finished main navigator
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<html lang="en">
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<head>
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<!-- Required meta tags -->
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<meta charset="utf-8">
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<meta name="viewport" content="width=device-width, initial-scale=1, shrink-to-fit=no">
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<!-- Bootstrap CSS -->
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<link rel="stylesheet" href="https://stackpath.bootstrapcdn.com/bootstrap/4.1.3/css/bootstrap.min.css" integrity="sha384-MCw98/SFnGE8fJT3GXwEOngsV7Zt27NXFoaoApmYm81iuXoPkFOJwJ8ERdknLPMO" crossorigin="anonymous">
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<title>Elevator_Button</title>
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<style type="text/css">
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body {
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background-color: black;
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color: white;
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margin-left: 20px;
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margin-top: 20px;
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}
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</style>
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</head>
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<body id="bdy">
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<img id="elev1" src="https://i.ytimg.com/vi/jn4ZCeF-e_k/maxresdefault.jpg" type="photo" width="500px" height="217px">
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<img id="elev2" src="http://genknews.genkcdn.vn/2016/photo-0-1482138225435.gif" type="photo" h="217" w="500" style="float: inline-start;margin-right: 37px;">
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<img id="elev3" src="./elevGif.gif" type="photo">
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<img id="elev4" src="https://media.giphy.com/media/tyttpGW87UcUb7O6jg4/giphy.gif" type="photo" style="float: inline-start;margin-right: 80px;">
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<p id="info" style="font-size: 100px;"> Find the right button to stop the elevator before it crush! <br> <span style="color: red;">Warning! You have 50 seconds.</span> </p>
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<button type="button" id="startButton" class="btn btn-outline-success" style="position: fixed; margin-top: -680px; margin-left: 622px; width: 750px; height: 210px; font-size: 90px;" onclick="start_timer()">START</button>
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<p id="message" style="font-size: 110px; color: #28a745;"> You are safe! <br> <span style="color: white;">You clicked in <span id="time" ></span></span></p> <br>
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<p id="messageDead" style="font-size: 121px;"> I'm sorry but <br><br><br></p>
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<p id="messageDead2" style="color: red; font-size:227px; margin-top: -281;"> you are DEAD!</p>
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<div id="stopButtons" style="margin-top: -33px;">
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="stop_timer()">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
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|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
<button type="button" id="btn1" class="btn btn-outline-danger" onclick="$(this).css( 'visibility', 'hidden' )">STOP</button>
|
|
||||||
|
|
||||||
</div>
|
|
||||||
|
|
||||||
<!-- Optional JavaScript -->
|
|
||||||
<!-- jQuery first, then Popper.js, then Bootstrap JS -->
|
|
||||||
<script src="https://code.jquery.com/jquery-3.3.1.slim.min.js" integrity="sha384-q8i/X+965DzO0rT7abK41JStQIAqVgRVzpbzo5smXKp4YfRvH+8abtTE1Pi6jizo" crossorigin="anonymous"></script>
|
|
||||||
<script src="https://cdnjs.cloudflare.com/ajax/libs/popper.js/1.14.3/umd/popper.min.js" integrity="sha384-ZMP7rVo3mIykV+2+9J3UJ46jBk0WLaUAdn689aCwoqbBJiSnjAK/l8WvCWPIPm49" crossorigin="anonymous"></script>
|
|
||||||
<script src="https://stackpath.bootstrapcdn.com/bootstrap/4.1.3/js/bootstrap.min.js" integrity="sha384-ChfqqxuZUCnJSK3+MXmPNIyE6ZbWh2IMqE241rYiqJxyMiZ6OW/JmZQ5stwEULTy" crossorigin="anonymous"></script>
|
|
||||||
|
|
||||||
<!-- My Script -->
|
|
||||||
<script type="text/javascript">
|
|
||||||
|
|
||||||
var start;
|
|
||||||
var clicked = false;
|
|
||||||
var click_time;
|
|
||||||
|
|
||||||
$("#message").hide();
|
|
||||||
$("#messageDead").hide();
|
|
||||||
$("#messageDead2").hide();
|
|
||||||
$("#stopButtons").hide();
|
|
||||||
$("#elev2").hide();
|
|
||||||
$("#elev3").hide();
|
|
||||||
$("#elev4").hide();
|
|
||||||
|
|
||||||
function start_timer() {
|
|
||||||
console.log("start_timer");
|
|
||||||
|
|
||||||
$("#startButton").hide();
|
|
||||||
$("#stopButtons").show();
|
|
||||||
$("#elev1").hide();
|
|
||||||
$("#elev2").show();
|
|
||||||
$("#info").hide();
|
|
||||||
start = Date.now();
|
|
||||||
var dead = Date.now() - start;
|
|
||||||
console.log(start);
|
|
||||||
console.log(dead);
|
|
||||||
|
|
||||||
if ( dead > 3000) {
|
|
||||||
$("#elev2").hide();
|
|
||||||
$("#elev4").show();
|
|
||||||
$("#messageDead").show();
|
|
||||||
$("#messageDead2").show();
|
|
||||||
}
|
|
||||||
}
|
|
||||||
|
|
||||||
function stop_timer() {
|
|
||||||
if (clicked) { return }
|
|
||||||
console.log("stop_time");
|
|
||||||
click_time = Date.now() - start;
|
|
||||||
console.log (click_time,"time has past");
|
|
||||||
$("#message").show();
|
|
||||||
$("#time").text(click_time/1000 + " seconds");
|
|
||||||
$("#elev2").hide();
|
|
||||||
$("#elev3").show();
|
|
||||||
$("#info").hide();
|
|
||||||
$("#stopButtons").hide();
|
|
||||||
|
|
||||||
clicked = true;
|
|
||||||
}
|
|
||||||
|
|
||||||
</script>
|
|
||||||
|
|
||||||
</body>
|
|
||||||
|
|
||||||
</html>
|
|
@ -1 +0,0 @@
|
|||||||
var x = ['scientific method', 'science', 'empirical evidences', 'positivism', 'functional', 'dynamical', 'structural properties', 'consciousness', 'mind', 'cognitionthought', 'knowledge', 'intelligence', 'self-awareness', 'agency', 'mind-body problem', 'subjective experience', 'phenomenal consciousness', 'explanatory gap', 'neurophenomenology', 'materialism', 'physicalism', 'naturalism', 'reductionism', 'panpsychism', 'mysterianism', 'dualism', 'monismo dialettico', 'modellization of the mind', 'technical system', 'autonomous machines', 'intelligent machines', 'adaptive machines', 'sentient machine', 'machinic life ', 'hardware', 'software', 'human-constructed environment', 'material', 'virtual', 'techné', 'talos', 'automaton', 'dedalos', 'architectural design', 'labyrinth', 'technological discoveries', 'machine', 'machinery', 'machinic', 'mechanical', 'cybernetics', 'steam engine', 'thermodynamics', 'creation - evolution controversy', 'agency', 'wallace', 'vapour engine', 'evolutionary process', 'buttler', 'erewhon', 'darwin amongst the machines', 'teleology', 'purpose', 'evolution', 'feedback loop', 'adaptation', 'cannon', 'homeostasis', 'cyberculture', 'statistical info theory', 'ecperimental psychology', 'behaviorism', 'control theory', 'complex system', 'self-regulating', 'organic', 'inorganic', 'post-humanism', 'control', 'simulation', 'surveillance', 'embodied knowledge', 'AI', 'formalization of mathematics and logic', 'jacquard loom', 'general purpose computer', 'discrete system', 'finite state machine', 'boolean logic', 'babbage', 'ada', 'analytical engine', 'plato', 'leibniz', 'church-turing thesis ', 'formalization of computation', 'von neumann architecture', 'shannon info theory', 'digital computer', 'intelligence', 'mind-brain', 'cognitive revolution', 'information processing', 'abstraction', 'hardware-software', 'turing', 'imitation game', 'thinking machine', 'human-level communication', 'models of computation', 'cognitive simulation', 'logic theorist', 'symbolic AI', 'NAI', 'AGI', 'HLAI', 'SAI', 'computationalism', 'CTM', 'LOTH', 'PSSH', 'chomsky', 'dreyfus', 'context', 'common sense', 'creativity', 'intuition', 'searle', 'jackson', 'chinese room', 'strong AI', 'weak AI', "mary's room", 'GOFAI', 'AI winter', '1974-1980', '1987-1993', 'top-down', 'bottom-up', 'sub-symbolic AI', 'connectionism', 'machine learning', 'artifician neural network (ANN)', 'parallel distributed processing (PDP)', 'dataset', 'neurons', 'deep learning', 'intelligent agent', 'Stuart J. Russell', 'Peter Norvig', 'complex systems', 'rational agent', 'environment ', 'sensors', 'actuators', 'performance', 'ALife', 'simulating biological evolution', 'software environment ', 'simple operators', 'cellular automata (CA)', 'simple lawas', 'neoghbours cells', 'death ', 'reproduction', 'evolution', 'chaotic systems', 'stable loops', 'patterns', 'edge of chaos', 'unpredictable', 'symbolic + sub symbolic', 'evolutionary process', 'life', 'intelligence', 'noisy phisical world', 'radiations', 'electromagnetic phenomena', 'particles', 'wavelengths', 'continuous interaction', 'chaotic world', 'black box', 'nested black box', 'discrimination', 'biases', 'limitations', 'nouvelle AI', 'situated AI', 'body', 'robots', 'virtual environments', 'adaptive unconscious', 'embodied knowledge', 'biological organisms', 'high-level intelligence', 'intuition ', 'creativity', 'spontaneity', 'weak-and-narrow AI', 'goal', 'human-level system', 'unhappy claims ', 'slow growth', 'MIT', 'Elon Musk', 'Ray Kurzweil', 'Lex Friedman', 'Vernor Vinge', 'daydream', 'future-oriented', 'techno-utopianism', 'neo-liberal', 'Californaian ideoloy', 'big picture', 'technological singularity', 'think for itself', 'matrix', 'man-made', 'cognition', 'technologies', 'human operator', 'intellectual process', 'productive process', 'historical materialism', 'Marx ', 'Engels', 'War World II', 'machine performance', 'symbiosis ', 'intelligence amplification IA', 'intelligence augmentation', 'Vannevar Bush', 'Ross W. Ashby', 'intellectual power', 'physical power', 'L.C.R. Licklider', 'man-machine symbiosis', 'Simon Ramo ', 'intellectronics', 'interactive computing', 'user interface', 'Douglas Engelbart', 'bootstrapping', 'human-computer interaction (HCI)', 'brain-computer interface (BCI)', 'extrasensory perception', 'Neuralink', 'dystopia', 'cyborg theory', 'human-machine dichotomy', 'ecosystem', 'patchwork organisms', 'cybernetic organism', 'cyborg', 'machinic phylum', 'Deleuze ', 'Guattari', 'D&G', 'assemblages', 'implants cyborg society', 'Thomas Metzinger', 'hybrid biorobotics ', 'mixed species', 'artificial hardware', 'artificial software', 'biological hardware', 'biological software', 'RoboRoach', 'artificial implant', 'electrical impulses', 'nerves', 'neuroenhancement', 'mental states', 'neuropharmacology', 'psychopharmacology', 'synteshis', 'non-neural hardware', 'biological assumption', 'machinic consciousness', 'bio-digital fusion'];
|
|
@ -1,81 +0,0 @@
|
|||||||
# This script takes a txt file and use a template to create
|
|
||||||
# html pages linked in a linear sequence and containing each a line of the txt
|
|
||||||
# It generate also the css out of a template.
|
|
||||||
|
|
||||||
# I would like to make also a circular version. A loop that arrived at the last page reconnects with the first page.
|
|
||||||
# and eventually try other possible sequences and links (such as metarefresh etc..)
|
|
||||||
|
|
||||||
# This could become a commad, like > htgen [chose if linear (-l) or circular (-c) or ...] [input file] [input html template]
|
|
||||||
|
|
||||||
from jinja2 import Template
|
|
||||||
|
|
||||||
file = "./filoXX_fN.txt"
|
|
||||||
#ask name input file and use it also for name output file
|
|
||||||
|
|
||||||
# read formatted text
|
|
||||||
with open(file, "r") as sentences_file:
|
|
||||||
for n, line in enumerate(sentences_file.readlines()):
|
|
||||||
|
|
||||||
# CHECK IF THE FORMAT IS CORRECT FIRST - comment all the above print()
|
|
||||||
print(line)
|
|
||||||
|
|
||||||
# format text again if needed - comment if not needed
|
|
||||||
line = line.replace("\n", "")
|
|
||||||
|
|
||||||
# link to next page
|
|
||||||
nxt_n = n + 1
|
|
||||||
nxt_n = str(nxt_n)
|
|
||||||
file_name_next = "file_{}.html".format(nxt_n.zfill(2))
|
|
||||||
|
|
||||||
# file name
|
|
||||||
n = str(n)
|
|
||||||
file_name = "file_{}.html".format(n.zfill(2))
|
|
||||||
|
|
||||||
# jinja html template
|
|
||||||
template_html = Template('''
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> {{ sentence }} </p>
|
|
||||||
<a href="{{ next }}" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
''')
|
|
||||||
|
|
||||||
# render template
|
|
||||||
html_list = template_html.render(sentence = line, next = file_name_next)
|
|
||||||
|
|
||||||
# write html
|
|
||||||
with open(file_name, "w") as output:
|
|
||||||
output.write(html_list)
|
|
||||||
|
|
||||||
# css template
|
|
||||||
template_css = '''
|
|
||||||
body {
|
|
||||||
background-color: black;
|
|
||||||
color: red;
|
|
||||||
}
|
|
||||||
|
|
||||||
p {font-size: 100px;}
|
|
||||||
|
|
||||||
.button {
|
|
||||||
font: bold 11px Arial;
|
|
||||||
text-decoration: none;
|
|
||||||
background-color: #EEEEEE;
|
|
||||||
color: #333333;
|
|
||||||
padding: 2px 6px 2px 6px;
|
|
||||||
border-top: 1px solid #CCCCCC;
|
|
||||||
border-right: 1px solid #333333;
|
|
||||||
border-bottom: 1px solid #333333;
|
|
||||||
border-left: 1px solid #CCCCCC;
|
|
||||||
}
|
|
||||||
'''
|
|
||||||
|
|
||||||
# write css
|
|
||||||
with open("style.css", "w") as output:
|
|
||||||
output.write(template_css)
|
|
||||||
|
|
@ -1,26 +0,0 @@
|
|||||||
|
|
||||||
# This script convert a txt file into a js containing an array with each line of the txt
|
|
||||||
|
|
||||||
# I would like make a command from this, like > arraygen [name var] [input file] [outputfile]
|
|
||||||
|
|
||||||
title = "origin_debate"
|
|
||||||
|
|
||||||
fl = open(title + ".txt", "rt")
|
|
||||||
|
|
||||||
rd = fl.read()
|
|
||||||
|
|
||||||
lst = rd.splitlines()
|
|
||||||
|
|
||||||
with open(title + ".js", "w") as output:
|
|
||||||
output.write(str(lst))
|
|
||||||
|
|
||||||
fl.close()
|
|
||||||
|
|
||||||
with open(title + ".js", 'r') as original:
|
|
||||||
data = original.read()
|
|
||||||
|
|
||||||
with open(title + ".js", 'w') as modified:
|
|
||||||
modified.write("var x = " + data + ";")
|
|
||||||
|
|
||||||
|
|
||||||
|
|
@ -1 +0,0 @@
|
|||||||
var x = ['ORIGINS DEBATE', '', 'CREATIONISM', 'God', 'intelligent design', 'watchmaker analogy ', 'William Paley', '1802', '<i>Natural Theology or Evidences of the Existence and Attributes of the Deity</i>', '', 'EVOLUTION', 'Charles Darwin', '1859', '<i>On the origin of the species</i>', 'Darwinism', 'natural selection ', 'survival of the fittest', 'struggle for existence', 'blind', 'chance', 'randomness', ''];
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> Everybody on earth knowing </p>
|
|
||||||
<a href="file_01.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> that beauty is beautiful </p>
|
|
||||||
<a href="file_02.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> makes ugliness. </p>
|
|
||||||
<a href="file_03.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> Everybody knowing </p>
|
|
||||||
<a href="file_04.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> that goodness is good </p>
|
|
||||||
<a href="file_05.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> makes wickedness. </p>
|
|
||||||
<a href="file_06.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> For being and nonbeing </p>
|
|
||||||
<a href="file_07.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> arise together; </p>
|
|
||||||
<a href="file_08.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> hard and easy </p>
|
|
||||||
<a href="file_09.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> complete each other; </p>
|
|
||||||
<a href="file_10.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> long and short </p>
|
|
||||||
<a href="file_11.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> shape each other; </p>
|
|
||||||
<a href="file_12.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> high and low </p>
|
|
||||||
<a href="file_13.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> depend on each other; </p>
|
|
||||||
<a href="file_14.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> note and voice </p>
|
|
||||||
<a href="file_15.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> make the music together; </p>
|
|
||||||
<a href="file_16.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> before and after </p>
|
|
||||||
<a href="file_17.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> follow each other. </p>
|
|
||||||
<a href="file_18.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> does without doing, </p>
|
|
||||||
<a href="file_20.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> teaches without talking. </p>
|
|
||||||
<a href="file_21.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> The things ofthis world </p>
|
|
||||||
<a href="file_22.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> exist, they are; </p>
|
|
||||||
<a href="file_23.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,14 +0,0 @@
|
|||||||
|
|
||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>Tao one</title>
|
|
||||||
<link rel="stylesheet" type="text/css" href="style.css">
|
|
||||||
</head>
|
|
||||||
<body>
|
|
||||||
<p> To bear and not to own; </p>
|
|
||||||
<a href="file_25.html" class="button">next</a>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
||||||
|
|
||||||
|
|
@ -1,19 +0,0 @@
|
|||||||
|
|
||||||
body {
|
|
||||||
background-color: black;
|
|
||||||
color: red;
|
|
||||||
}
|
|
||||||
|
|
||||||
p {font-size: 100px;}
|
|
||||||
|
|
||||||
.button {
|
|
||||||
font: bold 11px Arial;
|
|
||||||
text-decoration: none;
|
|
||||||
background-color: #EEEEEE;
|
|
||||||
color: #333333;
|
|
||||||
padding: 2px 6px 2px 6px;
|
|
||||||
border-top: 1px solid #CCCCCC;
|
|
||||||
border-right: 1px solid #333333;
|
|
||||||
border-bottom: 1px solid #333333;
|
|
||||||
border-left: 1px solid #CCCCCC;
|
|
||||||
}
|
|
@ -1,296 +0,0 @@
|
|||||||
________________________________________________________________________________________PHILOSOPHY XX
|
|
||||||
|
|
||||||
Antroposophy(1910)
|
|
||||||
steiner
|
|
||||||
|
|
||||||
Last NeoHeghelists (1910)
|
|
||||||
croce
|
|
||||||
gentile
|
|
||||||
mctaggart
|
|
||||||
royce
|
|
||||||
|
|
||||||
<< FILOSOFIA CONTINENTALE
|
|
||||||
Psychoanalysis (1900)
|
|
||||||
freud - totem e tabu, tre saggi sulla teoria sessuale, psicologia della vita amorosa
|
|
||||||
jung - il problema dell'inconscio nella psicologia moderna
|
|
||||||
adler
|
|
||||||
|
|
||||||
Trascendental Phenomenology(1900)
|
|
||||||
Husserl
|
|
||||||
>>Realist Phenomenology - Munich Phenomenology(1910)
|
|
||||||
Scheler
|
|
||||||
Reinach
|
|
||||||
Daubert
|
|
||||||
Pfänder
|
|
||||||
Geiger
|
|
||||||
Hildebrand
|
|
||||||
>>Existential Phenomenology (1925)
|
|
||||||
heidegger - intro essere e tempo, che cos'è metafisica
|
|
||||||
jasper - del tragico
|
|
||||||
merleau ponty
|
|
||||||
>>Ateist/Umanistic Existentialism(1940)
|
|
||||||
sartre - la nausea, il muro, le mani sporche, le mosche, morti senza tomba, a porte chiuse
|
|
||||||
camus - lo straniero, il mito di sisifo
|
|
||||||
de beauvoir
|
|
||||||
Levinas
|
|
||||||
Nietzschean Reneissance & Limit Experience (1930)
|
|
||||||
Bataille - storia dell'occhio, il blu del cielo, madame edwarda
|
|
||||||
Blanchot
|
|
||||||
Klossowski - le dame romane
|
|
||||||
Colli - la nascita della filosofia
|
|
||||||
|
|
||||||
Frankfurt School (beginning of NeoMarxism - Critical Theory) (1920)
|
|
||||||
Adorno
|
|
||||||
Benjamin
|
|
||||||
Horkheimer
|
|
||||||
Marcuse
|
|
||||||
+
|
|
||||||
Luckas
|
|
||||||
Gramsci - vari, on ideology,
|
|
||||||
Habermas
|
|
||||||
Aaron
|
|
||||||
Arendt
|
|
||||||
della volpe
|
|
||||||
Workerism (1960) / Autonomia (70)
|
|
||||||
Negri
|
|
||||||
Berardi
|
|
||||||
Tronti
|
|
||||||
+
|
|
||||||
Gorz (Political Ecology)
|
|
||||||
Debord (Situationism) (1960) - la società dello spettacolo
|
|
||||||
|
|
||||||
MediaTheory (1950)
|
|
||||||
McLuhan
|
|
||||||
Flusser
|
|
||||||
Kittler
|
|
||||||
Jenkins
|
|
||||||
Murray
|
|
||||||
>>Cutlural studies (1964)
|
|
||||||
Hoggart
|
|
||||||
Hall - encoding/decoding
|
|
||||||
Hebdige - Sub Culture, the Meaning of Style
|
|
||||||
Willis
|
|
||||||
Dyer
|
|
||||||
Denning
|
|
||||||
Grossberg
|
|
||||||
Chambers
|
|
||||||
McLennan
|
|
||||||
Gilroy
|
|
||||||
McRobbie
|
|
||||||
Bland
|
|
||||||
Webster
|
|
||||||
Lorrain
|
|
||||||
Plant (cyberfeminism + cybernetic culture research unit)
|
|
||||||
Schwarz
|
|
||||||
Hobson
|
|
||||||
Carby
|
|
||||||
williams
|
|
||||||
dyer
|
|
||||||
mcrobbie
|
|
||||||
gilroy
|
|
||||||
irigeray
|
|
||||||
>> Cyberculture - Internet culture (1960s)
|
|
||||||
De Landa
|
|
||||||
Kelly
|
|
||||||
Schirmacher
|
|
||||||
Levy
|
|
||||||
Gunkel
|
|
||||||
Vitanza
|
|
||||||
Ulmer
|
|
||||||
Laughlin
|
|
||||||
>> Cyberpunk (1984)
|
|
||||||
Gibson - hippy hat brain parasite
|
|
||||||
Sterling
|
|
||||||
>> Cyberfeminism (1985)
|
|
||||||
Haraway
|
|
||||||
Paasonen
|
|
||||||
Hayles
|
|
||||||
Senft
|
|
||||||
Gajjala
|
|
||||||
|
|
||||||
<< FILOSOFIA ANALITCA
|
|
||||||
Logicism/Logic Atomism (1910)
|
|
||||||
Frege
|
|
||||||
Russel
|
|
||||||
moore
|
|
||||||
Wittgenstein - tractatus logico philosophicus / -------
|
|
||||||
+
|
|
||||||
Whithead -----
|
|
||||||
Elizabeth Anscombe (Analytic Thomism)
|
|
||||||
Iris Murdoch (Analytic philosophy/ Virtue ethics/ Modern Platonism)
|
|
||||||
Goedel
|
|
||||||
Ramsey
|
|
||||||
susanne langer
|
|
||||||
ernst cassier
|
|
||||||
>>Logic Positivism/NeoPositivism - Vienna's Circle - Berlin's Circle (1920)
|
|
||||||
carnap
|
|
||||||
neurath
|
|
||||||
reichenbach
|
|
||||||
+
|
|
||||||
ryle
|
|
||||||
quine
|
|
||||||
ayer
|
|
||||||
hempel
|
|
||||||
|
|
||||||
>>Contemporary Epistemology (1930)
|
|
||||||
popper
|
|
||||||
bachelard
|
|
||||||
khun
|
|
||||||
fayerabend
|
|
||||||
|
|
||||||
Bell Labs(1925)
|
|
||||||
>>Cybernetics ((30)1948)
|
|
||||||
Wiener
|
|
||||||
McCulloch
|
|
||||||
Rosenbluet
|
|
||||||
Ashby
|
|
||||||
grey walter
|
|
||||||
glushkov
|
|
||||||
von foerster
|
|
||||||
bateson
|
|
||||||
berg
|
|
||||||
>>Computer Science ((30)1948)
|
|
||||||
Hilbert
|
|
||||||
Turing (Artificial Intelligence 1950)
|
|
||||||
Goedel
|
|
||||||
Church
|
|
||||||
Von Neumann
|
|
||||||
>>Cognitive Science (1956)
|
|
||||||
searle
|
|
||||||
dennett
|
|
||||||
chalmers - the hard problem of consciousness / extended mind
|
|
||||||
chomsky (linguistic)
|
|
||||||
edelman
|
|
||||||
fodor
|
|
||||||
hofstadter - goedel, echer, bach
|
|
||||||
johnsinlaiard
|
|
||||||
longuet higgins
|
|
||||||
minsky
|
|
||||||
dummett
|
|
||||||
neisser
|
|
||||||
papert
|
|
||||||
pinker
|
|
||||||
|
|
||||||
>>Ordinary Language Philosophy (1950) / Oxford Philosphy / New Wittgenstein
|
|
||||||
Austin
|
|
||||||
Cavell
|
|
||||||
Diamond
|
|
||||||
>>NeoPragmatism (1970)
|
|
||||||
sellars
|
|
||||||
rorty
|
|
||||||
rescher
|
|
||||||
haak
|
|
||||||
brandom
|
|
||||||
west
|
|
||||||
putnam - minds and machines
|
|
||||||
davidson
|
|
||||||
|
|
||||||
-----------------------------------------------------------------------------------
|
|
||||||
|
|
||||||
Structuralism (1916)
|
|
||||||
de saussure - corso di linguistica generale
|
|
||||||
>>PostStructuralism (1945)
|
|
||||||
levi-strauss (anthropologiy)
|
|
||||||
lacan (psychoanalysis)
|
|
||||||
althusser (critical theory)
|
|
||||||
foucault (critical theory & postmodernism) - il sogno, prefazione alla trasgressione
|
|
||||||
barthes (literary criticism) - la metafora dell'occhio, l'impero dei segni, il piacere del testo
|
|
||||||
todorov (literary criticism)
|
|
||||||
>> derrida (Deconstructivism)
|
|
||||||
>> lyotard (PostModernism)
|
|
||||||
deleuze - postscritto sulla società di controllo
|
|
||||||
guattari - on machines
|
|
||||||
d&g
|
|
||||||
kristeva
|
|
||||||
baudrillard - l'altro visto da se, il complotto dell'arte
|
|
||||||
butler
|
|
||||||
badieu
|
|
||||||
+
|
|
||||||
agamben
|
|
||||||
boltanski
|
|
||||||
|
|
||||||
Scientific Futurology (1973)
|
|
||||||
club of Rome
|
|
||||||
|
|
||||||
__________________________________________________________________PHILOSOPHY XXI
|
|
||||||
|
|
||||||
Zizek
|
|
||||||
Sloterdijk
|
|
||||||
|
|
||||||
PostHumanism
|
|
||||||
Pepperell
|
|
||||||
Marchesini
|
|
||||||
Haraway - a cyborg manifesto
|
|
||||||
Hayles - How we became post human? (conclusion) / the traumas of code / Unthought
|
|
||||||
latour
|
|
||||||
|
|
||||||
>>TransHumanism
|
|
||||||
Esfandiary (FM-2030)
|
|
||||||
>>Supermodernity
|
|
||||||
augè
|
|
||||||
eagleton
|
|
||||||
>>Hypermodernity
|
|
||||||
Lipovetsky
|
|
||||||
Aubert
|
|
||||||
Charles
|
|
||||||
Stiegler
|
|
||||||
|
|
||||||
Post-Autonomia - Foucauldians discourse analysis
|
|
||||||
Virno
|
|
||||||
Lazzarato
|
|
||||||
Marazzi
|
|
||||||
Pasquinelli - augmented intelligence / the eye of the algorithm /
|
|
||||||
Federici
|
|
||||||
+
|
|
||||||
Byung-Chul Han
|
|
||||||
|
|
||||||
Cybernetic Center Research Unit (1995)
|
|
||||||
Plant
|
|
||||||
Software Studies (2008)
|
|
||||||
kittler - there is no software
|
|
||||||
manovich - info aesthetics / the language of new media / soft cinema / software takes command / instagram and contemporary image / ai aesthetics
|
|
||||||
cramer - on software (x4)
|
|
||||||
fuller - it seems like you are writing a letter
|
|
||||||
Speculative realism (2007)
|
|
||||||
Quentin Meillassoux
|
|
||||||
Object Oriented Ontology (2009)
|
|
||||||
Graham Harman
|
|
||||||
Levi Bryant
|
|
||||||
Ian Bogost
|
|
||||||
Trancendental Materialism (2011)
|
|
||||||
Iain Hamilton Grant
|
|
||||||
Eugene Thacker
|
|
||||||
Steven Shaviro
|
|
||||||
Jane Bennett
|
|
||||||
Transcendental Nihilism (2012)
|
|
||||||
Ray Brassier
|
|
||||||
Capitalist realism (2009)
|
|
||||||
Mark Fisher - nick land:mind games
|
|
||||||
Accellerationism (2013)
|
|
||||||
Nick land - cyberpositive / fanged noumena (hypervirus)
|
|
||||||
Negarestani
|
|
||||||
|
|
||||||
New atheism
|
|
||||||
|
|
||||||
New materialism
|
|
||||||
barad
|
|
||||||
parisi
|
|
||||||
braidotti
|
|
||||||
bennett
|
|
||||||
grosz
|
|
||||||
parikka
|
|
||||||
|
|
||||||
|
|
||||||
Barbrook - the californian ideology
|
|
||||||
Fred Turner - from counterculture to cyberculture
|
|
||||||
Chantel Mouffe - art and democracy
|
|
||||||
|
|
||||||
Gayatri Chakravorty Spivak (decostruttivismo, post-colonialismo, feminismo marxista)
|
|
||||||
Luce Irigeray (psicanalisi, femminismo)
|
|
||||||
Simon Critchley (decostruttivismo)
|
|
||||||
Catherine Malabou (psicanalisi, neuroscienza. /hegel. derrida, femminismo)
|
|
||||||
Avital Ronell (psicanalisi, post-strutturalismo etc.)
|
|
||||||
Mary Midgley (filosofia della scienza, post-analitica, etica)
|
|
||||||
Lars Iyer
|
|
||||||
Preciado
|
|
||||||
|
|
@ -1,22 +0,0 @@
|
|||||||
ORIGINS DEBATE
|
|
||||||
|
|
||||||
CREATIONISM
|
|
||||||
God
|
|
||||||
intelligent design
|
|
||||||
watchmaker analogy
|
|
||||||
William Paley
|
|
||||||
1802
|
|
||||||
<i>Natural Theology or Evidences of the Existence and Attributes of the Deity</i>
|
|
||||||
|
|
||||||
EVOLUTION
|
|
||||||
Charles Darwin
|
|
||||||
1859
|
|
||||||
<i>On the origin of the species</i>
|
|
||||||
Darwinism
|
|
||||||
natural selection
|
|
||||||
survival of the fittest
|
|
||||||
struggle for existence
|
|
||||||
blind
|
|
||||||
chance
|
|
||||||
randomness
|
|
||||||
|
|
@ -1,281 +0,0 @@
|
|||||||
scientific method
|
|
||||||
science
|
|
||||||
empirical evidences
|
|
||||||
positivism
|
|
||||||
functional
|
|
||||||
dynamical
|
|
||||||
structural properties
|
|
||||||
consciousness
|
|
||||||
mind
|
|
||||||
cognitionthought
|
|
||||||
knowledge
|
|
||||||
intelligence
|
|
||||||
self-awareness
|
|
||||||
agency
|
|
||||||
mind-body problem
|
|
||||||
subjective experience
|
|
||||||
phenomenal consciousness
|
|
||||||
explanatory gap
|
|
||||||
neurophenomenology
|
|
||||||
materialism
|
|
||||||
physicalism
|
|
||||||
naturalism
|
|
||||||
reductionism
|
|
||||||
panpsychism
|
|
||||||
mysterianism
|
|
||||||
dualism
|
|
||||||
monismo dialettico
|
|
||||||
modellization of the mind
|
|
||||||
technical system
|
|
||||||
autonomous machines
|
|
||||||
intelligent machines
|
|
||||||
adaptive machines
|
|
||||||
sentient machine
|
|
||||||
machinic life
|
|
||||||
hardware
|
|
||||||
software
|
|
||||||
human-constructed environment
|
|
||||||
material
|
|
||||||
virtual
|
|
||||||
techné
|
|
||||||
talos
|
|
||||||
automaton
|
|
||||||
dedalos
|
|
||||||
architectural design
|
|
||||||
labyrinth
|
|
||||||
technological discoveries
|
|
||||||
machine
|
|
||||||
machinery
|
|
||||||
machinic
|
|
||||||
mechanical
|
|
||||||
cybernetics
|
|
||||||
steam engine
|
|
||||||
thermodynamics
|
|
||||||
creation - evolution controversy
|
|
||||||
agency
|
|
||||||
wallace
|
|
||||||
vapour engine
|
|
||||||
evolutionary process
|
|
||||||
buttler
|
|
||||||
erewhon
|
|
||||||
darwin amongst the machines
|
|
||||||
teleology
|
|
||||||
purpose
|
|
||||||
evolution
|
|
||||||
feedback loop
|
|
||||||
adaptation
|
|
||||||
cannon
|
|
||||||
homeostasis
|
|
||||||
cyberculture
|
|
||||||
statistical info theory
|
|
||||||
ecperimental psychology
|
|
||||||
behaviorism
|
|
||||||
control theory
|
|
||||||
complex system
|
|
||||||
self-regulating
|
|
||||||
organic
|
|
||||||
inorganic
|
|
||||||
post-humanism
|
|
||||||
control
|
|
||||||
simulation
|
|
||||||
surveillance
|
|
||||||
embodied knowledge
|
|
||||||
AI
|
|
||||||
formalization of mathematics and logic
|
|
||||||
jacquard loom
|
|
||||||
general purpose computer
|
|
||||||
discrete system
|
|
||||||
finite state machine
|
|
||||||
boolean logic
|
|
||||||
babbage
|
|
||||||
ada
|
|
||||||
analytical engine
|
|
||||||
plato
|
|
||||||
leibniz
|
|
||||||
church-turing thesis
|
|
||||||
formalization of computation
|
|
||||||
von neumann architecture
|
|
||||||
shannon info theory
|
|
||||||
digital computer
|
|
||||||
intelligence
|
|
||||||
mind-brain
|
|
||||||
cognitive revolution
|
|
||||||
information processing
|
|
||||||
abstraction
|
|
||||||
hardware-software
|
|
||||||
turing
|
|
||||||
imitation game
|
|
||||||
thinking machine
|
|
||||||
human-level communication
|
|
||||||
models of computation
|
|
||||||
cognitive simulation
|
|
||||||
logic theorist
|
|
||||||
symbolic AI
|
|
||||||
NAI
|
|
||||||
AGI
|
|
||||||
HLAI
|
|
||||||
SAI
|
|
||||||
computationalism
|
|
||||||
CTM
|
|
||||||
LOTH
|
|
||||||
PSSH
|
|
||||||
chomsky
|
|
||||||
dreyfus
|
|
||||||
context
|
|
||||||
common sense
|
|
||||||
creativity
|
|
||||||
intuition
|
|
||||||
searle
|
|
||||||
jackson
|
|
||||||
chinese room
|
|
||||||
strong AI
|
|
||||||
weak AI
|
|
||||||
mary's room
|
|
||||||
GOFAI
|
|
||||||
AI winter
|
|
||||||
1974-1980
|
|
||||||
1987-1993
|
|
||||||
top-down
|
|
||||||
bottom-up
|
|
||||||
sub-symbolic AI
|
|
||||||
connectionism
|
|
||||||
machine learning
|
|
||||||
artifician neural network (ANN)
|
|
||||||
parallel distributed processing (PDP)
|
|
||||||
dataset
|
|
||||||
neurons
|
|
||||||
deep learning
|
|
||||||
intelligent agent
|
|
||||||
Stuart J. Russell
|
|
||||||
Peter Norvig
|
|
||||||
complex systems
|
|
||||||
rational agent
|
|
||||||
environment
|
|
||||||
sensors
|
|
||||||
actuators
|
|
||||||
performance
|
|
||||||
ALife
|
|
||||||
simulating biological evolution
|
|
||||||
software environment
|
|
||||||
simple operators
|
|
||||||
cellular automata (CA)
|
|
||||||
simple lawas
|
|
||||||
neoghbours cells
|
|
||||||
death
|
|
||||||
reproduction
|
|
||||||
evolution
|
|
||||||
chaotic systems
|
|
||||||
stable loops
|
|
||||||
patterns
|
|
||||||
edge of chaos
|
|
||||||
unpredictable
|
|
||||||
symbolic + sub symbolic
|
|
||||||
evolutionary process
|
|
||||||
life
|
|
||||||
intelligence
|
|
||||||
noisy phisical world
|
|
||||||
radiations
|
|
||||||
electromagnetic phenomena
|
|
||||||
particles
|
|
||||||
wavelengths
|
|
||||||
continuous interaction
|
|
||||||
chaotic world
|
|
||||||
black box
|
|
||||||
nested black box
|
|
||||||
discrimination
|
|
||||||
biases
|
|
||||||
limitations
|
|
||||||
nouvelle AI
|
|
||||||
situated AI
|
|
||||||
body
|
|
||||||
robots
|
|
||||||
virtual environments
|
|
||||||
adaptive unconscious
|
|
||||||
embodied knowledge
|
|
||||||
biological organisms
|
|
||||||
high-level intelligence
|
|
||||||
intuition
|
|
||||||
creativity
|
|
||||||
spontaneity
|
|
||||||
weak-and-narrow AI
|
|
||||||
goal
|
|
||||||
human-level system
|
|
||||||
unhappy claims
|
|
||||||
slow growth
|
|
||||||
MIT
|
|
||||||
Elon Musk
|
|
||||||
Ray Kurzweil
|
|
||||||
Lex Friedman
|
|
||||||
Vernor Vinge
|
|
||||||
daydream
|
|
||||||
future-oriented
|
|
||||||
techno-utopianism
|
|
||||||
neo-liberal
|
|
||||||
Californaian ideoloy
|
|
||||||
big picture
|
|
||||||
technological singularity
|
|
||||||
think for itself
|
|
||||||
matrix
|
|
||||||
man-made
|
|
||||||
cognition
|
|
||||||
technologies
|
|
||||||
human operator
|
|
||||||
intellectual process
|
|
||||||
productive process
|
|
||||||
historical materialism
|
|
||||||
Marx
|
|
||||||
Engels
|
|
||||||
War World II
|
|
||||||
machine performance
|
|
||||||
symbiosis
|
|
||||||
intelligence amplification IA
|
|
||||||
intelligence augmentation
|
|
||||||
Vannevar Bush
|
|
||||||
Ross W. Ashby
|
|
||||||
intellectual power
|
|
||||||
physical power
|
|
||||||
L.C.R. Licklider
|
|
||||||
man-machine symbiosis
|
|
||||||
Simon Ramo
|
|
||||||
intellectronics
|
|
||||||
interactive computing
|
|
||||||
user interface
|
|
||||||
Douglas Engelbart
|
|
||||||
bootstrapping
|
|
||||||
human-computer interaction (HCI)
|
|
||||||
brain-computer interface (BCI)
|
|
||||||
extrasensory perception
|
|
||||||
Neuralink
|
|
||||||
dystopia
|
|
||||||
cyborg theory
|
|
||||||
human-machine dichotomy
|
|
||||||
ecosystem
|
|
||||||
patchwork organisms
|
|
||||||
cybernetic organism
|
|
||||||
cyborg
|
|
||||||
machinic phylum
|
|
||||||
Deleuze
|
|
||||||
Guattari
|
|
||||||
D&G
|
|
||||||
assemblages
|
|
||||||
implants cyborg society
|
|
||||||
Thomas Metzinger
|
|
||||||
hybrid biorobotics
|
|
||||||
mixed species
|
|
||||||
artificial hardware
|
|
||||||
artificial software
|
|
||||||
biological hardware
|
|
||||||
biological software
|
|
||||||
RoboRoach
|
|
||||||
artificial implant
|
|
||||||
electrical impulses
|
|
||||||
nerves
|
|
||||||
neuroenhancement
|
|
||||||
mental states
|
|
||||||
neuropharmacology
|
|
||||||
psychopharmacology
|
|
||||||
synteshis
|
|
||||||
non-neural hardware
|
|
||||||
biological assumption
|
|
||||||
machinic consciousness
|
|
||||||
bio-digital fusion
|
|
@ -1,281 +0,0 @@
|
|||||||
scientific method
|
|
||||||
science
|
|
||||||
empirical evidences
|
|
||||||
positivism
|
|
||||||
functional
|
|
||||||
dynamical
|
|
||||||
structural properties
|
|
||||||
consciousness
|
|
||||||
mind
|
|
||||||
cognitionthought
|
|
||||||
knowledge
|
|
||||||
intelligence
|
|
||||||
self-awareness
|
|
||||||
agency
|
|
||||||
mind-body problem
|
|
||||||
subjective experience
|
|
||||||
phenomenal consciousness
|
|
||||||
explanatory gap
|
|
||||||
neurophenomenology
|
|
||||||
materialism
|
|
||||||
physicalism
|
|
||||||
naturalism
|
|
||||||
reductionism
|
|
||||||
panpsychism
|
|
||||||
mysterianism
|
|
||||||
dualism
|
|
||||||
monismo dialettico
|
|
||||||
modellization of the mind
|
|
||||||
technical system
|
|
||||||
autonomous machines
|
|
||||||
intelligent machines
|
|
||||||
adaptive machines
|
|
||||||
sentient machine
|
|
||||||
machinic life
|
|
||||||
hardware
|
|
||||||
software
|
|
||||||
human-constructed environment
|
|
||||||
material
|
|
||||||
virtual
|
|
||||||
techné
|
|
||||||
talos
|
|
||||||
automaton
|
|
||||||
dedalos
|
|
||||||
architectural design
|
|
||||||
labyrinth
|
|
||||||
technological discoveries
|
|
||||||
machine
|
|
||||||
machinery
|
|
||||||
machinic
|
|
||||||
mechanical
|
|
||||||
cybernetics
|
|
||||||
steam engine
|
|
||||||
thermodynamics
|
|
||||||
creation - evolution controversy
|
|
||||||
agency
|
|
||||||
wallace
|
|
||||||
vapour engine
|
|
||||||
evolutionary process
|
|
||||||
buttler
|
|
||||||
erewhon
|
|
||||||
darwin amongst the machines
|
|
||||||
teleology
|
|
||||||
purpose
|
|
||||||
evolution
|
|
||||||
feedback loop
|
|
||||||
adaptation
|
|
||||||
cannon
|
|
||||||
homeostasis
|
|
||||||
cyberculture
|
|
||||||
statistical info theory
|
|
||||||
ecperimental psychology
|
|
||||||
behaviorism
|
|
||||||
control theory
|
|
||||||
complex system
|
|
||||||
self-regulating
|
|
||||||
organic
|
|
||||||
inorganic
|
|
||||||
post-humanism
|
|
||||||
control
|
|
||||||
simulation
|
|
||||||
surveillance
|
|
||||||
embodied knowledge
|
|
||||||
AI
|
|
||||||
formalization of mathematics and logic
|
|
||||||
jacquard loom
|
|
||||||
general purpose computer
|
|
||||||
discrete system
|
|
||||||
finite state machine
|
|
||||||
boolean logic
|
|
||||||
babbage
|
|
||||||
ada
|
|
||||||
analytical engine
|
|
||||||
plato
|
|
||||||
leibniz
|
|
||||||
church-turing thesis
|
|
||||||
formalization of computation
|
|
||||||
von neumann architecture
|
|
||||||
shannon info theory
|
|
||||||
digital computer
|
|
||||||
intelligence
|
|
||||||
mind-brain
|
|
||||||
cognitive revolution
|
|
||||||
information processing
|
|
||||||
abstraction
|
|
||||||
hardware-software
|
|
||||||
turing
|
|
||||||
imitation game
|
|
||||||
thinking machine
|
|
||||||
human-level communication
|
|
||||||
models of computation
|
|
||||||
cognitive simulation
|
|
||||||
logic theorist
|
|
||||||
symbolic AI
|
|
||||||
NAI
|
|
||||||
AGI
|
|
||||||
HLAI
|
|
||||||
SAI
|
|
||||||
computationalism
|
|
||||||
CTM
|
|
||||||
LOTH
|
|
||||||
PSSH
|
|
||||||
chomsky
|
|
||||||
dreyfus
|
|
||||||
context
|
|
||||||
common sense
|
|
||||||
creativity
|
|
||||||
intuition
|
|
||||||
searle
|
|
||||||
jackson
|
|
||||||
chinese room
|
|
||||||
strong AI
|
|
||||||
weak AI
|
|
||||||
mary's room
|
|
||||||
GOFAI
|
|
||||||
AI winter
|
|
||||||
1974-1980
|
|
||||||
1987-1993
|
|
||||||
top-down
|
|
||||||
bottom-up
|
|
||||||
sub-symbolic AI
|
|
||||||
connectionism
|
|
||||||
machine learning
|
|
||||||
artifician neural network (ANN)
|
|
||||||
parallel distributed processing (PDP)
|
|
||||||
dataset
|
|
||||||
neurons
|
|
||||||
deep learning
|
|
||||||
intelligent agent
|
|
||||||
Stuart J. Russell
|
|
||||||
Peter Norvig
|
|
||||||
complex systems
|
|
||||||
rational agent
|
|
||||||
environment
|
|
||||||
sensors
|
|
||||||
actuators
|
|
||||||
performance
|
|
||||||
ALife
|
|
||||||
simulating biological evolution
|
|
||||||
software environment
|
|
||||||
simple operators
|
|
||||||
cellular automata (CA)
|
|
||||||
simple lawas
|
|
||||||
neoghbours cells
|
|
||||||
death
|
|
||||||
reproduction
|
|
||||||
evolution
|
|
||||||
chaotic systems
|
|
||||||
stable loops
|
|
||||||
patterns
|
|
||||||
edge of chaos
|
|
||||||
unpredictable
|
|
||||||
symbolic + sub symbolic
|
|
||||||
evolutionary process
|
|
||||||
life
|
|
||||||
intelligence
|
|
||||||
noisy phisical world
|
|
||||||
radiations
|
|
||||||
electromagnetic phenomena
|
|
||||||
particles
|
|
||||||
wavelengths
|
|
||||||
continuous interaction
|
|
||||||
chaotic world
|
|
||||||
black box
|
|
||||||
nested black box
|
|
||||||
discrimination
|
|
||||||
biases
|
|
||||||
limitations
|
|
||||||
nouvelle AI
|
|
||||||
situated AI
|
|
||||||
body
|
|
||||||
robots
|
|
||||||
virtual environments
|
|
||||||
adaptive unconscious
|
|
||||||
embodied knowledge
|
|
||||||
biological organisms
|
|
||||||
high-level intelligence
|
|
||||||
intuition
|
|
||||||
creativity
|
|
||||||
spontaneity
|
|
||||||
weak-and-narrow AI
|
|
||||||
goal
|
|
||||||
human-level system
|
|
||||||
unhappy claims
|
|
||||||
slow growth
|
|
||||||
MIT
|
|
||||||
Elon Musk
|
|
||||||
Ray Kurzweil
|
|
||||||
Lex Friedman
|
|
||||||
Vernor Vinge
|
|
||||||
daydream
|
|
||||||
future-oriented
|
|
||||||
techno-utopianism
|
|
||||||
neo-liberal
|
|
||||||
Californaian ideoloy
|
|
||||||
big picture
|
|
||||||
technological singularity
|
|
||||||
think for itself
|
|
||||||
matrix
|
|
||||||
man-made
|
|
||||||
cognition
|
|
||||||
technologies
|
|
||||||
human operator
|
|
||||||
intellectual process
|
|
||||||
productive process
|
|
||||||
historical materialism
|
|
||||||
Marx
|
|
||||||
Engels
|
|
||||||
War World II
|
|
||||||
machine performance
|
|
||||||
symbiosis
|
|
||||||
intelligence amplification IA
|
|
||||||
intelligence augmentation
|
|
||||||
Vannevar Bush
|
|
||||||
Ross W. Ashby
|
|
||||||
intellectual power
|
|
||||||
physical power
|
|
||||||
L.C.R. Licklider
|
|
||||||
man-machine symbiosis
|
|
||||||
Simon Ramo
|
|
||||||
intellectronics
|
|
||||||
interactive computing
|
|
||||||
user interface
|
|
||||||
Douglas Engelbart
|
|
||||||
bootstrapping
|
|
||||||
human-computer interaction (HCI)
|
|
||||||
brain-computer interface (BCI)
|
|
||||||
extrasensory perception
|
|
||||||
Neuralink
|
|
||||||
dystopia
|
|
||||||
cyborg theory
|
|
||||||
human-machine dichotomy
|
|
||||||
ecosystem
|
|
||||||
patchwork organisms
|
|
||||||
cybernetic organism
|
|
||||||
cyborg
|
|
||||||
machinic phylum
|
|
||||||
Deleuze
|
|
||||||
Guattari
|
|
||||||
D&G
|
|
||||||
assemblages
|
|
||||||
implants cyborg society
|
|
||||||
Thomas Metzinger
|
|
||||||
hybrid biorobotics
|
|
||||||
mixed species
|
|
||||||
artificial hardware
|
|
||||||
artificial software
|
|
||||||
biological hardware
|
|
||||||
biological software
|
|
||||||
RoboRoach
|
|
||||||
artificial implant
|
|
||||||
electrical impulses
|
|
||||||
nerves
|
|
||||||
neuroenhancement
|
|
||||||
mental states
|
|
||||||
neuropharmacology
|
|
||||||
psychopharmacology
|
|
||||||
synteshis
|
|
||||||
non-neural hardware
|
|
||||||
biological assumption
|
|
||||||
machinic consciousness
|
|
||||||
bio-digital fusion
|
|
@ -1,59 +0,0 @@
|
|||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
|
|
||||||
<meta name="viewport" content="width=device-width, initial-scale=1.0">
|
|
||||||
|
|
||||||
<title>01</title>
|
|
||||||
<script src="http://blizardjs.ueuo.com/blizard.js"></script>
|
|
||||||
<style type="text/css">
|
|
||||||
body {
|
|
||||||
font-family: sans-serif;
|
|
||||||
background-color: black;
|
|
||||||
color: white;
|
|
||||||
}
|
|
||||||
|
|
||||||
div {
|
|
||||||
position: relative;
|
|
||||||
}
|
|
||||||
|
|
||||||
span {
|
|
||||||
position: absolute;
|
|
||||||
text-align: center;
|
|
||||||
}
|
|
||||||
</style>
|
|
||||||
</head>
|
|
||||||
<body id="thisBody" >
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
<script type="text/javascript">
|
|
||||||
sl.createElement("DIV", "BODY", "first");
|
|
||||||
|
|
||||||
|
|
||||||
var arr = ['|','_','*', ' ','<a href="#">x</a>'];
|
|
||||||
|
|
||||||
function selectBin() {
|
|
||||||
var x = Math.floor(Math.random() * arr.length);
|
|
||||||
return x;
|
|
||||||
}
|
|
||||||
|
|
||||||
|
|
||||||
var add = 0;
|
|
||||||
for (i = 0; i < 2; i++){
|
|
||||||
sl.createElement("SPAN","DIV","test"+ [i]);
|
|
||||||
|
|
||||||
for (j = 0; j < 3000; j++){
|
|
||||||
|
|
||||||
document.getElementById("test" + [i]).innerHTML += arr[selectBin()];
|
|
||||||
document.getElementById("test" + [i]).style.top = add +"px";
|
|
||||||
document.getElementById("test" + [i]).style.lineHeight = (Math.floor(Math.random()*10)+13) + "px";
|
|
||||||
document.getElementById("test" + [i]).style.letterSpacing = (Math.floor(Math.random()*10)+13) + "px";
|
|
||||||
document.getElementById("test" + [i]).style.fontSize = (Math.floor(Math.random()*15)+5) + "px";
|
|
||||||
}
|
|
||||||
add += 6;
|
|
||||||
}
|
|
||||||
|
|
||||||
</script>
|
|
||||||
</body>
|
|
||||||
</html>
|
|
@ -1,861 +0,0 @@
|
|||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>aswemaythink</title>
|
|
||||||
</head>
|
|
||||||
<style type="text/css">
|
|
||||||
body{
|
|
||||||
position: relative;
|
|
||||||
}
|
|
||||||
|
|
||||||
#vBush {
|
|
||||||
text-align: center;
|
|
||||||
width: 860px;
|
|
||||||
letter-spacing: 40px;
|
|
||||||
margin-left: 300px;
|
|
||||||
font-family: sans-serif;
|
|
||||||
font-size: 11px;
|
|
||||||
}
|
|
||||||
</style>
|
|
||||||
<body>
|
|
||||||
<div id="vBush">
|
|
||||||
AS WE MAY THINK
|
|
||||||
by VANNEVAR BUSH
|
|
||||||
|
|
||||||
THE ATLANTIC MONTHLY, JULY 1945
|
|
||||||
|
|
||||||
----------------------------------------------------------------------
|
|
||||||
|
|
||||||
As Director of the Office of Scientific Research and Development, Dr.
