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A little programmer carriage for an 8-pin ATTiny chip. It's basically just an ISP header and a DIP socket.
Added 2 LEDs to indicate the LFOs (can be driven by CV1out and CV2 out in the ModMatrix) and changed the flimsy Switches to Rotary Switches with the help of a Filter-SwitchAmaTron(tm)
Philips Videopac G7000. I don't recall much about this one but then I've never been a programmer. You can see me having a go at the first example in the manual here on Youtube: www.youtube.com/watch?v=JrSM4DxvB5s
On Earlier Boards (REV lower 0.6) Pins of the Output Expander will have to be soldered directly to the 74HC595. Its the right Chip under the ATMega seen from the bottom Side of the Control Board (don't scramble the 2 74xxx chips, it wont work with the 74HC165!!).
Heres the PinOut:
Red=+5V(PIN1 of the OutPut Expander Port),
Blue=GND(Pin2),
Green=Q7'(Pin3),
Black=CLK(Pin4) and
Brown=EN(Pin5).
Now only Missing is CV1....
Outdoor recreation programmer Molly Gallant of the Baltimore City Parks Department leads a kayaking lesson before guiding eighth graders from Baltimore's Collington Square Elementary School on a paddle on the Patapsco River at Middle Branch Park on June 10, 2016. Roughly 500 Baltimore students took part in the Kids in Kayaks program in its first year, supported by the National Park Service and the Baltimore National Heritage Area. (Photo by Will Parson/Chesapeake Bay Program)
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Kickstarting Volunteers: Getting stuff done with nothing
The first talk on at the Shopfront was mine. I made a deliberate decision to go first for a number of reasons: Get it over with; I was ready; I wanted the rest of the day to listen to the other talks.
I chose to read the talk from the world lightest, thinest laptop - no cables required. In other words I read it from paper. Why? Well when everyone goes Hi-tech, I go Lo-tech. All I need is a bit of paper, some light. I don't even need an audience.
I made the short title up straight away to let everyone know an immediate application of the talk. Easy to understand and say.
I started by going down to the Shopfront, picked a spot in the light, marked out my standpoint - I tend to walk when I talk so placing 2 markers either side keeps me in 1 spot. Had a chat to a few people who came down first. Then talked.
I'd timed the talk over about 5 times in practice to make sure it was < 20 minutes. It was about 15 minutes in all.
The images you see here are by @dan who really did a great job transcribing my major points into pictures. I didn't realise he'd done this till lunchtime till I started taking shots upstairs. Thanks Dan.
I first read out some keywords on what the talk was about, some quick concepts then read the talk.
The intro explaining what the talk is about. The objectives.
Point 1 Emotion
Emotions effect the way we make decisions. Emotions come in many forms as we react to stress. Each person reacts slightly differently. Limiting your emotional reaction, lets you move forward to make decisions. It's a trait that only you can control. Some sort of control is an advantage over none. No control over you emotions can let fear control you.
Fear is by far the most damaging emotion I can think of. Fear paralyses you into in-action. In-action is not only counter productive but it's also the fastest way to sabotage yourself. Fear is also contagious. If you are
fearful, it has a nasty habit of rubbing-off onto others. I don't know the solution to avoiding or controlling fear but I do know you should be aware it exists. You should try to negate it's side effects. The better control you have over fear, the more effective you can be.
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Photo showing Mariana Karepova (AT) (President of the Austrian Patent Office) at the Panel Talk "Siri search female Programmers - What can be done against the digital gender divide in Austria?" by Ars Electronica x Initiative Digitalisierung Chancengerecht, Ingrid Brodnig (AT), Christiane Spiel (AT), Gerfried Stocker (AT), Carina Zehetmaier (AT), Mariana Karepova (AT), Martina Mara (AT), Doris Schmidauer (AT).
In the context of Ars Electronica 2021, the "Initiative Digitalisierung Chancengerecht" (IDC) launched by Doris Schmidauer invites high-ranking experts from the fields of education, technology, business, culture and media to a discussion. After a keynote speech by Ingrid Brodnig, we will address the following questions: What are the causes of the digital gender divide? How can girls be empowered to become self-confident shapers of the digital transformation? What concrete measures must be taken in Austria to create digital equality of opportunity for women?
Credit: vog.photo
I hope this one now lives in peace together with "les electromonstres" somwhere in the City of Love....
French postcard by Fernand Hazan Editeur, Paris, no. 1654 C. Caption: Buster Keaton, 1929.
