagination construct the thrill of roaring across space in a white rocket ship. Sure enough, someone had it, and since information was free, Kotok took it back to Building 26. By that time, Russell could produce a dot on the screen which you could manipulate: by nicking some of the tiny toggle switches on the control panel you could make the dots accelerate and change direction. He then set about making the shapes of the two rocket ships: both were classic cartoon rockets, pointed at the top and blessed with a set of fins at the bottom. To distinguish them from each other, he made one chubby and cigar-shaped, with a bulge in the middle, while the second he shaped like a thin tube. Russell used the sine and cosine routines to figure out how to move those shapes in different directions. Then he wrote a subroutine to shoot a "torpedo" (a dot) from the rocket nose with a switch on the computer. The computer would scan the position of the torpedo and the enemy ship; if both occupied the same area, the program would call up a subroutine that replaced the unhappy ship with a random splatter of dots representing an explosion. The game Spacewar, a computer program itself, helped show how all games and maybe everything else worked like computer programs. Computer programming was not merely a technical pursuit, but an approach to the problems of living. In the later stages of programming, Saunders helped Slug Russell out, and they hacked a few intense six-to-eight-hour sessions. There were a few random dots on the screen representing stars in this celestial battlefield. Spacewar was no ordinary computer simulation you could actually be a rocket-ship pilot. The nature of the improvements might be summed up by the general hacker reaction to the original routine Slug Russell used for his torpedoes. Instead of having them go in a straight line until they ran out of steam and exploded, he put in some random variations in the direction and velocity. The advantage that a world created by a computer program had over the real world was that you could fix a dire problem like faulty torpedoes just by changing a few instructions. That was why so many people found it easy to lose themselves in hackerism in the first place! Peter Samson, for instance, loved the idea of Spacewar, but could not abide the randomly generated dots that passed themselves off as the sky. He obtained a thick atlas of the universe, and set about entering data into a routine he wrote that would generate the actual constellations visible to someone standing on the equator on a clear night. All stars down to the fifth magnitude were represented; Samson duplicated their relative brightness by controlling how often the computer lit the dot on the screen which represented the star.

This is critical to victory and careful leveraging of the advantages that have already been obtained can create greater control of the emerging situation medications related to the female reproductive system buy diltiazem 180 mg visa. At the operational level medicine of the people order genuine diltiazem online, fexibility and the competency with which it is applied can be the diference between victory and defeat treatment for scabies diltiazem 180mg without prescription. Air power is particularly susceptible to being less than fully efective when applied without its inherent fexibility being exercised medications on airline flights purchase diltiazem discount. Air campaign planning must have built-in fexibility and must permit feld commanders the decision-making authority to be able to decide on the optimum course of action in a fexible manner in order to derive maximum beneft from air power capabilities treatment in statistics buy cheap diltiazem on line. The history of efective air power application is a long list of tactical innovations that have optimised its impact on the battlespace medicine xyzal purchase diltiazem once a day. Flexible application of innovative combat power is one of the cornerstones of the efectiveness of air power throughout the spectrum of its capabilities. The primary characteristics of air power allow it to implement complex strategies efortlessly Innovation is optimised in the application of air power, providing the opportunity to seize and maintain the initiative Air power’s inherent fexibility maximises its performance 141 The Art of Air Power Skilful commanders Force the enemy to move to one’s advantage by Own positioning that compels the opponent to follow And offering baits the opponent is compelled to take. Through the promise of gain, An opponent is forced to move While the full force lies in wait. Skilful generals keep the enemy on the move by manoeuvring their own forces and when necessary surrendering something that the enemy is bound to snatch at. They force the adversaries to move with the prospect of gain by leaving opportunities that the enemy will surely take, and wait for them in an ambush in strength. Skilled warriors determine all movements of the enemy by signs that the enemy leave behind. While the previous stanza explained the need for fexibility, this one is a reminder of the basic rules of strategy. Sun Tzu is ensuring that in the quest to apply fexibility the primary objective of strengthening one’s own position is not forgotten. He emphasises that strong positioning is achieved through innovation and surprise. Tere is also another aspect that is left unsaid, but can be inferred, that a dominant position prevents confict, that is direct confrontation. A capable commander forces the adversary to move through the implementations of a variety of means, if necessary even by surrendering captured areas or ofering lucrative baits, while laying an elaborate ambush to deliver a crushing blow with the full might of one’s own force. Tese are intricate manoeuvres and can only be conducted after careful planning that is the foundation for the formulation of strategy. By placing this stanza in the context of skilled commanders, Sun Tzu explains the need to align tactical and operational level actions with the larger strategy and campaign plans. The strategy in this case will be based on attaining and retaining a dominant position, by indirectly forcing the adversary to take certain actions for which one’s own forces are already prepared. Defnition: When the enemy wants to take something and you yield it, it is termed ‘according with’. If the enemy wants to withdraw, disperse and open an escape route for their retreat. If the enemy is relying upon a strong front, establish your own front lines far of, solidly assuming a defensive posture in order to observe their arrogance. If the enemy relies upon their awesomeness, be emptily respectful but substantially plan while awaiting their laxness. Sawyer, the Tao of Spycraft, 1998 Operational art is a combination of planning, positioning and manoeuvring of forces to optimise the capabilities of the available forces. This optimisation of capabilities has to be aligned with the contextual need of a particular mission, which means that there is an indelible relationship between combat power and the prevalent and emerging situation for mission success. In this case, position of the force, as mentioned by Sun Tzu, must be understood to encompass not only the physical position of the military forces in confict