|
|
||||||
Vannevar Bush has coordinated the activities of some six thousand
|
|
||||||
leading American scientists in the application of science to warfare.
|
|
||||||
In this significant article he holds up an incentive for scientists
|
|
||||||
when the fighting has ceased. He urges that men of science should
|
|
||||||
then turn to the massive task of making more accessible our
|
|
||||||
bewildering store of knowledge. For many years inventions have
|
|
||||||
extended man's physical powers rather than the powers of his mind.
|
|
||||||
Trip hammers that multiply the fists, microscopes that sharpen the
|
|
||||||
eye, and engines of destruction and detection are new results, but the
|
|
||||||
end results, of modern science. Now, says Dr. Bush, instruments are
|
|
||||||
at hand which, if properly developed, will give man access to and
|
|
||||||
command over the inherited knowledge of the ages. The perfection of
|
|
||||||
these pacific instruments should be the first objective of our
|
|
||||||
scientists as they emerge from their war work. Like Emerson's famous
|
|
||||||
address of 1837 on ``The American Scholar,'' this paper by Dr. Bush
|
|
||||||
calls for a new relationship between thinking man and the sum of our
|
|
||||||
knowledge. - The Editor
|
|
||||||
|
|
||||||
----------------------------------------------------------------------
|
|
||||||
|
|
||||||
This has not been a scientist's war; it has been a war in which all
|
|
||||||
have had a part. The scientists, burying their old professional
|
|
||||||
competition in the demand of a common cause, have shared greatly and
|
|
||||||
learned much. It has been exhilarating to work in effective
|
|
||||||
partnership. Now, for many, this appears to be approaching an end.
|
|
||||||
What are the scientists to do next?
|
|
||||||
|
|
||||||
For the biologists, and particularly for the medical scientists, there
|
|
||||||
can be little indecision, for their war work has hardly required them
|
|
||||||
to leave the old paths. Many indeed have been able to carry on their
|
|
||||||
war research in their familiar peacetime laboratories. Their
|
|
||||||
objectives remain much the same.
|
|
||||||
|
|
||||||
It is the physicists who have been thrown most violently off stride,
|
|
||||||
who have left academic pursuits for the making of strange destructive
|
|
||||||
gadgets, who have had to devise new methods for their unanticipated
|
|
||||||
assignments. They have done their part on the devices that made it
|
|
||||||
possible to turn back the enemy. They have worked in combined effort
|
|
||||||
with the physicists of our allies. They have felt within themselves
|
|
||||||
the stir of achievement. They have been part of a great team. Now,
|
|
||||||
as peace approaches, one asks where they will find objectives worthy
|
|
||||||
of their best.
|
|
||||||
|
|
||||||
1
|
|
||||||
|
|
||||||
Of what lasting benefit has been man's use of science and of the new
|
|
||||||
instruments which his research brought into existence? First, they
|
|
||||||
have increased his control of his material environment. They have
|
|
||||||
improved his food, his clothing, his shelter; they have increased his
|
|
||||||
security and released him partly from the bondage of bare existence.
|
|
||||||
They have given him increased knowledge of his own biological
|
|
||||||
processes so that he has had a progressive freedom from disease and an
|
|
||||||
increased span of life. They are illuminating the interactions of his
|
|
||||||
physiological and psychological functions, giving the promise of an
|
|
||||||
improved mental health.
|
|
||||||
|
|
||||||
Science has provided the swiftest communication between individuals;
|
|
||||||
it has provided a record of ideas and has enabled man to manipulate
|
|
||||||
and to make extracts from that record so that knowledge evolves and
|
|
||||||
endures throughout the life of a race rather than that of an
|
|
||||||
individual.
|
|
||||||
|
|
||||||
There is a growing mountain of research. But there is increased
|
|
||||||
evidence that we are being bogged down today as specialization
|
|
||||||
extends. The investigator is staggered by the findings and
|
|
||||||
conclusions of thousands of other workers - conclusions which he
|
|
||||||
cannot find time to grasp, much less to remember, as they appear. Yet
|
|
||||||
specialization becomes increasingly necessary for progress, and the
|
|
||||||
effort to bridge between disciplines is correspondingly superficial.
|
|
||||||
|
|
||||||
Professionally our methods of transmitting and reviewing the results
|
|
||||||
of research are generations old and by now are totally inadequate for
|
|
||||||
their purpose. If the aggregate time spent in writing scholarly works
|
|
||||||
and in reading them could be evaluated, the ratio between these
|
|
||||||
amounts of time might well be startling. Those who conscientiously
|
|
||||||
attempt to keep abreast of current thought, even in restricted fields,
|
|
||||||
by close and continuous reading might well shy away from an
|
|
||||||
examination calculated to show how much of the previous month's
|
|
||||||
efforts could be produced on call. Mendel's concept of the laws of
|
|
||||||
genetics was lost to the world for a generation because his
|
|
||||||
publication did not reach the few who were capable of grasping and
|
|
||||||
extending it; and this sort of catastrophe is undoubtedly being
|
|
||||||
repeated all about us, as truly significant attainments become lost in
|
|
||||||
the mass of the inconsequential.
|
|
||||||
|
|
||||||
The difficulty seems to be, not so much that we publish unduly in view
|
|
||||||
of the extent and variety of present-day interests, but rather that
|
|
||||||
publication has been extended far beyond our present ability to make
|
|
||||||
real use of the record. The summation of human experience is being
|
|
||||||
expanded at a prodigious rate, and the means we use for threading
|
|
||||||
through the consequent maze to the momentarily important item is the
|
|
||||||
same as was used in the days of square-rigged ships.
|
|
||||||
|
|
||||||
But there are signs of a change as new and powerful instrumentalities
|
|
||||||
come into use. Photocells capable of seeing things in a physical
|
|
||||||
sense, advanced photography which can record what is seen or even what
|
|
||||||
is not, thermionic tubes capable of controlling potent forces under
|
|
||||||
the guidance of less power than a mosquito uses to vibrate his wings,
|
|
||||||
cathode ray tubes rendering visible an occurrence so brief that by
|
|
||||||
comparison a microsecond is a long time, relay combinations which will
|
|
||||||
carry out involved sequences of movements more reliably than any human
|
|
||||||
operator and thousand of times as fast - there are plenty of
|
|
||||||
mechanical aids with which to effect a transformation in scientific
|
|
||||||
records.
|
|
||||||
|
|
||||||
Two centuries ago Leibnitz invented a calculating machine which
|
|
||||||
embodied most of the essential features of recent keyboard devices,
|
|
||||||
but it could not then come into use. The economics of the situation
|
|
||||||
were against it: the labor involved in constructing it, before the
|
|
||||||
days of mass production, exceeded the labor to be saved by its use,
|
|
||||||
since all it could accomplish could be duplicated by sufficient use of
|
|
||||||
pencil and paper. Moreover, it would have been subject to frequent
|
|
||||||
breakdown, so that it could not have been depended upon; for at that
|
|
||||||
time and long after, complexity and unreliability were synonymous.
|
|
||||||
|
|
||||||
Babbage, even with remarkably generous support for his time, could not
|
|
||||||
produce his great arithmetical machine. His idea was sound enough,
|
|
||||||
but construction and maintenance costs were then too heavy. Had a
|
|
||||||
Pharaoh been given detailed and explicit designs of an automobile, and
|
|
||||||
had he understood them completely, it would have taxed the resources
|
|
||||||
of his kingdom to have fashioned the thousands of parts for a single
|
|
||||||
car, and that car would have broken down on the first trip to Giza.
|
|
||||||
|
|
||||||
Machines with interchangeable parts can now be constructed with great
|
|
||||||
economy of effort. In spite of much complexity, they perform reliably.
|
|
||||||
Witness the humble typewriter, or the movie camera, or the automobile.
|
|
||||||
Electrical contacts have ceased to stick when thoroughly understood.
|
|
||||||
Note the automatic telephone exchange, which has hundred of thousands
|
|
||||||
of such contacts, and yet is reliable. A spider web of metal, sealed
|
|
||||||
in a thin glass container, a wire heated to brilliant glow, in short,
|
|
||||||
the thermionic tube of radio sets, is made by the hundred million,
|
|
||||||
tossed about in packages, plugged into sockets - and it works! Its
|
|
||||||
gossamer parts, the precise location and alignment involved in its
|
|
||||||
construction, would have occupied a master craftsman of the guild for
|
|
||||||
months; now it is built for thirty cents. The world has arrived at an
|
|
||||||
age of cheap complex devices of great reliability; and something is
|
|
||||||
bound to come of it.
|
|
||||||
|
|
||||||
2
|
|
||||||
|
|
||||||
A record, if it is to be useful to science, must be continuously
|
|
||||||
extended, it must be stored, and above all it must be consulted.
|
|
||||||
Today we make the record conventionally by writing and photography,
|
|
||||||
followed by printing; but we also record on film, on wax disks, and on
|
|
||||||
magnetic wires. Even if utterly new recording procedures do not
|
|
||||||
appear, these present ones are certainly in the process of
|
|
||||||
modification and extension.
|
|
||||||
|
|
||||||
Certainly progress in photography is not going to stop. Faster
|
|
||||||
material and lenses, more automatic cameras, finer-grained sensitive
|
|
||||||
compounds to allow an extension of the minicamera idea, are all
|
|
||||||
imminent. Let us project this trend ahead to a logical, if not
|
|
||||||
inevitable, outcome. The camera hound of the future wears on his
|
|
||||||
forehead a lump a little larger than a walnut. It takes pictures 3
|
|
||||||
millimeters square, later to be projected or enlarged, which after all
|
|
||||||
involves only a factor of 10 beyond present practice. The lens is of
|
|
||||||
universal focus, down to any distance accommodated by the unaided eye,
|
|
||||||
simply because it is of short focal length. There is a built-in
|
|
||||||
photocell on the walnut such as we now have on at least one camera,
|
|
||||||
which automatically adjusts exposure for a wide range of illumination.
|
|
||||||
There is film in the walnut for a hundred exposures, and the spring for
|
|
||||||
operating its shutter and shifting its film is wound once for all when
|
|
||||||
the film clip is inserted. It produces its result in full color. It
|
|
||||||
may well be stereoscopic, and record with spaced glass eyes, for
|
|
||||||
striking improvements in stereoscopic technique are just around the
|
|
||||||
corner.
|
|
||||||
|
|
||||||
The cord which trips its shutter may reach down a man's sleeve within
|
|
||||||
easy reach of his fingers. A quick squeeze, and the picture is taken.
|
|
||||||
On a pair of ordinary glasses is a square of fine lines near the top
|
|
||||||
of one lens, where it is out of the way of ordinary vision. When an
|
|
||||||
object appears in that square, it is lined up for its picture. As the
|
|
||||||
scientist of the future moves about the laboratory or the field, every
|
|
||||||
time he looks at something worthy of the record, he trips the shutter
|
|
||||||
and in it goes, without even an audible click. Is this all fantastic?
|
|
||||||
The only fantastic thing about it is the idea of making as many
|
|
||||||
pictures as would result from its use.
|
|
||||||
|
|
||||||
Will there be dry photography? It is already here in two forms. When
|
|
||||||
Brady made his Civil War pictures, the plate had to be wet at the time
|
|
||||||
of exposure. Now it has to be wet during development instead. In the
|
|
||||||
future perhaps it need not be wetted at all. There have long been
|
|
||||||
films impregnated with diazo dyes which form a picture without
|
|
||||||
development, so that it is already there as soon as the camera has
|
|
||||||
been operated. An exposure to ammonia gas destroys the unexposed dye,
|
|
||||||
and the picture can then be taken out into the light and examined.
|
|
||||||
The process is now slow, but someone may speed it up, and it has no
|
|
||||||
grain difficulties such as now keep photographic researchers busy.
|
|
||||||
Often it would be advantageous to be able to snap the camera and to
|
|
||||||
look at the picture immediately.
|
|
||||||
|
|
||||||
Another process now in use is also slow, and more or less clumsy. For
|
|
||||||
fifty years impregnated papers have been used which turn dark at every
|
|
||||||
point where an electrical contact touches them, by reason of the
|
|
||||||
chemical change thus produced in an iodine compound included in the
|
|
||||||
paper. They have been used to make records, for a pointer moving
|
|
||||||
across them can leave a trail behind. If the electrical potential on
|
|
||||||
the pointer is varied as it moves, the line becomes light or dark in
|
|
||||||
accordance with the potential.
|
|
||||||
|
|
||||||
This scheme is now used in facsimile transmission. The pointer draws
|
|
||||||
a set of closely spaced lines across the paper one after another. As
|
|
||||||
it moves, its potential is varied in accordance with a varying current
|
|
||||||
received over wires from a distant station, where these variations are
|
|
||||||
produced by a photocell which is similarly scanning a picture. At
|
|
||||||
every instant the darkness of the line being drawn is made equal to
|
|
||||||
the darkness of the point on the picture being observed by the
|
|
||||||
photocell. Thus, when the whole picture has been covered, a replica
|
|
||||||
appears at the receiving end.
|
|
||||||
|
|
||||||
A scene itself can be just as well looked over line by line by the
|
|
||||||
photocell in this way as can a photograph of the scene. This whole
|
|
||||||
apparatus constitutes a camera, with the added feature, which can be
|
|
||||||
dispensed with if desired, of making its picture at a distance. It is
|
|
||||||
slow, and the picture is poor in detail. Still, it does give another
|
|
||||||
process of dry photography, in which the picture is finished as soon
|
|
||||||
as it is taken.
|
|
||||||
|
|
||||||
It would be a brave man who could predict that such a process will
|
|
||||||
always remain clumsy, slow, and faulty in detail. Television
|
|
||||||
equipment today transmits sixteen reasonably good images a second, and
|
|
||||||
it involves only two essential differences from the process described
|
|
||||||
above. For one, the record is made by a moving beam of electrons
|
|
||||||
rather than a moving pointer, for the reason that an electron beam can
|
|
||||||
sweep across the picture very rapidly indeed. The other difference
|
|
||||||
involves merely the use of a screen which glows momentarily when the
|
|
||||||
electrons hit, rather than a chemically treated paper or film which is
|
|
||||||
permanently altered. This speed is necessary in television, for
|
|
||||||
motion pictures rather than stills are the object.
|
|
||||||
|
|
||||||
Use chemically treated film in place of the glowing screen, allow the
|
|
||||||
apparatus to transmit one picture rather than a succession, and a
|
|
||||||
rapid camera for dry photography results. The treated film needs to
|
|
||||||
be far faster in action than present examples, but it probably could
|
|
||||||
be. More serious is the objection that this scheme would involve
|
|
||||||
putting the film inside a vacuum chamber, for electron beams behave
|
|
||||||
normally only in such a rarefied environment. This difficulty could
|
|
||||||
be avoided by allowing the electron beam to play on one side of a
|
|
||||||
partition, and by pressing the film against the other side, if this
|
|
||||||
partition were such as to allow the electrons to go through
|
|
||||||
perpendicular to its surface, and to prevent them from spreading out
|
|
||||||
sideways. Such partitions, in crude form, could certainly be
|
|
||||||
constructed, and they will hardly hold up the general development.
|
|
||||||
|
|
||||||
Like dry photography, microphotography still has a long way to go.
|
|
||||||
The basic scheme of reducing the size of the record, and examining it
|
|
||||||
by projection rather than directly, has possibilities too great to be
|
|
||||||
ignored. The combination of optical projection and photographic
|
|
||||||
reduction is already producing some results in microfilm for scholarly
|
|
||||||
purposes, and the potentialities are highly suggestive. Today, with
|
|
||||||
microfilm, reductions by a linear factor of 20 can be employed and
|
|
||||||
still produce full clarity when the material is re-enlarged for
|
|
||||||
examination. The limits are set by the graininess of the film, the
|
|
||||||
excellence of the optical system, and the efficiency of the light
|
|
||||||
sources employed. All of these are rapidly improving.
|
|
||||||
|
|
||||||
Assume a linear ratio of 100 for future use. Consider film of the
|
|
||||||
same thickness as paper, although thinner film will certainly be
|
|
||||||
usable. Even under these conditions there would be a total factor of
|
|
||||||
10,000 between the bulk of the ordinary record on books, and its
|
|
||||||
microfilm replica. The Encyclopoedia Britannica could be reduced to
|
|
||||||
the volume of a matchbox. A library of a million volumes could be
|
|
||||||
compressed into one end of a desk. If the human race has produced
|
|
||||||
since the invention of movable type a total record, in the form of
|
|
||||||
magazines, newspapers, books, tracts, advertising blurbs,
|
|
||||||
correspondence, having a volume corresponding to a billion books, the
|
|
||||||
whole affair, assembled and compressed, could be lugged off in a
|
|
||||||
moving van. Mere compression, of course, is not enough; one needs not
|
|
||||||
only to make and store a record but also to be able to consult it, and
|
|
||||||
this aspect of the matter comes later. Even the modern great library
|
|
||||||
is not generally consulted; it is nibbled by a few.
|
|
||||||
|
|
||||||
Compression is important, however, when it comes to costs. The
|
|
||||||
material for the microfilm Britannica would cost a nickel, and it
|
|
||||||
could be mailed anywhere for a cent. What would it cost to print a
|
|
||||||
million copies? To print a sheet of newspaper, in a large edition,
|
|
||||||
costs a small fraction of a cent. The entire material of the
|
|
||||||
Britannica in reduced microfilm form would go on a sheet eight and
|
|
||||||
one-half by eleven inches. Once it is available, with the
|
|
||||||
photographic reproduction methods of the future, duplicates in large
|
|
||||||
quantities could probably be turned out for a cent apiece beyond the
|
|
||||||
cost of materials. The preparation of the original copy? That
|
|
||||||
introduces the next aspect of the subject.
|
|
||||||
|
|
||||||
3
|
|
||||||
|
|
||||||
To make the record, we now push a pencil or tap a typewriter. Then
|
|
||||||
comes the process of digestion and correction, followed by an
|
|
||||||
intricate process of typesetting, printing, and distribution. To
|
|
||||||
consider the first stage of the procedure, will the author of the
|
|
||||||
future cease writing by hand or typewriter and talk directly to the
|
|
||||||
record? He does so indirectly, by talking to a stenographer or a wax
|
|
||||||
cylinder; but the elements are all present if he wishes to have his
|
|
||||||
talk directly produce a typed record. All he needs to do is to take
|
|
||||||
advantage of existing mechanisms and to alter his language.
|
|
||||||
|
|
||||||
At a recent World Fair a machine called a Voder was shown. A girl
|
|
||||||
stroked its keys and it emitted recognizable speech. No human vocal
|
|
||||||
cords entered in the procedure at any point; the keys simply combined
|
|
||||||
some electrically produced vibrations and passed these on to a
|
|
||||||
loud-speaker. In the Bell Laboratories there is the converse of this
|
|
||||||
machine, called a Vocoder. The loudspeaker is replaced by a
|
|
||||||
microphone, which picks up sound. Speak to it, and the corresponding
|
|
||||||
keys move. This may be one element of the postulated system.
|
|
||||||
|
|
||||||
The other element is found in the stenotype, that somewhat
|
|
||||||
disconcerting device encountered usually at public meetings. A girl
|
|
||||||
strokes its keys languidly and looks about the room and sometimes at
|
|
||||||
the speaker with a disquieting gaze. From it emerges a typed strip
|
|
||||||
which records in a phonetically simplified language a record of what
|
|
||||||
the speaker is supposed to have said. Later this strip is retyped
|
|
||||||
into ordinary language, for in its nascent form it is intelligible
|
|
||||||
only to the initiated. Combine these two elements, let the Vocoder
|
|
||||||
run the stenotype, and the result is a machine which types when talked
|
|
||||||
to.
|
|
||||||
|
|
||||||
Our present languages are not especially adapted to this sort of
|
|
||||||
mechanization, it is true. It is strange that the inventors of
|
|
||||||
universal languages have not seized upon the idea of producing one
|
|
||||||
which better fitted the technique for transmitting and recording
|
|
||||||
speech. Mechanization may yet force the issue, especially in the
|
|
||||||
scientific field; whereupon scientific jargon would become still less
|
|
||||||
intelligible to the layman.
|
|
||||||
|
|
||||||
One can now picture a future investigator in his laboratory. His
|
|
||||||
hands are free, and he is not anchored. As he moves about and
|
|
||||||
observes, he photographs and comments. Time is automatically recorded
|
|
||||||
to tie the two records together. If he goes into the field, he may be
|
|
||||||
connected by radio to his recorder. As he ponders over his notes in
|
|
||||||
the evening, he again talks his comments into the record. His typed
|
|
||||||
record, as well as his photographs, may both be in miniature, so that
|
|
||||||
he projects them for examination.
|
|
||||||
|
|
||||||
Much needs to occur, however, between the collection of data and
|
|
||||||
observations, the extraction of parallel material from the existing
|
|
||||||
record, and the final insertion of new material into the general body
|
|
||||||
of the common record. For mature thought there is no mechanical
|
|
||||||
substitute. But creative thought and essentially repetitive thought
|
|
||||||
are very different things. For the latter there are, and may be,
|
|
||||||
powerful mechanical aids.
|
|
||||||
|
|
||||||
Adding a column of figures is a repetitive thought process, and it was
|
|
||||||
long ago properly relegated to the machine. True, the machine is
|
|
||||||
sometimes controlled by the keyboard, and thought of a sort enters in
|
|
||||||
reading the figures and poking the corresponding keys, but even this
|
|
||||||
is avoidable. Machines have been made which will read typed figures
|
|
||||||
by photocells and then depress the corresponding keys; these are
|
|
||||||
combinations of photocells for scanning the type, electric circuits
|
|
||||||
for sorting the consequent variations, and relay circuits for
|
|
||||||
interpreting the result into the action of solenoids to pull the keys
|
|
||||||
down.
|
|
||||||
|
|
||||||
All this complication is needed because of the clumsy way in which we
|
|
||||||
have learned to write figures. If we recorded them positionally,
|
|
||||||
simply by the configuration of a set of dots on a card, the automatic
|
|
||||||
reading mechanism would become comparatively simple. In fact, if the
|
|
||||||
dots are holes, we have the punched-card machine long ago produced by
|
|
||||||
Hollorith for the purposes of the census, and now used throughout
|
|
||||||
business. Some types of complex businesses could hardly operate
|
|
||||||
without these machines.
|
|
||||||
|
|
||||||
Adding is only one operation. To perform arithmetical computation
|
|
||||||
involves also subtraction, multiplication, and division, and in
|
|
||||||
addition some method for temporary storage of results, removal from
|
|
||||||
storage for further manipulation, and recording of final results by
|
|
||||||
printing. Machines for these purposes are now of two types: keyboard
|
|
||||||
machines for accounting and the like, manually controlled for the
|
|
||||||
insertion of data, and usually automatically controlled as far as the
|
|
||||||
sequence of operations is concerned; and punched-card machines in
|
|
||||||
which separate operations are usually delegated to a series of
|
|
||||||
machines, and the cards then transferred bodily from one to another.
|
|
||||||
Both forms are very useful; but as far as complex computations are
|
|
||||||
concerned, both are still embryo.
|
|
||||||
|
|
||||||
Rapid electrical counting appeared soon after the physicists found it
|
|
||||||
desirable to count cosmic rays. For their own purposes the physicists
|
|
||||||
promptly constructed thermionic-tube equipment capable of counting
|
|
||||||
electrical impulses at the rate of 100,000 a second. The advanced
|
|
||||||
arithmetical machines of the future will be electrical in nature, and
|
|
||||||
they will perform at 100 times present speeds, or more.
|
|
||||||
|
|
||||||
Moreover, they will be far more versatile than present commercial
|
|
||||||
machines, so that they may readily be adapted for a wide variety of
|
|
||||||
operations. They will be controlled by a control card or film, they
|
|
||||||
will select their own data and manipulate it in accordance with the
|
|
||||||
instructions thus inserted, they will perform complex arithmetical
|
|
||||||
computations at exceedingly high speeds, and they will record results
|
|
||||||
in such form as to be readily available for distribution or for later
|
|
||||||
further manipulation. Such machines will have enormous appetites.
|
|
||||||
One of them will take instructions and data from a roomful of girls
|
|
||||||
armed with simple keyboard punches, and will deliver sheets of
|
|
||||||
computed results every few minutes. There will always be plenty of
|
|
||||||
things to compute in the detailed affairs of millions of people doing
|
|
||||||
complicated things.
|
|
||||||
|
|
||||||
4
|
|
||||||
|
|
||||||
The repetitive processes of thought are not confined, however, to
|
|
||||||
matters of arithmetic and statistics. In fact, every time one
|
|
||||||
combines and records facts in accordance with established logical
|
|
||||||
processes, the creative aspect of thinking is concerned only with the
|
|
||||||
selection of the data and the process to be employed, and the
|
|
||||||
manipulation thereafter is repetitive in nature and hence a fit matter
|
|
||||||
to be relegated to the machines. Not so much has been done along
|
|
||||||
these lines, beyond the bounds of arithmetic, as might be done,
|
|
||||||
primarily because of the economics of the situation. The needs of
|
|
||||||
business, and the extensive market obviously waiting, assured the
|
|
||||||
advent of mass-produced arithmetical machines just as soon as
|
|
||||||
production methods were sufficiently advanced.
|
|
||||||
|
|
||||||
With machines for advanced analysis no such situation existed; for
|
|
||||||
there was and is no extensive market; the users of advanced methods of
|
|
||||||
manipulating data are a very small part of the population. There are,
|
|
||||||
however, machines for solving differential equations - and functional
|
|
||||||
and integral equations, for that matter. There are many special
|
|
||||||
machines, such as the harmonic synthesizer which predicts the tides.
|
|
||||||
There will be many more, appearing certainly first in the hands of the
|
|
||||||
scientist and in small numbers.
|
|
||||||
|
|
||||||
If scientific reasoning were limited to the logical processes of
|
|
||||||
arithmetic, we should not get far in our understanding of the physical
|
|
||||||
world. One might as well attempt to grasp the game of poker entirely
|
|
||||||
by the use of the mathematics of probability. The abacus, with its
|
|
||||||
beads strung on parallel wires, led the Arabs to positional numeration
|
|
||||||
and the concept of zero many centuries before the rest of the world;
|
|
||||||
and it was a useful tool - so useful that it still exists.
|
|
||||||
|
|
||||||
It is a far cry from the abacus to the modern keyboard accounting
|
|
||||||
machine. It will be an equal step to the arithmetical machine of the
|
|
||||||
future. But even this new machine will not take the scientist where
|
|
||||||
he needs to go. Relief must be secured from laborious detailed
|
|
||||||
manipulation of higher mathematics as well, if the users of it are to
|
|
||||||
free their brains for something more than repetitive detailed
|
|
||||||
transformations in accordance with established rules. A mathematician
|
|
||||||
is not a man who can readily manipulate figures; often he cannot. He
|
|
||||||
is not even a man who can readily perform the transformation of
|
|
||||||
equations by the use of calculus. He is primarily an individual who
|
|
||||||
is skilled in the use of symbolic logic on a high plane, and
|
|
||||||
especially he is a man of intuitive judgment in the choice of the
|
|
||||||
manipulative processes he employs.
|
|
||||||
|
|
||||||
All else he should be able to turn over to his mechanism, just as
|
|
||||||
confidently as he turns over the propelling of his car to the
|
|
||||||
intricate mechanism under the hood. Only then will mathematics be
|
|
||||||
practically effective in bringing the growing knowledge of atomistics
|
|
||||||
to the useful solution of the advanced problems of chemistry,
|
|
||||||
metallurgy, and biology. For this reason there will come more
|
|
||||||
machines to handle advanced mathematics for the scientist. Some of
|
|
||||||
them will be sufficiently bizarre to suit the most fastidious
|
|
||||||
connoisseur of the present artifacts of civilization.
|
|
||||||
|
|
||||||
5
|
|
||||||
|
|
||||||
The scientist, however, is not the only person who manipulates data
|
|
||||||
and examines the world about him by the use of logical processes,
|
|
||||||
although he sometimes preserves this appearance by adopting into the
|
|
||||||
fold anyone who becomes logical, much in the manner in which a British
|
|
||||||
labor leader is elevated to knighthood. Whenever logical processes of
|
|
||||||
thought are employed - that is, whenever thought for a time runs along
|
|
||||||
an accepted groove - there is an opportunity for the machine. Formal
|
|
||||||
logic used to be a keen instrument in the hands of the teacher in his
|
|
||||||
trying of students' souls. It is readily possible to construct a
|
|
||||||
machine which will manipulate premises in accordance with formal
|
|
||||||
logic, simply by the clever use of relay circuits. Put a set of
|
|
||||||
premises into such a device and turn the crank, and it will readily
|
|
||||||
pass out conclusion after conclusion, all in accordance with logical
|
|
||||||
law, and with no more slips than would be expected of a keyboard
|
|
||||||
adding machine.
|
|
||||||
|
|
||||||
Logic can become enormously difficult, and it would undoubtedly be
|
|
||||||
well to produce more assurance in its use. The machines for higher
|
|
||||||
analysis have usually been equation solvers. Ideas are beginning to
|
|
||||||
appear for equation transformers, which will rearrange the
|
|
||||||
relationship expressed by an equation in accordance with strict and
|
|
||||||
rather advanced logic. Progress is inhibited by the exceedingly crude
|
|
||||||
way in which mathematicians express their relationships. They employ
|
|
||||||
a symbolism which grew like Topsy and has little consistency; a
|
|
||||||
strange fact in that most logical field.
|
|
||||||
|
|
||||||
A new symbolism, probably positional, must apparently precede the
|
|
||||||
reduction of mathematical transformations to machine processes. Then,
|
|
||||||
on beyond the strict logic of the mathematician, lies the application
|
|
||||||
of logic in everyday affairs. We may some day click off arguments on
|
|
||||||
a machine with the same assurance that we now enter sales on a cash
|
|
||||||
register. But the machine of logic will not look like a cash
|
|
||||||
register, even a streamlined model.
|
|
||||||
|
|
||||||
So much for the manipulation of ideas and their insertion into the
|
|
||||||
record. Thus far we seem to be worse off than before - for we can
|
|
||||||
enormously extend the record; yet even in its present bulk we can
|
|
||||||
hardly consult it. This is a much larger matter than merely the
|
|
||||||
extraction of data for the purposes of scientific research; it
|
|
||||||
involves the entire process by which man profits by his inheritance of
|
|
||||||
acquired knowledge. The prime action of use is selection, and here we
|
|
||||||
are halting indeed. There may be millions of fine thoughts, and the
|
|
||||||
account of the experience on which they are based, all encased within
|
|
||||||
stone walls of acceptable architectural form; but if the scholar can
|
|
||||||
get at only one a week by diligent search, his syntheses are not
|
|
||||||
likely to keep up with the current scene.
|
|
||||||
|
|
||||||
Selection, in this broad sense, is a stone adze in the hands of a
|
|
||||||
cabinetmaker. Yet, in a narrow sense and in other areas, something
|
|
||||||
has already been done mechanically on selection. The personnel
|
|
||||||
officer of a factory drops a stack of a few thousand employee cards
|
|
||||||
into a selecting machine, sets a code in accordance with an
|
|
||||||
established convention, and produces in a short time a list of all
|
|
||||||
employees who live in Trenton and know Spanish. Even such devices are
|
|
||||||
much too slow when it comes, for example, to matching a set of
|
|
||||||
fingerprints with one of five millions on file. Selection devices of
|
|
||||||
this sort will soon be speeded up from their present rate of reviewing
|
|
||||||
data at a few hundred a minute. By the use of photocells and
|
|
||||||
microfilm they will survey items at the rate of thousands a second,
|
|
||||||
and will print out duplicates of those selected.
|
|
||||||
|
|
||||||
This process, however, is simple selection: it proceeds by examining
|
|
||||||
in turn every one of a large set of items, and by picking out those
|
|
||||||
which have certain specified characteristics. There is another form
|
|
||||||
of selection best illustrated by the automatic telephone exchange.
|
|
||||||
You dial a number and the machine selects and connects just one of a
|
|
||||||
million possible stations. It does not run over them all. It pays
|
|
||||||
attention only to a class given by a first digit, and so on; and thus
|
|
||||||
proceeds rapidly and almost unerringly to the selected station. It
|
|
||||||
requires a few seconds to make the selection, although the process
|
|
||||||
could be speeded up if increased speed were economically warranted.
|
|
||||||
If necessary, it could be made extremely fast by substituting
|
|
||||||
thermionic-tube switching for mechanical switching, so that the full
|
|
||||||
selection could be made in one-hundredth of a second. No one would
|
|
||||||
wish to spend the money necessary to make this change in the telephone
|
|
||||||
system, but the general idea is applicable elsewhere.
|
|
||||||
|
|
||||||
Take the prosaic problem of the great department store. Every time a
|
|
||||||
charge sale is made, there are a number of things to be done.. The
|
|
||||||
inventory needs to be revised, the salesman needs to be given credit
|
|
||||||
for the sale, the general accounts need an entry, and, most important,
|
|
||||||
the customer needs to be charged. A central records device has been
|
|
||||||
developed in which much of this work is done conveniently. The
|
|
||||||
salesman places on a stand the customer's identification card, his own
|
|
||||||
card, and the card taken from the article sold - all punched cards.
|
|
||||||
When he pulls a lever, contacts are made through the holes, machinery
|
|
||||||
at a central point makes the necessary computations and entries, and
|
|
||||||
the proper receipt is printed for the salesman to pass to the
|
|
||||||
customer.
|
|
||||||
|
|
||||||
But there may be ten thousand charge customers doing business with the
|
|
||||||
store, and before the full operation can be completed someone has to
|
|
||||||
select the right card and insert it at the central office. Now rapid
|
|
||||||
selection can slide just the proper card into position in an instant
|
|
||||||
or two, and return it afterward. Another difficulty occurs, however.
|
|
||||||
Someone must read a total on the card, so that the machine can add its
|
|
||||||
computed item to it. Conceivably the cards might be of the dry
|
|
||||||
photography type I have described. Existing totals could then be read
|
|
||||||
by photocell, and the new total entered by an electron beam.
|
|
||||||
|
|
||||||
The cards may be in miniature, so that they occupy little space. They
|
|
||||||
must move quickly. They need not be transferred far, but merely into
|
|
||||||
position so that the photocell and recorder can operate on them.
