by Tom P Kolodziejak | Apr 11, 2016
Game Developers Conference, San Francisco – Mark Rosewater, Head Designer for the “Magic: The Gathering” shared his experiences that he gained over the past 20 years on designing, improving, and advancing the same game. Since 1995, he has been working for Wizards of the Coast which created Magic: The Gathering. He mentioned not many games survived that long time and it is no wonder that the game went though many changes. In the period of 20 years they made: 86 randomized booster products, 69 non-randomized products, online licensed and other miscellaneous products, and produced over 14,000 unique cards.
There were also many lessons learned that the game designers can adopt in the process of building their games. Rosewater named 20 lessons. One for each year of his work.
Lesson 1: Fighting against human nature is a losing battle.
Knowing your audience is a key. Since your audience are humans, you know that they can be a little stubborn and have their own habits, so don’t try to change the players to match the game. Change your game to match the players.
Lesson 2: Aesthetics matter. Don’t fight human perception.
Aesthetics is also known as the Philosophy of Art or Science of Beauty. The idea of aesthetics is to study how humans perceive the world. There are differences between individuals, as well as common things that are aesthetically pleasing. In games, players expect the components of their game to have a certain “feel”. That is not only means visual aesthetics, but also things like balance, symmetry, and pattern completion. If any of these components are missing, it makes players feel ill at ease, distracts them from focusing on the game, and makes them pay attention to what your game isn’t instead of what it is.
Lesson 3: Resonance is important.
The audience already has preexisting emotional responses that the game designer can build upon. For example Magic did not invent zombies. Players come to the game with a pre-built emotional relationship with zombies that were created from years of watching pop culture. As a game designer, that’s a tool you should make use of.
Lesson 4: Make use of piggybacking.
Piggybacking is a use of preexisting knowledge to front-load game information to make learning easier. You don’t have to teach players things they already know, like killing a black cat is a bad luck.
Lesson 5: Don’t confuse “interesting” with “fun”.
There is 2 types of stimulation. There is intellectual stimulation (“interesting”) and emotional stimulation (“fun”). Looking at the cards is intellectual stimulation. Playing with the cards is emotional stimulation. We think about ourselves as intellectual creatures but we tend to make most of our decisions based less on facts and more on emotions. So, your game can speak to your audience on intellectual level or you can speak to them on emotional level. Both are valuable, but when you speak to the player on an emotional level, you are more likely to create player satisfaction.
Lesson 6: Understand what emotion your game is trying to evoke.
To be successful with a game you need to know what you want your audience to experience. What emotional response are you trying to create? You must continually ask yourself “What impact will this game choice have on the player experience”? And if it doesn’t contribute to the overall experience then it has to go.
Lesson 7: Allow the player the ability to make the game personal.
It is important for your players to have personal connection with your game. The more the players feel the game is about them, the better they will think of it. How do you do it? Provide a lot of choices, give them different resources, different paths, different expressions. Give the player the ability to choose (and not choose) things, allowing them to feel that what they choose is “theirs”. In Magic: The Gathering, the players can choose: colors, creatures, characters, factions, illustrations and the frames. There are many options available.
Lesson 8: The details are where your player falls in love with your game.
The players want to find a piece of game to call their own. The details matter because the individual will bond with the game through them. What might seem insignificant is anything but that. A small detail might only matter to a tiny percentage but to that percentage it could mean everything.
Lesson 9: Allow your players to have a sense of ownership.
You need to give the players an ability to build things that are uniquely theirs. The players don’t just create a deck of cards, they create THEIR deck: something what personally represents them. So when their deck wins, they win, because the deck is no longer just part of the game. It is an extension of themselves.
Lesson 10: Leave room for your player to explore.
Don’t always show the players the things you want to see. Let your players to find them. Let them discover things. Because if they find them, they will be more invested.
Lesson 11: If everyone likes your game but no one loves it, it will fail.
Players don’t need to love everything in your game, but they need to love something. Something they feel strongly about. Don’t worry that the players will hate something. Worry that no one will love anything, because things that evoke strong responses will most often evoke strong responses in many directions. This means that is almost impossible to make some players love something without making others players hate it. In fact some players enjoy hating what other players love. So stop worrying about evoking a negative response and instead develop something that evokes a strong response.
