Wednesday, April 29, 2009

NYTimes.com: G.E.'s Breakthrough Can Put 100 DVDs on a Disc

The New York Times




TECHNOLOGY / BUSINESS COMPUTING
| April 27, 2009

G.E.'s Breakthrough Can Put 100 DVDs on a Disc

G.E’s Breakthrough Can Put 100 DVDs on a Disc


By STEVE LOHR

Published: April 26, 2009

General Electric says it has achieved a breakthrough in digital storage technology that will allow standard-size discs to hold the equivalent of 100 DVDs.

The storage advance, which G.E. is announcing on Monday, is just a laboratory success at this stage. The new technology must be made to work in products that can be mass-produced at affordable prices.
But optical storage experts and industry analysts who were told of the development said it held the promise of being a big step forward in digital storage with a wide range of potential uses in commercial, scientific and consumer markets.
“This could be the next generation of low-cost storage,” said Richard Doherty, an analyst at Envisioneering, a technology research firm.
The promising work by the G.E. researchers is in the field of holographic storage. Holography is an optical process that stores not only three-dimensional images like the ones placed on many credit cards for security purposes, but the 1’s and 0’s of digital data as well.
The data is encoded in light patterns that are stored in light-sensitive material. The holograms act like microscopic mirrors that refract light patterns when a laser shines on them, and so each hologram’s recorded data can then be retrieved and deciphered.
Holographic storage has the potential to pack data far more densely than conventional optical technology, used in DVDs and the newer, high-capacity Blu-ray discs, in which information is stored as a pattern of marks across the surface of a disc. The potential of holographic technology has long been known. The first research papers were published in the early 1960s.
Many advances have been made over the years in the materials science, optics and applied physics needed to make holographic storage a practical, cost-effective technology. And this year, InPhase Technologies, a spinoff of Bell Labs of Alcatel-Lucent, plans to introduce a holographic storage system, using $18,000 machines and expensive discs, for specialized markets like video production and storing medical images.
To date, holographic storage has not been on a path to mainstream use. The G.E. development, however, could be that pioneering step, according to analysts and experts. The G.E. researchers have used a different approach than past efforts. It relies on smaller, less complex holograms — a technique called microholographic storage.
A crucial challenge for the team, which has been working on this project since 2003, has been to find the materials and techniques so that smaller holograms reflect enough light for their data patterns to be detected and retrieved.
The recent breakthrough by the team, working at the G.E. lab in Niskayuna, N.Y., north of Albany, was a 200-fold increase in the reflective power of their holograms, putting them at the bottom range of light reflections readable by current Blu-ray machines.
“We’re in the ballpark,” said Brian Lawrence, the scientist who leads G.E.’s holographic storage program. “We’ve crossed the threshold so we’re readable.”
In G.E.’s approach, the holograms are scattered across a disc in a way that is similar to the formats used in today’s CDs, conventional DVDs and Blu-ray discs. So a player that could read microholographic storage discs could also read CD, DVD and Blu-ray discs. But holographic discs, with the technology G.E. has attained, could hold 500 gigabytes of data. Blu-ray is available in 25-gigabyte and 50-gigabyte discs, and a standard DVD holds 5 gigabytes.
“If this can really be done, then G.E.’s work promises to be a huge advantage in commercializing holographic storage technology,” said Bert Hesselink, a professor at Stanford and an expert in the field.
The G.E. team plans to present its research data and lab results at an optical data storage conference in Orlando next month.
Yet, analysts say, the feasibility of G.E.’s technology remains unproved and the economics uncertain. “It’s always well to remember that the most important technical specification in any storage device, however impressive the science behind it, is price,” said James N. Porter, an independent analyst of the storage market.
When Blu-ray was introduced in late 2006, a 25-gigabyte disc cost nearly $1 a gigabyte, though it is about half that now. G.E. expects that when they are introduced, perhaps in 2011 or 2012, holographic discs using its technology will be less than 10 cents a gigabyte — and fall in the future.
“The price of storage per gigabyte is going to drop precipitously,” Mr. Lawrence said.
G.E. will first focus on selling the technology to commercial markets like movie studios, television networks, medical researchers and hospitals for holding data-intensive images like Hollywood films and brain scans. But selling to the broader corporate and consumer market is the larger goal.
To do that, G.E. will have to work with partners to license its holographic storage technology and expertise, and the company is already talking with major electronics and optical storage producers, said Bill Kernick, who leads G.E.’s technology sales unit. The holographic research was originally related to G.E.’s plastics business, which it sold two years ago to the Saudi Basic Industries Corporation for $11.6 billion.