Stone-faced Buster Keaton (1895-1966) was one of the three greatest comedians of Silent Hollywood.
Buster Keaton was born Joseph Frank Keaton in 1895 into a vaudeville family. His father was Joseph Hallie ‘Joe’ Keaton, who owned a travelling show with Harry Houdini called the Mohawk Indian Medicine Company. Keaton was born in Piqua, Kansas, the small town where his mother, Myra Keaton (née Myra Edith Cutler), happened to go into labour. By the time he was 3, Keaton began performing with his parents in The Three Keatons. He was being thrown around the stage and into the orchestra pit, or even into the audience. His little suits even had a handle concealed at the waist, so Joe could sling him like luggage. "It was the roughest knockabout act that was ever in the history of the theatre," Keaton told the historian Kevin Brownlow. It led to accusations of child abuse, and occasionally, arrest. However, Buster Keaton was always able to show the authorities that he had no bruises or broken bones. Noticing that his laughing drew fewer laughs from the audience, Keaton adopted his famous deadpan expression whenever he was working. For the rest of his career, Keaton was "the great stone face," with an expression that ranged from impassive to slightly quizzical. By the time he was 21, his father's alcoholism threatened the reputation of the family act, so Keaton and his mother, Myra, left for New York, where Buster Keaton's career swiftly moved from vaudeville to film. In February 1917, Keaton met Roscoe ‘Fatty’ Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck. He was hired as a co-star and gagman, making his first appearance in the short The Butcher Boy (Roscoe 'Fatty' Arbuckle, 1917). He appeared in a total of 14 Arbuckle shorts, running into 1920. They were popular and, Keaton and Arbuckle became close friends. Keaton was one of few people to defend Arbuckle's character during accusations that he was responsible for the death of actress Virginia Rappe in 1921. In The Saphead (Herbert Blaché, Winchell Smith, 1920), Keaton had his first starring role in a full-length feature. It was a success and Schenck gave him his own production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including One Week (Edward F. Cline, Buster Keaton, 1920), The Boat (Edward F. Cline, Buster Keaton, 1921), Cops (Edward F. Cline, Buster Keaton, 1922), and The Paleface (Edward F. Cline, Buster Keaton, 1922). Keaton then moved to full-length features. His first feature, Three Ages (Edward F. Cline, Buster Keaton, 1923), was produced similarly to his short films and was the dawning of a new era in comedic cinema, where it became apparent to Keaton that he had to put more focus on the storylines and characterization. His most enduring features include Our Hospitality (John G. Blystone, Buster Keaton, 1923), The Navigator (Donald Crisp, Buster Keaton, 1924), Sherlock Jr. (Buster Keaton, 1924), College (James W. Horne, Buster Keaton, 1927), and The General (Clyde Bruckman, Buster Keaton, 1927). The General, set during the American Civil War, combined physical comedy with Keaton's love of trains, including an epic locomotive chase. Employing picturesque locations, the film's storyline re-enacted an actual wartime incident. Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy. It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements.
Buster Keaton endured this treatment for two more feature films, including Steamboat Bill Jr. (Charles Reisner, Buster Keaton, 1928), and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer (MGM). Keaton's loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, In 1921, Keaton had married Natalie Talmadge, sister-in-law of his boss, Joseph Schenck, and sister of actresses Norma Talmadge and Constance Talmadge. She co-starred with Keaton in Our Hospitality. The couple had two sons, James (1922-2007) and Robert (1924–2009), but after the birth of Robert, the relationship began to suffer. Influenced by her family, Talmadge decided not to have any more children and this led to the couple staying in separate bedrooms. Her financial extravagance (she would spend up to a third of his salary on clothes) was another factor in the breakdown of the marriage. Keaton signed with MGM in 1928, a business decision that he would later call the worst of his life. He realized too late that MGM’s studio system would severely limit his creative input. For instance, the studio refused his request to make his early project, Spite Marriage (Edward Sedgwick, Buster Keaton, 1929), as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts. However, MGM did allow Keaton some creative participation in his last originally developed/written silent film The Cameraman (Edward Sedgwick, Buster Keaton, 1928). which was his first project under contract with them. Keaton was forced to use a stunt double during some of the more dangerous scenes, something he had never done in his heyday, as MGM wanted badly to protect its investment. Some of his most financially successful films for the studio were during this period. MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, The Passionate Plumber (Edward Sedgwick, 1932), Speak Easily (Edward Sedgwick, 1932), and What! No Beer? (Edward Sedgwick, 1933). In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after. In 1932, Nathalie Talmadge divorced Keaton, taking his entire fortune and refusing to allow any contact between Keaton and his sons, whose last name she had changed to Talmadge. Keaton was reunited with them about a decade later when his older son turned 18. With the failure of his marriage and the loss of his independence as a filmmaker, Keaton lapsed into a period of alcoholism.