Lesson 12: Don’t design to prove you can do something.
Creative people tend to have larger egos, because it takes ego to will something into existence. Having an ego is fine but you can’t let your ego drive your motivations. You goal is to deliver an optimal experience for your target audience. Your decisions have to serve your game and not you. So, ask yourself: Is this decision helping me achieve the optimal experience for my target audience or is it being done to fulfill an inwardly facing need for self-satisfaction? If the answer is the latter, you are doing it for the wrong reason.
Lesson 13: Make the fun part also the correct strategy to win.
It is not the players’ job to find the fun, it is your job as a designer to put the fun where they can’t help but find it. Because when the players sit down to play the game there is an implied promise from the game designer that they will have fun. Remember – you have to make sure that what it takes to succeed at your game is the very thing that makes it fun. Fun can’t be tangential. It has to be the core component of your game experience.
Lesson 14: Don’t be afraid to be blunt.
Artists tend to prefer subtlety. They think show, don’t tell. But sometimes subtlety doesn’t work. People can just miss the obvious. For example in Magic we use the keywords to make sure players can focus on the mechanics.
Lesson 15: Design the components for the audience it’s intended for.
When you aim to please everyone, you often please no one. All your players don’t want the same thing out of your game. It is important to understand what different kinds of things your players want and to understand different kind of players you have.
Lesson 16: Be more afraid of boring your players than challenging them.
When you try something grandiose and it fails the players will forgive you, because they recognize you were trying to do something awesome. They respect the attempt and they even stick around to see what you will do next. But when you bore them, there is no such forgiveness, because making the same mistake is not the same as making a new one. When you bore the players, they resent you. Sometimes they stop playing.
Lesson 17: You don’t have to change much to change everything.
The game designers think there is never enough so they keep sticking more elements in. That creates complexity for your players and muddies the message of your game. You waste resources you could use later. Instead of asking how much I need to add? Ask – How little do I need to add?
Lesson 18: Restrictions breed creativity.
There is a myth about creativity that the more options available, the more creative people can be. But this contradicts what we know about how most brains work. The brain is amazing organ, it is very smart. When asked to solve a problem, most brains check their data banks and ask– Have I solved this problem before? If yes, it solves it the same way. Most of the time this is efficient. It lets you avoid relearning tasks each time you do them but it causes a problem with creative thought. If you use the same neural pathways you get to the same answers and with creativity that is not your goal. Here is the trick Mark shared with the audience. If you want to get your brain to get to new places, start from somewhere you have never started before. It forces you to think different in ways and create new problems to solve which results in new ideas and new solutions. What this means is that restrictions aren’t an obstacle but valuable tool.
Lesson 19: Your audience is good in recognizing problems but bad at solving them.
Your players have a better understanding of how they feel about your game than you do. You create the emotional response but they know what that is. They can easily tell when something is wrong. They are excellent in identifying problems. But they are not equipped to solve those problems. They don’t know your tools, your limitations. Use your audience as a resource, as a parameter to discover what’s wrong but take it with a grain of salt when they offer the solutions.
Lesson 20: All of the lessons connect.
by Lidia Paulinska | Apr 11, 2016
Fathom events – Hailed by The New York Times as “A gorgeous cinematic spectacle,” and in continuation of their invaluable cultural service by offering stunning live filmed performances, Fathom Events presented Giacomo Puccini’s Madama Butterfly for a one night only screening on April 6, 2016 in over 700 movie theaters worldwide. It was truly an incomparable operatic and cinematographic event not to be missed!
Anthony Minghella’s* breathtaking production has delighted and thrilled audiences at the Met ever since it premiered in 2006. Soprano Kristine Opolais reprises her unanimously acclaimed performance in the title role opposite the extraordinary Roberto Alagna who masterfully portrays the American naval officer Pinkerton who abandons his delicate Japanese Butterfly and breaks her heart. Ms Opals was recently seen at the Met one month earlier in the title role of Puccini’s Manon Lescaut with Roberto Alagna in the role of her indomitably suitor des Grieux. That performance was also offered to movie-goers throughout the world compliments of Fathom Events.
