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Magic Ink Information Software and the Graphical Interface by Bret Victor. Headlines from the network and other sources, as well as downloads of trailers and clips.

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Information Software and the Graphical Interface. This draft was released March 1.

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Please email comments to bretworrydream. You can also download the PDF. Contents: What is software?

Context- sensitivity. Changing the world. Information Software and the Graphical Interfaceby Bret Victor. Abstract. The ubiquity of frustrating, unhelpful software interfaces has motivated decades of research into “Human- Computer Interaction.” In this paper, I suggest that the long- standing focus on “interaction” may be misguided. For a majority subset of software, called “information software,” I argue that interactivity is actually a curse for users and a crutch for designers, and users’ goals can be better satisfied through other means.

Information software design can be seen as the design of context- sensitive information graphics. I demonstrate the crucial role of information graphic design, and present three approaches to context- sensitivity, of which interactivity is the last resort. After discussing the cultural changes necessary for these design ideas to take root, I address their implementation. I outline a tool which may allow designers to create data- dependent graphics with no engineering assistance, and also outline a platform which may allow an unprecedented level of implicit context- sharing between independent programs. I conclude by asserting that the principles of information software design will become critical as technology improves. Although this paper presents a number of concrete design and engineering ideas, the larger intent is to introduce a “unified theory” of information software design, and provide inspiration and direction for progressive designers who suspect that the world of software isn’t as flat as they’ve been told.

Scope and terminology“Software,” as used here, refers to user- facing personal desktop software, whether on a native or web platform. Software design” describes all appearance and behaviors visible to a user; it approaches software as a product. Software engineering” implements the design on a computer; it approaches software as a technology. These are contentious definitions; hopefully, this paper itself will prove far more contentious. Contents. What is software? Context- sensitivity. Changing the world.

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Of software and sorcery. A computational process is indeed much like a sorcerer’s idea of a spirit. It cannot be seen or touched. It is not composed of matter at all. However, it is very real. It can perform intellectual work.

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It can answer questions. It can affect the world by disbursing money at a bank or by controlling a robot arm in a factory. The programs we use to conjure processes are like a sorcerer’s spells.—Abelson and Sussman, Structure and Interpretation of Computer Programs (1. Merlin had it easy—raising Stonehenge was a mere engineering challenge.

Artemis PS3 Hacking System is a collection of open-source, free applications that allows you to apply Netcheat codes to many of your favorite games with ease. Offers news, comment and features about the British arts scene with sections on books, films, music, theatre, art and architecture. Requires free registration. Tomorrow is Lipstick Day and M.A.C. is giving away free full tubes of the stuff to celebrate. You don’t have to buy anything, just show up at one of their U.S. Local news outlet KZTV reports the contractor spent the next two hours slipping notes to bank customers at the drive-through ATM that had become his own personal hell. It's unlikely that passive aggressive notes have ever helped to diffuse tension in the office. But that doesn't stop frustrated staff members leaving hand-written.

He slung some weighty stones, to be sure, but their placement had only to please a subterranean audience whose interest in the matter was rapidly decomposing. The dead are notoriously unpicky. Today’s software magicians carry a burden heavier than 1. They often approach this challenge like Geppetto’s fairy—attempting to instill the spark of life into a mechanical contraption, to create a Real Boy. Instead, their vivified creations often resemble those of Frankenstein—helpless, unhelpful, maddeningly stupid, and prone to accidental destruction.

This is a software crisis, and it isn’t news. For decades, the usability pundits have devoted vim and vitriol to a crusade against frustrating interfaces. Reasoning that the cure for unfriendly software is to make software friendlier, they have rallied under the banner of “interaction design,” spreading the gospel of friendly, usable interactivity to all who would listen. Yet, software has remained frustrating, and as the importance of software to society has grown, so too has the crisis. The crusade marches on, with believers rarely questioning the sacred premise—that software must be interactive in the first place. That software is meant to be “used.”I suggest that the root of the software crisis is an identity crisis—an unclear understanding of what the medium actually is, and what it’s for. Perhaps the spark of life is misdirected magic.

What is software design? A person experiences modern software almost exclusively through two channels: She reads and interprets pictures on a screen. She points and pushes at things represented on the screen, using a mouse as a proxy finger. Thus, software design involves the design of two types of artifact: These are not brave new realms of human endeavor. We share the blood of cavemen who pushed spears into mammoths and drew pictures of them in the living room. By now, these two activities have evolved into well- established design disciplines: graphic design and industrial design. Graphic design is the art of conveying a message on a two- dimensional surface.

This is a broad field, because people have such a variety of messages to convey—identity, social status, emotion, persuasion, and so on. Most relevant to software is a branch that Edward Tufte calls information design—the use of pictures to express knowledge of interest to the reader.* Some products of conventional information graphic design include bus schedules, telephone books, newspapers, maps, and shopping catalogs. A good graphic designer understands how to arrange information on the page so the reader can ask and answer questions, make comparisons, and draw conclusions.