or near-confict situations, but also the strategic positioning of the nation in terms of resource availability, socio-political and economic strength, and the broad security environment within which it is compelled to function. Shaping the adversary’s actions at the grand strategic level is a long-drawn process and must be undertaken only through careful planning and understanding of the broader issues involved. One’s own strength should be leveraged initially to contain that of the adversary and subsequently overwhelm them with expanded capabilities brought to bear with superior manoeuvres. The basic theme of this stanza is based at the operational level, but it has direct connections to the strategic level by implication and the broader understanding of what is meant by ‘position’. In an air power environment, along with astute campaign planning and its implementation, technology will be an important factor to be considered in determining positioning. Positioning in this instance would also encompass the capability spread of the force as well as its profciency to enhance technologically the resident capabilities of the force at any given time. The stanza, although focused at the operational level, can be extrapolated at the tactical as well as the strategic level from the viewpoint of air power application. At the tactical level, it merely means that deployment and positioning of squadrons and fights should be done with the objective of achieving air superiority and 143 The Art of Air Power thereafter maintaining the necessary level of control of the air in the area of immediate interest for the required duration. Control of the air can directly afect the adversary’s warfghting capability by denying them the use of air and disrupting their manoeuvre options. At the strategic level, control of the air impacts the campaign planning in two ways. First, is the need to establish control of the air, since it is a prerequisite for all operations and second, to determine the methodology of obtaining the necessary level of control at the theatre level. The planning for a theatre-level campaign that would be of longer duration and at times extremely intensive will have to be done taking into account requirements for the sharing of limited air power assets with other theatres and therefore accepting the priorities as laid down at the strategic politico-military level. Such considerations might at times require acceptance of a lesser level of control of the air than optimum for some duration of the campaign till the situation can be reverted to an acceptable level. Managing the ebb and fow of such manipulations requires extremely high calibre command capabilities. Skilled air campaign planning will be able to ameliorate the issues that might otherwise be a hindrance to achieving control of the air and to carrying out subsequent missions successfully. Although Sun Tzu called for laying down ambushes, in the employment of air power, this translates to keeping sufcient force capability in reserve to be employed rapidly when the situation is apt. Such a strategy will be successful only when control of the air has been obtained before a predetermined critical point in the campaign. The ratio of the quantum of forces committed to the campaign and those kept in reserve, as well as the identifcation of the opportune moment to employ the reserves, will have to be decided at the highest level of command. In an air power context, campaign planning and technology are major factors in determining the positioning of the force The concept of control of the air has implications at all levels of the conduct of war Planning and executing a successful air campaign requires extremely high calibre command capabilities 144 Combat Power Those skilled in conflict Do not hold others responsible. Skilled warriors exploit the potential energy, And travel like timber and boulders. It is the nature of timber and boulders— To be still on level ground; move on steep ground; Square, they halt; and round, they roll. Skilfully deployed forces, Are like rounded boulders Rolling down a mighty mountain. The sophisticated commander strives to achieve the combined efects of combat power and does not require too much from individuals to achieve victory. In exercising combat power, advantage must be taken of emerging situations by adapting the employment of forces optimally. Forces behave like logs and rocks—their nature is such that they are still when on a level place; move when on a steep place; stop when they are squared; and roll when they are rounded. Tus the potential energy of troops, skilfully commanded in battle, is like that of rolling rounded boulders down a high mountain. The frst is about command and the second regarding appreciation of the prevalent situation vis-à vis the position of own and adversary forces. Competent commanders only place limited and well-calculated responsibility on the ofcers and troops subordinate to them while assuming strategic command and control themselves, efectively freeing the force to achieve operational and tactical goals. Detailed analysis of the prevailing situation will provide a clear indication of the best course of action. Sun Tzu believed that adaptability is a critical factor in ensuring that the employment of force is optimised to one’s advantage. He compares the felded forces metaphorically to logs and boulders to explain the importance of the prevailing situation and the infuence of force composition on manoeuvre. In circumstances wherein the opposing forces are equal in capability—level ground—there is very limited scope to manoeuvre, but when one’s own forces have superiority—steep ground—they can be overwhelming in their manoeuvre. Similarly, 145 The Art of Air Power when the force structure is unimaginative—square—they are not capable of adequate manoeuvre and when they are adaptive and innovative—round—they are capable of carrying out sophisticated manoeuvres. The skill of the commander is in understanding the circumstances under which the force is being deployed so that it is always employed under favourable conditions. Sun Tzu compares the skilfully deployed forces, positioned to gather momentum in overwhelming the adversary, to rolling trees and rounded boulders that on their way down a steep mountain sweep away everything in front of them. By harnessing the potential energy of position and the momentum of a well-formed force, and releasing it at the most opportune moment, it is possible for even small forces to achieve great results. When applied to contemporary air power employment, the stanza indicates three basic aspects that will determine the efcacy of air power in a given situation. One, the factors of which commanders at the strategic level must be aware in order to be successful; two, the overall capability of the force as judged and appreciated at the various command levels; and three, the analysis and calculations necessary to ensure that the design of the force is optimised for the efcient application of air power and that the efects created are at least commensurate with the efort involved. Commanders at all levels must have the moral courage to take responsibility for their decisions and the actions that fow from them so that subordinate commanders and troops will be able to operate