Puccini’s Madama Butterfly had its world premiere in 1904 at Teatro alla Scala, Milan. It was initially received poorly, but after numerous revisions it became a much-lauded success and today it is one of the most celebrated operas in the world. Puccini was inspired to create his opera after seeing a one-act play in London in the summer of 1900 titled Madame Butterfly, produced by the American theatrical impresario David Belasco. Belasco in turn had based his play on a short story by an American writer of little note by the name of John Luther Long.
The opera premiered at the Metropolitan Opera in New York in 1907 with the composer in attendance and featured world-renowned tenor Enrico Caruso as Pinkerton. From that point onward, its popularity has never waned.
In addition to first-rate performances delivered by Ms Opals, Mr Alagna and the supporting cast and chorus, the simplicity of the production not only allows us to focus our attention on the performers without distraction, but also offers a milieu reminiscent of the austere minimalism of a Japanese Kabuki stage. Set Designer Michael Levine has created an unencumbered performance space, utilizing unadorned sliding framed fabric screens to indicate scene changes while upstage a broad staircase, extending the width of the massive Met stage, functions to herald significant entrances and exits.
Costumes by designer Han Feng, are traditional Kabuki in style, being grand and colorful when appropriate to character, and stand in bold contrast to an essentially bare stage. As in the Kabuki theatre, so too in this masterful production, our focus is drawn exclusively to the performers with appropriately minimalist production values in a subordinate yet supportive role.
The story is simple but the emotions run deep.
Captain Benjamin Franklin Pinkerton, an American sea captain who, while visiting Japan, marries Cio-Cio-San, a beautiful Geisha nicknamed “Madama Butterfly.” He departs for America (and here Puccini interpolates a couple of bars from “The Star-Spangled Banner” as he does in every Pinkerton scene) and doesn’t return until three years later. By this time Butterfly has given birth to their son and Pinkerton has remarried, this time to an American with whom he returns to Japan. In despair, Butterfly, who has been faithfully awaiting his return, hopefully watching every ship that arrives in Nagasaki Harbor, takes her own life and Pinkerton, in realizing his folly, collapses in abject grief.
An additional indigenous Japanese theatre form Minghella was inspired by was the ancient Bunraku, the puppet or “doll” theatre of Japan. In this production, the puppets are manipulated by traditional three puppeteers, all veiled in black, from San Francisco’s Blind Summit Theatre, appearing initially in Act I representing Cio-Cio-San’s servants. In the Second Act her young son is represented by a puppet of remarkable life-like quality, and in the final act, puppets dramatize the conflict between Butterfly and Pinkerton in a dream-like play-within-a-play sequence.
This wonderful Metropolitan Opera production by Minghella is now celebrating it’s tenth anniversary and one can easily understand why it’s one of the Met’s more popular offerings and why Puccini’s masterpiece continues to be an enduring staple of the operatic repertoire around the world.
*Anthony Minghella (1954-2008) was a renowned British film director, producer, playwright, and screenwriter. His much-celebrated The English Patient won 9 Academy Awards in 1996, followed by The Talented Mr Ripley which garnered an additional 5 Oscars. In 2003 he won another Oscar for Cold Mountain. Minghella was married to Carolyn Choa who masterfully directed and choreographed this current production of his magnificent “ Butterfly” . He died of cancer in 2008 at the age of 54.
By Lidia Paulinska and Hugh McMahon
by Lidia Paulinska | Apr 6, 2016
The author of the proverbial statement – Necessity is a mother of invention – is unknown. It is sometimes ascribed to Plato, the Greek philosopher who lived in Athens in the time 300 years BC. But even the quote is very old, the meaning is current. Difficult situations inspire ingenious solutions.
This is what happened to Steve McGough, founder of product named Hi that helps women and couple experience new way to relax and enjoy life. Since 2009 their unique technology has been refined and tested on over 2000 women. Today their method and technology has been patented in the US and Australia with patents pending in the EU and Canada. At the 2016 HardwareCon in San Leandro, California, Steve presented a lunch time keynote session and presented his soon to be on the market product to the crowd.