NYTimes.com: Computer Program to Take On 'Jeopardy!'

The New York Times
TECHNOLOGY | April 27, 2009

Computer Program to Take On 'Jeopardy!'
By JOHN MARKOFF


YORKTOWN HEIGHTS, N.Y. — This highly successful television quiz show is the latest challenge for artificial intelligence.

I.B.M. plans to announce Monday that it is in the final stages of completing a computer program to compete against human “Jeopardy!” contestants. If the program beats the humans, the field of artificial intelligence will have made a leap forward.
I.B.M. scientists previously devised a chess-playing program to run on a supercomputer called Deep Blue. That program beat the world champion Garry Kasparov in a controversial 1997 match (Mr. Kasparov called the match unfair and secured a draw in a later one against another version of the program).
But chess is a game of limits, with pieces that have clearly defined powers. “Jeopardy!” requires a program with the suppleness to weigh an almost infinite range of relationships and to make subtle comparisons and interpretations. The software must interact with humans on their own terms, and fast.
Indeed, the creators of the system — which the company refers to as Watson, after the I.B.M. founder, Thomas J. Watson Sr. — said they were not yet confident their system would be able to compete successfully on the show, on which human champions typically provide correct responses 85 percent of the time.
“The big goal is to get computers to be able to converse in human terms,” said the team leader, David A. Ferrucci, an I.B.M. artificial intelligence researcher. “And we’re not there yet.”
The team is aiming not at a true thinking machine but at a new class of software that can “understand” human questions and respond to them correctly. Such a program would have enormous economic implications.
Despite more than four decades of experimentation in artificial intelligence, scientists have made only modest progress until now toward building machines that can understand language and interact with humans.
The proposed contest is an effort by I.B.M. to prove that its researchers can make significant technical progress by picking “grand challenges” like its early chess foray. The new bid is based on three years of work by a team that has grown to 20 experts in fields like natural language processing, machine learning and information retrieval.
Under the rules of the match that the company has negotiated with the “Jeopardy!” producers, the computer will not have to emulate all human qualities. It will receive questions as electronic text. The human contestants will both see the text of each question and hear it spoken by the show’s host, Alex Trebek.
The computer will respond with a synthesized voice to answer questions and to choose follow-up categories. I.B.M. researchers said they planned to move a Blue Gene supercomputer to Los Angeles for the contest. To approximate the dimensions of the challenge faced by the human contestants, the computer will not be connected to the Internet, but will make its answers based on text that it has “read,” or processed and indexed, before the show.
There is some skepticism among researchers in the field about the effort. “To me it seems more like a demonstration than a grand challenge,” said Peter Norvig, a computer scientist who is director of research at Google. “This will explore lots of different capabilities, but it won’t change the way the field works.”
The I.B.M. researchers and “Jeopardy!” producers said they were considering what form their cybercontestant would take and what gender it would assume. One possibility would be to use an animated avatar that would appear on a computer display.
“We’ve only begun to talk about it,” said Harry Friedman, the executive producer of “Jeopardy!” “We all agree that it shouldn’t look like Robby the Robot.”
Mr. Friedman added that they were also thinking about whom the human contestants should be and were considering inviting Ken Jennings, the “Jeopardy!” contestant who won 74 consecutive times and collected $2.52 million in 2004.
I.B.M. will not reveal precisely how large the system’s internal database would be. The actual amount of information could be a significant fraction of the Web now indexed by Google, but artificial intelligence researchers said that having access to more information would not be the most significant key to improving the system’s performance.
Eric Nyberg, a computer scientist at Carnegie Mellon University, is collaborating with I.B.M. on research to devise computing systems capable of answering questions that are not limited to specific topics. The real difficulty, Dr. Nyberg said, is not searching a database but getting the computer to understand what it should be searching for.
The system must be able to deal with analogies, puns, double entendres and relationships like size and location, all at lightning speed.
In a demonstration match here at the I.B.M. laboratory against two researchers recently, Watson appeared to be both aggressive and competent, but also made the occasional puzzling blunder.
For example, given the statement, “Bordered by Syria and Israel, this small country is only 135 miles long and 35 miles wide,” Watson beat its human competitors by quickly answering, “What is Lebanon?”
Moments later, however, the program stumbled when it decided it had high confidence that a “sheet” was a fruit.
The way to deal with such problems, Dr. Ferrucci said, is to improve the program’s ability to understand the way “Jeopardy!” clues are offered. The complexity of the challenge is underscored by the subtlety involved in capturing the exact meaning of a spoken sentence. For example, the sentence “I never said she stole my money” can have seven different meanings depending on which word is stressed.
“We love those sentences,” Dr. Nyberg said. “Those are the ones we talk about when we’re sitting around having beers after work.”