free of concern regarding the correctness of their actions. Commanders also have to be knowledgeable regarding the force’s holistic capability and must have demonstrated ability to extract the maximum output from deployed forces. This requires an in-depth understanding of the force components, appreciation of the prevailing military situation, knowledge of the political stance of the nation and detailed professional military education. Air commanders must be part of the overall joint campaign planning process from the beginning and the air campaign plan must be such that it positions the air forces optimally within the broader national security and the grand strategic military plan. The overall capability of the force, including its limitations, must be very clear at all levels of command. The need is for peacetime capabilities to be assessed on a warlike footing so that adequate remedies to demonstrated weaknesses can be instituted before committing the force to confict. The composition of the force, its structure—both operational and organisational—and its cohesiveness must be clearly analysed before the campaign, and the campaign plans must be tailored to accept the reality of the force’s actual capabilities. Air power particularly is susceptible to being overstretched, which invariably leads to dilution of efort and slow deterioration in the overall capability. When they do so they tend to look at that which can be quantifed: the number of troops, the quantities of ammunition, the readiness rates of key equipment, the amount of transport, and so on. Rarely, however, do they look at the adequacy of their organization as such, and particularly high level organisation, to handle these challenges. Yet as Pearl Harbor and other cases suggest, it is in the defciency of organizations that the embryo of misfortune develops. Cohen and John Gooch Military Misfortunes: the Anatomy of Failure in War, 1990 After a force has been sharpened by training and exercises, the application of air power can only be optimised by intimate knowledge of the adversary’s concepts of operations, strengths, limitations and centres of gravity. Identifying adversary centres of gravity, therefore, becomes an important pre-confict activity. Further, since air power assets are always in demand, adaptability becomes a crucial characteristic of the force as a whole. The application of air power has to be carefully planned, executed with utmost precision and discrimination, and must always be cautiously aligned towards achieving the strategic objectives of the campaign. Air power must be able to overwhelm the adversary and control the tempo and direction of the confict to ensure that every mission, battle, campaign and war achieves the outcome that is desired at the highest level of command, without ambiguity. Concentration of force—one of the cardinal principles of war—is like the proverbial rounded boulder rolling down a steep hill to which Sun Tzu refers in this stanza. In the application of air power, the necessary concentration can be achieved by physically concentrating air power capabilities at the desired adversary centre of gravity from one single source or from diferent bases and sources where air power assets are located. Concentration of force at great distances from the origin of the force is unique to air power and is achieved through strategic planning and coordination of efort. The supreme art of command is the dextrous deployment and employment of the forces to create the maximum efect with minimal efort. Position, manoeuvre, capability— all combine within the ambit of the commander’s ingenious decisions to create a war winning force. The mind of someone who has reached the ultimate state does not stay with anything, even for a second. Takuan, Japan, 1573–1645 Quoted in Robert Greene, the 33 Strategies of War, 2006 this chapter discusses the various strategies that can be employed to ensure victory with a focus on creating surprise and manoeuvre options. Sun Tzu emphasised the need to gather sufcient momentum within the force for it to become overwhelmingly powerful and the advantages of innovation at the physical as well as the conceptual level. He also put forward the concept that direct confrontation may not always lead to victory and that a judicious combination of conventional and unconventional strategies is more likely to be successful, especially against an adversary who is also comparatively equal in capabilities. The creation and restrained release of the force’s momentum and the creation of illusions regarding one’s own capabilities is expressed as a war-winning strategy. Air power is one of the major conventional military capabilities of nation states and has three distinctive strategic advantages over other forms of military powers. First, it has the capacity to implement complex strategies relatively more easily than other military powers, second, it is the repository of a great deal of fexibility that permits its rapid 148 Combat Power transformation to be efective in unconventional confict situations and, third, it can create a series of efects at all levels of war in both the physical and cognitive domains, simultaneously if required. Air power combines innovation and fexibility to achieve the element of surprise within the battlespace as well as beyond the immediate theatre of operations. In fact, air power operating in and around the theatre before, during and after the campaign is a primary contributor to creating sufciently reliable and timely situational awareness for the commanders that, in turn, ensures decision superiority at all times. Ofensive air power straddles the entire spectrum of confict and when employed innovatively, combining its characteristics optimally, can become an efective asymmetric capability. Further, it also has deterrent capabilities that can contribute critically to confict resolution in certain situations. The efectiveness of the application of air power in the pursuit of a strategy of surprise and momentum is dependent on fve major factors—the spread of its capabilities in the force, training of the personnel, availability and adequacy of resources, realistic appreciation of resident capabilities and the ability to be innovative in its application. Control of the air, a prerequisite for the success of all operations, depends on these fve fundamental factors, buttressed by realistic campaign planning and professional command and leadership. Command and control of air elements is always complex, and it is more so when the circumstances of their employment are dynamic and uncertain. Air power operates best under the tried and proven tenet of ‘centralised control and decentralised execution’, and the commander’s professional mastery is the linchpin in ensuring that the limited air power capabilities of a force are optimally employed in alignment with the grand strategic objectives of the nation. The chapter expands on the concept of weakness and strength, even though opposites, being complementary ideas that are irrevocably bound together in strategic military analysis. In any comprehensive analysis, the adversary’s weakness is a benchmark of the strength that must be built up in one’s own forces. Further, strengths can also indicate the weaknesses that are inherent in any force.