Heading back to his story of invention.
Steve discovered the technology behind “hi” when trying to help his wife Wendy find a way to relieve pain from a surgical adhesion. In 2007 he rushed his wife to a hospital for emergency C-section following 5 years of trying to have a child. Steve and his wife Wendy, then had their life take a dramatic turn. In the last few months of pregnancy, Wendy was exposed to an antibiotic resistant bacteria.
Their son lived for only one day. Wendy left with not only mental scars but also physical scars that were not healing quickly. Steve researched everything he could think of that might help with the physical issues, and finally he came up with an abdominal massage technique that helped reduced her pain. The method required continuous vigorous massage for 5-10 minutes. This wasn’t easy to maintain manually and he started to look for automated massage devices. He was unable to find anything that fit his needs, so as an engineer he designed it by himself. It took him about a year to design & build a unit that worked well.
But there came a surprise.
The side effect of massaging the abdominal was an orgasm. After Wendy noticed it some of women who volunteered to test the device, over their clothing, reported the same effect. Steve who previously worked in neuroscience research was looking for an answer. Talking in the role of an “IT guy”, as he describes himself, about something that is still taboo, especially in the southern portion of the US, wasn’t easy. He contacted investors and friends who repeatedly warned him to abandon the project “before it destroyed his reputation”. Instead he ended up going on journey across US, the Caribbean and Asia. After 7 years of research and refinement (testing on over 2000 women) he proved the effect and outcome to be true. Along the way, Steve became a professor of clinical sexology in San Francisco to better discuss the issue with an interested community.
To bring the product to market, he had to start the manufacturing process. Manufacturing for the large device is very expensive, typically $800K – $1M. He received the offers from adult entertainment & products related investment groups, but he knew that this new technology helps women relax in many ways far beyond sexual areas. Fortunately he met Greg Fisher, the CEO of Berkeley Sourcing Group, LLC who realized full potential of the product. His turn-key product development company finalized the designs and set up manufacture in Asia. Together with Greg, and his team of mostly female designers and engineers in China they created this version of hi that will be released in 2016.
by Lidia Paulinska | Apr 1, 2016
At the HardwareCon 2016 Tim O’Reilly, publisher entrepreneur, and the founder of O’Reilly Media, presented a map showing where technology is going and the role of enthusiasts who are passionate about new products and ideas.
Tim brought back the famous quote from Thomas Watson, the longtime CEO of IBM, who said in 1943 “I’ve seen no need for more than five computers in the whole world”. Watson’s misjudgment allowed other companies to enter the market for computers. Over time, this trend led to the entry of many smaller companies to the market and gave them an opportunity that IBM neglected. Today, startups continue to play the same role, especially in the IoT landscape.
Tim presented that the trend started in2000. At that time, the smartphones and tablets were entering the market and PCs were on a small stable increase. As the mobile devices proliferated, they rapidly took away growth and market share from the PC space. That was the marketplace until about 2014 when the smartphone and tablet growth became flat as the market approached saturation. . This market change has given an opportunity for huge numbers of devices in the “Internet of everything”. IoT is the new thing in the market with projected 35percent growth and will stay with that pace until 2019.
What’s next in computing?
O’Reilly stated three key trends on the horizon: small, cheap and ubiquitous hardware, the golden age of AI software, and software and hardware combining into new computer platforms.
Many entrepreneurs are taking their chances and hope to participate in these opportunities and define a new and large market segment with their products.
by Tom P Kolodziejak | Apr 1, 2016
Jimmy Wales, co-founder of Wikipedia, dreamt about a world in which every single person on the planet is given free access to the sum of all human knowledge. In 2001, he founded Wikipedia, making that dream a reality. Today, Wikipedia is the seventh most visited website in the world. There are 500 million unique visitors every month visiting the site from every country in the world. Wikipedia contains nearly 5 million articles, that is being added to at the rate of 750 articles every day.
