Google unveiled the working version of Dart today. It looks to me that one of the primary selling points is that it’s designed to be run both on the server side and the client side (browser). I love my PHP but it has to depend on other client-side code (HTML / JavaScript / Flash) to do anything.

What’s also interesting is that Dart code runs in Javascript right now – so no plug-ins necessary if I understand it correctly.

I’ve been looking at a lot of different languages and how to apply them lately and i think my next big project is going to be done in Python. That said, I’d love to take a peek at Dart and see what it can do. I’d be hesitant to use it for anything large-scale right now (it has been out less than a day) but I’d love to see if there is a groundswell of curiosity around it in the next few weeks.

Take a look at Dart for yourself.

See the original article at CNET News.

In a move that might stun those who believe that capitalism exists merely to ensure that the majority of workers end up unemployed, Albertsons, the very fine grocery chain, has reportedly decided that self-checkouts are just not so good for business. It is removing all the self-checkout lanes from its 217 stores.

The way The Seattle Times tells it, Albertsons felt that the machines took away from employee/customer interaction.

Please pause to consider the depth of that one while I offer you the thought that, even though companies might offer many reasons, one just might be that people don’t enjoy using the self-checkouts. In my own regular wanderings through Safeway, I see the self-checkout lanes routinely empty while the lanes manned by stressed human beings are full of customers.

In support of my entirely unscientific observation, my regular reading of Storefront Backtalk reveals to me that Kroger’s, another fine chain, is also experimenting with removing self-checkout lanes from one of their Texas stores.

The simple truth is surely that self-checkout machines are a lot harder to operate than an iPhone and a lot less fun. Which doesn’t mean that technology and retail are enduring a permanent falling out. The Seattle Times reports that Home Depot is trying out 30,000 First Phones, which allow its staff to check customers out anywhere in the store. (That last sentence might have a double meaning, but it is entirely unintentional.)

In retail, the customer experience isn’t merely about speed. It’s about something that makes you feel good (or at least doesn’t make you feel bad) every time you do it.

A new study from the Governors Highway Safety Association (GHSA) highlights the impact thatcellphones and other gadgets can have on car crashes. According to the study, as many as 25% of U.S. car crashes are associated with drivers distracted by a cellphone or gadget.

Produced using a grant from State Farm, the GHSA report, titled Distracted Driving: What Research Shows and What States Can Do [PDF] looks at the main external driver distractions. Not surprisingly, talking on cellphones, fiddling with gadgets and texting while driving are some of the most common driver distractions.

After reading the 50-page document, it’s clear that this study contains as many certainties as uncertainties. As GHSA Executive Director Barbara Harsha says in a statement, “Much of the research is incomplete or contradictory. Clearly, more studies need to be done addressing both the scope of the problem and how to effectively address it.”

Still, one certainty is that cellphone usage increases the risk of crashing and texting is likely more dangerous than using a cellphone.

What is the Solution?

Understanding that drivers who text or talk on the phone are more likely to get into car crashes than those who don’t, what can be done to decrease these distractions?

Unfortunately, the GHSA study is inconclusive on the effects of both texting bans and public service announcement campaigns for distracted driving.

From the report:

• Laws banning hand-held cellphone use reduced use by about half when they were first implemented. Hand-held cellphone use increased subsequently but the laws appear to have had some long-term effect.
• A high-visibility cellphone and texting law enforcement campaign reduced cellphone use immediately after the campaign. Longer term effects are not yet known.
• There is no evidence that cellphone or texting bans have reduced crashes.

Still, the GHSA encourages states to pass more bans of driving while texting and while talking on cellphones — hands-free or not.

via Reuters on Yahoo! News

Though playing video games is often called a child’s activity, a new study from the Entertainment Software Association has found that that perception couldn’t be further from the truth.

According to the organization, which represents the game industry, the average gamer today is 37 years old. Moreover, the average game buyer is 41 years old. Because of that, a greater number of parents are playing games with their children. The ESA said that 45 percent of parents play games with their kids "at least weekly."

