It was a great event! For more information about miniPLoP, check the event website: http://www.miniplop.ita.br/Apresentacao.html

No módulo Retrato do Planeta, uma tabela periódica interativa destaca os elementos químicos que compõem os equipamentos eletrônicos. Nos mosaico de matérias primas, curiosidades da geologia e dos minérios. Ainda neste módulo, mapas gigantes ilustram para o público as principais fontes de riquezas minerais e a exploração delas pelo mercado tecnológico.

Fiz um vídeo convite de 6 minutos, dando uma palhinha do que vocês verão lá. Confiram!

It was a great event and I’m very happy to be part of it. QCON was awesome! I hope you enjoy the pictures

Nessa vida de programador maluco
Me aparece cada situação
De repente um cliente, uma proposta bruta
Pra pegar de um site informação

Você tá louco, esse tipo de crime eu não faço
Se quiser tenho uns amigos lá do sul
Faz pra mim que eu te pago com essa jóia cool

Te dou um ruby
Pra você roubar
Com o seu robô

Quer fazer robô?
É só usar ruby
É só usar ruby
Pra fazer robô

Horário: 16 horas

Resumo: Uma contribuição inovadora da USP nas suas origens, em 1969, em colaboração com o renomado Artista Concretista Waldemar Cordeiro participei de uma rica experiência em Arte Digital, que foi logo reconhecida por especialistas internacionais como inovadora, e continua sendo amplamente citada até hoje. Pretendo relatar nossa colaboração, sua receptividade pelos artistas e a relação que tem com diversas áreas da Ciência, Arte e Tecnologia. O trabalho foi inovador no campo das tecnologias de comunicação visual, pois é considerado um dos primeiros trabalhos que envolveu processamento de imagem num novo nível, que hoje é a base da comunicação visual na televisão, e nas imagens apresentadas para o lazer e marketing. Foi também precursor no campo da análise de informações obtidas na forma de imagens e para sua interpretação. Outro aspecto importante, frequentemente lembrado é o da potencialidade da colaboração entre  especialistas em áreas diversas, capazes de se comunicar e interagir, em abordagens inovadoras em campos anteriormente inexplorados.

Abstract: In 1969, in collaboration with the well known Concrete Artist Waldemar Cordeiro I was involved in a very interesting and rich experience in Digital Art that was at once recognized by international experts as innovative and is up to theese days widely cited. I intend to talk about our collaboration, its receptivity by artists in general and the computer art community, and its relation with art, science and technology. The results were considered innovative in the area of visualcommunication since it is considered as one of the first examples of image processinga a new level and nowadays is widely used in visual communication in TV and images presented for laisure and entertainment and marketing. The wok is also considered  a precursor of now widely used instruments for extracting/enhancing important informations hidden in scientific, medical, natureand other images, helping in understanding their possible important messages. Another importand aspect of this collaboration has been noted as an example of the potenciality of the collaboration of specialist of different areas, that succede in talking with each other, in finding innovative approaches in areas previously unexplored.

Bio:

Giorgio Moscati se formou como Engenheiro Mecânico e Eletricista em 1957 e como Bacharel em Física em 1959 na Universidade de São Paulo.
Obteve o título de Doutor em Física naUSP em 1962. Foi Professor de Física na USP de 1958 a 1998, Professor Titula a partir de 1975.
Ocupou as seguintes funções: Chefe do Departamento de Física da Faculdade de Filosofia, Ciências e Letras FFCL, de 1968 a 1969.
Diretor Pró Trempore, responsável pela implantação do Instituto de Física da USP – IFUSP(Campus São Paulo) no início de 1970.
Chefe do Departamento de Física Experimetal do IFUSP em diversas ocasiões e Vice Diretor do Instituto Astronômico e Geofísico da USP de 1979 a 1982.
Research Associate contratado pela Universidade de Illinois (Campus de Urbana Champaign) de 1963 a 1966 (Fulbright travel Grant).
Pesquisador Visitante da Universidade de Liverpool ? UK de 1970 a 1971 (Queen Scholar).
Coordenador de Ciências Exatas e Naturais do Conselho Nacional de Pesquisas (CNPq) de 1981 a 1983.
Diretor de Metrologia Científica e Industrial do Instituto Nacional de Metrologia, Normalização e qualidade Industrial ?INMETRO de 1990 a 1991.
Membro brasileiro do Comitê Internacional de Pesos e Medidas ?CIPM, em Paris França de 1995 a 2007, tendo sido Vice Presidente do mesmo de 2002 a 2007 e Presidente do Comitê Consultivo de Radiações Ionizantes ?CCRI/CIPM, de 1995 a 2007.

Local: Auditório Jacy Monteiro, IME-USP
Rua do Matão, 1010
Cidade Universitária – São Paulo

There are some points in the article I’d like to highlight.

What is creativity?

• Creativity involves a large number of people from different disciplines working effectively together to solve a great many problem
• A movie, like a software, is not only a single idea. Movies and softwares contains literally tens of thousands of ideas.
• The leaders sort through a mass of ideas (and possible designs in software) to find the ones that fit into a coherent whole, which is very difficult task
• What is the key to be able to recover from fail? Talented people! And such people are not easy to find. What is equally though, of course, is getting talented people to work effectively with one another

The roots of pixar culture

• Smart people are more important than good ideas
• It is OK to hire people who are smarter than you
• In the process of creating a new movie (software), the first versions are very rough, but they give a sense of what the problems are, which in the beginning are many. Then we have to iterate, and each version typically gets better and better.
• If you give a good idea to a mediocre team, they will crew it up; if you give a mediocre idea to a great team, they will either fix it or throw away and come up with something that works.
• Deeply ingrained in Pixar culture is that everything they touch needs to be excellent.

Power to the creatives and a peer culture

• Creative power in a film (software) has to reside with the film’s creative leadership
• The creative vision propelling each movie (software) comes from one ow two people and not from either corporate executives or a development department (this point is similar to what Fred Brooks says about conceptual integrity. I don’t completely agree with that. I also like Richard Gabriel’s vision, that there are many hidden co-authors and the things designed themselves)
• Good artists understand the value of limits. I completely agree with this. This makes me remember a phrase from my theater director. He said that “an actor has to have the German discipline with the Brazilian creativity both at the same time. Hot side with cold side”.
• Everything in Pixar is done by peer reviewing. This works because all the participants have come to trust and respect one another

Technology + Art = Magic

• Walt Disney believed that when continual change, or reinvention, is the norm in an organization and technology and art are together, magical things happen
• Showing unfinished work each day liberates people to take risks and try new things because it doesn’t have to be perfect the first time
• At Pixar, we believe in this swirling interplay between art and technology and constantly try to use better technology
• Technology inspires art, and art challenges the technology
• The most efficient way to deal with numerous problems is to trust people to work out the difficulties directly with each other

This presentation was created by Richard P Gabriel and presented at IME-USP – São Paulo on 31/Mar/2011 sponsored by CCSL

Richard’s Bio

Richard P. Gabriel (Ph.D., Stanford University, 1981; MFA Creative Writing (Poetry), Warren Wilson College, 1998; ACM Fellow) performs programming language, creativity, and software engineering research at IBM Research. He is the author of five books. He played lead guitar in a rock ‘n’ roll band for 20 years.

This presentation was created by Richard P Gabriel and presented at IME-USP – São Paulo on 30/Mar/2011 sponsored by CCSL