Friday, April 24, 2009

NYTimes.com: A Magazine With a Puzzle Buried Inside

ARTS / TELEVISION   | April 21, 2009
A Magazine With a Puzzle Buried Inside
By DAVE ITZKOFF

Published: April 20, 2009
A few nights ago Steven Bevacqua, a postproduction supervisor for the television series “Life,” was flipping through the May issue of Wired magazine when he thought he started seeing secret messages. Yes, he’d just come home from a long day at work, but then again, the issue was guest-edited by J. J. Abrams, a creator of enigmatic television shows like “Lost” and “Fringe.”
J. J. Abrams, a creator of enigmatic television shows like “Lost,” put some twists into the May issue of Wired.
So, as Mr. Bevacqua wrote on his blog, he spent the next several days following the hidden clues he believed he’d found, using Morse code, alternative computer keyboard layouts and even electrician’s wiring codes to solve the covert brainteasers. Finally he was directed to a hidden Web site, from which he sent an e-mail message to a secret account. A short while later he learned that he was the first Wired reader to solve an extensive hidden puzzle embedded throughout the magazine.
It all happened a little faster than the editors of Wired expected, but this was the intent of their new issue, created in collaboration with Mr. Abrams: to immerse their audience in a series of riddles — some announced, others not — that were buried just deep enough for the readers who wanted to dig them up.
In doing so, the editors of Wired said, the project might help them solve another problem: how to keep consumers interested in the tangible artifact of a printed magazine — particularly one about digital culture — in an Internet era.
“We like to say it’s our jobs to add value to the Internet,” said Chris Anderson, the editor in chief of Wired. “The great thing about this issue is that none of the puzzles work online.”
It’s not uncommon for magazines to resort to guest editors to help corral celebrity contributors for their pages and generate publicity. (See Bono’s recent tour of duty at Vanity Fair or Roseanne Barr’s infamous stint at The New Yorker.) Likewise, Wired, owned by Condé Nast Publications, has previously allowed the architect Rem Koolhaas, the director James Cameron and the video game designer Will Wright to each take a turn in the editor’s chair.
For its latest issue, Wired wanted Mr. Abrams’s contributions and sensibility on every page, and devoted the entire magazine to the topic of mystery as a catalyst for imagination (inspired by a lecture given by Mr. Abrams at the 2007 TED conference, an annual symposium on technology, entertainment and design): there are articles about a perplexing American landmark called the Georgia Guidestones, how stage magic affects our brain chemistry and how scientists use an online game called Foldit to help determine the structure of proteins.
Naturally, there are callouts to some of Mr. Abrams’s popular entertainment properties, including a six-page comic strip that ties into his new “Star Trek” movie. But there is also, Mr. Abrams wrote in an e-mail message, “something else going on that, if you care to explore it, is crazy cool.”
Distributed across the issue are several puzzles that are not all labeled as such. (For example, you might ask why are there so many typographical errors in the text of Poe’s short story “The Purloined Letter” that appears on the screen of the Amazon Kindle on Page 46.) And all of these riddles are linked in a larger alternate-reality game, a genre that mixes online and real-world clues.
The project is also meant to illustrate the vitality of the Wired print magazine (whose total paid circulation has held steady over the last year at around 700,000). “Blog posts can effectively summarize a story and give you the takeaway idea,” said Thomas Goetz, the deputy editor of Wired. But print publications, he said, are still better suited to conveying “the nuance and effort of understanding the complexity of an idea and why it matters — what the riddles and wrinkles are within an idea.”
There is still the matter of Mr. Bevacqua, who solved the issue’s master puzzle but had not (by Monday afternoon) solved all the interlocking puzzles that led up to it. (Wired’s editors said he would receive a prize from Mr. Abrams.)
Despite Mr. Bevacqua’s victory, there are still sections of the magazine that remain tantalizingly unaccounted for, like a two-page spread bearing an array of numbers and a lottery ticket that will be familiar to dedicated viewers of “Lost.” Asked via e-mail if these pages were connected to “Lost,” Damon Lindelof, an executive producer of the show, wrote, “I have no idea what you’re talking about.”
Mr. Goetz said that there might be additional prizes for subsequent readers who solve the issue’s master puzzle and perhaps even for those who crack any codes that the editors did not mean to put in there. “We’re always looking to reward the ingenuity of our readers,” he said.