Buster Keaton was so demoralized during the production of What! No Beer? (Edward Sedgwick, 1933) that MGM fired him after the filming was complete, despite the film being a resounding hit. In 1933, he married his nurse, Mae Scriven, during an alcoholic binge about which he afterwards claimed to remember nothing. Scriven herself would later claim that she didn't know Keaton's real first name until after the marriage. When they divorced in 1936, it was again at great financial cost to Keaton. In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Élysées/The King of the Champs Elysees (Max Nosseck, 1934) with Paulette Dubost. In England, he made another film, The Invader/An Old Spanish Custom (Adrian Brunel, 1936). Upon Keaton's return to Hollywood, he made a screen comeback in a series of 16 two-reel comedies for Educational Pictures. Most of these are simple visual comedies, with many of the gags supplied by Keaton himself, often recycling ideas from his family vaudeville act and his earlier films. The high point in the Educational series is Grand Slam Opera (Buster Keaton, Charles Lamont, 1936), featuring Buster in his own screenplay as a contestant in a radio amateur hour show hoping to win the first prize... by dancing and juggling. When the series lapsed in 1937, Keaton returned to MGM as a gag writer, including the Marx Brothers films At the Circus (Edward Buzzell, 1939) and Go West (Edward Buzzell, 1940), and providing material for Red Skelton. He also helped and advised Lucille Ball in her comedic work in films and television. In 1939, Columbia Pictures hired Keaton to star in ten two-reel comedies, running for two years. The director was usually Jules White, whose emphasis on slapstick and farce made most of these films resemble White's Three Stooges comedies. Keaton's personal favourite was the series' debut entry, Pest from the West (Del Lord, 1939), a shorter, tighter remake of The Invader (1936). Keaton's Columbia shorts rank as the worst comedies he made.
Buster Keaton's personal life stabilized with his 1940 marriage with Eleanor Norris, a 21-year-old dancer. She stopped his heavy drinking and helped to salvage his career. He abandoned Columbia for the less strenuous field of feature films. Throughout the 1940s, Keaton played character roles in features. He made his last starring feature El Moderno Barba Azul/Boom In The Moon (Jaime Salvador, 1946) in Mexico. Critics rediscovered Keaton in 1949. He had cameos in such films as In the Good Old Summertime (Robert Z. Leonard, 1949), Sunset Boulevard (Billy Wilder, 1950), and Around the World in 80 Days (Michael Anderson, 1956), and did innumerable TV appearances. Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's Limelight (1952). In 1954, Keaton and his wife met film programmer Raymond Rohauer, with whom the couple would develop a business partnership to re-release Keaton's films. Around the same time, after buying the comedian's house, the actor James Mason found numerous cans of Keaton's films. Keaton had prints of the features Three Ages, Sherlock, Jr., Steamboat Bill, Jr., College (missing one reel) and the shorts The Boat and My Wife's Relations, which Keaton and Rohauer transferred to safety stock from deteriorating nitrate film stock. Unknown to them at the time, MGM also had saved some of Keaton's work: all his 1920-1926 features and his first eight two-reel shorts. In 1962 came a retrospective at the Cinematheque Francaise in Paris, and in 1965 a tribute at the Venice Film Festival. "I can't feel sorry for myself," he said in Venice. "It all goes to show that if you stay on the merry-go-round long enough you'll get another chance at the brass ring. Luckily, I stayed on." In 1960, Keaton returned to MGM for the final time, playing a lion tamer in an adaptation of Mark Twain's The Adventures of Huckleberry Finn (Michael Curtiz, 1960). Later Keaton played a cameo in It's a Mad, Mad, Mad, Mad World (Stanley Kramer, 1963) and starred in four films for American International Pictures: Pajama Party (Don Weis, 1964), Beach Blanket Bingo (William Asher, 1965), How to Stuff a Wild Bikini (William Asher, 1964) and Sergeant Deadhead (Norman Taurog, 1964). As he had done in the past, Keaton also provided gags for the four AIP films. In 1965, Keaton starred in the short film The Railrodder (Gerald Potterton, Buster Keaton, 1965) for the National Film Board of Canada. Wearing his traditional pork pie hat, he travelled from one end of Canada to the other on a railway motorcar, performing a few stunts similar to those in films he did 50 years earlier. The film was Keaton's last silent screen performance. He also played the central role in Samuel Beckett's Film (Alan Schneider, 1965) and travelled to Italy to play a role in Due Marines e un Generale/War Italian Style (Luigi Scattini, 1965), with Italian comedy duo Franco Franchi and Ciccio Ingrassia. Keaton's final film was A Funny Thing Happened on the Way to the Forum (Richard Lester, 1966) which was filmed in Spain in September-November 1965. He amazed the cast and crew by doing many of his own stunts. Shortly after completing the film, Keaton died of lung cancer in 1966 at his home in Woodland Hills, California. He was 70. In 1987, the documentary, Buster Keaton: A Hard Act to Follow, directed by Kevin Brownlow and David Gill, won two Emmy Awards.