When the software designer defines the visual representation of her program, when she describes the pictures that the user will interpret, she is doing graphic design, whether she realizes this or not. Industrial design is the art of arranging and shaping a physical product so it can be manipulated by a person. This too is a broad field, because people work with such a variety of objects—cutlery to chairs, cell phones to cars. A good industrial designer understands the capabilities and limitations of the human body in manipulating physical objects, and of the human mind in comprehending mechanical models.

A camera designer, for example, shapes her product to fit the human hand. She places buttons such that they can be manipulated with index fingers while the camera rests on the thumbs, and weights the buttons so they can be easily pressed in this position, but won’t trigger on accident.

Just as importantly, she designs an understandable mapping from physical features to functions—pressing a button snaps a picture, pulling a lever advances the film, opening a door reveals the film, opening another door reveals the battery. Although software is the archetypical non- physical product, modern software interfaces have evolved overtly mechanical metaphors. Watch The Haunted House Online The Haunted House Full Movie Online. Buttons are pushed, sliders are slid, windows are dragged, icons are dropped, panels extend and retract. People are encouraged to consider software a machine—when a button is pressed, invisible gears grind and whir, and some internal or external state is changed.

Manipulation of machines is the domain of industrial design. When the software designer defines the interactive aspects of her program, when she places these pseudo- mechanical affordances and describes their behavior, she is doing a virtual form of industrial design. Whether she realizes it or not. The software designer can thus approach her art as a fusion of graphic design and industrial design. Now, let’s consider how a user approaches software, and more importantly, why.

What is software for? Software is for people. To derive what software should do, we have to start with what people do. Consider the following taxonomy of human activity: *At the present, software can’t do much for physical needs—if your avatar eats a sandwich, you remain hungry. But people are increasingly shifting their intellectual activities to the virtual world of the computer. This suggests three general reasons why a person will turn to software: To learn.

To create. To communicate.

Garry Shandling - Wikipedia. Garry Shandling. Born. Garry Emmanuel Shandling(1.

November 2. 9, 1. Chicago, Illinois, U. S. Died. March 2. Los Angeles, California, U. S. Cause of death. Heart attack. Alma mater. University of Arizona.

Partner(s)Linda Doucett (1. Comedy career. Medium. Stand- up, television, film. Years active. 19. Genres. Observational comedy, satire, cringe comedy.

Subject(s)Self- deprecation, human interaction, everyday life. Notable works and roles. It's Garry Shandling's Show, The Larry Sanders Show. Garry Emmanuel Shandling (November 2. March 2. 4, 2. 01. American stand- up comedian, actor, director, writer, producer, voice artist, and comedian, best known for his work in It's Garry Shandling's Show and The Larry Sanders Show. Shandling began his career writing for sitcoms, such as Sanford and Son and Welcome Back, Kotter. Watch The Dead Undead Online Ibtimes here.

He made a successful stand- up performance on The Tonight Show Starring Johnny Carson and became a frequent guest- host on the show. Shandling was for a time considered the leading contender to replace Carson (other hopefuls were Joan Rivers, David Letterman, and David Brenner). In 1. 98. 6, he created It's Garry Shandling's Show for Showtime. It was nominated for four Emmy Awards (including one for Shandling) and lasted until 1. His second show titled The Larry Sanders Show, which began airing on HBO in 1. Shandling was nominated for 1.

Emmy Awards for the show and won the Primetime Emmy Award for Outstanding Writing for a Comedy Series in 1. Peter Tolan, for writing the series finale. In film, he had a recurring role in the Marvel Cinematic Universe, appearing in Iron Man 2 and Captain America: The Winter Soldier. He also lent his voice to Verne in Over the Hedge, another one of his famous performances. Shandling's final performance was as the voice of Ikki in The Jungle Book. During his 3- decade career, Shandling was nominated for 1.

Primetime Emmy Awards and two Golden Globe Awards, along with many other awards and nominations. He served as host of the Grammy Awards four times and as host of the Emmy Awards three times. Early life[edit]Shandling was born Garry Emmanuel Shandling in Chicago, Illinois[1] on November 2. Jewish family. He grew up in Tucson, Arizona, one of three sons of Irving Shandling, a print shop owner, and Muriel Estelle (née Singer), a pet store proprietor.[3][4]The family moved to Tucson so that Garry's older brother Barry could receive treatment for cystic fibrosis.[1] Barry died of the disease when Garry was 1. Shandling attended Palo Verde High School.

