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own experiences of teachng computer programming suggest that, when faced with completely unknown phenomena, it is not only children who adopt animistic explanations. It is often easier to teach some computer concepts by using explanations such as 'the computer does not know.. .', than to try to teach abstract principles first. An obvious question is then, if we have alternative, perhaps less contentious ways of explaining systems: why should we bother with the intentional stance Consider the alternatives available to us. One possibility is to characterize the behaviour of a complex system by using the physical stance (Dennett, 1996, p. 36). The idea of the physical stance is to start with the original configuration of a system, and then use the laws of physics to predict how this system will behave. When I predict that a stone released from my hand will fall to the ground, I am using the physical stance. I don't attribute beliefs and desires to the stone; I attribute mass, or weight, to the stone, and rely on the law of gravity to yleld my prediction. (Dennett, 1996, p. 37) Another alternative is the design stance. With the design stance, we use knowledge of what purpose a system is supposed to fulfil in order to predict how it behaves. Dennett gives the example of an alarm clock (see pp. 37-39 of Dennett, 1996). When someone presents us with an alarm clock, we do not need to make use of physical laws in order to understand its behaviour. We can simply make use of the fact that all alarm clocks are designed to wake people up if we set them with a time. No understanding of the clock's mechanism is required to justify such an understanding - we know that all alarm clocks have this behaviour. However, with very complex systems, even if a complete, accurate picture of the system's architecture and working is available, a physical or design stance explanation of its behaviour may not be practicable. Consider a computer. Although we might have a complete technical description of a computer available, it is hardly practicable to appeal to such a description when explaining why a menu appears when we click a mouse on an icon. In such situations, it may be more appropriate to adopt an intentional stance description, if that description is consistent, and simpler than the alternatives. Note that the intentional stance is, in computer science terms, nothing more than an abstraction tool. It is a convenient shorthand for talking about complex systems, which allows us to succinctly predict and explain their behaviour without having to understand how they actually work. Now, much of computer science is concerned with looking for good abstraction mechanisms, since these allow system developers to manage complexity with greater ease. The history of programming languages illustrates a steady move away from low-level machine-oriented views of programming towards abstractions that are closer to human experience. Procedural abstraction, abstract data types, and, most recently, objects are examples of this progression. So, why not use the intentional stance as an abstraction
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n Color sliders: Although it may seem odd to have color controls within a black-and-white conversion utility, these are, in fact, very helpful. The sliders control the amount of each color that contributes to the luminosity of the final black-and-white image. This allows you to mimic the effects of using colored filters on a camera loaded with black-and-white film. Traditionally, for example, black-and-white photographers have used a red filter on their cameras to darken blue skies, which is great for landscapes. Alternatively, thinking of it from a nontraditional standpoint, you can emphasize the original colors within the context of a black-and-white image.
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Essentially, a histogram is a graph that represents a statistical analysis of how many pixels of your photo are in each value level of the tonal range. In 5, we discussed the histograms that you can use to judge the exposure of your just-shot photos on your camera s LCD screen. The same tool (which is called Levels in Photoshop) can be used to manipulate your exposure in photo-editing programs (as well as in RAW utilities and better scanner drivers). Looking at the histogram of Figure 10-1, it becomes possible to analyze why a simple brightness/contrast adjustment wasn t the optimal fix for that photo. (See Figure 10-7.) The highlights and shadows (which are what is affected the most by the brightness/contrast sliders) were well exposed and fully represented in the histogram. It s the midtones that need to be adjusted. When you click and drag on the controller points for the black point, white point, and midtone (the small arrows under the graph in Figure 10-7), it tells the software to remap the graph to new values. For instance, pulling the black point controller toward the right by, say, 10 redefines all the pixels from 0 to 10 as black. While this may be useful or even necessary, it is important to understand that the original dark grey pixels in that range would now be completely blacked out. (See Figure 10-8.)
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Let us time delay the waveform in Fig. 15.3 by a quarter period and compute the Fourier series. The waveform in Fig. 15.3 time delayed by To/ 4 is shown in Fig. 15.6. Since the time delay is To/ 4 , 211' To 11' IlW Ol rf = 11 = ,, - = ,, 90 To 4 2 Therefore, using Eq. (15.30) and the results of Example 15. 1, the Fourier coefficients for the time-shifted waveform are
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The initial layer visibility is the default view of visible layers when you open a PDF document. The layers in view when you open a layered PDF document are determined from the visibility of the layers in view in the original authoring application. If layers are hidden in the authoring application, the Initial View in Acrobat viewers shows the same layers hidden as well. The Initial View or state is the same view displayed in the authoring application at the time of PDF creation. As you browse a file in an Acrobat viewer and turn on and off different layer views, you may want to return to the initial state. You return to the default view with
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Polar tracking guides you, using a tooltip and vector line, when you want to draw (or edit) at an angle other than the four orthogonal angles, as shown in Figure 4.10. You can use polar tracking for orthogonal angles as well. If you have Dynamic Input on, just look for the word Polar to distinguish between the Dynamic Input and the polar tooltips. FIGURE 4.10
Before you begin, you must know what your strategic horizon is. How far out will this vision be Most organizations use three to five years for the horizon. Choose a room with comfortable chairs and tables for writing. You will need to dim the light slightly in the room by pulling any shades and turning down overhead lights. One wall will need a smooth surface or large whiteboard on which you will capture the vision with a giant notepad of the sort typically used for group meetings. The visioneering team should be six to eight senior executives with crossfunctional positions and 10 years experience in the industry or more. The whole process will take two to three hours. Before you begin, remind everyone that the vision is not what we are going to do, but rather what we will be in x years. Begin with a warm-up discussion about envisioning the future and BHAGs. You may want to use examples from experience or from books such as Built to Last or Good to Great. In one instance, a group started with a movie on how nearimpossible visions have become realities. The movie included clips from John F. Kennedy s speech about putting a man on the moon and clips from Martin Luther King s I Have A Dream speech. Guided imagery involves relaxing the group, dimming the light to remove distraction, helping the group move to a state of relaxation, and then guiding the group through an experience using nonjudgmental statements. One client s visioneering session took place in the headquarters on an upper floor of a large office building. I dimmed the lights, had everyone put down their pens, and gave people the option of closing their eyes if they felt comfortable doing so. I then proceeded to guide them on a bus trip to see their company, PerformCo., in the future. Clients have told me later that they referred to this as the Magic Bus. Remember to leave time between statements as you guide people with your voice. It is very uncomfortable to participate in a guided imagery session that feels rushed because the guide is moving on to the next scene before the participants are ready to. You must think about what will work for the person seeing the guided images. My soft tour guide voice follows a script something like this: We are going on a trip into the future to see what PerformCo. has become. While you are on this trip, watch and listen for important points you want to remember. We will be traveling through offices and seeing presentations. You will have a chance to read important items on white boards. You may even see a newspaper headline or overhear a conversation. Remember what is important to you about PerformCo s future. Now, let s take a trip. Imagine that you are in front of the elevator and that we are going down to a bus that will take us to PerformCo in x years.
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