In the last lessons of the course medicine 1975 lyrics order cheapest diltiazem and diltiazem, only a few words and phrases have to be explained by means of synonyms symptoms 3 days dpo purchase generic diltiazem. While the translation is being done (without the text in the native language) medications 7 purchase diltiazem 180mg amex, some details of the part medicine 657 order 60mg diltiazem overnight delivery, which are important from the point of view of their lexical and grammatical features 10 medications 180 mg diltiazem otc, are acted out through games and songs (and even through easy dances) medicine used for pink eye cheap diltiazem. There should be group reading with the teacher from the very first session if reading difficulties in certain languages have to be overcome. Remember that some elaborations must also be done, because just the reading alone would be monotonous. Opposite of what teacher does: for example teacher reads the bold in a deep voice and the words in a soft voice. Then students read the following phrase in the opposite way: the bold in soft and the other words in a deep voice. You can now have women read like the men just did and the men like women say that since they are actors they are training their voices for different parts. This involves the teacher to stand behind something and read the phrases to an individual student who is like on a stage. If the whole dialogue cannot be dealt with in one day’s period, it can be worked out to the end of the next day. This primary elaboration of the text should come as a confirmation of the students’ conviction that they have mastered the material at the translation level. Now the teacher must make certain that there is an easy transition to active speaking. Second Day after the Session 97 Second elaboration: Every day the elaboration starts with a song and finishes with a song. The group goes on with the work begun the previous day until they get through the grammatical units in the lessons. The students are immediately activated by reading and translating in a playful manner, briskly, and frequently changing the games, or playing suitable games apart from the text which the teacher chooses according to his/her judgement and intuition. If necessary the teacher reminds the students that they are working on the material needed for the film. Note: During reading and translation all opportunities for analogy should be made use of. For instance, when reading a sentence the verb therein could be quickly conjugated on the spot, in chorus, and its link to the verbs in the posters could be shown furtively. The teacher reads aloud slowly and the students translate the new reading matter, either in chorus or individually (in the latter case, of their own accord). The text should form a summary of the most important lexical and grammatical units used in the dialogue, in a new way, using direct and indirect speech. The text should provide a basis for the students to tell a story of their own on the next day. They should think about what they will be able to narrate within the framework of such a theme (summarising in fact, the most important points in the lesson). At the beginning they should be rather short, but with progress made in the respective language, they should grow longer and more detailed. They can be connected with the students’ new identities and with the roles they play in class. From the middle of the course onwards, the students can tell suitable anecdotes and speak about small happenings in their own lives. A lot of suitable games and/or songs should also be included in the secondary elaboration. They should always be loaded with lexical and grammatical information and be of artistic value, with a view to the general educative sides of the instruction – familiarising the students with the culture of the respective country. On the grammar, decide which is to be activated and which is to stay on the periphery (on the passive level). Consult the grammar for each chapter to know the most important verbs, grammar constructions. As students are giving their individual presentations, hardly correct them at all. These short stories they are giving give them encouragement; they see they can communicate more or less freely. During the elaborations, students do not need to cover their native language and be asked for the translations. The teacher can gage for herself how well the students understand by how the students answer the questions during the elaboration. The whole process of translation should be easy, not stressful, almost as a matter fact. The elaboration must be very dynamic and very often changing the tasks: some songs, one game after another. General Recommendations In the initial stages of the course the teacher might write suitable questions on the blackboard, so that when students give answers to these, the answers begin to form a story with a plot. By skillfully steering the conversation around the theme (or themes) of the different stories given the day before, the teacher can, in an encouraging way, invite the students to retell them. Only the most inadmissible mistakes should be corrected in a soft manner and if possible indiscernably. As soon as the first spontaneous attempts of a student to interrupt another student’s story appear, the teacher must immediately take the situation in hand, and stimulate and maintain this process of spontaneous communication as much as possible and see that it becomes a regular procedure in the course. Generally speaking, one should from the very beginning, take the utmost care in the double-plan, tactful and delicate directing the students toward spontaneous conversation. This conversation should be natural, without special requirements, or allotting special role-play situations (except in cases when the students either seek or create them themselves). The teacher should think of various ways of inspiring different forms of general conversations among the students about their everyday lives (stressing positive things, of course), either with the group conversing in chorus or individually. From the very beginning of the course, those students who have some previous knowledge of the language should be handled very cautiously. Skill and tact must be used in keeping their