Wikipedia is a free encyclopedia that is written by thousands of volunteers, and has content in 288 languages. Key statistics for the site are: 8 languages that have over 1,000,000 entries; 46 languages have at least 100,000 entries; 120 languages have at least 10,000 entries and 223 languages have at least 1,000 entries. For Wikipedia, “free” means not just only no cost for the readers or contributors, but also freedom of speech. Everyone can copy, modify, and redistribute the content, both commercially and for private use.
In 2004 Jimmy Wales and Angela Beesley Starling announced the creation of their next project named Wikia. Wikia follows the same success model of Wikipedia. Wikia is a free web hosting service for wikis. The site is free of charge and derives its income from advertising. It publishes all user-provided text under copyleft licenses (https://copyleft.org/) . Today Wikia has more than 136 million readers every month and is written in 200 language.
Jimmy Wales dream about “the sum” of all human knowledge came true twice, due to his perseverance and his decision on sharing the vision of his dream with others.
by Lidia Paulinska | Mar 29, 2016
On Saturday March 19, 2016, scores of fortunate movie-goers in hundreds of select theaters throughout the U.S. were treated to a one-day-only cinematic presentation by Fathom Events of ”Berlin Philharmonic: The Beethoven Project” featuring one of the world’s greatest conductors, Sir Simon Rattle, leading the incomparable Berlin Philharmonic, one of the world’s greatest orchestras.
Sir Simon has been the principal conductor of the Berlin Philharmonic since 2002 and prior to that, rose to international prominence as Music Director of the City of Birmingham Symphony Orchestra where he served for 18 years. After the expiration of his current contract in 2018 with the Berlin Philharmonic, Rattle will become Music Director of the London Symphony Orchestra. He is universally hailed as one of the greatest conductors of all time, and seeing him in action from our cinematic vantage point clearly confirmed that laudatory accolade.
The wonderful “up-close and personal” experience this filmed live performance afforded us, allowed a glimpse into Rattle’s very personal and intimate method of conducting — interacting with gesture and expressions of delight with each orchestra member — a wink here — a grin there — always reciprocated — always incredibly animated and dynamic … and always all-embracing. His love for his orchestra and what they are collectively creating informs and enhances every aspect of Beethoven’s genius.
“Berlin Philharmonic: The Beethoven Project” was divided into two parts, separated by a brief intermission.
Part I, “Living With Beethoven,” was a brilliantly informative documentary featuring on-the-spot backstage interviews with Rattle and members of the Philharmonic who explored the intricacies of Beethoven’s masterful symphonies and their approach to these masterpieces. One orchestra member for example claimed Beethoven demanded a lot of “”blowing, bowing, and banging,” whimsically reflecting on the vitality and power of the composer’s symphonies and the necessary creative effort it takes to reveal that power. Horns, fiddles and drums certainly, but most importantly, the musical genius to communicate what Beethoven was offering to all of us, and no group of musicians are better prepared to do that than the Berlin Philharmonic under the guidance of the legendary Sir Simon.
These candid interviews afforded us a wonderful introduction and understanding of the two complete symphonies that were to follow in Part II.
The first work on the program in the second half was the sunny and gracefully cheerful 4th Symphony in B-flat major. This popular piece in four movements is characterized by light instrumentation, not unlike that of Joseph Hayden with whom Beethoven had studied a decade earlier. Happily, in the documentary, Rattle’s piano demo of the adagio (“slow movement”) in the symphony’s intro to the first movement perfectly prepared us for what was to come.
Beethoven composed his 4th Symphony in the summer of 1808 and dedicated it to Count Franz von Oppersdorff who had incidentally offered him a great deal of money to compose a new symphony for him. Beethoven completed piece in one short month proving that cash is a great motivator … even among geniuses.
The second piece offered in Part II was one Beethoven claimed to be one of his best works: the 7th Symphony in A major which premiered in Vienna in 1813. He composed this work while recuperating at a spa in Teplice and dedicated it to his host, Count Moritz von Fries.
The second movement of the 7th, the allegretto (“a little lively”), is so enormously popular, it is often performed separately; it is known for it’s use of dance-like rhythms with a reliance on the string section, backed up by clarinets.
