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A former IBM employee offers an authoritative history of the successes and failures of one of the most influential American companies of the last century. For decades, IBM shaped the way the world did business. IBM products were in every large organization, and IBM corporate culture established a management style that was imitated by companies around the globe. It was “Big Blue”—an icon. And yet over the years, IBM has gone through both failure and success, surviving flatlining revenue and forced reinvention. The company almost went out of business in the early 1990s, then came back strong with new business strategies and an emphasis on artificial intelligence. In this authoritative, monumental history, James Cortada tells the story of one of the most influential American companies of the last century. A historian who worked at IBM for many years, Cortada examines IBM throughout the decades, offering insights on the company’s: • Technology Breakthroughs • Business Culture • Global expansion • Regulatory and Legal Issues • CEOs The secret to IBM’s unequalled longevity in the information technology market, Cortada shows, is its capacity to adapt to changing circumstances and technologies.
Tracing the genealogy of our physical interaction with mobile devices back to textile and needlecraft culture. For many of our interactions with digital media, we do not sit at a keyboard but hold a mobile device in our hands. We turn and tilt and stroke and tap, and through these physical interactions with an object we make things: images, links, sites, networks. In The Fabric of Interface, Stephen Monteiro argues that our everyday digital practice has taken on traits common to textile and needlecraft culture. Our smart phones and tablets use some of the same skills—manual dexterity, pattern making, and linking—required by the handloom, the needlepoint hoop, and the lap-sized quilting frame. Monteiro goes on to argue that the capacity of textile metaphors to describe computing (weaving code, threaded discussions, zipped files, software patches, switch fabrics) represents deeper connections between digital communication and what has been called “homecraft” or “women's work.” Connecting networked media to practices that seem alien to media technologies, Monteiro identifies handicraft and textile techniques in the production of software and hardware, and cites the punched cards that were read by a loom's rods as a primitive form of computer memory; examines textual and visual discourses that position the digital image as a malleable fabric across its production, access, and use; compares the digital labor of liking, linking, and tagging to such earlier forms of collective production as quilting bees and piecework; and describes how the convergence of intimacy and handiwork at the screen interface, combined with needlecraft aesthetics, genders networked culture and activities in unexpected ways.
How the computer became universal. Over the past fifty years, the computer has been transformed from a hulking scientific supertool and data processing workhorse, remote from the experiences of ordinary people, to a diverse family of devices that billions rely on to play games, shop, stream music and movies, communicate, and count their steps. In A New History of Modern Computing, Thomas Haigh and Paul Ceruzzi trace these changes. A comprehensive reimagining of Ceruzzi's A History of Modern Computing, this new volume uses each chapter to recount one such transformation, describing how a particular community of users and producers remade the computer into something new. Haigh and Ceruzzi ground their accounts of these computing revolutions in the longer and deeper history of computing technology. They begin with the story of the 1945 ENIAC computer, which introduced the vocabulary of "programs" and "programming," and proceed through email, pocket calculators, personal computers, the World Wide Web, videogames, smart phones, and our current world of computers everywhere--in phones, cars, appliances, watches, and more. Finally, they consider the Tesla Model S as an object that simultaneously embodies many strands of computing.
Abandoned factories, shipyards, warehouses, and refineries are features of many industrialized cities around the world. But despite their state of decline, these derelict sites remain vitally connected with the urban landscapes that surround them. In this enlightening new book, Alice Mah explores the experiences of urban decline and post-industrial change in three different community contexts: Niagara Falls, Canada/USA; Newcastle-upon-Tyne, UK; and Ivanovo, Russia. Employing a unique methodological approach that combines ethnographic, spatial, and documentary methods, Mah draws on international comparisons of the landscapes and legacies of industrial ruination over the past forty years. Through this, she foregrounds the complex challenges of living with prolonged uncertainty and deprivation amidst socioeconomic change. This rich comparative study makes an essential contribution to far-reaching debates about the decline of manufacturing, regeneration, and identity, and will have important implications for urban theory and policy.
Most of the old factories are long gone and many workers have retired. Combining history, memory and heritage, Theatres of Memory: Industrial Heritage of 20th Century Singapore takes a stroll through Singapore’s industrial past. From Jurong to Redhill and Kallang, the book uncovers the many hands that enabled the island’s transformation from a colonial entrepôt to an industrial nation. Along the way, we will meet the pioneers of industry—government officials and production workers, men and women, Singaporeans and foreigners. We will hear laughter on the assembly line, descend into the quiet dark of the night shift, and relive the products once made in Singapore, from Rollei cameras and Acma refrigerators to carbonated soft drinks and Bata shoes.
No product offering has had greater impact on the computer industry than the IBM System/360. This book describes the creation of this remarkable system and the developments it spawned, including its successor, System/370.
Memory is a constructed system of references, in equilibrium, of feeling and rationality. Comparing ancient and contemporary mechanisms for the preservation of memories and the building of a common cultural, political and social memory, this volume aims to reveal the nature of memory, and explores the attitudes of ancient societies towards the creation of a memory to be handed down in words, pictures, and mental constructs. Since the multiple natures of memory involve every human activity, physical and intellectual, this volume promotes analyses and considerations about memory by focusing on various different cultural activities and productions of ancient Near Eastern societies, from artistic and visual documents to epigraphic evidence, and by considering archaeological data. The chapters of this volume analyse the value and function of memory within the ancient Near Eastern and Egyptian societies, combining archaeological, textual and iconographical evidence following a progression from the analysis of the creation and preservation of both single and multiple memories, to the material culture (things and objects) that shed light on the impact of memory on individuals and community.
This book brings together experts in the fields of art history, visual arts, music, cultural geography, curatorial practice and landscape architecture to explore the role of material memory in the post-industrial landscape and the ways in which that landscape can act as a site for many forms of creative practice. It examines the role of material memory in the siting of public artworks and politically inspired installation art within the socio-economic post-industrial landscape. The post-industrial ruin as a place for innovation in the curatorial process is also investigated, as are social memory and the complexities of inscribing memory into places. A number of chapters focus on photography and its important role in recording memory as transformation, abandonment and erosion. Artists and musicians present personal case studies examining the siting of permanent and temporary artworks which can invoke memory of both culture and place. The land itself and its associated histories of post-industry are explored in artistic terms investigating dislocation, wasted spaces and extinction. Landscape architects and cultural geographers explore the aesthetic of the urban ruin, its natural and human ecologies and the re-wilding of urban spaces. The volume provokes discussion by a group of diverse experts on a very contemporary subject.