participation in the lesson well in hand as regards time, so that they do not monopolis it, and to save and keep up the spirits of the real beginners who cannot understand all that the students with a smattering of the language are saying. After a certain amount of general progress has been made in the whole group, these students with some prior knowledge can display their knowledge to the full. In general, activation should come in a more rigorous way after the third or fourth dialogue. The students can then be given roles to play more often if they express a spontaneous wish to do so. Conversation between two or three students, either with or without a textbook, should not be allowed outside the teacher’s control. For example, the beginner poses the wrong questions, thus surprising and perplexing the other beginner. Every new working day should begin either with reading a text aloud foreign language, or with the teacher narrating some intriguing everyday story in the foreign language – taking into consideration the students’ easy understanding of it. Note: When the classroom activities tend to look like a learning process which should possibly be prevented, this fact should always be explained with the necessity to get ready in order to achieve the significant objective of the common game-project, for example making a film or the like. During the days with concert session the tempo of the reading (andante, allegro, moderato) is the tempo of the music. We also have a Guide for the second level course (advanced students) which is different from that for the first level but we are not going to review it here. We give different Guides, textbooks, a lot of materials – games, songs, wall charts, suitable arts (children’s operas for mathematics etc. All of this information is about “what to do”, but about the very important “how to do” the teachers need only training. An art cannot be described – it must be heard or seen to feel it and to understand it. Suggestopedia (and also its desuggestive development) is an art, a pedagogical art, including a lot of classical art. Part of the output level should be given cautiously a few days prior to the end of the course, for instance, in the form of challenging written texts, conversations etc. During the course the students should be given easy tests to stimulate them, mainly translations into their own mother tongue, including meaningful parts of dialogues and extra texts (after the latter have been translated during the elaborations). These fragments can be given either in written form or can be read slowly by the teacher and translated extempore by the students. This holds true both for the teacher (every time he/she comes into contact with the students) and for the students (with their gradual progress). The Final Day (performance) has now been set out as especially significant because this is the day when the trainees demonstrate to themselves and to the group what they have learned. Short stories told by each trainee are an appropriate occasion to elicit additional questions and free conversation. It is a particularly important and special occasion to celebrate on the final day of the course. The suggestopaedic system for teaching foreign languages to adults is subjected to a number of psychological principles, which should be observed. For example: good, reliable organisation of the work in the educative institution; purposeful, double-plane behaviour of 100 the teacher; motivating initial instructions which are read to the students; directing of the students’ attention to sense-bearing wholes and easy and, if possible, unstrained assimilation of the elements; no obligatory homework, but permission can be given to the students to go through the new lesson for about 15 or 20 minutes in the morning and in the evening, only informatively, however, the way one skims through a newspaper. Its contents and layout should contribute to the success of the suggestopaedic process of teaching and learning. A light-hearted story with a pleasant emotional plot should run through the textbook. The majority of the new material is given in the very first lesson – 600 to 850 unfamiliar words and the majority of the essential grammar. In this way at the very beginning the students have a wide range of language possibilities at their disposal, to cope with the communicative elaboration. Thus they do not feel “conditioned” to speak within the limits of a few words and patterns. Thus, without getting into structuralism per se, hundreds of patterns are assimilated at once and under natural conditions. The pictures used as visual aids are connected with the subjects of the lesson and not with elements of it. The translation of the lesson into the mother tongue is given to the students at the beginning of the lesson to look through in a cursory way, and is then taken away. But we do not stay long at this stage and quickly pass on to the stage in which there is no translation at all. This does not only mean that the assimilation of new material should be considerably accelerated (usually several times over) and that the knowledge should be gained for a more lasting period on a more creative level. It is also imperative that there should also be other favourable educational and medical results. These concomitant favourable effects of medical nature have been turned into the basis for a whole suggestopaedic system that has become a new psychotherapeutical trend. However, the attention of specialists has so far been attracted to the educational results because of their volume, durability, creative tendency and secondary motivating power. These results have been published in a number of papers on the matters of Suggestopaedia reported at conferences and symposia in Sofia (1971), Moscow (1974), Ottawa (1974), Los Angeles (1975), Washington (1975) and elsewhere. The accumulated experience shows that steady good results identical in all countries where experiments have been carried out can be expected when the suggestopaedic teaching and learning is properly organised. A suggestopaedic course of Italian at the Research Institute of Suggestology 101 A suggestopaedic course in Japanese in Japan. There can be different variants of the suggestopaedic foreign language system – from