Those statistics are quite important to the ESA and the industry as a whole. Over the last several years, the gaming business has been targeted by critics and lawmakers who say that mature-rated titles, like the Grand Theft Auto franchise, among many others, are too easy for children to buy.

However, in April, the Federal Trade Commission released the results of an "undercover shopper survey" that found just 13 percent of underage teenagers were able to buy mature-rated games that are designated as only suitable for those 17 and older. When children attempted to buy R-rated DVDs, on the other hand, 38 percent of them were successful.

To add to that and further make its case that the majority of kids are being kept away from violent or sexually explicit games, the ESA revealed today that parents are involved in the purchase or rental of games in 91 percent of cases. In addition, 90 percent of parents said that they are aware of the content in the games their children are playing.

The Entertainment Software Rating Board, which assigns ratings to video games based on their content, was also highly touted by parents. The ESA said that 86 percent of parents are aware of game ratings, and out of that group, 98 percent believe they are accurate.

Even so, that hasn’t stopped critics from taking aim at the industry and its ratings system. In September, James Steyer, the CEO and founder of Common Sense Media, an organization that touts legislating the gaming industry, pointed to his own firm’s study that found 72 percent of parents would support a law that bans the sale of "ultraviolent or sexually violent" video games.

"The results of this poll clearly show that not only do the effects of ultraviolent or sexually violent games weigh heavily on the minds of parents but also that parents feel that the video game industry isn’t doing nearly enough to protect kids from accessing the most ultraviolent games," Steyer said.

Regardless, the gaming industry continues to be big business. According to the ESA’s study, the industry generated $25.1 billion in revenue last year. Digital game revenue, including mobile apps and social games, hit $5.9 billion last year.

The Intrepid Sea-Air-Space Museum has landed a NASA space shuttle!

NASA Administrator Charles Bolden will announce later Tuesday that the prototype Enterprise shuttle has been awarded to the Intrepid, sources said.

The decision follows months of aggressive lobbying from Sens. Chuck Schumer and Kirsten Gillibrand.

Bolden, a four-time astronaut and retired Marine major general, will also announce where the retiring Discovery, Atlantis, Endeavour shuttles will go on display Tuesday afternoon.

The Intrepid plans to house the shuttle in a glass enclosure – and hopes that the exhibit will bring in more than 1 million visitors. NASA estimates the cost of preparing and delivering the shuttles at $42 million each – cash the Intrepid hopes to raise through fund-raising efforts. The shuttles are slated to be delivered sometime next year.

The Enterprise shuttle was a test model that flew, but never orbited space. Built in 1976, the Enterprise was initially set to be named the Constitution. Star Trek fans inundated then-President Gerald Ford, pleading for a change to the Enterprise.
Ford, who served aboard the U.S.S. Enterprise supply ship during World War II, never mentioned the Trekkie effort in overriding NASA officials.

The Intrepid Sea-Air-Space Museum on the Hudson’s Pier 86 was up against tough competition from 20 other cities and institutions, including the Smithsonian Institution in Washington, Kennedy Space Center in Florida and the Johnson Space Center in Houston.

But "as the cultural and economic capital of our nation, New York City has the right stuff to best exhibit the shuttle," Gillibrand said.

via the NY Daily News

This via TechCrunch:

Adobe and Zend Technologies, the PHP distribution company, are announcing Flash Builder 4.5 for PHP software, a new integrated product aimed at helping PHP developers create rich Internet applications for mobile, Web and desktop leveraging the Flash Platform.

Zend, which has been working with Adobe since 2008, offers its own distribution of PHP, the popular open-source scripting language for Web applications, and sells software and support services around the language.

The Flash Builder 4.5 for PHP gives developers a single code base for applications for Android, Blackberry Tablet OS and iOS while sharing code from Web applications. Adobe Flash Builder 4.5 for PHP includes an integrated copy of Zend Studio 8, which allows developers to develop Flash based applications within a single environment. Specifically, the integrated software offers a single UI framework to create Flex and PHP projects for desktop and mobile and the ability to connect to PHP services and generate ActionScript value objects.