Saturday, April 18, 2009

SFGate: Sims' creator leaving Electronic Arts

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The original article can be found on SFGate.com here:
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Thursday, April 9, 2009 (SF Chronicle)
Sims' creator leaving Electronic Arts
Verne Kopytoff, Chronicle Staff Writer


Will Wright, the acclaimed video game designer who created hits like the Sims titles, is leaving Electronic Arts to focus on his own entertainment company.
The departure, announced Wednesday, ends a 12-year career at Electronic Arts, during which Wright became one of the industry's most successful developers. The Sims franchise has sold more than 100 million copies, making it the best-selling video game series of all-time.
Wright, 49, plans to devote himself full time to Stupid Fun Club, a studio he founded in 2001 that develops ideas for film, television and video games. Electronic Arts said Wednesday that it has invested an undisclosed amount of money in the company and that it will have the right to license any video game themes that its new partner spawns.
Wright explained in an interview that his decision to leave EA was based on his desire to devote all his energy to his company, which he described as an outlet "for strange products and ideas." He said he has several concepts for television and toys and that the next step is to try to commercialize them.
Wright and EA own equal and controlling shares in Stupid Fun Club. A third, undisclosed investor holds a smaller stake.
Stupid Fun Club is operated from a warehouse in Berkeley and is home to several robots and milling machines. The team is assembled from people Wright met while participating in Robot Wars, a television series in which amateurs build remote-controlled robots and then pit them against one another in fights.
Some of the robots at the Berkeley facility, Wright said, have served the company by "sparking a lot of creative ideas that we realized would make interesting Lego blocks, or nuggets, that we could build entertainment experiences around."
Enlisting EA as an investor, Wright said, was a deliberate alternative to venture capital funding. A corporate investor can afford to be more patient and allow Wright, as he put it, to "keep things small, keep things focused on creative people," rather than having to meet financial goals and prepare for an eventual sale or initial public offering.
Holly Rockwood, a spokeswoman for EA, in Redwood City, said that EA "absolutely believes in Will's concept" for the company. Working outside of EA made sense, she said, because Wright's interests are broader than EA's video game business.
EA's sales have suffered in the slumping economy, prompting a wave of cost cuts including recent layoffs of 1,100 employees, or 11 percent of its workforce, along with delays in the release of several video games.
With partner Jeff Braun, Wright founded gamemaker Maxis in 1987, and scored a hit with their release of SimCity, the first in a series of popular titles. The games were considered groundbreaking because players simply managed their characters, as if playing in a digital doll house, rather than trying to beat opponents.
EA acquired Maxis, a public company, in 1997 for $125 million. Since then, Wright has been an important presence at EA, most recently playing a key role in designing Spore, in which players develop micro-organisms into creatures. The game has sold 2 million copies since its release last year, disappointing some analysts who expected a bigger success.
Todd Greenwald, an analyst with Signal Hill Group, called Wright's departure a big loss for EA but added that the company has several people to oversee existing video game franchises. Whether EA has someone else who can step in to develop blockbusters is another matter.
"Those big franchises will be fine," Greenwald said. "The big question is where will the next Spore come from? Where does the next Sims come from?"
Ted Pollak, a market analyst at Jon Peddie Research and portfolio manager for the Electronic Entertainment Fund, said he isn't concerned about Wright's departure having a business impact on EA.
"Will Wright is a brilliant game designer, but he's just one of hundreds," he said.