courses with several lessons per week to courses of whole days, immersion in the suggestopaedic foreign language atmosphere. The leading factor is not the number of lessons but the psychological organisation of the process of instruction. If we take as a basic pattern the 24 days’ foreign language course with four academic hours per day, either no homework or only some informative reading allowed for 15 minutes in the evening and in the morning, the following results can be expected: (1) the students assimilate on average more than 90% of the vocabulary, which comprises 2000 –2500 lexical units per course; (2) More than 70% of the new vocabulary is used actively and fluently in everyday conversations and the rest of the vocabulary known at translation level; (3) the students speak within the framework of the whole essential grammar; (4) Any text can be read; (5) the students can write but make some mistakes; (6) the students make some mistakes in speaking but these mistakes do not hinder communication; (7) Pronunciation is satisfactory; (8) the students are not afraid of talking to foreigners who speak the same language; (9) the students are eager to continue studying the same foreign language and, if possible, on the same course. This holds good also for beginners who have never learnt the respective foreign language before. It stands to reason that in teaching students who have some preliminary idea of the language, the results will be much better. The assimilation of the new material in the following second course takes place approximately at the same speed. The three suggestopaedic principles and the three groups of suggestopaedic means are also observed. Of course, instruction is adapted to the age of the pupils and the specifics of the subject. The fact that, at this early age, the social suggestive norm for the limits of the human personality and for the difficulty of learning has still not been inculcated in the children is of special importance. In fact Desuggestopaedia is a preventive method protecting the children from didactogenic disorders, from lacking motivation for studying, and from all negative effects of the popular system of education. The important thing is that the tutor must believe and not “play faith” in the top results of the training. He/she should have normal 100% expectations regarding the effect of training based on his/her experience. The system of games, songs, competitions and contact with classical arts are not forms intended to impress students (adults or children) but forms of mutual play with some participation of the tutor as well. This role of the tutor is as natural as his/her role in the establishment of the limitations in the rate of training – in other words, the undiscovered “reserves” of the personality. In Suggestopaedia for children, the methods differ from the methods for adults not only due to the essential difference in the impact of the social suggestive norm on the rate of training (it is not yet so strongly rooted in children) but also because the brain of a child is still very delicate. Children cannot achieve stable and effective concentration on an object, music etc. When presenting new material, we should pay attention to the manner of presentation. Fatigue is not caused by the scope of the material but by the manner of its presentation. Good knowledge of children’s mentality and the function of the child’s mind is an absolute necessity.

That sounded all right to Lee symptoms thyroid effective diltiazem 60mg, who had been doing work in documentation and schematics for Processor Technology all along treatment magazine trusted diltiazem 60mg. The company distributed schematics and source code for software medications every 8 hours generic diltiazem 180 mg on line, free or at nominal cost treatment 3rd stage breast cancer discount diltiazem 180mg without prescription. The Dazzler used color medicine 93 7338 order 60mg diltiazem free shipping, and produced its flashy effects by constantly going back to the memory in the main chip of the Altair (or any of the other new computers that used a similar hardware bus) treatment 3rd degree heart block discount 60mg diltiazem visa. Its output was black and white, and instead of using dots it actually formed alphanumeric characters. It worked like a mini-time-sharing system, where the two users were the video display and the computer itself. His magazine had followed up on the coup, he had delivered more computer-related cover stories, and now he was hoping to present a complete computer video display terminal a self-contained item which would have the power of the computer as well as a display capability. It would be the next step beyond the Altair, a combination computer-teletype with video. No more goddamn bloody fingers from the flicking switches on the Altair front panel. Bob talked to Lee, who agreed to do most of the design, and as they discussed it they realized that what Les Solomon wanted was not merely a terminal, but a complete computer. All required some sort of terminal, usually a klunky teletype, for the user to do anything with it. Marsh wanted to use an 8080 chip, an idea which Lee at first still opposed for political reasons (why one centralized silicon dictator? Lee figured he would use his junkyard-paranoid style to balance out the rest of the design, so that the brain would not be tempted to run amok. Lee, just about living on orange juice, spent endless hours staring at the Mylar spaghetti of the layout on the fluorescent light table. Two weeks later, a day before the newly scheduled delivery date in late February 1976 in New York, they were racing to get all the workings to fit on an Altair-style bus, along with a kluged-up power supply, a keyboard, and even some preliminary software. Finishing just in time, they had to race to a heliport in order to make the plane. Nothing was open at the airport, even for coffee, so Solomon invited them over to his home in Flushing for breakfast. He would often entertain the young hardware hackers who designed these products, and his wife would always recognize them at a glance. She used to say there was an inside personality, and though they looked like disreputable bums, you looked them in the face, you looked in those eyes and you knew