After graduation from Palo Verde High School, he attended the University of Arizona, at first majoring in electrical engineering, but eventually completing a degree in marketing and pursuing a year of postgraduate studies in creative writing.[6]In 1. Shandling moved to Los Angeles. He worked at an advertising agency for a time, and then sold a script for the popular NBC sitcom Sanford and Son.[7] In addition to Sanford and Son, Shandling wrote scripts for the sitcoms Welcome Back, Kotter and attended a story meeting for Three's Company.[8]In 1. Shandling was involved in an auto accident in Beverly Hills that left him in critical condition for two days and hospitalized for 2 weeks with a crushed spleen.[1] The accident inspired him to pursue a career in comedy,[9] and he later turned the accident into part of his comedy.[5]Stand- up comedy[edit]Shandling became a stand- up comedian because he was frustrated by situation comedy's "formulaic writing".[7] In 1. Shandling performed his first stand- up routine at the Comedy Store in Los Angeles. A year later, Shandling was one of the few performers to cross the picket line when a group of comedians organized a boycott against the Comedy Store, protesting owner Mitzi Shore's policy of not paying comedians to perform.

According to William Knoedelseder, Shandling "was the scion of a family with … decidedly antiunion views. He had not shared the struggling comic experience. He was a successful sitcom writer trying to break into stand- up, and prior to the strike, Shore had refused to put him in the regular lineup because she didn't think he was good enough. Of course, that changed the minute he crossed the picket line."[1. His persona was an anxiety- ridden, grimacing, guarded, confused man on the verge of losing control.

After a couple of years on the road, a talent scout from The Tonight Show Starring Johnny Carson booked him to appear as a guest in 1. Shandling substituted for Carson on a regular basis until 1. Jay Leno as permanent guest host and Carson's eventual successor.[citation needed]In 1. Shandling performed his first stand- up special Garry Shandling: Alone in Vegas for Showtime,[1. The Garry Shandling Show: 2. Anniversary Special, also for Showtime.[1. In 1. 99. 1, a third special titled Garry Shandling: Stand- Up was part of the HBO Comedy Hour.[1.

TV series[edit]It's Garry Shandling's Show[edit]In 1. Shandling and Alan Zweibel went on to create It's Garry Shandling's Show. It ran for 7. 2 episodes on Showtime through 1. The edited reruns played on the Fox network beginning in 1.

Shandling wrote 1. The series subverted the standard sitcom format by having its characters openly acknowledge that they were all part of a television series. Building on a concept that harked back to The George Burns and Gracie Allen Show, in which George Burns would frequently break the "fourth wall" and speak directly to the audience, Shandling's show went so far as to incorporate the audience and elements of the studio itself into the storylines, calling attention to the artifice of the show.[6][1.

The series was nominated for four Emmy Awards,[6] including one for Shandling. He won an American Comedy Award for Funniest Male Performance in a Series, and won four Cable. ACE awards, two for Best Comedy Series.

The show also won an award for Outstanding Achievement in Comedy from the Television Critics Association.[1. On 1. 7 October, writer Janis Hirsch alleged that Shandling presided over a hostile work environment. During one meeting with multiple attendees, including Shandling, an unnamed actor exposed himself and placed his penis on one of Hirsch's shoulders. Shandling laughed.[1. The Larry Sanders Show[edit].

Shandling during the 1. Emmy Awards rehearsals.

In 1. 99. 2, Shandling launched another critical and commercial success by creating the mock behind- the- scenes talk show sitcom The Larry Sanders Show. It ran for 8. 9 episodes through to 1. HBO. It garnered 5. Emmy Award nominations and three wins.

Shandling based the series on his experiences guest hosting The Tonight Show Starring Johnny Carson.[1. In 1. 99. 3, NBC offered Shandling $5 million to take over Late Night when David Letterman announced his highly publicized move to CBS, but Shandling declined.[6][1.

He was subsequently offered The Late Late Show, but also declined in favor of doing The Larry Sanders Show.[6]Shandling wrote 3. He was nominated for 1. Emmy Awards for the series; [6] five for acting, seven for writing, and six for being co- executive producer with Brad Grey. He won one Emmy Award for Outstanding Writing in a Comedy Series for the series finale "Flip." He has also been nominated for two Golden Globe Awards for Best Actor (Musical or Comedy) in 1.

He won two American Comedy Awards for Funniest Male Performance in a Comedy Series, eight Cable. ACE Awards, and a BAFTA Award.[7] The series also influenced other shows, such as Entourage, 3.

Rock, and Curb Your Enthusiasm, in which guest stars portray themselves in episodes of the series.[1. In 2. 00. 2, TV Guide named The Larry Sanders Show as 3.

Greatest Show of All Time. In 2. 00. 8, Entertainment Weekly ranked the series the 2.

Best Show of the past 2. It was also included on Time magazine's 1. Greatest Shows of All Time.[2. The first season was re- released in 2. Not Just the Best of the Larry Sanders Show, which were Shandling's pick of the best 2. In October 2. 01.