E-mail Verne Kopytoff at vkopytoff@sfchronicle.com.
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Copyright 2009 SF Chronicle

Saturday, April 4, 2009

The Sandbox: Virtual Worlds and the Disabled


An old friend of mine, Kel Smith, has just written an excellent overview of how the disabled community is interacting online, concentrating on the communities and accomodations within Second Life. Very educational for me, and heartening to see some "serious game" work that isn't about military simulation....

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Posted by Harry Teasley on April 1, 2009 1:59 PM | Permalink

Friday, April 3, 2009

Nyhetsbrev Joingame (Norwegian Game Developer Association)

Even if you don't understand Norwegian (or Danish or Swedish), but are a game developer yourself, then some of the links in this NTNU, Trondheim, Norway based Joingame Newsletter may perhaps be of interest?

PJC
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Nyhetsbrev JoinGame - April

Påsken er rett rundt hjørnet, og sammen med den; en velfortjent pust i bakken. Før vi legger beina på bordet og forsvinner ned i påskeegget, ønsker vi i JoinGame-styret å gi en liten oppdatering på hva som har skjedd og hva som skal skje framover.

---Noe å glede seg til når påskeegget er tomt---

Neste workshop vil holdes på NTNU 6. mai. Om kvelden vil Norwegian Game Awards bli avholdt Trondheim, så bartebyen er stedet å være for spillentusiaster denne dagen.
Tema for Workshopen vil være "Spill som en audiovisuell opplevelse" og vi ønsker å se nærmere på koblingen mellom estetikk, teknologi og opplevelse. Som vanlig vil vi tilby både kunnskap fra akademia og erfaringer fra næringslivet innenfor temaene Lyd, Design og Machinima.
Vi har allerede en lang foreløpig liste av dyktige presentører bl.a.:
Kristine Jørgensen (Universitetet i Bergen), Jory Prum (studio,jory.org), Espen Gangvik, Ole Goethe (http://www.gloomshade.com) og Kellee Santiago (http://www.thatgamecompany.com). Jory Prum har lang erfaring innen lyd og dataspill og produsert lyd for over 50 spilltitler inkludert flere Star Wars spill, Sam & Max, Sims 2 og Monkey Island.
Ole Goethe har jobbet flere år i dataspill bransjen i San Francisco og har vært med å lage grafikk til bla. spillene Bowling Buddies, Star Wars, Cold Fear, og Lair. Kellee Santiago er president i ThatGameCompany som bla. står bak PS3 titlene flOw og Flower. Følg med etterhvert som programmet oppdateres på http://workshop.joingame.org.
Vi vet vi har mange talentfulle medlemmer, så denne workshopen vil også være en mulighet til å vise fram egen kreativitet og evner. Lunsjen vil bli kombinert med en poster-sesjon, så om du har prosjekt eller talent du ønsker å vise fram er dette muligheten. Det vil også være mulighet til å se på spillene til de ulike aktørene på Norwegian Game Awards.
Påmelding vil åpne etter påske, husk å kryss av om du skal ha med poster.

---Noe å underholde seg med underveis---

Workshop V i Oslo 5. og 6. februar ble en suksess med engasjerte deltagere og presantører. Om du ikke fikk mulighet til å delta, har vi både referat, kopi av presentasjoner og noen bilder lagt ut på våre nettsider.
JoinGame leder Alf Inge Wang var tilstede på GDC (Game Developers Conferance) og har laget videoklipp som også er tilgjenglig på media.joingame.org .
JoinGame har også sendt inn forslag til tema for VERDIKT med tittel «Samhandling på eller mellom digitale plattformer». Vi krysser fingrene for at dette får gjennomslag, da vi tror det vil gi gode muligheter for forskningsprosjekt knyttet til dataspill.

Ønsker alle en riktig god påske og vel møtt i Trondheim 6. mai.

Mvh
JoinGame styret

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