By Michael L. Dertouzos, Joel Moses
Gathered from twenty best specialists in computing device technological know-how, the chapters of the pc Age diversity throughout a wide spectrum of issues -- from technological tendencies and desires to social questions, reminiscent of the altering economics of data, possession rules, rules, the variety of capability computing device makes use of, from technology and company to the home.
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Extra info for The Computer age : a twenty-year view
In the case of both clacks and engines, the art was intended for the amusement of a mercantile aristocracy. In some instances, there was no metaphor; t he automaton itself was the product, and the artist reacted with concern. For e x amp le Eugene Delacroix wrote . in his journal on August 3, 1885, "I went to the Exposition; I noticed the fou nta i n which spouts giant artificial flowers. The sight of all those machines makes feel badly. " Explorations of contemporary metaphors for art, reflecting an electronic age, were the subject of three consecutive art exhi bitions: Cybernetic Serendipity at the Institute of Contemporary Arts in London (August 1968), Information at the Museum of Modern Art in New York (June 1970), and Software at the Jewish Museum, also in New York (September 1970).
However. the productive activities covered by the topic represent about a third of the world's gross national product. which indicates the immense potential significance of automation. I will start with a hypotheti cal example of a process that appears to be technologically feasible and might well become part Of everyday life in the future. Michael L. Dertouzos is professor of computer science and electrical engineering at MIT and director of MIT's Laboratory for Computer Science. His research interests are in the use of computers to control physical processes.
And the results of sports events. ele c ti o n s or fil m , ratings. In some sense, this could be the art form of off-track betting, Or, with more fantasy, we can imagine a future of the visual arts p opul a t ed with patronizing pieces of scu l pture and caustic canvases that recognize the v i ew e r to be male or female rich or poor, b ewild e red , or blase, you or me. In this fiction, the artist runs a kennel for cuddly art forms t h at get to know their future owners, who in turn get to know and love them.