So apparently the first programmer was a women…
the "poetical scientist" Lady Ada Lovelace
via Maria Popova @brainpicker
The world’s first programmer was a woman: Lady Ada Lovelace http://j.mp/1eTpAgb #TEDWomen
English mathematician and writer Augusta Ada King, Countess of Lovelace (December 10, 1815–November 27, 1852), born Augusta Ada Byron as the only legitimate child to the poet Lord Byron and better-known as Ada Lovelace, is commonly considered the world’s first computer programmer — a title she earned by writing the very first algorithm designed to be processed by a machine during her work on Charles Babbage’s seminal Analytical Engine, the early theoretical general-purpose computer that laid the foundation of modern computing.
Abandoned by her father when she was barely a few months old and half-orphaned by Lord Byron’s death when Ada was only eight, Lovelace was led to mathematics and logic by her mother, who saw these strictly rational disciplines as an antidote to the madness she feared Ada had inherited from her father. But even as Lovelace came to indulge her mathematical mind, she insisted on referring to herself as a “poetical scientist.”
Still in her twenties, she was enlisted by Babbage in translating Italian mathematician Louis Menebrea’s memoir of the Analytical Engine, originally published in French. It was in the elaborate notes on the book, which she penned during a nine-month period in 1842-1843, that Lovelace wrote the algorithm which staked out her corner of history.
Lovelace was in many ways a rebel of her era: Though she and her mother inhabited the upper echelons of London society, women’s participation in intellectual affairs was both uncommon and discouraged. Even among the gentlemen who pursued such disciplines as geology, astronomy, and botany, there were no professional scientists per se — in fact, the very word “scientist” didn’t exist until William Whewell coined it in 1836. And yet Lovelace, a woman, was very much a scientist — in addition to being the mother of three children — and an intellectual peer of Babbage’s.
But besides a pioneer of computer science, Lovelace, whose eclectic interests spanned from music to mesmerism, was also in a way one of the world’s first neuroscientists — at least a theoretical one. In 1844, she grew intensely interested in creating “a calculus of the nervous system,” confiding in her friend Woronzow Greig a desire to develop a mathematical model for consciousness that would explain how nerve signals give rise to thoughts and feelings in the brain. But, largely due to her mother’s instilled admonitions about Ada’s inherited capacity for madness, she eventually abandoned the quest.
Lovelace died of uterine cancer, after a short battle terribly managed by her physicians, two weeks short of her thirty-seventh birthday. She is commemorated with one of London’s famous blue plates, located at St. James’s Square and inscribed “Ada Countess of Lovelace 1815-1852 Pioneer of Computing lived here.” Her contribution to modern life is imprinted on every interaction we have with a machine on any given day.
Daily Rituals: How Artists Work
"Writers, composers, painters, choreographers, playwrights, poets, philosophers, sculptors, filmmakers, and scientists on how they create (and avoid creating) their creations"
Excited to dig into this fella today.
Mermaid avenue #jeanpaulgultier #sidewalk to #catwalk #brooklyn #artstuff #fashion #goldentimes #coral #scales (at Brooklyn Museum)
Houndstooth #jeanpaulgultier #fashion #goldentimes #cigaretteholder #brooklyn (at Brooklyn Museum)
Bodysuits #jeanpaulgultier #brooklyn #museum #artstuff (at Brooklyn Museum)
Pretty chart time
(Source: emilhouse, via ilovecharts)
…reminds me of home.
My favorite Brooklyn swimsuit designer, Malia Mills. Designs so flatter a woman’s natural body and form. Beautifully made. All my suits come from here…
by Cyra Perry Dougherty
September 1, 2013
Jay-Z tweeted, “she [Miley] represents an old world’s worst nightmare,” and no doubt she does. I think in saying this he chose his words wisely. It’s an “old world” that keeps us married to our cultural and identity politics, not allowing us to see ourselves and others in full, deep, rich, and utterly human complexity. The idea that Miley Cyrus’ performance can somehow co-opt power from the marginalized groups of people who really belong to ratchet culture is only valid if we allow overly simplified identity groups to define and limit us. Maybe it is time we embrace that we are all more than the single story identity groups that we belong to? Could it be time to recognize we are more alike than we are different?
I hate to jump on the Miley Cyrus, ratchet culture, commodification-of-the-marginalized-life bandwagon just as it seems that the flurry of posts and articles has died down. But I’m diving in. I’m putting my two cents down because I think the conversation that unfolded in the media is missing an essential point that has an impact on all of us.
What Miley did at the MTV Video Music Awards last week became such a spectacle not only because it was thought to be out of character, not even because it was not done particularly well, but it was this past week’s media circus because it pointed out how we as human beings—despite race, class, gender, and sexuality divides—are all more alike than we are different. A country darling turned Disney princess is attracted to and expressing herself within a ratchet culture image? How dare she break through those rigid identity camps!
The thing is, Miley Cyrus has been packaged for us her whole life. We actually have no idea what is authentic when it comes to her expression of self. She has been told what to do, how to act, and who to be by a team of adults making money of an image they created for her to represent. Now, at her coming out party, she has decided to immerse and express herself in a subculture of American society that is fundamentally about giving a big f-off to “the man.” This does not surprise me at all.
Ratchet culture came out of communities who have had to fight for every inch of social and cultural power they have; who have been rendered voiceless by structural violence; who have been politically robbed and stripped of being their authentic selves due to institutionalized oppression. And so people out of this lived experience have sought to empower themselves by amplifying their voices and claiming exaggerated elements of an expressive identity through ratchet culture.
READ ENTIRE ARTICLE HERE