|
|
||||||
Positional dots can enter the data. At the end of the month a machine
|
|
||||||
can readily be made to read these and to print an ordinary bill. With
|
|
||||||
tube selection, in which no mechanical parts are involved in the
|
|
||||||
switches, little time need be occupied in bringing the correct card
|
|
||||||
into use - a second should suffice for the entire operation. The
|
|
||||||
whole record on the card may be made by magnetic dots on a steel sheet
|
|
||||||
if desired, instead of dots to be observed optically, following the
|
|
||||||
scheme by which Poulsen long ago put speech on a magnetic wire. This
|
|
||||||
method has the advantage of simplicity and ease of erasure. By using
|
|
||||||
photography, however, one can arrange to project the record in
|
|
||||||
enlarged form, and at a distance by using the process common in
|
|
||||||
television equipment.
|
|
||||||
|
|
||||||
One can consider rapid selection of this form, and distant projection
|
|
||||||
for other purposes. To be able to key one sheet of a million before
|
|
||||||
an operator in a second or two, with the possibility of then adding
|
|
||||||
notes thereto, is suggestive in many ways. It might even be of use in
|
|
||||||
libraries, but that is another story. At any rate, there are now some
|
|
||||||
interesting combinations possible. One might, for example, speak to a
|
|
||||||
microphone, in the manner described in connection with the
|
|
||||||
speech-controlled typewriter, and thus make his selections. It would
|
|
||||||
certainly beat the usual file clerk.
|
|
||||||
|
|
||||||
6
|
|
||||||
|
|
||||||
The real heart of the matter of selection, however, goes deeper than a
|
|
||||||
lag in the adoption of mechanisms by libraries, or a lack of
|
|
||||||
development of devices for their use. Our ineptitude in getting at
|
|
||||||
the record is largely caused by the artificiality of systems of
|
|
||||||
indexing. When data of any sort are placed in storage, they are filed
|
|
||||||
alphabetically or numerically, and information is found (when it is)
|
|
||||||
by tracing it down from subclass to subclass. It can be in only one
|
|
||||||
place, unless duplicates are used; one has to have rules as to which
|
|
||||||
path will locate it, and the rules are cumbersome. Having found one
|
|
||||||
item, moreover, one has to emerge from the system and re-enter on a
|
|
||||||
new path.
|
|
||||||
|
|
||||||
The human mind does not work that way. It operates by association.
|
|
||||||
With one item in its grasp, it snaps instantly to the next that is
|
|
||||||
suggested by the association of thoughts, in accordance with some
|
|
||||||
intricate web of trails carried by the cells of the brain. It has
|
|
||||||
other characteristics, of course; trails that are not frequently
|
|
||||||
followed are prone to fade, items are not fully permanent, memory is
|
|
||||||
transitory. Yet the speed of action, the intricacy of trails, the
|
|
||||||
detail of mental pictures, is awe-inspiring beyond all else in nature.
|
|
||||||
|
|
||||||
Man cannot hope fully to duplicate this mental process artificially,
|
|
||||||
but he certainly ought to be able to learn from it. In minor ways he
|
|
||||||
may even improve, for his records have relative permanency. The first
|
|
||||||
idea, however, to be drawn from the analogy concerns selection.
|
|
||||||
Selection by association, rather than by indexing, may yet be
|
|
||||||
mechanized. One cannot hope thus to equal the speed and flexibility
|
|
||||||
with which the mind follows an associative trail, but it should be
|
|
||||||
possible to beat the mind decisively in regard to the permanence and
|
|
||||||
clarity of the items resurrected from storage.
|
|
||||||
|
|
||||||
Consider a future device for individual use, which is a sort of
|
|
||||||
mechanized private file and library. It needs a name, and to coin
|
|
||||||
one at random, ``memex'' will do. A memex is a device in which an
|
|
||||||
individual stores all his books, records, and communications, and
|
|
||||||
which is mechanized so that it may be consulted with exceeding speed
|
|
||||||
and flexibility. It is an enlarged intimate supplement to his memory.
|
|
||||||
|
|
||||||
It consists of a desk, and while it can presumably be operated from a
|
|
||||||
distance, it is primarily the piece of furniture at which he works.
|
|
||||||
On the top are slanting translucent screens, on which material can be
|
|
||||||
projected for convenient reading. There is a keyboard, and sets of
|
|
||||||
buttons and levers. Otherwise it looks like an ordinary desk.
|
|
||||||
|
|
||||||
In one end is the stored material. The matter of bulk is well taken
|
|
||||||
care of by improved microfilm. Only a small part of the interior of
|
|
||||||
the memex is devoted to storage, the rest to mechanism. Yet if the
|
|
||||||
user inserted 5000 pages of material a day it would take him hundreds
|
|
||||||
of years to fill the repository, so he can be profligate and enter
|
|
||||||
material freely.
|
|
||||||
|
|
||||||
Most of the memex contents are purchased on microfilm ready for
|
|
||||||
insertion. Books of all sorts, pictures, current periodicals,
|
|
||||||
newspapers, are thus obtained and dropped into place. Business
|
|
||||||
correspondence takes the same path. And there is provision for direct
|
|
||||||
entry. On the top of the memex is a transparent platen. On this are
|
|
||||||
placed longhand notes, photographs, memoranda, all sort of things.
|
|
||||||
When one is in place, the depression of a lever causes it to be
|
|
||||||
photographed onto the next blank space in a section of the memex film,
|
|
||||||
dry photography being employed.
|
|
||||||
|
|
||||||
There is, of course, provision for consultation of the record by the
|
|
||||||
usual scheme of indexing. If the user wishes to consult a certain
|
|
||||||
book, he taps its code on the keyboard, and the title page of the book
|
|
||||||
promptly appears before him, projected onto one of his viewing
|
|
||||||
positions. Frequently-used codes are mnemonic, so that he seldom
|
|
||||||
consults his code book; but when he does, a single tap of a key
|
|
||||||
projects it for his use. Moreover, he has supplemental levers. On
|
|
||||||
deflecting one of these levers to the right he runs through the book
|
|
||||||
before him, each page in turn being projected at a speed which just
|
|
||||||
allows a recognizing glance at each. If he deflects it further to the
|
|
||||||
right, he steps through the book 10 pages at a time; still further at
|
|
||||||
100 pages at a time. Deflection to the left gives him the same
|
|
||||||
control backwards.
|
|
||||||
|
|
||||||
A special button transfers him immediately to the first page of the
|
|
||||||
index. Any given book of his library can thus be called up and
|
|
||||||
consulted with far greater facility than if it were taken from a
|
|
||||||
shelf. As he has several projection positions, he can leave one item
|
|
||||||
in position while he calls up another. He can add marginal notes and
|
|
||||||
comments, taking advantage of one possible type of dry photography,
|
|
||||||
and it could even be arranged so that he can do this by a stylus
|
|
||||||
scheme, such as is now employed in the telautograph seen in railroad
|
|
||||||
waiting rooms, just as though he had the physical page before him.
|
|
||||||
|
|
||||||
7
|
|
||||||
|
|
||||||
All this is conventional, except for the projection forward of
|
|
||||||
present-day mechanisms and gadgetry. It affords an immediate step,
|
|
||||||
however, to associative indexing, the basic idea of which is a
|
|
||||||
provision whereby any item may be caused at will to select immediately
|
|
||||||
and automatically another. This is the essential feature of the
|
|
||||||
memex. The process of tying two items together is the important
|
|
||||||
thing.
|
|
||||||
|
|
||||||
When the user is building a trail, he names it, inserts the name in
|
|
||||||
his code book, and taps it out on his keyboard. Before him are the
|
|
||||||
two items to be joined, projected onto adjacent viewing positions. At
|
|
||||||
the bottom of each there are a number of blank code spaces, and a
|
|
||||||
pointer is set to indicate one of these on each item. The user taps a
|
|
||||||
single key, and the items are permanently joined. In each code space
|
|
||||||
appears the code word. Out of view, but also in the code space, is
|
|
||||||
inserted a set of dots for photocell viewing; and on each item these
|
|
||||||
dots by their positions designate the index number of the other item.
|
|
||||||
|
|
||||||
Thereafter, at any time, when one of these items is in view, the other
|
|
||||||
can be instantly recalled merely by tapping a button below the
|
|
||||||
corresponding code space. Moreover, when numerous items have been
|
|
||||||
thus joined together to form a trail, they can be reviewed in turn,
|
|
||||||
rapidly or slowly, by deflecting a lever like that used for turning
|
|
||||||
the pages of a book. It is exactly as though the physical items had
|
|
||||||
been gathered together to form a new book. It is more than this, for
|
|
||||||
any item can be joined into numerous trails.
|
|
||||||
|
|
||||||
The owner of the memex, let us say, is interested in the origin and
|
|
||||||
properties of the bow and arrow. Specifically he is studying why the
|
|
||||||
short Turkish bow was apparently superior to the English long bow in
|
|
||||||
the skirmishes of the Crusades. He has dozens of possibly pertinent
|
|
||||||
books and articles in his memex. First he runs through an
|
|
||||||
encyclopedia, finds an interesting but sketchy article, leaves it
|
|
||||||
projected. Next, in a history, he finds another pertinent item, and
|
|
||||||
ties the two together. Thus he goes, building a trail of many items.
|
|
||||||
Occasionally he inserts a comment of his own, either linking it into
|
|
||||||
the main trail or joining it by a side trail to a particular item.
|
|
||||||
When it becomes evident that the elastic properties of available
|
|
||||||
materials had a great deal to do with the bow, he branches off on a
|
|
||||||
side trail which takes him through textbooks on elasticity and tables
|
|
||||||
of physical constants. He inserts a page of longhand analysis of his
|
|
||||||
own. Thus he builds a trail of his interest through the maze of
|
|
||||||
materials available to him.
|
|
||||||
|
|
||||||
And his trails do not fade. Several years later, his talk with a
|
|
||||||
friend turns to the queer ways in which a people resist innovations,
|
|
||||||
even of vital interest. He has an example, in the fact that the
|
|
||||||
outranged Europeans still failed to adopt the Turkish bow. In fact he
|
|
||||||
has a trail on it. A touch brings up the code book. Tapping a few
|
|
||||||
keys projects the head of the trail. A lever runs through it at will,
|
|
||||||
stopping at interesting items, going off on side excursions. It is an
|
|
||||||
interesting trail, pertinent to the discussion. So he sets a
|
|
||||||
reproducer in action, photographs the whole trail out, and passes it
|
|
||||||
to his friend for insertion in his own memex, there to be linked into
|
|
||||||
the more general trail.
|
|
||||||
|
|
||||||
8
|
|
||||||
|
|
||||||
Wholly new forms of encyclopedias will appear, ready-made with a mesh
|
|
||||||
of associative trails running through them, ready to be dropped into
|
|
||||||
the memex and there amplified. The lawyer has at his touch the
|
|
||||||
associated opinions and decisions of his whole experience, and of the
|
|
||||||
experience of friends and authorities. The patent attorney has on
|
|
||||||
call the millions of issued patents, with familiar trails to every
|
|
||||||
point of his client's interest. The physician, puzzled by its
|
|
||||||
patient's reactions, strikes the trail established in studying an
|
|
||||||
earlier similar case, and runs rapidly through analogous case
|
|
||||||
histories, with side references to the classics for the pertinent
|
|
||||||
anatomy and histology. The chemist, struggling with the synthesis of
|
|
||||||
an organic compound, has all the chemical literature before him in his
|
|
||||||
laboratory, with trails following the analogies of compounds, and side
|
|
||||||
trails to their physical and chemical behavior.
|
|
||||||
|
|
||||||
The historian, with a vast chronological account of a people,
|
|
||||||
parallels it with a skip trail which stops only at the salient items,
|
|
||||||
and can follow at any time contemporary trails which lead him all over
|
|
||||||
civilization at a particular epoch. There is a new profession of
|
|
||||||
trail blazers, those who find delight in the task of establishing
|
|
||||||
useful trails through the enormous mass of the common record. The
|
|
||||||
inheritance from the master becomes, not only his additions to the
|
|
||||||
world's record, but for his disciples the entire scaffolding by which
|
|
||||||
they were erected.
|
|
||||||
|
|
||||||
Thus science may implement the ways in which man produces, stores, and
|
|
||||||
consults the record of the race. It might be striking to outline the
|
|
||||||
instrumentalities of the future more spectacularly, rather than to
|
|
||||||
stick closely to the methods and elements now known and undergoing
|
|
||||||
rapid development, as has been done here. Technical difficulties of
|
|
||||||
all sorts have been ignored, certainly, but also ignored are means as
|
|
||||||
yet unknown which may come any day to accelerate technical progress as
|
|
||||||
violently as did the advent of the thermionic tube. In order that the
|
|
||||||
picture may not be too commonplace, by reason of sticking to
|
|
||||||
present-day patterns, it may be well to mention one such possibility,
|
|
||||||
not to prophesy but merely to suggest, for prophecy based on extension
|
|
||||||
of the known has substance, while prophecy founded on the unknown is
|
|
||||||
only a doubly involved guess.
|
|
||||||
|
|
||||||
All our steps in creating or absorbing material of the record proceed
|
|
||||||
through one of the senses - the tactile when we touch keys, the oral
|
|
||||||
when we speak or listen, the visual when we read. Is it not possible
|
|
||||||
that some day the path may be established more directly?
|
|
||||||
|
|
||||||
We know that when the eye sees, all the consequent information is
|
|
||||||
transmitted to the brain by means of electrical vibrations in the
|
|
||||||
channel of the optic nerve. This is an exact analogy with the
|
|
||||||
electrical vibrations which occur in the cable of a television set:
|
|
||||||
they convey the picture from the photocells which see it to the radio
|
|
||||||
transmitter from which it is broadcast. We know further that if we
|
|
||||||
can approach that cable with the proper instruments, we do not need to
|
|
||||||
touch it; we can pick up those vibrations by electrical induction and
|
|
||||||
thus discover and reproduce the scene which is being transmitted, just
|
|
||||||
as a telephone wire may be tapped for its message.
|
|
||||||
|
|
||||||
The impulses which flow in the arm nerves of a typist convey to her
|
|
||||||
fingers the translated information which reaches her eye or ear, in
|
|
||||||
order that the fingers may be caused to strike the proper keys. Might
|
|
||||||
not these currents be intercepted, either in the original form in
|
|
||||||
which information is conveyed to the brain, or in the marvelously
|
|
||||||
metamorphosed form in which they then proceed to the hand?
|
|
||||||
|
|
||||||
By bone conduction we already introduce sounds into the nerve channels
|
|
||||||
of the deaf in order that they may hear. Is it not possible that we
|
|
||||||
may learn to introduce them without the present cumbersomeness of
|
|
||||||
first transforming electrical vibrations to mechanical ones, which the
|
|
||||||
human mechanism promptly transforms back to the electrical form? With
|
|
||||||
a couple of electrodes on the skull the encephalograph now produces
|
|
||||||
pen-and-ink traces which bear some relation to the electrical
|
|
||||||
phenomena going on in the brain itself. True, the record is
|
|
||||||
unintelligible, except as it points out certain gross misfunctioning
|
|
||||||
of the cerebral mechanism; but who would now place bounds on where
|
|
||||||
such a thing may lead?
|
|
||||||
|
|
||||||
In the outside world, all forms of intelligence, whether of sound or
|
|
||||||
sight, have been reduced to the form of varying currents in an
|
|
||||||
electric circuit in order that they may be transmitted. Inside the
|
|
||||||
human frame exactly the same sort of process occurs. Must we always
|
|
||||||
transform to mechanical movements in order to proceed from one
|
|
||||||
electrical phenomenon to another? It is a suggestive thought, but it
|
|
||||||
hardly warrants prediction without losing touch with reality and
|
|
||||||
immediateness.
|
|
||||||
|
|
||||||
Presumably man's spirit should be elevated if he can better review his
|
|
||||||
shady past and analyze more completely and objectively his present
|
|
||||||
problems. He has built a civilization so complex that he needs to
|
|
||||||
mechanize his record more fully if he is to push his experiment to its
|
|
||||||
logical conclusion and not merely become bogged down part way there by
|
|
||||||
overtaxing his limited memory. His excursion may be more enjoyable if
|
|
||||||
he can reacquire the privilege of forgetting the manifold things he
|
|
||||||
does not need to have immediately at hand, with some assurance that he
|
|
||||||
can find them again if they prove important.
|
|
||||||
|
|
||||||
The applications of science have built man a well-supplied house, and
|
|
||||||
are teaching him to live healthily therein. They have enabled him to
|
|
||||||
throw masses of people against another with cruel weapons. They may
|
|
||||||
yet allow him truly to encompass the great record and to grow in the
|
|
||||||
wisdom of race experience. He may perish in conflict before he learns
|
|
||||||
to wield that record for his true good. Yet, in the application of
|
|
||||||
science to the needs and desires of man, it would seem to be a
|
|
||||||
singularly unfortunate stage at which to terminate the process, or to
|
|
||||||
lose hope as to the outcome.
|
|
||||||
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|
|
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|
|
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AS WE MAY THINK
|
|
||||||
by VANNEVAR BUSH
|
|
||||||
|
|
||||||
THE ATLANTIC MONTHLY, JULY 1945
|
|
||||||
|
|
||||||
----------------------------------------------------------------------
|
|
||||||
|
|
||||||
As Director of the Office of Scientific Research and Development, Dr.
|
|
||||||
Vannevar Bush has coordinated the activities of some six thousand
|
|
||||||
leading American scientists in the application of science to warfare.
|
|
||||||
In this significant article he holds up an incentive for scientists
|
|
||||||
when the fighting has ceased. He urges that men of science should
|
|
||||||
then turn to the massive task of making more accessible our
|
|
||||||
bewildering store of knowledge. For many years inventions have
|
|
||||||
extended man's physical powers rather than the powers of his mind.
|
|
||||||
Trip hammers that multiply the fists, microscopes that sharpen the
|
|
||||||
eye, and engines of destruction and detection are new results, but the
|
|
||||||
end results, of modern science. Now, says Dr. Bush, instruments are
|
|
||||||
at hand which, if properly developed, will give man access to and
|
|
||||||
command over the inherited knowledge of the ages. The perfection of
|
|
||||||
these pacific instruments should be the first objective of our
|
|
||||||
scientists as they emerge from their war work. Like Emerson's famous
|
|
||||||
address of 1837 on ``The American Scholar,'' this paper by Dr. Bush
|
|
||||||
calls for a new relationship between thinking man and the sum of our
|
|
||||||
knowledge. - The Editor
|
|
||||||
|
|
||||||
----------------------------------------------------------------------
|
|
||||||
|
|
||||||
This has not been a scientist's war; it has been a war in which all
|
|
||||||
have had a part. The scientists, burying their old professional
|
|
||||||
competition in the demand of a common cause, have shared greatly and
|
|
||||||
learned much. It has been exhilarating to work in effective
|
|
||||||
partnership. Now, for many, this appears to be approaching an end.
|
|
||||||
What are the scientists to do next?
|
|
||||||
|
|
||||||
For the biologists, and particularly for the medical scientists, there
|
|
||||||
can be little indecision, for their war work has hardly required them
|
|
||||||
to leave the old paths. Many indeed have been able to carry on their
|
|
||||||
war research in their familiar peacetime laboratories. Their
|
|
||||||
objectives remain much the same.
|
|
||||||
|
|
||||||
It is the physicists who have been thrown most violently off stride,
|
|
||||||
who have left academic pursuits for the making of strange destructive
|
|
||||||
gadgets, who have had to devise new methods for their unanticipated
|
|
||||||
assignments. They have done their part on the devices that made it
|
|
||||||
possible to turn back the enemy. They have worked in combined effort
|
|
||||||
with the physicists of our allies. They have felt within themselves
|
|
||||||
the stir of achievement. They have been part of a great team. Now,
|
|
||||||
as peace approaches, one asks where they will find objectives worthy
|
|
||||||
of their best.
|
|
||||||
|
|
||||||
1
|
|
||||||
|
|
||||||
Of what lasting benefit has been man's use of science and of the new
|
|
||||||
instruments which his research brought into existence? First, they
|
|
||||||
have increased his control of his material environment. They have
|
|
||||||
improved his food, his clothing, his shelter; they have increased his
|
|
||||||
security and released him partly from the bondage of bare existence.
|
|
||||||
They have given him increased knowledge of his own biological
|
|
||||||
processes so that he has had a progressive freedom from disease and an
|
|
||||||
increased span of life. They are illuminating the interactions of his
|
|
||||||
physiological and psychological functions, giving the promise of an
|
|
||||||
improved mental health.
|
|
||||||
|
|
||||||
Science has provided the swiftest communication between individuals;
|
|
||||||
it has provided a record of ideas and has enabled man to manipulate
|
|
||||||
and to make extracts from that record so that knowledge evolves and
|
|
||||||
endures throughout the life of a race rather than that of an
|
|
||||||
individual.
|
|
||||||
|
|
||||||
There is a growing mountain of research. But there is increased
|
|
||||||
evidence that we are being bogged down today as specialization
|
|
||||||
extends. The investigator is staggered by the findings and
|
|
||||||
conclusions of thousands of other workers - conclusions which he
|
|
||||||
cannot find time to grasp, much less to remember, as they appear. Yet
|
|
||||||
specialization becomes increasingly necessary for progress, and the
|
|
||||||
effort to bridge between disciplines is correspondingly superficial.
|
|
||||||
|
|
||||||
Professionally our methods of transmitting and reviewing the results
|
|
||||||
of research are generations old and by now are totally inadequate for
|
|
||||||
their purpose. If the aggregate time spent in writing scholarly works
|
|
||||||
and in reading them could be evaluated, the ratio between these
|
|
||||||
amounts of time might well be startling. Those who conscientiously
|
|
||||||
attempt to keep abreast of current thought, even in restricted fields,
|
|
||||||
by close and continuous reading might well shy away from an
|
|
||||||
examination calculated to show how much of the previous month's
|
|
||||||
efforts could be produced on call. Mendel's concept of the laws of
|
|
||||||
genetics was lost to the world for a generation because his
|
|
||||||
publication did not reach the few who were capable of grasping and
|
|
||||||
extending it; and this sort of catastrophe is undoubtedly being
|
|
||||||
repeated all about us, as truly significant attainments become lost in
|
|
||||||
the mass of the inconsequential.
|
|
||||||
|
|
||||||
The difficulty seems to be, not so much that we publish unduly in view
|
|
||||||
of the extent and variety of present-day interests, but rather that
|
|
||||||
publication has been extended far beyond our present ability to make
|
|
||||||
real use of the record. The summation of human experience is being
|
|
||||||
expanded at a prodigious rate, and the means we use for threading
|
|
||||||
through the consequent maze to the momentarily important item is the
|
|
||||||
same as was used in the days of square-rigged ships.
|
|
||||||
|
|
||||||
But there are signs of a change as new and powerful instrumentalities
|
|
||||||
come into use. Photocells capable of seeing things in a physical
|
|
||||||
sense, advanced photography which can record what is seen or even what
|
|
||||||
is not, thermionic tubes capable of controlling potent forces under
|
|
||||||
the guidance of less power than a mosquito uses to vibrate his wings,
|
|
||||||
cathode ray tubes rendering visible an occurrence so brief that by
|
|
||||||
comparison a microsecond is a long time, relay combinations which will
|
|
||||||
carry out involved sequences of movements more reliably than any human
|
|
||||||
operator and thousand of times as fast - there are plenty of
|
|
||||||
mechanical aids with which to effect a transformation in scientific
|
|
||||||
records.
|
|
||||||
|
|
||||||
Two centuries ago Leibnitz invented a calculating machine which
|
|
||||||
embodied most of the essential features of recent keyboard devices,
|
|
||||||
but it could not then come into use. The economics of the situation
|
|
||||||
were against it: the labor involved in constructing it, before the
|
|
||||||
days of mass production, exceeded the labor to be saved by its use,
|
|
||||||
since all it could accomplish could be duplicated by sufficient use of
|
|
||||||
pencil and paper. Moreover, it would have been subject to frequent
|
|
||||||
breakdown, so that it could not have been depended upon; for at that
|
|
||||||
time and long after, complexity and unreliability were synonymous.
|
|
||||||
|
|
||||||
Babbage, even with remarkably generous support for his time, could not
|
|
||||||
produce his great arithmetical machine. His idea was sound enough,
|
|
||||||
but construction and maintenance costs were then too heavy. Had a
|
|
||||||
Pharaoh been given detailed and explicit designs of an automobile, and
|
|
||||||
had he understood them completely, it would have taxed the resources
|
|
||||||
of his kingdom to have fashioned the thousands of parts for a single
|
|
||||||
car, and that car would have broken down on the first trip to Giza.
|
|
||||||
|
|
||||||
Machines with interchangeable parts can now be constructed with great
|
|
||||||
economy of effort. In spite of much complexity, they perform reliably.
|
|
||||||
Witness the humble typewriter, or the movie camera, or the automobile.
|
|
||||||
Electrical contacts have ceased to stick when thoroughly understood.
|
|
||||||
Note the automatic telephone exchange, which has hundred of thousands
|
|
||||||
of such contacts, and yet is reliable. A spider web of metal, sealed
|
|
||||||
in a thin glass container, a wire heated to brilliant glow, in short,
|
|
||||||
the thermionic tube of radio sets, is made by the hundred million,
|
|
||||||
tossed about in packages, plugged into sockets - and it works! Its
|
|
||||||
gossamer parts, the precise location and alignment involved in its
|
|
||||||
construction, would have occupied a master craftsman of the guild for
|
|
||||||
months; now it is built for thirty cents. The world has arrived at an
|
|
||||||
age of cheap complex devices of great reliability; and something is
|
|
||||||
bound to come of it.
|
|
||||||
|
|
||||||
2
|
|
||||||
|
|
||||||
A record, if it is to be useful to science, must be continuously
|
|
||||||
extended, it must be stored, and above all it must be consulted.
|
|
||||||
Today we make the record conventionally by writing and photography,
|
|
||||||
followed by printing; but we also record on film, on wax disks, and on
|
|
||||||
magnetic wires. Even if utterly new recording procedures do not
|
|
||||||
appear, these present ones are certainly in the process of
|
|
||||||
modification and extension.
|
|
||||||
|
|
||||||
Certainly progress in photography is not going to stop. Faster
|
|
||||||
material and lenses, more automatic cameras, finer-grained sensitive
|
|
||||||
compounds to allow an extension of the minicamera idea, are all
|
|
||||||
imminent. Let us project this trend ahead to a logical, if not
|
|
||||||
inevitable, outcome. The camera hound of the future wears on his
|
|
||||||
forehead a lump a little larger than a walnut. It takes pictures 3
|
|
||||||
millimeters square, later to be projected or enlarged, which after all
|
|
||||||
involves only a factor of 10 beyond present practice. The lens is of
|
|
||||||
universal focus, down to any distance accommodated by the unaided eye,
|
|
||||||
simply because it is of short focal length. There is a built-in
|
|
||||||
photocell on the walnut such as we now have on at least one camera,
|
|
||||||
which automatically adjusts exposure for a wide range of illumination.
|
|
||||||
There is film in the walnut for a hundred exposures, and the spring for
|
|
||||||
operating its shutter and shifting its film is wound once for all when
|
|
||||||
the film clip is inserted. It produces its result in full color. It
|
|
||||||
may well be stereoscopic, and record with spaced glass eyes, for
|
|
||||||
striking improvements in stereoscopic technique are just around the
|
|
||||||
corner.
|
|
||||||
|
|
||||||
The cord which trips its shutter may reach down a man's sleeve within
|
|
||||||
easy reach of his fingers. A quick squeeze, and the picture is taken.
|
|
||||||
On a pair of ordinary glasses is a square of fine lines near the top
|
|
||||||
of one lens, where it is out of the way of ordinary vision. When an
|
|
||||||
object appears in that square, it is lined up for its picture. As the
|
|
||||||
scientist of the future moves about the laboratory or the field, every
|
|
||||||
time he looks at something worthy of the record, he trips the shutter
|
|
||||||
and in it goes, without even an audible click. Is this all fantastic?
|
|
||||||
The only fantastic thing about it is the idea of making as many
|
|
||||||
pictures as would result from its use.
|
|
||||||
|
|
||||||
Will there be dry photography? It is already here in two forms. When
|
|
||||||
Brady made his Civil War pictures, the plate had to be wet at the time
|
|
||||||
of exposure. Now it has to be wet during development instead. In the
|
|
||||||
future perhaps it need not be wetted at all. There have long been
|
|
||||||
films impregnated with diazo dyes which form a picture without
|
|
||||||
development, so that it is already there as soon as the camera has
|
|
||||||
been operated. An exposure to ammonia gas destroys the unexposed dye,
|
|
||||||
and the picture can then be taken out into the light and examined.
|
|
||||||
The process is now slow, but someone may speed it up, and it has no
|
|
||||||
grain difficulties such as now keep photographic researchers busy.
|
|
||||||
Often it would be advantageous to be able to snap the camera and to
|
|
||||||
look at the picture immediately.
|
|
||||||
|
|
||||||
Another process now in use is also slow, and more or less clumsy. For
|
|
||||||
fifty years impregnated papers have been used which turn dark at every
|
|
||||||
point where an electrical contact touches them, by reason of the
|
|
||||||
chemical change thus produced in an iodine compound included in the
|
|
||||||
paper. They have been used to make records, for a pointer moving
|
|
||||||
across them can leave a trail behind. If the electrical potential on
|
|
||||||
the pointer is varied as it moves, the line becomes light or dark in
|
|
||||||
accordance with the potential.
|
|
||||||
|
|
||||||
This scheme is now used in facsimile transmission. The pointer draws
|
|
||||||
a set of closely spaced lines across the paper one after another. As
|
|
||||||
it moves, its potential is varied in accordance with a varying current
|
|
||||||
received over wires from a distant station, where these variations are
|
|
||||||
produced by a photocell which is similarly scanning a picture. At
|
|
||||||
every instant the darkness of the line being drawn is made equal to
|
|
||||||
the darkness of the point on the picture being observed by the
|
|
||||||
photocell. Thus, when the whole picture has been covered, a replica
|
|
||||||
appears at the receiving end.
|
|
||||||
|
|
||||||
A scene itself can be just as well looked over line by line by the
|
|
||||||
photocell in this way as can a photograph of the scene. This whole
|
|
||||||
apparatus constitutes a camera, with the added feature, which can be
|
|
||||||
dispensed with if desired, of making its picture at a distance. It is
|
|
||||||
slow, and the picture is poor in detail. Still, it does give another
|
|
||||||
process of dry photography, in which the picture is finished as soon
|
|
||||||
as it is taken.
|
|
||||||
|
|
||||||
It would be a brave man who could predict that such a process will
|
|
||||||
always remain clumsy, slow, and faulty in detail. Television
|
|
||||||
equipment today transmits sixteen reasonably good images a second, and
|
|
||||||
it involves only two essential differences from the process described
|
|
||||||
above. For one, the record is made by a moving beam of electrons
|
|
||||||
rather than a moving pointer, for the reason that an electron beam can
|
|
||||||
sweep across the picture very rapidly indeed. The other difference
|
|
||||||
involves merely the use of a screen which glows momentarily when the
|
|
||||||
electrons hit, rather than a chemically treated paper or film which is
|
|
||||||
permanently altered. This speed is necessary in television, for
|
|
||||||
motion pictures rather than stills are the object.
|
|
||||||
|
|
||||||
Use chemically treated film in place of the glowing screen, allow the
|
|
||||||
apparatus to transmit one picture rather than a succession, and a
|
|
||||||
rapid camera for dry photography results. The treated film needs to
|
|
||||||
be far faster in action than present examples, but it probably could
|
|
||||||
be. More serious is the objection that this scheme would involve
|
|
||||||
putting the film inside a vacuum chamber, for electron beams behave
|
|
||||||
normally only in such a rarefied environment. This difficulty could
|
|
||||||
be avoided by allowing the electron beam to play on one side of a
|
|
||||||
partition, and by pressing the film against the other side, if this
|
|
||||||
partition were such as to allow the electrons to go through
|
|
||||||
perpendicular to its surface, and to prevent them from spreading out
|
|
||||||
sideways. Such partitions, in crude form, could certainly be
|
|
||||||
constructed, and they will hardly hold up the general development.
|
|
||||||
|
|
||||||
Like dry photography, microphotography still has a long way to go.
|
|
||||||
The basic scheme of reducing the size of the record, and examining it
|
|
||||||
by projection rather than directly, has possibilities too great to be
|
|
||||||
ignored. The combination of optical projection and photographic
|
|
||||||
reduction is already producing some results in microfilm for scholarly
|
|
||||||
purposes, and the potentialities are highly suggestive. Today, with
|
|
||||||
microfilm, reductions by a linear factor of 20 can be employed and
|
|
||||||
still produce full clarity when the material is re-enlarged for
|
|
||||||
examination. The limits are set by the graininess of the film, the
|
|
||||||
excellence of the optical system, and the efficiency of the light
|
|
||||||
sources employed. All of these are rapidly improving.
|
|
||||||
|
|
||||||
Assume a linear ratio of 100 for future use. Consider film of the
|
|
||||||
same thickness as paper, although thinner film will certainly be
|
|
||||||
usable. Even under these conditions there would be a total factor of
|
|
||||||
10,000 between the bulk of the ordinary record on books, and its
|
|
||||||
microfilm replica. The Encyclopoedia Britannica could be reduced to
|
|
||||||
the volume of a matchbox. A library of a million volumes could be
|
|
||||||
compressed into one end of a desk. If the human race has produced
|
|
||||||
since the invention of movable type a total record, in the form of
|
|
||||||
magazines, newspapers, books, tracts, advertising blurbs,
|
|
||||||
correspondence, having a volume corresponding to a billion books, the
|
|
||||||
whole affair, assembled and compressed, could be lugged off in a
|
|
||||||
moving van. Mere compression, of course, is not enough; one needs not
|
|
||||||
only to make and store a record but also to be able to consult it, and
|
|
||||||
this aspect of the matter comes later. Even the modern great library
|
|
||||||
is not generally consulted; it is nibbled by a few.
|
|
||||||
|
|
||||||
Compression is important, however, when it comes to costs. The
|
|
||||||
material for the microfilm Britannica would cost a nickel, and it
|
|
||||||
could be mailed anywhere for a cent. What would it cost to print a
|
|
||||||
million copies? To print a sheet of newspaper, in a large edition,
|
|
||||||
costs a small fraction of a cent. The entire material of the
|
|
||||||
Britannica in reduced microfilm form would go on a sheet eight and
|
|
||||||
one-half by eleven inches. Once it is available, with the
|
|
||||||
photographic reproduction methods of the future, duplicates in large
|
|
||||||
quantities could probably be turned out for a cent apiece beyond the
|
|
||||||
cost of materials. The preparation of the original copy? That
|
|
||||||
introduces the next aspect of the subject.
|
|
||||||
|
|
||||||
3
|
|
||||||
|
|
||||||
To make the record, we now push a pencil or tap a typewriter. Then
|
|
||||||
comes the process of digestion and correction, followed by an
|
|
||||||
intricate process of typesetting, printing, and distribution. To
|
|
||||||
consider the first stage of the procedure, will the author of the
|
|
||||||
future cease writing by hand or typewriter and talk directly to the
|
|
||||||
record? He does so indirectly, by talking to a stenographer or a wax
|
|
||||||
cylinder; but the elements are all present if he wishes to have his
|
|
||||||
talk directly produce a typed record. All he needs to do is to take
|
|
||||||
advantage of existing mechanisms and to alter his language.
|
|
||||||
|
|
||||||
At a recent World Fair a machine called a Voder was shown. A girl
|
|
||||||
stroked its keys and it emitted recognizable speech. No human vocal
|
|
||||||
cords entered in the procedure at any point; the keys simply combined
|
|
||||||
some electrically produced vibrations and passed these on to a
|
|
||||||
loud-speaker. In the Bell Laboratories there is the converse of this
|
|
||||||
machine, called a Vocoder. The loudspeaker is replaced by a
|
|
||||||
microphone, which picks up sound. Speak to it, and the corresponding
|
|
||||||
keys move. This may be one element of the postulated system.
|
|
||||||
|
|
||||||
The other element is found in the stenotype, that somewhat
|
|
||||||
disconcerting device encountered usually at public meetings. A girl
|
|
||||||
strokes its keys languidly and looks about the room and sometimes at
|
|
||||||
the speaker with a disquieting gaze. From it emerges a typed strip
|
|
||||||
which records in a phonetically simplified language a record of what
|
|
||||||
the speaker is supposed to have said. Later this strip is retyped
|
|
||||||
into ordinary language, for in its nascent form it is intelligible
|
|
||||||
only to the initiated. Combine these two elements, let the Vocoder
|
|
||||||
run the stenotype, and the result is a machine which types when talked
|
|
||||||
to.
|
|
||||||
|
|
||||||
Our present languages are not especially adapted to this sort of
|
|
||||||
mechanization, it is true. It is strange that the inventors of
|
|
||||||
universal languages have not seized upon the idea of producing one
|
|
||||||
which better fitted the technique for transmitting and recording
|
|
||||||
speech. Mechanization may yet force the issue, especially in the
|
|
||||||
scientific field; whereupon scientific jargon would become still less
|
|
||||||
intelligible to the layman.
|
|
||||||
|
|
||||||
One can now picture a future investigator in his laboratory. His
|
|
||||||
hands are free, and he is not anchored. As he moves about and
|
|
||||||
observes, he photographs and comments. Time is automatically recorded
|
|
||||||
to tie the two records together. If he goes into the field, he may be
|
|
||||||
connected by radio to his recorder. As he ponders over his notes in
|
|
||||||
the evening, he again talks his comments into the record. His typed
|
|
||||||
record, as well as his photographs, may both be in miniature, so that
|
|
||||||
he projects them for examination.
|
|
||||||
|
|
||||||
Much needs to occur, however, between the collection of data and
|
|
||||||
observations, the extraction of parallel material from the existing
|
|
||||||
record, and the final insertion of new material into the general body
|
|
||||||
of the common record. For mature thought there is no mechanical
|
|
||||||
substitute. But creative thought and essentially repetitive thought
|
|
||||||
are very different things. For the latter there are, and may be,
|
|
||||||
powerful mechanical aids.
|
|
||||||
|
|
||||||
Adding a column of figures is a repetitive thought process, and it was
|
|
||||||
long ago properly relegated to the machine. True, the machine is
|
|
||||||
sometimes controlled by the keyboard, and thought of a sort enters in
|
|
||||||
reading the figures and poking the corresponding keys, but even this
|
|
||||||
is avoidable. Machines have been made which will read typed figures
|
|
||||||
by photocells and then depress the corresponding keys; these are
|
|
||||||
combinations of photocells for scanning the type, electric circuits
|
|
||||||
for sorting the consequent variations, and relay circuits for
|
|
||||||
interpreting the result into the action of solenoids to pull the keys
|
|
||||||
down.
|
|
||||||
|
|
||||||
All this complication is needed because of the clumsy way in which we
|
|
||||||
have learned to write figures. If we recorded them positionally,
|
|
||||||
simply by the configuration of a set of dots on a card, the automatic
|
|
||||||
reading mechanism would become comparatively simple. In fact, if the
|
|
||||||
dots are holes, we have the punched-card machine long ago produced by
|
|
||||||
Hollorith for the purposes of the census, and now used throughout
|
|
||||||
business. Some types of complex businesses could hardly operate
|
|
||||||
without these machines.
|
|
||||||
|
|
||||||
Adding is only one operation. To perform arithmetical computation
|
|
||||||
involves also subtraction, multiplication, and division, and in
|
|
||||||
addition some method for temporary storage of results, removal from
|
|
||||||
storage for further manipulation, and recording of final results by
|
|
||||||
printing. Machines for these purposes are now of two types: keyboard
|
|
||||||
machines for accounting and the like, manually controlled for the
|
|
||||||
insertion of data, and usually automatically controlled as far as the
|
|
||||||
sequence of operations is concerned; and punched-card machines in
|
|
||||||
which separate operations are usually delegated to a series of
|
|
||||||
machines, and the cards then transferred bodily from one to another.
|
|
||||||
Both forms are very useful; but as far as complex computations are
|
|
||||||
concerned, both are still embryo.
|
|
||||||
|
|
||||||
Rapid electrical counting appeared soon after the physicists found it
|
|
||||||
desirable to count cosmic rays. For their own purposes the physicists
|
|
||||||
promptly constructed thermionic-tube equipment capable of counting
|
|
||||||
electrical impulses at the rate of 100,000 a second. The advanced
|
|
||||||
arithmetical machines of the future will be electrical in nature, and
|
|
||||||
they will perform at 100 times present speeds, or more.
|
|
||||||
|
|
||||||
Moreover, they will be far more versatile than present commercial
|
|
||||||
machines, so that they may readily be adapted for a wide variety of
|
|
||||||
operations. They will be controlled by a control card or film, they
|
|
||||||
will select their own data and manipulate it in accordance with the
|
|
||||||
instructions thus inserted, they will perform complex arithmetical
|
|
||||||
computations at exceedingly high speeds, and they will record results
|
|
||||||
in such form as to be readily available for distribution or for later
|
|
||||||
further manipulation. Such machines will have enormous appetites.
|
|
||||||
One of them will take instructions and data from a roomful of girls
|
|
||||||
armed with simple keyboard punches, and will deliver sheets of
|
|
||||||
computed results every few minutes. There will always be plenty of
|
|
||||||
things to compute in the detailed affairs of millions of people doing
|
|
||||||
complicated things.
|
|
||||||
|
|
||||||
4
|
|
||||||
|
|
||||||
The repetitive processes of thought are not confined, however, to
|
|
||||||
matters of arithmetic and statistics. In fact, every time one
|
|
||||||
combines and records facts in accordance with established logical
|
|
||||||
processes, the creative aspect of thinking is concerned only with the
|
|
||||||
selection of the data and the process to be employed, and the
|
|
||||||
manipulation thereafter is repetitive in nature and hence a fit matter
|
|
||||||
to be relegated to the machines. Not so much has been done along
|
|
||||||
these lines, beyond the bounds of arithmetic, as might be done,
|
|
||||||
primarily because of the economics of the situation. The needs of
|
|
||||||
business, and the extensive market obviously waiting, assured the
|
|
||||||
advent of mass-produced arithmetical machines just as soon as
|
|
||||||
production methods were sufficiently advanced.
|
|
||||||
|
|
||||||
With machines for advanced analysis no such situation existed; for
|
|
||||||
there was and is no extensive market; the users of advanced methods of
|
|
||||||
manipulating data are a very small part of the population. There are,
|
|
||||||
however, machines for solving differential equations - and functional
|
|
||||||
and integral equations, for that matter. There are many special
|
|
||||||
machines, such as the harmonic synthesizer which predicts the tides.
|
|
||||||
There will be many more, appearing certainly first in the hands of the
|
|
||||||
scientist and in small numbers.
|
|
||||||
|
|
||||||
If scientific reasoning were limited to the logical processes of
|
|
||||||
arithmetic, we should not get far in our understanding of the physical
|
|
||||||
world. One might as well attempt to grasp the game of poker entirely
|
|
||||||
by the use of the mathematics of probability. The abacus, with its
|
|
||||||
beads strung on parallel wires, led the Arabs to positional numeration
|
|
||||||
and the concept of zero many centuries before the rest of the world;
|
|
||||||
and it was a useful tool - so useful that it still exists.
|
|
||||||
|
|
||||||
It is a far cry from the abacus to the modern keyboard accounting
|
|
||||||
machine. It will be an equal step to the arithmetical machine of the
|
|
||||||
future. But even this new machine will not take the scientist where
|
|
||||||
he needs to go. Relief must be secured from laborious detailed
|
|
||||||
manipulation of higher mathematics as well, if the users of it are to
|
|
||||||
free their brains for something more than repetitive detailed
|
|
||||||
transformations in accordance with established rules. A mathematician
|
|
||||||
is not a man who can readily manipulate figures; often he cannot. He
|
|
||||||
is not even a man who can readily perform the transformation of
|
|
||||||
equations by the use of calculus. He is primarily an individual who
|
|
||||||
is skilled in the use of symbolic logic on a high plane, and
|
|
||||||
especially he is a man of intuitive judgment in the choice of the
|
|
||||||
manipulative processes he employs.