Overall it was memorable event. Too valuable to miss.
by Lidia Paulinska and Hugh McMahon
by Lidia Paulinska | Mar 22, 2016
On Sunday, March 13, 2016, Fathom Events presented a live cinematic performance of “Spartacus,” the Bolshoi Ballet’s signature piece, viewed by fortunate movie-goers for one showing only in 500 cinemas worldwide. This epic ballet premiered in Moscow in 1968, marking the 50th anniversary of the October Revolution, and 48 years later it continues to exhibit all the energy, fervor, and raw brawn which has characterized the very essence of the Bolshoi’s male dancers ever since.
Staged by the legendary choreographer Yuri Grigororvich with an oddly cinematic but functional score by Aram Khachaturian, “Spartacus” is nothing short of spectacular in its display of space-devouring leaps and astonishing Olympic athleticism by its two principal male dancers: The incomparable Mikhail Lobukhin in the title role of Spartacus, leader of an unsuccessful slave revolt against the evil Roman ruler Marcus Licinius Crassus, powerfully performed by Alexander Volchkov. Both Lobukhin and Volchkov are the very personifications of the unbridled male energy and muscularity the Bolshoi has come to be known for, and accordingly, in the case of “Spartacus,” subtlety of expression is definitely not it’s strong suite. With successive decades and interpretations of this iconic work, we’ve come to expect nothing short of broadly expressed, passionate male heroism and this current production doesn’t disappoint; in the world of ballet, the role of Spartacus stands as the coveted tour de force piece for every principal dancer to aspire to.
Ably complimenting the merciless Crassus is his cunning and crafty courtesan, Aegina, performed seductively by the beautiful Svetlana Zakharova whose flowing, erotic movements contrast with the harsh, angular, war-like virility of the male dancers.
The fourth principal in this remarkable production is Anna Nikulina who plays the pure and virtuous Phrygia, wife of Spartacus, a role in absolute contrast to the vampish, glittering, and irrepressible Aegina. However, the contrast is so great, I feel Nikulina’s demeanor, and even her drab costuming depict her as a bit too bland, even considering her character’s “slave” status. Yet all is redeemed by her exquisite partnering with Lobukhin in their wonderful pas de deux, a breathtaking show-stopper with each successive lift more incredible than the former, and possessing a lyrical, subtle beauty so uncharacteristic of this muscular piece in general. The contrast works beautifully.
On balance, “Spartacus” is an historic treasure that has fortunately not become an historic artifact even after almost a half century. A dynamism prevails throughout, from the very first scene with Crassus in command of a gold-clad army, wielding shields and spears, dynamically lunge-jumping and forward leg kicking reminiscent of Fascism, to the horrific “crucifixion” of Spartacus in the final act, lifelessly impaled on the bloody tips of dozens of spears, held high above the heads of his victorious slayers. “Spartacus” intrigued us and held our attention.
by Lidia Paulinska | Mar 17, 2016
February, DEW 2016, Los Angeles – Margaret Czeisler, Chief Strategy Officer from Wildness, was talking about the characteristics of Generation Z. What the content creators and technology innovators need to know about that generation to serve better their needs?
What is unique about generation born after Millennials?
The age of the group is 21 and less. This is a generation that never has cable tv and they definitely had cut the cord or they are planning to do it. Generation Z lives in the times of fully embracing the social media – every minute 500 hours of videos are upload and shared to You Tube; half a million photos are upload to Snapchat. No wonder that 78% find branded or sponsored social media appealing, 77% find branded or sponsored You Tube videos appealing.
Generation Z is ready to rewrite the rules. They are transgender in the borders of gender, culture and race. It is not that they do not see race, but they are not judging on it – stated Czeisler based on her extensive research on Gez Z – They embrace differences in the way we have never seen in the past. Their approach to the culture is also very different and unique. They don’t consume the culture, they make it, create it. They are culture creators. They are catalysts of the culture revolution that we already experienced.
The opposite of Millennial, who hate failures and hide them, the Generation Z considers failure a natural part of living, an experience of life. Gen Z embraces the failure. (“Failure is a great thing. It teaches you what is good… what to do and what not to do. If you fail at this, then the next thing you know, you’ll find something else you can do better. You’re not going to fail at everything” – said Mira, 14). 91% of respondents said that failure is an important thing in life.