The combination of the two frameworks in one suite is powerful, says Zend CEO Andi Gutmans. Adobe says that more than 131 million smartphones are expected to have Flash Player installed by the end of the year. And PHP is the leading language for public facing web applications, says Gutmans.

This could be interesting… I still think Adobe sat on it’s dominance with Flash far too long and let other companies / technologies catch up.

VCA 2010 RACE RUN from changoman on Vimeo.

This video comes from a helmet cam of a rider the The Valparaiso Cerro Abajo Race held in Chile each year. I thought watching first person perspective of a rally race was heart pounding but this video might actually beat it!

We’ve seen all sorts of objects printed from 3D printers, but the European Aerospace and Defence group (EADS) has shown off the first bike made from nylon—which they’re saying could replace traditional steel and aluminum bikes due to the affordable method it’s created.

The new manufacturing process is known as Additive Layer Manufacturing (ALM) and it allows single products to be grown from a fine powder of metal (such as titanium, stainless steel or aluminum), nylon or carbon reinforced plastics. Drip by drop, each part of the bike is made from powder with the machine connected to a computer loaded with the CAD bike design.

Aluminum bikes are already pretty light, but EADS is saying their nylon Airbike is 65 percent lighter. It’s also more eco-friendly to produce, and due to the nature of 3D printing, individual parts can be printed easily if damaged.

Andy Hawkins, lead engineer for ALM at EADS, described it as ‘a game changing technology’. "The beauty is that complex designs do not cost any extra to produce," he said. "The laser can draw any shape you like and many unique design features have been incorporated into the Airbike such as the auxetic structure to provide saddle cushioning or the integrated bearings encased within the hubs."

By removing production lines and the need for factories, Hawkins believes the costs of ‘manufacturing’ will be significantly reduced and, through this, ALM has the potential to reverse trends of urbanization that have historically accompanied industrialization.

SAN FRANCISCO — Businesses in the South Park district of San Francisco generally sell either Web technology or sandwiches and burritos. Bespoke Innovations plans to sell designer body parts.

The company is using advances in a technology known as 3-D printing to create prosthetic limb casings wrapped in embroidered leather, shimmering metal or whatever else someone might want.

Scott Summit, a co-founder of Bespoke, and his partner, an orthopedic surgeon, are set to open a studio this fall where they will sell the limb coverings and experiment with printing entire customized limbs that could cost a tenth of comparable artificial limbs made using traditional methods. And they will be dishwasher-safe, too.

“I wanted to create a leg that had a level of humanity,” Mr. Summit said. “It’s unfortunate that people have had a product that’s such a major part of their lives that was so underdesigned.”

A 3-D printer, which has nothing to do with paper printers, creates an object by stacking one layer of material — typically plastic or metal — on top of another, much the same way a pastry chef makes baklava with sheets of phyllo dough.

The technology has been radically transformed from its origins as a tool used by manufacturers and designers to build prototypes.

While audiences at Broadway‘s “West Side Story” thrill to the on-stage drama, musicians in the orchestra pit are fighting a battle every bit as vicious as the Sharks-Jets rivalry.

This is gang warfare of a high-minded sort, pitting some of New York’s best live musicians against a synthesizer they fear will usurp the job of playing Leonard Bernstein‘s pulsating score.

Sophisticated synthesizers and computer-manipulated recordings are increasingly taking over orchestras. Sounding almost like real players, while costing much less, they’re especially popular with provincial or touring companies.

But until mid-July — when “West Side Story’s” producers announced that a synthesizer was replacing three live violinists and two cellists, or half the orchestra’s string section — staff violinist Paul Woodiel thought that at least the classics would be immune to the trend.

“It was the last straw for me,” Woodiel told AFP.