|
|
||||||
|
|
||||||
All else he should be able to turn over to his mechanism, just as
|
|
||||||
confidently as he turns over the propelling of his car to the
|
|
||||||
intricate mechanism under the hood. Only then will mathematics be
|
|
||||||
practically effective in bringing the growing knowledge of atomistics
|
|
||||||
to the useful solution of the advanced problems of chemistry,
|
|
||||||
metallurgy, and biology. For this reason there will come more
|
|
||||||
machines to handle advanced mathematics for the scientist. Some of
|
|
||||||
them will be sufficiently bizarre to suit the most fastidious
|
|
||||||
connoisseur of the present artifacts of civilization.
|
|
||||||
|
|
||||||
5
|
|
||||||
|
|
||||||
The scientist, however, is not the only person who manipulates data
|
|
||||||
and examines the world about him by the use of logical processes,
|
|
||||||
although he sometimes preserves this appearance by adopting into the
|
|
||||||
fold anyone who becomes logical, much in the manner in which a British
|
|
||||||
labor leader is elevated to knighthood. Whenever logical processes of
|
|
||||||
thought are employed - that is, whenever thought for a time runs along
|
|
||||||
an accepted groove - there is an opportunity for the machine. Formal
|
|
||||||
logic used to be a keen instrument in the hands of the teacher in his
|
|
||||||
trying of students' souls. It is readily possible to construct a
|
|
||||||
machine which will manipulate premises in accordance with formal
|
|
||||||
logic, simply by the clever use of relay circuits. Put a set of
|
|
||||||
premises into such a device and turn the crank, and it will readily
|
|
||||||
pass out conclusion after conclusion, all in accordance with logical
|
|
||||||
law, and with no more slips than would be expected of a keyboard
|
|
||||||
adding machine.
|
|
||||||
|
|
||||||
Logic can become enormously difficult, and it would undoubtedly be
|
|
||||||
well to produce more assurance in its use. The machines for higher
|
|
||||||
analysis have usually been equation solvers. Ideas are beginning to
|
|
||||||
appear for equation transformers, which will rearrange the
|
|
||||||
relationship expressed by an equation in accordance with strict and
|
|
||||||
rather advanced logic. Progress is inhibited by the exceedingly crude
|
|
||||||
way in which mathematicians express their relationships. They employ
|
|
||||||
a symbolism which grew like Topsy and has little consistency; a
|
|
||||||
strange fact in that most logical field.
|
|
||||||
|
|
||||||
A new symbolism, probably positional, must apparently precede the
|
|
||||||
reduction of mathematical transformations to machine processes. Then,
|
|
||||||
on beyond the strict logic of the mathematician, lies the application
|
|
||||||
of logic in everyday affairs. We may some day click off arguments on
|
|
||||||
a machine with the same assurance that we now enter sales on a cash
|
|
||||||
register. But the machine of logic will not look like a cash
|
|
||||||
register, even a streamlined model.
|
|
||||||
|
|
||||||
So much for the manipulation of ideas and their insertion into the
|
|
||||||
record. Thus far we seem to be worse off than before - for we can
|
|
||||||
enormously extend the record; yet even in its present bulk we can
|
|
||||||
hardly consult it. This is a much larger matter than merely the
|
|
||||||
extraction of data for the purposes of scientific research; it
|
|
||||||
involves the entire process by which man profits by his inheritance of
|
|
||||||
acquired knowledge. The prime action of use is selection, and here we
|
|
||||||
are halting indeed. There may be millions of fine thoughts, and the
|
|
||||||
account of the experience on which they are based, all encased within
|
|
||||||
stone walls of acceptable architectural form; but if the scholar can
|
|
||||||
get at only one a week by diligent search, his syntheses are not
|
|
||||||
likely to keep up with the current scene.
|
|
||||||
|
|
||||||
Selection, in this broad sense, is a stone adze in the hands of a
|
|
||||||
cabinetmaker. Yet, in a narrow sense and in other areas, something
|
|
||||||
has already been done mechanically on selection. The personnel
|
|
||||||
officer of a factory drops a stack of a few thousand employee cards
|
|
||||||
into a selecting machine, sets a code in accordance with an
|
|
||||||
established convention, and produces in a short time a list of all
|
|
||||||
employees who live in Trenton and know Spanish. Even such devices are
|
|
||||||
much too slow when it comes, for example, to matching a set of
|
|
||||||
fingerprints with one of five millions on file. Selection devices of
|
|
||||||
this sort will soon be speeded up from their present rate of reviewing
|
|
||||||
data at a few hundred a minute. By the use of photocells and
|
|
||||||
microfilm they will survey items at the rate of thousands a second,
|
|
||||||
and will print out duplicates of those selected.
|
|
||||||
|
|
||||||
This process, however, is simple selection: it proceeds by examining
|
|
||||||
in turn every one of a large set of items, and by picking out those
|
|
||||||
which have certain specified characteristics. There is another form
|
|
||||||
of selection best illustrated by the automatic telephone exchange.
|
|
||||||
You dial a number and the machine selects and connects just one of a
|
|
||||||
million possible stations. It does not run over them all. It pays
|
|
||||||
attention only to a class given by a first digit, and so on; and thus
|
|
||||||
proceeds rapidly and almost unerringly to the selected station. It
|
|
||||||
requires a few seconds to make the selection, although the process
|
|
||||||
could be speeded up if increased speed were economically warranted.
|
|
||||||
If necessary, it could be made extremely fast by substituting
|
|
||||||
thermionic-tube switching for mechanical switching, so that the full
|
|
||||||
selection could be made in one-hundredth of a second. No one would
|
|
||||||
wish to spend the money necessary to make this change in the telephone
|
|
||||||
system, but the general idea is applicable elsewhere.
|
|
||||||
|
|
||||||
Take the prosaic problem of the great department store. Every time a
|
|
||||||
charge sale is made, there are a number of things to be done.. The
|
|
||||||
inventory needs to be revised, the salesman needs to be given credit
|
|
||||||
for the sale, the general accounts need an entry, and, most important,
|
|
||||||
the customer needs to be charged. A central records device has been
|
|
||||||
developed in which much of this work is done conveniently. The
|
|
||||||
salesman places on a stand the customer's identification card, his own
|
|
||||||
card, and the card taken from the article sold - all punched cards.
|
|
||||||
When he pulls a lever, contacts are made through the holes, machinery
|
|
||||||
at a central point makes the necessary computations and entries, and
|
|
||||||
the proper receipt is printed for the salesman to pass to the
|
|
||||||
customer.
|
|
||||||
|
|
||||||
But there may be ten thousand charge customers doing business with the
|
|
||||||
store, and before the full operation can be completed someone has to
|
|
||||||
select the right card and insert it at the central office. Now rapid
|
|
||||||
selection can slide just the proper card into position in an instant
|
|
||||||
or two, and return it afterward. Another difficulty occurs, however.
|
|
||||||
Someone must read a total on the card, so that the machine can add its
|
|
||||||
computed item to it. Conceivably the cards might be of the dry
|
|
||||||
photography type I have described. Existing totals could then be read
|
|
||||||
by photocell, and the new total entered by an electron beam.
|
|
||||||
|
|
||||||
The cards may be in miniature, so that they occupy little space. They
|
|
||||||
must move quickly. They need not be transferred far, but merely into
|
|
||||||
position so that the photocell and recorder can operate on them.
|
|
||||||
Positional dots can enter the data. At the end of the month a machine
|
|
||||||
can readily be made to read these and to print an ordinary bill. With
|
|
||||||
tube selection, in which no mechanical parts are involved in the
|
|
||||||
switches, little time need be occupied in bringing the correct card
|
|
||||||
into use - a second should suffice for the entire operation. The
|
|
||||||
whole record on the card may be made by magnetic dots on a steel sheet
|
|
||||||
if desired, instead of dots to be observed optically, following the
|
|
||||||
scheme by which Poulsen long ago put speech on a magnetic wire. This
|
|
||||||
method has the advantage of simplicity and ease of erasure. By using
|
|
||||||
photography, however, one can arrange to project the record in
|
|
||||||
enlarged form, and at a distance by using the process common in
|
|
||||||
television equipment.
|
|
||||||
|
|
||||||
One can consider rapid selection of this form, and distant projection
|
|
||||||
for other purposes. To be able to key one sheet of a million before
|
|
||||||
an operator in a second or two, with the possibility of then adding
|
|
||||||
notes thereto, is suggestive in many ways. It might even be of use in
|
|
||||||
libraries, but that is another story. At any rate, there are now some
|
|
||||||
interesting combinations possible. One might, for example, speak to a
|
|
||||||
microphone, in the manner described in connection with the
|
|
||||||
speech-controlled typewriter, and thus make his selections. It would
|
|
||||||
certainly beat the usual file clerk.
|
|
||||||
|
|
||||||
6
|
|
||||||
|
|
||||||
The real heart of the matter of selection, however, goes deeper than a
|
|
||||||
lag in the adoption of mechanisms by libraries, or a lack of
|
|
||||||
development of devices for their use. Our ineptitude in getting at
|
|
||||||
the record is largely caused by the artificiality of systems of
|
|
||||||
indexing. When data of any sort are placed in storage, they are filed
|
|
||||||
alphabetically or numerically, and information is found (when it is)
|
|
||||||
by tracing it down from subclass to subclass. It can be in only one
|
|
||||||
place, unless duplicates are used; one has to have rules as to which
|
|
||||||
path will locate it, and the rules are cumbersome. Having found one
|
|
||||||
item, moreover, one has to emerge from the system and re-enter on a
|
|
||||||
new path.
|
|
||||||
|
|
||||||
The human mind does not work that way. It operates by association.
|
|
||||||
With one item in its grasp, it snaps instantly to the next that is
|
|
||||||
suggested by the association of thoughts, in accordance with some
|
|
||||||
intricate web of trails carried by the cells of the brain. It has
|
|
||||||
other characteristics, of course; trails that are not frequently
|
|
||||||
followed are prone to fade, items are not fully permanent, memory is
|
|
||||||
transitory. Yet the speed of action, the intricacy of trails, the
|
|
||||||
detail of mental pictures, is awe-inspiring beyond all else in nature.
|
|
||||||
|
|
||||||
Man cannot hope fully to duplicate this mental process artificially,
|
|
||||||
but he certainly ought to be able to learn from it. In minor ways he
|
|
||||||
may even improve, for his records have relative permanency. The first
|
|
||||||
idea, however, to be drawn from the analogy concerns selection.
|
|
||||||
Selection by association, rather than by indexing, may yet be
|
|
||||||
mechanized. One cannot hope thus to equal the speed and flexibility
|
|
||||||
with which the mind follows an associative trail, but it should be
|
|
||||||
possible to beat the mind decisively in regard to the permanence and
|
|
||||||
clarity of the items resurrected from storage.
|
|
||||||
|
|
||||||
Consider a future device for individual use, which is a sort of
|
|
||||||
mechanized private file and library. It needs a name, and to coin
|
|
||||||
one at random, ``memex'' will do. A memex is a device in which an
|
|
||||||
individual stores all his books, records, and communications, and
|
|
||||||
which is mechanized so that it may be consulted with exceeding speed
|
|
||||||
and flexibility. It is an enlarged intimate supplement to his memory.
|
|
||||||
|
|
||||||
It consists of a desk, and while it can presumably be operated from a
|
|
||||||
distance, it is primarily the piece of furniture at which he works.
|
|
||||||
On the top are slanting translucent screens, on which material can be
|
|
||||||
projected for convenient reading. There is a keyboard, and sets of
|
|
||||||
buttons and levers. Otherwise it looks like an ordinary desk.
|
|
||||||
|
|
||||||
In one end is the stored material. The matter of bulk is well taken
|
|
||||||
care of by improved microfilm. Only a small part of the interior of
|
|
||||||
the memex is devoted to storage, the rest to mechanism. Yet if the
|
|
||||||
user inserted 5000 pages of material a day it would take him hundreds
|
|
||||||
of years to fill the repository, so he can be profligate and enter
|
|
||||||
material freely.
|
|
||||||
|
|
||||||
Most of the memex contents are purchased on microfilm ready for
|
|
||||||
insertion. Books of all sorts, pictures, current periodicals,
|
|
||||||
newspapers, are thus obtained and dropped into place. Business
|
|
||||||
correspondence takes the same path. And there is provision for direct
|
|
||||||
entry. On the top of the memex is a transparent platen. On this are
|
|
||||||
placed longhand notes, photographs, memoranda, all sort of things.
|
|
||||||
When one is in place, the depression of a lever causes it to be
|
|
||||||
photographed onto the next blank space in a section of the memex film,
|
|
||||||
dry photography being employed.
|
|
||||||
|
|
||||||
There is, of course, provision for consultation of the record by the
|
|
||||||
usual scheme of indexing. If the user wishes to consult a certain
|
|
||||||
book, he taps its code on the keyboard, and the title page of the book
|
|
||||||
promptly appears before him, projected onto one of his viewing
|
|
||||||
positions. Frequently-used codes are mnemonic, so that he seldom
|
|
||||||
consults his code book; but when he does, a single tap of a key
|
|
||||||
projects it for his use. Moreover, he has supplemental levers. On
|
|
||||||
deflecting one of these levers to the right he runs through the book
|
|
||||||
before him, each page in turn being projected at a speed which just
|
|
||||||
allows a recognizing glance at each. If he deflects it further to the
|
|
||||||
right, he steps through the book 10 pages at a time; still further at
|
|
||||||
100 pages at a time. Deflection to the left gives him the same
|
|
||||||
control backwards.
|
|
||||||
|
|
||||||
A special button transfers him immediately to the first page of the
|
|
||||||
index. Any given book of his library can thus be called up and
|
|
||||||
consulted with far greater facility than if it were taken from a
|
|
||||||
shelf. As he has several projection positions, he can leave one item
|
|
||||||
in position while he calls up another. He can add marginal notes and
|
|
||||||
comments, taking advantage of one possible type of dry photography,
|
|
||||||
and it could even be arranged so that he can do this by a stylus
|
|
||||||
scheme, such as is now employed in the telautograph seen in railroad
|
|
||||||
waiting rooms, just as though he had the physical page before him.
|
|
||||||
|
|
||||||
7
|
|
||||||
|
|
||||||
All this is conventional, except for the projection forward of
|
|
||||||
present-day mechanisms and gadgetry. It affords an immediate step,
|
|
||||||
however, to associative indexing, the basic idea of which is a
|
|
||||||
provision whereby any item may be caused at will to select immediately
|
|
||||||
and automatically another. This is the essential feature of the
|
|
||||||
memex. The process of tying two items together is the important
|
|
||||||
thing.
|
|
||||||
|
|
||||||
When the user is building a trail, he names it, inserts the name in
|
|
||||||
his code book, and taps it out on his keyboard. Before him are the
|
|
||||||
two items to be joined, projected onto adjacent viewing positions. At
|
|
||||||
the bottom of each there are a number of blank code spaces, and a
|
|
||||||
pointer is set to indicate one of these on each item. The user taps a
|
|
||||||
single key, and the items are permanently joined. In each code space
|
|
||||||
appears the code word. Out of view, but also in the code space, is
|
|
||||||
inserted a set of dots for photocell viewing; and on each item these
|
|
||||||
dots by their positions designate the index number of the other item.
|
|
||||||
|
|
||||||
Thereafter, at any time, when one of these items is in view, the other
|
|
||||||
can be instantly recalled merely by tapping a button below the
|
|
||||||
corresponding code space. Moreover, when numerous items have been
|
|
||||||
thus joined together to form a trail, they can be reviewed in turn,
|
|
||||||
rapidly or slowly, by deflecting a lever like that used for turning
|
|
||||||
the pages of a book. It is exactly as though the physical items had
|
|
||||||
been gathered together to form a new book. It is more than this, for
|
|
||||||
any item can be joined into numerous trails.
|
|
||||||
|
|
||||||
The owner of the memex, let us say, is interested in the origin and
|
|
||||||
properties of the bow and arrow. Specifically he is studying why the
|
|
||||||
short Turkish bow was apparently superior to the English long bow in
|
|
||||||
the skirmishes of the Crusades. He has dozens of possibly pertinent
|
|
||||||
books and articles in his memex. First he runs through an
|
|
||||||
encyclopedia, finds an interesting but sketchy article, leaves it
|
|
||||||
projected. Next, in a history, he finds another pertinent item, and
|
|
||||||
ties the two together. Thus he goes, building a trail of many items.
|
|
||||||
Occasionally he inserts a comment of his own, either linking it into
|
|
||||||
the main trail or joining it by a side trail to a particular item.
|
|
||||||
When it becomes evident that the elastic properties of available
|
|
||||||
materials had a great deal to do with the bow, he branches off on a
|
|
||||||
side trail which takes him through textbooks on elasticity and tables
|
|
||||||
of physical constants. He inserts a page of longhand analysis of his
|
|
||||||
own. Thus he builds a trail of his interest through the maze of
|
|
||||||
materials available to him.
|
|
||||||
|
|
||||||
And his trails do not fade. Several years later, his talk with a
|
|
||||||
friend turns to the queer ways in which a people resist innovations,
|
|
||||||
even of vital interest. He has an example, in the fact that the
|
|
||||||
outranged Europeans still failed to adopt the Turkish bow. In fact he
|
|
||||||
has a trail on it. A touch brings up the code book. Tapping a few
|
|
||||||
keys projects the head of the trail. A lever runs through it at will,
|
|
||||||
stopping at interesting items, going off on side excursions. It is an
|
|
||||||
interesting trail, pertinent to the discussion. So he sets a
|
|
||||||
reproducer in action, photographs the whole trail out, and passes it
|
|
||||||
to his friend for insertion in his own memex, there to be linked into
|
|
||||||
the more general trail.
|
|
||||||
|
|
||||||
8
|
|
||||||
|
|
||||||
Wholly new forms of encyclopedias will appear, ready-made with a mesh
|
|
||||||
of associative trails running through them, ready to be dropped into
|
|
||||||
the memex and there amplified. The lawyer has at his touch the
|
|
||||||
associated opinions and decisions of his whole experience, and of the
|
|
||||||
experience of friends and authorities. The patent attorney has on
|
|
||||||
call the millions of issued patents, with familiar trails to every
|
|
||||||
point of his client's interest. The physician, puzzled by its
|
|
||||||
patient's reactions, strikes the trail established in studying an
|
|
||||||
earlier similar case, and runs rapidly through analogous case
|
|
||||||
histories, with side references to the classics for the pertinent
|
|
||||||
anatomy and histology. The chemist, struggling with the synthesis of
|
|
||||||
an organic compound, has all the chemical literature before him in his
|
|
||||||
laboratory, with trails following the analogies of compounds, and side
|
|
||||||
trails to their physical and chemical behavior.
|
|
||||||
|
|
||||||
The historian, with a vast chronological account of a people,
|
|
||||||
parallels it with a skip trail which stops only at the salient items,
|
|
||||||
and can follow at any time contemporary trails which lead him all over
|
|
||||||
civilization at a particular epoch. There is a new profession of
|
|
||||||
trail blazers, those who find delight in the task of establishing
|
|
||||||
useful trails through the enormous mass of the common record. The
|
|
||||||
inheritance from the master becomes, not only his additions to the
|
|
||||||
world's record, but for his disciples the entire scaffolding by which
|
|
||||||
they were erected.
|
|
||||||
|
|
||||||
Thus science may implement the ways in which man produces, stores, and
|
|
||||||
consults the record of the race. It might be striking to outline the
|
|
||||||
instrumentalities of the future more spectacularly, rather than to
|
|
||||||
stick closely to the methods and elements now known and undergoing
|
|
||||||
rapid development, as has been done here. Technical difficulties of
|
|
||||||
all sorts have been ignored, certainly, but also ignored are means as
|
|
||||||
yet unknown which may come any day to accelerate technical progress as
|
|
||||||
violently as did the advent of the thermionic tube. In order that the
|
|
||||||
picture may not be too commonplace, by reason of sticking to
|
|
||||||
present-day patterns, it may be well to mention one such possibility,
|
|
||||||
not to prophesy but merely to suggest, for prophecy based on extension
|
|
||||||
of the known has substance, while prophecy founded on the unknown is
|
|
||||||
only a doubly involved guess.
|
|
||||||
|
|
||||||
All our steps in creating or absorbing material of the record proceed
|
|
||||||
through one of the senses - the tactile when we touch keys, the oral
|
|
||||||
when we speak or listen, the visual when we read. Is it not possible
|
|
||||||
that some day the path may be established more directly?
|
|
||||||
|
|
||||||
We know that when the eye sees, all the consequent information is
|
|
||||||
transmitted to the brain by means of electrical vibrations in the
|
|
||||||
channel of the optic nerve. This is an exact analogy with the
|
|
||||||
electrical vibrations which occur in the cable of a television set:
|
|
||||||
they convey the picture from the photocells which see it to the radio
|
|
||||||
transmitter from which it is broadcast. We know further that if we
|
|
||||||
can approach that cable with the proper instruments, we do not need to
|
|
||||||
touch it; we can pick up those vibrations by electrical induction and
|
|
||||||
thus discover and reproduce the scene which is being transmitted, just
|
|
||||||
as a telephone wire may be tapped for its message.
|
|
||||||
|
|
||||||
The impulses which flow in the arm nerves of a typist convey to her
|
|
||||||
fingers the translated information which reaches her eye or ear, in
|
|
||||||
order that the fingers may be caused to strike the proper keys. Might
|
|
||||||
not these currents be intercepted, either in the original form in
|
|
||||||
which information is conveyed to the brain, or in the marvelously
|
|
||||||
metamorphosed form in which they then proceed to the hand?
|
|
||||||
|
|
||||||
By bone conduction we already introduce sounds into the nerve channels
|
|
||||||
of the deaf in order that they may hear. Is it not possible that we
|
|
||||||
may learn to introduce them without the present cumbersomeness of
|
|
||||||
first transforming electrical vibrations to mechanical ones, which the
|
|
||||||
human mechanism promptly transforms back to the electrical form? With
|
|
||||||
a couple of electrodes on the skull the encephalograph now produces
|
|
||||||
pen-and-ink traces which bear some relation to the electrical
|
|
||||||
phenomena going on in the brain itself. True, the record is
|
|
||||||
unintelligible, except as it points out certain gross misfunctioning
|
|
||||||
of the cerebral mechanism; but who would now place bounds on where
|
|
||||||
such a thing may lead?
|
|
||||||
|
|
||||||
In the outside world, all forms of intelligence, whether of sound or
|
|
||||||
sight, have been reduced to the form of varying currents in an
|
|
||||||
electric circuit in order that they may be transmitted. Inside the
|
|
||||||
human frame exactly the same sort of process occurs. Must we always
|
|
||||||
transform to mechanical movements in order to proceed from one
|
|
||||||
electrical phenomenon to another? It is a suggestive thought, but it
|
|
||||||
hardly warrants prediction without losing touch with reality and
|
|
||||||
immediateness.
|
|
||||||
|
|
||||||
Presumably man's spirit should be elevated if he can better review his
|
|
||||||
shady past and analyze more completely and objectively his present
|
|
||||||
problems. He has built a civilization so complex that he needs to
|
|
||||||
mechanize his record more fully if he is to push his experiment to its
|
|
||||||
logical conclusion and not merely become bogged down part way there by
|
|
||||||
overtaxing his limited memory. His excursion may be more enjoyable if
|
|
||||||
he can reacquire the privilege of forgetting the manifold things he
|
|
||||||
does not need to have immediately at hand, with some assurance that he
|
|
||||||
can find them again if they prove important.
|
|
||||||
|
|
||||||
The applications of science have built man a well-supplied house, and
|
|
||||||
are teaching him to live healthily therein. They have enabled him to
|
|
||||||
throw masses of people against another with cruel weapons. They may
|
|
||||||
yet allow him truly to encompass the great record and to grow in the
|
|
||||||
wisdom of race experience. He may perish in conflict before he learns
|
|
||||||
to wield that record for his true good. Yet, in the application of
|
|
||||||
science to the needs and desires of man, it would seem to be a
|
|
||||||
singularly unfortunate stage at which to terminate the process, or to
|
|
||||||
lose hope as to the outcome.
|
|
||||||
</div>
|
|
||||||
<script>
|
|
||||||
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|
|
||||||
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|
|
||||||
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|
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|
||||||
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|
|
||||||
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|
|
||||||
|
|
||||||
</body>
|
|
||||||
</html>
|
|
@ -1,884 +0,0 @@
|
|||||||
<!DOCTYPE html>
|
|
||||||
<html>
|
|
||||||
<head>
|
|
||||||
<title>aswemaythink</title>
|
|
||||||
</head>
|
|
||||||
<style type="text/css">
|
|
||||||
body{
|
|
||||||
position: relative;
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|
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|
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|
|
||||||
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|
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||||||
background-color: black;
|
|
||||||
|
|
||||||
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|
|
||||||
|
|
||||||
text-align: center;
|
|
||||||
|
|
||||||
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|
|
||||||
|
|
||||||
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|
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|
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|
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<body>
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<div id="vBush">
|
|
||||||
AS WE MAY THINK
|
|
||||||
by VANNEVAR BUSH
|
|
||||||
|
|
||||||
THE ATLANTIC MONTHLY, JULY 1945
|
|
||||||
|
|
||||||
----------------------------------------------------------------------
|
|
||||||
|
|
||||||
As Director of the Office of Scientific Research and Development, Dr.
|
|
||||||
Vannevar Bush has coordinated the activities of some six thousand
|
|
||||||
leading American scientists in the application of science to warfare.
|
|
||||||
In this significant article he holds up an incentive for scientists
|
|
||||||
when the fighting has ceased. He urges that men of science should
|
|
||||||
then turn to the massive task of making more accessible our
|
|
||||||
bewildering store of knowledge. For many years inventions have
|
|
||||||
extended man's physical powers rather than the powers of his mind.
|
|
||||||
Trip hammers that multiply the fists, microscopes that sharpen the
|
|
||||||
eye, and engines of destruction and detection are new results, but the
|
|
||||||
end results, of modern science. Now, says Dr. Bush, instruments are
|
|
||||||
at hand which, if properly developed, will give man access to and
|
|
||||||
command over the inherited knowledge of the ages. The perfection of
|
|
||||||
these pacific instruments should be the first objective of our
|
|
||||||
scientists as they emerge from their war work. Like Emerson's famous
|
|
||||||
address of 1837 on ``The American Scholar,'' this paper by Dr. Bush
|
|
||||||
calls for a new relationship between thinking man and the sum of our
|
|
||||||
knowledge. - The Editor
|
|
||||||
|
|
||||||
----------------------------------------------------------------------
|
|
||||||
|
|
||||||
This has not been a scientist's war; it has been a war in which all
|
|
||||||
have had a part. The scientists, burying their old professional
|
|
||||||
competition in the demand of a common cause, have shared greatly and
|
|
||||||
learned much. It has been exhilarating to work in effective
|
|
||||||
partnership. Now, for many, this appears to be approaching an end.
|
|
||||||
What are the scientists to do next?
|
|
||||||
|
|
||||||
For the biologists, and particularly for the medical scientists, there
|
|
||||||
can be little indecision, for their war work has hardly required them
|
|
||||||
to leave the old paths. Many indeed have been able to carry on their
|
|
||||||
war research in their familiar peacetime laboratories. Their
|
|
||||||
objectives remain much the same.
|
|
||||||
|
|
||||||
It is the physicists who have been thrown most violently off stride,
|
|
||||||
who have left academic pursuits for the making of strange destructive
|
|
||||||
gadgets, who have had to devise new methods for their unanticipated
|
|
||||||
assignments. They have done their part on the devices that made it
|
|
||||||
possible to turn back the enemy. They have worked in combined effort
|
|
||||||
with the physicists of our allies. They have felt within themselves
|
|
||||||
the stir of achievement. They have been part of a great team. Now,
|
|
||||||
as peace approaches, one asks where they will find objectives worthy
|
|
||||||
of their best.
|
|
||||||
|
|
||||||
1
|
|
||||||
|
|
||||||
Of what lasting benefit has been man's use of science and of the new
|
|
||||||
instruments which his research brought into existence? First, they
|
|
||||||
have increased his control of his material environment. They have
|
|
||||||
improved his food, his clothing, his shelter; they have increased his
|
|
||||||
security and released him partly from the bondage of bare existence.
|
|
||||||
They have given him increased knowledge of his own biological
|
|
||||||
processes so that he has had a progressive freedom from disease and an
|
|
||||||
increased span of life. They are illuminating the interactions of his
|
|
||||||
physiological and psychological functions, giving the promise of an
|
|
||||||
improved mental health.
|
|
||||||
|
|
||||||
Science has provided the swiftest communication between individuals;
|
|
||||||
it has provided a record of ideas and has enabled man to manipulate
|
|
||||||
and to make extracts from that record so that knowledge evolves and
|
|
||||||
endures throughout the life of a race rather than that of an
|
|
||||||
individual.
|
|
||||||
|
|
||||||
There is a growing mountain of research. But there is increased
|
|
||||||
evidence that we are being bogged down today as specialization
|
|
||||||
extends. The investigator is staggered by the findings and
|
|
||||||
conclusions of thousands of other workers - conclusions which he
|
|
||||||
cannot find time to grasp, much less to remember, as they appear. Yet
|
|
||||||
specialization becomes increasingly necessary for progress, and the
|
|
||||||
effort to bridge between disciplines is correspondingly superficial.
|
|
||||||
|
|
||||||
Professionally our methods of transmitting and reviewing the results
|
|
||||||
of research are generations old and by now are totally inadequate for
|
|
||||||
their purpose. If the aggregate time spent in writing scholarly works
|
|
||||||
and in reading them could be evaluated, the ratio between these
|
|
||||||
amounts of time might well be startling. Those who conscientiously
|
|
||||||
attempt to keep abreast of current thought, even in restricted fields,
|
|
||||||
by close and continuous reading might well shy away from an
|
|
||||||
examination calculated to show how much of the previous month's
|
|
||||||
efforts could be produced on call. Mendel's concept of the laws of
|
|
||||||
genetics was lost to the world for a generation because his
|
|
||||||
publication did not reach the few who were capable of grasping and
|
|
||||||
extending it; and this sort of catastrophe is undoubtedly being
|
|
||||||
repeated all about us, as truly significant attainments become lost in
|
|
||||||
the mass of the inconsequential.
|
|
||||||
|
|
||||||
The difficulty seems to be, not so much that we publish unduly in view
|
|
||||||
of the extent and variety of present-day interests, but rather that
|
|
||||||
publication has been extended far beyond our present ability to make
|
|
||||||
real use of the record. The summation of human experience is being
|
|
||||||
expanded at a prodigious rate, and the means we use for threading
|
|
||||||
through the consequent maze to the momentarily important item is the
|
|
||||||
same as was used in the days of square-rigged ships.
|
|
||||||
|
|
||||||
But there are signs of a change as new and powerful instrumentalities
|
|
||||||
come into use. Photocells capable of seeing things in a physical
|
|
||||||
sense, advanced photography which can record what is seen or even what
|
|
||||||
is not, thermionic tubes capable of controlling potent forces under
|
|
||||||
the guidance of less power than a mosquito uses to vibrate his wings,
|
|
||||||
cathode ray tubes rendering visible an occurrence so brief that by
|
|
||||||
comparison a microsecond is a long time, relay combinations which will
|
|
||||||
carry out involved sequences of movements more reliably than any human
|
|
||||||
operator and thousand of times as fast - there are plenty of
|
|
||||||
mechanical aids with which to effect a transformation in scientific
|
|
||||||
records.
|
|
||||||
|
|
||||||
Two centuries ago Leibnitz invented a calculating machine which
|
|
||||||
embodied most of the essential features of recent keyboard devices,
|
|
||||||
but it could not then come into use. The economics of the situation
|
|
||||||
were against it: the labor involved in constructing it, before the
|
|
||||||
days of mass production, exceeded the labor to be saved by its use,
|
|
||||||
since all it could accomplish could be duplicated by sufficient use of
|
|
||||||
pencil and paper. Moreover, it would have been subject to frequent
|
|
||||||
breakdown, so that it could not have been depended upon; for at that
|
|
||||||
time and long after, complexity and unreliability were synonymous.
|
|
||||||
|
|
||||||
Babbage, even with remarkably generous support for his time, could not
|
|
||||||
produce his great arithmetical machine. His idea was sound enough,
|
|
||||||
but construction and maintenance costs were then too heavy. Had a
|
|
||||||
Pharaoh been given detailed and explicit designs of an automobile, and
|
|
||||||
had he understood them completely, it would have taxed the resources
|
|
||||||
of his kingdom to have fashioned the thousands of parts for a single
|
|
||||||
car, and that car would have broken down on the first trip to Giza.
|
|
||||||
|
|
||||||
Machines with interchangeable parts can now be constructed with great
|
|
||||||
economy of effort. In spite of much complexity, they perform reliably.
|
|
||||||
Witness the humble typewriter, or the movie camera, or the automobile.
|
|
||||||
Electrical contacts have ceased to stick when thoroughly understood.
|
|
||||||
Note the automatic telephone exchange, which has hundred of thousands
|
|
||||||
of such contacts, and yet is reliable. A spider web of metal, sealed
|
|
||||||
in a thin glass container, a wire heated to brilliant glow, in short,
|
|
||||||
the thermionic tube of radio sets, is made by the hundred million,
|
|
||||||
tossed about in packages, plugged into sockets - and it works! Its
|
|
||||||
gossamer parts, the precise location and alignment involved in its
|
|
||||||
construction, would have occupied a master craftsman of the guild for
|
|
||||||
months; now it is built for thirty cents. The world has arrived at an
|
|
||||||
age of cheap complex devices of great reliability; and something is
|
|
||||||
bound to come of it.
|
|
||||||
|
|
||||||
2
|
|
||||||
|
|
||||||
A record, if it is to be useful to science, must be continuously
|
|
||||||
extended, it must be stored, and above all it must be consulted.
|
|
||||||
Today we make the record conventionally by writing and photography,
|
|
||||||
followed by printing; but we also record on film, on wax disks, and on
|
|
||||||
magnetic wires. Even if utterly new recording procedures do not
|
|
||||||
appear, these present ones are certainly in the process of
|
|
||||||
modification and extension.
|
|
||||||
|
|
||||||
Certainly progress in photography is not going to stop. Faster
|
|
||||||
material and lenses, more automatic cameras, finer-grained sensitive
|
|
||||||
compounds to allow an extension of the minicamera idea, are all
|
|
||||||
imminent. Let us project this trend ahead to a logical, if not
|
|
||||||
inevitable, outcome. The camera hound of the future wears on his
|
|
||||||
forehead a lump a little larger than a walnut. It takes pictures 3
|
|
||||||
millimeters square, later to be projected or enlarged, which after all
|
|
||||||
involves only a factor of 10 beyond present practice. The lens is of
|
|
||||||
universal focus, down to any distance accommodated by the unaided eye,
|
|
||||||
simply because it is of short focal length. There is a built-in
|
|
||||||
photocell on the walnut such as we now have on at least one camera,
|
|
||||||
which automatically adjusts exposure for a wide range of illumination.
|
|
||||||
There is film in the walnut for a hundred exposures, and the spring for
|
|
||||||
operating its shutter and shifting its film is wound once for all when
|
|
||||||
the film clip is inserted. It produces its result in full color. It
|
|
||||||
may well be stereoscopic, and record with spaced glass eyes, for
|
|
||||||
striking improvements in stereoscopic technique are just around the
|
|
||||||
corner.
|
|
||||||
|
|
||||||
The cord which trips its shutter may reach down a man's sleeve within
|
|
||||||
easy reach of his fingers. A quick squeeze, and the picture is taken.
|
|
||||||
On a pair of ordinary glasses is a square of fine lines near the top
|
|
||||||
of one lens, where it is out of the way of ordinary vision. When an
|
|
||||||
object appears in that square, it is lined up for its picture. As the
|
|
||||||
scientist of the future moves about the laboratory or the field, every
|
|
||||||
time he looks at something worthy of the record, he trips the shutter
|
|
||||||
and in it goes, without even an audible click. Is this all fantastic?
|
|
||||||
The only fantastic thing about it is the idea of making as many
|
|
||||||
pictures as would result from its use.
|
|
||||||
|
|
||||||
Will there be dry photography? It is already here in two forms. When
|
|
||||||
Brady made his Civil War pictures, the plate had to be wet at the time
|
|
||||||
of exposure. Now it has to be wet during development instead. In the
|
|
||||||
future perhaps it need not be wetted at all. There have long been
|
|
||||||
films impregnated with diazo dyes which form a picture without
|
|
||||||
development, so that it is already there as soon as the camera has
|
|
||||||
been operated. An exposure to ammonia gas destroys the unexposed dye,
|
|
||||||
and the picture can then be taken out into the light and examined.
|
|
||||||
The process is now slow, but someone may speed it up, and it has no
|
|
||||||
grain difficulties such as now keep photographic researchers busy.
|
|
||||||
Often it would be advantageous to be able to snap the camera and to
|
|
||||||
look at the picture immediately.
|
|
||||||
|
|
||||||
Another process now in use is also slow, and more or less clumsy. For
|
|
||||||
fifty years impregnated papers have been used which turn dark at every
|
|
||||||
point where an electrical contact touches them, by reason of the
|
|
||||||
chemical change thus produced in an iodine compound included in the
|
|
||||||
paper. They have been used to make records, for a pointer moving
|
|
||||||
across them can leave a trail behind. If the electrical potential on
|
|
||||||
the pointer is varied as it moves, the line becomes light or dark in
|
|
||||||
accordance with the potential.
|
|
||||||
|
|
||||||
This scheme is now used in facsimile transmission. The pointer draws
|
|
||||||
a set of closely spaced lines across the paper one after another. As
|
|
||||||
it moves, its potential is varied in accordance with a varying current
|
|
||||||
received over wires from a distant station, where these variations are
|
|
||||||
produced by a photocell which is similarly scanning a picture. At
|
|
||||||
every instant the darkness of the line being drawn is made equal to
|
|
||||||
the darkness of the point on the picture being observed by the
|
|
||||||
photocell. Thus, when the whole picture has been covered, a replica
|
|
||||||
appears at the receiving end.
|
|
||||||
|
|
||||||
A scene itself can be just as well looked over line by line by the
|
|
||||||
photocell in this way as can a photograph of the scene. This whole
|
|
||||||
apparatus constitutes a camera, with the added feature, which can be
|
|
||||||
dispensed with if desired, of making its picture at a distance. It is
|
|
||||||
slow, and the picture is poor in detail. Still, it does give another
|
|
||||||
process of dry photography, in which the picture is finished as soon
|
|
||||||
as it is taken.
|
|
||||||
|
|
||||||
It would be a brave man who could predict that such a process will
|
|
||||||
always remain clumsy, slow, and faulty in detail. Television
|
|
||||||
equipment today transmits sixteen reasonably good images a second, and
|
|
||||||
it involves only two essential differences from the process described
|
|
||||||
above. For one, the record is made by a moving beam of electrons
|
|
||||||
rather than a moving pointer, for the reason that an electron beam can
|
|
||||||
sweep across the picture very rapidly indeed. The other difference
|
|
||||||
involves merely the use of a screen which glows momentarily when the
|
|
||||||
electrons hit, rather than a chemically treated paper or film which is
|
|
||||||
permanently altered. This speed is necessary in television, for
|
|
||||||
motion pictures rather than stills are the object.
|
|
||||||
|
|
||||||
Use chemically treated film in place of the glowing screen, allow the
|
|
||||||
apparatus to transmit one picture rather than a succession, and a
|
|
||||||
rapid camera for dry photography results. The treated film needs to
|
|
||||||
be far faster in action than present examples, but it probably could
|
|
||||||
be. More serious is the objection that this scheme would involve
|
|
||||||
putting the film inside a vacuum chamber, for electron beams behave
|
|
||||||
normally only in such a rarefied environment. This difficulty could
|
|
||||||
be avoided by allowing the electron beam to play on one side of a
|
|
||||||
partition, and by pressing the film against the other side, if this
|
|
||||||
partition were such as to allow the electrons to go through
|
|
||||||
perpendicular to its surface, and to prevent them from spreading out
|
|
||||||
sideways. Such partitions, in crude form, could certainly be
|
|
||||||
constructed, and they will hardly hold up the general development.
|
|
||||||
|
|
||||||
Like dry photography, microphotography still has a long way to go.
|
|
||||||
The basic scheme of reducing the size of the record, and examining it
|
|
||||||
by projection rather than directly, has possibilities too great to be
|
|
||||||
ignored. The combination of optical projection and photographic
|
|
||||||
reduction is already producing some results in microfilm for scholarly
|
|
||||||
purposes, and the potentialities are highly suggestive. Today, with
|
|
||||||
microfilm, reductions by a linear factor of 20 can be employed and
|
|
||||||
still produce full clarity when the material is re-enlarged for
|
|
||||||
examination. The limits are set by the graininess of the film, the
|
|
||||||
excellence of the optical system, and the efficiency of the light
|
|
||||||
sources employed. All of these are rapidly improving.
|
|
||||||
|
|
||||||
Assume a linear ratio of 100 for future use. Consider film of the
|
|
||||||
same thickness as paper, although thinner film will certainly be
|
|
||||||
usable. Even under these conditions there would be a total factor of
|
|
||||||
10,000 between the bulk of the ordinary record on books, and its
|
|
||||||
microfilm replica. The Encyclopoedia Britannica could be reduced to
|
|
||||||
the volume of a matchbox. A library of a million volumes could be
|
|
||||||
compressed into one end of a desk. If the human race has produced
|
|
||||||
since the invention of movable type a total record, in the form of
|
|
||||||
magazines, newspapers, books, tracts, advertising blurbs,
|
|
||||||
correspondence, having a volume corresponding to a billion books, the
|
|
||||||
whole affair, assembled and compressed, could be lugged off in a
|
|
||||||
moving van. Mere compression, of course, is not enough; one needs not
|
|
||||||
only to make and store a record but also to be able to consult it, and
|
|
||||||
this aspect of the matter comes later. Even the modern great library
|
|
||||||
is not generally consulted; it is nibbled by a few.
|
|
||||||
|
|
||||||
Compression is important, however, when it comes to costs. The
|
|
||||||
material for the microfilm Britannica would cost a nickel, and it
|
|
||||||
could be mailed anywhere for a cent. What would it cost to print a
|
|
||||||
million copies? To print a sheet of newspaper, in a large edition,
|
|
||||||
costs a small fraction of a cent. The entire material of the
|
|
||||||
Britannica in reduced microfilm form would go on a sheet eight and
|
|
||||||
one-half by eleven inches. Once it is available, with the
|
|
||||||
photographic reproduction methods of the future, duplicates in large
|
|
||||||
quantities could probably be turned out for a cent apiece beyond the
|
|
||||||
cost of materials. The preparation of the original copy? That
|
|
||||||
introduces the next aspect of the subject.
|
|
||||||
|
|
||||||
3
|
|
||||||
|
|
||||||
To make the record, we now push a pencil or tap a typewriter. Then
|
|
||||||
comes the process of digestion and correction, followed by an
|
|
||||||
intricate process of typesetting, printing, and distribution. To
|
|
||||||
consider the first stage of the procedure, will the author of the
|
|
||||||
future cease writing by hand or typewriter and talk directly to the
|
|
||||||
record? He does so indirectly, by talking to a stenographer or a wax
|
|
||||||
cylinder; but the elements are all present if he wishes to have his
|
|
||||||
talk directly produce a typed record. All he needs to do is to take
|
|
||||||
advantage of existing mechanisms and to alter his language.
|
|
||||||
|
|
||||||
At a recent World Fair a machine called a Voder was shown. A girl
|
|
||||||
stroked its keys and it emitted recognizable speech. No human vocal
|
|
||||||
cords entered in the procedure at any point; the keys simply combined
|
|
||||||
some electrically produced vibrations and passed these on to a
|
|
||||||
loud-speaker. In the Bell Laboratories there is the converse of this
|
|
||||||
machine, called a Vocoder. The loudspeaker is replaced by a
|
|
||||||
microphone, which picks up sound. Speak to it, and the corresponding
|
|
||||||
keys move. This may be one element of the postulated system.
|
|
||||||
|
|
||||||
The other element is found in the stenotype, that somewhat
|
|
||||||
disconcerting device encountered usually at public meetings. A girl
|
|
||||||
strokes its keys languidly and looks about the room and sometimes at
|
|
||||||
the speaker with a disquieting gaze. From it emerges a typed strip
|
|
||||||
which records in a phonetically simplified language a record of what
|
|
||||||
the speaker is supposed to have said. Later this strip is retyped
|
|
||||||
into ordinary language, for in its nascent form it is intelligible
|
|
||||||
only to the initiated. Combine these two elements, let the Vocoder
|
|
||||||
run the stenotype, and the result is a machine which types when talked
|
|
||||||
to.