who they were. After a quick day-trip to New Hampshire to meet the folks at the new hobbyist magazine Byte, Lee was able to get to a workbench and find the problem a small wire had come loose. The resulting Popular Electronics article spoke of an intelligent computer terminal. But it was clearly a computer, a computer that, when Processor Technology packaged it in its pretty blue case with walnut sides, looked more like a fancy typewriter without a platen. There were new schematics for the revised kit (under one thousand dollars), which of course were provided to anyone who wanted to see how the thing worked. Marsh later estimated that they got thirty to forty thousand requests for schematics. It looked like the Sol would be the machine that broke the computer out of the hobbyist market and brought hacking into the home. It was an odd affair, the first time the tradesmen of this hobbyist-computer business all got together to show their collective wares. Some indignant elderly retirees living at the hotel almost attacked Steve Dompier in the elevator when they saw his long hair. Homebrew-inspired companies like Processor Tech and Cromemco finally met similar souls from other parts of the country, and everybody stayed up far into the night, swapping technical hints and plotting the future. The hackers all seemed to agree that with its low profile, its typewriter-style built-in keyboard, and its video display, the Sol was the next step. The normally abrasive television personality came face to face with the newest manifestation of the hacker dream a Sol computer running a game program written by Steve Dompier. The game was called "Target," and it consisted of a little cannon on the bottom of the screen by which the user could shoot down a series of alien spaceships, made of alphanumeric characters, sailing across the top of the screen. It was a clever little hack, and Steve Dompier, as he later said, "basically gave it away. Imagine these grungy post-hippies being able to bring a computer over to a television studio, set it up, and have a total technical illiterate like Tom Snyder do something with it. Tom went along, and before you could say "commercial break" he was deeply involved not in the least kidding in shooting down aliens, which would zip across the screen in greater numbers as the game progressed, and even dispatch little parachutists loaded with grenades. A feeling that gave you a small taste of what it must be like to use this machine to actually create. He had no great social scheme, did not incubate plans for a Community Memory-style assault on the foundations of the batch-processed society. Meeting after meeting, Steve Wozniak would be at the back of the room, along with a loose contingent of followers of his digital exploits mostly high school-age computer nuts drawn by the sheer charisma of his hacking. His hair fell hap-hazardly on his shoulders, he had the kind of beard grown more to obviate the time-consuming act of shaving than to enhance appearance, and his clothes jeans and sports shirts, with little variation never seemed to fit quite right. Still, it was Steve Wozniak, known to his friends as "Woz," who would best exemplify the spirit and the synergy of the Homebrew Computer Club. Stephen Wozniak did not reach his views of hackerism through personal struggle and political rumination as Lee Felsenstein did. He grew up in Cupertino, California, amidst the curving streets lined with small single-family homes and the one-story, sparsely windowed buildings that sowed the crop of silicon which would be so central to his existence. Even in grammar school, Wozniak could get so engrossed in mathematical ponderings that his mother had to rap on his head to bring him back to the real world. He won a science contest at thirteen for building a computer-like machine which could add and subtract. His friend Alan Baum later remembered him at Homestead High School: "I saw a guy scribbling these neat diagrams on a piece of paper. Every Wednesday they would leave school and have a friend sneak them into a computer room at the Sylvania company. The two followed the computer industry with the serious passion with which fanatic sports fans might follow favorite teams. Every time they heard of a new minicomputer being released, they would write to the manufacturer, be it Digital or Control Data or whoever, and request the manual, a request often routinely fulfilled. They would note how many registers the machine had, how it added, how it did multiplication, division. They could discern from the instruction set the character of the machine, how easy it would be to use. If it was, Woz later recalled, he would "spend hours in class writing code without ever being able to test it. But a few years later, both wound up working at the same company, the Hewlett Packard computer firm. This provided side benefits, like the time he went into a bowling alley and encountered a coin-operated videogame with a sign promising a pizza to anyone who scored over a certain level. After a number of pizzas, his amazed companion asked him how he had beaten the game so easily. A prankster with an unsettling, sometimes sophomoric sense of humor, Woz ran a free "dial-a-joke" service from his home, dispensing a seemingly endless supply of Polish jokes. He and Jobs became inspired after reading a 1971 article in Esquire about a legendary fellow known as Captain Crunch who was a devoted builder of blue boxes these were devices which allowed one to make long distance calls for free. Jobs and Woz built their own, and not only used them to make free calls but at one point sold them door-to-door at the Berkeley dorms. Woz once used his box to see if he could phone the Pope; he pretended he was Henry Kissinger, and almost reached His Eminence before someone at the Vatican caught on. He also played tennis; like Bill Gosper playing Ping-Pong, Wozniak got a kick out of putting spin on the ball. His goal was, of course, a computer built to encourage more hacking a Tool to Make Tools, a system to create systems. It was 1975, and most people, had they heard his dream, would have thought he was nuts. Then Alan Baum saw the notice for the Homebrew meeting on a bulletin board and told Woz about it. Here were thirty people like him