Gen Z is also well known as a generation of the shorten patience span.
by Lidia Paulinska | Mar 17, 2016
February, DEW 2016, Los Angeles – Digital Entertainment World is the conference that celebrates the visionary content creators and technology innovators who are creating the engaging products and experiences. But the key to successful outcome is to know the target group and its characteristics. Naseem Sayani, Vice President of Business Strategy from Huge presented to the audience the latest research on the generation of Millennials.
Who are the generation also known as “Generation Y”? How do we understand Millennials today?
There are no precise dates when this generation starts and ends; but most researchers use birth years from early 1980s to 2000. Sayani described them as the fearless generation. There is something the way they were raised that make them feel un-constrained by limitation or rules – she said – actually they set up their own rules and they have a passion around doing that. Often they disregard the instructions and do things their own way.
Sayani stated that Millenials are resilient in their pursuit of figuring out a system. There are no limits blocking their way. There is nothing that they can’t accomplish and nothing that cannot be done. They have grown up in the era of digital, not the transition from analog to digital. DVD was a standard, so they embrace You Tube naturally. They communicate through Snapchat and they are text savvy.
P.S. Let’s bring some other researchers founding of the Millennials characteristics on the top of Sayani presentation. Jean Twenge, the author of 2006 book Generation Me, attributes Millennials with the traits of confidence and tolerance but also identifies that they a sense of entitlement and narcissism. In 2008 Ron Alsop called the Millennials “Trophy Kids” That reflects a trend in competitive sports, where participation alone is frequently enough for a reward. Millennials have great expectations from the workplace so the employers are not necessary happy about them. They change their job frequently, always looking for something that is a better place and better salary. Sociologist Andy Furlong described them as optimistic, engaged, and team players.
by Lidia Paulinska | Mar 14, 2016
The redoubtable Metropolitan Opera of New York has done it again! A carefully crafted and finely balanced production of one of Giacomo Puccini’s twelve operas, Manon Lescault, a work in four acts composed in 1893, was offered for one night only on March 9, 2016 and shown simultaneously in 1,400 movie theaters in 50 countries throughout the world. It was an operatic gem not to be missed.
Puccini’s tragic love story is based on the 1731 novel L’histoire du chavalier des Grieux et de Manon Lescaut by Abbé Prévos. In 1884, a French composer by the name of Jules Massanet had written an opera titled Manon, and although based on the same novel, it has never reached the international acclaim as has Puccini’s work. In addition, another French composer by the name of Daniel Auber had also written an opera on the same subject with the title Manon Lascaut in 1883, but like Massanet’s work, it too is considered to be inferior to Puccini’s enduring composition.
The story deals with the urgency of young love and is the tragic tale of a beautiful young woman, Manon, who is ultimately destroyed by her conflicting needs for erotic love and a life of opulence and luxury. She is obsessively pursued by her young lover des Geieux for whom she yearns while being held captive by Gerona, a wealthy old lech who offers her a loveless life of luxury she willingly accepts. In the end, this conflict of desire leads to her loss of riches, love, and finally life itself.
Puccini’s Manon Lescaut premiered February 1, 1893 at Teatro Regio in Turin. It was Puccini’s third opera and his first great success. It was first performed in New York at the Metropolitan Opera on January 18, 1907 in the presence of the composer himself with Enrico Caruso in the role of des Grieux and legendary Arturo Toscanini conducting.
Puccini’s next work following Manon Lescaut was La Bohéme which premiered in Turin in 1896, conducted also by Arturo Toscanini and remains one of the most popular operas ever written. Puccini’s next work after La Bohéme was Tosca (1900) followed by Madama Butterfly which premiered at La Scala in 1904.
This latest Metropolitan Opera production of Manon Lescaut, brilliantly staged by the incomparable Sir Richard Eyre, was wonderfully accessible in a crisp, clean modern style, set as it was in 1941 Nazi-occupied France; it was magnificently balanced, melding voice, orchestra, costume and set design into one unified organic whole. The compact cast was perfect, featuring soprano Kristine Opolais in the title role and tenor Roberto Alagna as her distraught lover des Grieux. The leads were ably complimented by baritone Massimo Cavalletti as Manon’s protective brother Lescaut, and the ever-villainous bass Brindley Sherratt as the lecherous old Gerona. The Met’s Principal Conductor Fabio Luisi expertly lead the stirring score.