|
|
||||||
|
|
||||||
Our present languages are not especially adapted to this sort of
|
|
||||||
mechanization, it is true. It is strange that the inventors of
|
|
||||||
universal languages have not seized upon the idea of producing one
|
|
||||||
which better fitted the technique for transmitting and recording
|
|
||||||
speech. Mechanization may yet force the issue, especially in the
|
|
||||||
scientific field; whereupon scientific jargon would become still less
|
|
||||||
intelligible to the layman.
|
|
||||||
|
|
||||||
One can now picture a future investigator in his laboratory. His
|
|
||||||
hands are free, and he is not anchored. As he moves about and
|
|
||||||
observes, he photographs and comments. Time is automatically recorded
|
|
||||||
to tie the two records together. If he goes into the field, he may be
|
|
||||||
connected by radio to his recorder. As he ponders over his notes in
|
|
||||||
the evening, he again talks his comments into the record. His typed
|
|
||||||
record, as well as his photographs, may both be in miniature, so that
|
|
||||||
he projects them for examination.
|
|
||||||
|
|
||||||
Much needs to occur, however, between the collection of data and
|
|
||||||
observations, the extraction of parallel material from the existing
|
|
||||||
record, and the final insertion of new material into the general body
|
|
||||||
of the common record. For mature thought there is no mechanical
|
|
||||||
substitute. But creative thought and essentially repetitive thought
|
|
||||||
are very different things. For the latter there are, and may be,
|
|
||||||
powerful mechanical aids.
|
|
||||||
|
|
||||||
Adding a column of figures is a repetitive thought process, and it was
|
|
||||||
long ago properly relegated to the machine. True, the machine is
|
|
||||||
sometimes controlled by the keyboard, and thought of a sort enters in
|
|
||||||
reading the figures and poking the corresponding keys, but even this
|
|
||||||
is avoidable. Machines have been made which will read typed figures
|
|
||||||
by photocells and then depress the corresponding keys; these are
|
|
||||||
combinations of photocells for scanning the type, electric circuits
|
|
||||||
for sorting the consequent variations, and relay circuits for
|
|
||||||
interpreting the result into the action of solenoids to pull the keys
|
|
||||||
down.
|
|
||||||
|
|
||||||
All this complication is needed because of the clumsy way in which we
|
|
||||||
have learned to write figures. If we recorded them positionally,
|
|
||||||
simply by the configuration of a set of dots on a card, the automatic
|
|
||||||
reading mechanism would become comparatively simple. In fact, if the
|
|
||||||
dots are holes, we have the punched-card machine long ago produced by
|
|
||||||
Hollorith for the purposes of the census, and now used throughout
|
|
||||||
business. Some types of complex businesses could hardly operate
|
|
||||||
without these machines.
|
|
||||||
|
|
||||||
Adding is only one operation. To perform arithmetical computation
|
|
||||||
involves also subtraction, multiplication, and division, and in
|
|
||||||
addition some method for temporary storage of results, removal from
|
|
||||||
storage for further manipulation, and recording of final results by
|
|
||||||
printing. Machines for these purposes are now of two types: keyboard
|
|
||||||
machines for accounting and the like, manually controlled for the
|
|
||||||
insertion of data, and usually automatically controlled as far as the
|
|
||||||
sequence of operations is concerned; and punched-card machines in
|
|
||||||
which separate operations are usually delegated to a series of
|
|
||||||
machines, and the cards then transferred bodily from one to another.
|
|
||||||
Both forms are very useful; but as far as complex computations are
|
|
||||||
concerned, both are still embryo.
|
|
||||||
|
|
||||||
Rapid electrical counting appeared soon after the physicists found it
|
|
||||||
desirable to count cosmic rays. For their own purposes the physicists
|
|
||||||
promptly constructed thermionic-tube equipment capable of counting
|
|
||||||
electrical impulses at the rate of 100,000 a second. The advanced
|
|
||||||
arithmetical machines of the future will be electrical in nature, and
|
|
||||||
they will perform at 100 times present speeds, or more.
|
|
||||||
|
|
||||||
Moreover, they will be far more versatile than present commercial
|
|
||||||
machines, so that they may readily be adapted for a wide variety of
|
|
||||||
operations. They will be controlled by a control card or film, they
|
|
||||||
will select their own data and manipulate it in accordance with the
|
|
||||||
instructions thus inserted, they will perform complex arithmetical
|
|
||||||
computations at exceedingly high speeds, and they will record results
|
|
||||||
in such form as to be readily available for distribution or for later
|
|
||||||
further manipulation. Such machines will have enormous appetites.
|
|
||||||
One of them will take instructions and data from a roomful of girls
|
|
||||||
armed with simple keyboard punches, and will deliver sheets of
|
|
||||||
computed results every few minutes. There will always be plenty of
|
|
||||||
things to compute in the detailed affairs of millions of people doing
|
|
||||||
complicated things.
|
|
||||||
|
|
||||||
4
|
|
||||||
|
|
||||||
The repetitive processes of thought are not confined, however, to
|
|
||||||
matters of arithmetic and statistics. In fact, every time one
|
|
||||||
combines and records facts in accordance with established logical
|
|
||||||
processes, the creative aspect of thinking is concerned only with the
|
|
||||||
selection of the data and the process to be employed, and the
|
|
||||||
manipulation thereafter is repetitive in nature and hence a fit matter
|
|
||||||
to be relegated to the machines. Not so much has been done along
|
|
||||||
these lines, beyond the bounds of arithmetic, as might be done,
|
|
||||||
primarily because of the economics of the situation. The needs of
|
|
||||||
business, and the extensive market obviously waiting, assured the
|
|
||||||
advent of mass-produced arithmetical machines just as soon as
|
|
||||||
production methods were sufficiently advanced.
|
|
||||||
|
|
||||||
With machines for advanced analysis no such situation existed; for
|
|
||||||
there was and is no extensive market; the users of advanced methods of
|
|
||||||
manipulating data are a very small part of the population. There are,
|
|
||||||
however, machines for solving differential equations - and functional
|
|
||||||
and integral equations, for that matter. There are many special
|
|
||||||
machines, such as the harmonic synthesizer which predicts the tides.
|
|
||||||
There will be many more, appearing certainly first in the hands of the
|
|
||||||
scientist and in small numbers.
|
|
||||||
|
|
||||||
If scientific reasoning were limited to the logical processes of
|
|
||||||
arithmetic, we should not get far in our understanding of the physical
|
|
||||||
world. One might as well attempt to grasp the game of poker entirely
|
|
||||||
by the use of the mathematics of probability. The abacus, with its
|
|
||||||
beads strung on parallel wires, led the Arabs to positional numeration
|
|
||||||
and the concept of zero many centuries before the rest of the world;
|
|
||||||
and it was a useful tool - so useful that it still exists.
|
|
||||||
|
|
||||||
It is a far cry from the abacus to the modern keyboard accounting
|
|
||||||
machine. It will be an equal step to the arithmetical machine of the
|
|
||||||
future. But even this new machine will not take the scientist where
|
|
||||||
he needs to go. Relief must be secured from laborious detailed
|
|
||||||
manipulation of higher mathematics as well, if the users of it are to
|
|
||||||
free their brains for something more than repetitive detailed
|
|
||||||
transformations in accordance with established rules. A mathematician
|
|
||||||
is not a man who can readily manipulate figures; often he cannot. He
|
|
||||||
is not even a man who can readily perform the transformation of
|
|
||||||
equations by the use of calculus. He is primarily an individual who
|
|
||||||
is skilled in the use of symbolic logic on a high plane, and
|
|
||||||
especially he is a man of intuitive judgment in the choice of the
|
|
||||||
manipulative processes he employs.
|
|
||||||
|
|
||||||
All else he should be able to turn over to his mechanism, just as
|
|
||||||
confidently as he turns over the propelling of his car to the
|
|
||||||
intricate mechanism under the hood. Only then will mathematics be
|
|
||||||
practically effective in bringing the growing knowledge of atomistics
|
|
||||||
to the useful solution of the advanced problems of chemistry,
|
|
||||||
metallurgy, and biology. For this reason there will come more
|
|
||||||
machines to handle advanced mathematics for the scientist. Some of
|
|
||||||
them will be sufficiently bizarre to suit the most fastidious
|
|
||||||
connoisseur of the present artifacts of civilization.
|
|
||||||
|
|
||||||
5
|
|
||||||
|
|
||||||
The scientist, however, is not the only person who manipulates data
|
|
||||||
and examines the world about him by the use of logical processes,
|
|
||||||
although he sometimes preserves this appearance by adopting into the
|
|
||||||
fold anyone who becomes logical, much in the manner in which a British
|
|
||||||
labor leader is elevated to knighthood. Whenever logical processes of
|
|
||||||
thought are employed - that is, whenever thought for a time runs along
|
|
||||||
an accepted groove - there is an opportunity for the machine. Formal
|
|
||||||
logic used to be a keen instrument in the hands of the teacher in his
|
|
||||||
trying of students' souls. It is readily possible to construct a
|
|
||||||
machine which will manipulate premises in accordance with formal
|
|
||||||
logic, simply by the clever use of relay circuits. Put a set of
|
|
||||||
premises into such a device and turn the crank, and it will readily
|
|
||||||
pass out conclusion after conclusion, all in accordance with logical
|
|
||||||
law, and with no more slips than would be expected of a keyboard
|
|
||||||
adding machine.
|
|
||||||
|
|
||||||
Logic can become enormously difficult, and it would undoubtedly be
|
|
||||||
well to produce more assurance in its use. The machines for higher
|
|
||||||
analysis have usually been equation solvers. Ideas are beginning to
|
|
||||||
appear for equation transformers, which will rearrange the
|
|
||||||
relationship expressed by an equation in accordance with strict and
|
|
||||||
rather advanced logic. Progress is inhibited by the exceedingly crude
|
|
||||||
way in which mathematicians express their relationships. They employ
|
|
||||||
a symbolism which grew like Topsy and has little consistency; a
|
|
||||||
strange fact in that most logical field.
|
|
||||||
|
|
||||||
A new symbolism, probably positional, must apparently precede the
|
|
||||||
reduction of mathematical transformations to machine processes. Then,
|
|
||||||
on beyond the strict logic of the mathematician, lies the application
|
|
||||||
of logic in everyday affairs. We may some day click off arguments on
|
|
||||||
a machine with the same assurance that we now enter sales on a cash
|
|
||||||
register. But the machine of logic will not look like a cash
|
|
||||||
register, even a streamlined model.
|
|
||||||
|
|
||||||
So much for the manipulation of ideas and their insertion into the
|
|
||||||
record. Thus far we seem to be worse off than before - for we can
|
|
||||||
enormously extend the record; yet even in its present bulk we can
|
|
||||||
hardly consult it. This is a much larger matter than merely the
|
|
||||||
extraction of data for the purposes of scientific research; it
|
|
||||||
involves the entire process by which man profits by his inheritance of
|
|
||||||
acquired knowledge. The prime action of use is selection, and here we
|
|
||||||
are halting indeed. There may be millions of fine thoughts, and the
|
|
||||||
account of the experience on which they are based, all encased within
|
|
||||||
stone walls of acceptable architectural form; but if the scholar can
|
|
||||||
get at only one a week by diligent search, his syntheses are not
|
|
||||||
likely to keep up with the current scene.
|
|
||||||
|
|
||||||
Selection, in this broad sense, is a stone adze in the hands of a
|
|
||||||
cabinetmaker. Yet, in a narrow sense and in other areas, something
|
|
||||||
has already been done mechanically on selection. The personnel
|
|
||||||
officer of a factory drops a stack of a few thousand employee cards
|
|
||||||
into a selecting machine, sets a code in accordance with an
|
|
||||||
established convention, and produces in a short time a list of all
|
|
||||||
employees who live in Trenton and know Spanish. Even such devices are
|
|
||||||
much too slow when it comes, for example, to matching a set of
|
|
||||||
fingerprints with one of five millions on file. Selection devices of
|
|
||||||
this sort will soon be speeded up from their present rate of reviewing
|
|
||||||
data at a few hundred a minute. By the use of photocells and
|
|
||||||
microfilm they will survey items at the rate of thousands a second,
|
|
||||||
and will print out duplicates of those selected.
|
|
||||||
|
|
||||||
This process, however, is simple selection: it proceeds by examining
|
|
||||||
in turn every one of a large set of items, and by picking out those
|
|
||||||
which have certain specified characteristics. There is another form
|
|
||||||
of selection best illustrated by the automatic telephone exchange.
|
|
||||||
You dial a number and the machine selects and connects just one of a
|
|
||||||
million possible stations. It does not run over them all. It pays
|
|
||||||
attention only to a class given by a first digit, and so on; and thus
|
|
||||||
proceeds rapidly and almost unerringly to the selected station. It
|
|
||||||
requires a few seconds to make the selection, although the process
|
|
||||||
could be speeded up if increased speed were economically warranted.
|
|
||||||
If necessary, it could be made extremely fast by substituting
|
|
||||||
thermionic-tube switching for mechanical switching, so that the full
|
|
||||||
selection could be made in one-hundredth of a second. No one would
|
|
||||||
wish to spend the money necessary to make this change in the telephone
|
|
||||||
system, but the general idea is applicable elsewhere.
|
|
||||||
|
|
||||||
Take the prosaic problem of the great department store. Every time a
|
|
||||||
charge sale is made, there are a number of things to be done.. The
|
|
||||||
inventory needs to be revised, the salesman needs to be given credit
|
|
||||||
for the sale, the general accounts need an entry, and, most important,
|
|
||||||
the customer needs to be charged. A central records device has been
|
|
||||||
developed in which much of this work is done conveniently. The
|
|
||||||
salesman places on a stand the customer's identification card, his own
|
|
||||||
card, and the card taken from the article sold - all punched cards.
|
|
||||||
When he pulls a lever, contacts are made through the holes, machinery
|
|
||||||
at a central point makes the necessary computations and entries, and
|
|
||||||
the proper receipt is printed for the salesman to pass to the
|
|
||||||
customer.
|
|
||||||
|
|
||||||
But there may be ten thousand charge customers doing business with the
|
|
||||||
store, and before the full operation can be completed someone has to
|
|
||||||
select the right card and insert it at the central office. Now rapid
|
|
||||||
selection can slide just the proper card into position in an instant
|
|
||||||
or two, and return it afterward. Another difficulty occurs, however.
|
|
||||||
Someone must read a total on the card, so that the machine can add its
|
|
||||||
computed item to it. Conceivably the cards might be of the dry
|
|
||||||
photography type I have described. Existing totals could then be read
|
|
||||||
by photocell, and the new total entered by an electron beam.
|
|
||||||
|
|
||||||
The cards may be in miniature, so that they occupy little space. They
|
|
||||||
must move quickly. They need not be transferred far, but merely into
|
|
||||||
position so that the photocell and recorder can operate on them.
|
|
||||||
Positional dots can enter the data. At the end of the month a machine
|
|
||||||
can readily be made to read these and to print an ordinary bill. With
|
|
||||||
tube selection, in which no mechanical parts are involved in the
|
|
||||||
switches, little time need be occupied in bringing the correct card
|
|
||||||
into use - a second should suffice for the entire operation. The
|
|
||||||
whole record on the card may be made by magnetic dots on a steel sheet
|
|
||||||
if desired, instead of dots to be observed optically, following the
|
|
||||||
scheme by which Poulsen long ago put speech on a magnetic wire. This
|
|
||||||
method has the advantage of simplicity and ease of erasure. By using
|
|
||||||
photography, however, one can arrange to project the record in
|
|
||||||
enlarged form, and at a distance by using the process common in
|
|
||||||
television equipment.
|
|
||||||
|
|
||||||
One can consider rapid selection of this form, and distant projection
|
|
||||||
for other purposes. To be able to key one sheet of a million before
|
|
||||||
an operator in a second or two, with the possibility of then adding
|
|
||||||
notes thereto, is suggestive in many ways. It might even be of use in
|
|
||||||
libraries, but that is another story. At any rate, there are now some
|
|
||||||
interesting combinations possible. One might, for example, speak to a
|
|
||||||
microphone, in the manner described in connection with the
|
|
||||||
speech-controlled typewriter, and thus make his selections. It would
|
|
||||||
certainly beat the usual file clerk.
|
|
||||||
|
|
||||||
6
|
|
||||||
|
|
||||||
The real heart of the matter of selection, however, goes deeper than a
|
|
||||||
lag in the adoption of mechanisms by libraries, or a lack of
|
|
||||||
development of devices for their use. Our ineptitude in getting at
|
|
||||||
the record is largely caused by the artificiality of systems of
|
|
||||||
indexing. When data of any sort are placed in storage, they are filed
|
|
||||||
alphabetically or numerically, and information is found (when it is)
|
|
||||||
by tracing it down from subclass to subclass. It can be in only one
|
|
||||||
place, unless duplicates are used; one has to have rules as to which
|
|
||||||
path will locate it, and the rules are cumbersome. Having found one
|
|
||||||
item, moreover, one has to emerge from the system and re-enter on a
|
|
||||||
new path.
|
|
||||||
|
|
||||||
The human mind does not work that way. It operates by association.
|
|
||||||
With one item in its grasp, it snaps instantly to the next that is
|
|
||||||
suggested by the association of thoughts, in accordance with some
|
|
||||||
intricate web of trails carried by the cells of the brain. It has
|
|
||||||
other characteristics, of course; trails that are not frequently
|
|
||||||
followed are prone to fade, items are not fully permanent, memory is
|
|
||||||
transitory. Yet the speed of action, the intricacy of trails, the
|
|
||||||
detail of mental pictures, is awe-inspiring beyond all else in nature.
|
|
||||||
|
|
||||||
Man cannot hope fully to duplicate this mental process artificially,
|
|
||||||
but he certainly ought to be able to learn from it. In minor ways he
|
|
||||||
may even improve, for his records have relative permanency. The first
|
|
||||||
idea, however, to be drawn from the analogy concerns selection.
|
|
||||||
Selection by association, rather than by indexing, may yet be
|
|
||||||
mechanized. One cannot hope thus to equal the speed and flexibility
|
|
||||||
with which the mind follows an associative trail, but it should be
|
|
||||||
possible to beat the mind decisively in regard to the permanence and
|
|
||||||
clarity of the items resurrected from storage.
|
|
||||||
|
|
||||||
Consider a future device for individual use, which is a sort of
|
|
||||||
mechanized private file and library. It needs a name, and to coin
|
|
||||||
one at random, ``memex'' will do. A memex is a device in which an
|
|
||||||
individual stores all his books, records, and communications, and
|
|
||||||
which is mechanized so that it may be consulted with exceeding speed
|
|
||||||
and flexibility. It is an enlarged intimate supplement to his memory.
|
|
||||||
|
|
||||||
It consists of a desk, and while it can presumably be operated from a
|
|
||||||
distance, it is primarily the piece of furniture at which he works.
|
|
||||||
On the top are slanting translucent screens, on which material can be
|
|
||||||
projected for convenient reading. There is a keyboard, and sets of
|
|
||||||
buttons and levers. Otherwise it looks like an ordinary desk.
|
|
||||||
|
|
||||||
In one end is the stored material. The matter of bulk is well taken
|
|
||||||
care of by improved microfilm. Only a small part of the interior of
|
|
||||||
the memex is devoted to storage, the rest to mechanism. Yet if the
|
|
||||||
user inserted 5000 pages of material a day it would take him hundreds
|
|
||||||
of years to fill the repository, so he can be profligate and enter
|
|
||||||
material freely.
|
|
||||||
|
|
||||||
Most of the memex contents are purchased on microfilm ready for
|
|
||||||
insertion. Books of all sorts, pictures, current periodicals,
|
|
||||||
newspapers, are thus obtained and dropped into place. Business
|
|
||||||
correspondence takes the same path. And there is provision for direct
|
|
||||||
entry. On the top of the memex is a transparent platen. On this are
|
|
||||||
placed longhand notes, photographs, memoranda, all sort of things.
|
|
||||||
When one is in place, the depression of a lever causes it to be
|
|
||||||
photographed onto the next blank space in a section of the memex film,
|
|
||||||
dry photography being employed.
|
|
||||||
|
|
||||||
There is, of course, provision for consultation of the record by the
|
|
||||||
usual scheme of indexing. If the user wishes to consult a certain
|
|
||||||
book, he taps its code on the keyboard, and the title page of the book
|
|
||||||
promptly appears before him, projected onto one of his viewing
|
|
||||||
positions. Frequently-used codes are mnemonic, so that he seldom
|
|
||||||
consults his code book; but when he does, a single tap of a key
|
|
||||||
projects it for his use. Moreover, he has supplemental levers. On
|
|
||||||
deflecting one of these levers to the right he runs through the book
|
|
||||||
before him, each page in turn being projected at a speed which just
|
|
||||||
allows a recognizing glance at each. If he deflects it further to the
|
|
||||||
right, he steps through the book 10 pages at a time; still further at
|
|
||||||
100 pages at a time. Deflection to the left gives him the same
|
|
||||||
control backwards.
|
|
||||||
|
|
||||||
A special button transfers him immediately to the first page of the
|
|
||||||
index. Any given book of his library can thus be called up and
|
|
||||||
consulted with far greater facility than if it were taken from a
|
|
||||||
shelf. As he has several projection positions, he can leave one item
|
|
||||||
in position while he calls up another. He can add marginal notes and
|
|
||||||
comments, taking advantage of one possible type of dry photography,
|
|
||||||
and it could even be arranged so that he can do this by a stylus
|
|
||||||
scheme, such as is now employed in the telautograph seen in railroad
|
|
||||||
waiting rooms, just as though he had the physical page before him.
|
|
||||||
|
|
||||||
7
|
|
||||||
|
|
||||||
All this is conventional, except for the projection forward of
|
|
||||||
present-day mechanisms and gadgetry. It affords an immediate step,
|
|
||||||
however, to associative indexing, the basic idea of which is a
|
|
||||||
provision whereby any item may be caused at will to select immediately
|
|
||||||
and automatically another. This is the essential feature of the
|
|
||||||
memex. The process of tying two items together is the important
|
|
||||||
thing.
|
|
||||||
|
|
||||||
When the user is building a trail, he names it, inserts the name in
|
|
||||||
his code book, and taps it out on his keyboard. Before him are the
|
|
||||||
two items to be joined, projected onto adjacent viewing positions. At
|
|
||||||
the bottom of each there are a number of blank code spaces, and a
|
|
||||||
pointer is set to indicate one of these on each item. The user taps a
|
|
||||||
single key, and the items are permanently joined. In each code space
|
|
||||||
appears the code word. Out of view, but also in the code space, is
|
|
||||||
inserted a set of dots for photocell viewing; and on each item these
|
|
||||||
dots by their positions designate the index number of the other item.
|
|
||||||
|
|
||||||
Thereafter, at any time, when one of these items is in view, the other
|
|
||||||
can be instantly recalled merely by tapping a button below the
|
|
||||||
corresponding code space. Moreover, when numerous items have been
|
|
||||||
thus joined together to form a trail, they can be reviewed in turn,
|
|
||||||
rapidly or slowly, by deflecting a lever like that used for turning
|
|
||||||
the pages of a book. It is exactly as though the physical items had
|
|
||||||
been gathered together to form a new book. It is more than this, for
|
|
||||||
any item can be joined into numerous trails.
|
|
||||||
|
|
||||||
The owner of the memex, let us say, is interested in the origin and
|
|
||||||
properties of the bow and arrow. Specifically he is studying why the
|
|
||||||
short Turkish bow was apparently superior to the English long bow in
|
|
||||||
the skirmishes of the Crusades. He has dozens of possibly pertinent
|
|
||||||
books and articles in his memex. First he runs through an
|
|
||||||
encyclopedia, finds an interesting but sketchy article, leaves it
|
|
||||||
projected. Next, in a history, he finds another pertinent item, and
|
|
||||||
ties the two together. Thus he goes, building a trail of many items.
|
|
||||||
Occasionally he inserts a comment of his own, either linking it into
|
|
||||||
the main trail or joining it by a side trail to a particular item.
|
|
||||||
When it becomes evident that the elastic properties of available
|
|
||||||
materials had a great deal to do with the bow, he branches off on a
|
|
||||||
side trail which takes him through textbooks on elasticity and tables
|
|
||||||
of physical constants. He inserts a page of longhand analysis of his
|
|
||||||
own. Thus he builds a trail of his interest through the maze of
|
|
||||||
materials available to him.
|
|
||||||
|
|
||||||
And his trails do not fade. Several years later, his talk with a
|
|
||||||
friend turns to the queer ways in which a people resist innovations,
|
|
||||||
even of vital interest. He has an example, in the fact that the
|
|
||||||
outranged Europeans still failed to adopt the Turkish bow. In fact he
|
|
||||||
has a trail on it. A touch brings up the code book. Tapping a few
|
|
||||||
keys projects the head of the trail. A lever runs through it at will,
|
|
||||||
stopping at interesting items, going off on side excursions. It is an
|
|
||||||
interesting trail, pertinent to the discussion. So he sets a
|
|
||||||
reproducer in action, photographs the whole trail out, and passes it
|
|
||||||
to his friend for insertion in his own memex, there to be linked into
|
|
||||||
the more general trail.
|
|
||||||
|
|
||||||
8
|
|
||||||
|
|
||||||
Wholly new forms of encyclopedias will appear, ready-made with a mesh
|
|
||||||
of associative trails running through them, ready to be dropped into
|
|
||||||
the memex and there amplified. The lawyer has at his touch the
|
|
||||||
associated opinions and decisions of his whole experience, and of the
|
|
||||||
experience of friends and authorities. The patent attorney has on
|
|
||||||
call the millions of issued patents, with familiar trails to every
|
|
||||||
point of his client's interest. The physician, puzzled by its
|
|
||||||
patient's reactions, strikes the trail established in studying an
|
|
||||||
earlier similar case, and runs rapidly through analogous case
|
|
||||||
histories, with side references to the classics for the pertinent
|
|
||||||
anatomy and histology. The chemist, struggling with the synthesis of
|
|
||||||
an organic compound, has all the chemical literature before him in his
|
|
||||||
laboratory, with trails following the analogies of compounds, and side
|
|
||||||
trails to their physical and chemical behavior.
|
|
||||||
|
|
||||||
The historian, with a vast chronological account of a people,
|
|
||||||
parallels it with a skip trail which stops only at the salient items,
|
|
||||||
and can follow at any time contemporary trails which lead him all over
|
|
||||||
civilization at a particular epoch. There is a new profession of
|
|
||||||
trail blazers, those who find delight in the task of establishing
|
|
||||||
useful trails through the enormous mass of the common record. The
|
|
||||||
inheritance from the master becomes, not only his additions to the
|
|
||||||
world's record, but for his disciples the entire scaffolding by which
|
|
||||||
they were erected.
|
|
||||||
|
|
||||||
Thus science may implement the ways in which man produces, stores, and
|
|
||||||
consults the record of the race. It might be striking to outline the
|
|
||||||
instrumentalities of the future more spectacularly, rather than to
|
|
||||||
stick closely to the methods and elements now known and undergoing
|
|
||||||
rapid development, as has been done here. Technical difficulties of
|
|
||||||
all sorts have been ignored, certainly, but also ignored are means as
|
|
||||||
yet unknown which may come any day to accelerate technical progress as
|
|
||||||
violently as did the advent of the thermionic tube. In order that the
|
|
||||||
picture may not be too commonplace, by reason of sticking to
|
|
||||||
present-day patterns, it may be well to mention one such possibility,
|
|
||||||
not to prophesy but merely to suggest, for prophecy based on extension
|
|
||||||
of the known has substance, while prophecy founded on the unknown is
|
|
||||||
only a doubly involved guess.
|
|
||||||
|
|
||||||
All our steps in creating or absorbing material of the record proceed
|
|
||||||
through one of the senses - the tactile when we touch keys, the oral
|
|
||||||
when we speak or listen, the visual when we read. Is it not possible
|
|
||||||
that some day the path may be established more directly?
|
|
||||||
|
|
||||||
We know that when the eye sees, all the consequent information is
|
|
||||||
transmitted to the brain by means of electrical vibrations in the
|
|
||||||
channel of the optic nerve. This is an exact analogy with the
|
|
||||||
electrical vibrations which occur in the cable of a television set:
|
|
||||||
they convey the picture from the photocells which see it to the radio
|
|
||||||
transmitter from which it is broadcast. We know further that if we
|
|
||||||
can approach that cable with the proper instruments, we do not need to
|
|
||||||
touch it; we can pick up those vibrations by electrical induction and
|
|
||||||
thus discover and reproduce the scene which is being transmitted, just
|
|
||||||
as a telephone wire may be tapped for its message.
|
|
||||||
|
|
||||||
The impulses which flow in the arm nerves of a typist convey to her
|
|
||||||
fingers the translated information which reaches her eye or ear, in
|
|
||||||
order that the fingers may be caused to strike the proper keys. Might
|
|
||||||
not these currents be intercepted, either in the original form in
|
|
||||||
which information is conveyed to the brain, or in the marvelously
|
|
||||||
metamorphosed form in which they then proceed to the hand?
|
|
||||||
|
|
||||||
By bone conduction we already introduce sounds into the nerve channels
|
|
||||||
of the deaf in order that they may hear. Is it not possible that we
|
|
||||||
may learn to introduce them without the present cumbersomeness of
|
|
||||||
first transforming electrical vibrations to mechanical ones, which the
|
|
||||||
human mechanism promptly transforms back to the electrical form? With
|
|
||||||
a couple of electrodes on the skull the encephalograph now produces
|
|
||||||
pen-and-ink traces which bear some relation to the electrical
|
|
||||||
phenomena going on in the brain itself. True, the record is
|
|
||||||
unintelligible, except as it points out certain gross misfunctioning
|
|
||||||
of the cerebral mechanism; but who would now place bounds on where
|
|
||||||
such a thing may lead?
|
|
||||||
|
|
||||||
In the outside world, all forms of intelligence, whether of sound or
|
|
||||||
sight, have been reduced to the form of varying currents in an
|
|
||||||
electric circuit in order that they may be transmitted. Inside the
|
|
||||||
human frame exactly the same sort of process occurs. Must we always
|
|
||||||
transform to mechanical movements in order to proceed from one
|
|
||||||
electrical phenomenon to another? It is a suggestive thought, but it
|
|
||||||
hardly warrants prediction without losing touch with reality and
|
|
||||||
immediateness.
|
|
||||||
|
|
||||||
Presumably man's spirit should be elevated if he can better review his
|
|
||||||
shady past and analyze more completely and objectively his present
|
|
||||||
problems. He has built a civilization so complex that he needs to
|
|
||||||
mechanize his record more fully if he is to push his experiment to its
|
|
||||||
logical conclusion and not merely become bogged down part way there by
|
|
||||||
overtaxing his limited memory. His excursion may be more enjoyable if
|
|
||||||
he can reacquire the privilege of forgetting the manifold things he
|
|
||||||
does not need to have immediately at hand, with some assurance that he
|
|
||||||
can find them again if they prove important.
|
|
||||||
|
|
||||||
The applications of science have built man a well-supplied house, and
|
|
||||||
are teaching him to live healthily therein. They have enabled him to
|
|
||||||
throw masses of people against another with cruel weapons. They may
|
|
||||||
yet allow him truly to encompass the great record and to grow in the
|
|
||||||
wisdom of race experience. He may perish in conflict before he learns
|
|
||||||
to wield that record for his true good. Yet, in the application of
|
|
||||||
science to the needs and desires of man, it would seem to be a
|
|
||||||
singularly unfortunate stage at which to terminate the process, or to
|
|
||||||
lose hope as to the outcome.
|
|
||||||
</div>
|
|
||||||
|
|
||||||
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|
|
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|
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<div id="vBush">
|
|
||||||
AS WE MAY THINK
|
|
||||||
by VANNEVAR BUSH
|
|
||||||
|
|
||||||
THE ATLANTIC MONTHLY, JULY 1945
|
|
||||||
|
|
||||||
----------------------------------------------------------------------
|
|
||||||
|
|
||||||
As Director of the Office of Scientific Research and Development, Dr.
|
|
||||||
Vannevar Bush has coordinated the activities of some six thousand
|
|
||||||
leading American scientists in the application of science to warfare.
|
|
||||||
In this significant article he holds up an incentive for scientists
|
|
||||||
when the fighting has ceased. He urges that men of science should
|
|
||||||
then turn to the massive task of making more accessible our
|
|
||||||
bewildering store of knowledge. For many years inventions have
|
|
||||||
extended man's physical powers rather than the powers of his mind.
|
|
||||||
Trip hammers that multiply the fists, microscopes that sharpen the
|
|
||||||
eye, and engines of destruction and detection are new results, but the
|
|
||||||
end results, of modern science. Now, says Dr. Bush, instruments are
|
|
||||||
at hand which, if properly developed, will give man access to and
|
|
||||||
command over the inherited knowledge of the ages. The perfection of
|
|
||||||
these pacific instruments should be the first objective of our
|
|
||||||
scientists as they emerge from their war work. Like Emerson's famous
|
|
||||||
address of 1837 on ``The American Scholar,'' this paper by Dr. Bush
|
|
||||||
calls for a new relationship between thinking man and the sum of our
|
|
||||||
knowledge. - The Editor
|
|
||||||
|
|
||||||
----------------------------------------------------------------------
|
|
||||||
|
|
||||||
This has not been a scientist's war; it has been a war in which all
|
|
||||||
have had a part. The scientists, burying their old professional
|
|
||||||
competition in the demand of a common cause, have shared greatly and
|
|
||||||
learned much. It has been exhilarating to work in effective
|
|
||||||
partnership. Now, for many, this appears to be approaching an end.
|
|
||||||
What are the scientists to do next?
|
|
||||||
|
|
||||||
For the biologists, and particularly for the medical scientists, there
|
|
||||||
can be little indecision, for their war work has hardly required them
|
|
||||||
to leave the old paths. Many indeed have been able to carry on their
|
|
||||||
war research in their familiar peacetime laboratories. Their
|
|
||||||
objectives remain much the same.
|
|
||||||
|
|
||||||
It is the physicists who have been thrown most violently off stride,
|
|
||||||
who have left academic pursuits for the making of strange destructive
|
|
||||||
gadgets, who have had to devise new methods for their unanticipated
|
|
||||||
assignments. They have done their part on the devices that made it
|
|
||||||
possible to turn back the enemy. They have worked in combined effort
|
|
||||||
with the physicists of our allies. They have felt within themselves
|
|
||||||
the stir of achievement. They have been part of a great team. Now,
|
|
||||||
as peace approaches, one asks where they will find objectives worthy
|
|
||||||
of their best.
|
|
||||||
|
|
||||||
1
|
|
||||||
|
|
||||||
Of what lasting benefit has been man's use of science and of the new
|
|
||||||
instruments which his research brought into existence? First, they
|
|
||||||
have increased his control of his material environment. They have
|
|
||||||
improved his food, his clothing, his shelter; they have increased his
|
|
||||||
security and released him partly from the bondage of bare existence.
|
|
||||||
They have given him increased knowledge of his own biological
|
|
||||||
processes so that he has had a progressive freedom from disease and an
|
|
||||||
increased span of life. They are illuminating the interactions of his
|
|
||||||
physiological and psychological functions, giving the promise of an
|
|
||||||
improved mental health.
|
|
||||||
|
|
||||||
Science has provided the swiftest communication between individuals;
|
|
||||||
it has provided a record of ideas and has enabled man to manipulate
|
|
||||||
and to make extracts from that record so that knowledge evolves and
|
|
||||||
endures throughout the life of a race rather than that of an
|
|
||||||
individual.
|
|
||||||
|
|
||||||
There is a growing mountain of research. But there is increased
|
|
||||||
evidence that we are being bogged down today as specialization
|
|
||||||
extends. The investigator is staggered by the findings and
|
|
||||||
conclusions of thousands of other workers - conclusions which he
|
|
||||||
cannot find time to grasp, much less to remember, as they appear. Yet
|
|
||||||
specialization becomes increasingly necessary for progress, and the
|
|
||||||
effort to bridge between disciplines is correspondingly superficial.
|
|
||||||
|
|
||||||
Professionally our methods of transmitting and reviewing the results
|
|
||||||
of research are generations old and by now are totally inadequate for
|
|
||||||
their purpose. If the aggregate time spent in writing scholarly works
|
|
||||||
and in reading them could be evaluated, the ratio between these
|
|
||||||
amounts of time might well be startling. Those who conscientiously
|
|
||||||
attempt to keep abreast of current thought, even in restricted fields,
|
|
||||||
by close and continuous reading might well shy away from an
|
|
||||||
examination calculated to show how much of the previous month's
|
|
||||||
efforts could be produced on call. Mendel's concept of the laws of
|
|
||||||
genetics was lost to the world for a generation because his
|
|
||||||
publication did not reach the few who were capable of grasping and
|
|
||||||
extending it; and this sort of catastrophe is undoubtedly being
|
|
||||||
repeated all about us, as truly significant attainments become lost in
|
|
||||||
the mass of the inconsequential.
|
|
||||||
|
|
||||||
The difficulty seems to be, not so much that we publish unduly in view
|
|
||||||
of the extent and variety of present-day interests, but rather that
|
|
||||||
publication has been extended far beyond our present ability to make
|
|
||||||
real use of the record. The summation of human experience is being
|
|
||||||
expanded at a prodigious rate, and the means we use for threading
|
|
||||||
through the consequent maze to the momentarily important item is the
|
|
||||||
same as was used in the days of square-rigged ships.
|
|
||||||
|
|
||||||
But there are signs of a change as new and powerful instrumentalities
|
|
||||||
come into use. Photocells capable of seeing things in a physical
|
|
||||||
sense, advanced photography which can record what is seen or even what
|
|
||||||
is not, thermionic tubes capable of controlling potent forces under
|
|
||||||
the guidance of less power than a mosquito uses to vibrate his wings,
|
|
||||||
cathode ray tubes rendering visible an occurrence so brief that by
|
|
||||||
comparison a microsecond is a long time, relay combinations which will
|
|
||||||
carry out involved sequences of movements more reliably than any human
|
|
||||||
operator and thousand of times as fast - there are plenty of
|
|
||||||
mechanical aids with which to effect a transformation in scientific
|
|
||||||
records.
|
|
||||||
|
|
||||||
Two centuries ago Leibnitz invented a calculating machine which
|
|
||||||
embodied most of the essential features of recent keyboard devices,
|
|
||||||
but it could not then come into use. The economics of the situation
|
|
||||||
were against it: the labor involved in constructing it, before the
|
|
||||||
days of mass production, exceeded the labor to be saved by its use,
|
|
||||||
since all it could accomplish could be duplicated by sufficient use of
|
|
||||||
pencil and paper. Moreover, it would have been subject to frequent
|
|
||||||
breakdown, so that it could not have been depended upon; for at that
|
|
||||||
time and long after, complexity and unreliability were synonymous.
|
|
||||||
|
|
||||||
Babbage, even with remarkably generous support for his time, could not
|
|
||||||
produce his great arithmetical machine. His idea was sound enough,
|
|
||||||
but construction and maintenance costs were then too heavy. Had a
|
|
||||||
Pharaoh been given detailed and explicit designs of an automobile, and
|
|
||||||
had he understood them completely, it would have taxed the resources
|
|
||||||
of his kingdom to have fashioned the thousands of parts for a single
|
|
||||||
car, and that car would have broken down on the first trip to Giza.
|
|
||||||
|
|
||||||
Machines with interchangeable parts can now be constructed with great
|
|
||||||
economy of effort. In spite of much complexity, they perform reliably.
|
|
||||||
Witness the humble typewriter, or the movie camera, or the automobile.
|
|
||||||
Electrical contacts have ceased to stick when thoroughly understood.
|
|
||||||
Note the automatic telephone exchange, which has hundred of thousands
|
|
||||||
of such contacts, and yet is reliable. A spider web of metal, sealed
|
|
||||||
in a thin glass container, a wire heated to brilliant glow, in short,
|
|
||||||
the thermionic tube of radio sets, is made by the hundred million,
|
|
||||||
tossed about in packages, plugged into sockets - and it works! Its
|
|
||||||
gossamer parts, the precise location and alignment involved in its
|
|
||||||
construction, would have occupied a master craftsman of the guild for
|
|
||||||
months; now it is built for thirty cents. The world has arrived at an
|
|
||||||
age of cheap complex devices of great reliability; and something is
|
|
||||||
bound to come of it.
|
|
||||||
|
|
||||||
2
|
|
||||||
|
|
||||||
A record, if it is to be useful to science, must be continuously
|
|
||||||
extended, it must be stored, and above all it must be consulted.
|
|
||||||
Today we make the record conventionally by writing and photography,
|
|
||||||
followed by printing; but we also record on film, on wax disks, and on
|
|
||||||
magnetic wires. Even if utterly new recording procedures do not
|
|
||||||
appear, these present ones are certainly in the process of
|
|
||||||
modification and extension.
|
|
||||||
|
|
||||||
Certainly progress in photography is not going to stop. Faster
|
|
||||||
material and lenses, more automatic cameras, finer-grained sensitive
|
|
||||||
compounds to allow an extension of the minicamera idea, are all
|
|
||||||
imminent. Let us project this trend ahead to a logical, if not
|
|
||||||
inevitable, outcome. The camera hound of the future wears on his
|
|
||||||
forehead a lump a little larger than a walnut. It takes pictures 3
|
|
||||||
millimeters square, later to be projected or enlarged, which after all
|
|
||||||
involves only a factor of 10 beyond present practice. The lens is of
|
|
||||||
universal focus, down to any distance accommodated by the unaided eye,
|
|
||||||
simply because it is of short focal length. There is a built-in
|
|
||||||
photocell on the walnut such as we now have on at least one camera,
|
|
||||||
which automatically adjusts exposure for a wide range of illumination.
|
|
||||||
There is film in the walnut for a hundred exposures, and the spring for
|
|
||||||
operating its shutter and shifting its film is wound once for all when
|
|
||||||
the film clip is inserted. It produces its result in full color. It
|
|
||||||
may well be stereoscopic, and record with spaced glass eyes, for
|
|
||||||
striking improvements in stereoscopic technique are just around the
|
|
||||||
corner.
|
|
||||||
|
|
||||||
The cord which trips its shutter may reach down a man's sleeve within
|
|
||||||
easy reach of his fingers. A quick squeeze, and the picture is taken.
|
|
||||||
On a pair of ordinary glasses is a square of fine lines near the top
|
|
||||||
of one lens, where it is out of the way of ordinary vision. When an
|
|
||||||
object appears in that square, it is lined up for its picture. As the
|
|
||||||
scientist of the future moves about the laboratory or the field, every
|
|
||||||
time he looks at something worthy of the record, he trips the shutter
|
|
||||||
and in it goes, without even an audible click. Is this all fantastic?
|
|
||||||
The only fantastic thing about it is the idea of making as many
|
|
||||||
pictures as would result from its use.
|
|
||||||
|
|
||||||
Will there be dry photography? It is already here in two forms. When
|
|
||||||
Brady made his Civil War pictures, the plate had to be wet at the time
|
|
||||||
of exposure. Now it has to be wet during development instead. In the
|
|
||||||
future perhaps it need not be wetted at all. There have long been
|
|
||||||
films impregnated with diazo dyes which form a picture without
|
|
||||||
development, so that it is already there as soon as the camera has
|
|
||||||
been operated. An exposure to ammonia gas destroys the unexposed dye,
|
|
||||||
and the picture can then be taken out into the light and examined.
|
|
||||||
The process is now slow, but someone may speed it up, and it has no
|
|
||||||
grain difficulties such as now keep photographic researchers busy.
|
|
||||||
Often it would be advantageous to be able to snap the camera and to
|
|
||||||
look at the picture immediately.
