Product details Paperback Publisher: Lulu. No customer reviews. Share your thoughts with other customers. Write a customer review. Most helpful customer reviews on Amazon. Hugo Uyttenhove is one polished writer! Uyttenhove's obvious love for the immensely visually and spiritually powerful Flemish Primitives of the title is palpable throughout this mystery. The grand plan is a the American National Museum of Art exhibition of these paintings, an exhibition curated by one Hannah Jacobs who, in order to reduce the expenses of the exhibition, has arranged for the many paintings from several European countries to be shipped via cruise ships - good financial planning, disastrous insurance planning!
Uyttenhove spreads his book into chapters titled with the areas of action - Antwerp, Washington, DC, Chechnya, Moscow, Reston, Virginia Beach, New York, Genoa - a technique in storytelling that is very helpful in keeping all the complexities of this mystery of varying weights of painting crates, gradual disappearance of the various paintings on their way to the exhibition, and the changing character list of the story manageable.
Uyttenhove also brings realism into play by using names of current leaders in the various countries - such as Putin and Yeltsin, etc - that makes the story more than one of intrigue, grand larceny, murder, mafia involvement, and even romance. The story once begun propels the reader through an Hitchcockian puzzle with enough detail as to art history and political savvy as anyone writing today.
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To summarize the plot would be to detract from the pleasure of enjoying this very fine page-turner of a novel. Fine work - especially from a first novel. There will be more, and watch for the chatter about a screenplay which is bound to occur! Grady Harp, December Hanna and Robert, a curator and her lawyer boyfriend, play unwilling detectives in a scheme of International and inter-cultural criminal plots, involving the Russian mafia, Chechnyan terrorists, the FBI and several European and American museums. Here we have a thriller with all the ingredients needed to make it hard for you to put down.
From the slightly complex beginning to the very end, the reader embarks on an adventure full of conspiracies, alliances, betrayal, revenge and violence. Don't be mistaken, Art, here, plays a big role for its financial and historical worth. This novel is full of great entertainment and excitement, car chases, impending revenge, suspended expectation and the like.
Verdon got the adoring headlines first. The two met that year, and in the first of their many collaborations, Verdon stole the thunder. His dance numbers are full of fun and vitality. When Verdon missed preview performances of the Fosse-choreographed New Girl in Town , headlines blared that it took four separate understudies to replace her. It began with the movie-musical Cabaret , set in a Berlin nightclub at the dawn of the Nazi regime. Verdon, meanwhile, took the leading role in Children!
In the wake of two heart attacks, Fosse staged his own memorial in the film All That Jazz , which won four Oscars but met mixed reviews. When it came to Redhead , Wasson writes that the producers were so eager to sweeten the negotiations for Verdon that they gave Fosse his first directing gig on top of their initial choreography offer. For decades, video games got no respect. They were seen as degenerative, brain-numbing influences that turned kids into couch potatoes.
Today, video games influence American culture as much as film and literature do. They have shaped how drone aircraft are operated in war, how ships are steered, and they even influence new medical technology. Some of the early pioneers in the field have already passed away, including physicist William Higinbotham , the creator of the world's first video game made purely for entertainment.
Higinbotham's creation, Tennis for Two , was made in , before computer monitors were available. He used an oscilloscope as a display. Higinbotham was born in , when horse-drawn buggies still outnumbered automobiles.
He died in , living to witness the launch of the Super Nintendo Entertainment System but not quite long enough to see video games become accepted as a serious form of media. Each interview will run around five hours and requires extensive research by the Lemelson Center's staff. What was going on in their lives? Pulling this together takes a lot of preparation.
Recording the memories of the creators of early video games is especially important because the games themselves have a limited lifespan. Electronic devices eventually decay from normal use. Transistors stop working. Chips fail. Do you keep the console and the cartridge and put them in a freezer and hope they're not falling apart? Or do you keep them working but know that they will decay and eventually break?