This was a production not to be missed and through the unfailing production expertise of Fathom Events, it was made available to be enjoyed by audiences world-wide.
by Lidia Paulinska | Mar 9, 2016
March 2016, RSA, San Francisco – After hours spending on the show floor at RSA conference and the talks about security, vulnerability, encryption and authentication I stopped at the Gemalto booth in the North Hall of Moscone Convention Center to listen the presentation. Scott Meltzer from Gemalto was talking about the history of famous encrypting machine Enigma. The company also presented the real 1946 original Enigma machine (NEMA) at the booth. That was a Swiss, 4-rotor model with a movable reflector, built for the Swiss Army in 1946. 1 of 300 machines that are known to still exist today.
Here is the story that was presented.
The most common information that we hear about the Enigma code is that it was super-secret throughout WWII, and it took one man to invent but over 10,000 men to defeat.
Well, none of it is true.
The Enigma was invented in 1918 by Arthur Scherbius in Germany. The inventor was highly interested to share his “rotating rotors” encryption machine with the military but the WWI was just about to end and army wasn’t interested. So, instead he put his invention for commercial use and started the company. The first prototype called Enigma A came to life in 1923. Enigma D, the first commercial version, was produced in 1927 and sold in multiple countries to encrypt financial information, diplomatic communiques, and military messages. By 1928, both German Army and Navy were using customized and upgraded versions of those machines. In fact, the British government had actually purchased several first generation Enigma machines back in 1926.
So, what is the Enigma machine and how it works.
It’s a huge polyalphabetic substitution cypher. Each message is encrypted with its own unique key. Keys are around 17,000 characters long. There are non-repeating substitutions and no easily discernable pattern. The sender would press a key on the keyboard. This would advance the first rotor one step and send an electric signal from the keyboard, through the plug-board. This would be the first substitution in the cypher. Each rotor then introduced an additional substitution as that signal went through it. Another substitution at the reflector and then back through the rotors in reverse and out through the plug-board, with additional substitutions at each step. And finally the signal was sent to the lamp array to show the encoding of that letter. The genius of this electro-mechanical system was that the encoding was reciprocal. If you typed a “W” on one Enigma, and it came out a “B,” typing that “B” on another Enigma would reproduce the “W,” but only if their initial settings were the same. And because a rotor would move every time a key was pressed, the circuit created by the next key pressed would be completely different than the previous circuit and would generate a completely different substitution.
The Enigma was the most powerful and unbreakable code machine. Until 1932.
Just before Nazis came to power, three Polish mathematicians: Marian Rejewski, Jerzy Rozycki and Henryk Zygalski, successfully broke the Enigma. Poles were able to decrypt 75% of the German army’s Enigma-encrypted radio transmissions between 1933 and 1938. But once the war began in 1939, the Nazis upgraded their machines. They distributed 2 additional rotors, and they changed their procedures to plug several security holes that the Poles were exploiting. This didn’t stop the Poles from breaking some of the Nazis’ daily codes, but each success took much longer, and breaking the entire system would have required way more manpower than they had. They also knew from some of their decrypted messages that Hitler had set his sights on Poland and was planning his move within the next 6 weeks. So, five weeks before Nazis invaded, the Poles gave French and British codebreakers all their information, including working models of the Nazi’s military Enigmas they had reverse-engineered, along with the Cyclometers, Bombas and Zygalski decrytping sheets they used to decode them.
And this is when the more familiar story of breaking the Enigma code begins.
The story of The Bletchley Park Team – Dilly Knox, John Jeffreys, Peter Twinn and Alan Turing, along with over 11,000 others started to deliver their Ultra decrypts. “It was thanks to Ultra that we won the war” – said Winston Churchill to King George VI. BBC claimed that this team shortened the war by at least 2 years. The story was recently portrayed in the movie “The Imitation Game” starring Benedict Cumberbatch and Keira Knightley.