|
|
||||||
|
|
||||||
Another process now in use is also slow, and more or less clumsy. For
|
|
||||||
fifty years impregnated papers have been used which turn dark at every
|
|
||||||
point where an electrical contact touches them, by reason of the
|
|
||||||
chemical change thus produced in an iodine compound included in the
|
|
||||||
paper. They have been used to make records, for a pointer moving
|
|
||||||
across them can leave a trail behind. If the electrical potential on
|
|
||||||
the pointer is varied as it moves, the line becomes light or dark in
|
|
||||||
accordance with the potential.
|
|
||||||
|
|
||||||
This scheme is now used in facsimile transmission. The pointer draws
|
|
||||||
a set of closely spaced lines across the paper one after another. As
|
|
||||||
it moves, its potential is varied in accordance with a varying current
|
|
||||||
received over wires from a distant station, where these variations are
|
|
||||||
produced by a photocell which is similarly scanning a picture. At
|
|
||||||
every instant the darkness of the line being drawn is made equal to
|
|
||||||
the darkness of the point on the picture being observed by the
|
|
||||||
photocell. Thus, when the whole picture has been covered, a replica
|
|
||||||
appears at the receiving end.
|
|
||||||
|
|
||||||
A scene itself can be just as well looked over line by line by the
|
|
||||||
photocell in this way as can a photograph of the scene. This whole
|
|
||||||
apparatus constitutes a camera, with the added feature, which can be
|
|
||||||
dispensed with if desired, of making its picture at a distance. It is
|
|
||||||
slow, and the picture is poor in detail. Still, it does give another
|
|
||||||
process of dry photography, in which the picture is finished as soon
|
|
||||||
as it is taken.
|
|
||||||
|
|
||||||
It would be a brave man who could predict that such a process will
|
|
||||||
always remain clumsy, slow, and faulty in detail. Television
|
|
||||||
equipment today transmits sixteen reasonably good images a second, and
|
|
||||||
it involves only two essential differences from the process described
|
|
||||||
above. For one, the record is made by a moving beam of electrons
|
|
||||||
rather than a moving pointer, for the reason that an electron beam can
|
|
||||||
sweep across the picture very rapidly indeed. The other difference
|
|
||||||
involves merely the use of a screen which glows momentarily when the
|
|
||||||
electrons hit, rather than a chemically treated paper or film which is
|
|
||||||
permanently altered. This speed is necessary in television, for
|
|
||||||
motion pictures rather than stills are the object.
|
|
||||||
|
|
||||||
Use chemically treated film in place of the glowing screen, allow the
|
|
||||||
apparatus to transmit one picture rather than a succession, and a
|
|
||||||
rapid camera for dry photography results. The treated film needs to
|
|
||||||
be far faster in action than present examples, but it probably could
|
|
||||||
be. More serious is the objection that this scheme would involve
|
|
||||||
putting the film inside a vacuum chamber, for electron beams behave
|
|
||||||
normally only in such a rarefied environment. This difficulty could
|
|
||||||
be avoided by allowing the electron beam to play on one side of a
|
|
||||||
partition, and by pressing the film against the other side, if this
|
|
||||||
partition were such as to allow the electrons to go through
|
|
||||||
perpendicular to its surface, and to prevent them from spreading out
|
|
||||||
sideways. Such partitions, in crude form, could certainly be
|
|
||||||
constructed, and they will hardly hold up the general development.
|
|
||||||
|
|
||||||
Like dry photography, microphotography still has a long way to go.
|
|
||||||
The basic scheme of reducing the size of the record, and examining it
|
|
||||||
by projection rather than directly, has possibilities too great to be
|
|
||||||
ignored. The combination of optical projection and photographic
|
|
||||||
reduction is already producing some results in microfilm for scholarly
|
|
||||||
purposes, and the potentialities are highly suggestive. Today, with
|
|
||||||
microfilm, reductions by a linear factor of 20 can be employed and
|
|
||||||
still produce full clarity when the material is re-enlarged for
|
|
||||||
examination. The limits are set by the graininess of the film, the
|
|
||||||
excellence of the optical system, and the efficiency of the light
|
|
||||||
sources employed. All of these are rapidly improving.
|
|
||||||
|
|
||||||
Assume a linear ratio of 100 for future use. Consider film of the
|
|
||||||
same thickness as paper, although thinner film will certainly be
|
|
||||||
usable. Even under these conditions there would be a total factor of
|
|
||||||
10,000 between the bulk of the ordinary record on books, and its
|
|
||||||
microfilm replica. The Encyclopoedia Britannica could be reduced to
|
|
||||||
the volume of a matchbox. A library of a million volumes could be
|
|
||||||
compressed into one end of a desk. If the human race has produced
|
|
||||||
since the invention of movable type a total record, in the form of
|
|
||||||
magazines, newspapers, books, tracts, advertising blurbs,
|
|
||||||
correspondence, having a volume corresponding to a billion books, the
|
|
||||||
whole affair, assembled and compressed, could be lugged off in a
|
|
||||||
moving van. Mere compression, of course, is not enough; one needs not
|
|
||||||
only to make and store a record but also to be able to consult it, and
|
|
||||||
this aspect of the matter comes later. Even the modern great library
|
|
||||||
is not generally consulted; it is nibbled by a few.
|
|
||||||
|
|
||||||
Compression is important, however, when it comes to costs. The
|
|
||||||
material for the microfilm Britannica would cost a nickel, and it
|
|
||||||
could be mailed anywhere for a cent. What would it cost to print a
|
|
||||||
million copies? To print a sheet of newspaper, in a large edition,
|
|
||||||
costs a small fraction of a cent. The entire material of the
|
|
||||||
Britannica in reduced microfilm form would go on a sheet eight and
|
|
||||||
one-half by eleven inches. Once it is available, with the
|
|
||||||
photographic reproduction methods of the future, duplicates in large
|
|
||||||
quantities could probably be turned out for a cent apiece beyond the
|
|
||||||
cost of materials. The preparation of the original copy? That
|
|
||||||
introduces the next aspect of the subject.
|
|
||||||
|
|
||||||
3
|
|
||||||
|
|
||||||
To make the record, we now push a pencil or tap a typewriter. Then
|
|
||||||
comes the process of digestion and correction, followed by an
|
|
||||||
intricate process of typesetting, printing, and distribution. To
|
|
||||||
consider the first stage of the procedure, will the author of the
|
|
||||||
future cease writing by hand or typewriter and talk directly to the
|
|
||||||
record? He does so indirectly, by talking to a stenographer or a wax
|
|
||||||
cylinder; but the elements are all present if he wishes to have his
|
|
||||||
talk directly produce a typed record. All he needs to do is to take
|
|
||||||
advantage of existing mechanisms and to alter his language.
|
|
||||||
|
|
||||||
At a recent World Fair a machine called a Voder was shown. A girl
|
|
||||||
stroked its keys and it emitted recognizable speech. No human vocal
|
|
||||||
cords entered in the procedure at any point; the keys simply combined
|
|
||||||
some electrically produced vibrations and passed these on to a
|
|
||||||
loud-speaker. In the Bell Laboratories there is the converse of this
|
|
||||||
machine, called a Vocoder. The loudspeaker is replaced by a
|
|
||||||
microphone, which picks up sound. Speak to it, and the corresponding
|
|
||||||
keys move. This may be one element of the postulated system.
|
|
||||||
|
|
||||||
The other element is found in the stenotype, that somewhat
|
|
||||||
disconcerting device encountered usually at public meetings. A girl
|
|
||||||
strokes its keys languidly and looks about the room and sometimes at
|
|
||||||
the speaker with a disquieting gaze. From it emerges a typed strip
|
|
||||||
which records in a phonetically simplified language a record of what
|
|
||||||
the speaker is supposed to have said. Later this strip is retyped
|
|
||||||
into ordinary language, for in its nascent form it is intelligible
|
|
||||||
only to the initiated. Combine these two elements, let the Vocoder
|
|
||||||
run the stenotype, and the result is a machine which types when talked
|
|
||||||
to.
|
|
||||||
|
|
||||||
Our present languages are not especially adapted to this sort of
|
|
||||||
mechanization, it is true. It is strange that the inventors of
|
|
||||||
universal languages have not seized upon the idea of producing one
|
|
||||||
which better fitted the technique for transmitting and recording
|
|
||||||
speech. Mechanization may yet force the issue, especially in the
|
|
||||||
scientific field; whereupon scientific jargon would become still less
|
|
||||||
intelligible to the layman.
|
|
||||||
|
|
||||||
One can now picture a future investigator in his laboratory. His
|
|
||||||
hands are free, and he is not anchored. As he moves about and
|
|
||||||
observes, he photographs and comments. Time is automatically recorded
|
|
||||||
to tie the two records together. If he goes into the field, he may be
|
|
||||||
connected by radio to his recorder. As he ponders over his notes in
|
|
||||||
the evening, he again talks his comments into the record. His typed
|
|
||||||
record, as well as his photographs, may both be in miniature, so that
|
|
||||||
he projects them for examination.
|
|
||||||
|
|
||||||
Much needs to occur, however, between the collection of data and
|
|
||||||
observations, the extraction of parallel material from the existing
|
|
||||||
record, and the final insertion of new material into the general body
|
|
||||||
of the common record. For mature thought there is no mechanical
|
|
||||||
substitute. But creative thought and essentially repetitive thought
|
|
||||||
are very different things. For the latter there are, and may be,
|
|
||||||
powerful mechanical aids.
|
|
||||||
|
|
||||||
Adding a column of figures is a repetitive thought process, and it was
|
|
||||||
long ago properly relegated to the machine. True, the machine is
|
|
||||||
sometimes controlled by the keyboard, and thought of a sort enters in
|
|
||||||
reading the figures and poking the corresponding keys, but even this
|
|
||||||
is avoidable. Machines have been made which will read typed figures
|
|
||||||
by photocells and then depress the corresponding keys; these are
|
|
||||||
combinations of photocells for scanning the type, electric circuits
|
|
||||||
for sorting the consequent variations, and relay circuits for
|
|
||||||
interpreting the result into the action of solenoids to pull the keys
|
|
||||||
down.
|
|
||||||
|
|
||||||
All this complication is needed because of the clumsy way in which we
|
|
||||||
have learned to write figures. If we recorded them positionally,
|
|
||||||
simply by the configuration of a set of dots on a card, the automatic
|
|
||||||
reading mechanism would become comparatively simple. In fact, if the
|
|
||||||
dots are holes, we have the punched-card machine long ago produced by
|
|
||||||
Hollorith for the purposes of the census, and now used throughout
|
|
||||||
business. Some types of complex businesses could hardly operate
|
|
||||||
without these machines.
|
|
||||||
|
|
||||||
Adding is only one operation. To perform arithmetical computation
|
|
||||||
involves also subtraction, multiplication, and division, and in
|
|
||||||
addition some method for temporary storage of results, removal from
|
|
||||||
storage for further manipulation, and recording of final results by
|
|
||||||
printing. Machines for these purposes are now of two types: keyboard
|
|
||||||
machines for accounting and the like, manually controlled for the
|
|
||||||
insertion of data, and usually automatically controlled as far as the
|
|
||||||
sequence of operations is concerned; and punched-card machines in
|
|
||||||
which separate operations are usually delegated to a series of
|
|
||||||
machines, and the cards then transferred bodily from one to another.
|
|
||||||
Both forms are very useful; but as far as complex computations are
|
|
||||||
concerned, both are still embryo.
|
|
||||||
|
|
||||||
Rapid electrical counting appeared soon after the physicists found it
|
|
||||||
desirable to count cosmic rays. For their own purposes the physicists
|
|
||||||
promptly constructed thermionic-tube equipment capable of counting
|
|
||||||
electrical impulses at the rate of 100,000 a second. The advanced
|
|
||||||
arithmetical machines of the future will be electrical in nature, and
|
|
||||||
they will perform at 100 times present speeds, or more.
|
|
||||||
|
|
||||||
Moreover, they will be far more versatile than present commercial
|
|
||||||
machines, so that they may readily be adapted for a wide variety of
|
|
||||||
operations. They will be controlled by a control card or film, they
|
|
||||||
will select their own data and manipulate it in accordance with the
|
|
||||||
instructions thus inserted, they will perform complex arithmetical
|
|
||||||
computations at exceedingly high speeds, and they will record results
|
|
||||||
in such form as to be readily available for distribution or for later
|
|
||||||
further manipulation. Such machines will have enormous appetites.
|
|
||||||
One of them will take instructions and data from a roomful of girls
|
|
||||||
armed with simple keyboard punches, and will deliver sheets of
|
|
||||||
computed results every few minutes. There will always be plenty of
|
|
||||||
things to compute in the detailed affairs of millions of people doing
|
|
||||||
complicated things.
|
|
||||||
|
|
||||||
4
|
|
||||||
|
|
||||||
The repetitive processes of thought are not confined, however, to
|
|
||||||
matters of arithmetic and statistics. In fact, every time one
|
|
||||||
combines and records facts in accordance with established logical
|
|
||||||
processes, the creative aspect of thinking is concerned only with the
|
|
||||||
selection of the data and the process to be employed, and the
|
|
||||||
manipulation thereafter is repetitive in nature and hence a fit matter
|
|
||||||
to be relegated to the machines. Not so much has been done along
|
|
||||||
these lines, beyond the bounds of arithmetic, as might be done,
|
|
||||||
primarily because of the economics of the situation. The needs of
|
|
||||||
business, and the extensive market obviously waiting, assured the
|
|
||||||
advent of mass-produced arithmetical machines just as soon as
|
|
||||||
production methods were sufficiently advanced.
|
|
||||||
|
|
||||||
With machines for advanced analysis no such situation existed; for
|
|
||||||
there was and is no extensive market; the users of advanced methods of
|
|
||||||
manipulating data are a very small part of the population. There are,
|
|
||||||
however, machines for solving differential equations - and functional
|
|
||||||
and integral equations, for that matter. There are many special
|
|
||||||
machines, such as the harmonic synthesizer which predicts the tides.
|
|
||||||
There will be many more, appearing certainly first in the hands of the
|
|
||||||
scientist and in small numbers.
|
|
||||||
|
|
||||||
If scientific reasoning were limited to the logical processes of
|
|
||||||
arithmetic, we should not get far in our understanding of the physical
|
|
||||||
world. One might as well attempt to grasp the game of poker entirely
|
|
||||||
by the use of the mathematics of probability. The abacus, with its
|
|
||||||
beads strung on parallel wires, led the Arabs to positional numeration
|
|
||||||
and the concept of zero many centuries before the rest of the world;
|
|
||||||
and it was a useful tool - so useful that it still exists.
|
|
||||||
|
|
||||||
It is a far cry from the abacus to the modern keyboard accounting
|
|
||||||
machine. It will be an equal step to the arithmetical machine of the
|
|
||||||
future. But even this new machine will not take the scientist where
|
|
||||||
he needs to go. Relief must be secured from laborious detailed
|
|
||||||
manipulation of higher mathematics as well, if the users of it are to
|
|
||||||
free their brains for something more than repetitive detailed
|
|
||||||
transformations in accordance with established rules. A mathematician
|
|
||||||
is not a man who can readily manipulate figures; often he cannot. He
|
|
||||||
is not even a man who can readily perform the transformation of
|
|
||||||
equations by the use of calculus. He is primarily an individual who
|
|
||||||
is skilled in the use of symbolic logic on a high plane, and
|
|
||||||
especially he is a man of intuitive judgment in the choice of the
|
|
||||||
manipulative processes he employs.
|
|
||||||
|
|
||||||
All else he should be able to turn over to his mechanism, just as
|
|
||||||
confidently as he turns over the propelling of his car to the
|
|
||||||
intricate mechanism under the hood. Only then will mathematics be
|
|
||||||
practically effective in bringing the growing knowledge of atomistics
|
|
||||||
to the useful solution of the advanced problems of chemistry,
|
|
||||||
metallurgy, and biology. For this reason there will come more
|
|
||||||
machines to handle advanced mathematics for the scientist. Some of
|
|
||||||
them will be sufficiently bizarre to suit the most fastidious
|
|
||||||
connoisseur of the present artifacts of civilization.
|
|
||||||
|
|
||||||
5
|
|
||||||
|
|
||||||
The scientist, however, is not the only person who manipulates data
|
|
||||||
and examines the world about him by the use of logical processes,
|
|
||||||
although he sometimes preserves this appearance by adopting into the
|
|
||||||
fold anyone who becomes logical, much in the manner in which a British
|
|
||||||
labor leader is elevated to knighthood. Whenever logical processes of
|
|
||||||
thought are employed - that is, whenever thought for a time runs along
|
|
||||||
an accepted groove - there is an opportunity for the machine. Formal
|
|
||||||
logic used to be a keen instrument in the hands of the teacher in his
|
|
||||||
trying of students' souls. It is readily possible to construct a
|
|
||||||
machine which will manipulate premises in accordance with formal
|
|
||||||
logic, simply by the clever use of relay circuits. Put a set of
|
|
||||||
premises into such a device and turn the crank, and it will readily
|
|
||||||
pass out conclusion after conclusion, all in accordance with logical
|
|
||||||
law, and with no more slips than would be expected of a keyboard
|
|
||||||
adding machine.
|
|
||||||
|
|
||||||
Logic can become enormously difficult, and it would undoubtedly be
|
|
||||||
well to produce more assurance in its use. The machines for higher
|
|
||||||
analysis have usually been equation solvers. Ideas are beginning to
|
|
||||||
appear for equation transformers, which will rearrange the
|
|
||||||
relationship expressed by an equation in accordance with strict and
|
|
||||||
rather advanced logic. Progress is inhibited by the exceedingly crude
|
|
||||||
way in which mathematicians express their relationships. They employ
|
|
||||||
a symbolism which grew like Topsy and has little consistency; a
|
|
||||||
strange fact in that most logical field.
|
|
||||||
|
|
||||||
A new symbolism, probably positional, must apparently precede the
|
|
||||||
reduction of mathematical transformations to machine processes. Then,
|
|
||||||
on beyond the strict logic of the mathematician, lies the application
|
|
||||||
of logic in everyday affairs. We may some day click off arguments on
|
|
||||||
a machine with the same assurance that we now enter sales on a cash
|
|
||||||
register. But the machine of logic will not look like a cash
|
|
||||||
register, even a streamlined model.
|
|
||||||
|
|
||||||
So much for the manipulation of ideas and their insertion into the
|
|
||||||
record. Thus far we seem to be worse off than before - for we can
|
|
||||||
enormously extend the record; yet even in its present bulk we can
|
|
||||||
hardly consult it. This is a much larger matter than merely the
|
|
||||||
extraction of data for the purposes of scientific research; it
|
|
||||||
involves the entire process by which man profits by his inheritance of
|
|
||||||
acquired knowledge. The prime action of use is selection, and here we
|
|
||||||
are halting indeed. There may be millions of fine thoughts, and the
|
|
||||||
account of the experience on which they are based, all encased within
|
|
||||||
stone walls of acceptable architectural form; but if the scholar can
|
|
||||||
get at only one a week by diligent search, his syntheses are not
|
|
||||||
likely to keep up with the current scene.
|
|
||||||
|
|
||||||
Selection, in this broad sense, is a stone adze in the hands of a
|
|
||||||
cabinetmaker. Yet, in a narrow sense and in other areas, something
|
|
||||||
has already been done mechanically on selection. The personnel
|
|
||||||
officer of a factory drops a stack of a few thousand employee cards
|
|
||||||
into a selecting machine, sets a code in accordance with an
|
|
||||||
established convention, and produces in a short time a list of all
|
|
||||||
employees who live in Trenton and know Spanish. Even such devices are
|
|
||||||
much too slow when it comes, for example, to matching a set of
|
|
||||||
fingerprints with one of five millions on file. Selection devices of
|
|
||||||
this sort will soon be speeded up from their present rate of reviewing
|
|
||||||
data at a few hundred a minute. By the use of photocells and
|
|
||||||
microfilm they will survey items at the rate of thousands a second,
|
|
||||||
and will print out duplicates of those selected.
|
|
||||||
|
|
||||||
This process, however, is simple selection: it proceeds by examining
|
|
||||||
in turn every one of a large set of items, and by picking out those
|
|
||||||
which have certain specified characteristics. There is another form
|
|
||||||
of selection best illustrated by the automatic telephone exchange.
|
|
||||||
You dial a number and the machine selects and connects just one of a
|
|
||||||
million possible stations. It does not run over them all. It pays
|
|
||||||
attention only to a class given by a first digit, and so on; and thus
|
|
||||||
proceeds rapidly and almost unerringly to the selected station. It
|
|
||||||
requires a few seconds to make the selection, although the process
|
|
||||||
could be speeded up if increased speed were economically warranted.
|
|
||||||
If necessary, it could be made extremely fast by substituting
|
|
||||||
thermionic-tube switching for mechanical switching, so that the full
|
|
||||||
selection could be made in one-hundredth of a second. No one would
|
|
||||||
wish to spend the money necessary to make this change in the telephone
|
|
||||||
system, but the general idea is applicable elsewhere.
|
|
||||||
|
|
||||||
Take the prosaic problem of the great department store. Every time a
|
|
||||||
charge sale is made, there are a number of things to be done.. The
|
|
||||||
inventory needs to be revised, the salesman needs to be given credit
|
|
||||||
for the sale, the general accounts need an entry, and, most important,
|
|
||||||
the customer needs to be charged. A central records device has been
|
|
||||||
developed in which much of this work is done conveniently. The
|
|
||||||
salesman places on a stand the customer's identification card, his own
|
|
||||||
card, and the card taken from the article sold - all punched cards.
|
|
||||||
When he pulls a lever, contacts are made through the holes, machinery
|
|
||||||
at a central point makes the necessary computations and entries, and
|
|
||||||
the proper receipt is printed for the salesman to pass to the
|
|
||||||
customer.
|
|
||||||
|
|
||||||
But there may be ten thousand charge customers doing business with the
|
|
||||||
store, and before the full operation can be completed someone has to
|
|
||||||
select the right card and insert it at the central office. Now rapid
|
|
||||||
selection can slide just the proper card into position in an instant
|
|
||||||
or two, and return it afterward. Another difficulty occurs, however.
|
|
||||||
Someone must read a total on the card, so that the machine can add its
|
|
||||||
computed item to it. Conceivably the cards might be of the dry
|
|
||||||
photography type I have described. Existing totals could then be read
|
|
||||||
by photocell, and the new total entered by an electron beam.
|
|
||||||
|
|
||||||
The cards may be in miniature, so that they occupy little space. They
|
|
||||||
must move quickly. They need not be transferred far, but merely into
|
|
||||||
position so that the photocell and recorder can operate on them.
|
|
||||||
Positional dots can enter the data. At the end of the month a machine
|
|
||||||
can readily be made to read these and to print an ordinary bill. With
|
|
||||||
tube selection, in which no mechanical parts are involved in the
|
|
||||||
switches, little time need be occupied in bringing the correct card
|
|
||||||
into use - a second should suffice for the entire operation. The
|
|
||||||
whole record on the card may be made by magnetic dots on a steel sheet
|
|
||||||
if desired, instead of dots to be observed optically, following the
|
|
||||||
scheme by which Poulsen long ago put speech on a magnetic wire. This
|
|
||||||
method has the advantage of simplicity and ease of erasure. By using
|
|
||||||
photography, however, one can arrange to project the record in
|
|
||||||
enlarged form, and at a distance by using the process common in
|
|
||||||
television equipment.
|
|
||||||
|
|
||||||
One can consider rapid selection of this form, and distant projection
|
|
||||||
for other purposes. To be able to key one sheet of a million before
|
|
||||||
an operator in a second or two, with the possibility of then adding
|
|
||||||
notes thereto, is suggestive in many ways. It might even be of use in
|
|
||||||
libraries, but that is another story. At any rate, there are now some
|
|
||||||
interesting combinations possible. One might, for example, speak to a
|
|
||||||
microphone, in the manner described in connection with the
|
|
||||||
speech-controlled typewriter, and thus make his selections. It would
|
|
||||||
certainly beat the usual file clerk.
|
|
||||||
|
|
||||||
6
|
|
||||||
|
|
||||||
The real heart of the matter of selection, however, goes deeper than a
|
|
||||||
lag in the adoption of mechanisms by libraries, or a lack of
|
|
||||||
development of devices for their use. Our ineptitude in getting at
|
|
||||||
the record is largely caused by the artificiality of systems of
|
|
||||||
indexing. When data of any sort are placed in storage, they are filed
|
|
||||||
alphabetically or numerically, and information is found (when it is)
|
|
||||||
by tracing it down from subclass to subclass. It can be in only one
|
|
||||||
place, unless duplicates are used; one has to have rules as to which
|
|
||||||
path will locate it, and the rules are cumbersome. Having found one
|
|
||||||
item, moreover, one has to emerge from the system and re-enter on a
|
|
||||||
new path.
|
|
||||||
|
|
||||||
The human mind does not work that way. It operates by association.
|
|
||||||
With one item in its grasp, it snaps instantly to the next that is
|
|
||||||
suggested by the association of thoughts, in accordance with some
|
|
||||||
intricate web of trails carried by the cells of the brain. It has
|
|
||||||
other characteristics, of course; trails that are not frequently
|
|
||||||
followed are prone to fade, items are not fully permanent, memory is
|
|
||||||
transitory. Yet the speed of action, the intricacy of trails, the
|
|
||||||
detail of mental pictures, is awe-inspiring beyond all else in nature.
|
|
||||||
|
|
||||||
Man cannot hope fully to duplicate this mental process artificially,
|
|
||||||
but he certainly ought to be able to learn from it. In minor ways he
|
|
||||||
may even improve, for his records have relative permanency. The first
|
|
||||||
idea, however, to be drawn from the analogy concerns selection.
|
|
||||||
Selection by association, rather than by indexing, may yet be
|
|
||||||
mechanized. One cannot hope thus to equal the speed and flexibility
|
|
||||||
with which the mind follows an associative trail, but it should be
|
|
||||||
possible to beat the mind decisively in regard to the permanence and
|
|
||||||
clarity of the items resurrected from storage.
|
|
||||||
|
|
||||||
Consider a future device for individual use, which is a sort of
|
|
||||||
mechanized private file and library. It needs a name, and to coin
|
|
||||||
one at random, ``memex'' will do. A memex is a device in which an
|
|
||||||
individual stores all his books, records, and communications, and
|
|
||||||
which is mechanized so that it may be consulted with exceeding speed
|
|
||||||
and flexibility. It is an enlarged intimate supplement to his memory.
|
|
||||||
|
|
||||||
It consists of a desk, and while it can presumably be operated from a
|
|
||||||
distance, it is primarily the piece of furniture at which he works.
|
|
||||||
On the top are slanting translucent screens, on which material can be
|
|
||||||
projected for convenient reading. There is a keyboard, and sets of
|
|
||||||
buttons and levers. Otherwise it looks like an ordinary desk.
|
|
||||||
|
|
||||||
In one end is the stored material. The matter of bulk is well taken
|
|
||||||
care of by improved microfilm. Only a small part of the interior of
|
|
||||||
the memex is devoted to storage, the rest to mechanism. Yet if the
|
|
||||||
user inserted 5000 pages of material a day it would take him hundreds
|
|
||||||
of years to fill the repository, so he can be profligate and enter
|
|
||||||
material freely.
|
|
||||||
|
|
||||||
Most of the memex contents are purchased on microfilm ready for
|
|
||||||
insertion. Books of all sorts, pictures, current periodicals,
|
|
||||||
newspapers, are thus obtained and dropped into place. Business
|
|
||||||
correspondence takes the same path. And there is provision for direct
|
|
||||||
entry. On the top of the memex is a transparent platen. On this are
|
|
||||||
placed longhand notes, photographs, memoranda, all sort of things.
|
|
||||||
When one is in place, the depression of a lever causes it to be
|
|
||||||
photographed onto the next blank space in a section of the memex film,
|
|
||||||
dry photography being employed.
|
|
||||||
|
|
||||||
There is, of course, provision for consultation of the record by the
|
|
||||||
usual scheme of indexing. If the user wishes to consult a certain
|
|
||||||
book, he taps its code on the keyboard, and the title page of the book
|
|
||||||
promptly appears before him, projected onto one of his viewing
|
|
||||||
positions. Frequently-used codes are mnemonic, so that he seldom
|
|
||||||
consults his code book; but when he does, a single tap of a key
|
|
||||||
projects it for his use. Moreover, he has supplemental levers. On
|
|
||||||
deflecting one of these levers to the right he runs through the book
|
|
||||||
before him, each page in turn being projected at a speed which just
|
|
||||||
allows a recognizing glance at each. If he deflects it further to the
|
|
||||||
right, he steps through the book 10 pages at a time; still further at
|
|
||||||
100 pages at a time. Deflection to the left gives him the same
|
|
||||||
control backwards.
|
|
||||||
|
|
||||||
A special button transfers him immediately to the first page of the
|
|
||||||
index. Any given book of his library can thus be called up and
|
|
||||||
consulted with far greater facility than if it were taken from a
|
|
||||||
shelf. As he has several projection positions, he can leave one item
|
|
||||||
in position while he calls up another. He can add marginal notes and
|
|
||||||
comments, taking advantage of one possible type of dry photography,
|
|
||||||
and it could even be arranged so that he can do this by a stylus
|
|
||||||
scheme, such as is now employed in the telautograph seen in railroad
|
|
||||||
waiting rooms, just as though he had the physical page before him.
|
|
||||||
|
|
||||||
7
|
|
||||||
|
|
||||||
All this is conventional, except for the projection forward of
|
|
||||||
present-day mechanisms and gadgetry. It affords an immediate step,
|
|
||||||
however, to associative indexing, the basic idea of which is a
|
|
||||||
provision whereby any item may be caused at will to select immediately
|
|
||||||
and automatically another. This is the essential feature of the
|
|
||||||
memex. The process of tying two items together is the important
|
|
||||||
thing.
|
|
||||||
|
|
||||||
When the user is building a trail, he names it, inserts the name in
|
|
||||||
his code book, and taps it out on his keyboard. Before him are the
|
|
||||||
two items to be joined, projected onto adjacent viewing positions. At
|
|
||||||
the bottom of each there are a number of blank code spaces, and a
|
|
||||||
pointer is set to indicate one of these on each item. The user taps a
|
|
||||||
single key, and the items are permanently joined. In each code space
|
|
||||||
appears the code word. Out of view, but also in the code space, is
|
|
||||||
inserted a set of dots for photocell viewing; and on each item these
|
|
||||||
dots by their positions designate the index number of the other item.
|
|
||||||
|
|
||||||
Thereafter, at any time, when one of these items is in view, the other
|
|
||||||
can be instantly recalled merely by tapping a button below the
|
|
||||||
corresponding code space. Moreover, when numerous items have been
|
|
||||||
thus joined together to form a trail, they can be reviewed in turn,
|
|
||||||
rapidly or slowly, by deflecting a lever like that used for turning
|
|
||||||
the pages of a book. It is exactly as though the physical items had
|
|
||||||
been gathered together to form a new book. It is more than this, for
|
|
||||||
any item can be joined into numerous trails.
|
|
||||||
|
|
||||||
The owner of the memex, let us say, is interested in the origin and
|
|
||||||
properties of the bow and arrow. Specifically he is studying why the
|
|
||||||
short Turkish bow was apparently superior to the English long bow in
|
|
||||||
the skirmishes of the Crusades. He has dozens of possibly pertinent
|
|
||||||
books and articles in his memex. First he runs through an
|
|
||||||
encyclopedia, finds an interesting but sketchy article, leaves it
|
|
||||||
projected. Next, in a history, he finds another pertinent item, and
|
|
||||||
ties the two together. Thus he goes, building a trail of many items.
|
|
||||||
Occasionally he inserts a comment of his own, either linking it into
|
|
||||||
the main trail or joining it by a side trail to a particular item.
|
|
||||||
When it becomes evident that the elastic properties of available
|
|
||||||
materials had a great deal to do with the bow, he branches off on a
|
|
||||||
side trail which takes him through textbooks on elasticity and tables
|
|
||||||
of physical constants. He inserts a page of longhand analysis of his
|
|
||||||
own. Thus he builds a trail of his interest through the maze of
|
|
||||||
materials available to him.
|
|
||||||
|
|
||||||
And his trails do not fade. Several years later, his talk with a
|
|
||||||
friend turns to the queer ways in which a people resist innovations,
|
|
||||||
even of vital interest. He has an example, in the fact that the
|
|
||||||
outranged Europeans still failed to adopt the Turkish bow. In fact he
|
|
||||||
has a trail on it. A touch brings up the code book. Tapping a few
|
|
||||||
keys projects the head of the trail. A lever runs through it at will,
|
|
||||||
stopping at interesting items, going off on side excursions. It is an
|
|
||||||
interesting trail, pertinent to the discussion. So he sets a
|
|
||||||
reproducer in action, photographs the whole trail out, and passes it
|
|
||||||
to his friend for insertion in his own memex, there to be linked into
|
|
||||||
the more general trail.
|
|
||||||
|
|
||||||
8
|
|
||||||
|
|
||||||
Wholly new forms of encyclopedias will appear, ready-made with a mesh
|
|
||||||
of associative trails running through them, ready to be dropped into
|
|
||||||
the memex and there amplified. The lawyer has at his touch the
|
|
||||||
associated opinions and decisions of his whole experience, and of the
|
|
||||||
experience of friends and authorities. The patent attorney has on
|
|
||||||
call the millions of issued patents, with familiar trails to every
|
|
||||||
point of his client's interest. The physician, puzzled by its
|
|
||||||
patient's reactions, strikes the trail established in studying an
|
|
||||||
earlier similar case, and runs rapidly through analogous case
|
|
||||||
histories, with side references to the classics for the pertinent
|
|
||||||
anatomy and histology. The chemist, struggling with the synthesis of
|
|
||||||
an organic compound, has all the chemical literature before him in his
|
|
||||||
laboratory, with trails following the analogies of compounds, and side
|
|
||||||
trails to their physical and chemical behavior.
|
|
||||||
|
|
||||||
The historian, with a vast chronological account of a people,
|
|
||||||
parallels it with a skip trail which stops only at the salient items,
|
|
||||||
and can follow at any time contemporary trails which lead him all over
|
|
||||||
civilization at a particular epoch. There is a new profession of
|
|
||||||
trail blazers, those who find delight in the task of establishing
|
|
||||||
useful trails through the enormous mass of the common record. The
|
|
||||||
inheritance from the master becomes, not only his additions to the
|
|
||||||
world's record, but for his disciples the entire scaffolding by which
|
|
||||||
they were erected.
|
|
||||||
|
|
||||||
Thus science may implement the ways in which man produces, stores, and
|
|
||||||
consults the record of the race. It might be striking to outline the
|
|
||||||
instrumentalities of the future more spectacularly, rather than to
|
|
||||||
stick closely to the methods and elements now known and undergoing
|
|
||||||
rapid development, as has been done here. Technical difficulties of
|
|
||||||
all sorts have been ignored, certainly, but also ignored are means as
|
|
||||||
yet unknown which may come any day to accelerate technical progress as
|
|
||||||
violently as did the advent of the thermionic tube. In order that the
|
|
||||||
picture may not be too commonplace, by reason of sticking to
|
|
||||||
present-day patterns, it may be well to mention one such possibility,
|
|
||||||
not to prophesy but merely to suggest, for prophecy based on extension
|
|
||||||
of the known has substance, while prophecy founded on the unknown is
|
|
||||||
only a doubly involved guess.
|
|
||||||
|
|
||||||
All our steps in creating or absorbing material of the record proceed
|
|
||||||
through one of the senses - the tactile when we touch keys, the oral
|
|
||||||
when we speak or listen, the visual when we read. Is it not possible
|
|
||||||
that some day the path may be established more directly?
|
|
||||||
|
|
||||||
We know that when the eye sees, all the consequent information is
|
|
||||||
transmitted to the brain by means of electrical vibrations in the
|
|
||||||
channel of the optic nerve. This is an exact analogy with the
|
|
||||||
electrical vibrations which occur in the cable of a television set:
|
|
||||||
they convey the picture from the photocells which see it to the radio
|
|
||||||
transmitter from which it is broadcast. We know further that if we
|
|
||||||
can approach that cable with the proper instruments, we do not need to
|
|
||||||
touch it; we can pick up those vibrations by electrical induction and
|
|
||||||
thus discover and reproduce the scene which is being transmitted, just
|
|
||||||
as a telephone wire may be tapped for its message.
|
|
||||||
|
|
||||||
The impulses which flow in the arm nerves of a typist convey to her
|
|
||||||
fingers the translated information which reaches her eye or ear, in
|
|
||||||
order that the fingers may be caused to strike the proper keys. Might
|
|
||||||
not these currents be intercepted, either in the original form in
|
|
||||||
which information is conveyed to the brain, or in the marvelously
|
|
||||||
metamorphosed form in which they then proceed to the hand?
|
|
||||||
|
|
||||||
By bone conduction we already introduce sounds into the nerve channels
|
|
||||||
of the deaf in order that they may hear. Is it not possible that we
|
|
||||||
may learn to introduce them without the present cumbersomeness of
|
|
||||||
first transforming electrical vibrations to mechanical ones, which the
|
|
||||||
human mechanism promptly transforms back to the electrical form? With
|
|
||||||
a couple of electrodes on the skull the encephalograph now produces
|
|
||||||
pen-and-ink traces which bear some relation to the electrical
|
|
||||||
phenomena going on in the brain itself. True, the record is
|
|
||||||
unintelligible, except as it points out certain gross misfunctioning
|
|
||||||
of the cerebral mechanism; but who would now place bounds on where
|
|
||||||
such a thing may lead?
|
|
||||||
|
|
||||||
In the outside world, all forms of intelligence, whether of sound or
|
|
||||||
sight, have been reduced to the form of varying currents in an
|
|
||||||
electric circuit in order that they may be transmitted. Inside the
|
|
||||||
human frame exactly the same sort of process occurs. Must we always
|
|
||||||
transform to mechanical movements in order to proceed from one
|
|
||||||
electrical phenomenon to another? It is a suggestive thought, but it
|
|
||||||
hardly warrants prediction without losing touch with reality and
|
|
||||||
immediateness.
|
|
||||||
|
|
||||||
Presumably man's spirit should be elevated if he can better review his
|
|
||||||
shady past and analyze more completely and objectively his present
|
|
||||||
problems. He has built a civilization so complex that he needs to
|
|
||||||
mechanize his record more fully if he is to push his experiment to its
|
|
||||||
logical conclusion and not merely become bogged down part way there by
|
|
||||||
overtaxing his limited memory. His excursion may be more enjoyable if
|
|
||||||
he can reacquire the privilege of forgetting the manifold things he
|
|
||||||
does not need to have immediately at hand, with some assurance that he
|
|
||||||
can find them again if they prove important.
|
|
||||||
|
|
||||||
The applications of science have built man a well-supplied house, and
|
|
||||||
are teaching him to live healthily therein. They have enabled him to
|
|
||||||
throw masses of people against another with cruel weapons. They may
|
|
||||||
yet allow him truly to encompass the great record and to grow in the
|
|
||||||
wisdom of race experience. He may perish in conflict before he learns
|
|
||||||
to wield that record for his true good. Yet, in the application of
|
|
||||||
science to the needs and desires of man, it would seem to be a
|
|
||||||
singularly unfortunate stage at which to terminate the process, or to
|
|
||||||
lose hope as to the outcome.
|
|
||||||
</div>
|
|
||||||
|
|
||||||
</body>
|
|
||||||
</html>
|
|
@ -1,844 +0,0 @@
|
|||||||
AS WE MAY THINK
|
|
||||||
by VANNEVAR BUSH
|
|
||||||
|
|
||||||
THE ATLANTIC MONTHLY, JULY 1945
|
|
||||||
|
|
||||||
----------------------------------------------------------------------
|
|
||||||
|
|
||||||
This article was originally published in the July 1945 issue of The
|
|
||||||
Atlantic Monthly. It is reproduced here with their permission.
|
|
||||||
|
|
||||||
The electronic version was prepared by Denys Duchier, April 1994.
|
|
||||||
Please email comments and corrections to dduchier@csi.uottawa.ca.
|
|
||||||
|
|
||||||
----------------------------------------------------------------------
|
|
||||||
|
|
||||||
As Director of the Office of Scientific Research and Development, Dr.
|
|
||||||
Vannevar Bush has coordinated the activities of some six thousand
|
|
||||||
leading American scientists in the application of science to warfare.
|
|
||||||
In this significant article he holds up an incentive for scientists
|
|
||||||
when the fighting has ceased. He urges that men of science should
|
|
||||||
then turn to the massive task of making more accessible our
|
|
||||||
bewildering store of knowledge. For many years inventions have
|
|
||||||
extended man's physical powers rather than the powers of his mind.
|
|
||||||
Trip hammers that multiply the fists, microscopes that sharpen the
|
|
||||||
eye, and engines of destruction and detection are new results, but the
|
|
||||||
end results, of modern science. Now, says Dr. Bush, instruments are
|
|
||||||
at hand which, if properly developed, will give man access to and
|
|
||||||
command over the inherited knowledge of the ages. The perfection of
|
|
||||||
these pacific instruments should be the first objective of our
|
|
||||||
scientists as they emerge from their war work. Like Emerson's famous
|
|
||||||
address of 1837 on ``The American Scholar,'' this paper by Dr. Bush
|
|
||||||
calls for a new relationship between thinking man and the sum of our
|
|
||||||
knowledge. - The Editor
|
|
||||||
|
|
||||||
----------------------------------------------------------------------
|
|
||||||
|
|
||||||
This has not been a scientist's war; it has been a war in which all
|
|
||||||
have had a part. The scientists, burying their old professional
|
|
||||||
competition in the demand of a common cause, have shared greatly and
|
|
||||||
learned much. It has been exhilarating to work in effective
|
|
||||||
partnership. Now, for many, this appears to be approaching an end.
|
|
||||||
What are the scientists to do next?
|
|
||||||
|
|
||||||
For the biologists, and particularly for the medical scientists, there
|
|
||||||
can be little indecision, for their war work has hardly required them
|
|
||||||
to leave the old paths. Many indeed have been able to carry on their
|
|
||||||
war research in their familiar peacetime laboratories. Their
|
|
||||||
objectives remain much the same.
|
|
||||||
|
|
||||||
It is the physicists who have been thrown most violently off stride,
|
|
||||||
who have left academic pursuits for the making of strange destructive
|
|
||||||
gadgets, who have had to devise new methods for their unanticipated
|
|
||||||
assignments. They have done their part on the devices that made it
|
|
||||||
possible to turn back the enemy. They have worked in combined effort
|
|
||||||
with the physicists of our allies. They have felt within themselves
|
|
||||||
the stir of achievement. They have been part of a great team. Now,
|
|
||||||
as peace approaches, one asks where they will find objectives worthy
|
|
||||||
of their best.
|
|
||||||
|
|
||||||
1
|
|
||||||
|
|
||||||
Of what lasting benefit has been man's use of science and of the new
|
|
||||||
instruments which his research brought into existence? First, they
|
|
||||||
have increased his control of his material environment. They have
|
|
||||||
improved his food, his clothing, his shelter; they have increased his
|
|
||||||
security and released him partly from the bondage of bare existence.
|
|
||||||
They have given him increased knowledge of his own biological
|
|
||||||
processes so that he has had a progressive freedom from disease and an
|
|
||||||
increased span of life. They are illuminating the interactions of his
|
|
||||||
physiological and psychological functions, giving the promise of an
|
|
||||||
improved mental health.
|
|
||||||
|
|
||||||
Science has provided the swiftest communication between individuals;
|
|
||||||
it has provided a record of ideas and has enabled man to manipulate
|
|
||||||
and to make extracts from that record so that knowledge evolves and
|
|
||||||
endures throughout the life of a race rather than that of an
|
|
||||||
individual.
|
|
||||||
|
|
||||||
There is a growing mountain of research. But there is increased
|
|
||||||
evidence that we are being bogged down today as specialization
|
|
||||||
extends. The investigator is staggered by the findings and
|
|
||||||
conclusions of thousands of other workers - conclusions which he
|
|
||||||
cannot find time to grasp, much less to remember, as they appear. Yet
|
|
||||||
specialization becomes increasingly necessary for progress, and the
|
|
||||||
effort to bridge between disciplines is correspondingly superficial.