Sources: Roger Ebert, Nicolette Olivier (IMDb), New York Times, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Hi there, we are the Application Development Group from Intel based in Cyberjaya Malaysia. We took the photo outside our office lobby. In the picture you will see Wong Kok Chung (far left), Maisie Han (hidden behind the magazine) Hilman (our intern) and Lui Poh Yiau (sitting down). We develop decision support systems for our parent group, the Materials organization. We specialize in .NET web applications, SQL databases and ETL using SISS
Top ipad application development services at low cost. ipad applications Programmer is expert in ipad apps development, ipad game development & ipad web development. www.ipadapplicationsprogrammer.com
Photo credit: Brian Benton/Washington University Libraries
A motley crew of humanists, technologists, librarians, archivists, programmers—and anyone with an interest in humanities and/or technology—gathered in Olin Library and the Danforth University Center (DUC) on Saturday, Nov. 9, for THATCampSTL, St. Louis's first-ever rendition of The Humanities and Technology Camp. Described as an "unconference," the open event draws its inspiration and general format from previous THATCamps aimed at attracting interested people with differing and overlapping perspectives and skill sets to a flexible, in-depth day of conversation, brainstorming, and networking. In contrast to more traditional academic conference models, THATCamps are comprised of short sessions proposed on the spot and decided on democratically among the participants.
"The idea of an 'unconference' was that sometimes when one goes to a conference, the best part of it turns out to be a serendipitous hallway conversation," says Douglas Knox, assistant director of the Humanities Digital Workshop on campus. "Could we bring people together to try to acknowledge the value of that serendipity? The best THATCamp sessions in my experience have been the ones where people have found a way to share something that they are passionate about, or have stretched themselves beyond their areas of greatest familiarity."
All Parts placed, need to check.
Routing OldSchool by hand, so only 3 bridges and these only to GND on a 1sided board.... luckyly i didn't use this birdnamed CAD thingy....
For programming PIC chips from a computer. Used for GCSE Electronics, but we're upgrading to a new system that doesn't need one of these boxes, just a headphone socket. It doesn't play music though.
I put together this chart plotting the ego of the game programmer against the desirability of his/her job. Data points are not to scale.
This is the result of years of rigorous interviews while I was "embedded" with game programmers from many different backgrounds. I found that SPU (the PS3 coprocessor instruction set) programmers by far have the largest ego, but not necessarily the most desirable job. Shader programmers have the perceived "coolest" jobs in the industry but don't have quite the same ego as SPU programmers. PS3 game programmers believe they are better than Xbox 360 programmers, but Xbox 360 programmers have a more desirable job because their games reach a wider audience. PSP game programmers are a bit of an anomaly because they believe the work they do is very challenging, but no one in the industry particularly wants to make PSP games. Mobile, Flash, and iPhone programmers are at the bottom of both ends of the spectrum: their jobs are neither desirable or carry much ego.
This is a joke. Duh!
Programmers at the January 2014 Code for DC Civic Hacknight. OpenGov Hub, 1889 F St NW, Washington, DC.
A state-of-the-80s bootloader programmer for the Motorola 68705 microcontroller.
Fun to build this in 2010 and to disobey the warning
Perception System, a complete Android app development center, is delivering “Hire Android programmers” service on timely basis according to client’s requirements. goo.gl/3n0VC5
Detailed Product Description
Support all Toyota 4D chips, with the original key programming protocol, non-general initialization protocol.
Safe and highly effective: Only about 10 second to program a new key; the anti-thelf system will not be damaged in safe using way, it is the most quickly and safest programmer.