people quixot-ically fixated on building their own computers. When Marty Spergel passed out data sheets on the 8008 chip, Woz took one home and examined it until he realized that those minicomputers he was thinking of designing big machines like the ones Digital Equipment made were unnecessary. He got hold of all the literature he could on microprocessors and wrote for more information, started files on all sorts of i/o devices and chips, and began designing circuits for this eventual computer. The Homebrew atmosphere was perfect for Steve Wozniak; there was activity and energy focusing on the experimentation and electronic creativity which were as essential to him as the air he breathed or the junk food he ate. And even a person not normally taken to socializing could find himself making friends. Woz often used his home terminal to access the account that had been set up for Homebrew members on the Call Computer service. So when Gordon French, for instance, was naming about his new trick with the 8008 Chicken Hawk, his home terminal would inexplicably begin printing out these semi-obscene Polish jokes, and he never did figure out that somewhere miles away Steve Wozniak was doubled up in laughter. Woz also met Randy Wigginton, an athletic, blond-haired fourteen-year-old computer kid who had managed to get a job at Call Computer. Wigginton lived just down the street from the cluttered garden apartment Wozniak shared with his wife, and Woz would drive the youngster to Homebrew meetings. He came to almost idolize Woz for his profound understanding of computers, and deeply appreciated the fact that the twenty-five-year-old Woz "would talk to anybody about any technical thing," even to a fourteen-year-old like Wigginton. Wozniak soon got to know another Homebrew member who worked at Call Computer John Draper. A semi-employed engineer, John Draper was better known as "Captain Crunch," the "phone phreak" hero of that Esquire article that excited Woz in 1971. Draper, whose unmodulated voice could drone like the last whines of a fire alarm, a scraggly dresser who never seemed to put a comb to his long dark hair, got that moniker after he discovered that when one blew the whistle that came in the breakfast cereal by that name, the result would be the precise 2,600-cycle tone that the phone company used to shuttle long-distance traffic over the phone lines. John Draper, then an airman stationed overseas, used this knowledge to call friends at home. A typical caper would be to seek out and "map" various access codes for foreign countries, and he would use those codes to leapfrog from one trunk line to another, listening to a series of edifying clicks as his signal bounced from one communications satellite to the next. After the Esquire article, though, authorities targeted him, and in 1972 he was caught in the act of illegally calling a Sydney, Australia, number which gave callers the names of the top tunes Down Under. A virulent anti-smoker, he would also scream almost painfully when someone lit a cigarette. He was a consultant to Call Computer, and had arranged for the Homebrew Club to get its account. It was not unusual to see them together at the back of the room, as they were one night in late 1975 when Dan Sokol approached them. Sokol was the long-haired, blond guy who would stand up at Homebrew, check that no one from Intel was around, and barter off 8080 chips to anyone with good equipment to trade. Sokol at that time was going broke from using his home terminal to access the Call Computer account. Since Sokol lived in Santa Cruz, and Call Computer was in Palo Alto, his phone bill was outrageous; he was accessing the computer for forty to fifty hours a week. Sokol would use the box only for connecting to the computer a practice which in the hacker mind justifies lawbreak-ing and not for personal gain in trivial matters like calling distant relatives. At the next Homebrew meeting, Dan Sokol presented Wozniak with a box full of parts that would work with a Motorola 6800 microprocessor. When someone brought a computer to a Homebrew meeting that had video included, he knew that his computer would have to have video built in, too. He would mention what he was doing to his friend Steve Jobs at Atari, who was interested in terminals and thinking about setting up a company that made them. Every two weeks Woz would go to Homebrew and see or hear what was new, never having any problem in following up on technical details because everyone was free with information. Some things he would incorporate into the computer; for instance, when he saw the Dazzler board, he knew he wanted color graphics. He gave out the code to anyone who wanted it, and would even print some of his subroutines in Dr. By the time he was finished, he had a computer which was not really a kit or an assembled computer, but one board loaded with chips and circuitry. With just that board, you could do nothing, but when you attached a power supply and a keyboard and a video monitor and a cassette tape player to the board, you would have a working computer with video display, mass storage, and input/ output. There were several amazing things about his computer, not the least of which was that he had delivered the power and capabilities of an Altair and several boards on one much smaller board. If [I work on something] considered a good job using six instructions, I try it in five or three, or two if I want to win [big]. Every problem has a better solution when you start thinking it differently than the normal way. It was not long before Wozniak addressed the entire Homebrew Computer Club, holding his board in the air and fielding questions from the members, most of them asking how he did this or if he was going to put this feature or that into it. They were good ideas, and Wozniak brought his setup every two weeks, sitting in the back of the auditorium where the electrical outlet was, getting suggestions for improvements and incorporating those improvements. Jobs, at twenty-two, was a couple of years younger than Wozniak, and not much cleaner. He had what was described as a "Fidel Castro beard," often went shoeless, and had a Califomian interest in Oriental phi losophies and vegetarianism.

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