|
|
||||||
|
|
||||||
Professionally our methods of transmitting and reviewing the results
|
|
||||||
of research are generations old and by now are totally inadequate for
|
|
||||||
their purpose. If the aggregate time spent in writing scholarly works
|
|
||||||
and in reading them could be evaluated, the ratio between these
|
|
||||||
amounts of time might well be startling. Those who conscientiously
|
|
||||||
attempt to keep abreast of current thought, even in restricted fields,
|
|
||||||
by close and continuous reading might well shy away from an
|
|
||||||
examination calculated to show how much of the previous month's
|
|
||||||
efforts could be produced on call. Mendel's concept of the laws of
|
|
||||||
genetics was lost to the world for a generation because his
|
|
||||||
publication did not reach the few who were capable of grasping and
|
|
||||||
extending it; and this sort of catastrophe is undoubtedly being
|
|
||||||
repeated all about us, as truly significant attainments become lost in
|
|
||||||
the mass of the inconsequential.
|
|
||||||
|
|
||||||
The difficulty seems to be, not so much that we publish unduly in view
|
|
||||||
of the extent and variety of present-day interests, but rather that
|
|
||||||
publication has been extended far beyond our present ability to make
|
|
||||||
real use of the record. The summation of human experience is being
|
|
||||||
expanded at a prodigious rate, and the means we use for threading
|
|
||||||
through the consequent maze to the momentarily important item is the
|
|
||||||
same as was used in the days of square-rigged ships.
|
|
||||||
|
|
||||||
But there are signs of a change as new and powerful instrumentalities
|
|
||||||
come into use. Photocells capable of seeing things in a physical
|
|
||||||
sense, advanced photography which can record what is seen or even what
|
|
||||||
is not, thermionic tubes capable of controlling potent forces under
|
|
||||||
the guidance of less power than a mosquito uses to vibrate his wings,
|
|
||||||
cathode ray tubes rendering visible an occurrence so brief that by
|
|
||||||
comparison a microsecond is a long time, relay combinations which will
|
|
||||||
carry out involved sequences of movements more reliably than any human
|
|
||||||
operator and thousand of times as fast - there are plenty of
|
|
||||||
mechanical aids with which to effect a transformation in scientific
|
|
||||||
records.
|
|
||||||
|
|
||||||
Two centuries ago Leibnitz invented a calculating machine which
|
|
||||||
embodied most of the essential features of recent keyboard devices,
|
|
||||||
but it could not then come into use. The economics of the situation
|
|
||||||
were against it: the labor involved in constructing it, before the
|
|
||||||
days of mass production, exceeded the labor to be saved by its use,
|
|
||||||
since all it could accomplish could be duplicated by sufficient use of
|
|
||||||
pencil and paper. Moreover, it would have been subject to frequent
|
|
||||||
breakdown, so that it could not have been depended upon; for at that
|
|
||||||
time and long after, complexity and unreliability were synonymous.
|
|
||||||
|
|
||||||
Babbage, even with remarkably generous support for his time, could not
|
|
||||||
produce his great arithmetical machine. His idea was sound enough,
|
|
||||||
but construction and maintenance costs were then too heavy. Had a
|
|
||||||
Pharaoh been given detailed and explicit designs of an automobile, and
|
|
||||||
had he understood them completely, it would have taxed the resources
|
|
||||||
of his kingdom to have fashioned the thousands of parts for a single
|
|
||||||
car, and that car would have broken down on the first trip to Giza.
|
|
||||||
|
|
||||||
Machines with interchangeable parts can now be constructed with great
|
|
||||||
economy of effort. In spite of much complexity, they perform reliably.
|
|
||||||
Witness the humble typewriter, or the movie camera, or the automobile.
|
|
||||||
Electrical contacts have ceased to stick when thoroughly understood.
|
|
||||||
Note the automatic telephone exchange, which has hundred of thousands
|
|
||||||
of such contacts, and yet is reliable. A spider web of metal, sealed
|
|
||||||
in a thin glass container, a wire heated to brilliant glow, in short,
|
|
||||||
the thermionic tube of radio sets, is made by the hundred million,
|
|
||||||
tossed about in packages, plugged into sockets - and it works! Its
|
|
||||||
gossamer parts, the precise location and alignment involved in its
|
|
||||||
construction, would have occupied a master craftsman of the guild for
|
|
||||||
months; now it is built for thirty cents. The world has arrived at an
|
|
||||||
age of cheap complex devices of great reliability; and something is
|
|
||||||
bound to come of it.
|
|
||||||
|
|
||||||
2
|
|
||||||
|
|
||||||
A record, if it is to be useful to science, must be continuously
|
|
||||||
extended, it must be stored, and above all it must be consulted.
|
|
||||||
Today we make the record conventionally by writing and photography,
|
|
||||||
followed by printing; but we also record on film, on wax disks, and on
|
|
||||||
magnetic wires. Even if utterly new recording procedures do not
|
|
||||||
appear, these present ones are certainly in the process of
|
|
||||||
modification and extension.
|
|
||||||
|
|
||||||
Certainly progress in photography is not going to stop. Faster
|
|
||||||
material and lenses, more automatic cameras, finer-grained sensitive
|
|
||||||
compounds to allow an extension of the minicamera idea, are all
|
|
||||||
imminent. Let us project this trend ahead to a logical, if not
|
|
||||||
inevitable, outcome. The camera hound of the future wears on his
|
|
||||||
forehead a lump a little larger than a walnut. It takes pictures 3
|
|
||||||
millimeters square, later to be projected or enlarged, which after all
|
|
||||||
involves only a factor of 10 beyond present practice. The lens is of
|
|
||||||
universal focus, down to any distance accommodated by the unaided eye,
|
|
||||||
simply because it is of short focal length. There is a built-in
|
|
||||||
photocell on the walnut such as we now have on at least one camera,
|
|
||||||
which automatically adjusts exposure for a wide range of illumination.
|
|
||||||
There is film in the walnut for a hundred exposures, and the spring for
|
|
||||||
operating its shutter and shifting its film is wound once for all when
|
|
||||||
the film clip is inserted. It produces its result in full color. It
|
|
||||||
may well be stereoscopic, and record with spaced glass eyes, for
|
|
||||||
striking improvements in stereoscopic technique are just around the
|
|
||||||
corner.
|
|
||||||
|
|
||||||
The cord which trips its shutter may reach down a man's sleeve within
|
|
||||||
easy reach of his fingers. A quick squeeze, and the picture is taken.
|
|
||||||
On a pair of ordinary glasses is a square of fine lines near the top
|
|
||||||
of one lens, where it is out of the way of ordinary vision. When an
|
|
||||||
object appears in that square, it is lined up for its picture. As the
|
|
||||||
scientist of the future moves about the laboratory or the field, every
|
|
||||||
time he looks at something worthy of the record, he trips the shutter
|
|
||||||
and in it goes, without even an audible click. Is this all fantastic?
|
|
||||||
The only fantastic thing about it is the idea of making as many
|
|
||||||
pictures as would result from its use.
|
|
||||||
|
|
||||||
Will there be dry photography? It is already here in two forms. When
|
|
||||||
Brady made his Civil War pictures, the plate had to be wet at the time
|
|
||||||
of exposure. Now it has to be wet during development instead. In the
|
|
||||||
future perhaps it need not be wetted at all. There have long been
|
|
||||||
films impregnated with diazo dyes which form a picture without
|
|
||||||
development, so that it is already there as soon as the camera has
|
|
||||||
been operated. An exposure to ammonia gas destroys the unexposed dye,
|
|
||||||
and the picture can then be taken out into the light and examined.
|
|
||||||
The process is now slow, but someone may speed it up, and it has no
|
|
||||||
grain difficulties such as now keep photographic researchers busy.
|
|
||||||
Often it would be advantageous to be able to snap the camera and to
|
|
||||||
look at the picture immediately.
|
|
||||||
|
|
||||||
Another process now in use is also slow, and more or less clumsy. For
|
|
||||||
fifty years impregnated papers have been used which turn dark at every
|
|
||||||
point where an electrical contact touches them, by reason of the
|
|
||||||
chemical change thus produced in an iodine compound included in the
|
|
||||||
paper. They have been used to make records, for a pointer moving
|
|
||||||
across them can leave a trail behind. If the electrical potential on
|
|
||||||
the pointer is varied as it moves, the line becomes light or dark in
|
|
||||||
accordance with the potential.
|
|
||||||
|
|
||||||
This scheme is now used in facsimile transmission. The pointer draws
|
|
||||||
a set of closely spaced lines across the paper one after another. As
|
|
||||||
it moves, its potential is varied in accordance with a varying current
|
|
||||||
received over wires from a distant station, where these variations are
|
|
||||||
produced by a photocell which is similarly scanning a picture. At
|
|
||||||
every instant the darkness of the line being drawn is made equal to
|
|
||||||
the darkness of the point on the picture being observed by the
|
|
||||||
photocell. Thus, when the whole picture has been covered, a replica
|
|
||||||
appears at the receiving end.
|
|
||||||
|
|
||||||
A scene itself can be just as well looked over line by line by the
|
|
||||||
photocell in this way as can a photograph of the scene. This whole
|
|
||||||
apparatus constitutes a camera, with the added feature, which can be
|
|
||||||
dispensed with if desired, of making its picture at a distance. It is
|
|
||||||
slow, and the picture is poor in detail. Still, it does give another
|
|
||||||
process of dry photography, in which the picture is finished as soon
|
|
||||||
as it is taken.
|
|
||||||
|
|
||||||
It would be a brave man who could predict that such a process will
|
|
||||||
always remain clumsy, slow, and faulty in detail. Television
|
|
||||||
equipment today transmits sixteen reasonably good images a second, and
|
|
||||||
it involves only two essential differences from the process described
|
|
||||||
above. For one, the record is made by a moving beam of electrons
|
|
||||||
rather than a moving pointer, for the reason that an electron beam can
|
|
||||||
sweep across the picture very rapidly indeed. The other difference
|
|
||||||
involves merely the use of a screen which glows momentarily when the
|
|
||||||
electrons hit, rather than a chemically treated paper or film which is
|
|
||||||
permanently altered. This speed is necessary in television, for
|
|
||||||
motion pictures rather than stills are the object.
|
|
||||||
|
|
||||||
Use chemically treated film in place of the glowing screen, allow the
|
|
||||||
apparatus to transmit one picture rather than a succession, and a
|
|
||||||
rapid camera for dry photography results. The treated film needs to
|
|
||||||
be far faster in action than present examples, but it probably could
|
|
||||||
be. More serious is the objection that this scheme would involve
|
|
||||||
putting the film inside a vacuum chamber, for electron beams behave
|
|
||||||
normally only in such a rarefied environment. This difficulty could
|
|
||||||
be avoided by allowing the electron beam to play on one side of a
|
|
||||||
partition, and by pressing the film against the other side, if this
|
|
||||||
partition were such as to allow the electrons to go through
|
|
||||||
perpendicular to its surface, and to prevent them from spreading out
|
|
||||||
sideways. Such partitions, in crude form, could certainly be
|
|
||||||
constructed, and they will hardly hold up the general development.
|
|
||||||
|
|
||||||
Like dry photography, microphotography still has a long way to go.
|
|
||||||
The basic scheme of reducing the size of the record, and examining it
|
|
||||||
by projection rather than directly, has possibilities too great to be
|
|
||||||
ignored. The combination of optical projection and photographic
|
|
||||||
reduction is already producing some results in microfilm for scholarly
|
|
||||||
purposes, and the potentialities are highly suggestive. Today, with
|
|
||||||
microfilm, reductions by a linear factor of 20 can be employed and
|
|
||||||
still produce full clarity when the material is re-enlarged for
|
|
||||||
examination. The limits are set by the graininess of the film, the
|
|
||||||
excellence of the optical system, and the efficiency of the light
|
|
||||||
sources employed. All of these are rapidly improving.
|
|
||||||
|
|
||||||
Assume a linear ratio of 100 for future use. Consider film of the
|
|
||||||
same thickness as paper, although thinner film will certainly be
|
|
||||||
usable. Even under these conditions there would be a total factor of
|
|
||||||
10,000 between the bulk of the ordinary record on books, and its
|
|
||||||
microfilm replica. The Encyclopoedia Britannica could be reduced to
|
|
||||||
the volume of a matchbox. A library of a million volumes could be
|
|
||||||
compressed into one end of a desk. If the human race has produced
|
|
||||||
since the invention of movable type a total record, in the form of
|
|
||||||
magazines, newspapers, books, tracts, advertising blurbs,
|
|
||||||
correspondence, having a volume corresponding to a billion books, the
|
|
||||||
whole affair, assembled and compressed, could be lugged off in a
|
|
||||||
moving van. Mere compression, of course, is not enough; one needs not
|
|
||||||
only to make and store a record but also to be able to consult it, and
|
|
||||||
this aspect of the matter comes later. Even the modern great library
|
|
||||||
is not generally consulted; it is nibbled by a few.
|
|
||||||
|
|
||||||
Compression is important, however, when it comes to costs. The
|
|
||||||
material for the microfilm Britannica would cost a nickel, and it
|
|
||||||
could be mailed anywhere for a cent. What would it cost to print a
|
|
||||||
million copies? To print a sheet of newspaper, in a large edition,
|
|
||||||
costs a small fraction of a cent. The entire material of the
|
|
||||||
Britannica in reduced microfilm form would go on a sheet eight and
|
|
||||||
one-half by eleven inches. Once it is available, with the
|
|
||||||
photographic reproduction methods of the future, duplicates in large
|
|
||||||
quantities could probably be turned out for a cent apiece beyond the
|
|
||||||
cost of materials. The preparation of the original copy? That
|
|
||||||
introduces the next aspect of the subject.
|
|
||||||
|
|
||||||
3
|
|
||||||
|
|
||||||
To make the record, we now push a pencil or tap a typewriter. Then
|
|
||||||
comes the process of digestion and correction, followed by an
|
|
||||||
intricate process of typesetting, printing, and distribution. To
|
|
||||||
consider the first stage of the procedure, will the author of the
|
|
||||||
future cease writing by hand or typewriter and talk directly to the
|
|
||||||
record? He does so indirectly, by talking to a stenographer or a wax
|
|
||||||
cylinder; but the elements are all present if he wishes to have his
|
|
||||||
talk directly produce a typed record. All he needs to do is to take
|
|
||||||
advantage of existing mechanisms and to alter his language.
|
|
||||||
|
|
||||||
At a recent World Fair a machine called a Voder was shown. A girl
|
|
||||||
stroked its keys and it emitted recognizable speech. No human vocal
|
|
||||||
cords entered in the procedure at any point; the keys simply combined
|
|
||||||
some electrically produced vibrations and passed these on to a
|
|
||||||
loud-speaker. In the Bell Laboratories there is the converse of this
|
|
||||||
machine, called a Vocoder. The loudspeaker is replaced by a
|
|
||||||
microphone, which picks up sound. Speak to it, and the corresponding
|
|
||||||
keys move. This may be one element of the postulated system.
|
|
||||||
|
|
||||||
The other element is found in the stenotype, that somewhat
|
|
||||||
disconcerting device encountered usually at public meetings. A girl
|
|
||||||
strokes its keys languidly and looks about the room and sometimes at
|
|
||||||
the speaker with a disquieting gaze. From it emerges a typed strip
|
|
||||||
which records in a phonetically simplified language a record of what
|
|
||||||
the speaker is supposed to have said. Later this strip is retyped
|
|
||||||
into ordinary language, for in its nascent form it is intelligible
|
|
||||||
only to the initiated. Combine these two elements, let the Vocoder
|
|
||||||
run the stenotype, and the result is a machine which types when talked
|
|
||||||
to.
|
|
||||||
|
|
||||||
Our present languages are not especially adapted to this sort of
|
|
||||||
mechanization, it is true. It is strange that the inventors of
|
|
||||||
universal languages have not seized upon the idea of producing one
|
|
||||||
which better fitted the technique for transmitting and recording
|
|
||||||
speech. Mechanization may yet force the issue, especially in the
|
|
||||||
scientific field; whereupon scientific jargon would become still less
|
|
||||||
intelligible to the layman.
|
|
||||||
|
|
||||||
One can now picture a future investigator in his laboratory. His
|
|
||||||
hands are free, and he is not anchored. As he moves about and
|
|
||||||
observes, he photographs and comments. Time is automatically recorded
|
|
||||||
to tie the two records together. If he goes into the field, he may be
|
|
||||||
connected by radio to his recorder. As he ponders over his notes in
|
|
||||||
the evening, he again talks his comments into the record. His typed
|
|
||||||
record, as well as his photographs, may both be in miniature, so that
|
|
||||||
he projects them for examination.
|
|
||||||
|
|
||||||
Much needs to occur, however, between the collection of data and
|
|
||||||
observations, the extraction of parallel material from the existing
|
|
||||||
record, and the final insertion of new material into the general body
|
|
||||||
of the common record. For mature thought there is no mechanical
|
|
||||||
substitute. But creative thought and essentially repetitive thought
|
|
||||||
are very different things. For the latter there are, and may be,
|
|
||||||
powerful mechanical aids.
|
|
||||||
|
|
||||||
Adding a column of figures is a repetitive thought process, and it was
|
|
||||||
long ago properly relegated to the machine. True, the machine is
|
|
||||||
sometimes controlled by the keyboard, and thought of a sort enters in
|
|
||||||
reading the figures and poking the corresponding keys, but even this
|
|
||||||
is avoidable. Machines have been made which will read typed figures
|
|
||||||
by photocells and then depress the corresponding keys; these are
|
|
||||||
combinations of photocells for scanning the type, electric circuits
|
|
||||||
for sorting the consequent variations, and relay circuits for
|
|
||||||
interpreting the result into the action of solenoids to pull the keys
|
|
||||||
down.
|
|
||||||
|
|
||||||
All this complication is needed because of the clumsy way in which we
|
|
||||||
have learned to write figures. If we recorded them positionally,
|
|
||||||
simply by the configuration of a set of dots on a card, the automatic
|
|
||||||
reading mechanism would become comparatively simple. In fact, if the
|
|
||||||
dots are holes, we have the punched-card machine long ago produced by
|
|
||||||
Hollorith for the purposes of the census, and now used throughout
|
|
||||||
business. Some types of complex businesses could hardly operate
|
|
||||||
without these machines.
|
|
||||||
|
|
||||||
Adding is only one operation. To perform arithmetical computation
|
|
||||||
involves also subtraction, multiplication, and division, and in
|
|
||||||
addition some method for temporary storage of results, removal from
|
|
||||||
storage for further manipulation, and recording of final results by
|
|
||||||
printing. Machines for these purposes are now of two types: keyboard
|
|
||||||
machines for accounting and the like, manually controlled for the
|
|
||||||
insertion of data, and usually automatically controlled as far as the
|
|
||||||
sequence of operations is concerned; and punched-card machines in
|
|
||||||
which separate operations are usually delegated to a series of
|
|
||||||
machines, and the cards then transferred bodily from one to another.
|
|
||||||
Both forms are very useful; but as far as complex computations are
|
|
||||||
concerned, both are still embryo.
|
|
||||||
|
|
||||||
Rapid electrical counting appeared soon after the physicists found it
|
|
||||||
desirable to count cosmic rays. For their own purposes the physicists
|
|
||||||
promptly constructed thermionic-tube equipment capable of counting
|
|
||||||
electrical impulses at the rate of 100,000 a second. The advanced
|
|
||||||
arithmetical machines of the future will be electrical in nature, and
|
|
||||||
they will perform at 100 times present speeds, or more.
|
|
||||||
|
|
||||||
Moreover, they will be far more versatile than present commercial
|
|
||||||
machines, so that they may readily be adapted for a wide variety of
|
|
||||||
operations. They will be controlled by a control card or film, they
|
|
||||||
will select their own data and manipulate it in accordance with the
|
|
||||||
instructions thus inserted, they will perform complex arithmetical
|
|
||||||
computations at exceedingly high speeds, and they will record results
|
|
||||||
in such form as to be readily available for distribution or for later
|
|
||||||
further manipulation. Such machines will have enormous appetites.
|
|
||||||
One of them will take instructions and data from a roomful of girls
|
|
||||||
armed with simple keyboard punches, and will deliver sheets of
|
|
||||||
computed results every few minutes. There will always be plenty of
|
|
||||||
things to compute in the detailed affairs of millions of people doing
|
|
||||||
complicated things.
|
|
||||||
|
|
||||||
4
|
|
||||||
|
|
||||||
The repetitive processes of thought are not confined, however, to
|
|
||||||
matters of arithmetic and statistics. In fact, every time one
|
|
||||||
combines and records facts in accordance with established logical
|
|
||||||
processes, the creative aspect of thinking is concerned only with the
|
|
||||||
selection of the data and the process to be employed, and the
|
|
||||||
manipulation thereafter is repetitive in nature and hence a fit matter
|
|
||||||
to be relegated to the machines. Not so much has been done along
|
|
||||||
these lines, beyond the bounds of arithmetic, as might be done,
|
|
||||||
primarily because of the economics of the situation. The needs of
|
|
||||||
business, and the extensive market obviously waiting, assured the
|
|
||||||
advent of mass-produced arithmetical machines just as soon as
|
|
||||||
production methods were sufficiently advanced.
|
|
||||||
|
|
||||||
With machines for advanced analysis no such situation existed; for
|
|
||||||
there was and is no extensive market; the users of advanced methods of
|
|
||||||
manipulating data are a very small part of the population. There are,
|
|
||||||
however, machines for solving differential equations - and functional
|
|
||||||
and integral equations, for that matter. There are many special
|
|
||||||
machines, such as the harmonic synthesizer which predicts the tides.
|
|
||||||
There will be many more, appearing certainly first in the hands of the
|
|
||||||
scientist and in small numbers.
|
|
||||||
|
|
||||||
If scientific reasoning were limited to the logical processes of
|
|
||||||
arithmetic, we should not get far in our understanding of the physical
|
|
||||||
world. One might as well attempt to grasp the game of poker entirely
|
|
||||||
by the use of the mathematics of probability. The abacus, with its
|
|
||||||
beads strung on parallel wires, led the Arabs to positional numeration
|
|
||||||
and the concept of zero many centuries before the rest of the world;
|
|
||||||
and it was a useful tool - so useful that it still exists.
|
|
||||||
|
|
||||||
It is a far cry from the abacus to the modern keyboard accounting
|
|
||||||
machine. It will be an equal step to the arithmetical machine of the
|
|
||||||
future. But even this new machine will not take the scientist where
|
|
||||||
he needs to go. Relief must be secured from laborious detailed
|
|
||||||
manipulation of higher mathematics as well, if the users of it are to
|
|
||||||
free their brains for something more than repetitive detailed
|
|
||||||
transformations in accordance with established rules. A mathematician
|
|
||||||
is not a man who can readily manipulate figures; often he cannot. He
|
|
||||||
is not even a man who can readily perform the transformation of
|
|
||||||
equations by the use of calculus. He is primarily an individual who
|
|
||||||
is skilled in the use of symbolic logic on a high plane, and
|
|
||||||
especially he is a man of intuitive judgment in the choice of the
|
|
||||||
manipulative processes he employs.
|
|
||||||
|
|
||||||
All else he should be able to turn over to his mechanism, just as
|
|
||||||
confidently as he turns over the propelling of his car to the
|
|
||||||
intricate mechanism under the hood. Only then will mathematics be
|
|
||||||
practically effective in bringing the growing knowledge of atomistics
|
|
||||||
to the useful solution of the advanced problems of chemistry,
|
|
||||||
metallurgy, and biology. For this reason there will come more
|
|
||||||
machines to handle advanced mathematics for the scientist. Some of
|
|
||||||
them will be sufficiently bizarre to suit the most fastidious
|
|
||||||
connoisseur of the present artifacts of civilization.
|
|
||||||
|
|
||||||
5
|
|
||||||
|
|
||||||
The scientist, however, is not the only person who manipulates data
|
|
||||||
and examines the world about him by the use of logical processes,
|
|
||||||
although he sometimes preserves this appearance by adopting into the
|
|
||||||
fold anyone who becomes logical, much in the manner in which a British
|
|
||||||
labor leader is elevated to knighthood. Whenever logical processes of
|
|
||||||
thought are employed - that is, whenever thought for a time runs along
|
|
||||||
an accepted groove - there is an opportunity for the machine. Formal
|
|
||||||
logic used to be a keen instrument in the hands of the teacher in his
|
|
||||||
trying of students' souls. It is readily possible to construct a
|
|
||||||
machine which will manipulate premises in accordance with formal
|
|
||||||
logic, simply by the clever use of relay circuits. Put a set of
|
|
||||||
premises into such a device and turn the crank, and it will readily
|
|
||||||
pass out conclusion after conclusion, all in accordance with logical
|
|
||||||
law, and with no more slips than would be expected of a keyboard
|
|
||||||
adding machine.
|
|
||||||
|
|
||||||
Logic can become enormously difficult, and it would undoubtedly be
|
|
||||||
well to produce more assurance in its use. The machines for higher
|
|
||||||
analysis have usually been equation solvers. Ideas are beginning to
|
|
||||||
appear for equation transformers, which will rearrange the
|
|
||||||
relationship expressed by an equation in accordance with strict and
|
|
||||||
rather advanced logic. Progress is inhibited by the exceedingly crude
|
|
||||||
way in which mathematicians express their relationships. They employ
|
|
||||||
a symbolism which grew like Topsy and has little consistency; a
|
|
||||||
strange fact in that most logical field.
|
|
||||||
|
|
||||||
A new symbolism, probably positional, must apparently precede the
|
|
||||||
reduction of mathematical transformations to machine processes. Then,
|
|
||||||
on beyond the strict logic of the mathematician, lies the application
|
|
||||||
of logic in everyday affairs. We may some day click off arguments on
|
|
||||||
a machine with the same assurance that we now enter sales on a cash
|
|
||||||
register. But the machine of logic will not look like a cash
|
|
||||||
register, even a streamlined model.
|
|
||||||
|
|
||||||
So much for the manipulation of ideas and their insertion into the
|
|
||||||
record. Thus far we seem to be worse off than before - for we can
|
|
||||||
enormously extend the record; yet even in its present bulk we can
|
|
||||||
hardly consult it. This is a much larger matter than merely the
|
|
||||||
extraction of data for the purposes of scientific research; it
|
|
||||||
involves the entire process by which man profits by his inheritance of
|
|
||||||
acquired knowledge. The prime action of use is selection, and here we
|
|
||||||
are halting indeed. There may be millions of fine thoughts, and the
|
|
||||||
account of the experience on which they are based, all encased within
|
|
||||||
stone walls of acceptable architectural form; but if the scholar can
|
|
||||||
get at only one a week by diligent search, his syntheses are not
|
|
||||||
likely to keep up with the current scene.
|
|
||||||
|
|
||||||
Selection, in this broad sense, is a stone adze in the hands of a
|
|
||||||
cabinetmaker. Yet, in a narrow sense and in other areas, something
|
|
||||||
has already been done mechanically on selection. The personnel
|
|
||||||
officer of a factory drops a stack of a few thousand employee cards
|
|
||||||
into a selecting machine, sets a code in accordance with an
|
|
||||||
established convention, and produces in a short time a list of all
|
|
||||||
employees who live in Trenton and know Spanish. Even such devices are
|
|
||||||
much too slow when it comes, for example, to matching a set of
|
|
||||||
fingerprints with one of five millions on file. Selection devices of
|
|
||||||
this sort will soon be speeded up from their present rate of reviewing
|
|
||||||
data at a few hundred a minute. By the use of photocells and
|
|
||||||
microfilm they will survey items at the rate of thousands a second,
|
|
||||||
and will print out duplicates of those selected.
|
|
||||||
|
|
||||||
This process, however, is simple selection: it proceeds by examining
|
|
||||||
in turn every one of a large set of items, and by picking out those
|
|
||||||
which have certain specified characteristics. There is another form
|
|
||||||
of selection best illustrated by the automatic telephone exchange.
|
|
||||||
You dial a number and the machine selects and connects just one of a
|
|
||||||
million possible stations. It does not run over them all. It pays
|
|
||||||
attention only to a class given by a first digit, and so on; and thus
|
|
||||||
proceeds rapidly and almost unerringly to the selected station. It
|
|
||||||
requires a few seconds to make the selection, although the process
|
|
||||||
could be speeded up if increased speed were economically warranted.
|
|
||||||
If necessary, it could be made extremely fast by substituting
|
|
||||||
thermionic-tube switching for mechanical switching, so that the full
|
|
||||||
selection could be made in one-hundredth of a second. No one would
|
|
||||||
wish to spend the money necessary to make this change in the telephone
|
|
||||||
system, but the general idea is applicable elsewhere.
|
|
||||||
|
|
||||||
Take the prosaic problem of the great department store. Every time a
|
|
||||||
charge sale is made, there are a number of things to be done.. The
|
|
||||||
inventory needs to be revised, the salesman needs to be given credit
|
|
||||||
for the sale, the general accounts need an entry, and, most important,
|
|
||||||
the customer needs to be charged. A central records device has been
|
|
||||||
developed in which much of this work is done conveniently. The
|
|
||||||
salesman places on a stand the customer's identification card, his own
|
|
||||||
card, and the card taken from the article sold - all punched cards.
|
|
||||||
When he pulls a lever, contacts are made through the holes, machinery
|
|
||||||
at a central point makes the necessary computations and entries, and
|
|
||||||
the proper receipt is printed for the salesman to pass to the
|
|
||||||
customer.
|
|
||||||
|
|
||||||
But there may be ten thousand charge customers doing business with the
|
|
||||||
store, and before the full operation can be completed someone has to
|
|
||||||
select the right card and insert it at the central office. Now rapid
|
|
||||||
selection can slide just the proper card into position in an instant
|
|
||||||
or two, and return it afterward. Another difficulty occurs, however.
|
|
||||||
Someone must read a total on the card, so that the machine can add its
|
|
||||||
computed item to it. Conceivably the cards might be of the dry
|
|
||||||
photography type I have described. Existing totals could then be read
|
|
||||||
by photocell, and the new total entered by an electron beam.
|
|
||||||
|
|
||||||
The cards may be in miniature, so that they occupy little space. They
|
|
||||||
must move quickly. They need not be transferred far, but merely into
|
|
||||||
position so that the photocell and recorder can operate on them.
|
|
||||||
Positional dots can enter the data. At the end of the month a machine
|
|
||||||
can readily be made to read these and to print an ordinary bill. With
|
|
||||||
tube selection, in which no mechanical parts are involved in the
|
|
||||||
switches, little time need be occupied in bringing the correct card
|
|
||||||
into use - a second should suffice for the entire operation. The
|
|
||||||
whole record on the card may be made by magnetic dots on a steel sheet
|
|
||||||
if desired, instead of dots to be observed optically, following the
|
|
||||||
scheme by which Poulsen long ago put speech on a magnetic wire. This
|
|
||||||
method has the advantage of simplicity and ease of erasure. By using
|
|
||||||
photography, however, one can arrange to project the record in
|
|
||||||
enlarged form, and at a distance by using the process common in
|
|
||||||
television equipment.
|
|
||||||
|
|
||||||
One can consider rapid selection of this form, and distant projection
|
|
||||||
for other purposes. To be able to key one sheet of a million before
|
|
||||||
an operator in a second or two, with the possibility of then adding
|
|
||||||
notes thereto, is suggestive in many ways. It might even be of use in
|
|
||||||
libraries, but that is another story. At any rate, there are now some
|
|
||||||
interesting combinations possible. One might, for example, speak to a
|
|
||||||
microphone, in the manner described in connection with the
|
|
||||||
speech-controlled typewriter, and thus make his selections. It would
|
|
||||||
certainly beat the usual file clerk.
|
|
||||||
|
|
||||||
6
|
|
||||||
|
|
||||||
The real heart of the matter of selection, however, goes deeper than a
|
|
||||||
lag in the adoption of mechanisms by libraries, or a lack of
|
|
||||||
development of devices for their use. Our ineptitude in getting at
|
|
||||||
the record is largely caused by the artificiality of systems of
|
|
||||||
indexing. When data of any sort are placed in storage, they are filed
|
|
||||||
alphabetically or numerically, and information is found (when it is)
|
|
||||||
by tracing it down from subclass to subclass. It can be in only one
|
|
||||||
place, unless duplicates are used; one has to have rules as to which
|
|
||||||
path will locate it, and the rules are cumbersome. Having found one
|
|
||||||
item, moreover, one has to emerge from the system and re-enter on a
|
|
||||||
new path.
|
|
||||||
|
|
||||||
The human mind does not work that way. It operates by association.
|
|
||||||
With one item in its grasp, it snaps instantly to the next that is
|
|
||||||
suggested by the association of thoughts, in accordance with some
|
|
||||||
intricate web of trails carried by the cells of the brain. It has
|
|
||||||
other characteristics, of course; trails that are not frequently
|
|
||||||
followed are prone to fade, items are not fully permanent, memory is
|
|
||||||
transitory. Yet the speed of action, the intricacy of trails, the
|
|
||||||
detail of mental pictures, is awe-inspiring beyond all else in nature.
|
|
||||||
|
|
||||||
Man cannot hope fully to duplicate this mental process artificially,
|
|
||||||
but he certainly ought to be able to learn from it. In minor ways he
|
|
||||||
may even improve, for his records have relative permanency. The first
|
|
||||||
idea, however, to be drawn from the analogy concerns selection.
|
|
||||||
Selection by association, rather than by indexing, may yet be
|
|
||||||
mechanized. One cannot hope thus to equal the speed and flexibility
|
|
||||||
with which the mind follows an associative trail, but it should be
|
|
||||||
possible to beat the mind decisively in regard to the permanence and
|
|
||||||
clarity of the items resurrected from storage.
|
|
||||||
|
|
||||||
Consider a future device for individual use, which is a sort of
|
|
||||||
mechanized private file and library. It needs a name, and to coin
|
|
||||||
one at random, ``memex'' will do. A memex is a device in which an
|
|
||||||
individual stores all his books, records, and communications, and
|
|
||||||
which is mechanized so that it may be consulted with exceeding speed
|
|
||||||
and flexibility. It is an enlarged intimate supplement to his memory.
|
|
||||||
|
|
||||||
It consists of a desk, and while it can presumably be operated from a
|
|
||||||
distance, it is primarily the piece of furniture at which he works.
|
|
||||||
On the top are slanting translucent screens, on which material can be
|
|
||||||
projected for convenient reading. There is a keyboard, and sets of
|
|
||||||
buttons and levers. Otherwise it looks like an ordinary desk.
|
|
||||||
|
|
||||||
In one end is the stored material. The matter of bulk is well taken
|
|
||||||
care of by improved microfilm. Only a small part of the interior of
|
|
||||||
the memex is devoted to storage, the rest to mechanism. Yet if the
|
|
||||||
user inserted 5000 pages of material a day it would take him hundreds
|
|
||||||
of years to fill the repository, so he can be profligate and enter
|
|
||||||
material freely.
|
|
||||||
|
|
||||||
Most of the memex contents are purchased on microfilm ready for
|
|
||||||
insertion. Books of all sorts, pictures, current periodicals,
|
|
||||||
newspapers, are thus obtained and dropped into place. Business
|
|
||||||
correspondence takes the same path. And there is provision for direct
|
|
||||||
entry. On the top of the memex is a transparent platen. On this are
|
|
||||||
placed longhand notes, photographs, memoranda, all sort of things.
|
|
||||||
When one is in place, the depression of a lever causes it to be
|
|
||||||
photographed onto the next blank space in a section of the memex film,
|
|
||||||
dry photography being employed.
|
|
||||||
|
|
||||||
There is, of course, provision for consultation of the record by the
|
|
||||||
usual scheme of indexing. If the user wishes to consult a certain
|
|
||||||
book, he taps its code on the keyboard, and the title page of the book
|
|
||||||
promptly appears before him, projected onto one of his viewing
|
|
||||||
positions. Frequently-used codes are mnemonic, so that he seldom
|
|
||||||
consults his code book; but when he does, a single tap of a key
|
|
||||||
projects it for his use. Moreover, he has supplemental levers. On
|
|
||||||
deflecting one of these levers to the right he runs through the book
|
|
||||||
before him, each page in turn being projected at a speed which just
|
|
||||||
allows a recognizing glance at each. If he deflects it further to the
|
|
||||||
right, he steps through the book 10 pages at a time; still further at
|
|
||||||
100 pages at a time. Deflection to the left gives him the same
|
|
||||||
control backwards.
|
|
||||||
|
|
||||||
A special button transfers him immediately to the first page of the
|
|
||||||
index. Any given book of his library can thus be called up and
|
|
||||||
consulted with far greater facility than if it were taken from a
|
|
||||||
shelf. As he has several projection positions, he can leave one item
|
|
||||||
in position while he calls up another. He can add marginal notes and
|
|
||||||
comments, taking advantage of one possible type of dry photography,
|
|
||||||
and it could even be arranged so that he can do this by a stylus
|
|
||||||
scheme, such as is now employed in the telautograph seen in railroad
|
|
||||||
waiting rooms, just as though he had the physical page before him.
|
|
||||||
|
|
||||||
7
|
|
||||||
|
|
||||||
All this is conventional, except for the projection forward of
|
|
||||||
present-day mechanisms and gadgetry. It affords an immediate step,
|
|
||||||
however, to associative indexing, the basic idea of which is a
|
|
||||||
provision whereby any item may be caused at will to select immediately
|
|
||||||
and automatically another. This is the essential feature of the
|
|
||||||
memex. The process of tying two items together is the important
|
|
||||||
thing.
|
|
||||||
|
|
||||||
When the user is building a trail, he names it, inserts the name in
|
|
||||||
his code book, and taps it out on his keyboard. Before him are the
|
|
||||||
two items to be joined, projected onto adjacent viewing positions. At
|
|
||||||
the bottom of each there are a number of blank code spaces, and a
|
|
||||||
pointer is set to indicate one of these on each item. The user taps a
|
|
||||||
single key, and the items are permanently joined. In each code space
|
|
||||||
appears the code word. Out of view, but also in the code space, is
|
|
||||||
inserted a set of dots for photocell viewing; and on each item these
|
|
||||||
dots by their positions designate the index number of the other item.
|
|
||||||
|
|
||||||
Thereafter, at any time, when one of these items is in view, the other
|
|
||||||
can be instantly recalled merely by tapping a button below the
|
|
||||||
corresponding code space. Moreover, when numerous items have been
|
|
||||||
thus joined together to form a trail, they can be reviewed in turn,
|
|
||||||
rapidly or slowly, by deflecting a lever like that used for turning
|
|
||||||
the pages of a book. It is exactly as though the physical items had
|
|
||||||
been gathered together to form a new book. It is more than this, for
|
|
||||||
any item can be joined into numerous trails.
|
|
||||||
|
|
||||||
The owner of the memex, let us say, is interested in the origin and
|
|
||||||
properties of the bow and arrow. Specifically he is studying why the
|
|
||||||
short Turkish bow was apparently superior to the English long bow in
|
|
||||||
the skirmishes of the Crusades. He has dozens of possibly pertinent
|
|
||||||
books and articles in his memex. First he runs through an
|
|
||||||
encyclopedia, finds an interesting but sketchy article, leaves it
|
|
||||||
projected. Next, in a history, he finds another pertinent item, and
|
|
||||||
ties the two together. Thus he goes, building a trail of many items.
|
|
||||||
Occasionally he inserts a comment of his own, either linking it into
|
|
||||||
the main trail or joining it by a side trail to a particular item.
|
|
||||||
When it becomes evident that the elastic properties of available
|
|
||||||
materials had a great deal to do with the bow, he branches off on a
|
|
||||||
side trail which takes him through textbooks on elasticity and tables
|
|
||||||
of physical constants. He inserts a page of longhand analysis of his
|
|
||||||
own. Thus he builds a trail of his interest through the maze of
|
|
||||||
materials available to him.
|
|
||||||
|
|
||||||
And his trails do not fade. Several years later, his talk with a
|
|
||||||
friend turns to the queer ways in which a people resist innovations,
|
|
||||||
even of vital interest. He has an example, in the fact that the
|
|
||||||
outranged Europeans still failed to adopt the Turkish bow. In fact he
|
|
||||||
has a trail on it. A touch brings up the code book. Tapping a few
|
|
||||||
keys projects the head of the trail. A lever runs through it at will,
|
|
||||||
stopping at interesting items, going off on side excursions. It is an
|
|
||||||
interesting trail, pertinent to the discussion. So he sets a
|
|
||||||
reproducer in action, photographs the whole trail out, and passes it
|
|
||||||
to his friend for insertion in his own memex, there to be linked into
|
|
||||||
the more general trail.
|
|
||||||
|
|
||||||
8
|
|
||||||
|
|
||||||
Wholly new forms of encyclopedias will appear, ready-made with a mesh
|
|
||||||
of associative trails running through them, ready to be dropped into
|
|
||||||
the memex and there amplified. The lawyer has at his touch the
|
|
||||||
associated opinions and decisions of his whole experience, and of the
|
|
||||||
experience of friends and authorities. The patent attorney has on
|
|
||||||
call the millions of issued patents, with familiar trails to every
|
|
||||||
point of his client's interest. The physician, puzzled by its
|
|
||||||
patient's reactions, strikes the trail established in studying an
|
|
||||||
earlier similar case, and runs rapidly through analogous case
|
|
||||||
histories, with side references to the classics for the pertinent
|
|
||||||
anatomy and histology. The chemist, struggling with the synthesis of
|
|
||||||
an organic compound, has all the chemical literature before him in his
|
|
||||||
laboratory, with trails following the analogies of compounds, and side
|
|
||||||
trails to their physical and chemical behavior.
|
|
||||||
|
|
||||||
The historian, with a vast chronological account of a people,
|
|
||||||
parallels it with a skip trail which stops only at the salient items,
|
|
||||||
and can follow at any time contemporary trails which lead him all over
|
|
||||||
civilization at a particular epoch. There is a new profession of
|
|
||||||
trail blazers, those who find delight in the task of establishing
|
|
||||||
useful trails through the enormous mass of the common record. The
|
|
||||||
inheritance from the master becomes, not only his additions to the
|
|
||||||
world's record, but for his disciples the entire scaffolding by which
|
|
||||||
they were erected.
|
|
||||||
|
|
||||||
Thus science may implement the ways in which man produces, stores, and
|
|
||||||
consults the record of the race. It might be striking to outline the
|
|
||||||
instrumentalities of the future more spectacularly, rather than to
|
|
||||||
stick closely to the methods and elements now known and undergoing
|
|
||||||
rapid development, as has been done here. Technical difficulties of
|
|
||||||
all sorts have been ignored, certainly, but also ignored are means as
|
|
||||||
yet unknown which may come any day to accelerate technical progress as
|
|
||||||
violently as did the advent of the thermionic tube. In order that the
|
|
||||||
picture may not be too commonplace, by reason of sticking to
|
|
||||||
present-day patterns, it may be well to mention one such possibility,
|
|
||||||
not to prophesy but merely to suggest, for prophecy based on extension
|
|
||||||
of the known has substance, while prophecy founded on the unknown is
|
|
||||||
only a doubly involved guess.
|
|
||||||
|
|
||||||
All our steps in creating or absorbing material of the record proceed
|
|
||||||
through one of the senses - the tactile when we touch keys, the oral
|
|
||||||
when we speak or listen, the visual when we read. Is it not possible
|
|
||||||
that some day the path may be established more directly?
|
|
||||||
|
|
||||||
We know that when the eye sees, all the consequent information is
|
|
||||||
transmitted to the brain by means of electrical vibrations in the
|
|
||||||
channel of the optic nerve. This is an exact analogy with the
|
|
||||||
electrical vibrations which occur in the cable of a television set:
|
|
||||||
they convey the picture from the photocells which see it to the radio
|
|
||||||
transmitter from which it is broadcast. We know further that if we
|
|
||||||
can approach that cable with the proper instruments, we do not need to
|
|
||||||
touch it; we can pick up those vibrations by electrical induction and
|
|
||||||
thus discover and reproduce the scene which is being transmitted, just
|
|
||||||
as a telephone wire may be tapped for its message.
|
|
||||||
|
|
||||||
The impulses which flow in the arm nerves of a typist convey to her
|
|
||||||
fingers the translated information which reaches her eye or ear, in
|
|
||||||
order that the fingers may be caused to strike the proper keys. Might
|
|
||||||
not these currents be intercepted, either in the original form in
|
|
||||||
which information is conveyed to the brain, or in the marvelously
|
|
||||||
metamorphosed form in which they then proceed to the hand?