“I was a student and a friend of Leonard Bernstein and it’s almost certain he wouldn’t have allowed this. This isn’t dinner theater, it’s not Las Vegas. It’s Broadway and Leonard Bernstein was the greatest American musician.”

Woodiel’s own job was spared, but he caused a stir through the tight-knit Broadway world with a New York Times piece denouncing the “inert, artificial” synthesizer invasion.

The producers did not respond to AFP requests to be interviewed.

Synthesizers have in fact been around for decades, notably in pop music. What’s changing is the ability of the machines to enter the far more sophisticated domain of classical orchestras.

“The computer gives you so much more power now. There’s ridiculous stuff,” says Mike Levine, editor of Electronic Musician Magazine.

There are computer programs able to read and play back music scores — a boon to composers who can now hear their work as they write — and software allowing conductors to control the tempo of the machine, in the same way that they direct live players.

“It has gotten very, very good with something like drums and bass and strings,” Levine said. “With piano they can model almost anything.”

Levine said the growing use of synthesizers is positive for basement bands and other music industry start-ups, but a menace to jobs in large, labor-intensive ensembles like orchestras.

“It’s all about money and the producers want to make as much money as possible,” Levine said. “They always did.”

Critics see synthesizers as little better than some barbarian force trampling the classical music landscape.

But one virtual music pioneer, Paul Henry Smith of the Fauxharmonic Orchestra, says the technology will only improve and in any case cannot be stopped.

Smith’s system uses so-called digital sampling, feeding from a store of more than two million individual notes recorded in an almost endless variety of tones and styles. “It’s kind of insane,” he says.

“We don’t quite know what’s going to happen with this, but computer technology is just so malleable that the likelihood of it going away is probably nil.”

Like many new technologies, virtual music poses growing ethical questions.

New York Post arts writer Barbara Hoffman says using a synthesizer in “West Side Story” amounts to cheating theater-goers.

“When you pay over 100 dollars a ticket you should hear real music the way Leonard Bernstein intended it,” she said. “Something as sacred as that score, one of the most beautiful scores ever written — it’s blasphemous.”

But it remains unclear whether audiences around the country realize what’s going on, or necessarily care.

Sarah Franklin, a talented 24-year-old violinist, joined a five-month North America tour for a revival of the musical “Camelot” with an orchestra of just four people.

“There was me on the violin, one cello, one French horn and a conductor with a computer,” she said. The computer, using a software called Notion, played the rest of the semi-virtual orchestra.

Frequently the program crashed, abruptly leaving the three live musicians to play by themselves. But despite the glitches, most audience members were none the wiser, Franklin said.

“When people saw us down in the pit afterwards, they’d say, ‘It sounded like there were so many more of you!’”

The musicians would wriggle out of the embarrassing situation by pretending that the rest of their colleagues had quickly left the theater.

“We got fed up with explaining and we didn’t want to ruin it for them. They didn’t need to know,” Franklin said.

True aficionados can immediately tell the difference between real and manufactured music.

Woodiel compares playing alongside a synthesizer to “making love with a corpse.”

Even Smith readily concedes that today’s virtual instruments cannot match live string players “by a long shot.”

But advocates argue that axing salaried musicians in favor of a machine during today’s economic uncertainty can extend the life of a flagging production, thereby saving many other jobs.

Smith, who studied with Bernstein and researched digital sound at Massachusetts Institute of Technology, says the most important benefits are subtle.

He sees virtual orchestra programs as a new instrument in their own right, as well as a tool for composers to “get their ideas into sound” and bring new material to human orchestras — thereby creating work.

“It’s not always a bad boy,” Smith said. “It’s a branching out and expanding of possibilities.”

Peter Reit, who plays French horn in Broadway’s “Phantom of the Opera” — where two strings players have been replaced by a synthesizer — has a more gloomy prognosis in what he calls the “corporate” music landscape.

“You get the feeling that if they had their way, ideally, they would have an entire virtual orchestra,” he said.

“They would have all of us replaced with one electronic instrument, then feed that to the public and make more money.”