We have paper materials from 2, years ago that are in great shape. Among the aging lions of the video game industry, there is a sense that the time has come to create a record of the past. Fabulous guy, obviously a genius. He said that he and his colleagues have been talking about a need to do this for years, so they were really enthusiastic about having Smithsonian do this.
But these [programmers] were all competitors and we'll have a complete history of an industry told by the people who built it. A few years ago, as journalist Clive Thompson started working on his new book about the world of coding and coders, he went to see the musical Hamilton.
His take-away? The founding fathers were basically modern-day programmers. What the people in that class could do was suddenly incredibly important and incredibly political and pivotal. Society needed their skills badly, and just a few people could make decisions that had an enormous impact. So Thompson has hacked the mindframe of these all- too? In his new book Coders: The Making of a New Tribe and the Remaking of the World , he lays out the history of programming, highlighting the pioneering role women played.
Thompson weaves together interviews with all types of programmers, from ones at Facebook and Instagram whose code impacts hundreds of millions of people each day, to the coders obsessed with protecting data from those very same Big Tech companies. Drawing on his decades of reporting for Smithsonian , WIRED and The New York Times Magazine , he introduces us to the minds behind the lines of code, the people who are shaping and redefining our everyday world. What personality traits are most common among programmers?
What makes a good programmer? There are the obvious ones, the traits that you might expect—people who are good at coding are usually good at thinking logically and systematically and breaking big problems down into small, solvable steps. But there are other things that might surprise you. Coding is incredibly, grindingly frustrating.
What is phishing?
Even the tiniest error—a misplaced bracket—can break things, and the computer often doesn't give you any easy clues as to what's wrong. The people who succeed at coding are the ones who can handle that epic, nonstop, daily frustration. The upside is that when they finally do get things working, the blast of pleasure and joy is unlike anything else they experience in life.
They get hooked on it, and it helps them grind through the next hours and days of frustration. Coding is, in a way, a very artistic enterprise. You're making things, machines, out of words, so it's got craft—anyone who likes building things, or doing crafts, would find the same pleasures in coding. In that sense, they remind me a lot of poets or novelists, who also prefer to work in long periods of immersive solitude. But the truth is, coding is also just lots and lots and lots of practice.
They just work hard! Why and how did they get pushed out? For a bunch of reasons. Some of that was just a lot of introverted grumpy men starting flocking to coding. Even when you had female coders on staff, when you're crashing on a big project, and everyone's working full time, the women have to go home. Then in the mids, something happened. All those kids like me [mostly male] who grew up programming those first computers started arriving on campus. That created a dichotomy in the classroom.
The professors start teaching for the hacker kids. There are knock-on effects. The industry becomes very, very male, it starts expecting that it's normal for women not to be there. So women would just leave and go do something else with their talents. Really, it's only been in the last decade that academia and companies started to reckon with the fact that culture exists, and is calcified, and needs to dealt with.
They're driven by curiosity. Most people outside the tech world know about coders and Silicon Valley from pop culture depictions. What do these representations miss? What do they get right? Traditionally, most characterizations of coders in movies and TV were terrible. I understand why; it made for good drama! But what real programmers do all day long isn't anywhere near so dramatic.
Indeed, a lot of time they're not writing code at all: They're staring at the screen, trying to figure out what's wrong in their code.
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Coders on TV and the big screen are constantly typing, their fingers in a blur, the code pouring out of them. In the real world, they're just sitting there thinking most of the time. Hollywood has never been good at capturing the actual work of coding, which is enduring constant frustration as you try to make a busted piece of code finally work.
That said, there have recently been some better depictions of coders!
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- grand scale larceny the heist of the flemish primitives Manual?
The coders would often get weirdly obsessed with optimizing seemingly silly things, and that's exactly how real-life coders think. And they'd do their best work in long, epic, isolated, into-the-night jags—also very realistic.
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