|
|
||||||
|
|
||||||
By bone conduction we already introduce sounds into the nerve channels
|
|
||||||
of the deaf in order that they may hear. Is it not possible that we
|
|
||||||
may learn to introduce them without the present cumbersomeness of
|
|
||||||
first transforming electrical vibrations to mechanical ones, which the
|
|
||||||
human mechanism promptly transforms back to the electrical form? With
|
|
||||||
a couple of electrodes on the skull the encephalograph now produces
|
|
||||||
pen-and-ink traces which bear some relation to the electrical
|
|
||||||
phenomena going on in the brain itself. True, the record is
|
|
||||||
unintelligible, except as it points out certain gross misfunctioning
|
|
||||||
of the cerebral mechanism; but who would now place bounds on where
|
|
||||||
such a thing may lead?
|
|
||||||
|
|
||||||
In the outside world, all forms of intelligence, whether of sound or
|
|
||||||
sight, have been reduced to the form of varying currents in an
|
|
||||||
electric circuit in order that they may be transmitted. Inside the
|
|
||||||
human frame exactly the same sort of process occurs. Must we always
|
|
||||||
transform to mechanical movements in order to proceed from one
|
|
||||||
electrical phenomenon to another? It is a suggestive thought, but it
|
|
||||||
hardly warrants prediction without losing touch with reality and
|
|
||||||
immediateness.
|
|
||||||
|
|
||||||
Presumably man's spirit should be elevated if he can better review his
|
|
||||||
shady past and analyze more completely and objectively his present
|
|
||||||
problems. He has built a civilization so complex that he needs to
|
|
||||||
mechanize his record more fully if he is to push his experiment to its
|
|
||||||
logical conclusion and not merely become bogged down part way there by
|
|
||||||
overtaxing his limited memory. His excursion may be more enjoyable if
|
|
||||||
he can reacquire the privilege of forgetting the manifold things he
|
|
||||||
does not need to have immediately at hand, with some assurance that he
|
|
||||||
can find them again if they prove important.
|
|
||||||
|
|
||||||
The applications of science have built man a well-supplied house, and
|
|
||||||
are teaching him to live healthily therein. They have enabled him to
|
|
||||||
throw masses of people against another with cruel weapons. They may
|
|
||||||
yet allow him truly to encompass the great record and to grow in the
|
|
||||||
wisdom of race experience. He may perish in conflict before he learns
|
|
||||||
to wield that record for his true good. Yet, in the application of
|
|
||||||
science to the needs and desires of man, it would seem to be a
|
|
||||||
singularly unfortunate stage at which to terminate the process, or to
|
|
||||||
lose hope as to the outcome.
|
|
@ -1,10 +0,0 @@
|
|||||||
Copyright (c) 2012 Fireplace, Inc
|
|
||||||
|
|
||||||
Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the "Software"), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:
|
|
||||||
|
|
||||||
The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.
|
|
||||||
|
|
||||||
THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.
|
|
||||||
|
|
||||||
THE ABOVE LICENSE IS FOR THE CODE (JAVASCRIPT AND CSS) IN CLIPPY.JS ONLY.
|
|
||||||
All Microsoft agents, including agent names, the Clippy brand and all resources are the property of Microsoft and their respective owners.
|
|
@ -1,69 +0,0 @@
|
|||||||
[Clippy.JS](http://smore.com/clippy-js)
|
|
||||||
=========
|
|
||||||
Add Clippy or his friends to any website for instant nostalgia.
|
|
||||||
Read more about the project on [our homepage](http://smore.com/clippy-js).
|
|
||||||
|
|
||||||
|
|
||||||
Usage: Setup
|
|
||||||
------------
|
|
||||||
Add this code to you to your page to enable Clippy.js.
|
|
||||||
|
|
||||||
```html
|
|
||||||
<!-- Add the stylesheet to the head -->
|
|
||||||
<link rel="stylesheet" type="text/css" href="clippy.css" media="all">
|
|
||||||
|
|
||||||
...
|
|
||||||
|
|
||||||
<!-- Add these scripts to the bottom of the page -->
|
|
||||||
<!-- jQuery 1.7+ -->
|
|
||||||
<script src="jquery.1.7.min.js"></script>
|
|
||||||
|
|
||||||
<!-- Clippy.js -->
|
|
||||||
<script src="clippy.min.js"></script>
|
|
||||||
|
|
||||||
<!-- Init script -->
|
|
||||||
<script type="text/javascript">
|
|
||||||
clippy.load('Merlin', function(agent){
|
|
||||||
// do anything with the loaded agent
|
|
||||||
agent.show();
|
|
||||||
});
|
|
||||||
</script>
|
|
||||||
|
|
||||||
```
|
|
||||||
|
|
||||||
Usage: Actions
|
|
||||||
--------------
|
|
||||||
All the agent actions are queued and executed by order, so you could stack them.
|
|
||||||
|
|
||||||
```javascript
|
|
||||||
// play a given animation
|
|
||||||
agent.play('Searching');
|
|
||||||
|
|
||||||
// play a random animation
|
|
||||||
agent.animate();
|
|
||||||
|
|
||||||
// get a list of all the animations
|
|
||||||
agent.animations();
|
|
||||||
// => ["MoveLeft", "Congratulate", "Hide", "Pleased", "Acknowledge", ...]
|
|
||||||
|
|
||||||
// Show text balloon
|
|
||||||
agent.speak('When all else fails, bind some paper together. My name is Clippy.');
|
|
||||||
|
|
||||||
// move to the given point, use animation if available
|
|
||||||
agent.moveTo(100,100);
|
|
||||||
|
|
||||||
// gesture at a given point (if gesture animation is available)
|
|
||||||
agent.gestureAt(200,200);
|
|
||||||
|
|
||||||
// stop the current action in the queue
|
|
||||||
agent.stopCurrent();
|
|
||||||
|
|
||||||
// stop all actions in the queue and go back to idle mode
|
|
||||||
agent.stop();
|
|
||||||
```
|
|
||||||
|
|
||||||
Special Thanks
|
|
||||||
--------------
|
|
||||||
* The awesome [Cinnamon Software](http://www.cinnamonsoftware.com/) for developing [Double Agent](http://doubleagent.sourceforge.net/)
|
|
||||||
the program we used to unpack Clippy and his friends!
|
|
||||||
* Microsoft, for creating clippy :)
|
|
Before Width: | Height: | Size: 815 KiB |
Before Width: | Height: | Size: 1.3 MiB |
Before Width: | Height: | Size: 1.0 MiB |
Before Width: | Height: | Size: 962 KiB |
Before Width: | Height: | Size: 1.1 MiB |
Before Width: | Height: | Size: 800 KiB |
Before Width: | Height: | Size: 1013 KiB |
Before Width: | Height: | Size: 1.8 MiB |
Before Width: | Height: | Size: 1.2 MiB |
Before Width: | Height: | Size: 682 KiB |
@ -1,62 +0,0 @@
|
|||||||
.clippy, .clippy-balloon {
|
|
||||||
position: fixed;
|
|
||||||
z-index: 1000;
|
|
||||||
cursor: pointer;
|
|
||||||
}
|
|
||||||
|
|
||||||
.clippy-balloon {
|
|
||||||
|
|
||||||
background: #FFC;
|
|
||||||
color: black;
|
|
||||||
padding: 8px;
|
|
||||||
border: 1px solid black;
|
|
||||||
border-radius: 5px;
|
|
||||||
|
|
||||||
}
|
|
||||||
|
|
||||||
.clippy-content {
|
|
||||||
max-width: 200px;
|
|
||||||
min-width: 120px;
|
|
||||||
font-family: "Microsoft Sans", sans-serif;
|
|
||||||
font-size: 10pt;
|
|
||||||
}
|
|
||||||
|
|
||||||
.clippy-tip {
|
|
||||||
width: 10px;
|
|
||||||
height: 16px;
|
|
||||||
background: url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAABQAAAAgCAMAAAAlvKiEAAAAGXRFWHRTb2Z0d2FyZQBBZG9iZSBJbWFnZVJlYWR5ccllPAAAAAlQTFRF///MAAAA////52QwgAAAAAN0Uk5T//8A18oNQQAAAGxJREFUeNqs0kEOwCAIRFHn3//QTUU6xMyyxii+jQosrTPkyPEM6IN3FtzIRk1U4dFeKWQiH6pRRowMVKEmvronEynkwj0uZJgR22+YLopPSo9P34wJSamLSU7lSIWLJU7NkNomNlhqxUeAAQC+TQLZyEuJBwAAAABJRU5ErkJggg==) no-repeat;
|
|
||||||
position: absolute;
|
|
||||||
}
|
|
||||||
|
|
||||||
.clippy-top-left .clippy-tip {
|
|
||||||
top: 100%;
|
|
||||||
margin-top: 0px;
|
|
||||||
left: 100%;
|
|
||||||
margin-left: -50px;
|
|
||||||
}
|
|
||||||
|
|
||||||
.clippy-top-right .clippy-tip {
|
|
||||||
top: 100%;
|
|
||||||
margin-top: 0px;
|
|
||||||
left: 0;
|
|
||||||
margin-left: 50px;
|
|
||||||
background-position: -10px 0;
|
|
||||||
|
|
||||||
}
|
|
||||||
|
|
||||||
.clippy-bottom-right .clippy-tip {
|
|
||||||
top: 0;
|
|
||||||
margin-top: -16px;
|
|
||||||
left: 0;
|
|
||||||
margin-left: 50px;
|
|
||||||
background-position: -10px -16px;
|
|
||||||
}
|
|
||||||
|
|
||||||
.clippy-bottom-left .clippy-tip {
|
|
||||||
top: 0;
|
|
||||||
margin-top: -16px;
|
|
||||||
left: 100%;
|
|
||||||
margin-left: -50px;
|
|
||||||
background-position: 0px -16px;
|
|
||||||
}
|
|
||||||
|
|
@ -1,459 +0,0 @@
|
|||||||
var clippy = {};
|
|
||||||
|
|
||||||
/******
|
|
||||||
*
|
|
||||||
*
|
|
||||||
* @constructor
|
|
||||||
*/
|
|
||||||
clippy.Agent = function (path, data, sounds) {
|
|
||||||
this.path = path;
|
|
||||||
|
|
||||||
this._queue = new clippy.Queue($.proxy(this._onQueueEmpty, this));
|
|
||||||
|
|
||||||
this._el = $('<div class="clippy"></div>').hide();
|
|
||||||
|
|
||||||
$(document.body).append(this._el);
|
|
||||||
|
|
||||||
this._animator = new clippy.Animator(this._el, path, data, sounds);
|
|
||||||
|
|
||||||
this._balloon = new clippy.Balloon(this._el);
|
|
||||||
|
|
||||||
this._setupEvents();
|
|
||||||
};
|
|
||||||
|
|
||||||
clippy.Agent.prototype = {
|
|
||||||
|
|
||||||
/**************************** API ************************************/
|
|
||||||
|
|
||||||
/***
|
|
||||||
*
|
|
||||||
* @param {Number} x
|
|
||||||
* @param {Number} y
|
|
||||||
*/
|
|
||||||
gestureAt:function (x, y) {
|
|
||||||
var d = this._getDirection(x, y);
|
|
||||||
var gAnim = 'Gesture' + d;
|
|
||||||
var lookAnim = 'Look' + d;
|
|
||||||
|
|
||||||
var animation = this.hasAnimation(gAnim) ? gAnim : lookAnim;
|
|
||||||
return this.play(animation);
|
|
||||||
},
|
|
||||||
|
|
||||||
/***
|
|
||||||
*
|
|
||||||
* @param {Boolean=} fast
|
|
||||||
*
|
|
||||||
*/
|
|
||||||
hide:function (fast, callback) {
|
|
||||||
this._hidden = true;
|
|
||||||
var el = this._el;
|
|
||||||
this.stop();
|
|
||||||
if (fast) {
|
|
||||||
this._el.hide();
|
|
||||||
this.stop();
|
|
||||||
this.pause();
|
|
||||||
if (callback) callback();
|
|
||||||
return;
|
|
||||||
}
|
|
||||||
|
|
||||||
return this._playInternal('Hide', function () {
|
|
||||||
el.hide();
|
|
||||||
this.pause();
|
|
||||||
if (callback) callback();
|
|
||||||
})
|
|
||||||
},
|
|
||||||
|
|
||||||
|
|
||||||
moveTo:function (x, y, duration) {
|
|
||||||
var dir = this._getDirection(x, y);
|
|
||||||
var anim = 'Move' + dir;
|
|
||||||
if (duration === undefined) duration = 1000;
|
|
||||||
|
|
||||||
this._addToQueue(function (complete) {
|
|
||||||
// the simple case
|
|
||||||
if (duration === 0) {
|
|
||||||
this._el.css({top:y, left:x});
|
|
||||||
this.reposition();
|
|
||||||
complete();
|
|
||||||
return;
|
|
||||||
}
|
|
||||||
|
|
||||||
// no animations
|
|
||||||
if (!this.hasAnimation(anim)) {
|
|
||||||
this._el.animate({top:y, left:x}, duration, complete);
|
|
||||||
return;
|
|
||||||
}
|
|
||||||
|
|
||||||
var callback = $.proxy(function (name, state) {
|
|
||||||
// when exited, complete
|
|
||||||
if (state === clippy.Animator.States.EXITED) {
|
|
||||||
complete();
|
|
||||||
}
|
|
||||||
// if waiting,
|
|
||||||
if (state === clippy.Animator.States.WAITING) {
|
|
||||||
this._el.animate({top:y, left:x}, duration, $.proxy(function () {
|
|
||||||
// after we're done with the movement, do the exit animation
|
|
||||||
this._animator.exitAnimation();
|
|
||||||
}, this));
|
|
||||||
}
|
|
||||||
|
|
||||||
}, this);
|
|
||||||
|
|
||||||
this._playInternal(anim, callback);
|
|
||||||
}, this);
|
|
||||||
},
|
|
||||||
|
|
||||||
_playInternal:function (animation, callback) {
|
|
||||||
|
|
||||||
// if we're inside an idle animation,
|
|
||||||
if (this._isIdleAnimation() && this._idleDfd && this._idleDfd.state() === 'pending') {
|
|
||||||
this._idleDfd.done($.proxy(function () {
|
|
||||||
this._playInternal(animation, callback);
|
|
||||||
}, this))
|
|
||||||
}
|
|
||||||
|
|
||||||
this._animator.showAnimation(animation, callback);
|
|
||||||
},
|
|
||||||
|
|
||||||
play:function (animation, timeout, cb) {
|
|
||||||
if (!this.hasAnimation(animation)) return false;
|
|
||||||
|
|
||||||
if (timeout === undefined) timeout = 5000;
|
|
||||||
|
|
||||||
|
|
||||||
this._addToQueue(function (complete) {
|
|
||||||
var completed = false;
|
|
||||||
// handle callback
|
|
||||||
var callback = function (name, state) {
|
|
||||||
if (state === clippy.Animator.States.EXITED) {
|
|
||||||
completed = true;
|
|
||||||
if (cb) cb();
|
|
||||||
complete();
|
|
||||||
}
|
|
||||||
};
|
|
||||||
|
|
||||||
// if has timeout, register a timeout function
|
|
||||||
if (timeout) {
|
|
||||||
window.setTimeout($.proxy(function () {
|
|
||||||
if (completed) return;
|
|
||||||
// exit after timeout
|
|
||||||
this._animator.exitAnimation();
|
|
||||||
}, this), timeout)
|
|
||||||
}
|
|
||||||
|
|
||||||
this._playInternal(animation, callback);
|
|
||||||
}, this);
|
|
||||||
|
|
||||||
return true;
|
|
||||||
},
|
|
||||||
|
|
||||||
/***
|
|
||||||
*
|
|
||||||
* @param {Boolean=} fast
|
|
||||||
*/
|
|
||||||
show:function (fast) {
|
|
||||||
|
|
||||||
this._hidden = false;
|
|
||||||
if (fast) {
|
|
||||||
this._el.show();
|
|
||||||
this.resume();
|
|
||||||
this._onQueueEmpty();
|
|
||||||
return;
|
|
||||||
}
|
|
||||||
|
|
||||||
if (this._el.css('top') === 'auto' || !this._el.css('left') === 'auto') {
|
|
||||||
var left = $(window).width() * 0.8;
|
|
||||||
var top = ($(window).height() + $(document).scrollTop()) * 0.8;
|
|
||||||
this._el.css({top:top, left:left});
|
|
||||||
}
|
|
||||||
|
|
||||||
this.resume();
|
|
||||||
return this.play('Show');
|
|
||||||
},
|
|
||||||
|
|
||||||
/***
|
|
||||||
*
|
|
||||||
* @param {String} text
|
|
||||||
*/
|
|
||||||
speak:function (text, hold) {
|
|
||||||
this._addToQueue(function (complete) {
|
|
||||||
this._balloon.speak(complete, text, hold);
|
|
||||||
}, this);
|
|
||||||
},
|
|
||||||
|
|
||||||
|
|
||||||
/***
|
|
||||||
* Close the current balloon
|
|
||||||
*/
|
|
||||||
closeBalloon:function () {
|
|
||||||
this._balloon.hide();
|
|
||||||
},
|
|
||||||
|
|
||||||
delay:function (time) {
|
|
||||||
time = time || 250;
|
|
||||||
|
|
||||||
this._addToQueue(function (complete) {
|
|
||||||
this._onQueueEmpty();
|
|
||||||
window.setTimeout(complete, time);
|
|
||||||
});
|
|
||||||
},
|
|
||||||
|
|
||||||
/***
|
|
||||||
* Skips the current animation
|
|
||||||
*/
|
|
||||||
stopCurrent:function () {
|
|
||||||
this._animator.exitAnimation();
|
|
||||||
this._balloon.close();
|
|
||||||
},
|
|
||||||
|
|
||||||
|
|
||||||
stop:function () {
|
|
||||||
// clear the queue
|
|
||||||
this._queue.clear();
|
|
||||||
this._animator.exitAnimation();
|
|
||||||
this._balloon.hide();
|
|
||||||
},
|
|
||||||
|
|
||||||
/***
|
|
||||||
*
|
|
||||||
* @param {String} name
|
|
||||||
* @returns {Boolean}
|
|
||||||
*/
|
|
||||||
hasAnimation:function (name) {
|
|
||||||
return this._animator.hasAnimation(name);
|
|
||||||
},
|
|
||||||
|
|
||||||
/***
|
|
||||||
* Gets a list of animation names
|
|
||||||
*
|
|
||||||
* @return {Array.<string>}
|
|
||||||
*/
|
|
||||||
animations:function () {
|
|
||||||
return this._animator.animations();
|
|
||||||
},
|
|
||||||
|
|
||||||
/***
|
|
||||||
* Play a random animation
|
|
||||||
* @return {jQuery.Deferred}
|
|
||||||
*/
|
|
||||||
animate:function () {
|
|
||||||
var animations = this.animations();
|
|
||||||
var anim = animations[Math.floor(Math.random() * animations.length)];
|
|
||||||
// skip idle animations
|
|
||||||
if (anim.indexOf('Idle') === 0) {
|
|
||||||
return this.animate();
|
|
||||||
}
|
|
||||||
return this.play(anim);
|
|
||||||
},
|
|
||||||
|
|
||||||
/**************************** Utils ************************************/
|
|
||||||
|
|
||||||
/***
|
|
||||||
*
|
|
||||||
* @param {Number} x
|
|
||||||
* @param {Number} y
|
|
||||||
* @return {String}
|
|
||||||
* @private
|
|
||||||
*/
|
|
||||||
_getDirection:function (x, y) {
|
|
||||||
var offset = this._el.offset();
|
|
||||||
var h = this._el.height();
|
|
||||||
var w = this._el.width();
|
|
||||||
|
|
||||||
var centerX = (offset.left + w / 2);
|
|
||||||
var centerY = (offset.top + h / 2);
|
|
||||||
|
|
||||||
|
|
||||||
var a = centerY - y;
|
|
||||||
var b = centerX - x;
|
|
||||||
|
|
||||||
var r = Math.round((180 * Math.atan2(a, b)) / Math.PI);
|
|
||||||
|
|
||||||
// Left and Right are for the character, not the screen :-/
|
|
||||||
if (-45 <= r && r < 45) return 'Right';
|
|
||||||
if (45 <= r && r < 135) return 'Up';
|
|
||||||
if (135 <= r && r <= 180 || -180 <= r && r < -135) return 'Left';
|
|
||||||
if (-135 <= r && r < -45) return 'Down';
|
|
||||||
|
|
||||||
// sanity check
|
|
||||||
return 'Top';
|
|
||||||
},
|
|
||||||
|
|
||||||
/**************************** Queue and Idle handling ************************************/
|
|
||||||
|
|
||||||
/***
|
|
||||||
* Handle empty queue.
|
|
||||||
* We need to transition the animation to an idle state
|
|
||||||
* @private
|
|
||||||
*/
|
|
||||||
_onQueueEmpty:function () {
|
|
||||||
if (this._hidden || this._isIdleAnimation()) return;
|
|
||||||
var idleAnim = this._getIdleAnimation();
|
|
||||||
this._idleDfd = $.Deferred();
|
|
||||||
|
|
||||||
this._animator.showAnimation(idleAnim, $.proxy(this._onIdleComplete, this));
|
|
||||||
},
|
|
||||||
|
|
||||||
_onIdleComplete:function (name, state) {
|
|
||||||
if (state === clippy.Animator.States.EXITED) {
|
|
||||||
this._idleDfd.resolve();
|
|
||||||
}
|
|
||||||
},
|
|
||||||
|
|
||||||
|
|
||||||
/***
|
|
||||||
* Is the current animation is Idle?
|
|
||||||
* @return {Boolean}
|
|
||||||
* @private
|
|
||||||
*/
|
|
||||||
_isIdleAnimation:function () {
|
|
||||||
var c = this._animator.currentAnimationName;
|
|
||||||
return c && c.indexOf('Idle') === 0;
|
|
||||||
},
|
|
||||||
|
|
||||||
|
|
||||||
/**
|
|
||||||
* Gets a random Idle animation
|
|
||||||
* @return {String}
|
|
||||||
* @private
|
|
||||||
*/
|
|
||||||
_getIdleAnimation:function () {
|
|
||||||
var animations = this.animations();
|
|
||||||
var r = [];
|
|
||||||
for (var i = 0; i < animations.length; i++) {
|
|
||||||
var a = animations[i];
|
|
||||||
if (a.indexOf('Idle') === 0) {
|
|
||||||
r.push(a);
|
|
||||||
}
|
|
||||||
}
|
|
||||||
|
|
||||||
// pick one
|
|
||||||
var idx = Math.floor(Math.random() * r.length);
|
|
||||||
return r[idx];
|
|
||||||
},
|
|
||||||
|
|
||||||
/**************************** Events ************************************/
|
|
||||||
|
|
||||||
_setupEvents:function () {
|
|
||||||
$(window).on('resize', $.proxy(this.reposition, this));
|
|
||||||
|
|
||||||
this._el.on('mousedown', $.proxy(this._onMouseDown, this));
|
|
||||||
|
|
||||||
this._el.on('dblclick', $.proxy(this._onDoubleClick, this));
|
|
||||||
},
|
|
||||||
|
|
||||||
_onDoubleClick:function () {
|
|
||||||
if (!this.play('ClickedOn')) {
|
|
||||||
this.animate();
|
|
||||||
}
|
|
||||||
},
|
|
||||||
|
|
||||||
reposition:function () {
|
|
||||||
if (!this._el.is(':visible')) return;
|
|
||||||
var o = this._el.offset();
|
|
||||||
var bH = this._el.outerHeight();
|
|
||||||
var bW = this._el.outerWidth();
|
|
||||||
|
|
||||||
var wW = $(window).width();
|
|
||||||
var wH = $(window).height();
|
|
||||||
var sT = $(window).scrollTop();
|
|
||||||
var sL = $(window).scrollLeft();
|
|
||||||
|
|
||||||
var top = o.top - sT;
|
|
||||||
var left = o.left - sL;
|
|
||||||
var m = 5;
|
|
||||||
if (top - m < 0) {
|
|
||||||
top = m;
|
|
||||||
} else if ((top + bH + m) > wH) {
|
|
||||||
top = wH - bH - m;
|
|
||||||
}
|
|
||||||
|
|
||||||
if (left - m < 0) {
|
|
||||||
left = m;
|
|
||||||
} else if (left + bW + m > wW) {
|
|
||||||
left = wW - bW - m;
|
|
||||||
}
|
|
||||||
|
|
||||||
this._el.css({left:left, top:top});
|
|
||||||
// reposition balloon
|
|
||||||
this._balloon.reposition();
|
|
||||||
},
|
|
||||||
|
|
||||||
_onMouseDown:function (e) {
|
|
||||||
e.preventDefault();
|
|
||||||
this._startDrag(e);
|
|
||||||
},
|
|
||||||
|
|
||||||
|
|
||||||
/**************************** Drag ************************************/
|
|
||||||
|
|
||||||
_startDrag:function (e) {
|
|
||||||
// pause animations
|
|
||||||
this.pause();
|
|
||||||
this._balloon.hide(true);
|
|
||||||
this._offset = this._calculateClickOffset(e);
|
|
||||||
|
|
||||||
this._moveHandle = $.proxy(this._dragMove, this);
|
|
||||||
this._upHandle = $.proxy(this._finishDrag, this);
|
|
||||||
|
|
||||||
$(window).on('mousemove', this._moveHandle);
|
|
||||||
$(window).on('mouseup', this._upHandle);
|
|
||||||
|
|
||||||
this._dragUpdateLoop = window.setTimeout($.proxy(this._updateLocation, this), 10);
|
|
||||||
},
|
|
||||||
|
|
||||||
_calculateClickOffset:function (e) {
|
|
||||||
var mouseX = e.pageX;
|
|
||||||
var mouseY = e.pageY;
|
|
||||||
var o = this._el.offset();
|
|
||||||
return {
|
|
||||||
top:mouseY - o.top,
|
|
||||||
left:mouseX - o.left
|
|
||||||
}
|
|
||||||
|
|
||||||
},
|
|
||||||
|
|
||||||
_updateLocation:function () {
|
|
||||||
this._el.css({top:this._targetY, left:this._targetX});
|
|
||||||
this._dragUpdateLoop = window.setTimeout($.proxy(this._updateLocation, this), 10);
|
|
||||||
},
|
|
||||||
|
|
||||||
_dragMove:function (e) {
|
|
||||||
e.preventDefault();
|
|
||||||
var x = e.clientX - this._offset.left;
|
|
||||||
var y = e.clientY - this._offset.top;
|
|
||||||
this._targetX = x;
|
|
||||||
this._targetY = y;
|
|
||||||
},
|
|
||||||
|
|
||||||
_finishDrag:function () {
|
|
||||||
window.clearTimeout(this._dragUpdateLoop);
|
|
||||||
// remove handles
|
|
||||||
$(window).off('mousemove', this._moveHandle);
|
|
||||||
$(window).off('mouseup', this._upHandle);
|
|
||||||
// resume animations
|
|
||||||
this._balloon.show();
|
|
||||||
this.reposition();
|
|
||||||
this.resume();
|
|
||||||
|
|
||||||
},
|
|
||||||
|
|
||||||
_addToQueue:function (func, scope) {
|
|
||||||
if (scope) func = $.proxy(func, scope);
|
|
||||||
this._queue.queue(func);
|
|
||||||
},
|
|
||||||
|
|
||||||
/**************************** Pause and Resume ************************************/
|
|
||||||
|
|
||||||
pause:function () {
|
|
||||||
this._animator.pause();
|
|
||||||
this._balloon.pause();
|
|
||||||
|
|
||||||
},
|
|
||||||
|
|
||||||
resume:function () {
|
|
||||||
this._animator.resume();
|
|
||||||
this._balloon.resume();
|
|
||||||
}
|
|
||||||
|
|
||||||
};
|
|
@ -1,191 +0,0 @@
|
|||||||
/******
|
|
||||||
*
|
|
||||||
*
|
|
||||||
* @constructor
|
|
||||||
*/
|
|
||||||
clippy.Animator = function (el, path, data, sounds) {
|
|
||||||
this._el = el;
|
|
||||||
this._data = data;
|
|
||||||
this._path = path;
|
|
||||||
this._currentFrameIndex = 0;
|
|
||||||
this._currentFrame = undefined;
|
|
||||||
this._exiting = false;
|
|
||||||
this._currentAnimation = undefined;
|
|
||||||
this._endCallback = undefined;
|
|
||||||
this._started = false;
|
|
||||||
this._sounds = {};
|
|
||||||
this.currentAnimationName = undefined;
|
|
||||||
this.preloadSounds(sounds);
|
|
||||||
this._overlays = [this._el];
|
|
||||||
var curr = this._el;
|
|
||||||
|
|
||||||
this._setupElement(this._el);
|
|
||||||
for (var i = 1; i < this._data.overlayCount; i++) {
|
|
||||||
var inner = this._setupElement($('<div></div>'));
|
|
||||||
|
|
||||||
curr.append(inner);
|
|
||||||
this._overlays.push(inner);
|
|
||||||
curr = inner;
|
|
||||||
}
|
|
||||||
};
|
|
||||||
|
|
||||||
clippy.Animator.prototype = {
|
|
||||||
_setupElement:function (el) {
|
|
||||||
var frameSize = this._data.framesize;
|
|
||||||
el.css('display', "none");
|
|
||||||
el.css({width:frameSize[0], height:frameSize[1]});
|
|
||||||
el.css('background', "url('" + this._path + "/map.png') no-repeat");
|
|
||||||
|
|
||||||
return el;
|
|
||||||
},
|
|
||||||
|
|
||||||
animations:function () {
|
|
||||||
var r = [];
|
|
||||||
var d = this._data.animations;
|
|
||||||
for (var n in d) {
|
|
||||||
r.push(n);
|
|
||||||
}
|
|
||||||
return r;
|
|
||||||
},
|
|
||||||
|
|
||||||
preloadSounds:function (sounds) {
|
|
||||||
|
|
||||||
for (var i = 0; i < this._data.sounds.length; i++) {
|
|
||||||
var snd = this._data.sounds[i];
|
|
||||||
var uri = sounds[snd];
|
|
||||||
if (!uri) continue;
|
|
||||||
this._sounds[snd] = new Audio(uri);
|
|
||||||
|
|
||||||
}
|
|
||||||
},
|
|
||||||
hasAnimation:function (name) {
|
|
||||||
return !!this._data.animations[name];
|
|
||||||
},
|
|
||||||
|
|
||||||
exitAnimation:function () {
|
|
||||||
this._exiting = true;
|
|
||||||
},
|
|
||||||
|
|
||||||
|
|
||||||
showAnimation:function (animationName, stateChangeCallback) {
|
|
||||||
this._exiting = false;
|
|
||||||
|
|
||||||
if (!this.hasAnimation(animationName)) {
|
|
||||||
return false;
|
|
||||||
}
|
|
||||||
|
|
||||||
this._currentAnimation = this._data.animations[animationName];
|
|
||||||
this.currentAnimationName = animationName;
|
|
||||||
|
|
||||||
|
|
||||||
if (!this._started) {
|
|
||||||
this._step();
|
|
||||||
this._started = true;
|
|
||||||
}
|
|
||||||
|
|
||||||
this._currentFrameIndex = 0;
|
|
||||||
this._currentFrame = undefined;
|
|
||||||
this._endCallback = stateChangeCallback;
|
|
||||||
|
|
||||||
return true;
|
|
||||||
},
|
|
||||||
|
|
||||||
|
|
||||||
_draw:function () {
|
|
||||||
var images = [];
|
|
||||||
if (this._currentFrame) images = this._currentFrame.images || [];
|
|
||||||
|
|
||||||
for (var i = 0; i < this._overlays.length; i++) {
|
|
||||||
if (i < images.length) {
|
|
||||||
var xy = images[i];
|
|
||||||
var bg = -xy[0] + 'px ' + -xy[1] + 'px';
|
|
||||||
this._overlays[i].css({'background-position':bg, 'display':'block'});
|
|
||||||
}
|
|
||||||
else {
|
|
||||||
this._overlays[i].css('display', 'none');
|
|
||||||
}
|
|
||||||
|
|
||||||
}
|
|
||||||
},
|
|
||||||
|
|
||||||
_getNextAnimationFrame:function () {
|
|
||||||
if (!this._currentAnimation) return undefined;
|
|
||||||
// No current frame. start animation.
|
|
||||||
if (!this._currentFrame) return 0;
|
|
||||||
var currentFrame = this._currentFrame;
|
|
||||||
var branching = this._currentFrame.branching;
|
|
||||||
|
|
||||||
|
|
||||||
if (this._exiting && currentFrame.exitBranch !== undefined) {
|
|
||||||
return currentFrame.exitBranch;
|
|
||||||
}
|
|
||||||
else if (branching) {
|
|
||||||
var rnd = Math.random() * 100;
|
|
||||||
for (var i = 0; i < branching.branches.length; i++) {
|
|
||||||
var branch = branching.branches[i];
|
|
||||||
if (rnd <= branch.weight) {
|
|
||||||
return branch.frameIndex;
|
|
||||||
}
|
|
||||||
|
|
||||||
rnd -= branch.weight;
|
|
||||||
}
|
|
||||||
}
|
|
||||||
|
|
||||||
return this._currentFrameIndex + 1;
|
|
||||||
},
|
|
||||||
|
|
||||||
_playSound:function () {
|
|
||||||
var s = this._currentFrame.sound;
|
|
||||||
if (!s) return;
|
|
||||||
var audio = this._sounds[s];
|
|
||||||
if (audio) audio.play();
|
|
||||||
},
|
|
||||||
|
|
||||||
_atLastFrame:function () {
|
|
||||||
return this._currentFrameIndex >= this._currentAnimation.frames.length - 1;
|
|
||||||
},
|
|
||||||
|
|
||||||
_step:function () {
|
|
||||||
if (!this._currentAnimation) return;
|
|
||||||
var newFrameIndex = Math.min(this._getNextAnimationFrame(), this._currentAnimation.frames.length - 1);
|
|
||||||
var frameChanged = !this._currentFrame || this._currentFrameIndex !== newFrameIndex;
|
|
||||||
this._currentFrameIndex = newFrameIndex;
|
|
||||||
|
|
||||||
// always switch frame data, unless we're at the last frame of an animation with a useExitBranching flag.
|
|
||||||
if (!(this._atLastFrame() && this._currentAnimation.useExitBranching)) {
|
|
||||||
this._currentFrame = this._currentAnimation.frames[this._currentFrameIndex];
|
|
||||||
}
|
|
||||||
|
|
||||||
this._draw();
|
|
||||||
this._playSound();
|
|
||||||
|
|
||||||
this._loop = window.setTimeout($.proxy(this._step, this), this._currentFrame.duration);
|
|
||||||
|
|
||||||
|
|
||||||
// fire events if the frames changed and we reached an end
|
|
||||||
if (this._endCallback && frameChanged && this._atLastFrame()) {
|
|
||||||
if (this._currentAnimation.useExitBranching && !this._exiting) {
|
|
||||||
this._endCallback(this.currentAnimationName, clippy.Animator.States.WAITING);
|
|
||||||
}
|
|
||||||
else {
|
|
||||||
this._endCallback(this.currentAnimationName, clippy.Animator.States.EXITED);
|
|
||||||
}
|
|
||||||
}
|
|
||||||
},
|
|
||||||
|
|
||||||
/***
|
|
||||||
* Pause animation execution
|
|
||||||
*/
|
|
||||||
pause:function () {
|
|
||||||
window.clearTimeout(this._loop);
|
|
||||||
},
|
|
||||||
|
|
||||||
/***
|
|
||||||
* Resume animation
|
|
||||||
*/
|
|
||||||
resume:function () {
|
|
||||||
this._step();
|
|
||||||
}
|
|
||||||
};
|
|
||||||
|
|
||||||
clippy.Animator.States = { WAITING:1, EXITED:0 };
|
|
@ -1,200 +0,0 @@
|
|||||||
/******
|
|
||||||
*
|
|
||||||
*
|
|
||||||
* @constructor
|
|
||||||
*/
|
|
||||||
clippy.Balloon = function (targetEl) {
|
|
||||||
this._targetEl = targetEl;
|
|
||||||
|
|
||||||
this._hidden = true;
|
|
||||||
this._setup();
|
|
||||||
};
|
|
||||||
|
|
||||||
clippy.Balloon.prototype = {
|
|
||||||
|
|
||||||
WORD_SPEAK_TIME:200,
|
|
||||||
CLOSE_BALLOON_DELAY:2000,
|
|
||||||
|
|
||||||
_setup:function () {
|
|
||||||
|
|
||||||
this._balloon = $('<div class="clippy-balloon"><div class="clippy-tip"></div><div class="clippy-content"></div></div> ').hide();
|
|
||||||
this._content = this._balloon.find('.clippy-content');
|
|
||||||
|
|
||||||
$(document.body).append(this._balloon);
|
|
||||||
},
|
|
||||||
|
|
||||||
reposition:function () {
|
|
||||||
var sides = ['top-left', 'top-right', 'bottom-left', 'bottom-right'];
|
|
||||||
|
|
||||||
for (var i = 0; i < sides.length; i++) {
|
|
||||||
var s = sides[i];
|
|
||||||
this._position(s);
|
|
||||||
if (!this._isOut()) break;
|
|
||||||
}
|
|
||||||
},
|
|
||||||
|
|
||||||
_BALLOON_MARGIN:15,
|
|
||||||
|
|
||||||
/***
|
|
||||||
*
|
|
||||||
* @param side
|
|
||||||
* @private
|
|
||||||
*/
|
|
||||||
_position:function (side) {
|
|
||||||
var o = this._targetEl.offset();
|
|
||||||
var h = this._targetEl.height();
|
|
||||||
var w = this._targetEl.width();
|
|
||||||
o.top -= $(window).scrollTop();
|
|
||||||
o.left -= $(window).scrollLeft();
|
|
||||||
|
|
||||||
var bH = this._balloon.outerHeight();
|
|
||||||
var bW = this._balloon.outerWidth();
|
|
||||||
|
|
||||||
this._balloon.removeClass('clippy-top-left');
|
|
||||||
this._balloon.removeClass('clippy-top-right');
|
|
||||||
this._balloon.removeClass('clippy-bottom-right');
|
|
||||||
this._balloon.removeClass('clippy-bottom-left');
|
|
||||||
|
|
||||||
var left, top;
|
|
||||||
switch (side) {
|
|
||||||
case 'top-left':
|
|
||||||
// right side of the balloon next to the right side of the agent
|
|
||||||
left = o.left + w - bW;
|
|
||||||
top = o.top - bH - this._BALLOON_MARGIN;
|
|
||||||
break;
|
|
||||||
case 'top-right':
|
|
||||||
// left side of the balloon next to the left side of the agent
|
|
||||||
left = o.left;
|
|
||||||
top = o.top - bH - this._BALLOON_MARGIN;
|
|
||||||
break;
|
|
||||||
case 'bottom-right':
|
|
||||||
// right side of the balloon next to the right side of the agent
|
|
||||||
left = o.left;
|
|
||||||
top = o.top + h + this._BALLOON_MARGIN;
|
|
||||||
break;
|
|
||||||
case 'bottom-left':
|
|
||||||
// left side of the balloon next to the left side of the agent
|
|
||||||
left = o.left + w - bW;
|
|
||||||
top = o.top + h + this._BALLOON_MARGIN;
|
|
||||||
break;
|
|
||||||
}
|
|
||||||
|
|
||||||
this._balloon.css({top:top, left:left});
|
|
||||||
this._balloon.addClass('clippy-' + side);
|
|
||||||
},
|
|
||||||
|
|
||||||
_isOut:function () {
|
|
||||||
var o = this._balloon.offset();
|
|
||||||
var bH = this._balloon.outerHeight();
|
|
||||||
var bW = this._balloon.outerWidth();
|
|
||||||
|
|
||||||
var wW = $(window).width();
|
|
||||||
var wH = $(window).height();
|
|
||||||
var sT = $(document).scrollTop();
|
|
||||||
var sL = $(document).scrollLeft();
|
|
||||||
|
|
||||||
var top = o.top - sT;
|
|
||||||
var left = o.left - sL;
|
|
||||||
var m = 5;
|
|
||||||
if (top - m < 0 || left - m < 0) return true;
|
|
||||||
if ((top + bH + m) > wH || (left + bW + m) > wW) return true;
|
|
||||||
|
|
||||||
return false;
|
|
||||||
},
|
|
||||||
|
|
||||||
speak:function (complete, text, hold) {
|
|
||||||
this._hidden = false;
|
|
||||||
this.show();
|
|
||||||
var c = this._content;
|
|
||||||
// set height to auto
|
|
||||||
c.height('auto');
|
|
||||||
c.width('auto');
|
|
||||||
// add the text
|
|
||||||
c.text(text);
|
|
||||||
// set height
|
|
||||||
c.height(c.height());
|
|
||||||
c.width(c.width());
|
|
||||||
c.text('');
|
|
||||||
this.reposition();
|
|
||||||
|
|
||||||
this._complete = complete;
|
|
||||||
this._sayWords(text, hold, complete);
|
|
||||||
},
|
|
||||||
|
|
||||||
show:function () {
|
|
||||||
if (this._hidden) return;
|
|
||||||
this._balloon.show();
|
|
||||||
},
|
|
||||||
|
|
||||||
hide:function (fast) {
|
|
||||||
if (fast) {
|
|
||||||
this._balloon.hide();
|
|
||||||
return;
|
|
||||||
}
|
|
||||||
|
|
||||||
this._hiding = window.setTimeout($.proxy(this._finishHideBalloon, this), this.CLOSE_BALLOON_DELAY);
|
|
||||||
},
|
|
||||||
|
|
||||||
_finishHideBalloon:function () {
|
|
||||||
if (this._active) return;
|
|
||||||
this._balloon.hide();
|
|
||||||
this._hidden = true;
|
|
||||||
this._hiding = null;
|
|
||||||
},
|
|
||||||
|
|
||||||
_sayWords:function (text, hold, complete) {
|
|
||||||
this._active = true;
|
|
||||||
this._hold = hold;
|
|
||||||
var words = text.split(/[^\S-]/);
|
|
||||||
var time = this.WORD_SPEAK_TIME;
|
|
||||||
var el = this._content;
|
|
||||||
var idx = 1;
|
|
||||||
|
|
||||||
|
|
||||||
this._addWord = $.proxy(function () {
|
|
||||||
if (!this._active) return;
|
|
||||||
if (idx > words.length) {
|
|
||||||
delete this._addWord;
|
|
||||||
this._active = false;
|
|
||||||
if (!this._hold) {
|
|
||||||
complete();
|
|
||||||
this.hide();
|
|
||||||
}
|
|
||||||
} else {
|
|
||||||
el.text(words.slice(0, idx).join(' '));
|
|
||||||
idx++;
|
|
||||||
this._loop = window.setTimeout($.proxy(this._addWord, this), time);
|
|
||||||
}
|
|
||||||
}, this);
|
|
||||||
|
|
||||||
this._addWord();
|
|
||||||
|
|
||||||
},
|
|
||||||
|
|
||||||
close:function () {
|
|
||||||
if (this._active) {
|
|
||||||
this._hold = false;
|
|
||||||
} else if (this._hold) {
|
|
||||||
this._complete();
|
|
||||||
}
|
|
||||||
},
|
|
||||||
|
|
||||||
pause:function () {
|
|
||||||
window.clearTimeout(this._loop);
|
|
||||||
if (this._hiding) {
|
|
||||||
window.clearTimeout(this._hiding);
|
|
||||||
this._hiding = null;
|
|
||||||
}
|
|
||||||
},
|
|
||||||
|
|
||||||
resume:function () {
|
|
||||||
if (this._addWord) {
|
|
||||||
this._addWord();
|
|
||||||
} else if (!this._hold && !this._hidden) {
|
|
||||||
this._hiding = window.setTimeout($.proxy(this._finishHideBalloon, this), this.CLOSE_BALLOON_DELAY);
|
|
||||||
}
|
|
||||||
}
|
|
||||||
|
|
||||||
|
|
||||||
};
|
|
||||||
|
|